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Relevant bibliographies by topics / Hymns writers

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Academic literature on the topic 'Hymns writers'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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Journal articles on the topic "Hymns writers"

1

Masud, Noreen. "Sound Words: Hymns in Twentieth-Century Literature." Review of English Studies 70, no. 296 (2019): 732–51. http://dx.doi.org/10.1093/res/hgy130.

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Abstract Why, in the twentieth century, do atheist or agnostic authors write so many hymns into their poems and novels? This essay contends that attending to the frequent but overlooked hymn episodes in early to mid-twentieth-century literature, and to their historical contexts, can complicate our understanding of literary postures of faith, and of everyday sounds as ‘filler’ in modernist literature. Focusing on Stevie Smith and D. H. Lawrence, with reference to a range of other writers, it draws on unpublished archival material to argue that hymn-history reveals an alternative narrative to that of religious writing as conservative, and literary writing as radical. Hymn-compilers often sought modernity, while poets and novelists tended to privilege older, more dated hymns. This ideological clash led to a literary approach which defiantly accommodated ‘bad old hymns’ through nostalgic reminiscence and extensive quotation. Used in this way, hymn oscillates between a status as textual padding and as focal point: an embarrassingly excessive and solid substance which nevertheless enables embarrassment to be discharged. Ultimately, the muffling, ostensibly authoritative substance of hymn, in twentieth-century literature, fills up gaps in which too much might resound or be revealed: it offers literary writing an opportunity to accommodate and neutralize awkwardness, failure and error.

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Hall, Nancy E. "Singing our way to justice: A conversation with Dan Damon—hymn writer, composer, and pastor." Review & Expositor 114, no. 3 (2017): 403–13. http://dx.doi.org/10.1177/0034637317721984.

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Hymnody has long reflected both the theology and the changing concerns of the Christian church. Dan Damon, a leading practitioner with more than a hundred published hymns, has conducted large-scale research into the representation of social justice issues in contemporary hymnals. Damon is interviewed about his creative process as hymn text writer and as composer (a process deeply intertwined with his work as pastor of a United Methodist church), shedding additional light on the questions that motivate his research: “What are we already singing about justice?” and “What justice issues have our hymn writers not yet addressed?” Several hymn texts illustrate Damon’s responses to the omissions implied by the latter question. Reflections on the role of this new hymnody, both in the congregation’s spiritual formation and as call to action, suggest the vitality to be gained by including hymn texts on social justice in our worship.

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Love, Rosalind C. "Frithegod of Canterbury's Maundy Thursday hymn." Anglo-Saxon England 34 (December 2005): 219–36. http://dx.doi.org/10.1017/s0263675105000104.

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In his Catalogus of British writers, John Bale's account of the tenth-century scholar, Frithegod, includes incipits for two hymns, of which the first, on Mary Magdalen (‘Dum pietas multimoda’), was long thought lost. In fact it is not lost, but has simply become uncoupled from its author's name, and is transmitted anonymously in three manuscripts of French origin, and in some Spanish liturgical books, whence it was first printed in 1897. Frithegod's authorship is suggested by Patrick Young's seventeenth-century catalogue of Salisbury Cathedral manuscripts. Young noticed two ‘carmina Frethogodi’ at the end of what is now Dublin, Trinity College 174 (a late eleventh- or early twelfth-century Salisbury legendary), giving the incipit of the first as 'Dum pietas multimoda’. After Young had catalogued TCD 174, the page with the hymns must have become detached, and cannot now be traced. Frithegod may have composed the hymn while still at Canterbury, and then perhaps took a copy back to his native Auvergne, given that it ended up in an English manuscript but also circulated in France. Although the circumstances of composition are beyond recovery, I suggest that the hymn was originally intended not for the cult of Mary Magdalen (it was used thus in France), but rather to accompany the penitential rituals of Maundy Thursday. The article includes a text and translation of the hymn.

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Hauge, Hans. "Alt-i-alt: Et gensyn med Poul Borums syn på Digteren Grundtvig." Grundtvig-Studier 60, no. 1 (2009): 188–202. http://dx.doi.org/10.7146/grs.v60i1.16545.

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Alt-i-alt: Et gensyn med Poul Borums syn på Digteren Grundtvig[All in all: Poul Borum''s view of Grundtvig the poet revisited]By Hans HaugePoul Borum was a well-known poet and an influential critic. His book on poetic modernism was a milestone. Few contemporaries associated him with N. F. S. Grundtvig so it was perhaps something of a surprise when in 1983 he published a full-length study of Grundtvig’s texts, focusing upon and rehabilitating Grundtvig the poet. He was of the opinion that literary critics and writers at large as well as established Grundtvig-scholars lacked something.The literary critics knew too little about Grundtvig and did not adequately appreciate him, whereas the scholars were too unfamiliar with contemporary literary criticism. Borum attempted to mediate between the two groups. He was easily familiar with almost all the secondary and scholarly literature on Grundtvig and he was also well versed in contemporary literary criticism and referred to such names as Harold Bloom and Paul de Man. He uses Bloom’s theory of anxiety in his reading of one of Grundtvig’s best-loved hymns and demonstrates how Grundtvig struggled with the influence of the seventeenthcentury hymn-writer Kingo.Borum did not really succeed in achieving deconstructive readings of Grundtvig’s texts; however, he did successfully demonstrate the way in which all Grundtvig’s texts were self-reflexive and he showed how even brief fragments contained the whole - all in all. Whenever Grundtvig wrote something, the text contained poetological elements and he stressed the notion of contemporaneity.The article concludes by discussing how Borum took various critics to task and how he distanced himself from certain contemporary political uses of Grundtvig.

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McGuckin, John Anthony. "St Symeon the New Theologian (969-1022): Byzantine spiritual renewal in search of a precedent." Studies in Church History 33 (1997): 75–90. http://dx.doi.org/10.1017/s042420840001319x.

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St Symeon the New Theologian is, without question, one of the most original and intriguing writers of medieval Byzantium. Indeed, although still largely unknown in the West, he is surely one of the greatest of all Christian mystical writers; not only for the remarkable autobiographical accounts he gives of several visions of the divine light, but also for the passionate quality of his exquisite Hymns of Divine Love, the remarkable intensity of his pneumatological doctrine, and the corresponding fire he brings to his preaching of reform in the internal and external life of the Church. He was a highly controversial figure in his own day. His disciples venerated him as a saint who had returned to the roots of the Christian tradition and personified its repristinization. His opponents, who secured his deposition and exile, regarded him as a dangerously unbalanced incompetent who, by overstressing the value of personal religious fervour, had endangered the stability of that tradition. The Vita which we possess was composed in 1054, in an attempt to rehabilitate Symeon’s memory and prepare for the return of his relics to the capital from which he had been expelled when alive. This paper will investigate how he himself understood and appropriated aspects of the earlier tradition (particularly monastic spirituality), hoping to elucidate why he felt himself inspired to reformist zeal, and why many of his contemporaries (not simply his ‘worldly opponents’ as his hagiographer would have us believe) regarded him as unbalanced. It will end by attempting some reflection on what the controversy reveals on the larger front about how the Church ‘selectively looks back on itself, so to paraphrase our president’s description of the conference theme, and whether the model of tradition and its reception exemplified in this Byzantine writer can offer anything to the dialogue between history and theology which the doctrine of Tradition (Paradosis) inevitably initiates.

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Hussein, Temam Hajiadem. "Atete: A Multi-functional Deity of Oromo Women with Particular Emphasis on Human Rights and Conflict Resolution Management." Current Research Journal of Social Sciences and Humanities 2, no. 1 (2019): 15–30. http://dx.doi.org/10.12944/crjssh.2.1.03.

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The roles of women in any society were the focuses of many researchers. Some of them compared with the role of men in the development of human rights and conflict resolution concluded that the women role was limited. But this is not true for Oromo women. For this reason, this paper briefly discusses the roles of Atete Oromo women deity in socio-cultural lives of the Oromo nation. The research explores how Oromo women used this deity to defend their rights and solve the arising conflict in society peacefully. It also outlines special cultural and ritual objects women used to promote peace, human rights, social justice; to overcome natural disasters through prayers and to strike cosmos balance between the creator and creatures. There is a dearth of written material which deals with Atete, the researcher, therefore, depend on some data that come from interviews, informant narration, Atete hymns and observation of the ceremony for many years. Later, these sources were cross-checked with other fragmentary written materials. Based on the investigation and analysis of these sources, the writer concluded that the Oromo society developed a highly sophisticated Atete institution to safeguard women rights and protect the rights of the weak group at least from the time of Gadaa advent. Ever since they also used it for solving the arising conflict in Oromo. Moreover, contrary to what many earlier writers have suggested, Atete is not only confined to fertility matter but also deal with many issues that affect all Oromo groups including male as this investigation establishes.

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Balling, Jakob. "Creative recycling: A Note on Two Grundtvig Hymns." Grundtvig-Studier 51, no. 1 (2000): 27–35. http://dx.doi.org/10.7146/grs.v51i1.16353.

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Creative Recycling: A Note on Two Grundtvig HymnsBy Jakob BallingThis short article, which consists in a slightly revised extract from the writer’s contribution to the Grundtvig conference in York, August 24th-27th, 2000, discusses two examples of the use by Grundtvig, the hymn-writer, of central elements of old church and old European tradition.The intention is to demonstrate how, in Tag det sorte kors fra graven he resumes and transmits, in his own independent way, the idea of older Christianity - engendered in part by its Biblical view - about the convergence of times in the now of the church service, and how, in his Te Deum: O, store Gud, vi love dig he extends the perspective of the Latin source with the result that the poem becomes more old church, so to speak, than the source itself. In support of the exposition, the writer’s translation of the two hymns into English prose is attached.

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Smiley, Caroline. "‘Sea of Wonders Never Sounded’: The Trinitarian Spirituality of Ann Griffiths." Evangelical Quarterly 90, no. 4 (2019): 357–69. http://dx.doi.org/10.1163/27725472-09004006.

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Ann Griffiths, an 18th-century farm wife and hymn writer, is well-known in her native Wales, though relatively unstudied in English. Even in translation her hymns and letters offer a strikingly beautiful as well as informative window into the Trinitarian spirituality of 18th-century Welsh Methodism. Historically, her Trinitarianism is notable in that it is largely assumed and primarily based in the economic Trinity, and yet, is nonetheless profound in its orthodoxy given the Trinitarian controversy of the long century prior. More than mere historical curiosity, however, Griffiths’s writing is particularly intriguing on two points that can edify the church today. First, she writes with considerable theological depth despite a lack of education, religious or otherwise, and second, her theology is both technically rich as well as profoundly devotional.

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Korshunova, Evgeniya A. "S.N. Durylin’s Easter story “On someone else's grave”: genre update." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2021): 82–86. http://dx.doi.org/10.20339/phs.3-21.082.

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The article explores poetics of the unpublished Easter story by S.N. Durylin “On an unrelated grave” (1922). The story is important mainly because the author manages to renew the genre not only by returning to the original spiritual meanings, but also presenting the unique ontological project. Taking into account the experience of the predecessors-classics, first of all, A.P. Chekhov and his story “Holy night” (1886), the writer expands possibilities of the biblical subtext by creating an intertextual evangelical plot that unfolds in parallel with the main one. Using modernist experience of L.N. Andreev and M. Gorky, the symbolist writers, Durylin disputes it, disagreeing with travesty and fantastic versions of the interpretation of Easter story. The author depicts the plot of the resurrection of the soul of the main character Andrei Omutov, who, experiencing the tragic death of his mother, thinks about eternity for the first time. The author’s ontological concept, affirming infinity and the absence of boundaries, is expressed by the special construction of the temporal triad “past — present — future”. The idea of transcendental reality, suggesting Absolute, is formed by alternating passages in present and future tense: these are descriptions of mother’ existence and church hymns quotations. In the past tense, the story of hero’s childhood and his mother’s death are given. The spiritual path to the eternal “to be” represents the inner plot of this story. The milestones of this plot are intertextually indicated by Easter exapostillarium, which is quoted three times: in the epigraph, at the time when it sounds at Easter services and, finally, on a grave of a stranger during matin service, conducted by Father Alexander, when the hero’s spiritual resurrection occurs.

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Xiao-bing, Zhao, and Zhao Wenqing. "About the Chinese Book “The Book of Poetry”." Humanitarian Vector 16, no. 1 (2021): 25–34. http://dx.doi.org/10.21209/1996-7853-2021-16-1-25-34.

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“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” is a metaphor, comparison. “Sin” means “stimulation”， it first speaks about others, then about what the poet wants to express. Fu and Bi are the most basic techniques of expression, and Xing is a relatively unique technique in “The Shi Jing”， even in Chinese poetry in general. “The Shi Jing” is an excellent starting point for Chinese literature, which has already reached a very high artistic level from the very beginning. "The Shi Jing” affects almost all aspects of the early social life of ancient China, such as sacrifice, banquet, labor, war, love, marriage, corvee, animals, plants, oppression and resistance, manners and customs, even astronomical phenomena, etc. It became historical value for the study of that society. The overwhelming majority of the poems in “The Shi Jing”reflect the reality, everyday life and everyday experience. There is almost no illusory and supernatural mythical world in it. As the first collection of poetry in China, “The Shi Jing” laid the foundation for the lyrical and realistic tradition of Chinese literature. “The Shi Jing” also has a huge impact on the genre structure and linguistic art of Chinese literature, etc., which is a role model for writers of later generations. “The Shi Jing”has already been translated into the languages of the countries of the world. “The Shi Jing”has been influencing Chinese poetics; it has become the source of the classical realistic tradition and literature in China. Lively description is essential for historical, anthropological and sociological research. We expect that as the cultural ties between China and Russia deepen, as well as the popularization and spread of Chinese-Russian translations, more and more Russian people will read “The Shi Jing”， study “The Shi Jing”， the Russian translation of “The Shi Jing” will improve and play its role as the original classic of Chinese literature. “The Shi Jing”is a book that cannot be read or translated forever. Keywords: “The Shi Jing” （“The Book of Poetry” )， regional songs, odes, hymns, artistic features, Chinese unique cultural value

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Dissertations / Theses on the topic "Hymns writers"

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Huebscher, Stephen Lenard. "Theological change in the eucharistic hymn-texts of Brian Wren and Isaac Watts." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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Aalders, Cynthia Yvonne. "To express the ineffable the problems of language and suffering in the hymns of Anne Steele (1717-1778) /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0332.

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Ridley, Sarah Elizabeth. ""That Every Christian May Be Suited": Isaac Watts's Hymns in the Writings of Early Mohegan Writers, Samson Occom and Joseph Johnson." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984204/.

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This thesis considers how Samson Occom and Joseph Johnson, Mohegan writers in Early America, used the hymns of English hymnodist, Isaac Watts. Each chapter traces how either Samson Occom or Joseph Johnson's adapted Isaac Watts's hymns for Native communities and how these texts are sites of affective sovereignty.

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Edwards, Robyn L. ""They also serve who only stand and wait" resignation in the lives of Charlotte Elliott, Frances Havergal and Fanny Crosby /." Theological Research Exchange Network (TREN), 2001. http://www.tren.com.

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Books on the topic "Hymns writers"

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Hymns and their writers. Gospel Tract Publications, 1989.

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Suffering and song: Lives of hymn writers. Fairway Press, 1995.

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R, Broome J., ed. Life and hymns of John Cennick. Gospel Standard Trust Publications, 1988.

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Morgans, Delyth G. Cydymaith caneuon ffydd. Pwyllgor y Llyfr Emynau Cydenwadol, 2008.

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Schaub, Christine. Finding Anna. Bethany House, 2005.

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Schaub, Christine. The longing season. Bethany House, 2006.

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Morgans, Delyth G. Cydymaith caneuon ffydd. Pwyllgor y Llyfr Emynau Cydenwadol, 2008.

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Keith, Cole. Fred. P. Morris and other Bendigo hymnwriters. Keith Cole Publications, 1989.

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McConnell, Cecilio. La historia del himno en castellano. 3rd ed. Casa Bautista de Publicaciones, 1987.

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Penna, Harold La. Hymn search: The hymnists and the hymns of Ocean Grove. H. La Penna, 1989.

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Book chapters on the topic "Hymns writers"

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Watson, J. R. "Eighteenth-Century Hymn Writers." In The Blackwell Companion to the Bible in English Literature. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch23.

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Watson, J. R. "Quiet Angels: Some Women Hymn Writers." In Women of Faith in Victorian Culture. Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1007/978-1-349-26749-1_10.

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"Hymns and Hymn-Writers, 1850-1930." In The Field Day Anthology of Irish Writing, Volume IV. Cork University Press, 2002. http://dx.doi.org/10.2307/j.ctv1fkgbdv.21.

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Waller, Philip. "Hymns and Heroines: Florence Barclay." In Writers, Readers, and Reputations. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199541201.003.0020.

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Schmelz, Peter J. "Preludio." In Alfred Schnittke's Concerto Grosso no. 1. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653712.003.0001.

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This chapter sets in motion the primary themes of the book, tracing briefly Alfred Schnittke’s compositional evolution before the Concerto Grosso no. 1, paying special attention to his Symphony no. 1 (1969–72) and his initial ideas about polystylism, as well as the works immediately preceding the Concerto Grosso no. 1, including the Piano Quintet (1972–76), Hymns (1974–79), Requiem (1975), and Moz-Art (1975–76). It also investigates the genesis, construction, and affect of the Preludio of the Concerto Grosso no. 1, focusing on its initial prepared piano chorale together with its other key motives. The chapter further discusses the interpretations of polystylism and postmodernism by such Russian writers as Svetlana Savenko and Alexander Ivashkin. Finally, the chapter sets in place the justification and format for the remainder of the book.

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Watson, J. R. "Victorian Women Hymn‐Writers." In The English Hymn. Oxford University Press, 1999. http://dx.doi.org/10.1093/019827002x.003.0016.

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"Hymn Writing in Byzantium: Forms and Writers." In A Companion to Byzantine Poetry. BRILL, 2019. http://dx.doi.org/10.1163/9789004392885_021.

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Herder, Johann Gottfried. "Letter 46, Theologische Schriften / Theological Writings." In Song Loves the Masses, translated by Philip V. Bohlman. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520234949.003.0013.

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From time to time I have sent you poetic pieces, among them those in aesthetic genres from hymns, songs, parables, fables, etc., and with a few thoughts to accompany them. I do not believe, however, that such things offer atonement for what has otherwise been neglected, for I do not entirely understand what, in correspondence of this kind, might really atone for neglect. The letter writer ceases to write when he wishes, and the reader ceases to read when she comes to the end of the letter. Given the sheer abundance of reading material about which we speak, moreover, it is only likely that we skip over several lines here and there. You will have long known from your good sense and intelligence that poesy is ...

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Viroli, Maurizio. "Literature and Hymns of the Religion of Liberty." In As If God Existed, translated by Alberto Nones. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691142357.003.0014.

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This chapter considers work of Alessandro Manzoni, who composed the poem and the novel that taught people to love liberty as a religious principle. In the ode “Marzo 1821” (March 1821), Manzoni directs the Italians toward a biblical God who listens to the invocation of the oppressed peoples. In Pentecoste, Manzoni writes of “living God” who operates in the world, supplying inspiration to a church that suffers, prays, and fights. In another work, Osservazioni sulla morale cattolica (Observations on Catholic morality), Manzoni affirms that the Christian religion requires courage to defend justice from the arrogance of the powerful.

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Weinberger, Leon J. "Ottoman Hymnography." In Jewish Hymnography. Liverpool University Press, 1997. http://dx.doi.org/10.3828/liverpool/9781874774303.003.0007.

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This chapter focuses on Ottoman hymnography. With the Ottoman conquest of Anatolia, Greece, and the Balkans from the Byzantines beginning with the capture of Bursa (Brusa) in 1326, the condition of Jews improved. The religious life of the Ottoman Jewish community was much enhanced by the installation of a Hebrew printing press in Constantinople. Among the leading rabbi-poets in the early Ottoman period were Šalom b. Joseph Enabi of Constantinople and Elia b. Samuel from Istip, in Macedonia. Like his Cretan colleagues, Enabi was attracted to the revival of classical studies in the Balkans. Other leading rabbi-poets include Mordecai Comtino, Elijah Ṣelebi, Menaḥem Tamar, and Elia Ha-Levi. The chapter then discusses how Solomon b. Mazal Ṭov rose to prominence in Constantinople. A prolific writer of sacred and secular hymns, Solomon b. Mazal Ṭov epitomizes the renaissance of Hebrew literature in an Ottoman Golden Age.

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Conference papers on the topic "Hymns writers"

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Legkikh, Victoria. "Is a hymnographer-compiler a writer or a reader. Service for All Saints Who shone in the Russian land as a typical service of the 16th century." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.13.

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The feast of all the saints who shone in the Russian land was established after the Macariuscouncils of the 1547 and 1549, and already in the 1550s. Gregory, a monk of the Savior-Euthymius monastery in Suzdal, composed a service. The service is created according to chant models mainly taken from services for Russian saints, using both direct borrowing a hymn and adaptation of the hymn and creating a new one according to the model. We can say that this service shows a typical way of compiling a hymnography of the 16th–17th centuries. The report analyzes the sources and methods of creating a service compiled by Gregory.

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