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Journal articles on the topic 'Middle English; Homiletic poems'
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1
Moriya, Yasuyo. "Vertical Alliteration in Middle English Alliterative Poems." NOWELE Volume 48 (January 2006) 48 (January 1, 2006): 45–66. http://dx.doi.org/10.1075/nowele.48.03mor.
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Cataldi, Claudio. "Trinity Homily XXIX De Sancto Andrea between Tradition and Innovation." Anglia 135, no. 4 (November 10, 2017): 641–68. http://dx.doi.org/10.1515/ang-2017-0066.
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AbstractRecent scholarship has challenged the view of the late twelfth-century Trinity Homilies, and of the contemporary Lambeth Homilies, as two collections that merely continue the earlier Old English vernacular homiletic tradition. This study aims to contribute to the scholarly debate on the Trinity Homilies by considering the elements of tradition and innovation featured in the twenty-ninth sermon of the collection, De Sancto Andrea. Through a discussion on the passage on the ‘Soul’s Address to the Body’ preserved in this homily, I shall show that Trinity XXIX includes both elements of continuity with the ‘Soul and Body’ literature attested in Old English homiletic texts (like the antithetical rhetorical pattern developed in the damned soul’s speech) and new features (like the motif of the ‘Signs of Death’ and the theme of ‘neglectful friends’) which reflect early Middle English developments in the ‘Soul and Body’ theme. I shall argue that the Trinity XXIX homilist probably adapted and reworked a lost Latin source into a poetic passage metrically and thematically consistent with contemporary ‘Soul and Body’ poetry. In the Appendix, I shall discuss the sources for the Latin material embedded in Trinity XXIX.1
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Eayrs, Brock. "English 416G (Winter 2000) "Middle English Verse Romance: The Problem of Trust"." Florilegium 20, no. 1 (January 2003): 185–91. http://dx.doi.org/10.3138/flor.20.045.
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"For creatures with the properties of human beings the problem of trust today is no closer to the margins of practical life, no more narrowly domestic and personal than it was in the high Middle Ages." John Dunn's recent comment points directly to an issue at the heart both of many of the best Middle English romances and of latemedieval English society. Poems otherwise as diverse as Sir Gawain and the Green Knight, Amys and Amylion, or Chaucer's Knight's Tale, for example, use a vocabulary of trust centred in the terms trouthe and tresoun and incorporate incidents raising this and related issues. In this course we will explore the formal development of Middle English verse romance while at the same time examining the problem of trust both in the narratives and in the social context in which, and for which, they were written. Our goal will be to use linguistic, legal, and other evidence to formulate supportable connections between the romances and their social context which cast an explanatory light on the poems themselves.
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Warner, Lawrence. "Three Alliterative Saints' Hymns: Late Middle English Stanzaic Poems (review)." Parergon 22, no. 1 (2005): 248–50. http://dx.doi.org/10.1353/pgn.2005.0060.
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Furnish, Shearle. "Thematic Structure and Symbolic Motif in the Middle English Breton Lays." Traditio 62 (2007): 83–118. http://dx.doi.org/10.1017/s0362152900000544.
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The Breton Lays in Middle English is an enigmatic label customarily used to designate eight or nine brief narratives: Sir Orfeo, Sir Degaré, Lay le Freine, “The Franklin's Tale,” Sir Launfal, The Earl of Toulouse, Emaré, and Sir Gowther. The label is awkward because it may seem to suggest that the poems are consistently derived from or inspired by Breton or Old French sources and thus are a sort of stepchildren, little more than translations or, worse, misunderstandings of a multi-media heritage. Most scholars have seen the grouping as traditional and artificial, passed along in uncritical reception, not resting on substantial generic similarities that distinguish the poems from other literary forms. John Finlayson, for instance, concludes, “In fact, considered coldly, shortness and adventure or ordeal would seem to be the only things that can really be isolated as universal characteristics.” Some scholars have accounted for the poems as a set. The distinctions they discuss commonly include the lays' close relation to the conventions of the folk-tale, relationship to provincial audiences, and a growing sophistication of the craft of fiction.
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Hill II, Bracy. "Apocalyptic Lollards?: The Conservative Use of The Book of Daniel in the English Wycliffite Sermons." Church History and Religious Culture 90, no. 1 (2010): 1–23. http://dx.doi.org/10.1163/187124110x506518.
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AbstractToo frequently the biblical hermeneutics of the Lollards have been oversimplified and described as “sola scriptura” or “literal” for the purpose of comparison. Limited attention has been given to the hermeneutic of Scripture particularly that of the Old Testament, present in the Wycliffite homiletic tradition as espoused in the Middle English Wycliffite festial. Building on the work of Kantik Ghosh and Curtis V. Bostick, this study asserts that the Middle English Wycliffite sermons' focus upon the Old Testament prophetic literature as a source of figures fulfilled in the New Testament, the reluctance of the politically conservative Wycliffite movement to embrace a radical apocalyptic vision, and the overriding concern of Lollard hermeneuts to acquire certitude resulted in the limited use of the book of Daniel in Wycliffite sermonic literature. When compared to contemporary sermon cycles and later uses of Daniel by more radical English groups, it becomes obvious that the Wycliffite sermons did not utilize a radical critique of empire or maintain a radical apocalyptic vision that might have found greater use for Daniel.
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Feng, Wang, and Huang Hongxia. "An Application of the "Harmony-Guided Criteria" to the English translation of Song ci: A Case Study of "Immortals at the Magpie Bridge" by Qin Guan." International Linguistics Research 3, no. 3 (September 1, 2020): p22. http://dx.doi.org/10.30560/ilr.v3n3p22.
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Ezra Pound's Cathay set the stage for a translation of free verse and influenced many translators such as Arthur Waley and Kenneth Rexroth. However, before Pound, rhymed Chinese poems were mainly translated into rhymed English poems by Herbert Giles, W. J. B. Fletcher, etc. Is it necessary to challenge the dominant translation poetics of free verse and insist that rhymed Chinese poems are best translated into rhymed English poems? Six English versions of a Song ci poem "Immortals at the Magpie Bridge" on the Chinese Valentine's Day were analyzed in details based on the newly proposed "Harmony-Guided Criteria" for poetry translation, which takes "Harmony" as the translation standard at the macro level, "resemblance in style, sense and poetic realm" at the middle level, and the "eight beauties of poetry translation" at the micro level. It shows that the criteria can be applied to the translation of rhymed Chinese ci poems into rhymed English poems, though with limitations.
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Lee, Brian S. "Transforming the Vulgate: Comestor and the Middle English Genesis and Exodus." Mediaevistik 31, no. 1 (January 1, 2018): 133–52. http://dx.doi.org/10.3726/med.2018.1.08.
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The article studies the literary or rhetorical effects of the transformation into plain narrative of biblical material originally compiled from different and often incomplete sources. Avoiding allegorical interpretations of the Bible’s theocentric history, Comestor in his “Historia Scholastica” and the Middle English poems based upon it, “Genesis and Exodus” and “Cursor Mundi,” sought to clarify difficult passages for the instruction and entertainment, rather than moral exhortation, of their for the most part unlearned, or illiterate, audiences. One result of their work was to fill or paper over lacunae and ambiguities that pique the curiosity of readers wanting to know more of the human stories implicit in the incidents described. Key passages in these texts will be examined.
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JEFFERSON and PUTTER. "THE DISTRIBUTION OF INFINITIVES IN -E AND -EN IN SOME MIDDLE ENGLISH ALLITERATIVE POEMS." Medium Ævum 74, no. 2 (2005): 221. http://dx.doi.org/10.2307/43632732.
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Grennen, Joseph E. "The “O and I” refrain in middle English poems: A grammatology of judgment day." Neophilologus 71, no. 4 (October 1987): 614–25. http://dx.doi.org/10.1007/bf00636814.
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Bob, H. "Eric Robinson, David Powell and P.M.S. Dawson (eds.), John Clare: Poems of the Middle Period 1822-1837." English 48, no. 190 (March 1, 1999): 65–69. http://dx.doi.org/10.1093/english/48.190.65.
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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.
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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.
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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.
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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.
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Putter, Ad. "The Siege of Jerusalem. Ralph Hanna , David Lawton Three Alliterative Saints' Hymns: Late Middle English Stanzaic Poems. The Alliterative Katherine Hymn. Richard Spalding , Ruth Kennedy Three Alliterative Saints' Hymns: Late Middle English Stanzaic Poems, the Alliterative John Evangelist Hymn. Ruth Kennedy Three Alliterative Saints' Hymns: Late Middle English Stanzaic Poems, the Alliterative John Baptist Hymn. Ruth Kennedy." Speculum 81, no. 2 (April 2006): 524–26. http://dx.doi.org/10.1017/s003871340000302x.
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INGHAM, RICHARD. "The diffusion of higher-status lexis in medieval England: the role of the clergy." English Language and Linguistics 22, no. 2 (July 2018): 207–24. http://dx.doi.org/10.1017/s1360674318000102.
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For Rothwell (1998: 156) ‘words of ultimately French origin became part of the lexis of English as a result of the myriad daily contacts between Anglo-French and Middle English in the minds and under the pens of a whole literate class’. Although such contact interfaces between Francophone and Anglophone speakers clearly must have existed, not enough is known as to the means by which French-origin lexis was borrowed and diffused. I argue that a principal agency of contact-induced lexical change in Middle English was the clergy in their everyday role of spiritual guidance, whether or not they themselves composed religious texts. French loans in works of spiritual guidance are known to be common from the thirteenth-century Ancrene Wisse onwards (Trotter 2003a). According to contemporaneous sources, English clerics received a Francophone-medium school education (Orme 1973), which would have familiarised them with the French vocabulary used in religious instruction in chantry schools and beyond.The various manuscripts of the Cursor Mundi, a work of lay religious instruction probably composed around 1300, also offer a revealing window on the process of lexical innovation and replacement instigated by the clergy. An analysis of variant lexical forms, native and French-origin, found in the first 10,000 lines of this work shows that the latter would go on to replace native items the majority of the time. The loss of many native variants, e.g. niþ, mensk and þole, and their replacement, respectively, by envy, honour and suffer, can be attributed to the role played by the clergy in diffusing French-origin items in the domains of discourse they dominated. Rather than merely reflecting the pre-existing lexical knowledge of monolingual English speakers, the clergy's use of such items initially introduced and then maintained French-origin lexemes in at least the receptive competence of such speakers. Their regular and widespread contact with the population at large would have enabled the take-up of lexical innovation via the spoken medium, thus motivating the use observed in homiletic and devotional written texts of extensive French-origin lexis.
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Johnson, Eleanor. "The Poetics of Waste: Medieval English Ecocriticism." PMLA/Publications of the Modern Language Association of America 127, no. 3 (May 2012): 460–76. http://dx.doi.org/10.1632/pmla.2012.127.3.460.
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Waste has been a recognizable socioeconomic problem since at least the late Middle Ages. In England, because of land and labor shortages, wars, famines, and especially changes in legal and penitential discourses, waste became, by the mid–fourteenth century, a critical concept. But a fully fleshed-out vocabulary for thinking through the meaning and consequences of the practice of committing waste does not yet exist. This essay argues that two fourteenth-century poems, Wynnere and Wastoure and Piers Plowman, address the lack of such a thinking through, tackling the problem of waste in all its vicissitudes. They deploy the formal resources of poetic language—from personification to episodic structure—to draw together the various ideas of waste from other discourses and to raise medieval readers' consciousnesses about the seriousness of waste's consequences. The essay calls their use of formal resources in creating this critical discourse a “poetics of waste.”
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Dance, Richard. "Old English Enigmatic Poems and the Play of the Texts (Studies in the Early Middle Ages, 13)." English Studies 90, no. 1 (February 2009): 112–15. http://dx.doi.org/10.1080/00138380802583089.
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GETTY, MICHAEL. "Differences in the metrical behavior of Old English finite verbs: evidence for grammaticalization." English Language and Linguistics 4, no. 1 (May 2000): 37–67. http://dx.doi.org/10.1017/s1360674300000137.
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This paper deals with the metrical behavior of a class of verbs in Old English whose descendants became the syntactically distinct auxiliaries of the modern period (have, be, may, will, shall, and associated forms). Contrasting two poems from the Old English period (Beowulf and The Battle of Maldon), I show that while the verbs in question show consistently stressed metrical placement in Beowulf, in Maldon they show a pronounced tendency to be placed in unstressed metrical positions, while verbs outside the eventual class of auxiliaries differ indiscriminately. In this way, the poetry suggests a phonological difference between pre-auxiliaries and other verbs perhaps centuries before corresponding morphological and syntactic differences fully emerged in the Middle and early Modern English periods.
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Yeager, Stephen. "The South English Legendary “Life of St. Egwine”: An Edition." Traditio 66 (2011): 171–87. http://dx.doi.org/10.1017/s0362152900001136.
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The Middle English verse “Life of St. Egwine” is one of the many hagiographic poems affiliated with the so-called South English Legendary or Legendaries (SEL), a widely copied collection of vernacular devotional texts whose earliest compilation has been dated to the thirteenth century, and whose latest manuscripts date to the first half of the fifteenth. A minor saint, Ecgwine was the third bishop of Worcester and the founder of the monastic community at Evesham Abbey. One of the most striking features of his early hagiography is that the earliest version of his vita contains the only surviving account of a dispute between a monastery and a tenant to be dated to the Anglo-Saxon period. This is indicative of his cult's close association with the endowed properties of Evesham, an aspect of his hagiographic tradition that is also discernible in the SEL legend.
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Neidorf, Leonard. "The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter." English Studies 100, no. 1 (November 27, 2018): 108–9. http://dx.doi.org/10.1080/0013838x.2018.1545415.
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Marc’hadour, Germain. "Geoffrey Chaucer (ca. 1340-1400) and Thomas More (1477-1535)." Moreana 41 (Number 159), no. 3 (September 2004): 37–63. http://dx.doi.org/10.3366/more.2004.41.3.6.
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These two Londoners have often been compared as belonging to the middle class with connections in government, especially through diplomatic service abroad ; also for their mental and spiritual kinship, their genial optimism and indulgence. The author’s parallel centres on their poetry, their shared indebtedness to the Bible, which they both read in the Latin Vulgate, and to Boethius’ Consolation of Philosophy. More’s English poems abound in verbal echoes of Chaucer, which give his rhymes an archaic flavour. The extended Spanish quotation constitutes a careful diptych attentive to character as well as to literary matter and manner.
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Stolyarova, Anastasiya G. "Evolution of Middle English Alliterative Phrases in 15th-Century Scottish Poetry: New Forms and Functions." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 5 (October 10, 2020): 89–97. http://dx.doi.org/10.37482/2227-6564-v052.
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Alliterative phrases, along with traditional poetic words and substantivized epithets, are considered to be a typical feature of the diction of alliterative revival in England and Scotland, a special marker of this tradition. Formulaic alliterative phrases are quite a different phenomenon than traditional oral poetic formulas; their formulaic character is expressed in potential variation of their elements provided that the semantics and the alliteration scheme are preserved, which allows poets to create individual author variants on the basis of traditional phrases. The paper discusses the use of formulaic alliterative phrases as illustrated by two alliterative Scottish poems that were written nearly at the same time (second half of the 15th century) and belong to the same tradition, but to different genres: the romance Golagros and Gawain and the allegorical poem The Buke of the Howlat. Golagros and Gawain is a poem composed in the decline of the genre of romance, which glorifies the virtues of chivalry and the heroic world becoming a thing of the past. A characteristic feature of the poem is the extensive use of variation between the elements of set phrases typical of the tradition of alliterative revival. A large number of alliterative phrases in Golagros and Gawain are individual author variants describing an ideal chivalric hero. In The Buke of the Howlat, on the contrary, most phrases are fixed and stereotyped. The author of this poem prefers to exploit formulas as a satiric device, putting typical phrases in an unusual context and thus altering their meaning.
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Frantzen, Allen J. "John Niles, Old English Heroic Poems and the Social Life of TextsOld English Heroic Poems and the Social Life of Texts. John Niles . Studies in the Early Middle Ages 20. Turnhout: Brepols, 2007. Pp. xiv+372." Modern Philology 108, no. 3 (February 2011): E145—E147. http://dx.doi.org/10.1086/657986.
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Griffith, Mark. "GEOFFREY RUSSOM. The Evolution of Verse Structure in Old and Middle English Poetry from the Earliest Alliterative Poems to Iambic Pentameter." Review of English Studies 69, no. 289 (September 1, 2017): 368–70. http://dx.doi.org/10.1093/res/hgx098.
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Cornelius, Ian. "The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter by Geoffrey Russom." Arthuriana 29, no. 4 (2019): 82–85. http://dx.doi.org/10.1353/art.2019.0047.
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Kaup, Judith. "Julia Boffey and Christiania Whitehead (eds.). 2018. Middle English Lyrics: New Readings of Short Poems. Cambridge: Brewer, xviii + 310 pp., 8 illustr., £ 60.00." Anglia 138, no. 1 (March 4, 2020): 178–82. http://dx.doi.org/10.1515/ang-2020-0011.
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Haft, Adele J. "Earle Birney’s “Mappemounde”: Visualizing Poetry With Maps." Cartographic Perspectives, no. 43 (September 1, 2002): 4–24. http://dx.doi.org/10.14714/cp43.534.
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This paper is about “Mappemounde,” a beautiful but difficult poem composed in 1945 by the esteemed Canadian poet Earle Birney. While exploring the reasons for its composition, we examine the poem’s debts to Old and Middle English poetry as well as to medieval world maps known as mappaemundi, especially those made in England prior to 1400. But Birney took only so much from these maps. In search of more elusive inspirations, both cartographic and otherwise, we uncover other sources: Anglo-Saxon poems never before associated with “Mappemounde,” maps from the Age of Discovery and beyond, concealed details of Birney’s personal life. Then we trace Birney’s long-standing interest in geography and exploration to show how he used maps, especially mappaemundi, as visual metaphors for his intellectual, spiritual, and personal life.
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Pittman, Josh. "The Most Important Virtue?" Renascence 71, no. 1 (2019): 57–75. http://dx.doi.org/10.5840/renascence20197114.
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The narrator of the Middle English Cleanness states that God punishes sexual sin more harshly than any other sin. This essay argues that the rest of the BL Cotton Nero A.x manuscript continues to develop the virtue of temperance, which governs sexual behavior, as a central theme. Pearl uses temperance to bring home the dreamer’s sin and God’s justice, while Patience and SGGK employ the interrelation between temperance and fortitude in ways that make temperance foundational. Interrogating the interdependence of the virtues allows the poet to challenge the traditional hierarchy of virtues, in which temperance is the lowest, thus making the case that temperance is paradoxically foundational to other virtues, like justice and fortitude. In this way, the poems not only make a case for the value of temperance, but they also expose ambiguities in orthodox accounts of the virtues.
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Furrow, Melissa. "Dalhousie University." Florilegium 20, no. 1 (January 2003): 125–27. http://dx.doi.org/10.3138/flor.20.038.
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There are only a handful of scholars who have their primary appointments in Dalhousie departments and a primary interest in medieval fields. In French, we have Hans Runte, best known among medievalists for his work on the Seven Sages of Rome, but his more recent publications have been in the field of Acadian letters. In English, we have Hubert Morgan, who works in Middle English, Old Norse, and Old English (romance, saga, and epic are particular interests), and Melissa Furrow, who has finally completed a long labour on reception of romances in medieval England (Expectations of Romance: Drasty Rymyng or Noble Tales, currently under review) and is now returning to an earlier editorial project (Ten Fifteenth-Century Comic Poems) to revise for a new edition with TEAMS. In History, we have Cynthia Neville, well known personally to members of CSM for her extensive work 011 the national and international scene on prize, review, and adjudication committees, and more broadly known through her scholarship on late medieval English legal history and on Scottish social, political, and cultural history. She is the author of Violence, Custom, and Law: The Anglo-Scottish Border Lands in the Later Middle Ages (Edinburgh UP, 1998) and the forthcoming Native Lordship in Anglo-Norman Scotland: The Earldoms of Stratheam and Lennox, 1170-1350 (Four Courts Press). A recent and exciting addition is Jennifer Bain in Music, a music theorist who works on Hildegard of Bingen, and on fourteenth-century music. This tiny number and the clearcut disciplinary boundaries proclaimed by departmental organisation might suggest that medieval study at Dalhousie has fallen off steeply from the days when we had a formally recognised honours degree in Medieval Studies and a bigger pool of faculty. It is true, a bigger pool would be helpful, and the priority within English for the next appointment is for a medievalist. But in various ways medieval studies at Dalhousie does better than it looks as if it should.
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Yujie, Li, and Wang Feng. "On the English Translation of Li Qingzhao’s Ci-poems--A Contrastive Study on the Translations of the Ci-Poem “To the Tune of Tipsy in Flower Shade”." English Literature and Language Review, no. 55 (May 15, 2019): 64–70. http://dx.doi.org/10.32861/ellr.55.64.70.
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Li Qingzhao (1084-ca. 1155?) is widely lauded as the most celebrated and talented woman poet in the history of classical Chinese literature. This study, with the theoretical guidance of Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria”, focuses on a comparative analysis of the collected renditions of the ci-poem “to the tune of Tipsy in Flower Shade” at the macro, middle and micro levels, to further promote the translation and communication of classical Chinese literature. This study aims to exert far-reaching influences on the process of Chinese literature going global, which has unprecedented contemporary significance.
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FEIN, SUSANNA. "Three alternative saints' hymns. Late Middle English stanzaic poems. Edited by Ruth Kennedy. (Early English Text Society, o.s. 321, 2003.) Pp. cix+120 +frontispiece and 1 plate. Oxford: Oxford University Press (for the Early English Text Society), 2003. £40. 0 19 722324 9." Journal of Ecclesiastical History 57, no. 1 (January 2006): 148. http://dx.doi.org/10.1017/s0022046905816215.
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Rushton, Cory. "Readings in Medieval texts: Interpreting Old and Middle English Literature, ed. David Johnson and Elaine Treharne (2005); J. J. Anderson, Language and Imagination in the Gawain-poems (2005)." Nottingham Medieval Studies 50 (January 2006): 212–14. http://dx.doi.org/10.1484/j.nms.3.403.
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Haley, Gabriel. "Julia Boffey and Christiania Whitehead, eds., Middle English Lyrics: New Readings of Short Poems. Cambridge, UK: D. S. Brewer, 2018. Pp. xvii, 310; 8 black-and-white figures. $99. ISBN: 978-1-84384-497-6.Table of contents available online at https://boydellandbrewer.com/middle-english-lyrics-hb.html." Speculum 95, no. 1 (January 2020): 201–3. http://dx.doi.org/10.1086/706558.
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O'Neill, Patrick P. "On the date, provenance and relationship of the ‘Solomon and Saturn’ dialogues." Anglo-Saxon England 26 (December 1997): 139–68. http://dx.doi.org/10.1017/s0263675100002143.
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Although recently the object of renewed scholarly interest, the ‘Solomon and Saturn’ dialogues remain among the most enigmatic of Old English works. To some extent the problem resides in their strange subject-matter and hyperbolic style, exemplified by grotesque personifications of the letters of thePater noster, endless enumerations of its extraordinary attributes, and the esoteric, Middle-Eastern background attributed to the speakers Solomon and Saturn. But hardly less daunting are the textual difficulties posed by the primary surviving manuscript, and the manner in which modern editors have handled them. Cambridge, Corpus Christi College 422 is composite, the first two quires of which (pp. 1–26), dating from the mid-tenth century, contain the Old English. Within these two quires the sequence of texts is as follows: a poetic dialogue of 169 lines on thePater noster(pp. 1–6); followed without a break by a prose dialogue on the same subject, ending abruptly at the end of p. 12 (coinciding with the loss of a leaf); and another poetic dialogue of 335 lines on various aspects of time, nature, good and evil, also ending abruptly, at the end of p. 26. Yet in the editions of Menner and Dobbie the arrangement of texts is altogether different: the prose section is removed and labelled a separate work; and the verse is divided into two discrete poems. The effect, almost inevitably, has been to create a perception of three independent, even unrelated, works.
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Hardie, Rebecca A. "Craig Williamson (trans.). With an introduction by Tom Shippey. The Complete Old English Poems. The Middle Ages Series. Philadelphia, PA: University of Pennsylvania Press, 2017, lvii + 1189 pp., $ 59.95/£ 52.00." Anglia 136, no. 1 (March 8, 2018): 200–204. http://dx.doi.org/10.1515/ang-2018-0002.
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Jeep, John M. "Stabreimende Wortpaare in den früheren Werken Hartmanns von Aue: Erec, Klage, Minnesang." Yearbook of Phraseology 7, no. 1 (October 1, 2016): 55–80. http://dx.doi.org/10.1515/phras-2016-0004.
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Abstract Building upon recent phraseological studies on Old High and Middle High German texts, the alliterating word pairs in the early works of Hartmann von Aue are catalogued and analyzed philologically, thus contributing to an emerging complete listing of the paired rhetorical expressions through the Early Middle High German period. The first extant courtly Arthurian romance, Hartmann's Erec, a shorter piece of his known as Diu Klage, and a handful of poems he composed are by all indications from the last decade of the twelfth century, despite later manuscript transmission. Each pair is listed, described in the context in which it appears, and compared with any extant pairs from earlier German works. What emerge are insights into the evolution of these expressions, in some cases through centuries. On the one hand, Hartmann employs alliterating expressions that date to the Old High German period, while on the other hand apparently creating new ones. As in findings in earlier texts, pairs recorded on multiple occasions are likely to have been used by other authors. Typical for medieval German texts – when compared to similar modern expressions – is the insight that there is a fair amount of variation concerning the sequence of the alliterating elements and/or the inclusion of morpho-syntactic modifiers such as pronouns, possessives, adjectives, or adverbs. Modern translations of Hartmann's works into German and English show just how varied these phrases can appear in translation. When known, later examples of the alliterating word-pairs are cited, albeit for obvious reasons only in an incomplete fashion. The long-term project is designed to continue to chart the emergence of the early German alliterating word-pairs chronologically.
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Robertshaw, Alan. "Albrecht Classen, The Poems of Oswald von Wolkenstein: An English Translation of the Complete Works (1376/77–1445). (New Middle Ages.) New York: Palgrave MacMillan, 2008. Pp. xii, 254. $105. ISBN: 9780230609853." Speculum 88, no. 2 (April 2013): 503–5. http://dx.doi.org/10.1017/s0038713413001450.
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Horgan, Alison. "Miscellaneous Spaces of Enlightenment: Dodsley, Percy, and the Midcentury Verse Miscellany." Eighteenth-Century Life 45, no. 3 (September 1, 2021): 197–212. http://dx.doi.org/10.1215/00982601-9273048.
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Using current scholarship on verse miscellanies to contextualize a comparison of Robert Dodsley's Collection of Poems by Several Hands (1748) and Thomas Percy's Reliques of Ancient English Poetry (1765), this article considers how the verse miscellany was used to different purposes by editors in the middle decades of the eighteenth century. It was, variously, a space in which to preserve poetry, to test readers’ appetites for the unfamiliar, and to establish or challenge poetic taste. Most of all, however, the verse miscellany functioned as a virtual space of the Enlightenment that encouraged literary experimentation and innovation. Editors like Dodsley and Percy used paratext not only to justify their specific poetic choices, but also to establish identity of their collection. In Dodsley's case, obvious editorial interventions are absent and the typography is elegant, while for Percy, the paratext is busy and noisy, an alternative space in the miscellany through which the collection's antiquarian character is expressed. Both collections test their reader's willingness to engage with less well-known material. This article suggests that although the two poetic collections seem to have little in common, they are both concerned with ideas of literary preservation and loss, on the one hand, and cultural progress and decline, on the other, that helped to establish the poetic miscellany as a key print genre of the Enlightenment.
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Beal, Jane. "Ethan Campbell, The Gawain-Poet and Fourteenth-Century English Anti-Clerical Tradition. Research in Medieval and Early Modern Culture. Kalamazoo, MI: Medieval Institute Publications / Western Michigan University, 2018, pp. 238." Mediaevistik 31, no. 1 (January 1, 2018): 427–29. http://dx.doi.org/10.3726/med012018_427.
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In the past four years, there has been a flurry of valuable new work on the poems of the Gawain-poet (also known as the Pearl-poet), which includes new editions, translations, monographs, pedagogical studies, and online resources. Among the editions and translations are Malcolm Andrew and Ronald Waldron’s excellent facsimile edition and translation of Cotton Nero A.x (Folio Society, 2016), Simon Armitage’s verse translations of Sir Gawain and the Green Knight and Pearl (W.W. Norton, 2008 and 2016 respectively) and, I allow myself to mention, my own dual-language edition-translation of Pearl with supplementary materials for collegiate teaching (Broadview, forthcoming). Academic monographs include Piotyr Spyra’s Epistemological Perspective of the Pearl-Poet (Ashgate, 2014), Cecelia Hatt’s God and the Gawain-Poet: Theology and Genre (Boydell & Brewer, 2015), my Signifying Power of Pearl: Medieval Literary and Cultural Contexts for the Transformation of Genre (Routledge, 2017), and Lisa Horton’s Scientific Rhetoric of the Pearl-Poet (Arc Humanities Press, forthcoming). Editors Mark Bradshaw Busbee and I have published Approaches to Teaching the Middle English Pearl (MLA, 2017), which contains insightful pedagogical essays from several professors. The journal Glossator provides a complete commentary on each section of Pearl, available online (<ext-link ext-link-type="uri" xlink:href="https://glossator.org/2015/03/30/glossator-9-2015-pearl">https://glossator.org/2015/03/30/glossator-9-2015-pearl</ext-link>/), and additional resources are available at “Medieval Pearl” (<ext-link ext-link-type="uri" xlink:href="https://medievalpearl.wordpress.com">https://medievalpearl.wordpress.com</ext-link>). Now Ethan Campbell’s The Gawain-Poet and the Fourteenth-Century English Anticlerical Tradition joins the ranks, making a meaningful contribution to our understanding of the poet in his cultural milieu.
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Biswas, Sankar. "NAGA IDENTITY POETICS IN CONTEMPORARY NAGA ENGLISH LITERATURE (A KALEIDOSCOPIC VIEW)." International Journal of Research -GRANTHAALAYAH 8, no. 11 (November 22, 2020): 35–40. http://dx.doi.org/10.29121/granthaalayah.v8.i11.2020.2076.
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The Nagas originally a Sino-Mongoloid tribe are substantiated to have originated around 10th century B.C. in the plains between Huang Ho and Yangtze Ho in North Central China. As migration is a process which is reported to have been going on since time immemorial, the Nagas too could not have isolated themselves from being a part of the mass odyssey from their homeland with the anticipation of exploring and settling in naturally upgraded habitats. Hence today, the Nagas have been found to inhabit the banks of Chindwin and Irawaddy Rivers in Myanmar, and Nagaland in India. As far as their language is concerned, it is said to be an affiliate of the greater branch of Sino-Tibetan besides sharing certain similarities with Tibeto-Burman languages. As for the etymology of the word Naga is concerned, it is said to have been derived from either of the Sanskrit word namely Nagna or Nag with respective meanings ‘naked’ or ‘mountain. Frankly speaking both the etymons in question validate the universally recognized conception of Naga identity. Nagaland itself is dotted with multiple number of hills and a faction of people among all the Naga Tribes are said to have been still embracing primitivism. But what is most conspicuous about the Nagas is that though today we know Nagaland as a self-Governing state, the fact can never be contradicted that Nagas have never considered themselves part of India despite the state being taken over by India in 1952. Right from their partially being colonized by the British in the middle of the 19th century, to their strict resistance to both the British-Indian Government and then to the post-Independence Indian Government, the Nagas have shown that their assimilation to Indian mainstream is a daunting and cumbersome exercise. The origin of the Naga National Council, preceded by the armed resistance movement of Rani Gyindulu and that of the genesis of National Socialist Council of Nagaland simply bespeak that this prospect of wholesale assimilation into Indian Sense of Nationality will await the elapse of an elongated stretch of historical time. This very aspect has been enjoying international attention and the literary activists of Nagaland such as Dr Temsula Ao and Dr Easterine Kire have contributed a lot through their literary output in harnessing this aspect, throwing new critical insights into the same. This avouched denial cum resistance to be assimilated into the greater Indian National Fabric is one of the many facets of Naga Identity which also encompasses other cultural traits such as patriarchal ideology, Naga Heraka Practices, Animism, Mythogenesis and Head-Hunting Practices.
Objective of this write-up: This write-up endeavours its best to foreground the very traits of Naga Identity Poetics by taking into consideration selective but relevant literary fabrications, the brainchilds of one of the two internationally recognized Naga Writers, Dr Easterine Kire with the other being Dr Temsula Ao.
Methodology: This write-up is built upon the selective reading of the summary of the novels and poems of both the writers with selective perusal of secondary anecdotage in the form of critical essays, the Naga History of Independence and Naga Anthropology.
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Sullivan, J. P. "Martial." Ramus 16, no. 1-2 (1987): 177–91. http://dx.doi.org/10.1017/s0048671x00003301.
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Martial presents a critical problem. On the one hand, there was his undeniable popularity and literary influence on European literature from the Renaissance to at least the end of the seventeenth century. On the other hand, there is the obvious embarrassment he presents to modern literary historians.The two viewpoints are easily contrasted. Pliny the Younger in the famous letter written about 102 had expressed doubts about Martial's literary survival, but gave him generous credit for his talent, sharp wit, candour, and mordancy. (Erat homo ingeniosus acutus acer, et qui plurimum inscribendo et satis haberet etfellis, nec candoris minus, Ep. 3.21.1.) Nevertheless Martial's work survived the wreck of late Antiquity and the Middle Ages handsomely, and with the Renaissance, he came into his own as a poet. Angelo Poliziano described him as ingeniosissimus, ‘very talented’, and argutissimus, ‘clever’ (Miscellan. 6); such judgements were echoed by Jovianus Pontanus (De sermone 3.18) and Julius Caesar Scaliger, who claimed that many of his epigrams were divina, praising their sermonis castitas, ‘purity of speech’ (Poet. 3.126). Festivissimus, ‘most witty’, and lepidissimus, ‘charming’, were the adjectives used by Adrianus Turnebus (Advers. 8.4; 13.19). Only a few critics, such as the censorious Andrea Navigero and Raffaele Maffei (Volaterranus), objected to him on moral grounds. His reception among English poets was equally enthusiastic. Sir John Harington stated firmly ‘that of all poems, the Epigram is the pleasantest, and of all that write epigram, Martial is counted the wittiest.’
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Liuzza, R. M. "Craig Williamson, trans., The Complete Old English Poems, with an introduction by Tom Shippey. (The Middle Ages Series.) Philadelphia: University of Pennsylvania Press, 2017. Pp. lv, 1188. $59.95. ISBN 978-0-8122-4847-0." Speculum 93, no. 4 (October 2018): 1271–73. http://dx.doi.org/10.1086/699772.
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Kugler, Anne. "Constructing Wifely Identity: Prescription and Practice in the Life of Lady Sarah Cowper." Journal of British Studies 40, no. 3 (July 2001): 291–323. http://dx.doi.org/10.1086/386245.
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July 25, 1700. My Custom hath been of late, to be in Bed from Nine to Six, the other 15 Hours I am 12 at least, alone. When I arose this Morn: I mett with a snare laid for me by an Instrument of the Enemy of Souls. … Since it is not possible for me to redress these Domestick greivances, I wou'd notice them to no other purpose, but to find by what means to sustain and bear them well. What if I try this expedient? Never to speak any thing but what is necessary to be said for some Use or End. that so my Mind may be kept more Close to the One thing Needfull, from which these vexations too much Distract it.So began Lady Sarah Cowper's sixteen-year enterprise in self-justification. Between 1670 and 1700 this English gentlewoman had already filled a dozen commonplace books with extracts from poems, sermons, scripture, and essays, consciously searching for an emotional and intellectual outlet. But in July of 1700 with the added impetus of family scandal alongside long-term marital friction and financial instability, Lady Sarah started keeping a diary in which she reacted to her position—initially middle-aged and unhappily married, then elderly and widowed—and to events in her world. When she finally stopped writing because of ill health in September 1716, her daily entries totaled roughly 2,300 pages in seven volumes. This remarkable diary offers a specific link between the ideologies that institutions and authorities were concerned to promulgate and the outlook of the individual.
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Hartman, Megan E. "The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter. Geoffrey Russom. Cambridge Studies in Medieval Literature 98. Cambridge: Cambridge University Press, 2017. xii + 324 pp. $99.99." Renaissance Quarterly 71, no. 3 (2018): 1211–12. http://dx.doi.org/10.1086/700539.
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Feulner, Anna Helene. "Geoffrey Russom. 2017. The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter. Cambridge Studies in Medieval Literature 98. Cambridge: Cambridge University Press, xi + 319 pp., 42 tables, £ 67.99." Anglia 138, no. 4 (November 11, 2020): 699–705. http://dx.doi.org/10.1515/ang-2020-0054.
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McNamer, Sarah. "The Literariness of Literature and the History of Emotion." Publications of the Modern Language Association of America 130, no. 5 (October 2015): 1433–42. http://dx.doi.org/10.1632/pmla.2015.130.5.1433.
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The middle english pearl is one of the most moving and beautiful poems ever composed. occasioned, it seems, by the death of a two-year-old daughter, whose identity has never been determined, it casts the grieving narrator-father as one who has treasured the child as a jewel beyond compare. She was round and smooth, rare and radiant—a precious pearl fit for a prince. Yet this dear small thing just slipped away one day in the garden, tumbling down through the grass into the dark earth:Perle, plesaunte to prynces payeTo clanly clos in golde so clere,Oute of oryent, I hardyly saye,Ne proved I never her precious pere.So rounde, so reken in uche arayeSo smal, so smothe her sydes were,Quere-so-ever I jugged gemmes gaye,I sette hyr sengeley in synglere.Allas! I leste hyr in on erbere;Thurgh gresse to grounde hit fro me yot.I dewyne, fordolked of luf-daungereOf that pryvy perle wythouten spot. (lines 1-12)Pearl, pleasing and delightful for a prince to enclose in fine gold: of all those from the orient, I declare that I never knew one as precious. So round, so radiant in every setting; so small, so smooth her sides were; wherever I judged beautiful gems, I appraised her as singularly rare. Alas! I lost her in a garden; through grass to ground it sped from me. I mourn, overcome with love-longing for my own precious, spotless pearl.As this opening stanza reveals, Pearl relies on the polyvalence and sensuous power of poetic language for its affective effects, gathering associative resonance through shifting meanings, working through indirection and allusiveness, tapping into the sensory power of visual and tactile images and patterned sound, and leaving much unsaid, to be grasped and felt between the lines. But the poem's broad emotional arc is clear. It scripts a therapeutic narrative of affective experience, taking its reader, whom it enfolds within the textual “I” of the poem, from “woe” to “weal” (56, 1187).
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Myklebust, Nicholas. "Geoffrey Russom, The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter. (Cambridge Studies in Medieval Literature 98.) Cambridge: Cambridge University Press, 2017. Pp. xi, 316; many tables. $99.99. ISBN: 978-1-1071-4833-8." Speculum 95, no. 3 (July 1, 2020): 895–97. http://dx.doi.org/10.1086/709487.
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.
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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Grane, Leif. "Grundtvigs forhold til Luther og den lutherske tradition." Grundtvig-Studier 49, no. 1 (January 1, 1998): 21–41. http://dx.doi.org/10.7146/grs.v49i1.16265.
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Grundtvig's Relations with Luther and the Lutheran TraditionBy Leif GraneGrundtvig’s relations with Luther and the Lutheran tradition are essential in nearly the whole of Grundtvig’s lifetime. The key position that he attributed to Luther in connection with his religious crisis 1810-11, remained with the Reformer until the very last, though there were changes on the way in his evaluation of the Reformation.The source material is overwhelming. It comprises all Grundtvig’s historical and church historical works, but also a large number of his theological writings, besides a number of his poems and hymns. Prior to Grundtvig’s lifelong occupation with Luther there had been a rejection of tradition as he had met with it in the Conservative supranaturalism. After the Romantic awakening at Egeløkke and the subsequent »Asarus« (the- ecstatic immersion in Nordic mythology), over the religious crisis 1810-1811, when Grundtvig thought he was »returning« to Luther, it was a different Luther from the one he had left a few years before. Though Grundtvig emphasizes the infallibility of the Bible, it is wrong to describe him as »Lutheran-Orthodox« in the traditional sense. In Grundtvig’s interpretation, Luther is above all the guarantee of the view of history he had acquired in his Romantic period, but given his own personal stamp, as it appeared in slightly different ways in the World Chronicles of 1812 and 1817. There already he turns against the theologization of the message of the Reformation that set in with the confessional writings. Ever since he maintained the view of the Reformation that he expounds in the two World Chronicles, though the evaluation of it changed somewhat, especially after 1825.The church view that Grundtvig presented for the first time in »Kirkens Gienmæle« (The Rejoinder of the Church), and which he explained in detail in »Om den sande Christendom« (About True Christianity) and »Om Christendommens Sandhed« (About the Truth of Christianity), was bound to lead to a conflict (as it did) with the Protestant »Scripturalism«, and thus to clarity about the disagreement with Luther. This conflict attained a greater degree of precision with the distinctions between church and state, and church and school, as they were presented in »Skal den lutherske Reformation virkelig fortsættes?« (Should the Lutheran Reformation Really Be Continued? 1830), but it was not really until the publication of the third part of »Haandbog I Verdens-Historien« (Handbook in World History) that the view of church history and of Luther’s place in it, inspired by the congregational letters in the Apocalypse, was presented, in order to be more closely developed, partly in poetical form in »Christenhedens Syvstjeme« (The Seven Star of Christendom), partly in lectures in »Kirke-Spejl« (Church Mirror).Grundtvig had to reject orthodoxy since the genuineness of Baptism and Eucharist depended on their originating from Christ Himself. Nothing of universal validity could therefore have come into existence in the 16th century.Thus the evaluation of Luther and Lutheranism must depend on how far Lutheranism corresponded to what all Christians have in common. Luther is praised for the discovery that only the Word and the Spirit must reign in the church. It is understandable therefore that Luther had to break down the false idea of the church that had prevailed since Cyprian, and Grundtvig remained unswervingly loyal to him. But he cannot avoid the question why Luther’s work crumbled after his death. The answer is that it crumbled because of »Scripturalism« which Grundtvig considers a spurious inheritance from Alexandrian theology. We must maintain Luther’s faith which centres on all that is fundamentally Christian, but not his theological method.Grundtvig believes that with his criticism of Luther he is really closer to him than those who are cringing admirers of him. Grundtvig confesses himself to having committed the mistake of confusing the Bible with Christianity, and he cannot exempt Luther from a great responsibility for this aberration. All the same, in Luther’s case the wrong Yet Luther was induced to want to make his own experiences universally valid since he did not understand that his own use of the Scriptures could not possibly be right for every man. Here Grundtvig is on the track of the individualism which to him is an inevitable consequence of Scripturalism: everybody reads as he knows best. It was not in school, but in church that he saw Luther’s great and imperishable achievement.So while Grundtvig cannot exempt Luther from some responsibility for an unfortunate development in the relation between church and school, he is very anxious to exempt him from any responsibility for the assumption of power in the church by the princes, which is due, in his opinion, to a conspiracy between the princes and the theologians with a view to tying the peoples to the symbolical books.In the development of Grundtvig’s view of church history it turns out that the interest in the national, cultural and civic significance of the Reformation has not decreased after he has given up fighting for a Christian culture. The Reformation must, as must church history on the whole, be seen in the context of the histories of the peoples. Therefore, if it is not to be pure witchcraft, it must have its foundation deep in the Middle Ages.Grundtvig points to what he calls »the new Christendom«: from the English and the Germans to the North. Viewed in that light, the Reformation is a struggle for a Christian life, a folkelig life of the people, and enlightenment.Though the 17th century wrenched all life out of what was bom in the 16th, and the 18th century abandoned both Christianity and folkelig life altogether, it was of great significance for culture and enlightenment that the people was made familiar with Luther’s catechism, Bible and hymn book. What was fundamentally Christian survived, while folkelig life lay dormant.The Reformation was unfinished, and its completion must wait until the end of time. But compulsion is approaching the end, and the force of the Reformation in relation to mother tongue and folkelig life manifests itself more strongly than ever before, Gmndtvig believes. What is fundamentally Christian in Luther must be maintained and carried onwards, while the Christian enlightenment, i.e. theology, depends on the time in question.Life is the same, but the light is historically determined. With this concept of freedom, which distinguishes between the faith in Christ as permanent and the freedom of the Holy Ghost that liberates us from being tied to the theology of the old, Gmndtvig may convincingly claim that it is he who – with his criticism - is loyal to Luther, i.e. to »the most excellent Father in Christ since the days of the Apostles«.
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"Gender and Religion in Kamala Das’ Poetry." International Journal of Recent Technology and Engineering 8, no. 5 (January 30, 2020): 5699–702. http://dx.doi.org/10.35940/ijrte.b6831.018520.
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Kamala Das was one the illustrious poets in the history of Indian English literature. She represented a typical middle class Indian woman’s dual conflict of ideas through the portrayal of her own persona with the backdrop of Indian life and culture in her versatile poetry. Kamala Das was a champion of woman’s secret longings, aspirations and desires. Her poems are full of her personal feelings as a woman and the realization of own self. The present paper focuses on the voice she lends for every woman agonized in marriage and the reawakening of her soul, which she submits to God.