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Academic literature on the topic 'Rawa Hymns'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Rawa Hymns"

1

Dr. Kaustav Chakraborty, Dr Kaustav Chakraborty. "Environment and Gender Concerns in Selected Rava Hymns." IOSR Journal of Humanities and Social Science 10, no. 3 (2013): 20–21. http://dx.doi.org/10.9790/0837-01032021.

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Kitchen, K. A. "A West Semitic title on an Egyptian stela in Rio de Janeiro." Journal of Egyptian Archaeology 73, no. 1 (August 1987): 218–20. http://dx.doi.org/10.1177/030751338707300124.

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A preliminary publication is given of the stela Cat. 2442 of the National Museum at Rio de Janeiro, which features a couple, Raia and Maia, of about the Nineteenth Dynasty, worshipping Osiris with a short hymn. Raia's only title is q-d̲-n (in group-writing), otherwise unknown in Egyptian (and different from kd̲n/kt̲n, ‘charioteer’). This word is probably a loan from West Semitic qṣ, ‘commander/leader/boss’; perhaps Raia had been so termed by foreigners in his charge.
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Majhut, Berislav. "Žanrovska struktura hrvatske dječje književnosti u desetljeću nakon drugoga svjetskog rata." Magistra Iadertina 14, no. 2 (November 16, 2020): 51–74. http://dx.doi.org/10.15291/magistra.3146.

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Croatian children’s literature belonging to the decade after the year of 1945 is insufficiently researched within the Yugoslav context, and is often implicitly attributed genre definitions (namely, it is part of the Lovrak era which, according to Milan Crnković, lasts from 1933 to 1956) such as the dominance of prose, which does not correspond to the state of affairs. It was a unique historical situation in which the literary tradition was radically rejected, where one vigorously sought out new children’s literature, which had to serve the creation of a new child while still in vogue; for a child in which the seed of the future new socialist man had to be laid, the idea was to seek expression in a song, vigor, drive. Only with insight into the genre structure dominated by poetry (and above all the poem as a narrative type along with short hymn poems) and research into the causes of such a situation in literature will shed light on the deep connection between the structure of children’s literature, as well as the social and historical context of it. It is shown that very soon the revolutionary enthusiasm had slid into crafts and part-time earnings, ultimately having taken on such proportions that the phenomenon had to be regulated by law.
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4

Herianah, Herianah. "REPRESENTASI NILAI BUDAYA HIMNE PASOMBA TEDONG: SEBUAH CERMIN KEARIFAN LOKAL MASYARAKAT TORAJA (Representation of Cultural Values of Hymns Pasomba Tedong: A Reflection of Local Wisdom of Toraja Society)." METASASTRA: Jurnal Penelitian Sastra 5, no. 1 (March 14, 2016): 21. http://dx.doi.org/10.26610/metasastra.2012.v5i1.21-34.

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Penelitian ini bertujuan untuk mengetahui nilai-nilai budaya dalam himne Pasomba Tedong. Himne Pasomba Tedong adalah pengiring upacara yang diucapkan pada upacara syukuran tertinggi dalam kehidupan orang Toraja, yaitu pada upacara maqbuaq dan meruaq yang diperuntukkan kepada Puang Matua, ilah-ilah, dan dewata. Tujuan upacara ini adalah untuk memohon kesuburan tanah dan memudahkan interaksi sosial masyarakat dengan mengorbankan seekor kerbau muda hitam dan gemuk. Himne Pasomba Tedong disajikan dalam bentuk prosa lirik. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif, yaitu penelitian yang menggambarkan objeknya secara apa adanya. Data dalam penelitian ini dikumpulkan dengan menggunakan teknik inventarisasi, baca simak, pencatatan, teknik observasi partisipasi, dan wawancara. Hasil penelitian menunjukkan bahwa nilai-nilai yang ditemukan dalam himne Pasomba Tedong adalah nilai religi, nilai persatuan, nilai musyawarah mufakat, nilai etis, dan nilai tenggang rasa/saling menghormati.Abstract:This research is aimed at knowing cultural values in the hymn of Pasomba Tedong. Pasomba Tedong hymn is an accompanist ceremony pronounced at thanksgiving ceremony in Toraja’s life by performing Maqbuaq and Meruaq ceremony for Puang Matua and God. The purpose of the ceremony is to invoke fertility of the soil and facilitate social interaction with the community to sacrifice a fat black bull. Passomba Tedong is presented in prose lyrics. This re- search applies the qualitative descriptive method that describes the object as it is. The data were collected by using inventory techniques, reading, recording, observation, and interview. The result shows that the values in Pasomba Tedong are religious value, unity value, consensus agreement value, ethical value, and tolerance or mutual respect value.
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Meiarni, Ita. "TINDAK TUTUR ILOKUSI DALAM UPACARA ADAT PERKAWINAN MASYARAKAT MUNA SULAWESI TENGGARA (Studi Penelitian Etnografi Komunikasi)." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 16, no. 1 (February 13, 2017): 28–38. http://dx.doi.org/10.21009/bahtera.161.003.

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AbstrakPenelitian ini bertujuan untuk memperoleh pemahaman yang mendalam tentang tindak tutur ilokusi dalam upacara adat perkawinan masyarakat Muna di Desa Wali, Kecamatan Watopute, Kabupaten Muna, Sulawesi Tenggara. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan kualitatif dengan metode etnografi komunikasi berdasarkan teori Hymes. Data penelitian ini adalah tuturan dalam bahasa Muna yang terjadi dalam prosesi upacara adat perkawinan masyarakat Muna yang mencakup data tindak tutur ilokusi representatif, direktif, komisif, ekspresif, dan deklaratif. Hasil dalam penelitian ini menunjukkan bahwa dalam upacara adat perkawinan masyarakat Muna ditemukan data tindak tutur ilokusi representatif berupa tindak tutur ilokusi representatif menyatakan, melaporkan, dan mengklaim. Data tindak tutur ilokusi direktif berupa tindak tutur ilokusi direktif perintah, memohon/meminta, berdoa, dan bertanya. Data tindak tutur ilokusi komisif berupa tindak tutur ilokusi komisif berjanji. Data tindak tutur ilokusi ekspresif berupa tindak tutur ilokusi ekspresif meminta maaf, memberi salam, dan menyampaikan rasa hormat. Data tindak tutur ilokusi deklaratif berupa tindak tutur ilokusi deklaratif penamaan dan menikahkan.Kata kunci: tindak tutur, ilokusi, etnografi komunikasiAbstractThe purpose of this research is to discover the deep comprehension about illocutionary speech act in the traditional wedding ceremony in Wali village, Watopute subdistrict, Muna regency, Southeast Sulawesi. The approach of the research is qualitative with ethnography communication methods based on Hymes theory. The data of the research are the speech is Muna language happened in the wedding ceremony. All the data taken included representatives illocutionary speech act, directives, commissives, expressives, and declaratives. The result of the study found in the wedding ceremony that stated, reported, and claimed as the data of representatives illocutionary speech acts; command, begging/asking, praying, and questioning as the data of directives illocutionary speech acts; promising as the data of commissive illocutionary speech acts; apologizing, greeting, and showing respect as the data of expressives illocutionary speech acts; giving a name and marriage as the data of declaratives illocutionary speech acts for found in the wedding ceremony of Muna society.Keywords: speech acts, illocutionary, ethnography communication
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Meiarni, Ita. "TINDAK TUTUR ILOKUSI DALAM UPACARA ADAT PERKAWINAN MASYARAKAT MUNA SULAWESI TENGGARA (Studi Penelitian Etnografi Komunikasi)." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 16, no. 1 Januari (August 25, 2017): 29. http://dx.doi.org/10.21009/bahtera.161.03.

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The purpose of this research is to discover the deep comprehension about illocutionary speech act in the traditional wedding ceremony in Wali village, Watopute subdistrict, Muna regency, Southeast Sulawesi. The approach of the research is qualitative with ethnography communication methods based on Hymes theory. The data of the research are the speech is Muna language happened in the wedding ceremony. All the data taken included representatives illocutionary speech act, directives, commissives, expressives, and declaratives. The result of the study found in the wedding ceremony that stated, reported, and claimed as the data of representatives illocutionary speech acts; command, begging/asking, praying, and questioning as the data of directives illocutionary speech acts; promising as the data of commissive illocutionary speech acts; apologizing, greeting, and showing respect as the data of expressives illocutionary speech acts; giving a name and marriage as the data of declaratives illocutionary speech acts for found in the wedding ceremony of Muna society. Keywords: speech acts, illocutionary, ethnography communication Abstrak Penelitian ini bertujuan untuk memperoleh pemahaman yang mendalam tentang tindak tutur ilokusi dalam upacara adat perkawinan masyarakat Muna di Desa Wali, Kecamatan Watopute, Kabupaten Muna, Sulawesi Tenggara. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan kualitatif dengan metode etnografi komunikasi berdasarkan teori Hymes. Data penelitian ini adalah tuturan dalam bahasa Muna yang terjadi dalam prosesi upacara adat perkawinan masyarakat Muna yang mencakup data tindak tutur ilokusi representatif, direktif, komisif, ekspresif, dan deklaratif. Hasil dalam penelitian ini menunjukkan bahwa dalam upacara adat perkawinan masyarakat Muna ditemukan data tindak tutur ilokusi representatif berupa tindak tutur ilokusi representatif menyatakan, melaporkan, dan mengklaim. Data tindak tutur ilokusi direktif berupa tindak tutur ilokusi direktif perintah, memohon/meminta, berdoa, dan bertanya. Data tindak tutur ilokusi komisif berupa tindak tutur ilokusi komisif berjanji. Data tindak tutur ilokusi ekspresif berupa tindak tutur ilokusi ekspresif meminta maaf, memberi salam, dan menyampaikan rasa hormat. Data tindak tutur ilokusi deklaratif berupa tindak tutur ilokusi deklaratif penamaan dan menikahkan. Kata kunci: tindak tutur, ilokusi, etnografi komunikasi
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7

Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (January 29, 2019): 85. http://dx.doi.org/10.3390/rel10020085.

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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.
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Sorochuk, Ludmyla. "CULTURAL AND EDUCATIONAL MISSION OF MYKHAYLO VERBYTSKY IN THE CONTEXT OF NATION-BUILDING." Almanac of Ukrainian Studies, no. 26 (2020): 77–81. http://dx.doi.org/10.17721/2520-2626/2020.26.11.

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The creative activity of Mykhailo Mykhailovych Verbytsky, as one of the brightest representatives of the national elite of the period of the Ukrainian cultural revival of the XIX century, was traced. The importance of the social-cultural mission of the artist, a priest of the Greek Catholic Church, a public figure, the founder of professional music in Galicia and the founder of the national school of composition in Ukraine was emphasized. A representative of the artistic elite, the famous composer M. Verbytsky was a model of professionalism in music and, very importantly, a bearer of national and cultural ideas. The article raises the question of the significance of the creation of the anthem song "Ukraine is not dead yet": the words of P. Chubynsky, the music of M. Verbytsky. The famous musicial composition, the words and melody of which united more than one generation, united Ukrainians around the world, influenced the formation of identity and awakened national consciousness. Working on the creation of a majestic song, the authors realized that the songs-hymns encode political levers, which reveal the potential for democratic development of the nation and the consolidation of citizens. After Ukraine gained independence, the text of the anthem was approved, with simultaneous editing, and in March 2003, the Verkhovna Rada of Ukraine adopted the Law "On the National Anthem of Ukraine" to the music of V. Verbytsky, P. Chubynsky's words "Ukraine is not dead yet, and Glory, and Will "– is one of the most important state symbols. Emphasis is placed on the fact that M. Verbytsky is the author of music for the National Anthem of Ukraine and his life choice, active social activity and creative work carried out a social-cultural mission. The talented composer, spiritual mentor, patriot M. Verbytsky realized the value of what he was doing, worked selflessly and sacrificially, promoting the position of self-affirmation of Ukrainians as free and self-sufficient people.
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Books on the topic "Rawa Hymns"

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Raga and music in the Sikh holy scriptures. Gurgaon: Shubhi Publications, 2012.

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Grierson, George Abraham, Sir, 1851-1941, ed. The Kashmiri Ramayana: Comprising the Sriramavataracarita and the Lavakusayuddhacarita of Divakara Prakasa Bhatta. Srinagar, Kashmir: Gulshan Books, 2007.

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Yambo buk: Rawa song and worship book. Ukarumpa, EHP, Papua New Guinea: SIL, 2001.

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4

Tulsidas, Goswami. Rama Hymns: Hanuman-Chalisa, Rama-Raksha-Stotra, Bhushumdi-Ramayana, Nama-Ramayana, Rama-Shata-Nama-Stotra, Rama-Ashtakam and other Hymns. only RAMA only, 2018.

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Book chapters on the topic "Rawa Hymns"

1

Stainton, Hamsa. "Devotion as Rasa." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 231–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0007.

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In addition to being an important center for religious innovation and literary production, Kashmir was also the site of major developments in aesthetics from the end of the eighth century onward. After reviewing this history, this chapter considers how Kashmirian poets adopted and adapted language and ideas from aesthetics—particularly the language of rasa—in unusual and creative ways. It focuses on the idea of bhaktirasa, the “taste” or experience of devotion. Notably, many Kashmirian explorations of bhaktirasa occurred long before Gauḍīya Vaiṣṇava authors would make bhaktirasa well known in South Asia. This chapter argues that the Śaiva hymns of Kashmir represent earlier reflections on the aesthetic dimensions of devotion that can contribute to our understanding of the relationship between aesthetics and religion in South Asia.
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"Locke with his sensationalist psychology and his description of the mind as a tabula rasa, or as wax to be moulded and fashioned as one pleased, and Adam Smith with his picture of the competitive individual, ever ambitious, ever striving to better his own condition. So, another way to construe the task is to ask whether there was an ideol-ogy of Enlightenment individualism that underlay the popular practices of an involved evangelical laity in the eighteenth century. The lay followers of Wesley and Whitefield, the motivated laity within the Anglican parishes of evangelical ministers such as Henry Venn or John Newton, the lay members of Moravian communities, and the lay members of Dissenting congregations touched by revival – all of these laypeople were typically active not only in public religious observance but also in hearing and speaking of personal reli-gious experience, hymn-singing, exhorting or even preaching, extemporaneous prayer, and also in private religious practices such as devotional reading, prayer, meditation, fasting and diary-keeping. These practices constituted a culture of lay activism which was new to many evangelical converts. John Pawson wrote that before being introduced to Methodism, ‘Going constantly to church and sacrament included the whole of religion, as far as I knew.’." In The Rise of the Laity in Evangelical Protestantism, 82–83. Routledge, 2003. http://dx.doi.org/10.4324/9780203166505-39.

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