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Journal articles on the topic '"Song of love"'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Conrad, Frederick, Jason Corey, Samantha Goldstein, Joseph Ostrow, and Michael Sadowsky. "Extreme re-listening: Songs people love . . . and continue to love." Psychology of Music 47, no. 2 (2018): 158–72. http://dx.doi.org/10.1177/0305735617751050.

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Despite the lack of surprise each time they listen to their favorite song, people re-listen to these songs many times. We explored “extreme re-listening” by conducting a survey about the song to which participants were “listening most often these days.” We questioned participants about their listening experience, e.g., the deepness of their connection to the song, which aspects of the song draw them back, how much of the song they were able to hear in their heads, and how (in their own words) the song made them feel, which we classified as “happy,” “calm,” and “bittersweet.” More participants

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Nuryanti, Dewi, and Salca Pragita. "The Pacman Song Meaning Interpreted through Semiotics Analysis." International Journal of Cultural and Art Studies 7, no. 2 (2023): 109–25. http://dx.doi.org/10.32734/ijcas.v7i2.12693.

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This study aimed to interpret the meaning of the song lyrics “Pacman” by EAJ. It used the semiotic analysis by Michael Riffaterre. The research was qualitative descriptive research. Data for the research was the lyrics of the Pacman song by EAJ. The research found that the heuristic reading process in the “Pacman” lyrics still discussed each line’s meaning. It was interpreted when a person loved someone and would give anything and did anything even if it ended painfully as long as he/she was together with his/her mate. Then “Pacman and Lover” was analyzed as a model. “Cause my head says no, bu

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Kristiyanto, Nikolas. "“O Love, in (Your) Delights”." Studia Philosophica et Theologica 19, no. 2 (2020): 119–43. http://dx.doi.org/10.35312/spet.v19i2.187.

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The interpretation of the Song of Songs has a long history. The traditional Jewish and early Christian interpreters apply the allegory method to find a “spiritual” meaning. For example, they try to understand the Groom as the Lord and the Bride as Israel. Furthermore, early Christian tradition interprets the Groom as Jesus and the Bride as the Church. Nevertheless, in this article, we try to read the Song of Songs in other perspective by understanding it in the light of Ancient Near East (ANE)’s background. We will focus on the exegesisand general analysis on Song 7:7-10a. This passage is a pa

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Dewi, Dian Candra, Pradnyani Putri Pemayun, and Dinda Maryanti. "REPRESENTASI MAKNA CINTA DALAM LAGU "MAYONAKA NO DOOR/STAY WITH ME" KARYA MIKI MATSUBARA." Jurnal Pendidikan Bahasa Jepang Undiksha 9, no. 3 (2023): 259–65. https://doi.org/10.23887/jpbj.v9i3.34568.

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This research aims to describe the meaning of love in the song "Mayonaka no Door/Stay With Me" by Miki Matsubara and the use of the word “Ai” as a disclosure of love through the semiotic analysis of Roland Barthes. The research methods used are descriptive qualitative methods and analytical methods using Roland Barthes semiotic theory that examine the meaning of denotations, connotations, and myths. The results of a semiotic study of the song "Mayonaka no Door/Stay With Me" by Miki Matsubara is depicted in a woman who loves someone who used to be close to her, her lover. This is evidence in ea

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Safarina, Reny Anindhita, and Yuli Kurniati Werdiningsih. "Kajian Semiotik Kesetiaan Seorang Kekasih dalam Lagu Campursari Banyu Langit Karya Didi Kempot." Kaloka Jurnal Pendidikan Bahasa dan Sastra Daerah 3, no. 1 (2024): 1–8. http://dx.doi.org/10.26877/kaloka.v3i1.10927.

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The purpose of writing this paper is to fulfill lecture assignments and describe one's loyalty in a campursari song with the title Banyu Langit, which was created by Didi Kempot. As a singer, Didi Kempot describes how someone who really misses his lover who never leaves but he still remembers and loves his lover. The method used in this research is descriptive qualitative. The research data is in the form of campursari song lyrics which express a person's loyalty and patience in waiting for his lover. The theory used is a semiotic study which explains the meaning contained in literary works, b

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Lotter, GA, and Rian S. Steyn. "Hooglied: Hedendaagse paradigma vir romantiese verhoudings." Verbum et Ecclesia 27, no. 1 (2006): 70–89. http://dx.doi.org/10.4102/ve.v27i1.143.

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In this article it is argued that the Old Testament book Song of Songs can serve as a present-day paradigm for romantic relationships. Song of Songs is being viewed as a collection of love poems and songs where the romantic relationship between a man and a woman is in the focus. The authors discuss the so called “love triangle” which is to be found in Song of Songs. The challenge for correcting relationships with regards to reciprocity and equility in this relationship is also researched followed by the important (albeit absent in the text itself) acknowledgement of people’s own limitation and

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Kaplan, Jonathan, and Aren M. Wilson-Wright. "How Song of Songs Became a Divine Love Song." Biblical Interpretation 26, no. 3 (2018): 334–51. http://dx.doi.org/10.1163/15685152-00263p03.

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Abstract The origin of the interpretation of Song of Songs as a description of God’s relationship with God’s beloved community has been a persistent question in the work’s history of interpretation. Earlier scholarship has provided a number of possible solutions to this problem, none of them conclusive. This article offers another possible answer: the language and imagery of the Northwest Semitic combat myth in Song 8:6-7, which identifies love with Yhwh as the victorious divine warrior, triggers the work’s interpretation as a divine love song. This argument receives support from some of the e

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Thompson, Earle. "Love Song." Wicazo Sa Review 3, no. 1 (1987): 41. http://dx.doi.org/10.2307/1409384.

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Porter, Ellen Jane. "Love Song." Great Lakes Review 11, no. 1 (1985): 70. http://dx.doi.org/10.2307/20172766.

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10

Harp, Jerry. "Love Song." Iowa Review 37, no. 3 (2007): 98. http://dx.doi.org/10.17077/0021-065x.6271.

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BREEZE, JEAN BINTA. "Love Song." Critical Quarterly 50, no. 3 (2008): 25. http://dx.doi.org/10.1111/j.1467-8705.2008.00835.x.

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Brown, Marina. "Love Song." American Journal of Nursing 101, no. 1 (2001): 53–54. http://dx.doi.org/10.1097/00000446-200101000-00049.

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Hicok, Bob. "Love Song." Missouri Review 26, no. 2 (2003): 148–49. http://dx.doi.org/10.1353/mis.2003.0041.

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B. Decock, Paul. "Origen’s Christian Approach to the Song of Songs." Religion and Theology 17, no. 1-2 (2010): 13–25. http://dx.doi.org/10.1163/157430110x517898.

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AbstractThis essay attempts to understand and appreciate what Origen was aiming at in his commentary on the Song of Songs. Origen “imagined” the purpose of reading the Scriptures as the transformation of the reader into the “likeness of God”. He viewed the Song of Songs as the climax of all songs of Scripture and therefore, “learning to sing that song” expressed the highest stage of Christian growth. As the subject matter of the Song of Songs is love, it is clear that perfection in love is indeed the ultimate goal of human life. However, understanding love is difficult and many go astray, beca

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Salam, Alifsya, and R. Myrna Nur Sakinah. "The Denotative and Connotative Meaning in Song Lyrics Entitled “Sandals” by Khai Dreams." JETLEE : Journal of English Language Teaching, Linguistics, and Literature 4, no. 2 (2024): 127–38. https://doi.org/10.47766/jetlee.v4i2.1077.

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Music is a personal representation of oneself that utter their meaning in harmonic way. Music can utter sign that was born and inherit the complex characteristic of object manifested directly within context of being represented. Messages manifest throughout every music come from extraction of cultural phenomenon and belief to make the identity of music become vulnerable. Love contains emotional feeling of person to another person in showing their care as a mean to build relationship close towards each other. Songs entitled “Sandals” by Khai Dreams tells a relation of love with a struggle to ac

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Zorgdrager, Nellejet. "The Role of Place- Names in Olof Sirma’s two Yoik Texts and their Translations." Journal of Northern Studies 11, no. 1 (2018): 71–93. http://dx.doi.org/10.36368/jns.v11i1.882.

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This article discusses the place-names in two old Sami yoik songs. These songs, provided by Olof Sirma, a Sami student, were published in Sami and Latin in Schefferus’ book Lapponia in 1673. They became known as the winter song and the summer song. The winter song is a kind of travel account in which a lover tells about his journey by reindeer sledge. In the summer song he dreams about his absent love. Before the end of the twentieth century both love songs were translated many times into various languages. The article takes up the placenames, the landscape described in the songs as well as th

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Faisal, Septian Iman, Dwi Taurina Mila Wardhani, and Firqo Amelia. "DEIXIS USED IN AVRIL LAVIGNE’S “LOVE SUX“ ALBUM." ELite Journal : International Journal of Education, Language and Literature 3, no. 4 (2023): 63–74. https://doi.org/10.26740/elitejournal.v3n4.p63-74.

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There are many deictic words in the lyrics of the songs in Avril Lavigne’s Love Sux album that the listeners must know. This study explains about the kinds of deixis and the meaning of deixis in the song lyrics. This study used descriptive qualitative method in which the researcher described the types and the meaning of deixis in the songs’ lyrics. In collecting the data, the first step was searching the song lyrics, then listening to all songs in the album. The next step was identifying the data and classifying the deixis in song lyrics of Avril Lavigne’s Love Sux album. Then, analyzing the d

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Hafni, Suci. "Analisis Pendekatan Feminisme Dalam Lagu Rossa Yang Berjudul “Cintai Aku” Dan “Hey Ladies”." Alinea: Jurnal Bahasa, Sastra dan Pengajaran 4, no. 3 (2024): 443–52. https://doi.org/10.58218/alinea.v4i3.1031.

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This research aims to analyze the messages contained in the two songs sung by Rossa, namely Cintai Aku and Hey Ladies using a feminist approach. The method used in this research is a qualitative descriptive method using listening and note-taking techniques. Literary works have several types, one of which is song. Songs are literary works to convey emotional and social messages through song lyrics. These two songs have different views on women's perspectives. The song entitled "Love Me" highlights women's emotional dependence on happiness and dignity for the sake of love. On the other hand, the

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Rusdi, Rusdi, and Dwi Cahyadi Wibowo. "PERAN LAGU GARUDA PANCASILA TERHADAP RASA CINTA TANAH AIR INDONESIA PADA SISWA KELAS V DI SD NEGERI 20 MAMBOK SINTANG." JURNAL PENDIDIKAN DASAR PERKHASA: Jurnal Penelitian Pendidikan Dasar 9, no. 1 (2023): 182–89. http://dx.doi.org/10.31932/jpdp.v9i1.2313.

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This study aims to describe the role of the Garuda Pancasila song in fostering a sense of love for the Indonesian homeland and the impact of the Garuda Pancasila song on the love for the Indonesian homeland for fifth grade students at SD Negeri 20 Mambok, Sintang. The research was conducted using a qualitative reasearch design with a taxonomic analysis approach. With subjects selected and decided purposively, i.e. educators, school managers, and students as well as experts in music education and learning. Data collection techniques are carried out by utilizing perceptions or observations, musi

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Case, M. L. "Cunning Linguists: Oral Sex in the Song of Songs." Vetus Testamentum 67, no. 2 (2017): 171–86. http://dx.doi.org/10.1163/15685330-12341277.

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As is typical of the metaphorical nature of poetry, the Song of Songs describes sexual activities indirectly, without giving any explicit references. As a result, interpreters often hesitate to define the exact practices portrayed in any given verse. For example, both Song 2:16 and 6:3 describe the male lover as “he who grazes among the lotuses.” Many scholars read these verses as some type of sexual activity, but do not specifically define the action. Using comparative evidence from Egyptian and Sumerian love poetry, as well as contextual analysis of these verses within the Song as a whole, I

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Grossberg, Daniel. "Nature, Humanity, and Love in Song of Songs." Interpretation: A Journal of Bible and Theology 59, no. 3 (2005): 229–42. http://dx.doi.org/10.1177/002096430505900302.

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This essay is a study of the three-fold theme of nature, humanity, and love in Song of Songs and an investigation into the ways nature imagery is used to evoke human love. The work further examines the nature of the highly erotic yet restrained love that is evoked.

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Rafael, Steven, Desi Adestina, and Otto Siregar. "Affective Meaning Found in 'Nothing's Gonna Change My Love for You"." Linguistics and ELT Journal 12, no. 2 (2024): 205. https://doi.org/10.31764/leltj.v12i2.28193.

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This study examines the affective semantic meaning of the lyrics of the song "Nothing's Gonna Change My Love For You". This study uses a qualitative approach to analyze the affective meaning in the lyrics of the song. In this study, G. Leech's theory of affective meaning is used to identify and analyze the emotional responses conveyed through certain words and phrases in the song. Data collection involved downloading the song, reading the lyrics, and identifying the emotional tone in the text. This study refers to the emotional impact of words and their important role in song lyrics, as songs

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Indrowaty, Sri Aju, and Sumarlam Sumarlam Sumarlam. "LIRIK LAGU FIRST LOVE DAN PRISONER OF LOVE OLEH UTADA HIKARU DALAM ANALISIS WACANA KRITIS CRITICAL DISCOURSE ANALYSIS OF UTADA HIKARU’S SONG LYRICS: FIRST LOVE AND PRISONER." Diglossia: Jurnal Kajian Ilmiah Kebahasaan dan Kesusastraan 8, no. 2 (2019): 121. http://dx.doi.org/10.26594/diglossia.v8i2.848.

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Sri Aju Indrowaty Sumarlam Universitas BrawijayaUniversitas Sebelas Maret ayumirza9220@gmail.comsumarlamwd@gmail.com AbstrakLagu adalah sesuatu yang membuat pendengar menjadi terhibur, apalagi bila lagu itu mempunyai tema yang tak lekang oleh masa yaitu tema Cinta. Pada Japan Pop atau J-Pop nama Utada Hikaru merupakan penyanyi pop dan pencipta lagu yang tidak asing lagi. Disamping itu termasuk bintang besar di Jepang. Sangat menarik apabila teks lagu dari penyanyi ini dianalisis melalui analisis wacana kritis (Anawa). Artikel ini bertujuan untuk memaparkan analisis teks lagu first love dan Pri

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Menn, Esther. "THWARTED METAPHORS: COMPLICATING THE LANGUAGE OF DESIRE IN THE TARGUM OF THE SONG OF SONGS." Journal for the Study of Judaism 34, no. 3 (2003): 237–73. http://dx.doi.org/10.1163/15700630360702794.

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AbstractContrary to what might be expected, the allegorical interpretation of the Song of Songs set forth in the Targum of the Song of Songs does not consistently portray God and Israel as male lover and female beloved. Instead, the Targum presents a multiplicity of additional metaphors suggesting the intimacy between divine and human counterparts throughout their history together, including the affective relationships between male friends and scholarly colleagues, siblings, infant and nurse, father and son, gardener and plants, and farmer and animals. Ambivalence towards sexual love and marri

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Sinaga, Reiza Hardi Mahendra, Lydia Purba, and Insenalia S.R Hutagalung. "Analisis Makna Lirik Lagu "Wie Schön Du Bist" Karya Sarah Connor." Indo-MathEdu Intellectuals Journal 4, no. 3 (2023): 1518–33. http://dx.doi.org/10.54373/imeij.v4i3.380.

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A song is an artistic composition of tones or sounds in order, combination, and temporal relationships to produce musical compositions that have unity and continuity. In modern times like this, people only enjoy songs as entertainment. Songs are often sung or heard without knowing the meaning of the lyrics. The song "Wie schön du bist" by Sarah Connor is one of the German pop songs that has meaning in its lyrics. The purpose of this research is to find the denotation meaning, connotation meaning, and myth contained in the lyrics of the song "Wie schön du bist" by Sarah Connor. The method used

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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 2 (2023): 237–40. http://dx.doi.org/10.53830/vckz2369.

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Review of vocal music by two American composers: Scott Wheeler, “Dreams, Lies & Love Songs” and Juliana Hall, “Setting Sails,” twelve song settings of Emily Dickinson poems for soprano, mezzo, or tenor. British composer Jacques Cohen’s “Love Journey,” seven song settings for voice and piano, and for string orchestra, on poems from James Joyce’s “Chamber Music.”

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Mtshiselwa, V. Ndikhokele N. "VIOLENCE AND THE LIBERATED WOMAN: BRENDA FASSIE’S SONG “NAKUPENDA” AS A HERMENEUTICAL LENS FOR READING THE SONG OF SONGS." Journal for Semitics 25, no. 1 (2017): 409–24. http://dx.doi.org/10.25159/1013-8471/2547.

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Although it is widely argued that the Hebrew Bible contains texts which caricature violence against women, the present article shows that some biblical texts could also offer liberating possibilities to oppressed women in South Africa. The interest of this article lies in bringing Brenda Fassie’s song “Nakupenda” (I love you) into conversation with the Song of Songs in order to produce an interaction between the biblical text and an African popular song. In the reading of both songs, the issue of violence against women as well as women’s (sexual) independence in the context of patriarchy is hi

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Rohmah, Desi Lailatul, and Pininta Veronika Silalahi. "Empowerment in Seven Selected American Songs." Cultural Narratives 1, no. 1 (2023): 13–19. http://dx.doi.org/10.59066/cn.v1i1.443.

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The recent study aims to analyse the ideational and interpersonal meaning in seven selected empowerment songs’ lyrics. The objectives of the study are to describe the characteristics and types of interpersonal meaning: mood and modality; and the types of transitivity processes. The research design applied in this study is descriptive qualitative. The data is the lyrics of seven selected songs: Brave by Sara Barelies; Fireworks, and Roar by Katy Perry; Who Says by Selena Gomez; Love Myself by Hailee Steinfeld; Fight Song by Rachel Platten; and I love Me by Demi Lovato. The finding shows the dom

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Panosian Dunavan, Claire. "Ethiopian Love Song." American Journal of Tropical Medicine and Hygiene 89, no. 5 (2013): 1029–31. http://dx.doi.org/10.4269/ajtmh.13-0473.

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Benson, LaVonn. "Woody's Love Song." Frontiers: A Journal of Women Studies 19, no. 1 (1998): 110. http://dx.doi.org/10.2307/3347142.

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van Schaik, Pamela. "Song of Love." English Academy Review 31, no. 2 (2014): 204. http://dx.doi.org/10.1080/10131752.2014.965435.

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Malinowski, Kim. "Bipolar Love Song." Pleiades: Literature in Context 44, no. 1 (2024): 86–87. http://dx.doi.org/10.1353/plc.2024.a926530.

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Viviers, H. "Die besweringsrefrein in Hooglied 2:7, 3:5 en 8:4 – ‘Moenie die liefde rypdruk nie’ of ‘Steur ons nie in ons liefde nie’." Verbum et Ecclesia 10, no. 1 (1989): 80–89. http://dx.doi.org/10.4102/ve.v10i1.999.

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The refrain of adjuration in Song of Songs 2:7, 3:5 and 8:4: “Don’t arouse young love prematurely” or “don’t interrupt our love” The refrain of adjuration in Song of Songs 2:7,3:5 and 8:4 has to date mainly been explained in two ways, viz. a warning against young love that is aroused prematurely (cf Nuwe Afrikaanse Bybelvertaling) or an earnest request not to disturb the two lovers in their lovemaking (e.g. Good New Bible). Lovemaking between man and woman occurs in every context which immediately precedes the refrain and in that of which the refrain is a part. The second explanation, the requ

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Bennion, Molly McLellan, and Molly McClellan Bennion. "Temporal Love: Singing the Song of Songs." Dialogue: A Journal of Mormon Thought 36, no. 3 (2003): 153–58. http://dx.doi.org/10.2307/45227124.

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Dewi, Erniyanti Nur Fatahhela, Didin Nuruddin Hidayat, and Alek Alek. "Investigating Figurative Language in “Lose You to Love Me” Song Lyric." Loquen: English Studies Journal 13, no. 1 (2020): 6. http://dx.doi.org/10.32678/loquen.v13i1.2548.

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Figurative language is part of the semantic aspect in language that employs various figures in a language. The study discussed an analysis of the figurative languages in the Selena Gomez song. The study aimed at finding out the kind and the meaning of figurative languages in her song “Lose You to Love Me”. The source of the data was taken from the lyrics of Selena Gomez’s song. Her song was classified as a pop song released on 23rd October 2019. In this analysis, the descriptive qualitative model was used with a pure structuralism approach, such as hyperbole, irony, paradox, personification, r

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Gray, Erik. "Come Be My Love: The Song of Songs, Paradise Lost, and the Tradition of the Invitation Poem." PMLA/Publications of the Modern Language Association of America 128, no. 2 (2013): 370–85. http://dx.doi.org/10.1632/pmla.2013.128.2.370.

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The invitation poem, in which the beloved is urged to come away to an idealized place, is among the most enduring genres of European love poetry. The tradition begins with the biblical Song of Songs, which sets several important precedents: a dialogic framework, a close association of lover and landscape, and a sense of love as exile. Medieval and Renaissance invitation poems follow the Song of Songs but shift its emphases toward monologue, materialism, and importunity. Milton thus inherits a dual tradition of invitational poetry, both aspects of which figure prominently in Paradise Lost. Reco

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Madania, Shafira, Annisa Luthfiarrahman, and Eva Latifah. "Konsep Mencintai Diri Sendiri dalam Lirik Lagu Maria dan I’m a Bit." East Asian Review 3, no. 1 (2025): 1–17. https://doi.org/10.22146/ear.14416.

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The concept of self-love is discussed in various Korean media, including K-pop. One K-pop singer who tends to raise awareness about this concept in her songs is Hwasa from the girl group Mamamoo. Hwasa has participated in writing some of her songs that shed light on the concept of self-love, such as “Maria” (2020) and “I’m a Bit” (2021). The goal of this research is to explain the concept of self-love in both songs. This research used the theory of self-love by Henschke & Sedlmeier (2021) to determine the categories of self-love. The method being used is content analysis through qualitativ

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Rebronja, Semir. "Uzrit motifs of love and love longing in Bosniak and Serbian romanticists." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 21 (December 15, 2023): 399–421. http://dx.doi.org/10.51728/issn.2637-1480.2023.399.

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Created in the 7th century, Uzrit love poetry or desert love poetry is inspired by love. It is named after the tribe to which poet Džemil (Ğamīl), one of the most famous love poets, belonged. In these poems, a lover spends his whole life in longing and absence, yearning for his beloved one. At the end of the 19th and the beginning of the 20th century, European romanticists sang and composed songs following, among others, Uzrit poets. Thus, Heinrich Heine sang the song Der Azra, writing down the Arab tradition of the Banu ʻUzra (Banū ʻUḏra) tribe that "for love lose their heads and die when the

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Badrika Syawal Insani and Neng Dini Agustin. "Perbandingan Ungkapan Cinta dalam Bahasa Indonesia dan Turki pada Lagu “Apalah Cinta” Karya Ayu Ting Ting." Jurnal Ilmu Komunikasi, Administrasi Publik dan Kebijakan Negara 2, no. 1 (2025): 122–30. https://doi.org/10.62383/komunikasi.v2i1.148.

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This research discusses the comparison of expressions of love in Indonesian and Turkish in the song "Apalah Cinta" by Ayu Ting Ting, which is the result of a cross-cultural collaboration with the Turkish singer, Keremcem. This song is interesting to analyze because it reflects the cultural and linguistic differences between the two languages in expressing love. This research uses a text analysis approach to examine song lyrics in both languages, and considers the cultural context that influences expressions of love. The research results show that Indonesian tends to convey love in a direct a

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Syahid, Agus, Alivia Oktaviona Wulandari, and Ni Ketut Putri Nila Sudewi. "Semantic Analysis of the Expressions Interpretation of Bliss Throughout Romantic Context in Taylor Swift’s Songs." Humanitatis : Journal of Language and Literature 11, no. 1 (2024): 113–20. https://doi.org/10.30812/humanitatis.v11i1.4480.

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Semantic analysis through the study of contextual meaning theory is a useful approach to examine the meaning of song lyrics in detail. This approach allows us to delve further into the layers of meaning implied behind the series of words contained in the lyrics to reveal aspects that may not be explicitly visible but are at the core of the communication between the songwriter and his audience. This research aims to provide a deeper understanding of concepts such as happiness represented and communicated through poetic language in Taylor Swift’s songs. The research method used is a descriptive

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Spencer, F. Scott. "Song of Songs as political satire and emotional refuge: Subverting Solomon’s gilded regime." Journal for the Study of the Old Testament 44, no. 4 (2020): 667–92. http://dx.doi.org/10.1177/0309089219862820.

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This article proposes a viable reading of Song of Songs as historicized allegory and political satire. In this view, the Song co-opts royal imagery from Solomon’s past golden age to elevate the consummate value of an ordinary ‘country’ couple’s exuberant, mutual love as a model for flourishing, postexilic life. Put another way, this love ‘anthem’ extols ‘emotional refuge’ from exploitative monarchical rule, domestic or foreign. The argument is grounded in close analysis of Song 1-3 and 8.11-12 interlaced with biblical legal, historical, and prophetic critiques of Solomonic pride and greed, and

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Sopacoly, Mick Mordekhai. "Merayakan Cinta Berdasarkan Kidung Agung 1:9-17." DUNAMIS: Jurnal Teologi dan Pendidikan Kristiani 4, no. 2 (2020): 234–53. http://dx.doi.org/10.30648/dun.v4i2.290.

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Abstract. At a glance reading the Song of Songs gives the impression as a book that displays mere sensuality. Therefore raising the question why the Song of Songs was included in the canonization of the Bible which is the Word of God. This paper aimed to explore the meaning of the great love found in the Song of Songs text that seems vulgar and sensual. The method used in this study was a historical criticism of the Song of Songs 1: 9-17. Through this study, it could be concluded that the love texts in Song of Songs display the power of love that is unique, creative, and contains a sacred dime

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Fauzan, Fadly. "The Denotative and Connotative Meaning in Sheila on 7 Song Lyrics “Film Favorit”." SOSIOHUMANIORA: Jurnal Ilmiah Ilmu Sosial Dan Humaniora 6, no. 1 (2020): 9. http://dx.doi.org/10.30738/sosio.v6i1.6339.

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Song Lyrics is a person's expression about something that has been seen, heard or experienced. In expressing their experiences, the poet or composer of the song makes words and language games to create attraction and distinctiveness to the lyrics or poetry. This study aims to see the connotation, denotation, and mythology meaning contained in the object of research, namely the song ‘Film Favorit' from Sheila On 7. In this study the main theory used is the Roland Barthes semiotic theory. The method used in this study is a qualitative method with a descriptive interpretive approach. The results

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Rybinska, Yuliia, Svitlana Pechenizka, and Oksana Stebaieva. "CULTURAL HERITAGE OF THE BEATLES AND THE INFLUENCE OF THEIR LOVE SONGS ON STUDENTS’ EMPATHY." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 9(77) (2020): 284–89. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-284-289.

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The article describes and analyses the cultural heritage and the Beatles mania phenomenon. Explorations and expressions of love have dominated the lyrical content of popular music for decades, to the extent that the love song can be said to be the archetypal pop song. A detailed division of “love styles” has been proposed by the psychologist John Alan Lee, who suggests that there are six distinct styles of love. Through a consideration of the application of his typology to the lyrics of popular songs, it can be seen that the categories he has identified have relevance musically, as well as soc

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Zheng, Yanbo. "Approaching Saint Bernard’s Sermons on the “Song of Songs” through the Book of Odes (Shijing): A Confluence of Medieval Theology and Chinese Culture." Religions 15, no. 4 (2024): 513. http://dx.doi.org/10.3390/rel15040513.

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This paper aims to decode medieval theology from the vantage point of ancient Chinese poetry, employing a cross-textual methodology that encourages a fusion of horizons. It highlights Saint Bernard’s profound and influential theological exegesis of the “Song of Songs”, particularly his comparison of the divine–human relationship to the conjugal bond. The present study posits that readers from Chinese culture can gain access to Saint Bernard’s mystical theology through the sentiment of love, as portrayed in the Book of Odes (Shijing). Initially addressing love as a core human sentiment, this st

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Pavlova, Alla. "Axiological Paradigm of Lyro-Epic Song: Ethical and Irrational." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 14, no. 25 (2021): 111–16. http://dx.doi.org/10.34079/2226-3055-2021-14-25-111-116.

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The love in the Ukrainian folk ballad is the center of the axiological model, associated with the concepts of “care”, “tenderness”, “warmth”, “joy” and so on. At the same time, this feeling often appears in antinomies, as it can become a powerful destructive force, shattering destinies and entire worlds. The aim of the work is to clarify the dialectic of ethical and irrational in Ukrainian ballads about love and premarital relationships, family life. Among the tasks: to trace the opposition structure of the concept of “love”; to find out the dialectic of the ethical and the irrational in the f

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Igbo, Philip. "The Song of Songs: Its Basic Teaching and Place in the OT Canon." Journal of Religion and Human Relations 13, no. 1 (2021): 16–36. http://dx.doi.org/10.4314/jrhr.v13i1.2.

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The Song of Songs is a love poem (or a collection of poems), full of sensuous symbols. The central theme of the book is love; it celebrates human love in all its physical dimensions. Its language is love, a language which seems daring and sometimes even shocking, considering its seeming erotic feature. The author provides a teaching on the place of love and marriage in God’s plan of creation. It focuses on fidelity and mutuality in love between the sexes. The author offers a perspective of love not found elsewhere in the biblical writings. The climax of his teaching on love is contained in Sg

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Zavracky, Gregory. "John Musto’s Viva Sweet Love: An Exploration of Love in All its Forms." Journal of Singing 79, no. 4 (2023): 457–67. http://dx.doi.org/10.53830/ybwt3883.

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Viva Sweet Love is a cycle of five songs by American composer John Musto, settings of poetry by E.E. Cummings and James Laughlin. It provides detailed information on the cycle, including biographic information on the composer and poets, along with details about Musto’s general music style, technical considerations for the singer and pianist, poem synopses, and song analyses.

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Agustia, Alya Shafira, and Moses Glorino Rumambo Pandin. "ANALYSIS OF THE MEANING AND EFFECT OF BTS'S SONG "LOVE MYSELF: ANSWER" ON FANDOM ARMY AMONG UNDERGRADUATE STUDENTS." Academy of Education Journal 14, no. 2 (2023): 1363–72. http://dx.doi.org/10.47200/aoej.v14i2.1045.

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This research is motivated by the phenomenon of KPOP or Korean Pop, where one of the famous artists is Bangtan Sonnyeondan (BTS), making the Love Yourself album and campaigning for the movement to love yourself at the 73rd UN General Assembly session which was held in New York, United States, on November 24, 2018. One of the songs from the album that was most talked about because of its influence in encouraging self-love is the song Love Myself: Answer. This song will be the object of this research. This study shows how undergraduate students who are members of the ARMY fandom or the designati

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Hulu, Deni Arnita, Elia Nova Sembiring, and Natalia Widya Pasca Tarigan. "An Analysis of Figurative Language in Ariana Grande’s Album “Thank U, Next”." Linguistic, English Education and Art (LEEA) Journal 4, no. 2 (2021): 317–27. http://dx.doi.org/10.31539/leea.v4i2.1954.

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This study analyzes the figurative language (simile, metaphor, personification, hyperbole, symbol, irony and idiom) in the song lyrics. This study also aims to determine the most dominant type of figurative language and then to identify the themes of the twelve songs in the song lyrics of Ariana Grande's album "thank u next." This study used descriptive qualitative research. From the results of the analysis, the researcher found that were 73 data using figurative, nine data for simile (12.32%), 17 data for metaphor (23.28%), eight data for personification (10.95%), 10 data for hyperbole (13.69

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