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Journal articles on the topic 'Voice - sacred'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Marsh, Karen R., and Michael D. Smith. "The Native American voice in United States water rights." Journal of Water, Sanitation and Hygiene for Development 5, no. 2 (2015): 173–82. http://dx.doi.org/10.2166/washdev.2015.089.

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There is a sacred relationship between Native Americans and the environment. The importance of those sacred beliefs in water rights in the United States (US) is examined through a series of case studies. A thorough review of available literature displays a trend toward less dependence on the US for representation and a greater recognition of Native American traditions. The increased role of Native Americans in water rights quantification and resource development provides greater appreciation and understanding of their traditions and beliefs.

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2

Reuland, Jamie. "Voicing the Doge’s Sacred Image." Journal of Musicology 32, no. 2 (2015): 198–245. http://dx.doi.org/10.1525/jm.2015.32.2.198.

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During the fourteenth century, Venetian chronicles, art, and ceremony fostered provocative analogies between angelic annunciation and the political voice of the Venetian populace. Such analogies imagined a city whose civic and heavenly members were united through the sound of unanimity. At the intersection of the state’s civic and celestial bodies stood the doge, considered to be the image of the Republic and of its patron, Saint Mark. A complex of sung ceremonies and musical compositions addressed to the doge dramatized the notion that the voice, as a ritual instrument, could engender real po

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Moreira Vieira, Caroline, and Joana Bahia. "Yaô africano: the orixá in the voice of Patricio Teixeira." Religiones y religiosidades en América Latina, no. 26 (December 31, 2020): 39–62. http://dx.doi.org/10.36551/2081-1160.2020.26.39-62.

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Patricio Teixeira was an important voice in Brazilian music, particularly during the 1920s and 1930s. His career in radio broadcasting extended into the mid-1950s. Teixeira’s work gave visibility to black subjects and their cultural identities. This article analyzes the sacred elements that overflow into the musical and recreational universe of Rio through some of the songs recorded by Teixeira. With varied appropriations, these recordings of chants for orixá, Afro-Brazilian practices, and rituals mark the presence of the Afro-Brazilian sacred in Brazilian popular song.

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AQUILINA, FREDERICK. "A SHORT BIOGRAPHY OF BENIGNO ZERAFA (1726-1804): A MID-EIGHTEENTH-CENTURY MALTESE COMPOSER OF SACRED MUSIC." Eighteenth Century Music 4, no. 1 (2007): 107–18. http://dx.doi.org/10.1017/s1478570607000723.

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The outstanding (though still insufficiently recognized) development of Maltese sacred music in the mid-eighteenth century culminated in the works of Benigno Zerafa (1726–1804), a highly talented priest-composer who served as maestro di cappella at the Cathedral of St Paul at Mdina from 1744 to 1786. Zerafa’s entire collection of sacred vocal works, with one exception, was discovered in 1969 by the then-curator of the Archives of Mdina, Mgr Rev John Azzopardi. The collection, comprising, among others, masses, Credo settings, psalms, graduals, offertories, litanies, hymns, sequences, antiphons,

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Lane, Belden C. "Giving Voice to Place: Three Models for Understanding American Sacred Space." Religion and American Culture: A Journal of Interpretation 11, no. 1 (2001): 53–81. http://dx.doi.org/10.1525/rac.2001.11.1.53.

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Ten miles east of Bighorn Canyon in northern Wyoming, you start to climb up out of the desert heat toward Medicine Mountain, looming in the distant haze. At this point, Highway 14A begins a torturous seven-mile ascent along a 10 percent grade, rising ever higher into sweet clover and green meadows, spruce trees and lodgepole pines. Staying in first or second gear the whole way up, your engine still overheats by the time you have reached the crest. But, if you follow the small National Forest sign off to the left near the summit and walk another mile and a half after parking the car, you come t

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El-Desouky, Ayman A. "Naẓm, iʿjāz, Discontinuous Kerygma: Approaching Qur'anic Voice on the Other Side of the Poetic". Journal of Qur'anic Studies 15, № 2 (2013): 1–21. http://dx.doi.org/10.3366/jqs.2013.0094.

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The present study offers tentative reflections toward approaching the questions of revelation, iʿjāz, naẓm and Qur'anic voice from within modern conceptual frames of the literary and the sacred which focus not so much on the poetic and the metaphorical as on the historical. What is meant by the historical here is the locus of human experience in its receptivity to the revealed word: the response to the very fact of revelation, which turns the experience of the sacred text and its rhetorics into an experience of sacred hermeneutics – whether on the level of the individual, from within the uniqu

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Reisner, Philipp. "Cold War and New Sacred Poetry." JAAAS: Journal of the Austrian Association for American Studies 1, no. 1 (2020): 101–18. http://dx.doi.org/10.47060/jaaas.v1i1.83.

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Contrary to what one might expect, many poets who engage with the Cold War adopt not primarily a political but rather a religious voice. Indeed, poets such as Li-Young Lee, Suji Kwock Kim, and Kathleen Ossip examine the Cold War in light of theological questions. Their poems bear witness not to personal suffering inflicted by political and societal circumstances but instead to human resilience bolstered by faith in the face of traumatic experience. Their writings are not best captured by the frequently invoked "Poetry of Witness," understood as witness to injustice, but rather "new sacred poet

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8

Borton, Lady. "An Impostor's Voice." Harvard Educational Review 55, no. 1 (1985): 118–21. http://dx.doi.org/10.17763/haer.55.1.qh240878867650h2.

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Lady Borton is a United States citizen of Quaker background, and a former high school teacher. Inspired by her pacifist conviction that all lives are sacred and that violence is not an appropriate choice to resolve human conflict, she volunteered to work in Vietnam for the American Friends Service Committee (AFSC). The AFSC is a Quaker-based organization dedicated to the elimination of social injustice and to the promotion of world peace. From 1969 to 1971 Borton served as adminstrator of the AFSC project in Quang Ngai, a Vietnamese province that saw some of the heaviest civilian and military

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9

Khalfaoui, Andrea, Ana Burgués, Elena Duque, and Ariadna Munté. "Believers, Attractiveness and Values." Religions 12, no. 3 (2021): 213. http://dx.doi.org/10.3390/rel12030213.

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Societies are undergoing an intensive process of transformation, and the role that religion plays in guiding such rapid changes remains underexplored. In recent decades, postmodern discourse has hindered the attractiveness of involvement in religious affairs and reading sacred books, highlighting how “uncool” and useless these practices are in responding to current daily life challenges. Decades of research have evidenced the positive impact of reading the most precious universal literary creations. Since sacred books are considered universal texts, this study explores the potential of dialogi

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10

Cyr, Mary. "Ariane consolée par Bacchus and François Couperin’s early writing for the viol." Early Music 48, no. 3 (2020): 291–306. http://dx.doi.org/10.1093/em/caaa037.

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Abstract Ariane consolée par Bacchus, newly discovered by Christophe Rousset and the only surviving cantata attributed to François Couperin, is scored for bass voice, obbligato bass viol and continuo. Because Couperin passionately engaged with Italian music, scholars have long assumed that he would have composed cantatas, but until now none had been known to survive. His choice of bass voice and viol, an unusual combination in the French cantata repertory, opens several avenues for investigation. A precursor to his choice of bass voice and viol can be found in his petits motets, some of which

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11

Sansom, Rockford. "The unspoken voice and speech debate [or] the sacred cow in the conservatory." Voice and Speech Review 10, no. 2-3 (2016): 157–68. http://dx.doi.org/10.1080/23268263.2016.1318814.

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Al-Zahrani, Abdulsalam. "Sacred Voice, Profane Sight: The Senses, Cosmology, and Epistemology in Early Islamic History." Numen 56, no. 4 (2009): 417–58. http://dx.doi.org/10.1163/156852709x439641.

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Kuzma, Marika. "Dmitrii Bortniansky’s authentic voice: musical sound and theological meaning in his sacred choral concertos." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 4(41) (December 21, 2018): 48–63. http://dx.doi.org/10.31318/2414-052x.4(41).2018.152155.

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Cook, Christopher C. H. "The prophet Samuel, hypnagogic hallucinations and the voice of God – psychiatry and sacred texts." British Journal of Psychiatry 203, no. 5 (2013): 380. http://dx.doi.org/10.1192/bjp.bp.113.126136.

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Cucarella-Ramon, Vicent. "The Aesthetics of Healing in the Sacredness of the African American Female’s Bible: Zora Neale Hurston’s Moses, Man of the Mountain." Revista Alicantina de Estudios Ingleses, no. 29 (November 15, 2016): 69. http://dx.doi.org/10.14198/raei.2016.29.04.

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Zora Neale Hurston’s Moses, Man of the Mountain (1939) stands in the tradition of African American use of the biblical musings that aims to relativize and yet uphold a new version of the sacred story under the gaze of a black woman that manipulates and admonishes the characters of the gospel to offer a feminist side of the Bible. The novel discloses Hurston’s mastering of the aesthetics that black folklore infused to the African American cultural experience and her accommodation to bring to the fore the needed voice of black women. Rejecting the role of religion as a reductive mode of social p

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16

Yaqoob, Munazza. "Narratives of Confession: Religion and Patriarchy in the Fiction of Shahraz and Hosseini." Pakistan Journal of Women's Studies: Alam-e-Niswan 25, no. 2 (2018): 01–17. http://dx.doi.org/10.46521/pjws.025.02.0043.

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This paper discusses Khalid Hosseini‘s novel A Thousand Splendid Suns and Qaisra Shahraz‘s novel Typhoon as social commentaries on the socio-cultural oppressive structures both established and perpetuated by patriarchy, and by patriarchal interpretations of religion to subordinate and victimise women in Pakistani and Afghani societies. The paper also examines these texts as narratives of confession, unfolding crimes and injustices as committed in the name of religion and culture against weak and vulnerable members of the society. Both of these narratives, as forms of confession, voice through,

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17

Maurey, Yossi. "A COURTLY LOVER AND AN EARTHLY KNIGHT TURNED SOLDIERS OF CHRIST IN MACHAUT'S MOTET 5." Early Music History 24 (July 14, 2005): 169–211. http://dx.doi.org/10.1017/s0261127905000082.

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The tenor occupies a special role in vernacular motets of the thirteenth and fourteenth centuries: not only does it underpin the melodies of the upper voices contrapuntally, it also provides intellectual and interpretative undergirding for the texts of these pieces. The biblical or liturgical context of a tenor, drawing on well-understood exegetical and literary traditions, often facilitates an allegorical reading of the upper voices, and vice versa. Because of the foundational nature of the tenor within the Ars nova motet in particular, the identification of the exact musico-liturgical source

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18

Arenberg, Nancy. "Silence and anguish: Muting the feminine voice in Éliette Abécassis’s La Répudiée." French Cultural Studies 29, no. 3 (2018): 244–53. http://dx.doi.org/10.1177/0957155818775287.

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As a seminal French-Jewish author, Éliette Abécassis frequently focuses on Jewish issues pertaining to the feminine condition, with emphasis on women’s rights and liberties. In La Répudiée (first published 2000), she invites the reader to discover the mysterious, hermetic world of Hasidic Jews residing in the sacred city of Jerusalem. Within this patriarchal community, the locus of the narrative concentrates on the plight of the protagonist, Rachel, a young woman married to Nathan. This essay examines the imposed silence that oppresses the voice of the Hasidic wife Rachel, who is struggling wi

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Korycka, Agnieszka Magdalena. "Próba zbliżenia się do sacrum poprzez kino na przykładzie analizy i interpretacji drogi jurodiwego w filmie Aleksandra Sokurowa "Samotny głos człowieka"." Adeptus, no. 7 (June 30, 2016): 36–49. http://dx.doi.org/10.11649/a.2016.003.

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Attempting to approach the sacred through film as exemplified by the analysis and interpretation of the way of a yurodivy in The Lonely Voice of Man by Alexander SokurovThe author emphasises the relation between content and form in the film The Lonely Voice of Man by Alexander Sokurov, and makes a point to place the film within an interpretation space which takes into account basic anthropological categories, such as those of space, time and the human (the protagonist). The artistic devices applied in the film lead to a degradation of the image, while the symbolism present in this debut work r

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20

Stafford, Ryan. "W.B. Yeats and the Delegated Voice: The Words upon the Window-Pane and A Full Moon in March." Modern Drama 64, no. 2 (2021): 197–217. http://dx.doi.org/10.3138/md.64.2.1095.

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This article uses the concept of phonography, defined as the representation of sonic events, to examine two of W.B. Yeats’s later plays, The Words upon the Window-Pane and A Full Moon in March. Each of these plays allegorizes its own genesis as a phonographic artwork, a sonic inscription designed to transmit the author’s voice. By asking whether text can serve as a conduit, they provide ample evidence of Yeats’s attachment to phonocentric thought. The Words anticipates Roland Barthes’s pronouncements on “the death of the author” by pessimistically deconstructing Yeats’s own phonocentric positi

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Chosinawarotin, Chosinawarotin. "RADICALISM AND PEACE IN THE WOMEN'S WORLD." JOSAR (Journal of Students Academic Research) 3, no. 2 (2018): 128–44. http://dx.doi.org/10.35457/josar.v1i02.626.

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The nature of Rahmatan lil alamin stated in the Qur'an is truly tested in the historical arena through the behavior of terrorism under the guise of Islam. The nature of this sacred concept turns into a relative and problematic necessity. Women with basic feminine characters turn fierce when trapped in the role of being a Terrorist. Harm the mother's empathy power which is actually called affection. Various facts and data recorded as social facts are then dissected to voice the potential of the actual role of women as agents of change towards peace.

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22

Chaves Haracemiv, Sonia Maria, and Veronica Branco. "Religious diversity in the school culture among youth and adults." Policy Futures in Education 16, no. 5 (2018): 565–75. http://dx.doi.org/10.1177/1478210318758815.

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This article presents the research carried out in the State Center for Basic Education for Young and Adult Primary and Secondary School Campo Comprido, Curitiba, Paraná, a privileged space in the recognition and valorisation of the trajectories of different social and ethnic groups. The study uses the methodology of action research, where all had their voice, attending to the interest of identifying the level of respect and religious tolerance of each group. Diversity of habits and attitudes in relation to beliefs, symbols and sacred locus, ethical values, languages and rites have been identif

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23

Talbot, Michael. "Maurice Greene's Vocal Chamber Music on Italian Texts." Royal Musical Association Research Chronicle 48 (2017): 91–124. http://dx.doi.org/10.1080/14723808.2016.1271573.

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Maurice Greene (1696–1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary

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24

Krummel, John W. M. "The Originary Wherein: Heidegger and Nishida on “the Sacred” and “the Religious”." Research in Phenomenology 40, no. 3 (2010): 378–407. http://dx.doi.org/10.1163/156916410x524466.

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AbstractIn this paper, I explore a possible convergence between two great twentieth century thinkers, Nishida Kitarō of Japan and Martin Heidegger of Germany. The focus is on the quasi-religious language they employ in discussing the grounding of human existence in terms of an encompassing Wherein for our being. Heidegger speaks of “the sacred” and “the passing of the last god” that mark an empty clearing wherein all metaphysical absolutes or gods have withdrawn but are simultaneously indicative of an opening wherein beings are given. Nishida speaks of “the religious” dimension in the depths o

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Mateer, David. "The Compilation of the Gyffard Partbooks." Royal Musical Association Research Chronicle 26 (1993): 19–43. http://dx.doi.org/10.1080/14723808.1993.10540960.

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The ‘Gyffard’ partbooks (British Library, Add. MSS 17802–5) are perhaps the most important source of Tudor sacred music of the mid-sixteenth century, for unlike the only other collection that could reasonably lay claim to that title—the Henrician partbooks at Peterhouse, Cambridge—they have survived intact. Just six of Gyffard's 94 pieces have contemporary concordances, and only three of these are wholly straightforward. Taverner's Western Wind Mass (no. 24) turns up again in John Sadler's partbooks; two voices only of Redford's Christus resurgens (no. 58) are found in Tenbury MS 389 and its c

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Somacarrera Iñigo, Pilar. "''The Sacred Marriage" de Joyce Carol Oates: Una parábola sobre la intertextualidad." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 3-4-5 (March 5, 1996): 29–45. http://dx.doi.org/10.35869/afial.v0i3-4-5.3399.

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Joyce Carol O ates' short story collection M arriages and lnfidelities includes a number of versions of narratives by famous writers. The common theme is, of course, marriage, although "The Sacred Marriage" itself alludes to an spiritual kind of union. Its narrator succeeds at outplanning the audience by selecting a rather improbable way to follow in the story and by introducing apparently impossible events. From the beginning, it is possible to perceive a series of lexical oppositions referring to the setting, intended to make it look like an unreal, dream world. The protagonist, Howard Dean,

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27

Zanovello, Giovanni. "‘You Will Take This Sacred Book’: The Musical Strambotto as a Learned Gift." Journal of the Royal Musical Association 141, no. 1 (2016): 1–26. http://dx.doi.org/10.1080/02690403.2016.1151230.

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AbstractThe MS Modena, Biblioteca Estense e Universitaria, α.F.9.9 is by far the most lavish collection produced in the short-lived history of the musical frottola. In its pages, unassuming four-voice secular settings are preceded by citations from Pliny and Isidore and surrounded by dazzling illuminations of birds, fruits and plants. If splendour is never amiss in gifts, one must wonder what the relationship was between the components of this intriguing artefact. In this article I investigate the gift value of the source by examining the musical repertory and style in conjunction with its oth

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Front, Izabela. "Un Dieu sadique : le rôle de l’image blasphématoire de Dieu dans Dolce agonia de Nancy Huston." Quêtes littéraires, no. 3 (December 30, 2013): 160–66. http://dx.doi.org/10.31743/ql.4617.

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The present article seeks to analyze the way in which the blasphemous figure of God in Dolce agonia by Nancy Huston allows the author to describe the sacred element in human life, seen as deprived of transcendental character. This is possible thanks to the three aspects of the text dependent on the type of God’s figure, which are: the contrast between passages marked by the cynical God’s voice and passages focused on man’s life filled with suffering; the tone and the appropriation of time var-iations and, finally, the double character of God who, at the same time, is indifferent to man’s lot w

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Ahmadi, Rizqa. "Kontestasi atas Otoritas Teks Suci Islam di Era Disrupsi: Bagaimana Kelas Menengah Muslim Indonesia Memperlakukan Hadis melalui Media Baru." Jurnal Studi Agama dan Masyarakat 15, no. 1 (2019): 22–35. http://dx.doi.org/10.23971/jsam.v15i1.1138.

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This paper was written to become a preliminary record of the hadith debate as one of the sacred texts of Islam in the disruption era. An era marked by the rise of new media, namely alternative media, which in its development has become a new field of religious discourse debate. The debate about Hadith also found its momentum increasingly dynamic. For instance, Muslims in Indonesia use new media to access and make hadith as a lifestyle reference. The emerging of terms such as halal food, syar'i heads carves, halal tourism, ojek syar'i, prophet-style healing, and so on are some examples of them.

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Liszi, Renáta. "Light of the Soul." Magic, Vol. 5, no. 1 (2020): 37–57. http://dx.doi.org/10.47659/m8.037.2.pro.

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Liszi’s work creates visual signs derived from spherical forms of sacred geometry on photograms. Her camera-less images focus on Oneness – universe and us, based on the Light of the Soul. She works with her voice that creates ripples in water. Her experiments began with exploring the Bija mantras Aum, RaMaDaSa, and lastly SaTaNaMa that describes the eternal circle of life: birth, life, death, rebirth. Her experimentation led from mantra vibration in still water (life symbol) to light vibration (life symbol) as information carrier. The fundamental connection between water waves and light waves

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Rothenberg, David J. "Angels, Archangels, and a Woman in Distress: The Meaning of Isaac's Angeli archangeli." Journal of Musicology 21, no. 4 (2004): 514–78. http://dx.doi.org/10.1525/jm.2004.21.4.514.

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Henricus Isaac's grand six-voice motet Angeli archangeli (Angels, archangels) sets a text from the liturgy of the Feast of All Saints (November 1), but its only preexistent musical material is a cantus firmus in the tenor voice, drawn from the tenor of the mid 15th-century chanson Comme femme desconfortéée (As a woman in distress), attributed to Binchois. Scholars have assumed that Angeli archangeli is a motet for All Saints but have been at a loss to explain why Isaac chose the cantus firmus he did. This study attempts to explain Isaac's puzzling juxtaposition of Latin text and secular cantus

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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1;

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Bjerk, Paul. "'Building A New Eden': Lutheran Church Youth Choir Performances in Tanzania." Journal of Religion in Africa 35, no. 3 (2005): 324–61. http://dx.doi.org/10.1163/1570066054782351.

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AbstractA study of three songs by a Tanzanian youth choir reveals a synthesis of historical and intellectual sources ranging from pre-colonial social philosophy to Lutheran theology to Nyerere's Ujamaa socialism. The songs show how the choir performances break down the barrier between Bourdieu's realms of the disputed and undisputed. In appropriating an active role in shaping Christian ideology, the choir members reinterpret its theology into something wholly new and uniquely Tanzanian. Thus they appropriate an authoritative voice that shapes the basic societal concepts about the nature of lif

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Overton, Keelan, and Kimia Maleki. "The Emamzadeh Yahya at Varamin: A Present History of a Living Shrine, 2018–20." Journal of Material Cultures in the Muslim World 1, no. 1-2 (2021): 120–49. http://dx.doi.org/10.1163/26666286-12340005.

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Abstract The Emamzadeh Yahya at Varamin, a tomb-shrine located south of Tehran, is well known for supplying global museums with iconic examples of Ilkhanid-period luster tilework. After providing a historiography of the site, including its plunder in the late nineteenth century, we explore its current (2018–20) “life” in order to illuminate the many ways that it can be accessed, used, perceived, and packaged by a wide range of local, national, and global stakeholders. Merging past and present history, art history and amateur anthropology, and the academic, personal, and popular voice, this art

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Reinbold, J. "Sacred Institutions and Secular Law: The Faltering Voice of Religion in the Courtroom Debate over Same-Sex Marriage." Journal of Church and State 56, no. 2 (2012): 248–68. http://dx.doi.org/10.1093/jcs/css079.

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ROBERTS, KATHERINE. "Sacred and Profane: Voice and Vision in Southern Self-Taught Art by Carol Crown and Charles Russell, eds." Museum Anthropology 32, no. 2 (2009): 131–32. http://dx.doi.org/10.1111/j.1548-1379.2009.01045.x.

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Pesce, Dolores. "The “individual” in Johann Friedrich Overbeck’s and Franz Liszt’s Seven Sacraments." Studia Musicologica 54, no. 4 (2013): 339–56. http://dx.doi.org/10.1556/smus.54.2013.4.1.

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In the preface to his Septem sacramenta (1878–1884), Franz Liszt acknowledged its stimulus — drawings completed in 1862 by the German painter J. F. Overbeck (1789–1869). This essay explores what Liszt likely meant by his and Overbeck’s “diametrically opposed” approaches and speculates on why the composer nonetheless acknowledged the artist’s work. Each man adopted an individualized treatment of the sacraments, neither in line with the Church’s neo-Thomistic philosophy. Whereas the Church insisted on the sanctifying effects of the sacraments’ graces, Overbeck emphasized the sacraments as a mean

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Wicks, Sammie Ann. "A belated salute to the ‘old way’ of ‘snaking’ the voice on its (ca) 345th birthday." Popular Music 8, no. 1 (1989): 59–96. http://dx.doi.org/10.1017/s0261143000003159.

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When Joe S. James, a southern singing school teacher, brought out his edition of the long-lived shape-note hymnal The Sacred Harp in 1911, he stated rather forcefully that his readers would find ‘but few of the twisted rills and trills of the unnatural snaking of the voice’ which he had heard while in the company of those yet untutored in the art of singing by note – or ‘regular singing’, as it had been called (James 1911, p. iii). It was not the first time the ‘old way’ of singing and its ‘rills and trills’ had found a critic among champions of some form of the Western European music system,

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Rębkowska, Agata. "Entre le sacré et le profane. Le discours journalistique français sur l’affaire Pussy Riot." Romanica Wratislaviensia 66 (October 4, 2019): 147–61. http://dx.doi.org/10.19195/0557-2665.66.12.

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BETWEEN THE SACRED AND THE PROFANE: THE FRENCH JOURNALISTIC DISCOURSE ON THE PUSSY RIOT AFFAIROn 21 February 2012, three women of the well-known punk rock band Pussy Riot organized a performance in the Cathedral of Christ the Savior in Moscow. In consequence of the exhibition at this religious place, the women were convicted for “vandalism” and “incitement to religious hatred.”The aim of this article is to examine the social meaning of this event constructed and transmitted in the French journalistic discourse. It highlights the role of religion that derives from the event and contributes to t

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Alnizar, Fariz, and Achmad Munjid. "The Voice of the Ulema and Dilemma of the Indonesian Ulema Council’s Fatwa among Low Literate Society." TEOSOFI: Jurnal Tasawuf dan Pemikiran Islam 10, no. 1 (2020): 29–51. http://dx.doi.org/10.15642/teosofi.2020.10.1.29-51.

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Some Islamic movements in Indonesia make the fatwas issued by the MUI as a reference for their actions. They recently found their momentum after the defence movements called 411 and 212. The proponents of the movements called themselves as Gerakan Nasional Pengawal Fatwa Majelis Ulama Indonesia (GNPF-MUI/The National Movement of Guardian of Fatwa of the Indonesian Ulema Council). Employing a qualitative approach coupled with historical-causal paradigm this article examines the main question: Do the proponents of these movements substantially understand the fatwas they defend? The results of th

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Bornstein, Daniel. "The Uses of the Body: The Church and the Cult of Santa Margherita da Cortona." Church History 62, no. 2 (1993): 163–77. http://dx.doi.org/10.2307/3168141.

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Our bodies, like the poor, are always with us. They are the mechanism through which we apprehend the world, and as such—as the inescapable point of contact between subjective consciousness and objective “reality”— the body becomes a primary medium of cultural communication and bearer of cultural meanings. Paradoxically, this is nowhere clearer than in the case of ascetics like Margherita da Cortona, who wage unremitting war on their bodies during their lives and whose bodily remains in consequence are enshrined and revered. It was through her body that Margherita, like other illiterate holy wo

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Boehme, Armand J. "The Voice, the Word, the Books: The Sacred Scripture of the Jews, Christians, and Muslims – By F. E. Peters." Reviews in Religion & Theology 15, no. 3 (2008): 314–16. http://dx.doi.org/10.1111/j.1467-9418.2008.00386_12.x.

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Lešák, Martin F. "Sacred Architecture and the Voice of Bells in the Medieval Landscape. With the Case Study of Mont-Saint-Michel." Convivium 6, no. 1 (2019): 48–67. http://dx.doi.org/10.1484/j.convi.4.2019023.

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Jaffee, M. S. "The Voice, the Word, the Book: The Sacred Scripture of the Jews, Christians, and Muslims. By F. E. Peters." Journal of the American Academy of Religion 76, no. 1 (2008): 207–10. http://dx.doi.org/10.1093/jaarel/lfm108.

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Thomas, David. "The Voice, the Word, the Books: the Sacred Scripture of the Jews, Christians and Muslims. By F. E. Peters." Heythrop Journal 50, no. 6 (2009): 1006–7. http://dx.doi.org/10.1111/j.1468-2265.2009.00523.x.

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Absolon, Kathleen E. "Wholistic and Ethical: Social Inclusion with Indigenous Peoples." Social Inclusion 4, no. 1 (2016): 44–56. http://dx.doi.org/10.17645/si.v4i1.444.

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This paper begins with a poem and is inclusive of my voice as Anishinaabekwe (Ojibway woman) and is authored from my spirit, heart, mind and body. The idea of social inclusion and Indigenous peoples leave more to the imagination and vision than what is the reality and actuality in Canada. This article begins with my location followed with skepticism and hope. Skepticism deals with the exclusion of Indigenous peoples since colonial contact and the subsequent challenges and impacts. Hope begins to affirm the possibilities, strengths and Indigenous knowledge that guides wholistic cultural framewo

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Robinson, Richard. "The Faenza Codex." Journal of Musicology 34, no. 4 (2017): 610–46. http://dx.doi.org/10.1525/jm.2017.34.4.610.

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Owing to gaps in the documentary evidence, the study of medieval instrumental music remains beset with uncertainties. Yet once a context can be established for a given manuscript, it is often possible to establish where the manuscript was probably used, what function it performed, and for which instrument or instruments it was most likely intended. No example highlights this point more clearly than the Faenza Codex (FaenBC 117; henceforth Faenza), an Italian manuscript containing the largest surviving collection of instrumental music from before 1450. This article re-examines the repertorial c

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Kettell, Steven, and Peter Kerr. "The Brexit Religion and the Holy Grail of the NHS." Social Policy and Society 20, no. 2 (2021): 282–95. http://dx.doi.org/10.1017/s1474746420000561.

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The role of populism in mobilising support for Britain’s withdrawal from the European Union has been well noted. But a key feature of populist politics – the use of religious discourses – has been largely overlooked. This article addresses this gap by exploring the way in which the Leave campaign framed Brexit in quasi-religious and mythological terms. Three core themes are identified: (1) that the British ‘people’ had a unique role to play in global affairs; (2) that the sanctity of this special status was threatened by elites and migrants; (3) that the referendum gave voice to the sacred ‘wi

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Fyler, John M. "Hateful Contraries in ‘The Merchant’s Tale’." Critical Survey 30, no. 2 (2018): 20–50. http://dx.doi.org/10.3167/cs.2018.300203.

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Whether or not we choose to identify the narrator of ‘The Merchant’s Tale’ as the Merchant described in the ‘General Prologue’, this narrative voice is certainly not Chaucer’s own, and it augments the malignity of the tale it tells. The narrator attacks a naïve fool from a disenchanted perspective, but unwittingly reveals the continuing blindness within his own knowing stance. The tale debunks all the noble, even sacred ideals it presents, and characterizes them as foolishly innocent elevations of the spiritual in a world defined by the body in its grossest aspects. The narrator’s rhetorical t

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GIBLIN, CHARLES HOMER. "THE MILLENIUM (REV 20.4–6) AS HEAVEN." New Testament Studies 45, no. 4 (1999): 553–70. http://dx.doi.org/10.1017/s0028688598000551.

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Taking the ‘first resurrection’ (Rev 20.4–6) as ‘heaven’ accords with early Christian, non-chiliast views of martyrs and other blessed. Exegetical development of this interpretation requires plotting (in line with the literary structure of Rev 4–22) the convergence of complementary eschatologies: first, the millennium brings to a climax a series of images expressing ‘vertical’ eschatology (the life of God's witnesses after death); second, the whole narrative focuses fulfilment of the Creator's scroll (‘what must take place [γενε´σθαι] hereafter’) on the very end of the end-time (i.e. ‘horizont

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