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Artykuły w czasopismach na temat „Lament”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Fenigsen, Janina, and James Wilce. "Authenticities: A Semiotic Exploration1." Recherches sémiotiques 32, no. 1-2-3 (2014): 103–22. http://dx.doi.org/10.7202/1027774ar.

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Charles Taylor has called ours an “Age of Authenticity”, and authenticity is a popular object of scholarly examination, not least in anthropology. A considerable number of scholars have even proposed models for multiple “authenticities”. None, however, has brought a modified Peircean theoretical tool-kit together with ethnographic evidence that “the natives know” that there are many authenticities. This article seeks to fill that gap. Working with Peirce’s model of the sign and with postmodern theories of originals and replicas, we draw on Wilce’s Finnish fieldwork to analyze what we consider

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2

Pärtlas, Žanna. "From Lament to Lamenting Song: Musical Models, Meanings and Expression in Seto Solo and Choral Funeral Laments." Journal of Ethnology and Folkloristics 19, no. 1 (2025): 91–124. https://doi.org/10.2478/jef-2025-0006.

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Abstract The distinctive ancient culture of the Seto (south-eastern Estonia) is of special interest, among other things, for its rich lament tradition which survived until the recent past. Unlike the laments of other Balto-Finnic peoples, which are an exclusively solo genre, some Seto laments – all the bridal laments and the funeral laments for a deceased maiden – are performed by a group of lamenters as a kind of polyphonic lamenting song. The unusual practice of choral lamentation raises important questions about the functions and meanings of laments in traditional culture, the specificity o

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3

Anand, Neha. "Reflection of lament in literature." International Journal of Advance Research and Innovation 1, no. 2 (2013): 42–45. http://dx.doi.org/10.51976/ijari.121311.

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It is righty said that “Literature is a mirror of life.”Literature is a mode of expression of feelings and emotions. All the ills, customs, rituals, sacraments even the human emotions are beautifully expressed in literature and so are the case with lament also. Lament is simply a song or poem expressing deep grief or mourning. It is such a strong feeling that nothing and no one in the world can give relief from lament. Many of the oldest and most lasting poems in human history have been laments. Even Lament is there in Hindu Vedas and in ancient Near Eastern religious texts, including the Meso

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4

Melton, Narelle Jane. "Lessons of Lament: Reflections on the correspondence between the Lament Psalms and early Australian Pentecostal Prayer." Journal of Pentecostal Theology 20, no. 1 (2011): 68–80. http://dx.doi.org/10.1163/174552510x526232.

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AbstractThis paper reflects on research which discovered a correspondence between the form of the biblical lament psalms and the early Australian Pentecostal (1908 – 1937) practice of prayer. It is argued that this has significant implications for Christians today in relation to the critique that the contemporary church has lost the practice of lament. Specifically four dimensions of lament-prayer were considered for contemporary Pentecostal Christianity, including (1) the lament dialogue, (2) the lament protest, (3) the margins of lament, and (4) the glossolalic lament. Overall, it is propose

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5

Prezotto, Joseane Mara. "Lamento trágico masculino." Aletria: Revista de Estudos de Literatura 32, no. 4 (2023): 128–48. https://doi.org/10.35699/2317-2096.2022.40077.

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My focus in this article is the lament songs represented in the Aeschylus tragedy Persians. I reassess Hall’s position (1989, 1995, 1996) to address gender issues potentially present in the final lament of the play, which is quite intense. Hall’s critic suggests effeminacy, almost hysteria, in the performance of the chorus and Xerxes. I bring in the criticism of Suter (2008), whose arguments seem convincing for reviewing usual interpretations of male laments in Athenian tragedies. The terms for identifying the laments are those provided in Wright’s thesis (1986). I consider the cultural and li

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6

MacPherson, Chelsey, Brian James MacLeod, Lodaidh MacFhionghain, and Laurie Stanley-Blackwell. "Converses with the Grave: Three Modern Gaelic Laments." Genealogy 5, no. 1 (2021): 22. http://dx.doi.org/10.3390/genealogy5010022.

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Within Scottish deathways, the Gaelic lament has long served as a poignant and powerful outlet for loss. In this creative piece, three Canadian-born, Gaelic-speaking poets present their previously unpublished Gaelic laments along with English translations. This collaborative article is designed to demonstrate, in a creative rather than an academic format, that the venerable lament tradition continues to enjoy longevity and vitality in the present day as a literary expression of grief among Gaels. This article further demonstrates that modern Gaelic laments are not constrained by a strict fidel

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7

Holst-Warhaft, Gail. "The Poetics of Pain." Journal of World Literature 8, no. 1 (2023): 104–22. http://dx.doi.org/10.1163/24056480-00801009.

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Abstract Modern Greek poetry has been influenced by a tradition of lament that is still practiced in rural Greece, and by the tragic events of modern Greek history. In contrast to the elegiac tradition, laments and their women practitioners ascribe a positive value to pain. Male poets of the generation of 1930 made use of the imagery of folk lament in their poetry, and women poets of the second half of the 20th century addressed the dead directly as their village counterparts still do. The Asia Minor catastrophe of 1922 dominated 20th-century modern Greek literature and drew on another traditi

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8

Sigmon, Casey T. "“Blessed Is the One Whose Bowels Can Move: An Essay in Praise of Lament” in Contemporary Worship." Religions 13, no. 12 (2022): 1161. http://dx.doi.org/10.3390/rel13121161.

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The CCLI charts may not reflect it, yet one thing many Christian churches discovered as the pandemic raged across the world (and violence at home and abroad) was the need for songs of sacred lament. Unfortunately, many churchgoers, especially those who identify as practitioners of contemporary Christian worship, have cultivated a gap between the biblical give and take of praise and lament revealed most poignantly in the book of Psalms. This chasm between praise and lament is a problem, as a liturgical discourse about disastrous events is weakened. Churches sing congregational songs of praise i

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9

Scarborough, Connie L. "A Female Voice for Action in the Tragicomedia de Calisto y Melibea." Medievalia 53, no. 2 (2021): 71–90. http://dx.doi.org/10.19130/medievalia.2021.53.2.67984.

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Although most critical attention on laments for the dead in the Tragicomedia de Calisto y Melibea has focused on Pleberio’s long lament for Melibea in Auto XXI, Elicia’s lament for the loss of her lover, Sempronio, his companion, Pármeno, and her protector, Celestina, is highly significant for plot development. Her lament is a decisive event that sets in motion a plan for revenge that will ultimately lead to the deaths of Calisto and Melibea. This article demonstrates how Elicia’s personal experience of loss brings about significant changes in her characterization. With the help of Areúsa, Eli

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10

CAMPBELL, D. KEITH. "NT Scholars' Use of OT Lament Terminology and Its Theological and Interdisciplinary Implications." Bulletin for Biblical Research 21, no. 2 (2011): 213–25. http://dx.doi.org/10.2307/26424641.

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Abstract The term lament has become a household label in OT studies since Hermann Gunkel's 1933 groundbreaking work, Einleitung in die Psalmen. After seven decades of research into OT lament, the term now identifies, in contrast to classical English usage, an established genre that connotes significant theological implications. This article explores how English and German NT commentators pre- and post-Gunkel have appropriated this term in relation to a sampling of NT passages. In essence, it argues that NT commentators consistently label Matt 2:18, 23:37–39, Luke 13:34–35, 19:41–44, and 23:27–

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11

Reynolds, Kent Aaron. "The Answer of Psalm cxix 9." Vetus Testamentum 58, no. 2 (2008): 265–69. http://dx.doi.org/10.1163/156853308x265927.

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12

Beal, Lissa M. Wray. "Mourning Women, the Voice of God, and the Limits of Lament: Women’s Songs of Lament in Jeremiah." Bulletin for Biblical Research 33, no. 4 (2023): 489–505. http://dx.doi.org/10.5325/bullbiblrese.33.4.0489.

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Abstract The book of Jeremiah contains metaphors depicting Israel and Zion as a woman. These include the city as a mourning woman (4:19–21; 10:20). Real mourning women are addressed in Jer 9:17–22, following laments variously attributed to Jeremiah and/or Yahweh (8:18–9:2, 10). Working with the (MT) canonical form and engaging the insights of trauma studies, this article traces linguistic and thematic connections between the two passages before tracing similar connections to Rachel’s lament (Jer 31). The mourning women in Jer 9 serve a societal role by giving voice to lament; this effective po

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13

Pranoto, Minggus Minarto. "The SPIRIT AND LAMENT." Jurnal Amanat Agung 17, no. 2 (2022): 273–98. http://dx.doi.org/10.47754/jaa.v17i2.516.

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Abstract: This article aims to explain about lament from the perspective of psychology and pneumatology. Psychology helps to explain psychic state of one who laments because of experiencing grief and bereavement; and pneumatology understands lament theologically by seeing and knowing God, self, and the world through the experience with the Holy Spirit in the believers. The two perspectives above are synthesized to understand the lament in the context of the life of believer. The method used is an interdisciplinary study between psychology and pneumatology by looking for connecting points that

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14

Bogucki, Marcin. "Nimfa, Ariadna, Licori. Kształtowanie kobiecej tożsamości w dziełach Claudia Monteverdiego." Res Facta Nova. Teksty o muzyce współczesnej, no. 20 (29) (December 15, 2019): 69–84. http://dx.doi.org/10.14746/rfn.2019.20.6.

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This article analyses the way of setting lament and the theme of madness to music in the first half of the seventeenth century, on the example of the works of Claudio Monteverdi. At that time the way of expressing states on the verge of madness was the lament as a distinctive musical form in the course of the composition. The discussion takes as its point of departure one of the most famous examples of lament from early seventeenth century, Claudio Monteverdi’s The Nymph’s Lament – an emotional outburst by the eponymous heroine, held within bounds by a chorus of male voices. The work is

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15

Koestenbaum, Wayne. "Lament." Antioch Review 56, no. 4 (1998): 460. http://dx.doi.org/10.2307/4613744.

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Lick, Renee C. "Lament." Journal of Christian Nursing 29, no. 3 (2012): 158–63. http://dx.doi.org/10.1097/cnj.0b013e31825824bd.

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Swiss, T. "Lament." Literary Imagination 17, no. 1 (2011): 54. http://dx.doi.org/10.1093/litimag/imr100.

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Cunningham, C. "Lament." Literary Imagination 14, no. 1 (2011): 87. http://dx.doi.org/10.1093/litimag/imr115.

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Thorner, Alice. "Lament." Monthly Review 39, no. 7 (1987): 56. http://dx.doi.org/10.14452/mr-039-07-1987-11_5.

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Dungy, Camille. "Lament." Missouri Review 24, no. 3 (2001): 137. http://dx.doi.org/10.1353/mis.2001.0128.

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Siegel, Joan I. "Lament." JAMA: The Journal of the American Medical Association 269, no. 3 (1993): 341. http://dx.doi.org/10.1001/jama.1993.03500030037015.

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Thomas, Harry. "Lament." Literary Imagination 24, no. 3 (2022): 282. https://doi.org/10.1353/lim.2022.a941562.

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Cunningham, Chris. "Lament." Literary Imagination 14, no. 1 (2012): 87. https://doi.org/10.1353/lim.2012.a942987.

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Swiss, Thomas. "Lament." Literary Imagination 17, no. 1 (2015): 54. https://doi.org/10.1353/lim.2015.a943615.

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25

Oras, Janika, Žanna Pärtlas, Mari Sarv, and Andreas Kalkun. "The Metrics of Seto Choral Laments in the Context of Runosong Metrics." Studia Metrica et Poetica 8, no. 1 (2021): 40–98. http://dx.doi.org/10.12697/smp.2021.8.1.02.

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The aim of this paper is to get an overview of the lament metrics in Seto oral song tradition, which belongs to the southern border area of the Finnic song tradition, and the placement and historical development of lament metrics in the framework of the whole Seto oral song tradition. In the paper the metrical structures of two main genres of Seto choral laments – choral bridal laments and death laments – are analysed that share common features with solo laments and are similar to the structures of Seto runosongs. Metrical structures of the laments are detected based on sound recordings, takin

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26

Oras, Janika, Žanna Pärtlas, Mari Sarv, and Andreas Kalkun. "The Metrics of Seto Choral Laments in the Context of Runosong Metrics." Studia Metrica et Poetica 8, no. 1 (2021): 40–98. http://dx.doi.org/10.12697/smp.2021.8.1.02.

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The aim of this paper is to get an overview of the lament metrics in Seto oral song tradition, which belongs to the southern border area of the Finnic song tradition, and the placement and historical development of lament metrics in the framework of the whole Seto oral song tradition. In the paper the metrical structures of two main genres of Seto choral laments – choral bridal laments and death laments – are analysed that share common features with solo laments and are similar to the structures of Seto runosongs. Metrical structures of the laments are detected based on sound recordings, takin

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27

Harrán, Don. "A Jewish Female Cannibal in Two Seventeenth-Century Cantatas." Journal of Musicology 31, no. 4 (2014): 431–70. http://dx.doi.org/10.1525/jm.2014.31.4.431.

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Laments were frequent in both cantatas and operas in the seventeenth century. The two emotions expressed in the lament were those that Aristotle connected with the essence of tragedy, namely, pity (on the fate of the one who laments) and fear (lest the observer share the same fate). Fear turns to fright in two mid-seventeenth century cantatas, in which a Jewish mother cooks her son, eats his flesh, and licks his blood in order to relieve her hunger, then bemoans her act in a lament. The present study describes examples of laments and female cannibals in Scriptures, identifies the particular fe

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28

Dundon, Patrick. "Two Poems: Hansel’s Lament; The Breadcrumbs’ Lament." Fairy Tale Review 20, no. 1 (2024): 64–67. https://doi.org/10.1353/fair.2024.a960950.

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Slaght, Jonathan C. "Arsen’ev’s Lament." Sibirica 19, no. 3 (2020): 79–89. http://dx.doi.org/10.3167/sib.2020.190306.

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In 1900, Vladimir Arsen’ev arrived in a remote corner of the Russian Empire on the cusp of significant change. Forests in the Ussuri Kray (now Primorskiy Kray, or Primorye) were wild, wildlife was abundant, and the human population was low. Twenty-one years later, after witnessing a sustained influx of settlers and a reduction of wildlife, in his introduction to Across the Ussuri Kray [Po Ussuriiskomy kraiu], a travelogue about his experiences in the region, Arsen’ev mourned the passing of this unique time and place. This article outlines Arsen’ev’s contributions to our understanding of Primor

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30

Chakera, Turab, and Makhan S. Khangure. "Radiologists’ lament." Medical Journal of Australia 189, no. 11-12 (2008): 628. http://dx.doi.org/10.5694/j.1326-5377.2008.tb02218.x.

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White, James J., and Phoebe. "Phoebe's Lament." Michigan Law Review 98, no. 8 (2000): 2773. http://dx.doi.org/10.2307/1290367.

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Joseph, Richard A. "Laureate's lament." Journal of Democracy 8, no. 1 (1997): 167–73. http://dx.doi.org/10.1353/jod.1997.0002.

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Reichenfeld, H. F. "Eastwood's Lament." Canadian Journal of Psychiatry 40, no. 1 (1995): 46. http://dx.doi.org/10.1177/070674379504000111.

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Herron, Elizabeth Carothers. "Psyche's Lament." Psychological Perspectives 58, no. 4 (2015): 493–94. http://dx.doi.org/10.1080/00332925.2015.1092816.

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Mecouch, George. "Jung's Lament." Psychological Perspectives 59, no. 3 (2016): 376–90. http://dx.doi.org/10.1080/00332925.2016.1202686.

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GOEDICKE, H. "'Menna's Lament'." Revue d'Égyptologie 38 (January 1, 1987): 63–80. http://dx.doi.org/10.2143/re.38.0.2011633.

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de Béarn, Gaston. "Freddy's Lament." Baffler 4 (March 1993): 56. http://dx.doi.org/10.1162/bflr.1993.4.56.

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Sweet, Denise. "Lightwoman's Lament." Cream City Review 42, no. 1 (2018): 10–11. http://dx.doi.org/10.1353/ccr.2018.0001.

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O'SULLIVAN, MAGGIE. "Hannah's lament." Critical Quarterly 34, no. 4 (1992): 95. http://dx.doi.org/10.1111/j.1467-8705.1992.tb00452.x.

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BLUNT, Robert W. "Kenyatta's lament." HAU: Journal of Ethnographic Theory 3, no. 3 (2013): 167–93. http://dx.doi.org/10.14318/hau3.3.008.

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Patti, Chris J. "Hopeful Lament." Departures in Critical Qualitative Research 4, no. 1 (2015): 127–30. http://dx.doi.org/10.1525/dcqr.2015.4.1.127.

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A personal reading of Robin M. Boylorn's rich, troubling, critical, and beautifully composed text Sweetwater inspired the author to respond in the poetic form of the blues. Mixing major (hopeful) and minor (heartbreaking) themes and written as a lament, the author confronts the sorrow of marginalization and praises the brave and hopeful power of Boylorn's writing, which speaks in personal, familial, and cultural registers about the oppression and resilience of Southern black women. This song resolves by highlighting the philosophical and theoretical possibilities made possible by the critical

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42

Vincie, Catherine, Sue Mielke, and Celeste De Schryuer Mueller. "Birthing Lament." Liturgy 14, no. 1 (1997): 1–12. http://dx.doi.org/10.1080/0458063x.1997.10392383.

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Miller, Nancy Anne. "“Walcott’s Lament”." Caribbean Quarterly 66, no. 1 (2020): 130. http://dx.doi.org/10.1080/00086495.2020.1722380.

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Tyler, Meg. "Before Lament." Literary Imagination 19, no. 2 (2017): 178. http://dx.doi.org/10.1093/litimag/imx030.

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Gilman, John. "Library Lament." Materials Technology 12, no. 3-4 (1997): 112–13. http://dx.doi.org/10.1080/10667857.1997.11752740.

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Doering, Milan F. "Traditionalist's lament." Contemporary Psychology: A Journal of Reviews 41, no. 4 (1996): 398. http://dx.doi.org/10.1037/005070.

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Brothers, Doris. "Lily’s Lament." Psychoanalysis, Self and Context 13, no. 1 (2017): 13–16. http://dx.doi.org/10.1080/24720038.2018.1388063.

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Taylor, Julie. "Desdemona's Lament." TDR/The Drama Review 45, no. 4 (2001): 106–24. http://dx.doi.org/10.1162/105420401772990351.

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How can Argentine women, after imprisonment and torture, reconstruct what happened to them, represent their experiences, and understand how doing theatre in prison helped them? Men exprisoners acknowledge that women have advanced further in developing strategies that move beyond the hierarchical and authoritarian activism of the Leftist resistance.

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Harvey, Stephen T., and Carol Wiley Cassella. "Anesthesiologist's Lament." Anesthesiology 115, no. 2 (2011): 432. http://dx.doi.org/10.1097/aln.0b013e31820b8b5d.

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Davis, J. Mostyn. "Vendor's lament." Postgraduate Medicine 77, no. 3 (1985): 22–23. http://dx.doi.org/10.1080/00325481.1985.11698885.

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