Hymn Of Praise Research Articles

The Usages of the Homage to the Five Supreme Entities in the Romance Poems (8th–12th Centuries)

Used to mark devotion to the main propagators of Jainism, namely the Jina (arhat), the Liberated Souls (siddha), the Teachers (ācārya), the spiritual Guides (guru), the Preceptors (upādhyāya), and the monks (muṇi), the formula of homage to the five supreme entities (pañcanamaskāra) underwent a significant development in the medieval period where it became a mantra protecting against all evils and violence and symbolising Jainism in its entirety and its respect for life in all its forms amidst the various Indian religions. In the present paper, I intend to investigate how the formula was used in largely unknown romance poems composed in the Prakrit language by Jaina scholar monks in medieval North India between the 8th and 12th centuries. Particular attention will be paid to how the writer monks used the formula of homage in the narrative to avoid the use of violence. The analysis will also focus on the development of the formula in the hymns of praise of the romance poems and study its significance in the context of the spread of Jainism at the turn of the first millennium, a period that led to the advent of King Kumārapāla, who has remained famous in history not only for the imposing monuments he left behind, but also for his conversion to Jainism and his governance according to principles of non-violence.

O modlitwach w Podróży do Świętych miejsc w 1830 roku Andrzeja Murawjowa

Conversation with God accompanied people of various times, nations and religions, because of a universal dimension of the desire for dialogue with the Absolute. The article attempts to analyze those of the prayers which Andrey Muravyev, a Russian writer, poet, state and church activist, practiced during his first pilgrimage to Palestine. Texts of the prayers were from The journey to Holy Places in 1830 (2 vols), which is a record of the author’s experiences and impressions from his pilgrimage to the Holy Land. As an epigraph to both parts of this Muravyev’s work, the words from Ps 135(134) – a hymn of praise to the Lord who works miracles – were served. Attention of the article is paid to: the sense of the prayers, their biographical and literary context, the lexical and partly grammatical material, which Muravyev used (making necessary reference to the Greek and (or) Hebrew sources of Church Slavonic translations of the prayers) and their theological message as well.

Малые циклы песнопений во Всенощном бдении ор. 37 С. В. Рахманинова: образно-тематическое содержание и особенности композиции

The article is devoted to the problem of the organization of the structure of the choral cycle of the All-Night Vigil of Op. 37 S. V. Rachmaninov. As one of the most important elements of its compositional construction, the interaction of four small cycles is considered here, each of which is characterized by a common figurative-thematic content and means of composition. These are: 1. The cycle of Old Testament and New Testament Hymns of Vespers; 2. The Cycle of Theotokos Hymns; 3. The cycle of hymns of praise; 4. The cycle of Sunday Hymns. Small cycles include both alternate chants following each other, and interconnected at a distance.The purpose is to identify the features of the author's musical reading of the canonical text of the service, the placement of artistic accents emphasizing certain motives of the Holy Scripture. The methodology of the work is based on an interdisciplinary approach to the study of spiritual and musical works, using information from liturgics, religious philosophy, as well as scientific categories of Russian musicology.Conclusion. The organization of the structure of the choral cycle of the All-Night Vigil Op. 37 by S. V. Rachmaninov testifies to the versatility, versatility of this composition, located between the liturgical and extra-liturgical genre poles, and its architectonics is characterized by the interaction of the four small cycles included in it. Along with the generality of the figurative and thematic content, the formation of small cycles is due to the peculiarities of the composition at the level of melody, shaping, texture, ladoharmonic and tonal plan.

Khenpo Kalsang Dhondup’s “Incomparable Guide,” Translated by Khenpo Kalsang Dhondup and Patrick Dowd

In his poem "Incomparable Guide" (ston pa mtshungs med), Khenpo Kalsang Dhondup brings a modern, almost scientific, perspective to the traditional Indo-Tibetan genre of "hymns of praise" (Skt. stotra, Tib. bstod pa), a thematically-oriented verse form that may date as far back as the sixth century BCE. The poem offers us an intriguing glimpse at the poetry of a learned Khenpo who writes beautifully, but whose humility has previously prevented him from sharing his work more widely with others.

Peraturan Tentang Mezbah didalam Keluaran 20: 22-26

Summary Worship in the Christian sense is God's commandment, which must be fulfilled by everyone who is redeemed and saved through the Lord Jesus Christ. The purpose of the study is to answer: What is meant by the worship of a believer? According to the Bible, what are the components of worship? How do you live worship in the church life? This study used a qualitative method with a library research approach. The results of this study are: (1) True worship is serving God by offering various acts and attitudes of respect and adoration, submission and obedience with gratitude to the whole body, soul and spirit. (2) The elements of worship are an expression of the human mind which acknowledges that God is sovereign, full of power, and full of goodness. With a series of personal and human sacrifices approaching the altar of God with sacrifices. (3) Worship is lived in the life of the church with Jesus as the object of worship through hymns of praise, prayer, confession of sins, forgiveness, thanksgiving. The church life consists in offering the best sacrifices to God, that is body, soul.

Intellectual Life and Literature at Solovki, 1923–1930: The Paris of the Northern Concentration Camps

Intellectual Life and Literature at Solovki, 1923–1930: The Paris of the Northern Concentration Camps

DAKWAH MELALUI PUJI-PUJIAN DI MUSHOLLA AL-UKHUWAH KOTA BARU DRIYOREJO GRESIK

Hymns of praise that are usually read by worshipers before the fardlu prayer begins in the musholla or mosque are oral literature that contains the message of da'wah. Because praise has the same characteristics as oral literature, namely its spread by word of mouth, describes the cultural characteristics of the community, it is not known who the author is, consists of various versions, the language used is everyday spoken language, not concerned with facts and truth, usefulness (function) in the joint activities of a society. Praise also has its own logic that is not in accordance with logic in general, and is innocent and innocent. The praises recited at the Al-Ukhuwah Mosque are part of the Islamic da'wah. The function and usefulness of the praises have messages that provide exemplary lessons, for example there are several da'wah messages, namely da'wah messages about the introduction of the mandatory nature of Allah, about the love of the Apostle, about the antidote to the heart, about the command to pray, and so on.

“G‘aroyib us-sig‘ar”devonidagi alif bilan tugallanuvchi hamd g‘azallarning matniy xususiyatlari(To‘pqopi, Parij va Dushanbe nusxalari asosida)

This article analyzes the text of praise poems of Alisher Navai, which begins with the letter “Alif” in the first divan of “Khazayn ul-Maoniy” – “Gharoyib us-sigar”. Three copies of Devon's manuscripts preserved in Dushanbe (1990), Istanbul (Revan 808) and Paris (Turc 317) are comparatively studied. There also applied for a critical text prepared by H. Suleiman. In terms of reliability, the article examines from the literary practical and theoretical point of view and textual criticism. The author explores the differences between the copying of gazelles, as well as their content. There also defined the two of three manuscripts, there is a hymn of praise that is included but not in one.

“Imaige A La Vierge Marie” The Hours of Mary Of Burgundy, Her Marriage, and Her Painter, Hugo Van Der Goes

AbstractThe Vienna Hours, illuminated by the artist known as the “Master of Mary of Burgundy”, was originally commissioned by Margaret of York. The later parts of the manuscript commemorate the love and marriage between Mary of Burgundy and Maximilian of Habsburg, and their (newborn or expected) child.The miniatures and texts in question convey the same idea expressed on several occasions by the official historian, Jean Molinet: in the Burgundian court, the duchess was venerated as the Virgin Mary (and in consequence of this, Maximilian – and Philip – came to be revered as the Saviour, and Frederick III, Holy Roman Emperor, as the Father). Underlying the tendency to identify Mary of Burgundy with the Virgin Mary was the situation of Burgundy and its heiress, which was understood by means of salvation-historical analogies. In the book of hours, the figures of the two Marys are conflated several times in a variety of ways (fols. 14v, 19v, 43v, 94v, 99v). The hymn in praise of the heavenly joys of the Virgin Mary, which is organically related to the frontispiece image, is thus (also) a chanted sequence for the eternal beatitude of the young bride. The painter conjured up the imaginary figure of Maximilian in the foreground of the two miniatures with window scenes, while the jewels in the border around the image of the Crucifixion scene allude to Margaret of York. These miniatures have a playful tone (as evidenced by the role-swapping between the Marys, the book-within-a-book, picture-within-a-picture, vision-within-a-vision, trompe l’oeil solutions, and the complex dialogue between objects, materials and locations).There are a number of factors supporting the argument that the miniatures, hitherto attributed to the Master of Mary of Burgundy, were illuminated by Hugo van der Goes, who was a resident of the Red Cloister at the time, and that he was commissioned by the Austrian Archduke. The date of 1478 is rendered likely by stylistic and biographical factors (the paintings Hugo made in the cloister, both before and after, his later illness, the visit of Maximilian, the birth of Philip the Handsome). It was also at this time that Jean Molinet wrote Le Chappellet des dames, which makes multiple comparisons between the duchess and the Virgin Mary, and whose imagery is often echoed in the folios of the Vienna Hours. It is possible that the first (co-)owner of the manuscript was Maximilian of Habsburg.

O uso da prática espiritual no tratamento da dor de pessoas com câncer

Objetivo: Identificar se os pacientes com câncer utilizam a prática espiritual no enfrentamento da dor fí­sica causada pelo câncer e quais são as estratégias espirituais utilizadas. Método: Trata-se de estudo transversal e descritivo, realizado em um hospital de referência em tratamento quimioterápico e uma casa de apoio a pessoas com câncer, localizados no sul da Bahia, entre agosto e setembro de 2019. Para a coleta foi utilizado um questionário com variáveis sociodemográficas e perguntas acerca da espiritualidade. Resultados: A maioria das pessoas realizavam estratégias espirituais: oração, leitura da bí­blia, ir í missa/culto, hinos de louvor, acender velas, rezar o terço, meditação e ter fé nos médicos e em Deus. Conclusão: O uso da prática espiritual é uma estratégia utilizada pelas pessoas com câncer que participaram do estudo para o alí­vio da dor fí­sica causada pela doença, e que tal estratégia reduz a dor.

Subversive song: Imagining Colossians 1:15–20 as a social protest hymn in the context of Roman empire

A connection exists between the Christological hymn of praise and protest in Col 1:15–20 and popular protest music. The connection is the lyrical ability to transform political and socio-cultural realities, as well as to empower and mobilize protest and resistance against imperial power and coercive structures of domination. A special focus is on Billie Holiday’s song, “Strange Fruit,” a contemporary model of a protest song in comparison to Col 1:15–20. In the comparison, the Colossians hymn draws upon the political ideology and imagery of the Roman Empire in the form of a counter-discourse, as was Jewish resistance poetry, in ways analogous to how Holiday’s “Strange Fruit” evokes the imagery of white racial terror for the sake of raising political consciousness.

Gorky and Nietzsche: A Philosophical View of “Man”

Gorky’s story “Man,” as the title already makes evident, is a hymn of praise to man as the driving force of history, its main character, the source (or bearer) of all its meanings. However, man is also to some extent the victim of history, its slave, and the meanings he invests in being often turn against him or cease to be recognized by him as his particular property or product. Written in an elevated, poeticized language and conveying unmistakable philosophical content, “Man” was often the object of criticism and reproach due to its author’s unique Nietzscheanism. This article attempts to consider all the essential aspects linking “Man” and Nietzsche’s idea of the Overman, as well as to show both the commonalities and differences between Gorky’s position and Nietzsche’s.

Resurrection and God’s Kingship in Tobit 13

Tob 13:2 is found in the context of the hymn of praise of Tobit in Tobit 13. The chapter contains a Zion Song in 13:9-18 addressed to Jerusalem, similar to those found especially in Ap Zion (11QPsa XXII 1-15]) and Bar 4:30-5:9. The latter two do not have the idea of resurrection that appears in Tob 13:2, which in its immediate context (v. 1-8) is closely connected with 13:9-18. The paper aims at providing an overview of Tobit 13 in the context of the book and in relation to Ap Zion (11QPsa XXII 1-15) and Bar 4:30–5:9, while summing up the most important differences of the three Zion songs and attempting to explain the presence of the idea of resurrection in Tobit 13. The main arguments are as follows: the appearance of the concept of resurrection in relation to that of God’s kingship in proximity to a Zion song has to do – among others – with the characteristic content of Tobit’s and his family’s storyline in Tobit 1–12 and with the concern to combine notions of national and personal fate. The study refers to some of the scriptural influences on Tobit 13 and their significance, and treats the questions of the author’s view on God’s kingship, authority and on retribution at a national and individual level.

Categorical combinatorics of scheduling and synchronization in game semantics

Game semantics is the art of interpreting types as games and programs as strategies interacting in space and time with their environment. In order to reflect the interactive behavior of programs, strategies are required to follow specific scheduling policies. Typically, in the case of a purely sequential programming language, the program (Player) and its environment (Opponent) will play one after the other, in a strictly alternating way. On the other hand, in the case of a concurrent language, Player and Opponent will be allowed to play several moves in a row, in a non-alternating way. In both cases, the scheduling policy is designed very carefully in order to ensure that the strategies synchronize properly and compose well when plugged together. A longstanding conceptual problem has been to understand when and why a given scheduling policy works and is compositional in that sense. In this paper, we exhibit a number of simple and fundamental combinatorial structures which ensure that a given scheduling policy encoded as synchronization template defines a symmetric monoidal closed (and in fact star-autonomous) bicategory of games, strategies and simulations. To that purpose, we choose to work at a very general level, and illustrate our method by constructing two template game models of linear logic with different flavors (alternating and non-alternating) using the same categorical combinatorics, performed in the category of small categories. As a whole, the paper may be seen as a hymn in praise of synchronization, building on the notion of synchronization algebra in process calculi and adapting it smoothly to programming language semantics, using a combination of ideas at the converging point of game semantics and of categorical algebra.

„Oczy szeroko zamknięte” — czyli o tym, co jest , a czego nie widać w nowych polskich muzeach o II wojnie światowej

“Eyes wide shut”: On what there is and what cannot be seen in new Polish Second World War museumsMuseums have always been political institutions. Owing to this engagement, they are not neutral and they should not claim objectivity. Facts and artefacts at an exhibition exemplify the assumed hypotheses. This means that visitors are objects of manipulation. In case of the Warsaw Rising Museum, which was the first narrative museum in Poland, World War II was a trial, which the first victim of the German aggression — the Polish nation en bloc — underwent successfully. Th at was a time of heroes who should be imitated. The decision about the rising was right, even though the capital and its population were annihilated as a result of it. In contrast, in the Museum of World War II in Gdańsk, the war was a tragedy for the whole humanity and a hecatomb of the civilian population, with the presentation of the history of Poland nation as just one of many. If there were heroic deeds, they were individual and exceptional. Heroism was not only combat. Survival was the aim.This means that the first museum is about “men’s adventure”, which is fighting among faithful comrades — it’s a hymn of praise to the valour of the Poles under German occupation. The more innocent the victims, the higher the factor of heroism. By contrast, the other museum is a warning — every war is first of all a failure of humanity. These two interpretations of the events of World War II differ from each other as the target groups of both exhibitions are different. Supporters of the Warsaw Rising Museum do not accept the Museum of World War II and vice versa; they often voice opinions about something they did not have a chance or did not even feel like to see. These institutions are reflections of political disputes which divide Poles into supporters and opponents of certain historical policies which are pursued by making use of museums and in relation to them.

Treasures from the Collections

Anatomy… a hymn in praise of the wisdom of God

Ecstatic Hymns: The Hymn’s Role in Encountering Mystery in Liturgical Worship

The Mass’s music enables us to encounter God by being drawn out of ourselves by beauty. Thus, hymns form us ecstatically by engaging the intellectual, physical, and spiritual elements of our human nature to better know and love God as Mystery and Beauty Engaging the whole human person, singing enables us to offer God all of ourselves and so encounter God as Mystery. Drawing on the work of Hans Urs von Balthasar writes, this paper will reflect on how the beauty of song invites us into the Mystery of Beauty: God. Singing a hymn of praise is a transformative experience of beauty, which draws us out of ourselves, placing us in a posture in which we can encounter and be formed by God, and so more fully be able to encounter God, others, and ourselves.

An Understanding the Pauline Christology Significance of Firstborn (Protokos) In The Light of Paschal Theology: Critical Evaluation on Colossian 1: 15-20

Paul was claimed as the most controversial person in his theology. Many scholars said that he was influenced by Hellenistic Judaism in his theology; while others claimed it was affected by Jewish thinking. The concept of ‘protokoj’ (firstborn) was stated being influenced by Hellenistic Judaism and did not imply the rest of New Testament Theology. Some said that firstborn in Colossian 1: 15–20 was a hymn in praise of Christ, while others would say that firstborn in the Hymn Christology is congenial, but not identical with Paul’s theology. This research aimed to show the concept of firstborn as the main window showed Pauline Christology significance in the light of Paschal theology. The methods used in this research were descriptive and biblical text analysis. The conclusion of this research is that the death of Christ is the main point to see how firstborn of all creation not counted as ontological in meaning, but it has the power to show the readers about Pauline Christology. The firstborn of all creation is seen in the context of redemptive history and bring the audience to see how powerful the title to see Pauline Christology.

A Day in the Life of an Aesthetic Tāntrika: From Synaesthetic Garden to Lucid Dreaming and Spaciousness

This essay addresses the question of the relationship between Aesthetics and Tantra, in the world-view and life-world of Hindu Tantric visionary Abhinavagupta (ca. 975–1025 C.E.) and his tradition. I respond to a classic work on Abhinavagupta’s understanding of aesthetic experience and religious experience by shifting the focus from ultimate experience to the life of a liberated being. I argue that Abhinavagupta’s blending of Aesthetics and Tantra naturally follows from his view of liberation, which re-integrates the body and senses into the religious life, and affirms the reality of the material world in which the liberated being is embedded. I recover the very humanness and boundedness of Abhinavagupta as an additional way of understanding liberation. I draw on hymns of praise, descriptions of ritual, thoughts on hermeneutics of Being, and complex metaphors, from Abhinavagupta’s tradition, and engage with various thinkers, including Performance Theorist Richard Schechner and neurologist James Austin, to flesh out complex metaphors depicting the relationship between consciousness and the world. I conclude by reflecting on similarities between the Trika model of Self, as interpreted by Abhinavagupta’s student Kṣemarāja, and lucid dreaming.

Neues zum Pindar-Testimonium fr. 31 Snell-Mähler: Textkritik und Interpretation

This article shows that Wilamowitz’ athetesis of the prefix κατα- in Pindar’s fr. 31 (= Aelius Aristides, In Defence of Rhetoric 420) is supported by the hitherto neglected Aristides manuscript Athous Iviron 163. In an attempt to interpret the fragment against the background of Aristides’ speech, I adopt an alternative reading (transmitted by the codex Vaticanus Urbinas graecus 123) that allows us to restore an otherwise rather awkward passage. Finally, I demonstrate that the myth of the gods asking Zeus to create special deities to praise creation and its maker which is reflected in the Pindaric fragment has inspired Philo and Aristides alike: they both integrate it into their shared conception of the gift of logos as a means to offer thanksgiving to the divine through hymns of praise.