Love Song Research Articles

Giving a Voice to Minority: Practical Exploration of Ethnographic Animation

Ethnographic animation, a novel form of visual ethnography, is capable of recording and representing traditional cultures, experiences, memories and other non-textual historical materials and cultural elements of ethnic minority groups. As a medium tasked with recording facts, how to ensure that the content displayed by ethnographic animation is true and accurate is an issue that animators need to pay attention to. Based on the author's ethnographic animated short film Longhorn Miao’s Love Songs, this paper demonstrates that establishing a balanced relationship between etic and emic perspectives and applying participatory design methods in the process of ethnic animation practice can effectively help community members express their cultural views and voice through animation, thus showing the cultural interpretation of ethnic minorities to the greatest extent. The research results of this paper will provide a reference paradigm for animation practice related to ethnic minorities.

Delineation of Love and the Overwhelming Questions of J. Alfred Prufrock in T S Eliot’s Poem “Love Song of J. Alfred Prufrock”

Modern poetry is marked with the spirit of revolt against humanism and romanticism. The note of pessimism is always discernible in modern poetry that expresses a feeling of frustration among the people. T S Eliot is a modern poet not merely because of the novelty of his themes and by awareness of his time but chiefly because of the new method evolved by him for poetic communication. His poem “Love Song of J. Alfred Prufrock” is an excellent example of modern poetry that deals with the complexities and dilemma of modern man. The present paper attempts to deal with the description of love of J Alfred Prufrock and his problems while expressing his feelings to his lady love. The paper tries to make an in-depth study of the situation faced by the protagonist who is in quest of a successful love relationship.

Shifting Emotional Expression in Lithuanian Love Songs

The article focuses on social and cultural background of the shifts taking place in the stylistics and contents of Lithuanian love songs. Applying theoretical assumptions from the field of history of emotions, the author analyzes shifting expression of emotions in folksongs on the topic of love. The subject of the article embraces love songs that spread from the 19th to the first half of the 20th century and were shaped not only by the folklore tradition, but also by Lithuanian and foreign poetry of the time, and by popular romances. These compositions differ in terms of poetic quality, displaying both the traditional folksong elements and changing attitudes by the singers and people that are depicted in the songs, as well as a new vocabulary of emotional expression. Applying insights by Peter N. and Carol Z. Stearns (1985) regarding the society’s standards on the expression of emotions, and the concept of emotive, or emotional statement, introduced by W. Reddy (2001), the author regards the shifting expression of emotions in love songs as a reflection of emotionality spreading in written culture (primarily poetry) of the 19th century. Utterances of love-related emotions are essentially perceived as manifestations of the changing poetic vocabulary. The first chapter discusses social and cultural conditions of the changing folksongs, concentrating mostly on the notion of love and its significance in traditional Lithuanian peasant family, and the spread of literacy in the 19th century. The growth of written culture is considered a factor in introducing tropes and prototypes of emotional language that express the notion of romantic love into the sphere of folksong. The second chapter analyzes the relationship between love songs and individual poetry. Various collections of Lithuanian folksongs published in the 19th century, as well as their publications in the press testify to the process of interaction between written and oral culture gaining momentum at that time. This process was further stimulated by the increase of Lithuanian poetry composed by representatives of Lithuanian intelligentsia and literati with roots among the small noblemen and peasants; their compositions were significantly influenced by foreign poetry. Romantic lyrics also grew popular among the peasants. The third chapter explores the distinction between classical folksongs that encode communication of the young people in symbols and draw on the ritual code, and the new love songs that preserve traditional images but lose their symbolic meaning and ritual orientation. The author concludes that these new love songs employ a predominantly poetic vocabulary of emotional expression typical to written culture, their folkloric formulas mixing with new phrases yet unpolished by the tradition and straightforwardly naming certain emotions; a direct relation between “I” and “you” becomes more prominent too. She discusses samples of folksongs that directly name love and openly depict such related emotions as worry, sorrow, or anger, and loveʼs parallel with death.
 To sum up, it is stated that expressions of personal emotions increasingly become established in the new love songs. Although such expressions are frequently artistically rough and unpolished, they testify to the necessity of mastering new means of poetic expression, acutely felt by the newly literate people. Moreover, the songs also expand the semantic field of love, associating this feeling with intense emotions, overwhelming anxiety and longing, while the absence of love is conceptualized as a failing health and lost inner peace. Obviously, the stylized and frequently sentimental poetic vocabulary of emotional expression, characteristic to individual poetry affected by foreign literature and romances, presented new possibilities to discuss emotions in folksongs. These practices should be regarded mainly as “legitimization” of a new emotionally expressive rhetoric in the sphere of folkloric communication rather than a direct testimony to the experienced feelings.

The Poetics of Folk Love Songs of the Crimean Tatars

The author of the article investigates the poetics, genre, and style structure of the folk love songs of the Crimean Tatars. Based on the works by such folklorists as Oleksiy Olesnytsky, Asan Refatov, Yahya Sherfedinov, Fevzi Aliyev, Ilyas Bakhshysh and others, but primarily on authentic texts, she allocates two main genres of folk lyrics of the Crimean Tatars, in which love motifs dominate. The most ancient is maqam. Characteristic of these lyrical compositions, a deep dramatic quality dictates a special emotional expressiveness. It is clearly shown with the help of exquisite figuration, such as wide chants in singing. Philosophical meditation is also a typical feature of these folk works. The other lyric genre, tiurkiu, is very widespread in the folk songs of Crimean Tatars, especially from the 19th century to our time. It covers laconic songs, which have easy lively rhythms. In the love tiurkiu, apart from the most widespread songs about unhappy love, it is also possible to distinguish two more genres: songs about overcoming alarms and troubles and songs about happy love. The perceptive description of the sadness and happiness of love, expresses a wide range of feelings, delicate shades of mood, an abundance of outstanding intonation, picturesque metaphors and symbolic concentration of the laconic imagery, the dynamic development of the lyrical plot, where the shapes of the narrative plot can often be guessed, the coherence and liveliness of the composition (line, retrospective, mosaic), the system of expressive repetitions, which reinforces the ornamental quality and, simultaneously, the clear coherence of the narration, the sophisticated sound and rhythmic organization: these are the main peculiarities of the poetic world of the Crimean Tatar folk love song.

Keynote: The Art of Nontraditional Science Communication: Taking Joy in Being Curious About Our World

SPEAKER: Zoe Swann, PhD Candidate Arizona State University School of Life Sciences, Neuroscience, Class of 2022 REPORTER: Christine Watt Editorial Administrator American Orthopaedic Society for Sports Medicine When Zoe Swann steps onto the stage at the 2022 CSE Annual Meeting, she is not alone. This year’s keynote speaker is accompanied by a strange looking instrument, somewhere between a guitar and an oddly proportioned lute. “It’s actually the body of a [medieval] lute, which a luthier turned into a baritone ukulele for me,” she later explains. For now, it serves as the kickoff salute to the annual meeting, as Swann sings a soulful love song about proteins and amino acids. The crowd erupts as she finishes and places the delicate instrument down with a wide grin. “Today I’m going to talk about what I just did: communicating science in rather nontraditional ways.” Thus, the tone is set for a talk on nontraditional communication from a (rather nontraditional) keynote speaker. Swann is young, an early career scientist, and one of the only students at Arizona State University to move from her bachelor’s to PhD in under 4 years. As she speaks, her eyes light up—you can tell this is a subject she is passionate about. “That was fun!” she exclaims, and indeed it should be. For Swann, science is a joyful subject she has loved since childhood, something that should be filled with wonder and surprise. However, this joy often gets lost. Swann notes that studies have shown graduate students are […]

T.S. Eliot’s Modern Style as Reflected in Sherko Bekas’s Poem “A Fall Letter”: A Comparative Study

ABSTRACT This study endeavors to show analogous ideas in Eliot’s “The Love Song of J. Alfred Prufrock” and Sherko Bekas’s “A Fall Letter.” Bekas, who was a good reader of English poetry, was greatly influenced by Eliot. He familiarized himself with English literature and follows it truly. For the idea for his poem, “A Fall of Letter” Bekas benefits from Eliot’s “The Love Song of J.Alfred Prufrock” and uses it in composing his poem. Eliot’s modern style has been revealed in his works as presenting complicated ideas through a simple language to reassure the modernity in “The Love Song of J. Alfred Prufrock,” as well as the modernity in “A Fall Letter.” A sad and gloomy tone is seen in both poems – Eliot may be speaking to his soul or with a partner, but Bekas expresses the poem through apostrophe. The study culminates with an analytic comparison between the two poems: “The Love Song of J. Alfred Prufrock” and “A Fall Letter” in terms of their themes.

The New Calling

The New Calling

Blüten der Überbietung

Abstract In his love songs, Heinrich von Mügeln demonstrates how he as a Sangspruch poet aspires to mastery (Meisterschaft). This is characterised by a complex and varied use of imagery relating to nature, which allows the poet to surpass the representation and negotiation of love in the Minnesang tradition both rhetorically and conceptionally. The texts also draw on learned knowledge and should be read taking the concepts of natural philosophy of the so-called School of Chartres into account. Using the example of the first three songs, the article shows to what extent the texts thus occupy a position that is as significant as it is exemplary in the lyric history of the late Middle Ages.

Crosshairs

Crosshairs William Fargason (bio) I buy my father a Father's Day cardwith a deer on the front, its fur gold-embossed like a struck coin. After I lie on the inside,I hesitate. Should I tell him how I feel and ruin his day? Hi Dad, thanks for teaching mehow not to be a father. Hope you have a nice day without me. Before I put the card in the envelope,I draw a crosshair on the front shoulder of the deer with a permanent marker.I only know how to relate to my father through death. He taught me to aimfor the shoulder—it will go through the heart, then the lungs if you're at the right angle,each shoulder blade breaking under the impact. The deer will be easy to track.If the card designer meant for that deer to represent the strength and beauty of allfathers, then I am killing my own father in front of him. So be it. He won't understandthe crosshairs as a choice to use the symbols [End Page 115] he gave me against him, the barrelof my pen hot in my hand. When my father opens the card and sees I haven't forgottenthe lessons of death he taught me, he will smile. [End Page 116] William Fargason William Fargason is the author of Love Song to the Demon-Possessed Pigs of Gadara (University of Iowa Press, 2020), winner of the 2019 Iowa Poetry Prize and the 2020 Florida Book Award in Poetry (Gold Medal). His poetry has appeared in The Threepenny Review, New England Review, Barrow Street, Prairie Schooner, Poetry Northwest, The Cincinnati Review, Narrative, and elsewhere. He earned an MFA in Poetry from the University of Maryland and a PhD in Poetry from Florida State University. He lives with himself in Sparks Glencoe, Maryland, where he serves as the poetry editor at Split Lip Magazine. Copyright © 2022 Berea College ...

Ars Poetica

Ars Poetica William Fargason (bio) I kept my mouthclosed for many years.I listened to the windplay the dark branches like a cello. The rainin the street had gatheredinto a pool I could seemyself in. My hands left my pockets and joined the airas if receiving an offeringfrom a priest in the dirt. I keptmy mouth closed for many years, and then,I opened it. [End Page 118] William Fargason William Fargason is the author of Love Song to the Demon-Possessed Pigs of Gadara (University of Iowa Press, 2020), winner of the 2019 Iowa Poetry Prize and the 2020 Florida Book Award in Poetry (Gold Medal). His poetry has appeared in The Threepenny Review, New England Review, Barrow Street, Prairie Schooner, Poetry Northwest, The Cincinnati Review, Narrative, and elsewhere. He earned an MFA in Poetry from the University of Maryland and a PhD in Poetry from Florida State University. He lives with himself in Sparks Glencoe, Maryland, where he serves as the poetry editor at Split Lip Magazine. Copyright © 2022 Berea College ...

Queer African Cinemas

Discussion| June 01 2022 Queer African Cinemas: A Conversation with Lindsey B. Green-Simms Bruno Guaraná Bruno Guaraná Bruno Guaraná is Master Lecturer of Film Studies in the Department of Film & Television at Boston University. Originally from Recife, Brazil, he received his PhD in Cinema Studies from New York University and his MA in Film from Columbia University. His current research explores negotiations of cultural citizenship in contemporary Brazilian media. He currently serves as the Page Views Editor for Film Quarterly. Search for other works by this author on: This Site PubMed Google Scholar BOOK DATA: Lindsey B. Green-Simms, Queer African Cinemas. Durham, NC: Duke University Press, 2022. $99.95 cloth; $26.95 paper. 264 pages. Film Quarterly (2022) 75 (4): 83–88. https://doi.org/10.1525/fq.2022.75.4.83 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Bruno Guaraná; Queer African Cinemas: A Conversation with Lindsey B. Green-Simms. Film Quarterly 1 June 2022; 75 (4): 83–88. doi: https://doi.org/10.1525/fq.2022.75.4.83 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search BOOK DATA: Lindsey B. Green-Simms, Queer African Cinemas. Durham, NC: Duke University Press, 2022. $99.95 cloth; $26.95 paper. 264 pages. The first romantic sequence in Rafiki, by the Kenyan director Wanuri Kahiu, opens with a close-up of a pair of sneaker-clad feet on a skateboard, its wheels thumping along the asphalt. The feet belong to the teenage Makena, who arrives at her friend Ziki’s apartment building to take her out around town for the day. After Ziki’s mother answers the door, an elliptical cut thrusts the viewer into a montage sequence in which the two teenage girls sit close together on a tuk-tuk ride around the streets of Nairobi. The cut introduces a nondiegetic love song that slowly drowns away the bustling sounds of the city as the girls go on a carnival ride, pedal a boat, and dance at a club. Diegetic sound only returns during a... You do not currently have access to this content.

Lexical associations of modal verbs in English love songs

Lexical associations of modal verbs in English love songs

Cold, cheap love songs

Songs help birds attract mates by advertising their fitness or territory to potential mates. Because the sexiest songs are assumed to be energetically expensive, or in some way related to a certain attractive attribute, potential mates can judge the singers to learn more about their qualities and potential as an eligible mate. In much the same way that birds use song, some bat species also use complex songs either to boast about their strength or to lure mates into their territory. The New Zealand lesser short-tailed bat (Mystacina tuberculata) is one of only two bat species where courting males congregate together – forming a lek – where they perform serenades within each other's earshot in the hope of attracting females. To be considered sexy, the quality of the bats’ songs should be costly or related to the beauty of their territory. Yet, if the songs were expensive to produce – somehow revealing the singer's inner strength – bats might hypothetically try to cut corners in other expensive areas of their lives, such as the body temperature they maintain. Kathleen Collier from the University of Auckland, New Zealand, along with collaborators Zenon Czenze from the University of New England, Australia, and Stuart Parsons from Queensland University of Technology sought to estimate the costs of singing for lek-breeding bats, using skin temperature, to estimate how much energy singing uses.To study this unique phenomenon of communal singing in bats, the researchers attached temperature-sensitive radio transmitters to the backs of 14 male New Zealand lesser short-tailed bats at their singing roosts. The researchers then recorded the bats’ skin temperatures while the mammals quietly went about their usual routine and also when they were singing. The researchers then used the skin temperatures collected by the radio transmitters to estimate the metabolic rate of the bats during both activities.Throughout 100 nights of observation, the researchers found that the bats were not significantly warmer or cooler when singing. And when the team compared the bats’ estimated metabolic rates, they also were not significantly different. The bats were not exerting themselves while singing out their hearts for a mate, implying that their singing may not be as much of an energetic sacrifice as was previously thought. However, it is possible that using skin temperature to estimate metabolic rate may have missed some other important energy consuming activities – such as panting to keep body temperature close to normal – and may have hidden the animals’ actual metabolic rates while singing. Yet, even though these data are just rough estimates of the bats’ actual energy use, they do allow us to compare between serenading and non-serenading behaviours, which had not been possible before.This study is also the first to have investigated the energetic costs of singing in a mammal and suggests that the costs may be less than previously thought. If these mating rituals are less energetically expensive, then what messages could these displays actually be sending to potential mates? In fact, are potential mates even getting what they thought they were investing in? Even though that isn't clear right now, it isn't deterring male New Zealand lesser short-tailed bats from getting together and serenading in the hope of attracting an eligible date.

Listening to love

ABSTRACTBoth music and love are conspicuously absent from the public soundscapes of Hargeysa, Somaliland. But behind closed doors, people listen to love songs. In doing so, these lonely love sufferers and love hopefuls make sense of various challenges. Using accounts from a cross section of Somalilanders, I show that these solitary listening practices open into uniquely intimate and transformative opportunities for dareen‐wadaag (feeling sharing). These opportunities critically depend both on listeners’ attention and intention, and on the culturally elaborated affective affordances of love songs’ “voice”—a voice that is conceived as “love incarnate” and that models intimacy. In short, listeners do not just listen to love songs; they listen to love. Their listening practices call for anthropological models that more fully account for the relationship between culturally situated ears and voices, as well as for the complex interrelation of sound, affect, and subjectivity. [listening, aurality, love and intimacy, voice, iconicity, sound and affect, music, Somaliland]

Biennale de l’Image en Mouvement (Biennial of Moving Image) ’21: A Goodbye Letter, A Love Song, A Wake-Up Call, curated by DIS and Andrea Bellini

Biennale de l’Image en Mouvement (Biennial of Moving Image) ’21: A Goodbye Letter, A Love Song, A Wake-Up Call, curated by DIS and Andrea Bellini Centre d’Art Contemporain Genève, Geneva, 12 November 2021–20 February 2022

KURDISH ORAL LYRICAL SONGS (KILAMS) AS THE SOUND OF WOMEN’S SILENCE: “KALO” (MY OLD MAN) AS A SAMPLE SONG

Numerous studies have been carried out on the ‘oral’ dimension of folklore, culture and oral tradition, and its impact on literature and the related fields. Studies of ‘verbal heritage’ has proved that ‘oral tradition’ carries significant cultural codes which reflect the folkloric origins of social identity. Kurdish oral tradition has served as a customary facility of reminding the predominant cultural values, besides creating an interactive social aura of audio-visual entertainment. The valued ‘lore’ of Kurdish folklore has been preserved, enriched and transformed by the Dengbêjs (minstrels) of oral tradition who are endowed with the talents, knowledge, and proficiency needed for the art of performance. The lyrical love songs within the repertoire of ‘oral tradition’ have served as a channel of expressing the unutterable/hidden thoughts and feelings of both men and women; the feelings that are inappropriate to be shared with others in normal social discourse. This study aims to discuss the function of Kurdish lyrical love songs in ‘oral tradition’ as the expression of women’s silence. The anonymous lyrical song “Kalo” (My Old Man) is analyzed as a sample song exemplifying the complaints of a married woman.

Dramatic Monologue in T. S. Eliot’s The Love Song of J. Alfred Prufrock

This paper discusses the use of ‘dramatic monologue’ and ‘stream of consciousness’ in T. S. Eliot’s “The Love Song of J. Alfred Prufrock”. It highlights the history of the two terms with references to certain lines of the poem. It unveils the effect of using such a technique by Eliot. The paper investigates how the speaker ‘J. Alfred Prufrock’ is trying to communicate with the reader in dramatic monologue. Furthermore, it examines how J. Alfred Prufrock’s brain and process of thoughts is working through the use of stream of consciousness and interior monologue to achieve such process of thoughts. The paper pays all the attention to main character’s language to answer the research’s question in which makes the paper a discourse analytic research. The main question that the paper raises is how Prufrock’s behavior explains the existence of dramatic monologue within himself. It is worth mentioning that the paper’s conclusion provides the findings of the research.

Corona XLIX – take a breath

Corona XLIX – take a breath

Spider Love Song and Other Stories by Nancy Au

Reviewed by: Spider Love Song and Other Stories by Nancy Au Mixby Dickon (bio) spider love song and other stories Nancy Au Acre Books https://acre-books.com/books/spider-love-song-and-other-stories/ 180 Pages; Print, $17.00 Carolina De Robertis, the author of Cantoras (2019), writes the following about Nancy Au's Spider Love Song and Other Stories: "These stories sparkle with life and secrets, joy and power, pain and hilarity, and sharp insights into the human heart." This deserving praise in Robertis's blurb is in no small part due to its rich appeals to sensory imagery. Whether that imagery describes a sight, a sound, or an aroma, Au's short stories entice the reader by inviting them into the atmosphere of the story with breathtaking language and unexpected comparisons that defy the common clichés. The concrete imagery in descriptions manages to accomplish this with dazzling success. These observations about Au's work are ultimately manifested in the collection's titular story "Spider Love Song." This story features a young girl named Sophie Chu, who lives with her grandmother while coping with the disappearance of her parents. Sophie and her grandmother receive a visit from a fishing woman nicknamed Owl who claims to have known Sophie's parents in their college days. The plot of the story is simple yet awe-inspiring, much like the language used in its telling. Offering a larger-than-life quality to the tale is a recurring image of elephants which describes the animal as follows: "An elephant towered over everything, everyone, yet could curl its firehose trunk around a branch, pluck a green leaf whole. What power! What bigness! What sensitivity!" Juxtaposing power and sensitivity together is an uncommon but not unusual comparison to make. As previously mentioned, the image of the elephant offers its bigness to the simple plot line, but this is not the only function of the image in the story. Throughout the story, the narrator describes Sophie Chu with elephant-like qualities, lent to her by what always seems to be a costume worn by the character. The reader is able to get a sense that the protagonist draws inspiration from the combination of strength and sensitivity which personifies the image of the elephant. [End Page 79] The language and descriptions in this story do not simply define elements of style and aesthetic; the language and comparisons draw attention to the moods of the characters as well as the atmosphere of the stories. Readers are not just following along with the plot of the narrative. They are instead transported into the story, its sights, smells, textures, and much more through the multisensory toolbox of images that Au employs. As Carolina De Robertis implies in her blurb of the book, these sensory appeals are versatile in what they do and in the language with which they do it. Au's debut collection is noteworthy in that it tends to invoke images in which seemingly contrasting qualities are juxtaposed together to show that those qualities in fact exist in harmony with one another. These images lend themselves to a recurring theme in the collection, namely striking a balance between various aspects of life and identity. Au's protagonists frequently exist on points of liminality, towing the lines between the private and public self, and reconciling their wants and desires with the aims of the broader social structures. Juxtaposition allows the narrator to communicate these liminalities without stating them directly. The theme of juxtaposition and ironic imagery continues in the penultimate story in the collection, "Odonata at Rest." This story follows a grade-school aged protagonist during a day at a private school where her teachers are nuns contrasting against the science-based education provided by her mother at home. Her mother opens up the world to her daughter by teaching her how to use a microscope "and she learned that there were entire universes of biological life teeming inside petri dishes—life so tiny yet so fervent—that there were answers to billions of questions the world might never even know to ask, right under her microscope's lens." Contrasting this image with that of the elephants...

A Stylistic Study of the T. S. Eliot's Poem of 'The Love Song of J. Alfred Prufrock'

This study highlights Parallelism as a stylistic device in T. S. Elliot's poem "The Love Song of J. Alfred Prufrock (1915)". This study tries to show the importance of Parallelism in poetry and how it is dominated in the twentieth century. Specifically, it aims to explore the operationality of parallelism as a stylistic device in twentieth-century poetry, identifying the most dominant type of parallelism in twentieth-century poetry and showing how parallelism is useful as a stylistic device for the reader. The study results revealed that Parallelism is manifest, of great use in the interpretation of the poem. The twentieth-century poets in general and T. S. Eliot' depend on parallelism in aestheticizing or beautifying their poems as it represents a set of regularities of form.