Lyrical Style Research Articles

Analysis of the Experiential Metafunction in the Lyrics of Bob Marley’s “Redemption Song”

This study employs a qualitative content analysis method to explore the experiential metafunction within the lyrics of Bob Marley's "Redemption Song." The methodology comprises acquiring the song lyrics from credible sources and scrutinizing them to identify the processes, participants, and circumstances depicted within the composition. The analytical approach focuses on understanding how these elements contribute to the narrative and thematic depth of the song. Through the analysis, several key findings emerge: Participant 1 varies between personal pronouns, groups, and abstract entities, representing different facets of the narrative and thematic elements. Material processes predominate, highlighting the tangible struggle for freedom depicted in the song. Participant 2 encompasses various entities affected by the actions of Participant 1, showcasing the multifaceted nature of the struggle for liberation. Circumstances provide additional details about the actions, contextualizing them within specific timeframes, locations, mannerisms, and motivations. This analysis offers a comprehensive understanding of how Bob Marley utilized language to construct a powerful and impactful message of redemption and empowerment in his iconic song. By investigating into the experiential metafunction, this study sheds light on the intricacies of Marley's lyrical style and the enduring relevance of his music in addressing social and spiritual liberation.

Melodic diversity in Iraqi rural singing

Melodic diversity is an essential pillar in Iraqi country singing because of its highly influential qualities and features in singing performance methods in a manner consistent with the nature and setting of popular heritage in the Iraqi countryside.Hence, the researcher attempts to study melodic diversity in one of the important lyrical phases, which is "Subbi Mood " as a lyrical style discovered by the Iraqi structure with high levels of expressive performance accuracy.The researcher seeks to study this topic by formulating the question as follows: What are the mechanisms of melodic diversity in Subbi Mood? The significance of the research and the need to determine its goal are thus represented as follows: Detecting the mechanisms of melodic diversity in Subbi Mood, the researcher presents the most important terms contained in the subject matter of the study, that is melodic diversity to be determined linguistically, philosophically and terminologically. The researcher then moves to define the terms procedurally in accordance with the research procedures. Chapter Two, entitled “The Theoretical framework” contains two sections, one entitling, “The Concept of Melodic Diversity,” and the other, “The Singing of the Iraqi countryside: A Study in Origin and Evolution,” all the way to topics that involve the literature review and the most key conclusions resulted from the theoretical framework.As for Chapter Three, the researcher addresses the research community and its sample in a way that meets the goal of the research and its requirements, not to mention the use of the research methodology represented by the descriptive analytical approach, leading to the research tool through which the researcher can analyze the research sample.In Chapter Four, the researcher reached the most important findings from the sample analysis, including (1) musical scale: The Subbi mood is built from the melodic scale of Nahawand, which raises the sixth scale degree of the natural Nahawand when ascending and returns it to the standard scale of the Nahawand when descending, (2) melodic range of the seventh is built from the seventh minor scale. The researcher then seeks to interpret the findings under the heading, “Conclusions,” that includes some of the following points:1) The lyric poem takes Subbi mood as a launch pad to express the the spirit of the country environment.2) The seventh minor scale gives the singer the ability to perform Subbi mood easily and conveniently. As the end of the Chapter, the researcher comes up with key recommendations, suggestions and most important sources and books cited by the researcher in this study.

Kunst der lyrischen Dichtung. Zur Zeitlosigkeit des Goethe-Gedichts Wandrers Nachtlied II

Goetheʼs original lyrical style remains a model and point of reference to this day. The poem „Wandererʼs Nightsong“ II is one of the most frequently analyzed, interpreted and imitated poetic texts. The essay contains a literary analysis of the poem from the following perspectives: biographical, psychoanalytic, sociological, ontological and poetological.

Jewish summer camp theatre and Sondheim, the Talmudic scholar

This article explores how Jewish American composer and lyricist Stephen Sondheim, in his musical theatre works, engaged in a distinctly Jewish lyrical style that resembles a Talmudic dialectic. The author argues that Sondheim’s argumentative, self-referential, quick-moving, pitter-patter lyrics and music, a writing style that values the performance of ambivalence and repeated questioning, resembles contemporary Jewish discourse as influenced by Talmudic dialogue. The author explores Sondheim’s work through a reflection of his experience piloting a new two-week musical theatre specialty programme at Ramah Darom, a Jewish summer camp in Clayton, Georgia, in July 2023. The programme, called Ramah Bamah (bamah is a Hebrew word that translates in this context to ‘stage’), aimed to teach campers valuable performance skills from professional theatre-makers, while simultaneously encouraging campers to explore their identities as Jewish artists. Ramah Bamah presented Stephen Sondheim’s Into the Woods JR. as its premiere production, as programme leaders used Jewish texts, thought and values to help campers connect emotionally and thematically to Sondheim’s play-text. This article considers the relationship between Jewish text study, Jewish education, storytelling, youth/amateur theatre-making and Stephen Sondheim.

O. Mandelstam’s Poem “The Strawˮ: A Linguistic Commentary

As our analysis has showed, the figurative outline of O. Mandelstam’s poem “The Straw” is an expanded intertextual allusion to E. Poe’s story “Ligeia”, largely obscured by a number of semantic transfers to the point of tightness. The identification of the precedent supports of this allusion contributes to a more complete understanding of this text; facts are given in the light of which the name Ligeia might be considered as meaningful; the anacyclicity of the structure of the poem has been clarified. The indicated intertextual background of Mandelstam’s poem casts certain doubt on the euphonic interpretations belonging to: 1) M.L. Gasparov, who believes that when searching for a rhyme, the name Serafita came to the word ubita ‘killed,’ which “led to a string of romantic names”, in particular the name Ligeia; 2) V.V. Musatov, who believes that “it’s not a woman, but the sound of her name, which vibrates, creating a feeling of blissfulness, and from this vibration arises a new series of names: Lenore, Solominka ‘Straw’, Ligeia, Seraphita”. Mandelstam’s poem “The Straw” is written in a high lyrical style. High style is incompatible: 1) with vulgarisms and rude vernacular; 2) with the category of the comic. Factor (1) casts certain doubt on the hint postulated by G. Freudin to the “vulgar expression of erotic content”, which, according to his interpretation, lies at the heart of the Mandelstam’s poem; factor (2) – N.I. Khardzhiev’s supposed connection of this poem with V. Khlebnikov’s comic grotesque “The error of death” and V.V. Ivanov’s alleged connection of the lyrical name the heroines of Mandelstam’s text with a straw, through which the Lady Death in the specified play by Khlebnikov drank cherry juice.

The Contents of the Palestinian Folk Song in the Ain Al-Basha District in Jordan (Marriage Songs as a Model)

The research aims at identifying the contents of the Palestinian folk song in the Ain Al-Basha district in Jordan, by defining its characteristics, functions, and objectives. Then learn about the traditions related to the different occasions that contributed to the development of such songs, the lyrical style of each song, and the musical notation of the song. This research discusses the basic elements of folklore songs in the Ain Al-Basha district in terms of melody, rhythm and words. It also discusses the most prominent topics of folk songs such as wedding songs. The researcher has followed the descriptive analytical approach, and the research is targeting musicologists, musical composers and critics in different musical fields, in addition, the research is beneficiary to academic musical institutions.

POETICS OF AUTOBIOGRAPHICAL MEMORY IN RAY BRADBURY’S NOVEL “DANDELION WINE”: ON THE WAY TO AN IMPRESSIONISTIC NOVEL

The focus of this article is on the peculiarities of autobiographical memory images representation in the literary piece. The purpose of this work is to research the poetics of autobiographical memory in Ray Bradbury`s novel Dandelion Wine. To conduct the research biographical, hermeneutic, historico-literary, and comparative-historical methods of analysis were applied. The poetics of autobiographical memory is represented by the set of artistic means used to render the author`s reminiscences and it combines the work`s autobiographical and autopsychological concepts seen as sort of eventual autobiographism and psychological autobiographism. The poetics of autobiographical memory is based on internal psychological kindredness of the author and the hero in the autobiographical work. In Ray Bradbury`s writing autobiographism of events is frequently superseded by psychological one, engaging the mechanisms of autobiographical memory at the level of sensory impressions, emotional states, spiritual associations, defining the peculiarity of autobiographical poetics. The retrospective manner of narrative in the novel reveals two planes of autobiographical memory of the writer, which are represented by both the biographical plane, which manifests itself as factual data, including the names of those close or dear to the author, the names of the real places, locations, events and so on, and the autopsychological plane, used for recreation of the author`s own childhood emotions, which Ray Bradbury defined as “sense impressions”. The purposeful work of the writer`s memory aimed at carefully preserving his own impressions with their subsequent reproduction in the piece can be clearly seen in the vivid expression of the author`s images of experiences and perceptions, brought back to life in the novel. In Dandelion Wine`s text the sensory impressions recalled by Bradbury are transformed into the system of metaphoric images demonstrating the plasticity of representation and visual effect. Each impression acquires its unique plastic image. Conclusion. The poetics of autobiographical memory in the novel Dandelion Wine finds its expression in the depiction of the writer`s memories about his childhood sensory impressions, feelings and perceptions. The main principles of the novel`s poetics are the fragmentary narrative; time, split into a series of moments; the use of stream of consciousness method, actualized through inner monologues of the hero; expression of reminiscences in visual plastic images, sensory impressions, feelings, associations, conveyed through metaphorically exquisite lyrical style of narrative, suggesting that Bradbury follows the tradition and experience of impressionistic aesthetics of Proust, giving to Dandelion Wine the form of impressionistic novel. The principles of autobiographical poetics applied in the novel, appear as the stylecreating principles of the poetics of impressionistic novel genre in literature.

Significant Insights and Analysis of Philosophical and Autobiographical Undertones in the Select Poems of Louise Gluck

The 2020 Nobel Prize in Literature was given to American poet Louise Gluck in recognition of her "unmistakable poetic voice that, with austere beauty, makes individual existence universal." This thesis explores Gluck‘s poetic work, particularly her 2014 poem "Faithful and Virtuous Night," using the motivation of the Nobel committee as a guiding premise. Thus, the purpose of the research paper poses certain research question—"How does Louise Gluck‘s poetry make individual existence universal?—is to evaluate the fairness of the Nobel committee's evaluation. The reader becomes familiar with the essence of Gluck‘s poetry by reading scholarly articles about the innovations in her earlier work. An analysis of the aforementioned poem that supports the Nobel committee's claim can be built through careful reading. Some of her best-known works include Ararat (1990), The Wild Iris (1992), Meadowlands (1996), Vita Nova (1999), The Seven Ages (2001), and Averno (2006), in which elements of the lyric and the verse novel are consistently negotiated. The poet's themes, sparse, lyric style, and detached, oracular tone have all been the only things mentioned by critics so far. The collections have never been examined by critics as plotted narratives or verse novels. Books by Gluck contain more than just groups of standalone, lyric poems. The six collections are cohesively linked by a sustained, personal journey about survival, emotional healing, and self-renewal in which Gluck is looking for beauty and meaning in a life without the consolation of absolute truths. Each collection is also bound by a plot that depicts a particular period in the poet's life. Additionally, it is a poetic journey that acts as a metaphorical mirror for the reader's own parallel, personal experiences. As a result, readers may be able to learn from the poet's hard-learned lessons, apply them to their own situations, and perhaps even find emotional healing. This essay aims to demonstrate Gluck‘s methods for dealing with various human concerns while also offering solutions.

Travel Writing and Cultural Memory in Late-Ming Beijing


 
 
 Focusing on A Sketch of Sites and Objects in the Imperial Capital (Dijing jingwul- üe, 1635), this article examines how the primary author, Liu Tong (1593–1636), created and preserved the cultural memory of Beijing through writing the city’s scenic sites in the waning years of the Ming dynasty (1368–1644). Liu Tong, who sojourned in the capital then situated on the state’s frontier, observed Beijing during a period of comprehensive decay. This temporal and spatial framework affected the way he observed Beijing’s northern landscape features and inspired him to both preserve the city’s literary and historical heritage and report on its current dilapidation. This study addresses Liu Tong’s literary strategies to preserve Beijing’s literary legacy and surviving landscapes, with particular attention to his adaptation of earlier travel writings about Beijing, his development of a new lyrical style of prose, and the portrayal of the immediate reality of his lived experience.
 
 

정읍 무성서원과 선비문화 원류 최치원

Jeongeup, Jeollabuk-do, is an area that requires attention from those who study the history of Korean thought. In addition, Jeongeup is an area wherein many works were recorded for the first time in literary history. This is the case with Jeongeupsa as a style of Baekje songs and the lyrics of the noble families of the Joseon Dynasty, Sangchungok. Jeongeup is likewise the location where Choi Chi-won (857~?) was selected to serve as a local taesu (viceroy) and where a unique tradition of music and style were passed down. In this paper, the relationship between Choi Chi-won’s role in the process of establishing a silent Confucian academy in Jeongeup and the emergence of scholar culture was examined. When Choi Chi-won left after his term in office, a birth shrine called Taesansa Temple was built to repay the selection of the villagers, and it became the source that led to the opening of the Confucian academy Museongseowon in the future. Jeongeup will be shown to be the location where Choi Chi-won realized his aspirations and honed his capabilities. In particular, Choi Chi-won’s played a crucial role in the mid-Joseon Dynasty by supporting the construction and securing the name of Museongseowon. That is why Choi Chi-won was able to be revived as a symbolic figure in the region. In addition, it can be seen that the shape of Choi Chi-won was more sedentary- in the form of a Confucian scholar- and Confucian scholars emphasized the transfer of portraits at Museongseowon. Through the poetry written by Choi Chi-won, readers can learn about the worries and perceptions of scholars during those times. Although his value in the field of poetry is diverse, he can especially be recognized as a Confucian intellectual. In a large number of his works, he expresses his anxiety, agony, and critical inner consciousness all of which came from his encounter with the realities of his time. In fact, Choi Chi-won showed his qualities as a prominent literary figure of his time who had extraordinary aspirations and an admirable work ethic. However, he failed to overcome his regional and mental alienation as a poet in neighboring countries. Therefore, he internalized a sort of fierceness in terms of his perception of the world. However, it seems that it was rather a factor that made his work exhibit a strong lyrical style. In addition, Choi Chi-won’s collection of writings includes a number of works that strongly criticized various forms of pathological phenomena caused by terminal phenomena of the time. He also highlighted the wrong in society by realistically depicting the lives poor and needy people and their eventual sacrifice via distorted relationships. This can be read encapsulating the agony of intellectuals of that time. The dictionary definition of a ‘Confucian scholar’ is “a Confucian term referring to a person or class that embodies Confucian ideology,” and in its contemporary meaning it suggests “ … an example of a personality, but not an identity, and the conscience of one’s time period as a source of human morality inwardly and social order outwardly.” In this respect, it could even be said that Choi Chi-won could be considered the originator of scholar culture.

From the Garden of Eden to the Zen Rock Garden

From the Garden of Eden to the Zen Rock Garden

Michael Drayton’s Topographies: Ideas Mirrour (1594) and Poly-Olbion (1612–1622)

ABSTRACT Michael Drayton’s interest in the history and geography of England and Wales marks the evolution of his poetic career before the publication of his major work, Poly-Olbion (1612–1622). This article analyses the relation between Drayton’s chorography and his first sonnet sequence, Ideas Mirrour (1594). In his 1590 poems, Drayton links the portrait of his beloved to that of his native landscape. The topographical sonnets that place Idea in the river Anker forestall the descriptions of counties and rivers found in Poly-Olbion. The connections between these two works must be seen in reciprocal terms: while Ideas Mirrour prefigures the chorographic mode in the lyric style, Poly-Olbion looks back into the sonnets’ lyric perspective by eroticizing its rivers-nymphs and by placing Idea near the shores of the Anker, as Drayton had done in his earliest texts.

АЛИШЕР НАВОИЙ ЛИРИКАСИДА БАДИИЙ САНЪАТКОРЛИК МАСАЛАЛАРИ

The article discusses the artistic skill of Alisher Navoi and the problems of the poet’s lyrical style. The author analyzes the originality of the poet’s lyrical style on the material of his own collections of poems composed and edited by his own - “Badoy ul-Bidoya” (“Rare Beginnings”), “Navadyr un-nihoya” (“The Beginnings of the End”) and “Khaza’ine ul-Maani” (“Treasure of Thoughts”). The poet’s artistic and aesthetic views are most vividly reflected in his artistic techniques to create the image of the lyrical hero, in the application of aruz technique, also in the verses of social content. In the collections of Navai poems, the Great Creator’s ghazal praises, reflecting the advanced ideas of Eastern religious thinking, occupy a wide place. In them, the poet expresses his humane reflections, which go beyond national, racial, primitive-religious, ideological barriers and praise the person, serve for his spiritual perfection. One of the main criteria of Navai’s poetry is its reflection of the positive ideas of Sufism, the poet’s belonging to the Sufi Naqshbandia

Arthur SzeThe Glass Constellation: New and Collected Poems

BOOKS IN REVIEW ARTHUR SZE Arthur Sze The Glass Constellation: New and Collected Poems Port Townsend, Washington. Copper Canyon Press. 2021. 560 pages. THIS COLLECTION IS a book I think you will want to live with, as I have been living with it for a few months now. Arthur Sze offers a stellar collection of lyrical poems that captivate the reader’s heart, even as the personae involved in the individual works also seem affected, sometimes dramatically, sometimes more subtly, but always moved. These poems are full of energy, sometimes boiling below the surface, or recoiling in a desert sunset, but always linking heart and mind with sensation and intellect. The poems presented here simply will not allow a reader to be complacent. We are drawn into a multitude of scenes that assault the senses in various ways at various times—often with the dual effect of life-affirmation in the midst of decay, hopes clarified, truth realized within contexts of mundaneness, confusing everydayness, if not outright violent indifference. This collection includes a significant amount of award-winning work from ten previous collections dating back to 1998, including the critically acclaimed The Ginkgo Light (2009) and the 2019 National Book Award–winning work Sight Lines. Additionally, in a concluding section— “The White Orchard: New Poems”—Sze offers twenty-six new poems. One of Sze’s striking writing characteristics involves his ability and propensity to create simultaneous actions, apparently unrelated, within a singular poem’s context . These apparently unrelated actions are, in a larger sense, connected, and his juxtaposing of scene and character with apparently contradictory elements serves as a (sometimes unsettling) reminder that we are all connected, and everything is connected, for better or worse. For example , in the first poem of “The String Diamond ,” a pleasant “apricot blossom” occurs along with a number of other unpleasant events such as: a mistake in surgery, a compressed nerve, asphyxiation, and other everyday misfortunes. These tragedies, along with the mundane, and with the blossoming apricot, cause “wonder” about other “inchoate griefs” happening all the time. His choice of the word “inchoate” seems to climactically (or perhaps it is anticlimactic ) verify a total truth of a situation not fully observable, at least at first glance. An artist is to help us see, to truly see, and Sze’s poems promote this visionary effect over and over again. The poems engage the contemporary and the historical. Sze’s vision encompasses an amazing variety of animal, reptilian , and vegetal lives. It conveys a rich variety of ecosystems around the globe. It also reaches the heavenly bodies, the ends of the known universe, as well as an abundant variety of human cultures, but always reconnects to the human attempt to perceive. As collected in book form, but also, even more impressively, within the singular context of an individual poem, Sze often presents a speaker enveloped and shaped by concentric circles. The “meaning ” of the poem, or the sensual, artistic value, is to be understood in the various individual circles, but also in the cumulative whole. A consistent feature of Sze’s writing style is his collapsing of past and present into a single moment. In “Cedar Fires,” the speaker “thinks” of “the antelope carved in the rock” even as “we touch the Pleiades.” Though I feel Sze’s poetic vision moves beyond labeling, quite a bit of his work might be classified as “necro-pastoral”— the living enduring in the midst of decay or death—or perhaps even “necromancy.” One of many examples of this occurs in the third poem of “Infloresence” in which “A shrinking loop becomes a noose” and a red snake snags its epidermis, the mind snags, molts from the inside out. Although sand plunges in an hourglass – soon the last white particles will vanish from the top – I ache for a second, sulfur butterfly pinned over black paper, to stop: but eelgrass in tidal water, I catch the scent of tomato leaves on my hands, swing palms near a horse’s head: flies flit and land, flit and reland. It is exhilarating to see a poet’s evolution in style and content, evolving yet grounded in its original soul-stirring lyrical style...

The Rong Ngeng of the Andaman Coast: History, Ecology, and the Preservation of a Traditional Performing Art

Abstract This article examines recent grassroots strategies for preserving traditional performing arts along southern Thailand’s Andaman Sea Coast, focusing on rong ngeng, an idiomatic form of social dance and music, widely popular there in the post-World War Two years. Between 1935 and 1960 a small, mixed cohort of rural performing artists created networks of communities, scattered on Thai-Andaman, with a distinctive regional culture based in the shared repertoire of songs and dances they adapted, created an innovative lyrical style called phleng tanyong (Tanyong song), and a star system that turned village performers into local celebrities (Ross 2017, 68). More than a mere vibrant, short-lived micro-tradition which declined in the wake of a growing, hegemonic pan-Thai performing arts culture, however, rong ngeng has, since the 2000s, experienced a revival. The new incarnation was tied to economics, nostalgia, and a reawakening of local identity. Using a broadly cultural ecology approach which draws on more than a decade of fieldwork in the Thailand-Malaysia border region, oral accounts of rong ngeng performers, past and present, and comparisons with performance practices across the regions, this paper argues that efforts toward revival and sustainability have seen their greatest success among communities that possess several characteristics, including strong historical and genealogical links to erstwhile cultural practices, participatory forms of entertainment, and the ability among its members to articulate the relevance of performing arts to the society-at-large.

Volume 50 (2020)

Volume 50 (2020)

Korean War Experience and Female Refugees’s Perspective in Settaebigam

<셋태비감>은 작자미상의 여성이 한국전쟁 당시 피란민의 입장에서 경험한 전란의 상황과 자신에 관한 이야기를 4음보 가사체 양식으로 표현한 필사본 가사 작품이다. 본고는 현장과 밀착된 작자의 삶과 의식을 구체적으로 살펴 한국전쟁을 배경으로 한 가사의 문학적 성격을 고찰하였다. 본고는 작품 소개 이외에 지금까지 논의된 바 없었던 <셋태비감>을 소개하는 차원에서 작품의 내용을 3단락으로 정리하여 작품론으로 들어갔다. 작품의 도입부는 해방 이후부터 한국전쟁의 발발, 가장 치열했던 낙동강 방어전까지 당시 현실세계가 충실히 재현된 객관적 서술 방식으로 이루어졌다. 이를 통하여 공식적인 역사서술에 의존한 리얼리티의 복원이 가능했다. 가운데 단락에서는 전쟁 중 부역 행위로 옥살이를 하게 된 화자의 억울한 심정과 비참함의 정서를 확인하고 그가 투옥하는 동안 꿈을 통해 무의식의 세계 속에서나마 자신의 고난을 잊고자 했던 노력의 일환을 살폈다. 그리고 1년의 옥살이 끝에 출소하여 막막한 현실 속에서 미래를 기원하는 화자의 목소리로 작품은 끝을 맺는다. <셋태비감>은 작자의 전쟁 체험에서 비롯된 역사적 사실과 개인의 시련을 극복하기 위한 현실도피를 문학적 상상력으로 형상화한 작품으로, 논픽션과 픽션이 혼종을 이루는 르포문학으로서의 성격을 공유하고 있다. 이로써 본고는 한국전쟁 속에서 창작된 작품의 시대적 특수성과 가사문학의 특성을 모두 고려한 르포가사로서의 <셋태비감>으로 그 문학사적 의의를 살펴보았다.Settaebigam is a manuscript gasa work expressed in a four-verse lyric style based on a story about Korean War situations that she experienced from the perspective of a refugee along with her own story. This study is intended to research the author’s life and ideas adhered to the field in detail in order to establish a new categorization of gasa by reviewing the literary characteristic of gasa created during Korean War. This study covers the theory of the work by categorize the contents into three paragraphs as the introduction of Settaebigam, which hasn’t been discussed so far other than the introduction of the work. The introduction part of the work arranges the details of Korean War in sequence and reproduces the reality of those days from the time after the liberation to the outbreak of the war and the Great Naktong Offensive. This is how the restoration of reality based on the official historical description was made possible. In the middle part, the author’s unfair emotion and distress due to prison life by treachery during the war are viewed, along with her efforts to forget her adversity in the unconscious world through dream. The work ends with her wish for the future in the desolate reality after being released from 1 year of imprisonment. Settaebigam embodies the historic facts derived from the author’s war experience and the escapism to overcome her own personal adversity through the literary imagination. It shares the characteristic of report literature with non-fiction and fiction mixed. Therefore, this study is intended for new categorization of gasa literature as a report gasa by highlighting the distinct characteristics of the period in the work created during the situation of Korean War.

Benefits of Boredom: An ‘Interlopers’ Experience of Conducting Participant Observation on the Production Line

Embracing a lyrical style of writing, the paper discusses the advantages of conducting participant observation and calls for its increased use in business and management research, especially the field of human resource management (HRM). In a sector dominated by quantitative research methods, we are left with many unanswered questions about organisational life. While surveys have provided us with an abundance of ‘hard’ data, it has resulted in a lack of depth and understanding around the employee experience. Reflecting on a research project that explored the concept of high‐performance work systems (HPWS), the paper discusses a chance opportunity to undertake participant observation and how the experience not only changed the focus of the research project but provided a depth and understanding currently missing from the HRM/HPWS paradigm. Structured around ‘lessons learnt’, the paper calls for methodological eclecticism and hopes to encourage others to become ‘interlopers’ and embrace the benefits of conducting participant observation.

O futebol e a literatura em Nelson Rodrigues e Carlos Drummond de Andrade

Using the chronicles of Carlos Drummond de Andrade and Nelson Rodrigues as starting points, we sought in this work to analyse the presence of the lyric style in the first author and the dramatic in the latter. However, the analysis of such style aims to establish the relationship the two authors had of the world and the theme of football. Football, as a game-like element, plays the role of a window which opens up to the reader the vision both writers had of the world. The writers are aware of the profound influence of such game in the Brazilian culture.Keywords: Football. Game. Lyricism. Drama. Literary theory.

Encuentros con historia literaria (En Castellón, siglo XIX)

In the mid-nineteenth century, a young poetess from Castellon, Amalia Fenollosa, brought together a group of writers and intellectuals in her hometown, some of whom were Catalan (she will marry Joan Mane i Flaquer), and others from different origins from Aragon, Asturias and Salamanca. Back then, there was a historical and political situation where faction-fighting was rife. Some were committed to faction-fighting, suffered exile for their cause and testified to it in their writings. This paper presents a series of different letters that both help to decode their works and trace the personal and affective experiences among them. Her poems, for their part, exude sincere friendship, express literary experiences and contribute to confirm the lyrical style and typology of the period she lived in. In short, fortuitous encounters in the 19th century Castellon produced a chapter in literary history.