Pastoral World Research Articles

The Land of Milk and Honey: Goats, Bees, and the Poetic Identity of Virgil’s Eclogues

This article offers a new perspective on the poetic concerns of the Eclogues by looking at goats as the programmatic poetic symbol of the collection. It shows how Virgil has adapted a new poetic identity for the goats of his pastoral world from the bucolic landscape of Theocritus’ Idylls by borrowing and transforming the established poetic identity of a different animal, the bee. In particular, it traces the significance and intricacies of etymological play and markers to deepen our understanding of the relationship Virgil creates between his work and that of Theocritus, and shows how this shift in poetic identity from bees to goats establishes a Virgilian conception of Roman pastoral. It gives especial consideration to Idyll 10 as a source text of inspiration for the Eclogues, with an eye to rehabilitating the importance of this poem to Virgil’s bucolic collection.

『빨강머리 앤』에 재현된 아동기의 상상력

This paper intends to study the pastoral world of childhood in Lucy Maud Montgomery’s Anne of Green Gables (1908). The work has a vivid childhood imagination that expresses the writer’s own experiences, such as a deficiency in childhood and wish-fulfillment, a satire of religious practice, and awareness of a national important issue regarding the preservation of rural Canada in a literary way. Anne, an 11-year-old orphan girl and main character, was a hopeless, skinny child who was initially exposed to all kinds of excesses. However, she slowly grows up in a loving home provided by Matthew and Marilla, taming passion and imagination, and learns to live up to Avonlea’s social and behavioral expectations. Anne not only brings Matthew and Marilla a much more fulfilling and happy life than ever before, but she also influences the Avonlea community. Anne never loses her childhood imagination, even though she grows up to be a great member of Avonlea. Anne’s childhood imagination lets her move forward, keeping her and the community’s desperate needs alive in search of a utopia.

"Dialogando en tiempos de pandemia". Ciclo de conversatorios teológicos. Estudio del caso

90 theological conversations are studied, carried out between 05/2020 and 05/2021, with various representatives of the academic, cultural and pastoral world linked to the change of time from Argentina, through an empirical-phenomenological, hermeneutical, theological-pastoral method. The content of each dialogue is synthesized, systematically organized into six sections, and an interpretive narrative of the whole is offered.

The Shameful Story (La Storia Vergognosa)

The Shameful Story (La Storia Vergognosa)

Violence, Insecurity and Marginality in Pastoralist Spaces: The Horn of Africa and the Sahel Regions

The pastoral world is defined by the prevalence of war, various forms of insecurity and lack of development, which constitutes violence in all its forms: direct war violence, structural violence (emanating from economic alienation and marginalisation, political repression, poverty, destitution and climatic vulnerability) and cultural violence (bias towards and the securitisation of pastoralist economic and social system). In effect, in human security parlance, the violation of freedom from fear and freedom from want is prevalent that it appears inherent to the nature of the pastoral way of being. The pastoral way of life is considered as an ephemeral state of encroachment of modern nation-state institutions. Therefore, pastoralist-state relations have always been strained. Their precarious existence on the fringe of every state they form part of is consequently considered as normalcy for pastoralists until their livelihood, socio-economic and political system is transformed into the dominant socio-economic and political systems the states are built on. The pastorialist conception of their livelihood and the entirety of their view of 'good life' is denigrated and their voice silenced. By reflecting on the book entitledS in the Horn of Africa and the Sahel by the United Nations Economic Commission for Africa, this review article examines violence in pastoral society.

Dionysiac Art and Pastoral Escapism

"As the Mediterranean cities expanded in an ever-more interconnected Hellenistic world, people longed for a rustic lifestyle because the urban landscape was seen to be engulfed by materialistic and vain concerns.<a title="""">[1]</a> People faced many stresses in these urban centers and consequently searched for relief through art. How did Dionysiac art reflect political and social ideas and the identity of Hellenistic people through pastoralism? Pastoralism in art embodied the idea that satisfaction and carefreeness were attained through connecting with an environment unaffected by the calamity of the city. The countryside was populated by herdsmen and farmers, as well as the god Dionysus and his followers, including satyrs, and centaurs. These pastoral elements were associated with an idealistic way of living in that they described a utopia of sorts, one that provided an escape from the stresses of life in the city.<a title="""">[2]</a> Ideals presented in Dionysiac art was utopian in all aspects, located in an ideal place (<em>eu-topos</em>) that overcame boundaries, both worldly and geographic (<em>ou-topos</em>), and allowed one to achieve an elevated state of mind in a pastoral <em>locus amoenus</em>.<a title="""">[3]</a> The idealistic pastoral place filled with Dionysiac imagery was found where people welcomed natural resources, rather than vain amenities of the city, abandoning their identity as a city dweller for an identity defined by pastoralism. Dionysiac art provoked the viewer, such as the sleeping Hermaphroditus statue, confronting the viewer with boundary challenging issues—the world of ordinary versus the Dionysiac world, the pastoral world versus one’s own world.<a title="""">[4]</a> Boundary challenging presented the idea of finding one’s way, integrating, and belonging, like mystery cults in which people found a new identity through participation in an escapist community.<a title="""">[5]</a> Although people wanted to escape one aspect of their life, they found their way to something else of their own: the Dionysiac, pastoral world. <a title="""">[1]</a> Alpers 1972, 354. <a title="""">[2]</a> Witke 1966, 20. <a title="""">[3]</a> Dang 2010, 120. <a title="""">[4]</a> Von Stackelberg 2014, 398. <a title="""">[5]</a> Bøgh 2015, 281."

The Expression of Self and Grief in the Nineteenth Century: An Analysis through Distant Readings

When writing about grief, Peter N. Stearns and Mark Knapp (‘Historical Perspectives on Grief’, in The Emotions: Social, Cultural and Biological Dimensions, ed. Rom Harré and W. Gerrod Parrot (London: Sage Publications, 1996): 138) speculate that ‘[i]n contrast to eighteenth-century songs about death, which were set in the artificial pastoral world of shepherds and written in the third person, Victorian grief songs were personal and immediate’. Inspired by this claim, we investigated the usage of pronouns, as well as topics surrounding grief, in ballads taken from broadsides in the nineteenth century. We found that the use of first-person pronouns increases over the nineteenth century, and that this was not a linear trend; there were sharp increases in the usage of first-person pronouns beginning in 1815, which leveled off in the third quarter of the century. Additionally, we examined the usage of lyrical topics about death, grieving, negatively valenced emotion and sadness, and asked whether such topics correlated with the increased usage of first-person pronouns. We found that there was not a strong correlation with the usage of pronouns and such topics, though there was a small correlation between the usage of such pronouns and sadness and a stronger positive correlation between a focus on the present and positively valenced emotion. These findings suggest that first-person pronouns are not reliable indicators of lyrical topics surrounding grief, or vice-versa. Using personal pronouns as a measure of intimacy, we conclude that songs written in the beginning of the nineteenth century did see a rise in intimacy in song lyrics. However, this increase does not appear to be tied to songs about grief, specifically. Despite the existence of many personal grief songs in the Victorian period, our distant reading reveals linguistic trends and interrelations that challenge the intuition that nineteenth-century grief songs were more personal than earlier ones.

The Testimonies of the 20s Generation in Private Writing: The Case of Albertas Dilys (1920–2000)

The article employs the egodocumentary approach to examine how the private writings of Albertas Dilys (1920–2000), political prisoner and Lithuanian scholar of the 1920s generation, records and reflects upon his refusal to compromise under the circumstances of the Soviet occupation. Dilys was part of the generation who were born on the eve of the creation of the State of Lithuania – between 1917 and 1922 – and who, having graduated from the schools of the newly independent state, entered university by the end of 1930s with a distinct aim to contribute to the European culture worthy of a free nation. However, the Second World War and the alternating Nazi and Soviet occupations brought an end to these youthful ideals. Because the existential choices made by these young people pulled the generation apart and, in regard to the Soviet oppression, disseminated it both geographically and axiologically, defining its conceptual coherence is somewhat problematic. Yet, reflecting on separate individual choices may help us understand the people’s motivation and the paradigms which bring this generation together on the one hand and break it up on the other.Rather than appraise the decisive generational self-conceptions in the context of 1944, the case of Albertas Dilys enables us to look into the different manifestations of conscious existential resolve, its origins, and consequences. The notion of the 1920s generation here describes the humanities students with literary aspirations who first studied at Vytautas Magnus University in Kaunas and then at Vilnius University. As high-school pupils, most of them took part in the Ateitis movement, which was a Catholic organisation opposed to the Lithuanian government of the day. At university, they joined Šatrija, a society dedicated to the study of art, literature, and philosophy.At the centre of the present research are documents testifying to Dilys’ personal existential quest and self-realisation in the context of repressions and further oppression: his memories, correspondence, notes, journals. To frame the research material, the article makes partial use of intertextual and sociocritical analysis. Dilys’ egodocumentary accounts are examined in light of historically reliable biographical and background facts. This article aims to discover and highlight in Dilys’ egodocuments his testimonies of self-reflection, personal resolve and its consequences and, by means of comparative analysis, to look for similar premises in the accounts of other contemporaries in order to indicate the epistemological gaps in the research field of the 1920s generation.Dilys’ case is by no means typical; cases like his have been deemed marginal in most sociological and sociocultural research. The history of existential choices and reflection on it, as testified in Dilys’ egodocuments, have a distinct character: emphasis is placed on inner resistance, whose parallels extend into the spiritual maturity derived from youthful ideals, the quest for the meaning of life, and the adoption of an ethical position at the expense of career development and professional life and subjection to ostracism and relative poverty. This egodocumentary research reveals the complexity of uncompromising choices and their consequences in a repressive and oppressive society. Dilys’ egodocuments are strongly oriented toward the past as well as the ideal of youth and the pastoral world of the parental home. Similar utopian undertones and pathos as well as solidarity with the 1920s generation of idealists trapped in a historical downfall – characteristically, this generation is perceived from passéist perspective, in retro-spective projection that centers on the youthful past – crop up in the accounts of other former members of Šatrija. The paradigm of Dilys’ existential choices calls for a further inquiry into the life of the 1920s generation.

Introduction

In the Victorian era the British industry thrived and new technologies developed. As railway lines extended their network, they found their way into William Turner’s oil painting Rain, Steam and Speed – The Great Western Railway (1844), Anthony Trollope’s novel, The Way We Live Now (1875) or Charles Dickens’s short story ‘The Signalman’ (1866); the steam thresher contaminated Thomas Hardy’s pastoral world in Tess of the d’Urbervilles (1891) just as in Edwardian times, industrially produced wa...

English

Pastoralism is a production system closely linked with cultural identity that relies on raising livestock on pastures. Studies indicate that over 30 million people in the Great Horn of Africa (Somalia, Ethiopia, Kenya, South Sudan, Eritrea, Djibouti, Sudan, Tanzania and Uganda) practice pastoralism and agro-pastoralism as a major source of livelihoods. Livestock are their social, cultural, spiritual and economic assets providing food and income for the family within and between generations. Yet this important production system of livelihood as well as socialisation mechanism is missing in the school or university curriculum of these countries including Uganda. With the exception of Tanzania and Ethiopia that have recently designed a curriculum on pastoral studies in their university curriculum, pastoral education has been missing in the school and University curriculum of the Great Horn of Africa school systems yet most of these countries livelihoods depend on pastoralism. From the socialisation perspective, the dynamism surrounding the livelihoods of these communities and/ or families impedes peace in society. Families as social units play very important role of socialisation and recreation therefore, making pastoral education an important element not only from an African traditional context but also from the sociological perspectives. The sense and complex nature of communities and households struggling to improve on their own survival and development through the practice of pastoralism are complex yet central to the maintenance of peace and stability of the communities. The inclusion of pastoral education to the school and university curriculum as a common or cross cutting course unit would introduce undergraduate and postgraduate students to the fascinating and rich world of pastoralism. This would provide the students with knowledge and skills to analyse and understand pastoral systems as they exist today, and the options for their future development in support of national economic growth in a changing world. The curriculum would also help students from different backgrounds to understand how pastoralism functions as a system, its contributions to local, national and global economies and sustainable environmental management, and its role in promoting peace, socialisation, and harmony between pastoral and other communities. Key words: Pastoralism, pastoral education, livestock.

Ways to Promoting Rural, Cultural and Gastronomical Tourism in Mărginimea Sibiului

In 2009, the touristic potential of Marginimea Sibiului is recognised both nationally and internationally for its unique ethnographic, cultural, architectural and historical heritage and it has also won the Golden Apple Award of World Federation of Travel Journalists and Writers. In 2015, this area with rich traditions won a price for promoting local gastronomy. Cheeses of Marginimea Sibiului are an important part of this region's culinary and cultural tradition, and its diversity comes from specific production techniques. The Sheep Cheese Route provides an excellent opportunity for discovering the pastoral world of Marginimea Sibiului, with its picturesque settlements and calm lifestyle. Due to continuous shepherding and transhumance, the 18 villages connected to the route have succeeded in keeping their strong local identity. Marginimea Sibiului has always been known in Romania as the land of sheep, cheeses and meat delicacies. Its traditional products reflect the richness of the land but also the region's cultural diversity.

Statius’ Nemea / paradise lost

This paper examines the Nemean episode of Statius’ Thebaid (4.646-7.104). It is argued, against recent interpretations, that the episodeis not simply a Callimachean digression from martial themes : the hostilities between Argives and Nemeans recall the bella plus quam ciuilia between Caesar and Pompey ; the incursion of the Argives violently destroys Nemea’s pastoral landscape ; and Nemea becomes the site of quintessentially epic events. The snake that kills Opheltes looks back to Vergil’s Calabrian water-snake in Georgics 3 (and the Culex) : Vergil’s didactic persona had warned not to fall asleep when dangerous snakes are around. The death of the child can also be read as a pessimistic inversion of Vergil’s fourth Eclogue. On a poetic level, we witness the epic dissolution of Nemea’s pastoral world. On a political level, the Nemean episode seems to suggest the impossibility of an Augustan Golden Age in the Flavian poem’s disturbing universe of nefas. Nemea is Statius’ paradise lost.

Why Is There No Cheese in Horace’s Satires?: And Related Questions for Vergil and Varro

Horace’s satires include a variety of foods but make little reference to cheese and milk. This absence is understandable: they are products—and symbols—of the pastoral world. Vergil’s Georgics and Eclogues claim cheese for the country, yet make it a link via commerce to the city. Varro’s De re rustica places cheese on the margins: its proper place now is away from Rome; and the right time for it at Rome was before the city’s foundation. Taken together these three texts show that the presence or absence of cheese at Rome is a matter of place and time, genre and ideology.

A Study on Autolycus: Printed Ballad vs. Drama

Autolycus, a rogue in Shakespeare’s The Winter’s Tale (1611), used to be considered Shakespeare’s invention even though it is agreed that the main plot of the drama comes from Pandosto: The Triumph of Time, one of Robert Greene’s prose romances. However, with the new focus on Renaissance rogue literature in the 1990s and beyond, the creation of Autolycus has been found to owe a lot more to another type of Greene’s prose, Cony-catching pamphlets, than had been previously thought. At Act 4, scene 3, Autolycus comes on the stage for the first time with a song that “bridges the gap between his criminal behavior and the romance plot he will advance(Mentz 78).” He also connects Sicilia, a world of conflict, with Bohemian country, a pastoral world with his song. What he does on stage at scenes 3 and 4 of Act 4 echoes exactly the episodes of Greene’s cony-catching pamphlets. With the trickery he resorts to, he establishes himself as a rogue, a direct descendent of Greene’s cony-catchers. However, he diverges from his roguish ancestors as a much richer story is weaved around the ballads he sells to the country shepherds and shepherdesses. The swindle of his ballads reveals how the falsity turns to the “truth” in the form of print and how the print is embraced as a truthful media by the people of the lower class. At the last act, Shakespeare elaborates the topic of mirrored truth in two different types of representation, printed matter and drama. The story that Perdita’s identity is revealed is mediated through several different speakers, with Autolycus as a listener on the stage. He does not need to be on the stage for the plot, but Shakespeare summons him as a future ballad-maker with a mission to disseminate a ballad of a truer story. At the last scene, Shakespeare distances his story from its source, and makes the statue of Hermione come alive to the amazement of all the people on the stage. Through the dramatic representation of a more unbelievable story than those of ballads, Shakespeare distinguishes drama as a more reliable vehicle of truth from printed matter by directing an incredible event right in front of the eyes of the audience. To the attacks on mirrored fiction in early modern England, Shakespeare responds by differentiating drama from printed matter.

Frustrated desires of the pastoral world

In Theocritus, Virgil, and Longus each author establishes a tree that is symbolic of their approach to the pastoral tradition. In the opening of Theocritus’ Idylls, a goatherd’s piping is favorably compared with the sound of wind through the pine (πίτυς). This passage establishes the pine as a symbolic marker for Theocritus’ pastoral world. This world, however, is punctuated by the frustration of unfulfilled personal desires, and the pine tree is present in passages which depict this (Idylls 1. 134, 3. 38, 5. 49).Virgil adopts this pastoral tradition and in Eclogue 1, Meliboeus comments that Tityrus lies beneath a beech tree (fagus), piping to the woodland Muse. Although the reader may assume that the beech is simply Virgil’s version of the Theocritean pine, the beginning of the fourth line makes it clear that this pastoral world is not only inhabited by unrequited personal desire, but external upheaval and frustration: “nos patriam fugimus”. The inclusion of external strife is found in two key passages in the Eclogues associated with the beech tree: 3. 12 and 9. 9, and reveals a break in the Theocritean tradition.Virgil thus establishes a mutable element of the pastoral tradition which is taken up by Longus in his genre-bending novel, Daphnis and Chloe. In the tradition of Theocritus and Virgil, Longus establishes the oak as the symbolic tree for Daphnis and Chloe. The oak appears frequently throughout the novel and represents the intensely personal erotic frustrations of the young couple. In many instances, however, Daphnis and Chloe seek refuge under their tree after outsiders have attempted violence on them. In this way, Longus blends the function of the programmatic pastoral tree established by Theocritus and Virgil.Thus, this paper examines how Virgil’s association of his pastoral symbol, the beech, with external frustrations contributes to the adaptability of the pastoral landscape established by Theocritus’ pines, and in turn inherited by Longus’ oak.

From tamarisks to stars: Cosmic inspiration in Vergil’s Eclogues

Vergil’s Eclogues, despite belonging to the bucolic genre and being largely modelled on Theocritus’ Idylls, bear clear marks of cosmic inspiration; these emerge from time to time, now in one poem, next in another, issuing ideas and images apparently inconsistent with the pastoral world: this happens especially in the three central Eclogues. Non-pastoral ideas and images often refer to philosophical or mythological themes, possibly coming either from poets with a cosmic vein (such as Hesiod and Lucretius), or from philosophic schools dealing with cosmogony (such as Orphism and Stoicism). Vergil develops these themes in innovative ways. This broadening of perspective concerns the power of song that seduces and dominates nature (with remarkable self-reflexive implications), the human desire to interact with the gods (even to enter their realm and identify with them through apotheosis), and the longing for purification and rebirth, hand-in-hand with the universal aspiration for peace and happiness.

WILLIAM P. WEAVER. Untutored Lines: The Making of the English Epyllion.

Shakespeare’s Malvolio is troubled by the liminal transgressions embodied by the girlish young man who arrives at his mistress’ gate; Cesario, he complains, is ‘not yet old enough for a man, nor young enough for a boy; as a squash is before ‘tis a peascod, or a codling when ‘tis almost an apple’ (Twelfth Night, I.v.156–9). ‘Standing … between boy and man’ (160), male and female, the disguised Viola resembles those ‘tender boy[s]’ (Venus & Adonis, 32) at the threshold of maturity who populate the pastoral world of the Renaissance epyllion. These vogue erotic mythological narrative poems (in which, to appropriate from Francis Meres, ‘the sweete wittie soule of Ovid lives’) were written and circulated around the Inns of Court in the 1590s and their readership shared, as William P. Weaver demonstrates in this scholarly study, ‘a common training in a specific set of rhetorical exercises, which these poets repeatedly exploit[ed] to represent [their] precocious boy orators’ (114). It became, Untutored Lines persuasively argues, ‘the literary genre through which poets represented rites de passage from boyhood to adolescence’ (3).

“On the Chance”: An Allusion to Vergil’s Aeneid in Kenneth Grahame’s The Wind in the Willows

Rat’s description of Otter’s search for his missing son, Portly, in Grahame’s The Wind in the Willows contains an allusion to Aeneas’ search for his wife, Creusa, in book 2 of Vergil’s Aeneid during the final fall of Troy. This reference economically imports a number of elements more appropriate to epic than pastoral literature. The result is a heightened sense of emotion and concern but, ironically, the reinforcement of the boundaries of the idyllic pastoral world.

Anna Letitia Barbauld and eighteenth-century visionary poetics

In this first critical study of Anna Letitia Barbauld's major work, Daniel P. Watkins reveals the singular purpose of Barbauld's visionary poems: to recreate the world based on the values of liberty and justice. Watkins examines in close detail both the form and content of Barbauld's Poems, originally published in 1773 and revised and reissued in 1792. Along with careful readings of the poems that situate the works in their broader political, historical, and philosophical contexts, Watkins explores the relevance of the introductory epigraphs and the importance of the poems' placement throughout the volume. Centering his study on Barbauld's effort to develop a visionary poetic stance, Watkins argues that the deliberate arrangement of the poems creates a coherent portrayal of Barbauld's poetic, political, and social vision, a far-sighted sagacity born of her deep belief that the principles of love, sympathy, liberty, and pacifism are necessary for a secure and meaningful human reality. In tracing the contours of this effort, Watkins examines, in particular, the tension in Barbauld's poetry between her desire to engage directly with the political realities of the world and her equally strong longing for a pastoral world of peace and prosperity. Scholars of British literature and women writers will welcome this important study of one of the eighteenth century's foremost writers.

The (Cultural) Harmony of Nature: Music, Love, and Order in Daphnis and Chloe

Music in Daphnis and Chloe translates the order that governs the pastoral world. It is silenced when that order is shattered, especially by the irruption of love. Music, however, is not simply the expression of an idyllic order. It also participates in the education of the novel’s protagonists, who must grow to find a new order in their lives subsequent to love’s irruption: that new order is the institutionalization of love, matrimony, and the definition of man’s and woman’s roles in it. This paper attempts to show that Daphnis becomes an increasingly accomplished musician whereas Chloe’s music is gradually silenced, and argues that Longus endorses the musical education he maps.