Book Of Songs Research Articles

석북 신광수 가문의 ｢월주수창록(越州酬唱錄)｣의 비평적 특징

This paper examines the stylistic and critical characteristics of Wolju Suchangrok, a collaborative work created by three of Shin Gwang-su’s five sons: Shin Woo-sang, Shin Yi-sang (Shin Gi-sang), and Shin Wi-sang. Wolju Suchangrok refers to a collection of Chinese poetry written in 1772 by the three sons who accompanied their father, Shin Gwang-su, during his appointment as the governor of Yeongwol. Currently, some of these works are included in the literary collections of Shin Woo-sang and Shin Yi-sang, while additional content exists in the form of a scroll preserved by the descendants of the Seokbuk family. This study compares the three documents to analyze the current state of the works and explores the critical characteristics of the family-preserved manuscript. The three brothers focused on literary representations of the tragic history and sorrow of King Danjong, who was exiled to Yeongwol. They effectively utilized the natural scenery of Yeongwol and the imagery of the cuckoo bird in their works. The critic of the family-preserved manuscript highly praised the brothers for expressing their thematic consciousness in a concise and subtle manner through natural imagery in seven-character quatrains. The critic also commended their avoidance of overt emotional exposure and narrative-style diction. These observations reflect the writers’ and critic’s aspirations toward the Tang-style poetic tradition. Furthermore, their emphasis on the Shijing (Book of Songs)’s Guofeng spirit and their focus on literary achievements rooted in nature align closely with the poetic consciousness shared among the Geungi Namin. This suggests that the critic likely shared the poetic ethos of the Geungi Namin and that the three brothers were nurtured within this literary tradition.

Research on the English Translation of The Book of Songs from the Perspective of Reception Aesthetics: A Case Study of Xiao Ya·Cai Wei

The English translation of the Chinese classic The Book of Songs serves as an important bridge for cultural exchange between China and the West, profoundly influencing the dissemination of Chinese culture abroad. This paper explores how to improve the quality of English translations of The Book of Songs by considering reader reception, using the widely circulated excerpt Xiao Ya · Cai Wei as a case study. Employing a comparative analysis of the two classic translations by the well-known Chinese translator Xu Yuanchong and the renowned British translator James Legge, this study found the two translations have their respective pros and cons. To improve translation quality for future international dissemination of Chinese culture, a form of collaborative translation by Chinese and English-speaking translators is recommended.

A 40-Year Systematic Literature Review: About Researches of Duan Yucai’s Study of the Book of Songs

A 40-Year Systematic Literature Review: About Researches of Duan Yucai’s Study of the Book of Songs

Cover Image:

Grapes, first written about in The Book of Songs, have been cultivated for millennia and have become globally valued as a fresh fruit and for making wine. The cover depicts grapevines growing along the coast in Shenzhen, China, where they produce a bountiful harvest brought by the gentle breeze. However, these grapevines are not delicate—they can withstand the sea wind and the splashing of seawater, symbolizing the tenacious vitality of grapes that are adapted to the coastal environment. The population genomics study by Zhang et al. (pages 1408–1426) offers valuable insights for breeding salt‐tolerant grape rootstocks and identifies key structural variations, advancing horticulture of this economically and culturally significant crop.

En muntlig sångkultur kopplad till skrift

An oral song culture connected to printed worksThe aim of this article is to investigate the process of diachronic transmission with reference to oral material. Departing from field recordings from the very north of Sweden this article intends to account for the transmitting of oral song traditions connected with two pious song books, Sions sånger/Sion’s Songs and Sions nya sånger/Sion’s New Songs from the 18th century. The song books were published in numerous editions up until 1975 and foremost used by religious dissenters. Only song texts were provided in the books – as for melodies the congregation had to deal with directions to contemporary melodies, mostly hymns. The recordings indicate that several both sacred and profane melodies used during the 18th century may have followed the songs for more than 200 years in oral tradition. The restricted life within the congregations is a prerequisite for this process which goes on within the collective. In the present investigation the contradictory words acceptance and avoidance/repudiation are used to make clear what elements are active as both controlling and cooperative in the dynamic transmitting process.

History of Assamese Modern Song: from Birth Cry to Jyotiprasad

The journey of the Assamese modern song starts after the advent of the Baptist missionaries. The prime intention of it was to propagate Christianity among the people of Assam. Music as a medium of propagation was common in the past. The creations of Vaishnava saints of Assam were examples of it. Though the songs could not influence much, they became the root of Assamese modern songs. Rabindra Sangeet influenced the Assamese nobility, and the Assamese language was thought of as not suitable for modern songs. Taking it as a challenge, some Assamese writers like Benudhar Rajkhowa, Satyanath Bora, Lakshiram Baruah, and Kirtinath Bardoloi started writing songs, and the first book of the Assamese song "Geetawali" was published in the year 1888. Assamese modern songs at that time could not detach themselves from Assamese plays. Later, the Assamese modern song, in its infant age, was nurtured by Ambikagiri Raychudhury, Umesh Chandra Chaudhury, Kamalananda Bhattacharya, etc. Later, Jyotiprasad Agarwala shaped Assamese modern songs based on Assamese folk music, Hindustani Classical Music, and Western music. This paper attempts to trace the journey of the Assamese modern song from its origin to the creation of Jyotiprasad Agarwala.

Joshua McCarter Simpson's Songs and Mid-Nineteenth Century Antislavery Activism

AbstractThe Ohio-based Black songwriter, Joshua Simpson, published two books of antislavery songs in the mid-nineteenth century, Original Anti-Slavery Songs in 1852 and Emancipation Car in 1854. Unlike most other known songsters, which were compilations of poetry from several authors, Simpson authored original lyrics for borrowed melodies, and he did so with extraordinary care, engaging the original song to enhance his activist messages. Employing the rhetorical practice of signification, his linkage of new lyrics with preexisting songs sometimes builds upon meaning from the original text, reusing it to add weight to the moral and political arguments against slavery. He also extends nature imagery and lyrics about the comforts of home and family in traditional ballads and contemporary sentimental songs to his new lyrics, but more often his signifying practice is ironic. He inverts the original song's sentimentality in deliberately discomforting ways that could persuade Americans to assist self-emancipating people and work toward wholescale abolition of slavery. Simpson's most radical songs talk back irreverently to the originals, especially minstrel tunes containing degrading caricatures and proslavery propaganda as well as patriotic anthems proclaiming hypocritical platitudes. Simpson did not simply write new songs; he transformed some of the most popular and beloved songs of his era, harnessing their renown to sharpen his activist messages.

The Differences Between Wars in Ancient China and Ancient Greece--The Analysis Based on The Book of Songs and Ancient Greek Mythology

This paper aims to analyze the different views of war in ancient China and ancient Greece, based on The Book of Songs and Ancient Greek Mythology. The comparisons are divided into three parts: the distinction of background, views in The Book of Songs, and attitudes towards war in Ancient Greek Mythology, and finally conclusion will be drawn. In the first part, the geography factors will be given, and then the analyses of lifestyles, personalities and beliefs that are influenced or shaped by the natural environment follow, also including the comparisons. The second part is on the views of war in The Book of Songs where four typical examples are given which represent four genres that indicate four different attitudes towards war in ancient China, also with analyses. Part three is based on Ancient Greek Mythology, the Trojan War especially, which fully exemplifies the western view of war. The analyses of the culture of offensive war and individual heroism follow. Finally, in the last part, some suggestions for nowadays diplomacy will be given based on the analyses and comparisons above. Also, the culture of defensive war and patriotism, as the two most distinct and significant beliefs, are worth highlighting separately, for they still deeply affect nowadays Chinese.

A Brief Analysis of the Influence of Sound and Rhyme on Content Expression in Xu Yuanchong's English Translations of Poetry Works - A Case Study of "The Book of Songs"

A Brief Analysis of the Influence of Sound and Rhyme on Content Expression in Xu Yuanchong's English Translations of Poetry Works - A Case Study of "The Book of Songs"

Eating (With) You: Exploring Slow Intimacy in the Book of Song of Songs and <i>Written on The Body</i> by Jeannette Winterson, Through the Lens of Food

This article explores the link between sex and food imagery to cultivate a sense of slow intimacy in an ancient and contemporary ode to love. The delicious, nutritious, and indulgent nature of food used in both the Hebrew Bible book Song of Songs and Jeannette Winterson’s novel, <i>Written on the Body</i>, helps us consider the sheer delight of communion between partners. Not only are the bodies of the lovers described in terms of food imagery but also the very act of eating together serves as a way to capture the intimacy and the ecstasy associated with the sexual union. However, it will also be shown how food and eating point to the fleetingness of bodies that live, love, and decay, contemplating the significance of slow intimacy through all of life’s stages.

Framing the climate emergency: the role of music in extinction rebellion

ABSTRACT This paper addresses the role of music in Extinction Rebellion (XR), a radical environmental movement founded in the UK in 2018. Through an analysis of the lyrics and sound of 80 songs (which comprise XR’s ‘Rebellion Song Book’) XR’s music is presented as both a purposeful strategy (i.e. a framing mechanism) for articulating core grievances and their accompanying solutions, and as a binding mechanism that works to reinforce solidarity and collective identity among members. The results show that XR’s songs reflect the broader messaging of the movement – that environmental degradation has caused a climate emergency and that unless immediate action is taken to address this an ecosystem collapse awaits humanity. As well as clear grievances emerging in the lyrics, solutions to these are articulated (through stressing the importance of heeding science and organizing citizens assemblies to steer government decisions); and calls to action are made (through calling for rebellion). The paper shows that while XR’s music can inspire collective action to address climate issues, an equally important function is that it can engender emotional responses in both those who sing and listen to it, bringing members together and reinforcing a form of collective identity and solidarity, and thus strengthening the cohesion of the movement.

Was Joaquim Angélico de Jesus Guerra S.J. (1908–1993) a 20th-Century Figurist?

Fr. Joaquim Angélico de Jesus Guerra S.J. (Chinese name: Ge Zhendong), a Portuguese missionary in China, was the most prolific Sinologist in the Lusophone world. Over a period of nine years (1979–1988), he published his translations and commentaries on the Wujing (Five Classics) and the Sishu (Four Books), plus the Xiaojing (Classic of Filial Piety) and the Daodejing. Much more astonishing than his monumental Sinological work is the peculiar silence academia devoted to his achievements. One of Guerra’s remarkable features, which is a possible reason for such silence, is his alleged “figurist” attitude towards the Chinese Classics. This article discusses Guerra’s figurism and his theological background, briefly compares it with the original Figurism and theology of Joachim Bouvet and Joseph de Prémare, and finally expounds on sections of the Shijing (Book of Songs), the Shangshu (Book of Historical Documents), and the Daodejing that were interpreted typologically by the French Figurists in their commentaries on the Chinese Classics. The aim is to analyze Guerra’s interpretation of these texts and determine if typological readings of figurist type can be found in his Portuguese translations and commentaries on the Chinese Classics.

ПАМЯТЬ О ХОЛОКОСТЕ: КОНТАКТ КУЛЬТУР В МУЗЫКЕ МИХАИЛА БРОННЕРА

The research focuses on the musical works of the contemporary Moscow composer Mikhail Bronner (b. 1952), which reflect the theme of the Holocaust: Jewish Requiem and Long Return (Book of Songs) for choral theatre. The article analyses the problem of the contact between European, Russian and Jewish cultures, which is manifested in these works on different levels: artistic content, genre definition (Jewish Requiem), thematism that defines the sound aura. It outlines the composer’s position in the choice of text language for his vocal and instrumental works, analyses the correlation between music and words: the lyrics of Yiddish songs (Long Return), Yiddish and Hebrew (Jewish Requiem — Chaim Nachman Bialik’s poem In the City of Slaughter, translated into Yiddish with words from The Diary of Anne Frank; Psalms in Hebrew). The analysis of the musical compositions reveals that in the Jewish Requiem the dominant culture is Slavic, and in the book of songs Long Return — Jewish. The forms of manifestation of the cultural contact in the Jewish Requiem were carried out by diffusion (“smoothing out” the sound formants), while in the choral opera Long Return — by transculturation.

Translation and Dissemination of Qilu Farming Poetry from the Perspective of Reception Aesthetics—A Case Study of Qifeng and Lusong in <i>The Book of Songs</i>

Translation and Dissemination of Qilu Farming Poetry from the Perspective of Reception Aesthetics—A Case Study of Qifeng and Lusong in <i>The Book of Songs</i>

Development of Digital Pop-up Book of Madurese Songs with Pancasila Student Profile for Junior High School Students

Madurese songs become a form of symbolization of the character possessed by the Madurese community. This becomes more interesting when applied to a digital pop up book about Madurese songs which contains the profile of Pancasila students with the target of being used by junior high school students in Sampang. The Madurese songs taken are entitled “Tanduk Majeng” and “Wa' Ronjengan”. The purpose of the study was to find out the development of digital pop-up books and product validation has been carried out, in addition to knowing the creation and development of digital pop-up books about Madurese songs and the acceptance of students towards the application of learning systems like this in remembering subject matter. The research method uses Research and Development to develop a digital pop up book. If possible, it can make Madurese songs better known and appreciated by the general public throughout Indonesia and become an example of a work that characterizes and is only owned by the Madurese community. This research discusses the development of a digital pop up book of Madurese songs containing the Pancasila student profile for Sampang Junior High School students which intends to provide a more interesting, creative learning system and be able to improve student memory to make it easier to understand the learning process. The material received by students will be more easily conveyed with the visualization of the digital pop up book. And it is hoped that it will greatly help facilitate activities in the world of education while preserving the surrounding culture.

Comparison of “Song to the Men of England” With “Large Rat” of Book of Songs From the Approach of New Criticism

Comparison of “Song to the Men of England” With “Large Rat” of Book of Songs From the Approach of New Criticism

The First Lutheran Hymnals of 1524

Abstract: The year 2024 marks the five hundredth anniversary of the birth of the Lutheran hymnal. During the winter of 1523/24 Luther and his colleagues in Wittenberg began expressing their theology in poetry and music. Like contemporary news ballads the early Lutheran hymns were first circulated from Wittenberg on single printed sheets, which were reprinted by printers in other towns and cities. One of them, Jobst Gutknecht of Nuremberg, reprinted a collection of eight of the early Wittenberg hymns, thus creating the first Lutheran hymnal, the Achtliederbuch (Eight Song Book). Later the same year, 1524, two different hymnals with similar contents were published in Erfurt. Like Gutknecht’s Achtliederbuch the twenty-five hymns they contain were reprinted from single sheet Wittenberg broadsides. Towards the end of 1524 a set of part-books were published in Wittenberg with Walter’s polyphonic settings of hymns mostly by Luther, who also provided a preface. Luther’s close connection to the project has accorded the collection a kind of foundational status as the primary Wittenberg hymnal of 1524. However, there is evidence–explored in this article–that there must have a been a basic Wittenberg collection of thirty-two primary hymns that pre-date both Walter’s part-books for choirs, and the 1524 hymnal specifically issued for the Wittenberg congregations.

People vs. ‘god of plague’: Socialist China’s anti-zoonotic campaign media as environmental media

This article cross-pollinates environmental media studies with socialist China’s anti-snail fever campaign media, including two 1965 science education films, a 1961 song book, all entitled ‘Song wensheng’ (‘Sending away god of plague’), and a 1970 Chijiao yisheng shouce (‘The handbook for barefoot doctors’). Through studying popular audio-visual and print media produced to support the socialist state-sponsored campaign against snail fever – the longest anti-zoonotic campaign in China – I adopt a cross-media approach to campaign media. Unpacking the environmental unconscious in campaign media, I advance the concept of compost media to intervene in environmental media studies by going beyond critiquing the Capitaloscene, and revealing socialist campaign media as quintessential to environmental media.

“SHI JING” AND TRADITIONAL COLOR FROM THE POINT OF VIEW OF VISUAL PERCEPTION OF COLOR IMAGE

This article is based on the study of a literary work before the Qin era “Shi Jing” (“Book of Songs”). The article will analyze the combination of perceived color with the literary language before the Qin, realistic reproduction, and symbolic color combination of the color language of “Shi Jing” with a political and educational function through the transformation of visual perception of color. The literary language of color, the “native” traditional colors and the aesthetic characteristics of the Chinese nation will be studied, which is the key to the early formation of the perception of Chinese color culture. At the same time, the color vocabulary of “Shi Jing” and “Songs of Chu” will be compared, aesthetic similarities and differences, as well as symbolic meanings of color in classical works of the south and north of the country will be interpreted. The study of pre-Qin literature and Chinese color culture in three-dimensional space-time, rather than in isolation, deeply explores the aesthetics of traditional colors and the social utility of politics and religion. This need is due to the fact that visual-sensory color research in literary and artistic works is an investigation of the cultural and id “native” color culture demonstrates enormous political and pedagogical utility.

A Musical Stereotype? Repetitive Formations of Women’s Voices in the Trouvère Repertory

This article focuses on the effects of extensive melodic repetition in twelve Old French monophonic songs preserved in chansonniers (song books) from the thirteenth century. All these songs share a specific formal pattern: at least three initial poetic verses (or pairs of verses) set to the same melody. While the methodological point of departure for this study revolves around musical form and melodic construction, five songs within this group of twelve involve women speakers within their poetic texts—a relative rarity in medieval song. In addition to reviewing the cultural, cognitive, emotional, and performative implications of repetition, the article considers how repetitive melodic patterns intersect with and complement the feminine emphases of the text, arguing that this combination is not coincidental. As demonstrated by a close reading of these five songs, repetition has the potential to depict deliberately distinct female figures, ranging from a woman who longs for the touch of her absent crusading lover to the Virgin Mary herself. Repetition thereby serves in these songs to destabilize both the widespread trope of courtly love and the gendered implications of the chanson as a poetic and musical genre.