Song Poems Research Articles

Cupido-Putto oder Weltmacht Eros? Der Calvinist Theobald Hock (1573–ca. 1623) wider den habsburgischen Hofkomponisten Jacob Regnart (1540–1599)

Abstract The Calvinist politician and diplomat Theobald Hock (1573–ca. 1623) published in his collection Schönes Blumenfeld (1601) the poem “Das Cupido kein Kindt sey” (Cupid is not a child). Hitherto hardly noticed, it is a clear palinody to one of the most famous song poems of the epoch, to “Venus du und dein Kind” (Venus you and your child) written by the Kapellmeister and poet-composer Jacob Regnart († 1599) who was in Habsburg service. Both authors lived in Prague for a short time before 1599. Hock did not protest primarily against the use of pagan mythologems, as did some Christian rigorists (such as J. Rist), but (in a critical obituary of his Catholic neighbour?) Hock polemically dismisses Regnart’s text as a document of a foolish superstition that was widespread even among the educated. He replaces it with a conception of an omnipotent Eros that goes back to Hesiod and Plato, apparently mediated by rinascimental Platonism (M. Ficino), and which accompanies and drives all creations, including man’s cultural and moral achievements. Hock thus joins critical questions that the puerile figure of the naked Cupid/Amor had also provoked elsewhere (for example in the emblem book of Andreas Alciatus).

Poetycka piosenka autorska a przekład – przegląd badań w językach angielskim i polskim

Singer-Songwriters’ Song Poems and Translation: A Literature Review of English and Polish Sources The article presents a review of English and Polish sources on the translation of song poems, with a special focus on the studies featuring at least basic methodological and theoretical proposals. The selection of sources serves two goals. Firstly, to enable readers interested in researching song translation access to the key texts. Secondly, given the rapidly growing interest in studies on song translation and the institutional recognition of the topic in the last two decades (see the Introduction), the article provides an accessible overview to other readers, interested in a general state of the art in a relatively new sub- domain of translation studies. The structure of the article follows two principles. The texts are discussed chronologically, starting with the earliest, short studies looking into song translation (1915–1921), then investigating the developments in academic thinking on the subject in the latter half of the 20th century, and concluding with an overview of the book-length publications and complete theoretical models proliferating in the 21st century. Secondly, the main part of the article follows a comparative approach. Polish sources are discussed in the context of their Anglophone counterparts. The article points to ideas shared by texts published decades apart and those whose authors, surprisingly, did not seem to have read the earlier works. Short summaries of the subsequent sections of the article and its concluding part strive also to shed some light on the position of the aforementioned texts and models within general translation studies. The reviewed sources are shown in the context of their explicit and implicit theoretical assumptions and consequences, such as untranslatability, shifting criteria of equivalence, the semantic dominant, the creative role of the translator, the ambiguous distinctions between translation and adaptation or travesty, and even translational “losses,” “semantic fidelity,” or instrumentalisation of the subject of translation cum music as a useful metaphor enabling studies in the spirit of New Humanities, outside the paradigms of translation, literary, and linguistic studies.

Leslie's Love for Life with Its Musical and Lyrical Stylizations

This study chooses famous Hong Kong artist Leslie Cheung's song Love for Life for a detailed analysis of the musical and performance culture of that time. The song this study chooses has the style of Feng Yansi’s Song Poems Ye Jinmen, with a strong literati atmosphere, beautiful and colorful, euphemistic and implicit. Love for Life not only has good lyrics, but the music also exquisitely embodies the artistic conception of the lyrics. Through Leslie's singing, he sings such classical poetic lyrics in a monologue poet's voice. The live version of his 1988 concert, complete with medieval prince costumes, is quite Romeo style, reminiscent of Lam Yihua's words 'If there is a Romeo in the world, I think he is similar to you'. Apart from the analysis of Leslie, this study also draws some attention to the other contributors such as Zhong Xiaoyang. It is argued that through the cooperation of these artists, the song successfully represented the golden age of Hong Kong and one of the peaks of Cantonese culture.

Elegies and Laments in the Nova Scotia Gaelic Song Tradition: Conservatism and Innovation

Gaelic-speaking emigrants brought with them a massive body of oral tradition, including a rich and varied corpus of song–poetry, and many of the emigrants were themselves highly skilled song-makers. Elegies were a particularly prominent genre that formed a crucially important aspect of the sizeable amount of panegyric verse for members of the Gaelic aristocracy, which is a tradition dating back to the Middle Ages. This contribution will demonstrate that elegies retained a prominent place in the Gaelic tradition in the new world Gaelic communities established in many parts of Canada and in particular in eastern Nova Scotia. In many respects, the tradition is a conservative one: there are strong elements of continuity. One important difference is the subjects for whom elegies were composed: in the new world context, praise for clan chiefs and other members of the traditional Gaelic aristocracy were no longer of relevance, although a small number were composed primarily out of a sense of personal obligation for patronage shown in the Old Country. Instead—and as was increasingly happening in the nineteenth century in Scotland, as well—the deaths of new community leaders, including clergy, and other prominent Gaels were recorded in verse. The large number of songs composed to mark the deaths of community members is also important—particularly young people lost at sea and in other tragic circumstances, occasionally in military service, and so forth. In these song–poems, we see local poets playing a role assumed by song-makers throughout Gaelic-speaking Scotland and Ireland: that of spokespeople for the community as a whole.

略论李东阳宋诗观

As an important figure of the Chaling School in the Ming Dynasty, Li Dongyang has always occupied a relatively important position in the poetry world. During this period, he not only created many exquisite poems, but also made great contributions to distinguishing the pros and cons of the poems, evaluating Tang and Song poems, and criticizing poets and genres. He carried out research from different angles, and related the research results, complemented and integrated each other, enriched the research of Song poetry, and laid the foundation for the future research of Song poetry. Li Dongyang's view of Song poetry is a guide for the development of the Chaling School, revealing the direction of the development of its Chaling School literature, and also has a great influence on the development of literature in later generations. , Occupies an important position in literary thought. This article attempts to analyze Li Dongyang's works and takes his views on Song poetry as the main research object.

Si Rukat Nakan dalam Masyarakat Karo

This article aims to describe the relations of equality and respect for men and women in the Karo cultural frame. The relationship between the two, where adat (culture) is the main reference often has bad-faced implications for the Karo patriarchy. Patriarch Karo is often claimed not to have a space of equality and respect for women. The problem will be focused on the use of idioms attached to Karo women. One idiom that is very attached to Karo women is rukat nakan. Idiom the rukat nakan describes the domestic duties of women, namely arranging accommodation and household logistics. With regard to the relationship between men and women, feminists claim the rukat nakan idiom is a form of condescension toward women, even an attempt to domesticate Karo patriarchal role of women. On the other hand, this idiom is also often referred to to validate the wife's subordination to her husband. The results of the research through interviews, literary research and analysis of Karo song poems, the idioms of rukat nakan are an illustration of the appreciation of the domestic role of women. Si rukat nakan is a domestic assignment which describes a very private relationship between husband and wife. The term “si rukat nakan” is not to denigrate or domesticate women, but it shows respect for women's roles.

On the Themes, Images, and Styles of Song People’s Writings about Sir Wang Jing

<p>歷代評價王荊公，兼有毀譽，尤以史傳、筆記、小說最多，建構起荊公立體形象。然而，詩歌亦屬王荊公故事詠寫系統主要體裁之一，至今無專文探討。本文借用詠史懷古詩之研究方法，觀察詩人對荊公之人物論定，回到形象聚訟之始，勾勒宋詩中之荊公形象與主體。可以發現詩中呈現宰相忠業及宋亡罪人之迥異面向。其次，歸納分析詠寫荊公之慣用素材與主題思想，如營造挽歌氛圍與世態炎涼之感慨；速寫讀書堂與嘲弄新學；關注書畫題詠與追慕風神等，最後探討宋人詠寫荊公之詩學設計，一則見詩人慣以一多對立及時空伸縮為篇章構思，有助興發感慨；二則融入荊公詩字句，翻新原典，借彼抒己。總此，讓荊公形象顯影在宋詩上，為荊公之歷史評騭提供初始依據。</p> <p> </p><p>The evaluations of past generations on Sir Wang Jing, mostly in historical biographies, jottings, and short stories, lead to both positive and negative comments and have established a three-dimensional image of Sir Jing. However, there is yet no monograph on poetry, which is also one of the important genres in the writing system of stories about Sir Wang Jing. This article attempts to explore the discussions of figures in history-themed poems and to return to the beginning of the arguments on Sir Jing’s image and depict the image of him portrayed in Song poems. First, it discovers the polarized identity, as a prime minister with loyalty or a guilty person causing the ruin of the Song dynasty. Second, it organizes and analyzes the common materials and theme thoughts in writings about Sir Jing, such as creating atmosphere of elegies around tombs and shrines and fickleness of the world, sketching the reading hall and mocking new learning, and paying attention to inscriptions of calligraphic works and paintings and admiration for the past manner. Finally, it probes into the rhetoric of Song people’s writings about Sir Jing. For example, the structure design of opposition between one and many and expansion and contraction of time-space helps to highlight the effect of sighs with emotions. To give another example, the adjusted use of the words of Sir Jing’s poems adds new meanings to their original meanings. To sum up, this article exhibits vividly on paper the Sir Jing in Song poems and provides a reference for studies on the image of Sir Wang Jing shaped by history.</p> <p> </p>

송대 제화시 속의 당 현종과 양귀비의 형상 연구

The Song poets were most politically sensitive because they were senior officials of the court. Through their history, they tried to understand real politics and society. For them, Tang Xuanzong and Yang Guifei were not only historical figures, but also persons in a textbook that had been processed into various shapes for a long time. They were valuable as illustrations for understanding and criticizing the problems of the real society, in which poets were lived, and to providing alternatives to poets. So it was no longer important whether the things related to Tang Xuanzong and Yang Guifei described in the poem were true or fiction. The intricate intentions and meanings were applied according to various demands of the era, and the story of Tang Xuanzong and Yang Guifei which was interpreted in various ways, became the motive of criticizing the political authority through Poems on Paintings. A good king turns into a bad king overnight, a good world can easily become a bad world like a in the turn of a hand. So the king must always beware of himself and be careful. The Song poems were a criticisms to the king, a public official and a poet himself.

중국 宋代 梅花詩에 나타난 시어 ‘鐵腸石心’ 연구

This study focuses on the usage of poetic diction ‘Tie Chang Shi Xin’ in the plum blossom poems of the Song Dynasty of China. To this, the transform usage phenomenon of the related poetic diction ‘Tie Chang Shi Xin’ in the Song Dynasty of China’s plum blossom poems is investigated according to the ≪Quan Song Poems≫. With the rise of plum blossom’s aesthetic activities and the demand of artistic expression, the allusions on plum blossom become the material of the plum blossom poetry, and these allusions go towards deeper meaning and bigger impacts. The ‘Plum Blossom Fu’ was written by Song Jing who was a famous prime-minister in Tang Dynasty, which becomes a hot topic from ancient times to the present. Especially, when Pi Rixiu mentioned that the Song Jing with ‘Tie Chang Shi Xin’ was not suitable for reciting the morbidezza ‘Plum Blossom Fu’, which received more attention. The poetic diction ‘Tie Chang Shi Xin’ mentioned here does not refer to the body parts of Song Jing, but artistically refer to the character of Song Jing.<BR> Based on the statistics of the table that I counted, the usage of the ‘Tie Chang Shi Xin’ has three characteristics. Firstly, the poetic diction is used in various ways, such as ‘Tie Shi Xin Chang’, ‘Tie Xin Ren’, ‘Xin Ru Tie’, ‘Shi Xin Ren’, ‘Tie Shi Guang Pin Xin’, and so on. Secondly, the classical poems and seven-syllable poems have the most forms. Thirdly, the reply poems are the most amounts. Finally, most of these poems related to plum blossom poems appeared in the Southern Song Dynasty. Because the late Northern Song Dynasty was chaotic and the Southern Song Dynasty was a time of turbulence, many poets had the numb attitude to the countries. Therefore, the intellectuals separated from the chaotic social, taking the nature as friend, expressing the solitary personality and moral integrity and patriotism through the natural plum blossom.<BR> Then, the transform usage phenomenon of the ‘Tie Chang Shi Xin’ related poetic diction is investigated according to the ≪Quan Song Poems≫. Three categories are studied, which includes self-respect and praising other’s personality and revealing political ambition. Because of the chaotic politics and separating from the social, the image of the poets who reacquainted with the society and had the self-visualization through the plum blossom has become apparent. Also, we can understand another kind of a state of mind from these poets. In the ‘Plum Blossom Fu’ of Song Jing, the plum is connected with Song Jing’s character, indicating his character like iron-stone. In addition, we are able to see the poem’s political stand in the chaotic politics.<BR> Since ancient times, the intellectuals have liked to write poems using plum blossom, and quite a number of poems have been passed down. The related academic research is also very active. Most studies are just investigating the whole content of plum blossom poems, however, the studies on words of plum poems are very little. The plum blossom poems with a long history have many allusions. Therefore, it is necessary to analyze the plum blossom poems based on the special poetic diction. The author hopes that it can make a little contribution to studies on plum blossom poetry in the future work.

A study on the features of chest and abodominal breathing between reciting and chanting Chinese poetry

This research studies the features of chest and abdominal breathing between reciting and chanting Chinese poems of different styles. Eight participants were recruited to recite and chant 85 modern style poems and 39 Song poems. The chest and abdominal breathing signals as well as speech signal were recorded simultaneously. Programs for breathing analysis have been written to extract parameters, such as breathing reset amplitude, time of inhalation phase, and slope of exhalation phase. The results show that the poem chanting has a larger depth of breathing and amount of breath, and more frequent exhalations compared with the poem reciting. In both poem reciting and chanting, the pause and declination of chest breathing is closely correlated with the prosodic boundaries. The major function of chest breathing in speaking is to keep the chest extended and provide enough breath for articulation and chest resonance. The function of abdominal breathing is to provide stable sub-glottal pressure through contraction of abdominal muscle and diaphragm, controlling continuous airflow to produce continuous sound.

詩、畫、禪與蘇軾、黄庭堅詠竹題畫研究———以墨竹題詠與禪趣、比德、興寄爲核心

LANGUAGE NOTE | Document text in Chinese; abstract also in English.&#x0D; 會通化成，爲宋型文化特色之一；題詠繪畫，爲宋代詩畫之岀位之思；詩畫一律之觀念，至北宋元祐年間已流行應用。宋代士人習染佛禪，以水墨作畫，往往滲透於其中；詩人題詠墨畫，亦以禪爲詩，得游戲之三昧。竹在宋代，既名列歲寒三友，又比德爲四君子之一。竹之形象，中空、有節、長青、參天、堅勁、柔韌，故引發士人喜愛，或見之歌詠，或形之畫圖。尤其竹之本固、性直、心空、節貞諸德操，詠竹詩、墨竹畫往往多所體現。本文綜考北宋蘇軾、黄庭堅之詠竹詩篇及墨竹題詠，作爲研究文本。蘇軾有墨竹、水墨山水，以及枯木之詠。黄庭堅亦作墨竹11首，題詠横竹、偃竹、竹石、畫竹、緑筠、風雨竹、竹石牧牛之倫若干首。詩人或以比德，或以興寄，詠物之妙，蔚爲文人畫之墨戲，多體現爲游戲三昧，蓋合詩、畫、禪而一之。詩、畫、禪三者之跨際會通，新奇組合，形成詠竹、墨竹之一大特色。清吴之振《宋詩鈔》引曹學佺序宋詩之言，謂宋詩特色爲“取材廣，而命意深”，宋人之水墨畫題詠可見之。&#x0D; One typical aspect of the zeitgeist of the Song dynasty is “comprehension and transformation.” The inscription of poems on paintings was a prominent trend that represents the unique aesthetics of the time. The concept that poetry and painting should be treated as the same art type was prevalent from the Yuanyou reign-period (1086-1094) of the Northern Song. The ink and wash paintings by literati in the Song, who lived in a Chan Buddhist culture, always displayed this aesthetic quality. Likewise, poets also found profound delights in their somewhat playful Chan Buddhist style inscription poems on these paintings.&#x0D; In the Song, bamboo was regarded as one of “the three friends of wintertime” and one of “the four gentlemen of high morality.” Literati were fond of bamboo because its image was laden with symbolic meanings: the hollowness inside represented generosity; the nodes referred to integrity; its evergreen nature symbolized longevity; towering toward the sky reflected aspiration; strength showed perseverance; and softness and toughness reflected flexibility. Therefore, bamboo became a common object in poetry and paintings which focused mainly on the plant’s virtuous qualities, such as: having a strong footing, being upright in nature, having a broad mind, and being chaste.&#x0D; The present article is a study of inscription poems on paintings of bamboo written respectively by Su Shi (1037-1101) and Huang Tingjian (1045-1105). Su wrote poems on ink bamboo, ink and wash landscape paintings, and paintings of withered trees. Huang also wrote eleven poems on ink and wash bamboo, and some others on horizontal bamboo, reposing bamboo, bamboo and stone, painting bamboo, green bamboo, bamboo amidst wind and rain, and other related subjects such as bamboo, rocks, and pasturing cattle. These poems are metaphors for moral character, or a means by which the poet expresses certain feelings. The wondrous description is combined with painting skills and reaches a highly profound level of aesthetic appeal, which marks the achievement of the unification of poetry, painting, and Chan Buddhism. The interdisciplinary products bear a distinguished feature. In his Hand-copied Song Poems, Wu Zhizhen (1640-1717) of the Qing dynasty quotes Cao Xuequan’s (1574-1647) “Preface to Song Poetry”: the main characteristics of Song poetry include “a wide range of themes and their profound meanings.” These characteristics are reflected in Song inscription poems on ink and wash paintings.

Song's Fictions

Songs, written for the occasion, appear in a surprising number of Victorian poems and novels. Tennyson and Swinburne composed many such song poems. Their songs appear, of course, simply as texts, yet they are presented as sung, asking readers to believe in their fictions of musical performance. Why are these interludes of visible song present? What light can these poets' embedded songs cast on their many freestanding songs and ballads, on what is 'musical' in their poetry more generally, and on Swinburne's broader claims that poetry — lyric poetry as he understands it — is song?

And the Children Shall Teach Us — A Tribute

It is often said that everyone remembers one teacher who made a difference in his or her life. Ms. Willard-Holt writes of the opposite experience: being a teacher whose life has been profoundly affected by one of her students. ONCE IN a while in a long teaching career, there appears, with a crooked smile and a mischievous glint in the eye, a living reminder of why you became a teacher. These are the children who teach you more than you teach them. And they live in your stories and in your heart long after the echoes of their laughter have faded from the classroom. For me, Ian was such a child. I was a researcher working on my dissertation when I met Ian. He was 6 years old. At least that's how old his body was. I suspected that his mind and soul were older. Ian had cerebral palsy, which kept him in a wheelchair and made his speech so difficult to understand that he had to use a communication board. What became obvious only on closer inspection were his razor-sharp intelligence, his indomitable spirit, and his unyielding will to be treated just like the other children. Ian was probably the most gifted child I have ever met. He seemed to inhale knowledge. He had demonstrated to his parents that he could read at age 2 by leaning his body toward words spelled out on a magnetic board. His mathematical skills amazed his first-grade teacher, who watched him do three-digit multiplication in his head, from left to right. And then there was Ian's poetry. He wrote the following insightful piece at age 6 as a gift for a friend: My Song Poems are nicer than letters Because they have a song in them. My gift to you is the tune I write here Listen quietly for my voice - I may quit speaking at any moment But I can never stop singing. Even though the physical aspect of schoolwork was often exhausting for him, Ian refused to accept special treatment in the form of multiple- choice versus essay tests, extended due dates, and the like. He proved repeatedly that he could do the same work as his classmates -- often to a higher standard of performance. His academic achievement remained at or near the top of his class throughout his school years. But it seemed that this was not enough for Ian. His true mission was to advocate for others with disabilities. His mother told a story about an occupational therapy session in which a woman was visiting to borrow some equipment. Ian seemed to take a shine to her, and he spelled out on his communication board, should visit my school. To keep him communicating and to show Karen how he was able to communicate, his therapist said, Oh, why, Ian? …

Ecological Politics and Comic Redemption in Louise Erdrich’s &lt;i&gt;The Antelope Wife&lt;/i&gt;

Louise Erdrich’s 1998 novel The Antelope Wife may not strike the reader as a politicized text at first glance. The tone of the novel wavers between tragicomic and comic, and the interrelated stories that form its narrative seem to draw more attention to the personal and universal dimensions of human suffering than to its historical and political causes. Appearances aside, the narrative enacts a sharp critique of the legacy of Euroamerican conquest and the dualistic Western worldview underlying it, and I believe that Erdrich’s method of displacement and reinvention may be even more effective than a direct challenge would be. One of the most widely acclaimed Native American writers; she is Anishinaabe-Metis (Ojibway/Chipewa) on her mother’s side, German-American on her father’s, and an enrolled member of the North Dakota Turtle Mountain Band of Chippewa. The Anishinaabe have a long tradition of oral as well as written literature in a variety of genres, including song poems, memoirs and life stories, historical and cultural accounts, and according to literary critic and writer Gerald Vizenor, ”claim more published writers than any other tribe on the [North American] continent” (qtd. in Blaeser 3). Although Erdrich has a Masters degree in Creative Writing from Johns Hopkins University (1979) she credits her literary skill more to having grown up in an extended family of storytellers. Her sisters Heid and Lise are also published writers. 2 Louise’s literary production includes seven novels, beginning with Love Medicine (1984) which won a National

The Maid's Song and other poems; Stony Ground; The Trek; Full Circle

The Maid's Song and other poems; Stony Ground; The Trek; Full Circle