Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 10

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  lament
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Wiersze żałobne dla Krzysztofa Radziwiłła w sylwie ze zbiorów Bavorovianum we Lwowie

100%
Jarczykowa M.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
|
2016
|
vol. 22: Warunkiem trwałości jest przemiana. Parafrazy, kontynuacje i aluzje literackie
195-203
EN
The 17th century silva rerum from the collections of the Bavorovianum (manuscript 1332/II), currently stored in The Lviv National Vasyl Stefanyk Scientific Library of Ukraine, contains copies of unknown occasional works about the Radziwiłł family from Birże. The most elaborate set consists of mourning poems for prince Krzysztof (d. 1640): "Lament na pogrzeb księcia pana wojewody wileńskiego…" [The lament for the funeral of sir prince voivode of Vilnius], three poems "Korony temuż" [The crown to thee],  the tombstone, and "Na chorągiew temuż" [To the flag to thee]. The texts are preceded by a foreward that introduces the author, Walerian Gorzycki, and characterises the works, clarifying the evoked settings and referring to the genres issues. Lament… emphasises primarily the hetman’s military merits and his religious patronage. The three poems refer to the motif of crowns awarded to victorious commanders and commemorate the liberation of Smoleńsk and Mitawa. The poem "Na chorągiew…" is a Polish language version of a latin inscription placed on the flag prepared for the funeral of Radziwiłł that has been documented in 17th century prints (by Siestrzencewicz and Kmita).
2
Publication available in full text mode
Content available

Christian Experience and Paul’s Logic of Solidarity: the Spiral Structure of Romans 5–8

99%
Eastman S.
The Biblical Annals
|
2022
|
vol. 12
|
issue 2
233-253
EN
This essay investigates key aspects of the rhetorical structure of Romans 5–8 in relationship to Paul’s depictions of Christian experience. Taking Romans 5:1–5 as a blueprint for a trajectory of hope in chapters 5–8, I discuss three textual “detours” where Paul interrupts that trajectory: a rhetorical performance of life under sin (7:7–25), a depiction of union with all creation in suffering and hope (8:18–27), and a cry of lament (8:26). These rhetorical interruptions evoke Christian experience in solidarity with all creation - a solidarity that in turn displays Christ’s redemptive participation in the depths of all human dereliction, and thereby evokes hope.
3

Lament żałobny Elektry Sofoklesa w kręgu psychoanalizy

99%
Biernat J.
Slavia Occidentalis
|
2015
|
issue 72/2
117-135
PL
The aim of this essay is to provide an analysis of Electra’s funeral laments using a psychoanalytical approach. The modern methodology introduced in the research provides a useful conceptual language for in reassessing the ancient categories related to mourning. The essay is an attempt at describing the funeral monologues and their significance for the dramatic structure, as well as an attempt at analysing the motif of mourning. Electra’s behaviour and statements will be analysed in terms of depression and melancholy, whereas her mourning will be depicted as a process of recovery from trauma.
4
Content available remote

‘Who lives and must not die’. The myth of Adonis in Hellenistic poetry

99%
Klęczar A.
Studies in Ancient Art and Civilization
|
2012
|
vol. 16
157-163
EN
The paper analyses the functions and use of the myth of Adonis in two Hellenistic poets: Bion and Theocritus. The chief aspects taken into account are the connection of Adonis with the feminine sphere of life and religion as well as court poetry and royal propaganda.
5
Content available remote

Elegijne nastroje: wczesna elegia grecka i nie tylko

86%
Bartol K.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2011
|
issue 18
11-22
EN
This article explores the relationships and correlations between early Greek elegy (7th-5th c. BC) and the elegiac mood of a poem understood today as a nostalgic and melancholic attitude of the subject evoked in a poem. The known surviving ancient texts prove the thematic heterogeneity of the elegiac genre at its early stage of development, while this elegiac emotionality is by no means a distinctive feature of this particular poetical category within the archaic parental context even though it does occur in some works composed in distichs that are traditionally labeled as elegiac (e.g. works of Archilochus and Mimnermus). Elegiac attitude, within modern understanding of the term, is also to be fund in the melic poetry of early Greek poets (such as Sappho, Anacreon and Simonides of Ceos) which were, in fact, considered by ancient theoreticians as non elegiac as far as their genre was concerned. The attribution of the elegiac character, not linked genetically with any of genres, to one poetical category is thus a result of multilayered processes of cultural interaction and the reception of the early Greek literature rather than the substance of the genre.
6
Content available remote

Křiky a pláče jako historický pramen. Příklad textů Václava Černého, Ladislava Jehličky, Jana Zahradníčka a Jakuba Arbese

85%
Davidová Glogarová J.
Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)
|
2015
|
vol. 6
|
issue 1
43-57
EN
The study focuses on the memoirs, private literary sources, particularly on their distinct type known as křiky and pláče (complaints and laments), and their different interpretations in the fields of history and literary history. Four texts are presented, predominantly literary ones, that canal so be studied as historical sources. They are Václav Černý’s Paměti, especially its second volume called Křik / Pláč koruny české, Ladislav Jehlička’s Křik koruny svatováclavské, Jan Zahradníček’s Pláč koruny svatováclavské and Jakub Arbes’ Pláč koruny české neboli Perzekuce lidu českého v letech 1868–1873. The main aim of the study is to find and describe their common features and their close relation to history.
7
Content available remote

Captain Macheath's execution lament in The Beggar's Opera

71%
Jocoy S.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2021
|
vol. 24
|
issue 1
78-91
EN
On the eve of his execution, Captain Macheath in John Gay's The Beggar's Opera (1728) sings a lament or "Last Goodnight". Unlike the rest of the opera's musical numbers, Macheath's lament is a medley consisting of ten tunes. Placing them in close succession, Gay created a mini-narrative embedded within the larger story, forming a climactic picture of Macheath's mind – clearly the most musically dynamic moment of the opera. Daniel Heartz likens Macheath's "delirium" lament with the quodlibet or medley, popular on the contemporary French stage. While this speaks to the dark humor of the piece, an Italian musical genre, the solo cantata, had only recently been introduced to English audiences and may also account for the style and placement of Gay's work. Johann Christoph Pepusch, responsible for musical settings in The Beggar's Opera, had published his English Cantatas in 1710, and Henry Carey had published comic cantatas throughout the 1720s. Comparing continental traditions and formal analysis of Macheath's lament, this study considers the lament as a musical combination of the French comic and the dramatic Italian cantata traditions, in which the two continental genres melded with the English ballad to create a musical, sociopolitical tour de force, mocking British and Italian conventions simultaneously.
8
Publication available in full text mode
Content available

Democritus’ hypothesis’ of the origins of music

71%
Żerańska-Kominek S.
Interdisciplinary Studies in Musicology
|
2009
|
issue 8
57-70
PL
The oldest conception of the origins of music in European culture was formulated by Democritus, who stated that music arose as an imitation of birdsong. This conception was the most serious working hypothesis on the beginnings of music before Darwin. In the musicography of the seventeenth and eighteenth centuries it constituted an alternative to the predominant creationistic theory, paving the way for the scientific positivist approaches which in the nineteenth century led to the eventual depreciation of thinking rooted in religion. In evolutionistically- and scientisticallyoriented comparative musicology the mimetic theory was rejected on the grounds of a lack of scientific evidence of the evolutionary link between birds and man and especially between birdsong and music.The aim of the article is to show that the mimetic theory of the origins of music was a relict of a mythical vision in which birds represented the materialised image of transcendence. The beginnings of music were linked to the voices of birds, which in many cultures symbolised human spirituality-above all spirituality manifest through death. Thus Democritus’ ‘hypothesis’ may be interpreted as a myth in which the ‘song of the beginning’ is identified with mourning
9

Mała oliwka. Psalmiczny kontekst „Trenu V” Jana Kochanowskiego

71%
Ryczek W.
Pamiętnik Literacki
|
2024
|
vol. 115
|
issue 1
123-132
PL
Przedmiotem artykułu jest interpretacja pierwszej części „Trenu V” Jana Kochanowskiego w kontekście Psalmu 128 („Beati omnes, qui timent Dominum”). Jak wiadomo, główne źródło początkowej części tego utworu stanowi porównanie epickie z Iliady (XVII, 53–58), w którym młody wojownik Euforbos został porównany do pięknie kwitnącego „pędu drzewa oliwnego”. Również „Psalm 128” podsuwa obraz synów rosnących jak „sadzonki oliwne wokół stołu” pobożnego męża. W interpretacji tego porównania homeryckiego Kochanowski zawsze podkreśla zaprzeczenie takich znaczeń związanych z drzewem oliwnym jak pokój, mądrość, sprawiedliwość, płodność, bogactwo czy młodość. Poeta uwydatnia znaczący brak błogosławieństwa zapowiedzianego bogobojnemu mężowi.
EN
The subject of the paper is a detailed interpretation of the first part of Jan Kochanowski’s “Tren V” (“Lament V”) in the context of “Psalm 128” (“Beati omnes, qui timent Dominum”). As we know, the main source of the opening part of this poem is an epic simile from “Iliad” (XVII, 53–58), where a young warrior Euphorbos is compared to a “slip of an olive tree” as “it blossoms into beauty.” Similarly, “Psalm 128” proposes the picture of sons growing up like “the olive plants around the table” of a pious man. In Kochanowski’s rewriting of the Homeric simile the emphasis is always put on negation of the meanings attributed to the symbol of olive tree, such as peace, wisdom, justice, fertility, abundance, youth. The poet explores the significant absence of the promised blessing for a God-fearing man.
10
Publication available in full text mode
Content available

Pieśni „pustych nocy”

61%
Szymańska J.
Etnolingwistyka. Problemy Języka i Kultury
|
1997-1998
|
vol. 9-10
211–252
PL
W kulturze ludowej czas po śmierci człowieka, kiedy – wedle wierzeń – dusza przebywa jeszcze na świecie, wśród żywych, wypełniają rytualne czynności, lamenty i śpiewy. Czynności te wyłączają zmarłego ze społeczności żywych, wyposażają duszę na podróż w zaświaty. Lament jest wyrazem bólu. Śpiew przynosi ukojenie, wpisuje śmierć w ogólny wymiar religijny, pozwala pogodzić się ze śmiercią jako nieodwracalnym faktem biologicznym. Pieśni pogrzebowe przynoszą akceptację śmierci. Są śpiewane podczas czuwania nad zwłokami. Trzydniowe czuwanie i śpiewanie nosi nazwę pustych nocy. Prezentowany repertuar pieśniowy pustych nocy układa się w jednorodne cykle tematyczne: (1) pieśni maryjne, (2) psalmy, (3) pieśni do patronów konania (świętych), (4) pieśni o męce Pańskiej, (5) pieśni medytacyjne (refleksyjno-żałobne). Pieśni sytuacyjne (pożegnalne), związane z aktami obrzędu pogrzebowego takimi, jak wynoszenie trumny z domu, droga do kościoła, droga na cmentarz, inhumacja – tworzą cykl swoisty.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.