43,618 research outputs found
The coo-ee songs of Australia [music].
No full textCover title.; A pamphlet listing the names of 17 songs of the Coo-ee songs of Australia and with some lyrics for the songs Love's surrender and My blue rose. Includes melody line and words for Austral's coo-ee greeting song / words & music by Maude Wordsworth James.; Also available online http://nla.gov.au/nla.mus-an21234431
Sir Arthur Somervell: designs on the song cycle
No full textThe study in the following pages explores Sir Arthur Somervell's fascination with the song cycle. Its appeal drew together two of his favourite passions, that is, songwriting and storytelling. All the cycles are settings of nineteenth-century poets with narratives drawn from single works or contrived from a collection of poems. Although Somervell was looked upon as old-fashioned in his art, in the matter of the song cycle he is seen trying to keep abreast of the times by following trends that were being manifest by his contemporaries and sometimes being innovative from his own inspiration. The theme of experimentation is the line of enquiry that the thesis explores. The six song cycles fall into three groups (of two each) in that process, though not strictly chronologically. Maud, the first (1898), from Tennyson's epic drama of obsessive love and tragedy, is placed with A Shropshire Lad (1904), Housman's bittersweet chronicle of a young military recruit, although two subsequent cycles intervened, but in style both betray Schumannesque influence. The cycles of 1901 (Love in Springtime) and 1903 (Wind Flowers), the two least-known in his output of song cycles, show Somervell experimenting with anthology. The last two cycles, James Lee's Wife, 1907 and A Broken Arc, 1923, though separated by nearly two decades, fail together naturally, united by their lyric source, Robert Browning, and by their more expansive style
The Song of Deborah (Judges Chapter 5) : studies in the versions and the poetic account of the battle against Sisera
No full textA large part of this thesis consists of an
examination of Judges ch. 5 in the light of the
Versions, Rashi and Kimchi. In addition, the tribal
situation, religious cohesiveness of Israel, as well as
the historical context and date of the battle against
Sisera, are examined. The Song of Deborah presents a
unique situation in the period of the Judges in which
an alliance of many tribes participated in a concerted
action. These tribes are designated by the name
'Israel'. The God of Israel is known as Yahweh, Israel
is the people of Yahweh, and the religious unity of
Israel is based upon a common religious faith in
Yahweh. The Song does not represent Israel as a system
of twelve tribes or as having its cohesiveness in an
amphictyony. This historical battle against Sisera
depicted in the Song probably occurred at a time late
in the period of the Judges, at the end of the 12th
century B.C. or early in the 11th century B.C
Engraved portrait of James Nayler (1618–1660)
No full textEngraved portrait of James Nayler (1618-1660) by Robert Grave (1768-1825). Inscribed, 'Born at Ardesloe, near Wakefield, in Yorkshire. Was an Independent and served Quarter Master in ye Parliament Army, about the Year 1641. turn'd Quaker in 1651. Punish'd as a Blasphemer 1656. Author of many Books & Dyed at Holm in Huntingtonshire 1660. Aged 44.
Brian's song
No full textLeft to right: Williams, Billy Dee (Gale Sayers); Caan, James (Brian Piccolo). [Transcribed from back of photo] "Brian's Song"...Billy Dee Williams (left) and James Caan star in the true-life story of pro football players Brian Piccolo, who died at age 26, and Gale Sayers, both of whom expressed a deep love and friendship for each other in the 90-minute Columbia Pictures Television film, "Brian's Song.
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
Delayed development of song control nuclei in the zebra finch is related to behavioral development
No full textHerrmann K, Bischof H-J. Delayed development of song control nuclei in the zebra finch is related to behavioral development. The Journal of Comparative Neurology. 1986;245(2):167-175.The postnatal development of two visual areas (nucleus rotundus and ectostriatum) and two song control areas (hyperstriatum ventrale pars caudale, HVc, and nucleus robustus archistriatalis, RA) of the zebra finch brain was followed from birth to adulthood. The following parameters were investigated: (1) neuron size, (2) volume of the brain nuclei, and (3) myelination of axons. The nucleus rotundus, the diencephalic station of the tectofugal pathway, exhibits the fastest development: rotundal neurons reach their maximum size at 20 days of age; the volume of this structure reaches adult size at the same time. The process of myelination begins between day 5 and day 10 and is completed at 40 days of age. A similar temporal sequence of development is seen in the ectostriatum, except myelination starts some days later. Thus the development of these visual areas is completed at 40 days. In, contrast, the development of the song control nuclei is delayed. Neurons in RA and HVc grow steadily up to 40 days of age, attaining a size larger than that observed in adults. Whereas the volume of HVc increases until day 40 and remains stable thereafter, RA volume increases until day 70 and evidences a decrease thereafter. It is not until postnatal day 20 (RA) and day 40 (HVc) that the myelination process starts in the song control areas. Adult myelin density is achieved by 70 days in RA and by 100 days in HVc. It can be demonstrated that the development of the visual system parallels the development of visual performance of the birds. Delayed growth of song control nuclei coincides with development of song
James, Lloyd. Interview with James Lloyd and his band, and some songs in Bryant's Cove.
No full textJames Lloyd talks about playing music with his grandchildren, his friend, and his wife. James talks about how they have played music together for almost two years. Some music is recorded and the interview ended with the song 'This is my homeland.'00:06- 01:23 introducing James videotaping arrangement of his music band and all participants in his band, they are playing together for almost two years, they play mostly newfoundland songs, James and his grandchildren play music together, they play guitar, accordion, keyboard, qchord, James have four grandchildren who play music with him; 01:25-03:04- play the first tune together; 03:30- 05:34 play the second music together; 05:57- 09:13 James grandchildren play the song ‘this is my land’ altogether; 09:17-10:53 play another music together; 10:55- 23:09 all of them play another song together; 23:52-27:32 played the last song ‘this is my homeland’; 27:36- end of the interview
Dr. James Gillam, Spelman College, September 2011
No full textThis video is a conversation with Dr. James Gillam. Dr. Gillam talks about his book, "Life and Death in the Central Highlands: An American Sergeant in the Vietnam War 1968-1970". Daniel Le, AUC Woodruff Library, is the interviewer
The Song of Songs in late Elizabethan, Jacobean and Caroline poetry
No full textThis thesis is about reading. Working on the understanding that all texts read other texts, it aims to uncover something of how English poets from 1590-1650 read the Song of Songs, by analyzing when and how they use it in their poetry. By looking at poetic readings, rather than theological ones, it also explores the connections and distinctions between reading literature and reading Scripture. As both Scripture and lyric love poetry, the Song of Songs has participated in theological and literary discourse over a long period. The Introduction gives background on both kinds of reading, and how they have been applied to the Song of Songs. It also sets out the structure of the thesis. Chapter 2 surveys theological writing about the Song of Songs produced during the period. The material includes sermons, commentaries, household advice books, hymns and translations, including poetic translations. There is a stable core of interpretation, which reads the Song as primarily about the relationship between Christ and the Church, or the individual soul, or both. Within this stable core, however, there is a wide variety of interpretations. Chapters 3-5 are themed, and look at how poets handle the three topics of the feminine voice, beauty and desire when they read the Song of Songs. The first poet considered in each chapter is Aemilia Lanyer, who provides a plumb-line for the exposition. As a poet seeking elite patronage, Lanyer is typical of her age in many important respects; but she also challenges expectations about poets of the period. The other poets considered are Shakespeare, Southwell, Mary Sidney, Countess of Pembroke, Spenser, Donne and Crashaw. The Conclusion considers what light these poetic readings shed on the relationship between Scripture and literature
- …
