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Christian lament songs play an important role in the context of the local church. There are several key differences between Christian lament and secular “sad songs” that are due to Christianity’s perspective of suffering that revolves around the hope of Jesus Christ. Christian songwriters have been writing lament songs through the lens of biblical hope in Christ throughout church history. Due to the nature of lament songs and how they give voice to negative emotions, which can help people to process their grief, and the communal nature of corporate worship, it is important that local churches ensure they use lament songs as often as needed to meet the needs of their congregations.

Psalm 51 is introduced with regard to composition, structure and theology. The author then considers how his own contexts (Västerbotten, Congo-Kinshasa, Uppsala) have influenced his reading of the psalm.

Doctor of Ministry (DMin), To be a follower of Jesus in the evangelical community in America is equated to a posture, practice, and pursuit of triumphalism. It has meant one seeks a narrative that perpetually overcomes, tastes victory, takes ground, or embodies an ecclesiology and theology of favor and blessing in all areas of life. Followers of Jesus have misunderstood, maybe even lost, the great value of public and private lament. Lament is incongruent with a theology of continual and on-going triumphalism. Yet, suffering, loss, and lament permeate Scripture and the human experience. To lament is to cry out to God with our doubts and to bring complaints against God. It is a posture and practice of worship and surrender that helps followers of Jesus wrestle, engage, process, and understand loss, creating a sacred space for the suffering voice to speak. Lament is a practice absent in the church that is recognized and understood as a way of naming grief and suffering, of standing and hoping in the midst of ruins. Without the practice and theology of lament in the lives of those who follow Jesus, life in evangelical communities becomes a parody of cultured syllogisms and hyper-vanquishing that forms a community frail to moments of liminality, anxious in seasons of uncertainty, and ill-equipped to deal with the obscurities of everyday life. This doctoral project explores the theology, presence, and practice of lament within the community of Hillsong San Francisco and its potential impact in forming the community. I hope to frame lament as a theology, posture, and practice that reorients and equips Hillsong San Francisco to the missional and just needs of the city of San Francisco. Paradoxically, lament is a battle cry against God that voices a heart of justice, and desire and an ironic faith in God’s goodness.

In 1993, Serbian composer and radio artist Ivana Stefanović created Lacrimosa for the Vienna program Kunstradio – Radiokunst. Stefanović states that she was deeply upset and agitated after hearing the recording of a mother from Sarajevo (Bosnia and Herzegovina) speaking about her three sons and the horrors of the Balkan wars. In this paper, I suggest discussing how the idea of wailing and lamenting was artistically reimagined, reinterpreted and explored in an art form that relies on collage, montage and cultural references through music, poetry and field recordings. The sound recording of a wailing mother is interwoven with classical music, recordings of Muslim and Eastern Orthodox prayers, Sephardi Jewish song and poetry. This variety underlines the idea of universality of grief in different religions and cultures. Excerpts from Lacrimosa compositions from the Western classical music tradition, as well as the reading of the poem Lament over Belgrade by Miloš Crnjanski, also bring forward past artistic interpretations of lament. Finally, public outcry was included in the form of field recordings of antiwar protests in Sarajevo and Belgrade. The author suggests that because of the recording of antiwar protests, combined with other mentioned materials, the composition could be understood as a wail of two cities in shared rage and grief opposing divisive nationalistic politics that lead to exiled and displaced people as the inevitable outcome of war.

The motif of epic lamentation for familiar persons who have passed away has been a popular theme in world literature since the Epic of Gilgamesh and Homer’s Iliad. In this contribution, we focus on the Byzantine epic poem of Digenes Akrites, written by an unknown author of the early 12th century, which recounts the exploits of the eponymous hero on the frontier between the Byzantines and the Arabs. Six manuscripts in Greek survive today (apart from some adaptations in Old Russian), which are variants of the lost original version—all date from the mid-13th or 14th century to the 17th century. Our interest focuses on the four laments for Akritis’ father and mother, himself and his wife, as presented in the six manuscripts. The approach will be comparative between the six texts, the laments for Digenes and similar laments for Hector in the Iliad. Finally, it is essential to draw on Zumthor’s schema of epic lament in French epic medieval texts, and the form in which it is found in the epic laments we are studying.

Many children experience mourning and lament from death without having acquired the skills that are necessary to overcome these specific situations. Furthermore, they may not have any support on this matter with the danger to develop psychological issues in relation with grief and mourning. Therefore, it is very important for parents, teachers and therapists to recognize that there is high risk that can lead to complicated grief. Also, it is essential to take into account the child’s developmental stage and to communicate in open channel so children will be able to express their feelings and emotions. In any case it is very important to help them encounter the felling of loss and learn to live with it.

Many children experience mourning and lament from death without having acquired the skills that are necessary to overcome these specific situations. Furthermore, they may not have any support on this matter with the danger to develop psychological issues in relation with grief and mourning. Therefore, it is very important for parents, teachers and therapists to recognize that there is high risk that can lead to complicated grief. Also, it is essential to take into account the child’s developmental stage and to communicate in open channel so children will be able to express their feelings and emotions. In any case it is very important to help them encounter the felling of loss and learn to live with it.

Many children experience mourning and lament from death without having acquired the skills that are necessary to overcome these specific situations. Furthermore, they may not have any support on this matter with the danger to develop psychological issues in relation with grief and mourning. Therefore, it is very important for parents, teachers and therapists to recognize that there is high risk that can lead to complicated grief. Also, it is essential to take into account the child’s developmental stage and to communicate in open channel so children will be able to express their feelings and emotions. In any case it is very important to help them encounter the felling of loss and learn to live with it.

Many children experience mourning and lament from death without having acquired the skills that are necessary to overcome these specific situations. Furthermore, they may not have any support on this matter with the danger to develop psychological issues in relation with grief and mourning. Therefore, it is very important for parents, teachers and therapists to recognize that there is high risk that can lead to complicated grief. Also, it is essential to take into account the child’s developmental stage and to communicate in open channel so children will be able to express their feelings and emotions. In any case it is very important to help them encounter the felling of loss and learn to live with it.

Many children experience mourning and lament from death without having acquired the skills that are necessary to overcome these specific situations. Furthermore, they may not have any support on this matter with the danger to develop psychological issues in relation with grief and mourning. Therefore, it is very important for parents, teachers and therapists to recognize that there is high risk that can lead to complicated grief. Also, it is essential to take into account the child’s developmental stage and to communicate in open channel so children will be able to express their feelings and emotions. In any case it is very important to help them encounter the felling of loss and learn to live with it.

Jadajućem govoru, kao svakodnevnoj ali i istorijski-kulturno svepri sutnoj pojavi, u ovom radu se pristupa kroz uporednu analizu feno mena svakodnevnog kukanja i estetizovanog lamenta. Distinkcije ra zličitih oblika nakukavanja se pre svega nalaze kroz njihov odnos prema afektivnom životu individue. U tom cilju, rad se oslanja na psi hoanalitičke teorije reprezentacije i afekta, posebno rad A. Grina i njegov doprinos psihoanalitičkom shvatanju afektivnosti u opštem psihičkom životu. Pokazuje se da funkcija kuknjave može predstavlja ti opis doživljenog sveta osobe koji svedoči ono smisleno i autentično u perspektivi lamentirajućeg subjekta. Sa druge strane, nemogućnost suočavanja sa nadirućim pluralitetom smisla dovodi do odbrana vi dljivih u perpetuaciji kuknjave. U tom slučaju, jadajući govor umesto osvedočavanja iskustva ima pokrivajuću funkciju. U nastavku rada razmatraju se retoričke odlike oba modaliteta jadajućeg govora, kroz pojam ekfraze (kao antičke retoričke figure opisa umetničkog dela). Pitanje retoričkih efekata nadovezaće se na analizu pesničkog pojma „sposobnosti za negativno“, iz pera pesnika Kitsa preuzetog u teoriji psihoanalitičara V. Biona. Zbog nužnog manjkanja u osnovi jadajućeg iskustva, negativna funkcija u govoru se pokazuje kao nužna za auten tičan opis gubitka i osujećenja. Rad se završava razmatranjem različi tih oblika lamentirajućeg odnosa prema sudbinskom stanju stvari, kao i njihovih posledica, kroz uporednu analizu likova u dve poznate drame Vilijama Šekspira, Hamleta i Kralja Lira., A psychological analysis must approach mournful speech, as an everyday but also his torically and culturally ubiquitous phenomenon, through a comparative analysis of the phenomena of everyday wailing and aestheticized lamentation. The distinctions of different forms of wailing are primarily found in their respective relationships to the affective life of the individual. To this end, the investigation relies on psychoanalytic theories of representation and affect, especially those found in the work of A. Green, and his contribution to the psychoanalytic understanding of affectivity in general psy chic life. It is shown that whining and wailing can be used as an authentic description of the world that is experienced, and as a testament to what is meaningful and authen tic from the perspective of the lamenting subject. On the other hand, the inability to face the encroaching plurality of meaning also leads to the perpetuation of whining, but now as a defensive structure. In that case, lamenting speech, instead of testifying the authentic experience, serves as a cover or a screen, as the possible meaning pres ents the subject with something he is not ready to acknowledge. The next part of the paper deals with the rhetorical foundations of both modalities of mournful speech, analyzing them through the concept of ekphrasis (ancient rhetorical descriptions of the work of visual art). For the wailing subject, the speech serves as a description of a world that should be, and the suffering is a consequence of the disparity between the real and the world that is longed for. The question of lamenting effects of speech will be further explored through the analysis of the poetic term negative capability, invent ed by the poet J. Keats and used throughout the work of the psychoanalyst W. Bion. Because of the necessary ontological lack underlying every distressing experience, the negative function in speech proves necessary for an authentic description of loss and frustration. The

Jadajućem govoru, kao svakodnevnoj ali i istorijski-kulturno svepri sutnoj pojavi, u ovom radu se pristupa kroz uporednu analizu feno mena svakodnevnog kukanja i estetizovanog lamenta. Distinkcije ra zličitih oblika nakukavanja se pre svega nalaze kroz njihov odnos prema afektivnom životu individue. U tom cilju, rad se oslanja na psi hoanalitičke teorije reprezentacije i afekta, posebno rad A. Grina i njegov doprinos psihoanalitičkom shvatanju afektivnosti u opštem psihičkom životu. Pokazuje se da funkcija kuknjave može predstavlja ti opis doživljenog sveta osobe koji svedoči ono smisleno i autentično u perspektivi lamentirajućeg subjekta. Sa druge strane, nemogućnost suočavanja sa nadirućim pluralitetom smisla dovodi do odbrana vi dljivih u perpetuaciji kuknjave. U tom slučaju, jadajući govor umesto osvedočavanja iskustva ima pokrivajuću funkciju. U nastavku rada razmatraju se retoričke odlike oba modaliteta jadajućeg govora, kroz pojam ekfraze (kao antičke retoričke figure opisa umetničkog dela). Pitanje retoričkih efekata nadovezaće se na analizu pesničkog pojma „sposobnosti za negativno“, iz pera pesnika Kitsa preuzetog u teoriji psihoanalitičara V. Biona. Zbog nužnog manjkanja u osnovi jadajućeg iskustva, negativna funkcija u govoru se pokazuje kao nužna za auten tičan opis gubitka i osujećenja. Rad se završava razmatranjem različi tih oblika lamentirajućeg odnosa prema sudbinskom stanju stvari, kao i njihovih posledica, kroz uporednu analizu likova u dve poznate drame Vilijama Šekspira, Hamleta i Kralja Lira., A psychological analysis must approach mournful speech, as an everyday but also his torically and culturally ubiquitous phenomenon, through a comparative analysis of the phenomena of everyday wailing and aestheticized lamentation. The distinctions of different forms of wailing are primarily found in their respective relationships to the affective life of the individual. To this end, the investigation relies on psychoanalytic theories of representation and affect, especially those found in the work of A. Green, and his contribution to the psychoanalytic understanding of affectivity in general psy chic life. It is shown that whining and wailing can be used as an authentic description of the world that is experienced, and as a testament to what is meaningful and authen tic from the perspective of the lamenting subject. On the other hand, the inability to face the encroaching plurality of meaning also leads to the perpetuation of whining, but now as a defensive structure. In that case, lamenting speech, instead of testifying the authentic experience, serves as a cover or a screen, as the possible meaning pres ents the subject with something he is not ready to acknowledge. The next part of the paper deals with the rhetorical foundations of both modalities of mournful speech, analyzing them through the concept of ekphrasis (ancient rhetorical descriptions of the work of visual art). For the wailing subject, the speech serves as a description of a world that should be, and the suffering is a consequence of the disparity between the real and the world that is longed for. The question of lamenting effects of speech will be further explored through the analysis of the poetic term negative capability, invent ed by the poet J. Keats and used throughout the work of the psychoanalyst W. Bion. Because of the necessary ontological lack underlying every distressing experience, the negative function in speech proves necessary for an authentic description of loss and frustration. The

Thomas Hardy is the last of the great Victorian novelists. He is known as one of the best English novelists. He is more well-known for his novels than for his poems. Tess of d’Urbervilles: A Pure Woman Faithfully Presented is one of those hallmarking and time-beating novels, he has written. The unique thing annexed to this novel is that he has composed a non-narrative poem expressing Tess’ deep pain and pang over her loss entitled “Tess’s Lament”, which seems to be it's supplementary. It appears that its miniature presents the whole through the part. Existential crisis, usually considered a complicated event, can be seen as the core of psychology, which comprises emotional, cognitive, and behavioural parts. Both in the poem "Tess's Lament" and in Tess's own life, the psychological practice of existential crises plays a key role. Whatever she does, she feels sad, alone, and helpless. It also makes her feel like her life has no meaning or purpose, and it keeps her from interacting with other people, which upsets the emotional, mental, and behavioural parts of her existence and being.

Thomas Hardy is the last of the great Victorian novelists. He is known as one of the best English novelists. He is more well-known for his novels than for his poems. Tess of d’Urbervilles: A Pure Woman Faithfully Presented is one of those hallmarking and time-beating novels, he has written. The unique thing annexed to this novel is that he has composed a non-narrative poem expressing Tess’ deep pain and pang over her loss entitled “Tess’s Lament”, which seems to be it's supplementary. It appears that its miniature presents the whole through the part. Existential crisis, usually considered a complicated event, can be seen as the core of psychology, which comprises emotional, cognitive, and behavioural parts. Both in the poem "Tess's Lament" and in Tess's own life, the psychological practice of existential crises plays a key role. Whatever she does, she feels sad, alone, and helpless. It also makes her feel like her life has no meaning or purpose, and it keeps her from interacting with other people, which upsets the emotional, mental, and behavioural parts of her existence and being.

Thomas Hardy is the last of the great Victorian novelists. He is known as one of the best English novelists. He is more well-known for his novels than for his poems. Tess of d’Urbervilles: A Pure Woman Faithfully Presented is one of those hallmarking and time-beating novels, he has written. The unique thing annexed to this novel is that he has composed a non-narrative poem expressing Tess’ deep pain and pang over her loss entitled “Tess’s Lament”, which seems to be it's supplementary. It appears that its miniature presents the whole through the part. Existential crisis, usually considered a complicated event, can be seen as the core of psychology, which comprises emotional, cognitive, and behavioural parts. Both in the poem "Tess's Lament" and in Tess's own life, the psychological practice of existential crises plays a key role. Whatever she does, she feels sad, alone, and helpless. It also makes her feel like her life has no meaning or purpose, and it keeps her from interacting with other people, which upsets the emotional, mental, and behavioural parts of her existence and being.

Thomas Hardy is the last of the great Victorian novelists. He is known as one of the best English novelists. He is more well-known for his novels than for his poems. Tess of d’Urbervilles: A Pure Woman Faithfully Presented is one of those hallmarking and time-beating novels, he has written. The unique thing annexed to this novel is that he has composed a non-narrative poem expressing Tess’ deep pain and pang over her loss entitled “Tess’s Lament”, which seems to be it's supplementary. It appears that its miniature presents the whole through the part. Existential crisis, usually considered a complicated event, can be seen as the core of psychology, which comprises emotional, cognitive, and behavioural parts. Both in the poem "Tess's Lament" and in Tess's own life, the psychological practice of existential crises plays a key role. Whatever she does, she feels sad, alone, and helpless. It also makes her feel like her life has no meaning or purpose, and it keeps her from interacting with other people, which upsets the emotional, mental, and behavioural parts of her existence and being.

Thomas Hardy is the last of the great Victorian novelists. He is known as one of the best English novelists. He is more well-known for his novels than for his poems. Tess of d’Urbervilles: A Pure Woman Faithfully Presented is one of those hallmarking and time-beating novels, he has written. The unique thing annexed to this novel is that he has composed a non-narrative poem expressing Tess’ deep pain and pang over her loss entitled “Tess’s Lament”, which seems to be it's supplementary. It appears that its miniature presents the whole through the part. Existential crisis, usually considered a complicated event, can be seen as the core of psychology, which comprises emotional, cognitive, and behavioural parts. Both in the poem "Tess's Lament" and in Tess's own life, the psychological practice of existential crises plays a key role. Whatever she does, she feels sad, alone, and helpless. It also makes her feel like her life has no meaning or purpose, and it keeps her from interacting with other people, which upsets the emotional, mental, and behavioural parts of her existence and being.

Many children experience mourning and lament from death without having acquired the skills that are necessary to overcome these specific situations. Furthermore, they may not have any support on this matter with the danger to develop psychological issues in relation with grief and mourning. Therefore, it is very important for parents, teachers and therapists to recognize that there is high risk that can lead to complicated grief. Also, it is essential to take into account the child’s developmental stage and to communicate in open channel so children will be able to express their feelings and emotions. In any case it is very important to help them encounter the felling of loss and learn to live with it.

Many children experience mourning and lament from death without having acquired the skills that are necessary to overcome these specific situations. Furthermore, they may not have any support on this matter with the danger to develop psychological issues in relation with grief and mourning. Therefore, it is very important for parents, teachers and therapists to recognize that there is high risk that can lead to complicated grief. Also, it is essential to take into account the child’s developmental stage and to communicate in open channel so children will be able to express their feelings and emotions. In any case it is very important to help them encounter the felling of loss and learn to live with it.

Central to Hebrew Scripture traditions of covenant fidelity is Zion: the holy city Jerusalem, chief locus of ancient Judean worship and a pilgrimage site for countless believers. In many biblical texts, Jerusalem is personified as Daughter Zion: beloved of YHWH, ravaged by enemies, awaiting God’s glorious restoration. This essay focuses on the act of remembering Zion as a sacred practice fruitful for the Christian homiletical imagination. Exploring Zion traditions with their congregations, preachers can deepen the capacity of their hearers to respond to historical and contemporary traumas, build up global communities in justice, and bear witness to the eschatological hope of the Gospel. Psalm 87 is a powerful resource for Christian believers learning to envision Zion as the joyous kin-dom of all who love the Holy One.

Jadajućem govoru, kao svakodnevnoj ali i istorijski-kulturno svepri sutnoj pojavi, u ovom radu se pristupa kroz uporednu analizu feno mena svakodnevnog kukanja i estetizovanog lamenta. Distinkcije ra zličitih oblika nakukavanja se pre svega nalaze kroz njihov odnos prema afektivnom životu individue. U tom cilju, rad se oslanja na psi hoanalitičke teorije reprezentacije i afekta, posebno rad A. Grina i njegov doprinos psihoanalitičkom shvatanju afektivnosti u opštem psihičkom životu. Pokazuje se da funkcija kuknjave može predstavlja ti opis doživljenog sveta osobe koji svedoči ono smisleno i autentično u perspektivi lamentirajućeg subjekta. Sa druge strane, nemogućnost suočavanja sa nadirućim pluralitetom smisla dovodi do odbrana vi dljivih u perpetuaciji kuknjave. U tom slučaju, jadajući govor umesto osvedočavanja iskustva ima pokrivajuću funkciju. U nastavku rada razmatraju se retoričke odlike oba modaliteta jadajućeg govora, kroz pojam ekfraze (kao antičke retoričke figure opisa umetničkog dela). Pitanje retoričkih efekata nadovezaće se na analizu pesničkog pojma „sposobnosti za negativno“, iz pera pesnika Kitsa preuzetog u teoriji psihoanalitičara V. Biona. Zbog nužnog manjkanja u osnovi jadajućeg iskustva, negativna funkcija u govoru se pokazuje kao nužna za auten tičan opis gubitka i osujećenja. Rad se završava razmatranjem različi tih oblika lamentirajućeg odnosa prema sudbinskom stanju stvari, kao i njihovih posledica, kroz uporednu analizu likova u dve poznate drame Vilijama Šekspira, Hamleta i Kralja Lira., A psychological analysis must approach mournful speech, as an everyday but also his torically and culturally ubiquitous phenomenon, through a comparative analysis of the phenomena of everyday wailing and aestheticized lamentation. The distinctions of different forms of wailing are primarily found in their respective relationships to the affective life of the individual. To this end, the investigation relies on psychoanalytic theories of representation and affect, especially those found in the work of A. Green, and his contribution to the psychoanalytic understanding of affectivity in general psy chic life. It is shown that whining and wailing can be used as an authentic description of the world that is experienced, and as a testament to what is meaningful and authen tic from the perspective of the lamenting subject. On the other hand, the inability to face the encroaching plurality of meaning also leads to the perpetuation of whining, but now as a defensive structure. In that case, lamenting speech, instead of testifying the authentic experience, serves as a cover or a screen, as the possible meaning pres ents the subject with something he is not ready to acknowledge. The next part of the paper deals with the rhetorical foundations of both modalities of mournful speech, analyzing them through the concept of ekphrasis (ancient rhetorical descriptions of the work of visual art). For the wailing subject, the speech serves as a description of a world that should be, and the suffering is a consequence of the disparity between the real and the world that is longed for. The question of lamenting effects of speech will be further explored through the analysis of the poetic term negative capability, invent ed by the poet J. Keats and used throughout the work of the psychoanalyst W. Bion. Because of the necessary ontological lack underlying every distressing experience, the negative function in speech proves necessary for an authentic description of loss and frustration. The

A personal essay about reading Old English laments during a global pandemic.

A personal essay about reading Old English laments during a global pandemic.

A personal essay about reading Old English laments during a global pandemic.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Atmospheric and Geological Entanglements is a study of contemporary North American ecopoetry, a poetry which is characterized by a negotiation or subversion of established cultural representations of nature, and by a re-deployment of poetic forms such as lyrical poetry, pastoral and elegy. The studied poets experiment with form and question well-established categories such as human and nature, instead emphasizing connections between the human, other organisms, and inorganic matter. Their poetry—one of several results of their artistic and critical practice, or poetics—thus highlights entanglements of various kinds and draws attention to the world as varied, complex and interconnected. The study has a specific focus on how twentieth-century ecopoetry relates to two material and aesthetic dimensions of the Anthropocene: the atmospheric and the geological. Geological imagery has been dominant in discussions about and in the Anthropocene, but ecopoetry emphasizes song, breathing and air as liberating atmospheric figures for communication and relationships, and for thinking with others and the planet.

Martyrdom, sacrifice, and the dedication of one's life to fight for a higher cause are central themes of Shi'i militancy. I recount my journey among Iranian Shi'i youth who fought or enlisted to fight in Lebanon, Iraq, and Syria, to trace their ineffable experiences and silences, which they used to justify desires for martyrdom. I explore by way of an ethnography of mourning and the lamentation ceremonies of Muharram how individuals’ ineffable experiences and perplexities emerge as explanations of their own commitment to the cause. I call on the Lacanian Real to discuss how people craft the unarticulated, the unsaid and networks to navigate their subjectivity while they encounter the divine. I broaden the Lacanian Real through an exploration of Shi'i mystical notions, in order to address how Lacan's work can be applied in non-European traditions of the unsaid and the unarticulated.

The lament is a phenomenon which is present in our daily life. However, its extensive presence also implies its trivialization, because suddenly can be inaudible and who are lamenting is invisible for others. The lament only affects when it is own or this is suffered by a person loved. While this phenomenon is above all an esthetic object, because expresses a discomfort sensation, pain or displeasure, it means this is an anesthetized society or it is insensitive to the pain of others. This allow to Latin American nations authorities do easy tasks, and they can carry out their violent administrations through the necropolitical resources, it is administered to bodies and their deaths, to achieve a more comprehensive control. In this manner, it is necessary a way to communicate the pain of other and re-sensitize us as a social and political transformation principle, for overcoming the critical conditions of misery in which our peoples live. For this purpose, it is proposed the Enrique Dussell concept: analectic, which takes above all an ethical burden in which a dialogue can be generated that privileges listening, which means it is no longer a negative dialectic, but rather that it is open and integrated and always pretending the goodness. The subject that has an analectic attitude has the capacity to listen to other from his oppression and generates in itself the responsibility to preserve his life and his safety, as a collective principle of collaboration. In this context, to develop a favorable policy to our conditions as Latin America peoples, it is necessary to transform and sharpen our sensitive powers, that is, esthetics. If the policy always refers to the other as a component of my own reality, it is necessary to learn to listen their needs, and a principle of this learning in the current conditions is the lament., El lamento es un fenómeno muy presente en nuestra cotidianidad; sin embargo, su vasta presencia implica también su trivialización, es decir, que de pronto resulte inaudible y quien se lamente sea invisible para los demás. El lamento solo afecta cuando es propio o de un ser amado. Si bien, dicho fenómeno es sobre todo un objeto estético, en tanto que manifiesta una sensación de malestar, dolor o desagrado, quiere decir que la actual es una sociedad anestesiada, o bien, insensible ante el dolor de los demás. Lo anterior hace posible que a los dirigentes de nuestras naciones latinoamericanas se les facilite más la tarea de llevar a cabo sus administraciones violentas, mediante los recursos necropolíticos, se administra a los cuerpos y sus muertes, para lograr un control más abarcante. De esta manera es que se vuelve necesario un modo para comunicar el dolor del otro y así volver a sensibilizarnos, como un principio de trasformación social y política, de superación de las condiciones críticas de miseria en las que viven nuestros pueblos. Para tal fin, se propone el concepto desarrollado por Enrique Dussel: analéctica, que lleva sobre todo una carga ética en la que se pueda generar un diálogo que privilegia la escucha, es decir que ya no es dialéctico negativo, sino que es abierto e integrador y siempre con pretensión de bondad. El sujeto que tiene una actitud analéctica tiene la capacidad para escuchar al otro desde su opresión y genera en sí mismo la responsabilidad de preservar su vida y su seguridad como principio colectivo de colaboración. Es preciso que, paradesarrollar una política favorable para nuestras condiciones como pueblos latinoamericanos, debamos primero transformar y agudizar nuestras potencias sensibles, es decir, estéticas. Si la política siempre refiere al otro como componente de mi propia realidad, es preciso aprender a escuchar sus necesidades, y un principio de este aprendizaje en las condiciones actuales, es el lamento.

This thesis explores book two of the Psalms and how it displays and reacts to the theme of the suffering of the righteous at the hands of fellow community members. It explores the nationality, tactics, and motivations of the enemies in Psalms 52, 53, 55, 62, 64, 69, 70, and 71. It is shown that the Psalmist is often pitted against other Israelites who are even within his religious circle. These enemies who are closest to the psalmist employ certain tactics and are motivated by specific worldviews. The concluding chapter explores the implications for worship and theology that these findings pose.

Paghaya. Deep weeping. Pag-haaaa-ya. The wail is in the middle syllable. For some, a stifled exhalation; for others, a near-scream, but always the breath travels the full distance from the groin to the gut, welling up to the throat. It is a weeping that is not about this or that moment. It has a history as long as the distance covered by that breath.

Paghaya. Deep weeping. Pag-haaaa-ya. The wail is in the middle syllable. For some, a stifled exhalation; for others, a near-scream, but always the breath travels the full distance from the groin to the gut, welling up to the throat. It is a weeping that is not about this or that moment. It has a history as long as the distance covered by that breath.

В беседе профессора Уральского федерального университета Ларисы Соболевой с доцентом, деканом факультета журналистики Новосибирского национального исследовательского университета Ольгой Журавель, автором монографии «Литературное творчество старообрядцев XVIII – начала XXI в.: темы, проблемы, поэтика» (Новосибирск, 2012. 442 с.), обсуждается многообразие рукописных источников, использованных и опубликованных в монографии, выявляются особенности новосибирской школы археографии и В диалоге затрагиваются проблемы особенностей старообрядческой словесности, утопических воззрений старообрядчества, взаимосвязи письменных и фольклорных традиций. Особое внимание уделяется жанру плачей и житийным текстам, живое бытование которых обнаруживается в старообрядческих скитах вплоть до ХХ в. Обсуждаются выводы, насколько старообрядческая словесность отражает специфические особенности русской литературы и национальной ментальности. Выражается мнение, что данное исследование представляет незаурядное явление в современной историографии староверия и восполняет значительные лакуны в современном знании о старообрядческой словесной культуре., The talk of Larisa Soboleva, professor of Ural Federal University, and Olga Zhuravel, associate professor and Dean of the Department of Journalism at Novosibirsk State University and the author of the book entitled Literary Work of Old Believers in the 17th – Early 21st Centuries: Themes, Problems, Poetics concerns the diversity of manuscript sources used and published in the abovementioned book as well as the principles of the Novosibirsk School of Archaeography and Source Studies of which Olga Zhuravel is a representative. The discussion focuses on the problem of genres of the Old Believers’ literary work, their utopist ideas, the correlation between folklore and literary traditions paying particular attention to the genre of laments and hagiographic texts whose oral circulation in Old Believers’ communities could be encountered as late as the 20th century. The authors talk over the capacity of Old Believers’ literary work to reflect the specific features of Russian literature and Russian national mentality. The book under consideration treats all these themes and represents an uncommon phenomenon in the contemporary historiography of the Old Belief and fills significant gaps in our knowledge of the Old Believers’ literary work.

The present article discusses theological questions arisingthrough the phenomenon and praxis of prayer: What are the featuresof different genres of prayer such as praise and lament, confession andintercession, and how can the relation between semantics and pragmaticswithin the performance of prayer be characterized if the languageof prayer does not only embrace self-involving speech acts in an agonicprocess leading to the supplicant’s self-transformation, but also silentgestures, deeds and attitudes? What is the relation between speech andsilence in prayer? To what extent is it legitimate to determine prayer asa ‘dialogue’ with God? Given that God does not speak with a ‘voice’that can be heard acoustically, the question is also how one can knowwhether it is God or someone else ‘speaking’ to a person. Texts by Luther,Kierkegaard, Levinas, Derrida, Chrétien, Wittgenstein, Phillips,Casper and Brümmer provide the basis for this discussion.

The present article discusses theological questions arisingthrough the phenomenon and praxis of prayer: What are the featuresof different genres of prayer such as praise and lament, confession andintercession, and how can the relation between semantics and pragmaticswithin the performance of prayer be characterized if the languageof prayer does not only embrace self-involving speech acts in an agonicprocess leading to the supplicant’s self-transformation, but also silentgestures, deeds and attitudes? What is the relation between speech andsilence in prayer? To what extent is it legitimate to determine prayer asa ‘dialogue’ with God? Given that God does not speak with a ‘voice’that can be heard acoustically, the question is also how one can knowwhether it is God or someone else ‘speaking’ to a person. Texts by Luther,Kierkegaard, Levinas, Derrida, Chrétien, Wittgenstein, Phillips,Casper and Brümmer provide the basis for this discussion.

The present article discusses theological questions arisingthrough the phenomenon and praxis of prayer: What are the featuresof different genres of prayer such as praise and lament, confession andintercession, and how can the relation between semantics and pragmaticswithin the performance of prayer be characterized if the languageof prayer does not only embrace self-involving speech acts in an agonicprocess leading to the supplicant’s self-transformation, but also silentgestures, deeds and attitudes? What is the relation between speech andsilence in prayer? To what extent is it legitimate to determine prayer asa ‘dialogue’ with God? Given that God does not speak with a ‘voice’that can be heard acoustically, the question is also how one can knowwhether it is God or someone else ‘speaking’ to a person. Texts by Luther,Kierkegaard, Levinas, Derrida, Chrétien, Wittgenstein, Phillips,Casper and Brümmer provide the basis for this discussion.

The present article discusses theological questions arisingthrough the phenomenon and praxis of prayer: What are the featuresof different genres of prayer such as praise and lament, confession andintercession, and how can the relation between semantics and pragmaticswithin the performance of prayer be characterized if the languageof prayer does not only embrace self-involving speech acts in an agonicprocess leading to the supplicant’s self-transformation, but also silentgestures, deeds and attitudes? What is the relation between speech andsilence in prayer? To what extent is it legitimate to determine prayer asa ‘dialogue’ with God? Given that God does not speak with a ‘voice’that can be heard acoustically, the question is also how one can knowwhether it is God or someone else ‘speaking’ to a person. Texts by Luther,Kierkegaard, Levinas, Derrida, Chrétien, Wittgenstein, Phillips,Casper and Brümmer provide the basis for this discussion.

The present article discusses theological questions arisingthrough the phenomenon and praxis of prayer: What are the featuresof different genres of prayer such as praise and lament, confession andintercession, and how can the relation between semantics and pragmaticswithin the performance of prayer be characterized if the languageof prayer does not only embrace self-involving speech acts in an agonicprocess leading to the supplicant’s self-transformation, but also silentgestures, deeds and attitudes? What is the relation between speech andsilence in prayer? To what extent is it legitimate to determine prayer asa ‘dialogue’ with God? Given that God does not speak with a ‘voice’that can be heard acoustically, the question is also how one can knowwhether it is God or someone else ‘speaking’ to a person. Texts by Luther,Kierkegaard, Levinas, Derrida, Chrétien, Wittgenstein, Phillips,Casper and Brümmer provide the basis for this discussion.

The present article discusses theological questions arisingthrough the phenomenon and praxis of prayer: What are the featuresof different genres of prayer such as praise and lament, confession andintercession, and how can the relation between semantics and pragmaticswithin the performance of prayer be characterized if the languageof prayer does not only embrace self-involving speech acts in an agonicprocess leading to the supplicant’s self-transformation, but also silentgestures, deeds and attitudes? What is the relation between speech andsilence in prayer? To what extent is it legitimate to determine prayer asa ‘dialogue’ with God? Given that God does not speak with a ‘voice’that can be heard acoustically, the question is also how one can knowwhether it is God or someone else ‘speaking’ to a person. Texts by Luther,Kierkegaard, Levinas, Derrida, Chrétien, Wittgenstein, Phillips,Casper and Brümmer provide the basis for this discussion.