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Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to explore how liturgical celebration can serve as a transformative response to the contemporary ecological crisis and its consequences. This is inextricably bound to the importance of addressing the pastoral needs of individuals who are hurting due to their interactions or lack thereof with the cosmos and the erosion of their relationship with nature in a technocratic consumerist society. Ritual, as a vehicle for personal and communal transformation, takes on heightened significance in a world wounded by ecological devastation. Rituals, often deeply embedded in cultural, religious, or personal practices, indeed have the capacity to facilitate personal transformation. They provide a framework for individuals to navigate life transitions, foster a sense of belonging, and connect with the overarching narrative. However, in an ecologically wounded world, where environmental degradation, climate change, and biodiversity loss are pressing concerns, the ramifications of ritual take on added significance and complexity. This paper seeks to address the urgency of the need to respond to this multifaceted crisis by paying attention to the pastoral needs of the individual and the community at large by redressing the real meaning of worship and reflecting on how, within a Christian tradition, this reconfiguration of worship can be provocative enough to instil change. However, this endeavour is not without inherent challenges and enduring questions. The pervasive influence of a technocratic worldview poses a significant threat not only to our relationship with the earth but also to the very essence of ritual itself. Can the liturgical experience, reaching its climax in the Eucharistic celebration, be truly a catalyst in asserting a proper relationship of humanity on various levels, which are concentric and, thus, dependant on each other, with humanity itself, with the cosmos, and with God? [ABSTRACT FROM AUTHOR]

The relationship between popular vernacular Catholicism and the more official liturgical variety has varied over centuries. Following the subjugation of Ireland by the late 17th century, and the institution of anti-Catholic proscriptions, the number of priests available became more restricted. Religious observation subsequently centered on holy days and local sacred sites including healing wells, many of them dedicated to saints. Always central figures in death rituals, women who mourned the dead—"keening women"—were so called because they lamented the dead through a combination of voice and song. We will show how the songs relate to a deep liminal spirituality that existed semi-independently of official Church norms, and how the voice served to establish their position. In the Catholic revival of the late nineteenth century, such forms were ousted by European modes of worship, but persisted at the margins, allowing us insight into their previous vigor. [ABSTRACT FROM AUTHOR]

Abstract. Poverty is a well-known and complex issue. Poverty has a bad impact on the poor. Thus, poverty is the duty of society, including the church. The purpose of this paper is to investigate the relationship between liturgy and poverty. The homeless liturgy is the phrase selected to describe liturgical practices in the face of poverty. This essay was conducted by socio-liturgical studies and field research. This essay suggests that the homeless liturgy is a manifestation of the church's preference for the poor, which speaks hope-lament, liberation, and promotes transformation. Abstrak. Kemiskinan adalah permasalahan klasik dan kompleks. Kemiskinan berdampak pada keberlangsungan hidup orang banyak. Untuk itu, kemiskinan bukan hanya menjadi tanggung jawab negara, melainkan juga masyarakat dan termasuk gereja. Tulisan ini bertujuan untuk mengeksplorasi relasi-interaksi liturgi dan kemiskinan. Homeless liturgy merupakan istilah yang dipilih untuk merepresentasikan praktik berliturgi di tengah-tengah kemiskinan. Melalui kajian sosio-liturgis dan penelitian lapangan, artikel ini menyimpulkan bahwa homeless liturgy merupakan wujud sikap keberpihakan gereja terhadap mereka yang miskin, yang menyuarakan harapan-ratapan, yang membebaskan dan menggerakkan transformasi.

In Doireann Ní Ghríofa’s A Ghost in the Throat, the first-person narrator details her scholarly endeavour to translate into English Caoineadh Airt Uí Laoghaire – the Irish-language lament of the eighteenth-century Kerry woman, Eibhlín Dubh Ní Chonaill, on the death of her husband, Art Ó Laoghaire. Interwoven with this narrative, is the narrator’s intimate account of her lived personal experience whilst researching and translating this caoineadh. And yet, even as her search for the Caoineadh’s origins grows increasingly fervent, the narrator becomes ever more wary of the viability and implications of such historical retrieval. Caught between a desire to recover Ní Chonaill’s voice and presence and a recognition of the illusory nature of such longings, Ní Ghríofa’s text probes the interstices between the Caoineadh and its myriad iterations in performance, transcription, and translation. In this way, Ní Ghríofa confronts longstanding European anxieties regarding the relationship between writing and orality. Drawing on Jacques Derrida’s seminal critique of this eighteenth-century crisis of writing, this article commences by revealing the caoineadh as an unacknowledged yet ongoing flashpoint in Enlightenment debates concerning orality and textuality. The article then turns to a discussion of Derrida’s associated reflections on haunting to consider the ways in which Ní Ghríofa responds to the marginalisation and silencing of the matrilineal tradition of keening in which she engages. Departing from Derrida’s genealogy of political inheritance, it argues that Ní Ghríofa’s narrative rehearses an alternative gothic textuality in which the oral and the written are intricately interwoven within Ireland’s past, present, and future. In so doing, it eschews the androcentric, ethnocentric and, as the text’s conclusion lays bare, anthropocentric hierarchies that continue to impinge upon both the Caoineadh’s legacy and the Irish literary canon in the twenty-first century.

Copyright of Literature / Literatura is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study shows how the language of lament liberates a woman from a socially constructed murderous identity. By using stylistic analysis and mainly focusing on the method of singing lament, this article shows the possibility of undermining the socially constructed identity of the ancient Greek heroine Medea. As the 19th-century thoughts in England about women acquired the most exacerbated misogynist overtones, the problem for the women artists was a desperate search for a new identity and, thus, for language. Two crucial Victorian poets, Amy Levy and Augusta Webster, turned to Greek mythology to explore the collective cultural constructions, recognized the power of lament as a literary device and used it to provide a new perspective to ancient Greek playwright Euripides’ Medea. They formulated their poem using the linguistic and contextual rules of lamentation, such as interrogative questions, alliteration, assonance, phonetic structuring, highly metaphorical language, wordplay, parallelism and antithesis. Due to the figurative devices and deviant use of language, they made the reader witness the melancholy and mourning of heroin. They got the reader to think that they should reconsider Medea. Thus, this study focuses on the poetic language of Levy and Webster to provide a different angle to the concept of identity and give the reader a better sense of what Medea is all about. This article provides critical insight into the power of the language of lament in the deconstruction of rigid and stable identity. Moreover, it shows the critical role that language and the performance of lament play in the construction of the self-perception of the speaking subject.

This article offers a critical reflection on feminist biblical interpretation that, over the past forty plus years, has contributed greatly to changing the face of Christian biblical scholarship. After offering a definition, as well as an overview of the field of feminist biblical interpretation focusing particularly on the compendiums that seek to map the field, this essay identifies four topics as offering a creative means to reflect on the goals of feminist biblical interpretation that seeks to deconstruct and challenge harmful interpretations of scripture while also reconstructing and reimagining life-giving interpretations from those same texts: (1) voice, (2) gender-based violence, (3) agency/resistance, and (4) identity. Within the framework of these four topics, this entry will share some examples of the rich contributions of feminist biblical interpreters to the field, highlighting the development in thought and emphasis over the years. This article will also showcase the diversity of the exegetical approaches that may be found under the overarching umbrella of feminist biblical interpretation, in addition to reflecting on the common goals, challenges, and unresolved questions associated with this approach that had such an impact on the field of biblical studies.

Pentecostals’ songs of exuberant praise are integral to Pentecostal worship, ending in worship songs. Joy and happiness characterise their services. However, these worship practices do not leave room for discounting the reality that suffering is recurring in all believers’ lives, ignoring those who suffer marginalising in worship practices. The research questions were: Why do some Pentecostals miss a valid response to the reality of suffering? What does the Bible teach about the constant occurrence of suffering as integral to human life?; What is a suitable theological response to it?; How can Pentecostal worship incorporate lament as a response to suffering? In answering these questions, the research used the Lekgotla practical theology research method proposed by Abraham Mzondi as an explorative approach, related to Richard Osmer’s method. It asked four questions: What is happening?; What could have caused the challenge?; What is the recommended approach to resolve the situation?; and What is the theologically and biblically sound recommended process to remedy it? It is based on relevant available literature related to the classical Pentecostal movement. The research concluded that pervasive triumphalism, based on a persistent ‘victorious living’ mentality, avoids voicing suffering, while lament does not market well. The Pentecostal theology of glory needs to be corrected by the theology of the cross by accommodating the challenges theodicy presents to believers in the hegemonic doxology. A theology of the cross realises that human life oscillates between triumph and lament, and Pentecostal worship should reflect it. Lament is believers’ liturgical response to suffering and engaging God within this context. Suggestions to incorporate lament in Pentecostal worship include deliberate songwriting and testimonies about suffering and its consequences. Contribution: The research addressed the lack of balanced worship practices among Pentecostals who emphasise praising God without discounting the existential suffering some attendees at worship services experience. It contributed to the journal’s focus on biblical-theological research with the reformational tradition and its impact on Pentecostalism.

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

Postcolonial feminist hermeneutics presents many challenges to the traditional interpretation of Bible passages. Recognizing the ethical issues in Old Testament metaphors about unclean and unfaithful women, readers now contemplate how to understand and accept in modern times these texts that reveal disenfranchised and excluded voices. This study deals with the violence inflicted on women under the guise of reasonable punishment and its unavoidable results as these are narrated in cultural contexts. This study uses a postcolonial feminist perspective to examine how the book of Lamentations and the novel Comfort Woman reveal the violence, oppression, and forced silence imposed on women. In addition, through finding the value in both the witness to and resistance to suffering, as well as through exploring participation in suffering, this study probes how to dismantle the structure of colonialism that reduces women to victims and offers an alternative reading of the biblical script that in the past has justified violence against women. [ABSTRACT FROM AUTHOR]

The article offers a reexamination of Ovid's story of Philomela and Procne, with an emphasis on revenge and lament as two responses to acts of wrongdoing and loss. My analysis begins by exploring philosophical and psychoanalytic perspectives, mainly from Nietzsche and Freud, which are usually thought of as complete opposites: revenge is considered active and violent, whereas lament is passive and paralyzed. However, upon revising Ovid's tale of unimaginable suffering answered by both lament and revenge, I show that in Ovid's story, they appear as interconnected and dependent on each other. Initially, Philomela appears as the passive, lamenting sister, while Procne appears as the angry, vengeful one. Nevertheless, as the narrative unfolds, the roles of the sisters change. Through the characters of Philomela and Procne, Ovid presents a compelling account in which these two responses can be seen as mirror images of the same phenomenon, rather than diametrically opposed binaries. [ABSTRACT FROM AUTHOR]

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.

This article argues that Ethiopia has seen an increase in ethnic-based atrocities and killings, creating a “society of enmity” which is in need of cura vitae, healing. The failure of the Church to minister healing and hope in this context has been largely brought about by political motives. This article examines and challenges the position of the Ethiopian Church amid a society of enmity and argues that the Church ought to search for cura vitae, healing of life, through the theology of lament and metanoia. A lamenting and metanoic Church would be able not only to enter the space of the sufferer and partake in naming what is going on, but would also enable self-questioning for authenticity that leads not only to healing but also to taking new action towards transforming the self and society for the better.

Drawing on philosophical frameworks of agency, autonomy, and vulnerability as developed by feminist opera scholars, this paper examines the use of the lament in the expression of female unhappiness through a comparison of the representations of the sorceress Alcina in Francesca Caccini’s La Liberazione di Ruggiero dall'isola d'Alcina, and George Frideric Handel’s Alcina. This paper begins by exploring how Caccini’s Alcina’s lament, “Ferma, ferma crudele,” exposes her journey through anger, confusion, and finally grief over her lost love. Alcina’s vulnerable expression of grief inspires another woman to join her in lamenting, an act which instills Alcina with greater emotional agency. The paper then considers Handel’s Alcina, suggesting that his Alcina’s aria, “Ombre Pallide,” functions as a lament rather than an invocation aria. The presence of lament characteristics following her abandonment of the musical conventions of the invocation aria see Alcina gain the freedom and autonomy to act without her self-destructive magical powers, showing that this loss of power is actually her liberation. Ultimately, these considerations question existing assumptions that composers reject lament conventions in order to lend agency to their women characters, and create space for nuanced understandings of women’s vulnerability and agency.

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay unpacks the relationship between an intercultural approach to worship and the vision of decolonization. It argues that for justice and liberation to be front and center in intercultural practices, there is a need to analyze the power dynamics that are present in the midst of a diverse worshipping community. Equally important is that the vision of decolonization needs the intercultural approach because of its ability to build bridges between people who are different, so that the faith community can overcome fragmentation by experiencing truth telling, healing, and transformation. The essay goes on to suggest that the book of Psalms offers rich resources for envisioning an intercultural worship that seeks to embody alternatives to oppressive, exclusionary, and alienating politics of assimilation and segregation. The book of Psalms, which was, for the most part, composed or redacted in the shadow of different empires, proclaimed God's reign as a faith posture in the face of oppressive empires. This central motif of God's reign, which appears in psalms of lament and psalms of praise, restores the agency of the oppressed by giving them a voice and holds those who abuse their power accountable. Practices such as lament and praise allow a diverse worshipping community to pay attention to how people experience power differently, and it calls them to be authentic and truthful so that these diverse people may work together towards transformation, justice, and healing. [ABSTRACT FROM AUTHOR]

Iraqi Turkmens are a society that enjoys national values, rituals,and ceremonies. Horyat poetry, one of Turkmen Folk Literature products, emerges as a tradition that has continued for centuries in Iraq, Azerbaijan and Turkey with its name change. The horyat, which expresses emotions and thoughts as concise expressions, is the name of folk poetry and music with a character of 7 syllables, 4-line mania. The stops are usually (4 + 3), (3 + 4), (5 + 2), (2 + 5). Horyat is an art. To succeed in this art requires having superior ability. It is necessary for a quartet to be considered a good horyat, besides being moderate and rhyming, to be beautiful, to be said at the appropriate time and place, to blend folkloric elements with national sentiment, to listen carefully and to express or to write their thoughts. Condolence between the Turkmen until 30-40 years ago in the Ottoman period or even today started with the day of the burial process of the deceased person and lasted 7 days. Nowadays, this condolence is done in 5 days and 3 days. According to this period and the persistence of the pain, the age of the deceased person, and the sex within the family due to the status of the family, especially among women, is said to be horyat style. In this study, especially the places where children and young girls did not participate in places such as Erbil center, Kirkuk center and Tisin region connected to Kirkuk center (now Kirkuk became a neighborhood), Altunköprü, Dakuk (Tavuk), Tuzhurmatu, Karatepe, Imam Zeynelabidin village We tried to convey the original mourning and mourning poetry performers of horyat calligraphers with their execution style and environment.

In Doireann Ní Ghríofa's A Ghost in the Throat, the first-person narrator details her scholarly endeavour to translate into English Caoineadh Airt Uí Laoghaire - the Irish-language lament of the eighteenth-century Kerry woman, Eibhlín Dubh Ní Chonaill, on the death of her husband, Art Ó Laoghaire. Interwoven with this narrative, is the narrator's intimate account of her lived personal experience whilst researching and translating this caoineadh. And yet, even as her search for the Caoineadh's origins grows increasingly fervent, the narrator becomes ever more wary of the viability and implications of such historical retrieval. Caught between a desire to recover Ní Chonaill's voice and presence and a recognition of the illusory nature of such longings, Ní Ghríofa's text probes the interstices between the Caoineadh and its myriad iterations in performance, transcription, and translation. In this way, Ní Ghríofa confronts longstanding European anxieties regarding the relationship between writing and orality. Drawing on Jacques Derrida's seminal critique of this eighteenth-century crisis of writing, this article commences by revealing the caoineadh as an unacknowledged yet ongoing flashpoint in Enlightenment debates concerning orality and textuality. The article then turns to a discussion of Derrida's associated reflections on haunting to consider the ways in which Ní Ghríofa responds to the marginalisation and silencing of the matrilineal tradition of keening in which she engages. Departing from Derrida's genealogy of political inheritance, it argues that Ní Ghríofa's narrative rehearses an alternative gothic textuality in which the oral and the written are intricately interwoven within Ireland's past, present, and future. In so doing, it eschews the androcentric, ethnocentric and, as the text's conclusion lays bare, anthropocentric hierarchies that continue to impinge upon both the Caoineadh's legacy and the Irish literary canon in the twenty-first century. [ABSTRACT FROM AUTHOR]

Pentecostals' songs of exuberant praise are integral to Pentecostal worship, ending in worship songs. Joy and happiness characterise their services. However, these worship practices do not leave room for discounting the reality that suffering is recurring in all believers' lives, ignoring those who suffer marginalising in worship practices. The research questions were: Why do some Pentecostals miss a valid response to the reality of suffering? What does the Bible teach about the constant occurrence of suffering as integral to human life?; What is a suitable theological response to it?; How can Pentecostal worship incorporate lament as a response to suffering? In answering these questions, the research used the Lekgotla practical theology research method proposed by Abraham Mzondi as an explorative approach, related to Richard Osmer's method. It asked four questions: What is happening?; What could have caused the challenge?; What is the recommended approach to resolve the situation?; and What is the theologically and biblically sound recommended process to remedy it? It is based on relevant available literature related to the classical Pentecostal movement. The research concluded that pervasive triumphalism, based on a persistent 'victorious living' mentality, avoids voicing suffering, while lament does not market well. The Pentecostal theology of glory needs to be corrected by the theology of the cross by accommodating the challenges theodicy presents to believers in the hegemonic doxology. A theology of the cross realises that human life oscillates between triumph and lament, and Pentecostal worship should reflect it. Lament is believers' liturgical response to suffering and engaging God within this context. Suggestions to incorporate lament in Pentecostal worship include deliberate songwriting and testimonies about suffering and its consequences. Contribution: The research addressed the lack of balanced worship practices among Pentecostals who emphasise praising God without discounting the existential suffering some attendees at worship services experience. It contributed to the journal's focus on biblical-theological research with the reformational tradition and its impact on Pentecostalism. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The CCLI charts may not reflect it, yet one thing many Christian churches discovered as the pandemic raged across the world (and violence at home and abroad) was the need for songs of sacred lament. Unfortunately, many churchgoers, especially those who identify as practitioners of contemporary Christian worship, have cultivated a gap between the biblical give and take of praise and lament revealed most poignantly in the book of Psalms. This chasm between praise and lament is a problem, as a liturgical discourse about disastrous events is weakened. Churches sing congregational songs of praise in the church, the chorus of 'what ought to be'. Meanwhile, outside the church, artists in genres as diverse as folk and rap sing the chorus of what frankly 'is'. For the church to be transformative, it must be grounded in what is (lament) and aiming toward what ought to be (praise). This is the value of the cycle of praise and lament in the church's liturgy. This article explores the impact of CCM (contemporary Christian music) and praise and worship culture as it laments the loss of lament in Christian worship. The essay articulates the missing sense of 'Truth' in contemporary congregational music, as defined by Don Saliers' Worship Come to Its Senses. The article closes by amplifying emerging Christian songwriters reintroducing lament to contemporary worship. [ABSTRACT FROM AUTHOR]

In her article, the author analyses an example of a text and its staging brought about by the sudden death of a member of the playwright’s creative team. In his solo performance Inflammation du verbe vivre (Inflammation of the Verb To Live), created at the Paris Théâtre National de la Colline in 2015, Canadian-Lebanese playwright, director and actor Wajdi Mouawad interwove the ancient Greek literary and mythological heritage with a personal confession about the loss of his friend and professional colleague Robert Davreu, upgrading it with a socially critical depiction of the situation in today’s Greece. The performance was made as the penultimate part of a staging cycle of Sophocles’s seven preserved tragedies under the common title Le dernièr jour de sa vie (The Last Day of his Life). Mouawad had intended to direct the cycle in new translations by Davreu. Mouawad thus connected the process of mourning the death, which stopped the project, with the documentation of the writing process of the text that he later also directed and performed in the form of a peculiar theatre elegy. He fused the character of Philoctetes with the character of Odysseus; not the Odysseus from Sophocles’s tragedy who plots to steal Philoctetes’s bow, but the one from Homer who seeks his way home to Ithaca for ten years after the conquer of Troy and visits Tiresias’s shade in the underworld.

Suffering is a topic commonly driven by human questions and experience, with Christians facing these challenges in light of their own sacred scriptures and broad tradition. Individuals and communities are consistently faced with painful situations that provoke them to ask nagging questions, such as why some suffer more than others and how God relates to the suffering in this world. Pain and hurt often force believers to move beyond general reflections about suffering to particular and personal ones. These deliberations are inescapably tied to how one thinks about God, oneself, and the world. They involve questions about cause, effect, and purpose, producing speculations about the past, present, and future as people try to make theological and pastoral sense of suffering.

The article offers a reexamination of Ovid’s story of Philomela and Procne, with an emphasis on revenge and lament as two responses to acts of wrongdoing and loss. My analysis begins by exploring philosophical and psychoanalytic perspectives, mainly from Nietzsche and Freud, which are usually thought of as complete opposites: revenge is considered active and violent, whereas lament is passive and paralyzed. However, upon revising Ovid’s tale of unimaginable suffering answered by both lament and revenge, I show that in Ovid’s story, they appear as interconnected and dependent on each other. Initially, Philomela appears as the passive, lamenting sister, while Procne appears as the angry, vengeful one. Nevertheless, as the narrative unfolds, the roles of the sisters change. Through the characters of Philomela and Procne, Ovid presents a compelling account in which these two responses can be seen as mirror images of the same phenomenon, rather than diametrically opposed binaries.

Esther, Mordecai and the Jewish People's survival in ancient Persia alert readers that anti-Semitism can exist even in professedly peaceful and progressive settings. Esther's scroll is not only designed to be read, but it too reads contemporary circumstances of trauma and oppression. This Hebrew Bible narrative offers a critique and a challenge to present interpreters, especially those belonging to professed progressive and peaceful societies. Esther's scroll exposes how the propaganda of peace and progress, foundational to various imperial and institutional contexts, can veneer structures and events of violence and trauma. Informed by the death-dealing realities of anti-Black racism, a reading of Esther's key scenes and themes provides insight into the destructive and deadly ways that injustices such as anti-Black racism are supported and sustained by institutional policies and practices. Inherent within this Jewish survival account is an indictment of complicit and culpable individuals and institutions that enable, fund and sanction violence against marginalized members. Although there are numerous sites of oppression and violence throughout society, this essay highlights the institution of academia, which is often upheld as a paragon of progress and peace but which is frequently a prime site of racism and its attendant inequities. As a piece of trauma and survival literature, Esther's scroll makes a valuable contribution to the repertoire of resilience and resistance curated by many Black individuals and communities to counter anti-Black racism. [ABSTRACT FROM AUTHOR]

Descriptions of body imagery and body parts are evident in expressions of Old Testament texts. Although there is no single term for ‘body’ in the Hebrew mind, the concept of ‘body’ functions in its different parts. As part of anthropomorphic descriptions of God and expressions attached to humankind, body parts have special significance, contributing to the theological dimension of texts. The poems in the Psalter are no exception. Several body parts are mentioned in Psalm 38, an individual lament song. In addition to God’s hand (v. 3) and an allusion to his voice (v. 16), several body parts describe the psalmist’s condition. These include ‘flesh’ (bāšār, 3, 8), bones (‘ætsæm, 3), head (rôsh, 5), loins (kæsæl, 8), heart (lēb, 9, 11), eyes (‘yn, 11), mouth (pæh, 14, 15), and feet (rægæl, 17). In addition, allusions to the ear (14, 15) and injured body (wounds, 6) form part of the psalmist’s lamenting experience. Contribution: This presentation touches on the general meaning of these body imagery in the Old Testament and their specific function and meaning in the text of Psalm 38. A textual analysis will portray their theological significance.

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Iraqi Turkmens are a society that enjoys national values, rituals, and ceremonies. Horyat poetry, one of Turkmen Folk Literature products, emerges as a tradition that has continued for centuries in Iraq, Azerbaijan and Turkey with its name change. The horyat, which expresses emotions and thoughts as concise expressions, is the name of folk poetry and music with a character of 7 syllables, 4-line mania. The stops are usually (4 + 3), (3 + 4), (5 + 2), (2 + 5). Horyat is an art. To succeed in this art requires having superior ability. It is necessary for a quartet to be considered a good horyat, besides being moderate and rhyming, to be beautiful, to be said at the appropriate time and place, to blend folkloric elements with national sentiment, to listen carefully and to express or to write their thoughts. Condolence between the Turkmen until 30-40 years ago in the Ottoman period or even today started with the day of the burial process of the deceased person and lasted 7 days. Nowadays, this condolence is done in 5 days and 3 days. According to this period and the persistence of the pain, the age of the deceased person, and the sex within the family due to the status of the family, especially among women, is said to be horyat style. In this study, especially the places where children and young girls did not participate in places such as Erbil center, Kirkuk center and Tisin region connected to Kirkuk center (now Kirkuk became a neighborhood), Altunköprü, Dakuk (Tavuk), Tuzhurmatu, Karatepe, Imam Zeynelabidin village We tried to convey the original mourning and mourning poetry performers of horyat calligraphers with their execution style and environment. [ABSTRACT FROM AUTHOR]

On the subject of tears Virgil shares the attitude of the intellectuals, who criticize the exasperated and public manifestations of pain, but on the other hand he gives dignity to the suffering of his characters. In the Aeneid, in which this topic finds a great space, crying is the expression of the impotence of men and gods in front of the inexorable fulfillment of Fate, and above all Aeneas appears divided between the need to remain insensitive to tears and the desire to express his human feelings.

This commentary focuses on Shea (2019) and its relationship to much of the literature on popular and rock music. The commentary offers some methodological considerations on the construction of corpora for this type of analysis. The commentary questions the operational definition of 'lament,' and laud's Shea's work in attempting to create a more thorough, objective definition. Ultimately, the commentary concludes that, while Shea's approach is worthwhile, a much larger corpus must be generated in order to draw meaningful conclusions from it.

A descending bass line coordinated with sad lyrics is often described as evoking the "lament" topic—a signal to listeners that grief is being conveyed (Caplin, 2014). In human speech, a similar pattern of pitch declination occurs as air pressure is lost ('t Hart, Collier, & Cohen, 1990) which—coordinated with the premise that sad speech is lower in pitch (Lieberman & Michaels, 1962)—suggests there may be a cognitive-ecological association between descending bass lines and negative emotion more broadly. This study reexamines the relationship between descending bass lines and sadness in songs with lyrics. First, two contrasting repertoires were surveyed: 703 cantata movements by J. S. Bach and 740 popular music songs released ca. 1950–1990. Works featuring descending bass lines were identified and bass lines extracted by computationally parsing scores for bass or the lowest sounding musical line that descends incrementally by step. The corresponding lyrics were then analyzed using the Linguistic Inquiry and Word Count (Pennebaker et al., 2015a, 2015b). Results were not consistent with the hypothesis that descending bass lines are associated with a general negative affect and thus also not specifically with sadness. In a follow-up behavioral study, popular music excerpts featuring a descending bass were evaluated for the features of sad sounds (Huron, Anderson, & Shanahan, 2014) by undergraduate musicians. Here, tempo and articulation, but not interval size as anticipated, were found to be the best predictors of songs with descending bass lines.

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.

Copyright of Religious Studies / Dini Araştırmalar is the property of Diyanet Isleri Baskanligi Yayinlari and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, the author looks at suffering in Ps 55 from the perspective of women as victims of sexual violence. The research problem and gap addressed concern residual questions regarding the world of the text and the setting of the lament in earlier stages of its redaction and composition. The discussion takes its inspiration from a reading of Ulrike Bail wherein the speaker of Ps 55 appears to be resorting to forms and contents of expression associated with the trauma of rape. In supplementary relation to this, a reader response approach is adopted aiming to show how a female persona as the projected narrator and her language of distress relate to conceptions of sexual assault. The study thus offers confirmatory findings from Ps 55 of how women use words and ways of lamentation to break the silence and seek to cope with the devastating physical and psychological effects of rape. https://doi.org/10.17159/2312–3621/2021/v34n1a16

The COVID-19 global pandemic and its consequent outcomes have caused immense suffering and distress in every community and at all levels of life worldwide. Theological and religious communities raise the question about God’s involvement in the causes of and healing from this horrendous misery and grief. These questions become paradigmatic of how God is involved in suffering and how the supplicant could experience deliverance through interaction with God, whilst situated in the midst of such a crisis. Exegetic contemplation on Ps 13, a well-known lament song, provides an exemplary experience of a psalmist in a severe life-endangering context. An exposition of the text—its historical, cultic and literary contexts—and the genre of ‘lament’ brings insight into the Yahweh-believer’s interaction. Without pretending to provide answers to enigmatic forms of suffering, this article shows how Yahweh-believers in ancient Israel understood and reacted to suffering. Human suffering is indeed in need of the ‘face’ and ‘eyes’ of Yahweh to experience healing and redemption. https://doi.org/10.17159/2312–3621/2021/v34n1a15

Although popular imagery has long attracted the interest of researchers and collectors, the corpus of criminal complaints, often produced by the same printers, remains to be completed. One of the causes of the little interest which has long surrounded these writings could be found both in their popular vocation and in the ephemeral character of these documents, ephemeral character which explains their current rarity. In addition to flying songs and complaints, which are widespread in Brittany and often written in Breton, it is sometimes possible to encounter criminal complaints of a larger format, often illustrated and written in French. We will look at the production of the printer of Dinan Jean Bazouge (1818-1891), who committed some fifteen criminal complaints in 1846 before his son Francis (1843-1899) succeeded him and also decided, until his death, to produce this type of illustrated print. The vast majority of these impressions have never been studied up to now, which will lead us to address the inescapable sources of the Departmental Archives' repositories.

The Fualdès Affair is one of the most famous bloody events of the 19th century, and the complaint relating to it has undoubtedly benefited from this notoriety, to such an extent that the air on which it was written has become "the air of all complaints". This air provides a kind of school case. It shows that the meaning of an aria depends more on its uses than on its objective characteristics (structure, melody, rhythm...). In songs, the choice of an aria is based on its ability to imply implicit content, thus transported from one song to another. This introduces a kind of intertextuality before the letter. The previous uses of the air predetermine him, and its posterity owes much to its parodies. With the Complaint of Fualdès, a funeral and military air (the air of the Marshal of Saxony), charged with political meaning by its uses during the Revolution, becomes successively suitable to carry the account of other criminal cases, then turns to burlesque, as the Case enters into legend.

Since the first third of 19th Century, a kind of broadseet has been circulating in France, devoted to news items, criminal news items : the canard. These fact sheets have the distinction of containing a printed lament which distinguishes them from the periodicals of news items which arise at the same time. This article analyzes the role and the place of the image in the canard and its links with the printed sheet and the lament, in the general context of a new approach to crime, to the victim against the backdrop of the infatuation with the criminal news item and the birth of detective story.

After recalling the context in which the sidewalk literature of the years 1885-1900, the Boulangist Crisis, the Panama Scandal and the Dreyfus Case unfolded, this article examines more specifically the complaints linked to the collapse of the Universal Company of the Inter-Oceanic Canal. Although not all the songs produced in 1892-1893 are related to the lament genre, many of them are part of it, the victims being either the small savers who were robbed or the people, the true recipients of this particularly poisonous form of propaganda. Anti-Semitism and anti-parliamentarianism are the two main ingredients, the aim being the subversion of institutions and the overthrow of the republican regime.

De volkenprofetie tegen Moab in Jeremia 48 blijft in veel opzichten de exegeten voor vragen stellen. In dit artikel ligt de focus op het eerste segment, 48:1-10. Na de behandeling van enkele inleidende vragen betreffende tekst en structuur, geografie en topografie, en theologisch accenten in dit caput, wordt een detailexegese van elk vers gegeven. In vlammende taal wordt Moab hier het oordeel aangezegd, als uitvloeisel van het werk van YHWH zelf, die de hybris van dit volk afstraft. For the exegete, the oracle against Moab in Jeremiah 48 still contains many unanswered questions. In this article the focus is on the first segment, 48:1-10. After the treatment of some introductory issues regarding text and structure, geography and topography, and theological accents in this chapter, a detailed exegesis of each verse is offered. In violent language, Moab is announced a devastating verdict, as a result of the work of YHWH himself, who punishes the hybris of this foreign nation.

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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. [ABSTRACT FROM AUTHOR]