A medieval patchwork song: poetry, prayer and music in a thirteenth-century conductus

2016 ◽  
Vol 25 (2) ◽  
pp. 139-165 ◽  
Author(s):  
MARY CHANNEN CALDWELL
Keyword(s):  
Thirteenth Century ◽  
Daily Life ◽  
Creative Processes ◽  
Textual Construction ◽  
First Time

ABSTRACTEight times a day, the prayerDeus in adiutorium meum intendesounded from the lips of the faithful as the standard introduction to the Office Hours. Infiltrating daily life through the liturgy and popular interjections, the psalm verseDeus in adiutoriumserved a devotional function marked by versatility and popularity. Yet, despite its omnipresence, as well as its inherently vocalic identity, the verse was only rarely troped musically or poetically. A collection of thirteenth-century monophonic and polyphonic tropes of the verse circulating in France in motet collections and festive offices represents one of the few moments of heightened musical interest in the prayer. This article draws attention, for the first time, to the musical and textual connection between these tropes andPater creator omnium, a thirteenth-century refrain song. This monophonic song from France also belongs firmly to the medieval cento genre, with both its musical and textual construction based on the piecing together of borrowed text and music – includingDeus in adiutorium. This article argues thatPater creator omniumstands at the intersection of two important yet understudied histories: the musical and textual troping ofDeus in adiutoriumand the medieval cento. Analysis of this song ultimately illustrates the creative processes behind the making of a pre-modern song.

Islamic and Jewish Religious Feminists Tackle Islamic and Jewish Oral Law: Maintenance and Rebellion of Wives

2017 ◽  
Vol 11 (1) ◽  
pp. 35-63
Author(s):  
Ruth Roded
Keyword(s):  
State Policy ◽  
Political System ◽  
Daily Life ◽  
The State ◽  
The Political ◽  
Jewish Law ◽  
Modern Times ◽  
Parallel Case ◽  
First Time

Beginning in the early 1970s, Jewish and Muslim feminists, tackled “oral law”—Mishna and Talmud, in Judaism, and the parallel Hadith and Fiqh in Islam, and several analogous methodologies were devised. A parallel case study of maintenance and rebellion of wives —mezonoteha, moredet al ba?ala; nafaqa al-mar?a and nush?z—in classical Jewish and Islamic oral law demonstrates similarities in content and discourse. Differences between the two, however, were found in the application of oral law to daily life, as reflected in “responsa”—piskei halacha and fatwas. In modern times, as the state became more involved in regulating maintenance and disobedience, and Jewish law was backed for the first time in history by a state, state policy and implementation were influenced by the political system and socioeconomic circumstances of the country. Despite their similar origin in oral law, maintenance and rebellion have divergent relevance to modern Jews and Muslims.

scholarly journals Śaivism after the Śaiva Age: Continuities in the Scriptural Corpus of the Vīramāheśvaras

Religions ◽  
2021 ◽  
Vol 12 (3) ◽  
pp. 222
Author(s):  
Elaine M. Fisher
Keyword(s):  
Thirteenth Century ◽  
Common Assumption ◽  
Academic Practice ◽  
The Common ◽  
Popular Work ◽  
First Time

This article makes the case that Vīraśaivism emerged in direct textual continuity with the tantric traditions of the Śaiva Age. In academic practice up through the present day, the study of Śaivism, through Sanskrit sources, and bhakti Hinduism, through the vernacular, are generally treated as distinct disciplines and objects of study. As a result, Vīraśaivism has yet to be systematically approached through a philological analysis of its precursors from earlier Śaiva traditions. With this aim in mind, I begin by documenting for the first time that a thirteenth-century Sanskrit work of what I have called the Vīramāheśvara textual corpus, the Somanāthabhāṣya or Vīramāheśvarācārasāroddhārabhāṣya, was most likely authored by Pālkurikĕ Somanātha, best known for his vernacular Telugu Vīraśaiva literature. Second, I outline the indebtedness of the early Sanskrit and Telugu Vīramāheśvara corpus to a popular work of early lay Śaivism, the Śivadharmaśāstra, with particular attention to the concepts of the jaṅgama and the iṣṭaliṅga. That the Vīramāheśvaras borrowed many of their formative concepts and practices directly from the Śivadharmaśāstra and other works of the Śaiva Age, I argue, belies the common assumption that Vīraśaivism originated as a social and religious revolution.

A Thirteenth-Century Ismā ‘īlī Ḥammām at Qal‘at al-Kahf

1983 ◽  
Vol 63 (1) ◽  
pp. 64-78 ◽  
Author(s):  
John Phillips
Keyword(s):  
Water Supply ◽  
Thirteenth Century ◽  
Building Materials ◽  
Planning And Design ◽  
Public Baths ◽  
Two Phases ◽  
Public Bath ◽  
First Time

SummaryThe aim of this paper is to record for the first time the architectural remains of a thirteenth-century public bath (ḥammām) located at the Assassin castle of al-Kahf in the Syrian Jabal Anṣariya. After describing the site, the paper examines the design and layout of the ḥammām and attempts to reconstruct those parts of it which have disappeared either because of structural decay or because of subsequent modifications to the plan. Building materials and decorative techniques are among the topics discussed, and there is an account of the ḥammām's heating apparatus and of the arrangements made to store and articulate its water supply. Two phases of construction are identified in the ḥammām, the second being necessitated, apparently, by a need to restore the building after it had fallen into disrepair at some later stage in its history. Finally, the ḥammām is compared and contrasted with a number of other Islamic public baths in order to establish the extent to which it followed earlier traditions of planning and design.

Drissi, Moulay Ahmed (1924–1973)

2018 ◽  
Author(s):  
Jean Holiday Powers
Keyword(s):  
Daily Life ◽  
Modern Art ◽  
Short Series ◽  
Used Oil ◽  
Oil Paints ◽  
First Time

Moulay Ahmed Drissi was a self-taught painter who used oil paints to depict stylized versions of daily life. Drissi was interested not in straightforward representations, but in showing his coherent worldview, using minimal details in his images of people and landscapes. In 1945 he met painters from Switzerland who encouraged his interests and, from 1948 to 1956, he traveled extensively throughout Europe. His first exhibition was in 1952 in Lausanne, and he exhibited for the first time in Morocco in 1957 in Marrakech. That same year, Drissi exhibited his work at the second Alexandria Biennale, and was part of the foundational early exhibitions of Moroccan modern art including the first Paris biennale (1959) and the "Deux milles ans d’art au Maro" (Galerie Charpentier, Paris, 1963) exhibition. In 1957, Drissi founded the short-lived gallery L’Oeil Noir. He was the focus of an early monograph (1960) in a short series of Moroccan painters organized by Gaston Diehl.

St. Cyprian and Moissac: A Thirteenth-Century Sequence

Traditio ◽  
1963 ◽  
Vol 19 ◽  
pp. 147-166
Author(s):  
Maurice Bévenot
Keyword(s):  
Thirteenth Century ◽  
Poor Quality ◽  
Full Length ◽  
The Poor ◽  
First Time ◽  
Special Notice ◽  
The Way

The discovery of an ancient sequence might not at first sight seem to deserve any special notice. No doubt its absence in the monumental collections of A. M. Dreves and C. Blume, and in U. J. Chevalier's Repertorium hymnologicum, may surprise us, but the poor quality of so many of the sequences there collected may justify an initial indifference to the unearthing of yet another. How was it missed by those indefatigable collectors? Perhaps the reason is that they confined themselves mainly to liturgical books whereas the sequence here presented for the first time is found in one single manuscript which is not a liturgical book but a collection of works by St. Cyprian. These had been transcribed round about the year 1100, and the sequence, words and music, was added to the beginning of the codex in the first part of the thirteenth century. That it was missed is, then, no surprise, but a full-length treatment seems to be called for, because of the light it throws on the history, both factual and literary, behind it, as also possibly on the music of the time and the way that a sequence was then constructed. At least some of its more interesting features can here be gathered together.

The Last of The Shireburnes: The Art of Death and Life in Recusant Lancashire, 1660–1754

2003 ◽  
Vol 26 (4) ◽  
pp. 589-615 ◽  
Author(s):  
John Callow
Keyword(s):  
Thirteenth Century ◽  
Market Town ◽  
Distant Market ◽  
Secular Age ◽  
First Time ◽  
The Mansion

When J. M. Turner came to make his sketches of Stonyhurst Hall and the neighbouring church at Great Mitton, for the first time in 1799, he was immediately struck by the melancholia and faded splendour of that part of ‘darkest’ rural Lancashire. Perched high upon the brow of Longridge, the mansion commanded sweeping views of the valley beneath, of Pendle Hill and of the distant market town of Clitheroe; while the thirteenth century church of All Hallows—almost lost in the folds of the countryside—sat squatly on the borders of Lancashire and Yorkshire, at the confluence of the Rivers Calder, Ribble and Hodder, and served as a stubborn reminder of an earlier and less secular age. Relatively untouched by the forces of industrialisation, these buildings proved a delight to the Gothic imagination of the young artist.

Learning from the Confessional in the Later Thirteenth Century: Contributions to Human Sexuality, Daily Life, and a Science of Nature

2019 ◽  
Vol 88 (2) ◽  
pp. 293-315 ◽  
Author(s):  
Irven M. Resnick
Keyword(s):  
Human Nature ◽  
Thirteenth Century ◽  
Human Activities ◽  
Daily Life ◽  
Human Sexuality ◽  
Sexual Practices ◽  
Moral Reform ◽  
Private Lives ◽  
General Terms ◽  
Seal Of Confession

Implementation of the canons of the Fourth Lateran Council dramatically expanded the practice of auricular confession among laypeople. Although the Council's canons also insist upon the seal of confession in order to keep the content of confessions secret, thirteenth-century authorities differ over the boundaries of the seal. As a result, the “secrets” of confession are often revealed in at least general terms in order to provide preachers with entertaining exempla for moral or doctrinal instruction. What is revealed from confession not only provides a window onto medieval private lives, but it also provided confessors with information about human activities—especially sexual practices—that might otherwise be unavailable to them. With such information, learned confessors not only encouraged moral reform but also defended claims of Aristotelian biology on human nature and sexuality.

Tibetan, Burmese and Chinese Inscriptions from Bodhgayā in the British Museum

2013 ◽  
Vol 23 (3) ◽  
pp. 429-439
Author(s):  
TSERING GONGKATSANG ◽  
MICHAEL WILLIS
Keyword(s):  
Nineteenth Century ◽  
Thirteenth Century ◽  
British Museum ◽  
Archaeological Evidence ◽  
First Time

AbstractThis article is concerned with four inscriptions found at Bodhgayā in the nineteenth century that are documented by records kept in the Department of Asia at the British Museum. Two Tibetan inscriptions, probably dating between the ninth and fourteenth centuries, are of special note because they provide the first archaeological evidence for Tibetans at the site. Chinese and Burmese records of the eleventh, twelfth and thirteenth century are also noted, that of the Song emperor Renzong (1022–63) being illustrated for the first time.

scholarly journals Problems of national terminology of styles and genres of Yakut folk songs

2020 ◽  
pp. 33-44
Author(s):  
A. S. Larionova
Keyword(s):  
20Th Century ◽  
Daily Life ◽  
Folk Songs ◽  
Long Time ◽  
Traditional Songs ◽  
First Time

The article analyzes the changes in the meanings of national terms of styles and genres of Sakha traditional songs during the development of the Yakut ethnomusicology. Until the end of the 20th century, dieretii yrya was regarded as the type or manner of the Sakha people singing. Recently, it has been defined as the style of the Yakut traditional singing. Initially treated as the genre of songs and later daily life song genre of the Ya- kuts, nowadays, Degeren yrya is considered a style. Also, some Yakut sing ing styles are presented which are not common in the Yakut ethnomusicology and have not been practiced in the Yakut song culture for a long time. The styles and genres of Yakut folk songs are characterized. The article provides the analysis of tradi- tional tunes of the Sakha people, including those introduced into science for the first time.

scholarly journals Complexity-Based Decoding of the Coupling Among Heart Rate Variability (HRV) and Walking Path

2020 ◽  
Vol 11 ◽  
Author(s):  
Shahul Mujib Kamal ◽  
Mohammad Hossein Babini ◽  
Ondrej Krejcar ◽  
Hamidreza Namazi
Keyword(s):  
Heart Rate ◽  
Time Series ◽  
Heart Rate Variability ◽  
Fractal Dimension ◽  
Daily Life ◽  
Fractal Theory ◽  
Sample Entropy ◽  
Physiological Signals ◽  
Everyday Activity ◽  
First Time

Walking is an everyday activity in our daily life. Because walking affects heart rate variability, in this research, for the first time, we analyzed the coupling among the alterations of the complexity of walking paths and heart rate. We benefited from the fractal theory and sample entropy to evaluate the influence of the complexity of paths on the complexity of heart rate variability (HRV) during walking. We calculated the fractal exponent and sample entropy of the R-R time series for nine participants who walked on four paths with various complexities. The findings showed a strong coupling among the alterations of fractal dimension (an indicator of complexity) of HRV and the walking paths. Besides, the result of the analysis of sample entropy also verified the obtained results from the fractal analysis. In further studies, we can analyze the coupling among the alterations of the complexities of other physiological signals and walking paths.

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