The Squire of Allington

It Cannot Be

The Small House at Allington ◽

10.1093/owc/9780199662777.003.0009 ◽

2014 ◽

Author(s):

Anthony Trollope

Keyword(s):

Great House ◽

Small House

On the following morning at breakfast each of the three gentlemen at the Great House received a little note on pink paper, nominally from Mrs Dale, asking them to drink tea at the Small House on that day week. At the bottom of the...

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Norwegian Timber and the Scottish Great House

Architectural Heritage ◽

10.3366/arch.2007.18.1.35 ◽

2007 ◽

Vol 18 (1) ◽

pp. 35-53 ◽

Cited By ~ 1

Author(s):

Kate Newland

Keyword(s):

Great House

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Apartheid Aesthetics and Insignificant Art

Journal of Musicology ◽

10.1525/jm.2016.33.1.45 ◽

2016 ◽

Vol 33 (1) ◽

pp. 45-69

Author(s):

Stephanus Muller

Keyword(s):

South Africa ◽

Secondary School ◽

South African ◽

Cultural Production ◽

Art Songs ◽

Cultural Significance ◽

European Culture ◽

Small House ◽

The Rich ◽

Selection Of

Stephanus Le Roux Marais (1896−1979) lived in Graaff-Reinet, South Africa, for nearly a quarter of a century. He taught music at the local secondary school, composed most of his extended output of Afrikaans art songs, and painted a number of small landscapes in the garden of his small house, nestled in the bend of the Sunday’s River. Marais’s music earned him a position of cultural significance in the decades of Afrikaner dominance of South Africa. His best-known songs (“Heimwee,” “Kom dans, Klaradyn,” and “Oktobermaand”) earned him the local appellation of “the Afrikaans Schubert” and were famously sung all over the world by the soprano Mimi Coertse. The role his ouevre played in the construction of a so-called European culture in Africa is uncontested. Yet surprisingly little attention has been paid to the rich evocations of landscape encountered in Marais’s work. Contextualized by a selection of Marais’s paintings, this article glosses the index of landscape in this body of cultural production. The prevalence of landscape in Marais’s work and the range of its expression contribute novel perspectives to understanding colonial constructions of the twentieth-century South African landscape. Like the vast, empty, and ancient landscape of the Karoo, where Marais lived during the last decades of his life, his music assumes specificity not through efforts to prioritize individual expression, but through the distinct absence of such efforts. Listening for landscape in Marais’s songs, one encounters the embrace of generic musical conventions as a condition for the construction of a particular national identity. Colonial white landscape, Marais’s work seems to suggest, is deprived of a compelling musical aesthetic by its very embrace and desired possession of that landscape.

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BATOMBE: WARISAN BUDAYA BANGSA DARI NAGARI ABAI PROVINSI SUMATERA BARAT

Madah Jurnal Bahasa dan Sastra ◽

10.31503/madah.v7i2.425 ◽

2017 ◽

Vol 7 (2) ◽

pp. 159

Author(s):

Eva Krisna

Keyword(s):

Oral Tradition ◽

Multidisciplinary Approach ◽

Descriptive Analysis ◽

Community Life ◽

Psychological Approach ◽

Negative Effects ◽

Great House ◽

Close Relationship ◽

West Sumatra ◽

The Relationship

“Batombe” is an oral tradition of the Nagari Abai society at Sangir Batanghari Subdistrict, South Solok District, West Sumatra Province. Batombe is exchanging rhymes (berbalas pantun) which is performed as an entertainment on the wedding party (baralek). Batombe is identical with Great House (Rumah Gadang) Nagari Abai which is a unique house because it is a long traditional custom house that has many rooms. It reaches 21 rooms. The rhymes in batombe tends to deliver a feeling of lilting so the singers often drift into the atmosphere of the show. Therefore, as part of community life, batombe often cause a negative effects for the singers soul. This paper describes various things, such as: who batombe singer is; the time to perform this activity; the relationship between batombe and Great House (Rumah Gadang) at Nagari Abai; and the negative effects caused by batombe for the singers. This paper based on the fact that in oral tradition there is a close relationship between text and the speakers and text with context (place, time and atmosphere), a multidisciplinary approach is used in this paper, such as historical, sociological, anthropological, and psychological approach. The method used is descriptive analysis method.AbstrakBatombe adalah tradisi lisan masyarakat Nagari Abai, Kecamatan Sangir Batanghari, Kabupaten Solok Selatan, Provinsi Sumatra Barat. Batombe adalah tradisi berbalas pantun yang dilakukan sebagai hiburan pada pesta pernikahan (baralek). Batombe identik dengan rumah gadang Nagari Abai yang unik, yakni rumah adat dengan ruangan yang sangat panjang hingga 21 ruangan. Pantun-pantun batombe cenderung menyampaikan perasaan yang mendayu-dayu sehingga para pedendangnya sering hanyut ke dalam suasana pertunjukan. Oleh sebab itu, sebagai bagian dari kehidupan masyarakat, seringkali batombe menyebabkan efek negatif bagi (kejiwaan) para pedendangnya. Tulisan ini mendeskripsikan berbagai hal, seperti penutur batombe, waktu untuk melakukan batombe, hubungan batombe dengan rumah gadang di Nagari Abai, dan efek negatif yang ditimbulkan batombe bagi pedendangnya. Tulisan ini bertolak dari kenyataan bahwa pada tradisi lisan terdapat hubungan erat, antara lain seperti teks dengan penutur dan teks dengan konteks (tempat, waktu, dan suasana). Pendekatan multidisipliner digunakan pada tulisan ini, yakni pendekatan historis, sosiologis, antropologis, dan psikologis. Metode yang digunakan adalah metode analisis deskriptif.

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