Kyōshi: Japanese “Wild Poetry”

1979 ◽  
Vol 38 (3) ◽  
pp. 499-517 ◽  
Author(s):  
David Pollack
Keyword(s):  
Nineteenth Century ◽  
Daily Life ◽  
Folk Song ◽  
Chinese Poetry ◽  
Political Factors ◽  
Song Style ◽  
Verse Forms

AbstractIn Japan between 1770 and 1790, the craze for witty, comic verse forms such as kyōka and senryū, infected the ancient and noble tradition of poetry written in Chinese to produce kyōshi, “wild Chinese poetry.” Written in both Edo and Kyoto by poets of the lower samurai and educated townsmen classes, kyōshi ranged from silly puns and parodies of long-petrified Chinese verse forms to serious poems that used new subjects, language, and perceptions to revive the old genre, kanshi. Of the major poets, Ōta Nampo (Shokusanjin) of Edo, well-known as a master of kyōka, was equally famous for collections of witty kyōshi, while Hatanaka Tanomo (Dōmyaku Sensii) revived the Chinese “folk song style ballad” as a vehicle for descriptions of daily life in and around Kyoto. Because kyōshi was the product of a unique conjunction of literary, social, and political factors, it was almost forgotten by the beginning of the nineteenth century.

Transcending the Madhhab-in Practice: the Case of the Sudanese Shaykh Muhammad Majdhub (1795/6-1831

2003 ◽  
Vol 10 (2) ◽  
pp. 229-248 ◽  
Author(s):  
Albrecht Hofheinz
Keyword(s):  
Nineteenth Century ◽  
Social Context ◽  
Political Factors ◽  
Strict Adherence ◽  
Prophetic Tradition

Muhammad Majdhūb was one of many Muslims who in the nineteenth century argued against strict adherence to the established madhhab system and sought ways to overcome it. This case study, based on an examination of Majdhūb's writings and contemporary documents, analyses what this position meant in practice, how it was expressed, and what it signified in a given social context. The challenge to madhhab affiliation appears to have been more radical in theory than in practice. While dismissing fiqh rationality and basing himself on Prophetic Tradition and inspiration, Majdhūb's practical conclusions consistently - if implicitly - agree with the Shāfi ī school. In the context in which such views were propagated, however, we find interesting social and political factors that contributed to their attractiveness. Here, they served to transcend a politicised deadlock between proponents of different madhhabs while lending 'Prophetic' support to the local as opposed to the ruling Ottoman party.

scholarly journals A PRESENÇA DE ESCRAVOS EM ALGUNS CONTOS DE MACHADO DE ASSIS

2018 ◽  
Vol 2 ◽  
pp. 160
Author(s):  
Antonio Marcos Sanseverino
Keyword(s):  
Nineteenth Century ◽  
Rio De Janeiro ◽  
Daily Life ◽  
Personal History ◽  
Machado De Assis ◽  
Brazilian Literature ◽  
The Family ◽  
As If

A escravidão é o nexo fundamental para pensar a literatura brasileira do século XIX. Na prosa machadiana, esse nexo histórico foi evidenciado por diferentes críticos (CHALHOUB, 2003, 2012; GLEDSON, 2006; SCHWARZ, 2000). Na leitura dos jornais, desde os anos de 1870, através da leitura de anúncios, vemos o quanto a presença do escravo doméstico era fato naturalizado no cotidiano do Rio de Janeiro (FREYRE, 2012; SCHWARCZ, 1987). Amas, copeiros, cozinheiros, moleques eram anunciados como objeto de venda ou de aluguel. Não apenas o trabalho era vendido ou alugado, mas o próprio trabalhar-escravo. Essa presença cotidiana de escravos é necessária (ou não) para a compreensão dos enredos? Alguns contos machadianos que trazem à primeiro plano do conflito a presença da escravidão: “Mariana” (1871), “O caso da vara” (1899) e “Pai contra mãe” (1906). Entretanto, há um apagamento da história pessoal do escravo enquanto personagem. A expressão “cria da casa” usada para caracterizar Mariana, uma mulata que vive como fosse da família, mostra o quanto a genealogia da personagem se apaga, diluída no pertencimento à casa do dono. Palavras-chave: Machado de Assis. Escravidão. Conto. Cria da casa.ABSTRACTSlavery is the fundamental link to think of nineteenth-century Brazilian literature. In Machado’s prose, this historical nexus was evidenced by different critics (CHALHOUB, 2003, 2012, GLEDSON, 2006, SCHWARZ, 2000). In the reading of the newspapers, from the 1870s, through the reading of advertisements, we see how the presence of the domestic slave was a naturalized fact in the daily life of Rio de Janeiro (FREYRE, 2012; SCHWARCZ, 1987). Mothers, cupbearers, cooks, brats were advertised as objects for sale or rent. Not only was work sold or rented, but the work-slave itself. Is this daily presence of slaves necessary (or not) for the understanding of entanglements? Some Machado tales that bring to the forefront of the conflict the presence of slavery: “Mariana” (1871), “The case of the stick” (1899) and “Father against mother” (1906). However, there is an erasure of the slave’s personal history as a character. The expression “housekeeper” used to characterize Mariana, a mulatta who lives as if she were one of the family, shows how much the character’s genealogy is extinguished, diluted in belonging to the owner’s house.Keywords: Machado de Assis. Slavery. Tale. Of the house.

scholarly journals Metamorphoses of the Ukrainian Song “Їkhav Kozak beyond the Danube”:Was the German Translation by Wilhelm Kuchelbecker Familiar to the Hungarian Count Poet Ferenc Teleki?

2021 ◽  
pp. 327-349
Author(s):  
Zsófia Kalavszky ◽  
Keyword(s):  
Nineteenth Century ◽  
Print Media ◽  
Folk Song ◽  
Point Of View ◽  
German Language ◽  
Reading Public ◽  
German Culture ◽  
German Translation ◽  
History Of ◽  
Language Area

In my essay I trace how – by which means and through what channels – the Ukrainian song «Ĭхав козак за Дунай» (Kozak was riding beyond the Danube) reached Europe at the beginning of the nineteenth-century and then by the means of German mediation, sprang out onto Hungarian territories. In the German language area, it spread essentially as a folk song. Translated (or rather transcribed) into German by Christopher Tidge, the Ukrainian song reached the Kingdom of Hungary most likely together with the troops that took part in the Napoleon wars. At the same time, another version of the song circulated among the Hungarian elite in German culture. The latter was known as Russisches Lied in the translation of Theodor Körner – it was also in vogue and was distributed mainly in print media. The history of this song that in the first decade of the nineteenth century, gained fame in Czech, Polish, and English, has another line that may be interesting from the point of view of Russian and Hungarian literary connections. In 1814, Russian poet Wilhelm Küchelbecker translated the song into German. His translation which remained in the form of the manuscript and was not known to the reading public reveals an amazing similarity and in some places direct coincidences with the poem by the Hungarian poet Count Ferenc Teleki written presumably before 1820.

The Folk Song Project at the Confluence of Music and Nationalism

2017 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Nineteenth Century ◽  
South America ◽  
Cultural History ◽  
Intellectual History ◽  
English Translation ◽  
Paradigm Shift ◽  
Folk Songs ◽  
Folk Song ◽  
World Music ◽  
Musical Thought

Published in six folios during 1778 and 1779, Herder’s Volkslieder (Folk songs) has been one of the most influential works in modern intellectual history, even though it has never before appeared in English translation. The Volkslieder not only became the first collection of world music—songs came not only from many regions of Europe, but also from Africa, the Mediterranean, and South America—but also served as the source for European composers throughout the nineteenth century. Aesthetics, ethnography, and literary and cultural history converge to transform modern musical thought. Part one of the chapter contains translations from Herder’s own introductions to the songs, and part two contains twenty-four songs that represent the paradigm shift inspired by this monumental work on folk song.

Mendelssohn and the Idea of the North

2020 ◽  
pp. 115-139
Author(s):  
Sarah Clemmens Waltz
Keyword(s):  
Nineteenth Century ◽  
Johann Wolfgang Von Goethe ◽  
Folk Song ◽  
German Culture ◽  
Early Nineteenth Century ◽  
The North ◽  
Relationship Of ◽  
The Relationship

This chapter re-evaluates Felix Mendelssohn’s ‘Scottish’ works by placing them in the context of the early-nineteenth-century North German view of Scotland, especially as channelled through Mendelssohn’s mentors Johann Wolfgang von Goethe and Carl Friedrich Zelter. Such interest in Scotland was undergirded by a belief in a shared German-Celtic past and a sense that Scottish culture was not exotic but rather essentially German. Figures in Mendelssohn’s circle participated in deliberate attempts to claim a general northern antiquity for German culture, using arguments concerning the relationship of climate, race, and character. A recontextualization of Scotland as representing a lost German past may signal additional reinterpretations of Mendelssohn’s anticipations of travel, his travel experiences, and his statements concerning folk song, as well as his Fantasy, Op. 28, originally titled Sonate écossaise.

scholarly journals Newspapers and Parties: How Advertising Revenues Created an Independent Press

2011 ◽  
Vol 105 (4) ◽  
pp. 790-808 ◽  
Author(s):  
MARIA PETROVA
Keyword(s):  
Nineteenth Century ◽  
Economic Development ◽  
Political Parties ◽  
Good Governance ◽  
Media Freedom ◽  
Outdoor Advertising ◽  
Political Factors ◽  
Newspaper Distribution ◽  
Using Data ◽  
Political Groups

Media freedom strongly inhibits corruption and promotes good governance, but what leads to media freedom? Do economic development and higher advertising revenues tend to make media outlets independent of political groups' influence? Using data on nineteenth-century American newspapers, I show that places with higher advertising revenues were likelier to have newspapers that were independent of political parties. Similar results hold when local advertising rates are instrumented by regulations on outdoor advertising and newspaper distribution. In addition, newly created newspapers were more likely to enter the market as independents in places with higher advertising rates. I also exploit the precise timing of major changes in advertising rates to identify how advertising revenues affected the entry of new newspapers. Finally, I demonstrate that economic development, and concomitant higher advertising revenue, is not the only reason that an independent press expands; political factors also played a role.

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