scholarly journals Converses with the Grave: Three Modern Gaelic Laments

Genealogy ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 22
Author(s):  
Chelsey MacPherson ◽  
Brian James MacLeod ◽  
Lodaidh MacFhionghain ◽  
Laurie Stanley-Blackwell

Within Scottish deathways, the Gaelic lament has long served as a poignant and powerful outlet for loss. In this creative piece, three Canadian-born, Gaelic-speaking poets present their previously unpublished Gaelic laments along with English translations. This collaborative article is designed to demonstrate, in a creative rather than an academic format, that the venerable lament tradition continues to enjoy longevity and vitality in the present day as a literary expression of grief among Gaels. This article further demonstrates that modern Gaelic laments are not constrained by a strict fidelity to literary rules but strive instead to work creatively within tradition while reaching their audiences in a relevant and resonant way. For each poem, the author offers a personal contextualization for his/her lament, which serves to explain the source of inspiration and demonstrates how the work draws upon and reflects its literary roots. In recognition of the strong oral tradition present within Gaelic poetry, this article includes an audio recording of each of the three authors’ laments.

Author(s):  
Collin Cornell

In everyday English parlance, God’s name is simply “God.” In the Hebrew Bible, however, the God of Israel has a personal proper name, similar to “Susan” or “Teddy”: the four-lettered name YHWH, also known as the Tetragrammaton (Greek for “four letters”). This name is by far the most common designation for God in the Hebrew Bible. Four texts within this body of literature give special attention to God’s disclosure of the divine name to humankind: in Gen 4:25–26 shortly after the creation of the first humans; and in Exod 3, Exod 6, and Ezek 20 at the time of God’s emancipation of the Israelites from their enslavement in Egypt. English translations obscure the prominence of God’s name by replacing Hebrew YHWH with the common noun “Lord,” written in small caps. As it turns out, this practice has an ancient pedigree: already in the Second Temple era, spoken recitations of the Hebrew Bible replaced Hebrew YHWH with the Hebrew word for “Lord,” adonay, and written manuscripts marked the name YHWH with special orthography. Later Christian copies of the Greek Old Testament would bring the oral tradition directly into the text itself, substituting Greek κύριος, “Lord,” for YHWH. These customs probably trace back to the influence of several other biblical texts, including the fourth commandment of the Decalogue (Exod 20:7//Deut 5:11) and Lev 24:16. The Talmud (Pes. 50a) also records a rabbinic interpretation of Exod 3:15 according to which God says “This [YHWH] is my name to conceal.” But God has other names in the Hebrew Bible, too. Several names are formed by joining YHWH together with a second word, for example: YHWH ṣebaoth, a phrase that is usually translated into English as “the Lord of hosts”; or again, another example: YHWH elohim, translated “the Lord God.” The second part of this compound name is also an important name for God in its own right. The word elohim in Hebrew means “god” or “gods.” It is technically a plural noun, although most of the time in Hebrew it refers to a single divine agent. It is also typically a common noun similar to the English word “god”; that is, it signifies one among a class of divine beings. However, also as in English, Hebrew elohim occasionally functions as a proper name: capital-G God. Another Hebrew noun for god, eloah, shares a similarly dual purpose: mostly it is a generic word for divinity but sometimes it is the caption for the one God of Israel (i.e., YHWH). These two names—YHWH and its compound forms as well as elohim in its usage as a name—cover the majority of instances when the Hebrew Bible names God. A few other divine titles are name-like but not, properly speaking, names. The first among these is the word Shadday, but also the series of so-called “el-epithets” found in the book of Genesis: El Elyon, El the Creator of Heaven and Earth, El Roi, and El Olam.


2020 ◽  
Author(s):  
Tasnim Lubis

Oral tradition appears in many forms such as pantoons, poetry, songs, plays, and pantoon. Some of them are sung in order to make the performer easier to memorize the lyric. In Simeulue island, Aceh province Indonesia, several oral tradition namely nandong, nanga-nanga, and nafi-nafi are performed through songs. This study focus on describing the meaning of nanga-nanga. It was described through meaning as representative mental and meaning as enaction which is explained by Foley (1997). The data were video-audio recording of nanga-nanga, interview, and observation. The result of study showed that nanga-nanga was performed to express feeling through a story. The meaning of nanga-nanga is the pouring of one’s heart. The performer sung nanga-nanga more to entertain him/herself.


2012 ◽  
Vol 17 (4) ◽  
pp. 320-325 ◽  
Author(s):  
Serge Nicolas ◽  
Zachary Levine

Though Alfred Binet was a prolific writer, many of his 1893–1903 works are not well known. This is partly due to a lack of English translations of the many important papers and books that he and his collaborators created during this period. Binet’s insights into intelligence testing are widely celebrated, but the centennial of his death provides an occasion to reexamine his other psychological examinations. His studies included many diverse aspects of mental life, including memory research and the science of testimony. Indeed, Binet was a pioneer of psychology and produced important research on cognitive and experimental psychology, developmental psychology, social psychology, and applied psychology. This paper seeks to elucidate these aspects of his work.


2016 ◽  
Vol 23 (1) ◽  
pp. 101-126 ◽  
Author(s):  
Robert S. Miola

Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.


2000 ◽  
Vol 2 (1) ◽  
pp. 107-123 ◽  
Author(s):  
Muzaffar Iqbal

This article attempts to present a comparative study of the role of two twentieth-century English translations of the Qur'an: cAbdullah Yūsuf cAlī's The Meaning of the Glorious Qur'ān and Muḥammad Asad's The Message of the Qur'ān. No two men could have been more different in their background, social and political milieu and life experiences than Yūsuf cAlī and Asad. Yūsuf 'Alī was born and raised in British India and had a brilliant but traditional middle-class academic career. Asad traversed a vast cultural and geographical terrain: from a highly-disciplined childhood in Europe to the deserts of Arabia. Both men lived ‘intensely’ and with deep spiritual yearning. At some time in each of their lives they decided to embark upon the translation of the Qur'an. Their efforts have provided us with two incredibly rich monumental works, which both reflect their own unique approaches and the effects of the times and circumstances in which they lived. A comparative study of these two translations can provide rich insights into the exegesis and the phenomenon of human understanding of the divine text.


Moreana ◽  
2008 ◽  
Vol 45 (Number 175) (3) ◽  
pp. 120-146
Author(s):  
Anne M. O’Donnell

This article examines translations for the Greek word “agapē” and its synonyms in versions of the New Testament: Thomas More used Latin versions of NT (Vulgate, Erasmus) and made his own English translations. In Dialogue Concerning Heresies (1529) and Confutation of Tyndale (1532-1533), More criticizes Tyndale’s New Testament (1526) for translating “agapē” as “love” not “charity.” Opposing Luther’s “sola fide,” More argues for faith infused with charity. More quotes Paul’s Hymn of Charity (1 Cor 13) in his polemical works or meditates on the Passion of Christ in his prison writings. This study also notes some translations of “agapē” by the Vulgate, Erasmus, and Tyndale.


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