Patriquin, Donald (1938--)

2018 ◽  
Author(s):  
Jeremy Strachan
Keyword(s):  
Cultural Awareness ◽  
Henry David Thoreau ◽  
William Blake ◽  
Folk Songs ◽  
String Orchestra ◽  
Choral Repertoire ◽  
The World ◽  
Global Peace ◽  
Songs Of Innocence ◽  
Walden Pond

Donald Patriquin is a composer known chiefly for contributing to choral repertoire in Canada. Born in Sherbrooke, Quebec, he studied composition as a teenager with Jean Papineau-Couture, and later in Montreal with Istvan Anhalt, as well as in Toronto with John Weinzweig. Patriquin’s prolific catalogue of work includes expanded tonal settings of texts by Shakespeare (A Lover and His Lass, 1968), Henry David Thoreau (Reflections on Walden Pond for choir, violin, cello, and piano, 2000), and William Blake (Songs of Innocence for choirs, harp, and flute, 1984). His main compositional activities have focused on arranging folk songs from around the world, especially various regions of Canada. Representative of these are Six Songs of Early Canada (1980) and Six Noëls Anciens (1982), which are frequently performed. Patriquin’s many compositions for children’s choirs make use of non-lexical sounds in imitating the soundscape, drawing on the timbral, percussive, and expressive possibilities of voices. Of his non-vocal works, Hangman’s Reel for fiddle and string orchestra (1978), commissioned by the Grand Ballets Canadiens, remains one of the most significant, assembling jigs, reels, airs, and other vernacular dances into a thirty-minute suite. Issues of cultural awareness, humanitarianism, and global peace provide thematic foundations for Patriquin’s music around 1985.

scholarly journals The Songs of Innocence-Blake’s Intuitive Flights into the Realm of the Absolute

IJOHMN ◽  
2018 ◽  
Vol 4 (5) ◽  
pp. 1-10
Author(s):  
Dr.B. Venkataramana
Keyword(s):  
Jesus Christ ◽  
William Wordsworth ◽  
William Blake ◽  
High Order ◽  
Public Acceptance ◽  
Human Society ◽  
The World ◽  
Philosophical Framework ◽  
The Absolute ◽  
Songs Of Innocence

Just like William Wordsworth who came a little later William Blake was known for an absolute sincerity, a mystic renunciation and a boldness of spirit. His originality and individuality, both of which were of a high order, came in the way of his public acceptance and acclaim. His drawings bear the stamp of a “characteristic and inimitable vision”. His poetry is marked by the utmost subtlety of symbolism and the skill with which it is sustained is truly matchless. The philosophical framework of his poetry is no more than a series of “intuitive flights into the realm of the absolute, soaring with tranquil and imperious assurance”. In Blake’s view the world of children, which is not contaminated by experience, is almost heavenly. In fact childhood is like a compensation for the loss of Eden. In the poems of Blake, the divine that is described is Jesus Christ who, even like human children, was a child once and spoke of the merciful and compassionate heavenly father, God. Children are free from cares and conflicts and always in a state of happiness and harmony with the human society around them and nature.

Art and mythology of William Blake in the context of the "Dead Man" by Jim Jarmush.

2020 ◽  
Vol 4 (4) ◽  
Author(s):  
T.A. Dmitrieva ◽  
Keyword(s):  
Art History ◽  
William Blake ◽  
Common Features ◽  
History Analysis ◽  
The World ◽  
The Common ◽  
Songs Of Experience ◽  
Songs Of Innocence ◽  
Dead Man ◽  
The Universe

The presented article is devoted to the study of the image of creativity and mythology of William Blake in the film by J. Jarmusch "Dead Man". The author has carried out a detailed philosophical and art analysis of the film "Dead Man" and graphic works by William Blake, in particular, the series of engravings “Heads of Ghosts”, engravings “Ghost of the Flea” and “The Lost Boy”. The author also examined poetry and mythology in the work of William Blake based on the material of the works "The Marriage of Hell and Eden" (1973), "Songs of Innocence" (1789) and "Songs of Experience" (1973). Having conducted a comparative analysis of the works of W. Blake and the film by J. Jarmusch, the author revealed the similarities among the characters, mythology, plot and attitude in the movie "Dead" by J. Jarmusch and the works of W. Blake, interpreted the reason for citing the works of W. Blake in the movie "Dead Man" ... As a result, a conclusion was made about the commonality of the worldview attitudes of the work of J. Jarmusch "Dead Man" and the work of W. Blake. The article highlights the common features of the investigated works and the film: quotations from works of other authors, acquiring new meaning (citing the works of John Milton and Dante W. Blake correlates with the quotation of W. Blake in the film "Dead Man"); initiation motive; wandering motive; the idea of the wrongness of the world and the dualism of the universe. The author notes that the main artistic ideas of the works under consideration by William Blake are reflected in the film "Dead Man" by J. Jarmusch. In synthesis, they acquire a new meaning – the path of the soul to salvation through the overcoming of false ideas, vices, knowledge of the truth. This work uses the method of philosophical and art history analysis, developed by the Siberian art history school.

Manoah’s Songs of Innocence

2018 ◽  
Author(s):  
Susan Mitchell Sommers
Keyword(s):  
William Blake ◽  
High Order ◽  
Songs Of Innocence

Recent investigations of Swedenborgians in London place them at the center of intricate and sometimes convoluted connections that tie Swedenborgians to what Al Gabay calls the “covert” Enlightenment—a complicated network of people of various walks of life who were also Swedenborgians, mesmerists, high-order illuminist freemasons, dabblers in alchemy, and spiritualists. With Manoah as an early New Church minister and active astrologer, and his brother Ebenezer an astrologer, alchemist, and freemason, they would seem to be a nexus for these related networks. Upon closer examination, this is unlikely for a variety of reasons. This chapter offers a revisionist look at Manoah’s centrality to the leadership and development of the New Church through its first fifty years, as well as suggesting that Manoah was largely responsible for New Church developments that famously alienated William Blake.

The Wasteland of William Blake

1947 ◽  
Vol 9 (2) ◽  
pp. 183-204
Author(s):  
Frank O'Malley
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
William Blake ◽  
The Political ◽  
Modern Mind ◽  
The World ◽  
The Future

The question is: how can you put a prophet in his place when, by the very character of prophecy, he is eternally slipping out of place? William Blake was not an eighteenth century or nineteenth century mind or a typically modern mind at all. What I mean to say, right at the start, is that, although well aware of his time and of time altogether, he was not in tune with the main tendencies of his or our own time. Indeed time was a barrier he was forever crashing against. Blake's talent raved through the world into the fastnesses of die past and dramatically confronted the abysses of the future. His age did not confine him. As a poet he does not seem finally to have had real spiritual or artistic rinship with any of the rationalist or romantic writers of England. As a thinker he came to despise the inadequacy of the limited revolutionary effort of the political rebels of the Romantic Revolution. Blake's name is not to be seen mounted first with that of Paine or Godwin, of Rousseau or Voltaire, of Wordsworth or Shelley or Byron or Keats. With these he has, ultimately, little or nothing in common. At any rate, his voice and mood and impact are thoroughly different from the more publicly successful voices of the period of his life, older and younger generations alike.

William Blake in Contemporary Russian Literature and Culture

2021 ◽  
pp. 71-88
Author(s):  
Vera V. Serdechnaia ◽  
Keyword(s):  
Human Physiology ◽  
Significant Role ◽  
William Blake ◽  
Russian Literature ◽  
Contemporary Poetry ◽  
The World ◽  
Great Tradition ◽  
Dead Man ◽  
The Universe ◽  
Creative Life

The article discusses the creativity of the English romantic William Blake comprehended in contemporary Russian literature and culture. These facts are quite significant, since many Russian thinkers and writers, such as Igor Garin and Merab Mamardashvili, mention Blake in their works. Blake, partly remembered as a symbolist and mystic, loomed large in the cultural universe of the Moscow mystical “Yuzhinsky” circle, members of which were, in particular, Yuri Mamleev, Yevgeny Golovin, Alexander Dugin, Yuri Stefanov. For them, Blake was an integral part of the great Tradition or ancient knowledge, lost by the civilization. Blake has been mentioned and quoted in the prose by Yuri Buida, Alexey Gryakalov, Ivan Ermakov, Ksenia Buksha, Oleg Postnov and in the poetry by Olga Kuznetsova, Maria Galina, Alla Gorbunova, Maxim Kalinin and others. Andrei Tavrov enters into a creative dialogue with the English Romanticist in his poetic cycle Lament for Blake (2018). Tavrov creatively renders Blake’s metaphysics of human physiology. The poem “Blake. Sparrow” shows an impressive fusion of Blake’s motives and lyrics. in particular, the multilevel character of the mythological world (from Ulro to Eden), conversations with Angels and traveling through the stars in “The Marriage”, the image of a sparrow and a visionary bird in general, images of insects guided through the night (“Dream”), the image of Milton like the meteorite in the heel of the narrator, the figure of Flaxman and the philosophy of creation by the word. In Tavrov’s work, Blake inhabits in a bizarre world of metaliterature, including Gogol and Derzhavin, Velasquez and Newton, Lear and Oedipus, Pan and Melchizedek. Blake, as the creator of overlapping worlds, becomes for Tavrov the key to the total poetization of the universe; where a transition is made from the hermetic principle “as above, so below” to the principle “everything in everything”. This principle turns out to be the most important for contemporary poetry. Blake’s paintings and drawings have become a part of Russian book culture: the famous engraving of the Creator God with a compass “The Ancient of Days” is often used in book graphics; the Moscow conceptualist Viktor Pivovarov, the author of samizdat, admitted that Blake inspired him with his experience in book printing. Blake’s influence can also be seen in the works of contemporary sculptor Alexander Kudryavtsev (1938–2011), namely, his ceramic fresco “The Creation of the World”. Thus, Blake, who came, among others, through the work of The DOORS and Jarmusch’s Dead Man, plays a significant role in the space of contemporary Russian literature. In these terms, the most significant of his works are “Songs” and “The Marriage of Heaven and Hell”, as well as mystical revelations of prophetic poems and his creative life of a genius unrecognized during his lifetime in general.

The Apocalyptic Image of the Beast in William Blake’s ‘The Tyger’ and W.B. Yeats’ ‘The Second Coming’

2021 ◽  
Vol 33 (3-4) ◽  
pp. 47-61
Author(s):  
Yasser K. R. Aman
Keyword(s):  
William Blake ◽  
The Other ◽  
Modern World ◽  
Christian Religion ◽  
The World ◽  
The Difference ◽  
Second Coming

The monstrous image created by William Blake in ‘The Tyger’ left the world wrapped in an apocalyptic vision that creates an epiphany of unknown Romantic potentials symbolised in ‘The Tyger’. The apocalyptic vision, deeply rooted in Christian religion, develops into an ominous harbinger of the destruction of the modern world portrayed in W.B. Yeats’ ‘The Second Coming’. The image of the beast marks the difference between two ages, one with strong potentials and the other with fear and resident evil unexplained. I argue that the apocalyptic theory in Christianity has an impact on the development of the image of the beast in both poems, an impact that highlights man’s retreat from Nature into the modern world which may fall apart because of beastly practices.

scholarly journals Corruption and Combating Corruption: A Framework for Peace, Human Rights and Sustainable Development in Post-Independent Africa

2018 ◽  
Vol 9 (5) ◽  
pp. 9-17
Author(s):  
Eric Che Muma
Keyword(s):  
Decision Making ◽  
Sustainable Development ◽  
Economic Development ◽  
Human Rights ◽  
Sustainable Peace ◽  
The World ◽  
Decision Making Processes ◽  
Global Peace ◽  
The Way

Abstract Since the introduction of democratic reforms in post-independent Africa, most states have been battling corruption to guarantee sustainable peace, human rights and development. Because of the devastating effects of corruption on the realisation of peace, human rights and sustainable development, the world at large and Africa in particular, has strived to fight against corruption with several states adopting national anti-corruption legislation and specialised bodies. Despite international and national efforts to combat corruption, the practice still remains visible in most African states without any effective accountability or transparency in decision-making processes by the various institutions charged with corruption issues. This has further hindered global peace, the effective enjoyment of human rights and sustainable development in the continent. This paper aims to examine the concept of corruption and combating corruption and its impact on peace, human rights and sustainable development in post-independent Africa with a particular focus on Cameroon. It reveals that despite international and national efforts, corruption still remains an obstacle to global peace in Africa requiring a more proactive means among states to achieve economic development. The paper takes into consideration specific socio-economic challenges posed by corruption and the way forward for a united Africa to combat corruption to pull the continent out of poverty, hunger and instability, and to transform it into a better continent for peace, human rights and sustainable development.

scholarly journals DEVELOPING INTERCULTURAL COMMUNICATION AND INTERCULTURAL AWARENESS IN THE EFL CLASSROOM

2020 ◽  
Vol 1 (65) ◽  
pp. 30
Author(s):  
Lili Cavalheiro
Keyword(s):  
Student Teachers ◽  
Intercultural Communication ◽  
Cultural Awareness ◽  
English Language ◽  
English Language Teaching ◽  
Safe Place ◽  
Language And Culture ◽  
Intercultural Awareness ◽  
The World ◽  
International Role

<span lang="EN-US">Throughout multiples regions around the world, waves of migrants and refugees search for better and safer living conditions. As a result, classrooms are becoming increasingly multicultural and multilingual, with many teachers feeling challenged when faced with this ‘new’ reality. Being English the most commonly shared language around the world, the English as a Foreign Language (EFL) classroom can be a ‘safe’ place where dialogue and intercultural communication are fomented. Not only can it facilitate the integration of migrant/refugee students, but it can also contribute to expanding learners’ (inter)cultural awareness and knowledge of how English may be used by multiple speakers (native and non-native) in diverse settings. In light of this, it is imperative that educators develop more inclusive English-language lessons that help break down barriers and taboos, in terms of language and culture. In order to achieve this, however, it is vital that these issues be developed at the beginning of any teacher training. Bearing this in mind, this paper begins by presenting the concept of English as a Lingua Franca and intercultural communication and follows up by reflecting upon how the traditional EFL classroom should to be reconsidered in light of today’s international role of English. Taking into account the specific growing multicultural/multilingual Portuguese context, the last section of this paper presents how these issues are developed in two pre-service MA programs in English Language Teaching at the University of Lisbon, and also how student teachers have integrated ELF-related activities/resources in their practicum, along with a commentary on their learners’ reactions.</span>

On The Way to Global Peace

2021 ◽  
Author(s):  
Sujoy Kumar Saha
Keyword(s):  
New World ◽  
Current Situation ◽  
Human Race ◽  
Ultimate Truth ◽  
Present Book ◽  
The World ◽  
Transitory Phase ◽  
Global Peace ◽  
New Perspective

The present book starts with an introductory chapter in which the contents of the previous book have been dealt with in a whole new perspective and the ways and means to move forward towards global peace have been delineated in the concluding chapter of the book. In the process, “Life, Mind, Brain, Cognition, Existentialism, Matter, Memory, Consciousness, Mysticism, Ontology, Psychology, Parapsychology, Ecology and Phenomenology” have been dealt with. This is followed by the discussion of “ Philosophy, Renaissance, Soul, Theosophy, Cosmology, Universe, The Witness and The Ultimate Truth”. It has been revealed that there is a whole new world of Existence on a new uncharted plane; the present day world-drama is not matured enough and not qualified enough with a sense of unselfishness to foster Global Peace. None-the-less, the destiny of the world and the whole human race, nay the entire manifested world is set to reach a spirited esoteric plane of Blissful Existence, this being a matter of eternity. The current situation in this planet is no more than a transitory phase.

Writing Generation: Revolutionary Bodies and the Poetics of Political Economy

2018 ◽  
pp. 135-161
Author(s):  
Annika Mann
Keyword(s):  
Political Economy ◽  
Eighteenth Century ◽  
French Revolution ◽  
William Blake ◽  
Thomas Paine ◽  
Poetic Discourse ◽  
Late Eighteenth Century ◽  
Political Theories ◽  
The World ◽  
The Status

This chapter reconsiders the emergence of political economy, biology, and literature as separate fields of research—disciplines—by examining representations of noxious generation in the politics and poetry of the late eighteenth century. In the debate between Edmund Burke and Thomas Paine over the status of the French Revolution, both writers collapse biological theories of reproduction and political theories of social collectivity, depicting generation as the proliferation of embodied collectives stimulated by print. In their poems The First Book of Urizen (1794) and “To a Little Invisible Being, Soon to Become Visible” (probably composed in 1799), William Blake and Anna Barbauld critique that collapse, even as they reflect upon how that collapse is itself facilitated by the tools of poetic discourse, by form and figure. Both poets explore how the “visible form” of writing, the structure of the book, and the figure of the womb are complicit in the generation of new kinds of bodies in the world. In so doing, Blake and Barbauld expose the unavoidably shared ground of poets, political economists, and scientists at the very moment those writers began increasingly articulating their own separateness.

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