Literary Nationalism and the Epic-Heroic Style

2017 ◽  
pp. 75-106
Keyword(s):  
Heroic Style

scholarly journals TREASURE AND SPIRITUAL EXILE IN OLD ENGLISH JULIANA: HEROIC DICTION AND ALLEGORY OF READING IN CYNEWULF’S ART OF ADAPTATION

2013 ◽  
Vol 48 (2-3) ◽  
pp. 55-70
Author(s):  
Jacek Olesiejko
Keyword(s):  
Old English ◽  
Anglo Saxon ◽  
Alliterative Verse ◽  
Secular World ◽  
Heroic Style ◽  
The Stability ◽  
Material Values ◽  
Poetic Creation ◽  
Kinship Bonds ◽  
The Church

ABSTRACT The present article studies Cynewulf’s creative manipulation of heroic style in his hagiographic poem Juliana written around the 9th century A.D. The four poems now attributed to Cynewulf, on the strength of his runic autographs appended to each, Christ II, Elene, The Fates of the Apostles, and Juliana are written in the Anglo-Saxon tradition of heroic alliterative verse that Anglo- Saxons had inherited from their continental Germanic ancestors. In Juliana, the theme of treasure and exile reinforces the allegorical structure of Cynewulf’s poetic creation. In such poems like Beowulf and Seafarer treasure signifies the stability of bonds between people and tribes. The exchange of treasure and ritualistic treasure-giving confirms bonds between kings and their subjects. In Juliana, however, treasure is identified with heathen culture and idolatry. The traditional imagery of treasure, so central to Old English poetic lore, is inverted in the poem, as wealth and gold embody vice and corruption. The rejection of treasure and renunciation of kinship bonds indicate piety and chastity. Also, while in other Old English secular poems exile is cast in terms of deprivation of human company and material values, in Juliana the possession of and preoccupation with treasure indicates spiritual exile and damnation. This article argues that the inverted representations of treasure and exile in the poem lend additional strength to its allegorical elements and sharpen the contrast between secular world and Juliana, who is an allegorical representation of the Church.

scholarly journals Built leadership: women administrators in architectural education

2009 ◽  
Vol 6 (2) ◽  
Author(s):  
Margaret Dale Woosnam
Keyword(s):  
Higher Education ◽  
Women Administrators ◽  
Leadership Style ◽  
Architectural Education ◽  
Institutions Of Higher Education ◽  
Female Leaders ◽  
Leadership Theories ◽  
Administrative Positions ◽  
Male Dominated ◽  
Heroic Style

Of the 114 accredited architecture programs within colleges and universities across America, only 18 (or 16%) employed females at the highest administrative positions as deans, directors, chairs, or heads at the time this study was conducted. Despite this statistic, nearly 50% of all graduates from architecture programs are female. Little is known about women administrators in architectural education, perhaps because of the fact that there are so few. The central question that guided this research study is as follows: What personal and professional factors characterize 10 women employed as administrators in nationally accredited architecture programs, departments, schools, and colleges in American institutions of higher education? Additionally, this study identified the women’s career paths, and obstacles they overcame andsacrifices they made in order to advance in their careers. The qualitative case study tradition was employed for this study. Ten women administrators of accredited architecture programs, departments, schools, and colleges within American institutions of higher education participated in the study. Interviews, documents, and observations were collected and included in the data analysis. While feminist leadership theories were used as a lens and guided the current research, themes emerged from the study that point toward a potentially new, emerging theoretical construct. This emerging construct requires that pioneering female leaders in male-dominated fields be characterized differently than female leaders in other contexts. Specifically, the conclusions drawn from this study require characterizing pioneering female leaders in male-dominated fields as built leaders or leaders who have systematically developed professionally as a result of unwavering ambition but who employa post-heroic style of leadership. In other words, these women fought their way to the top, but once there, use an up, down, and across hierarchical leadership style.

A reading ofAndreas: the poem as poem

1983 ◽  
Vol 12 ◽  
pp. 215-237 ◽  
Author(s):  
Edward B. Irving
Keyword(s):  
Old English ◽  
Close Approximation ◽  
English Poem ◽  
Heroic Style ◽  
As If

The Old English poemAndreasdeserves a reading entirely on its own terms. For years we have been studying it in various distracting ways: as if it were a deliberate and feeble imitation ofBeowulf(which it is not);1or trying to attach it to the Cynewulfian canon;2or taking it as a compendium of patristic lore (which hardly any Old English poems are);3or we may see it as an example of an inherently inferior medieval genre, hagiographical romance; or (most often) as an embarrassing misapplication of the heroic style to the wrong subject. Clearly the poem invites us to make these classifications, but its own noteworthy achievements have been generally overlooked. We need a straightforward frontal attack by the critic: just what is this poem up to, line by line? The best guide in the process seems to me to be the Latin source, to which we have a fairly close approximation in theRecensio Casanatensis.4Careful consultation of this source lets us see what forms the poet's imagination imposes on his given material and gives us the clearest idea of the kind of poet he is.

Beethoven: The Emergence and Evolution of Beethoven's Heroic Style

Notes ◽  
1990 ◽  
Vol 47 (1) ◽  
pp. 53
Author(s):  
Christopher Hatch ◽  
Michael Broyles
Keyword(s):  
Heroic Style

"ICH BIN DIE DEUTSCHE REDLICHKEIT"

Daphnis ◽  
2000 ◽  
Vol 29 (1-2) ◽  
pp. 307-354
Author(s):  
Katherine R. Goodman
Keyword(s):  
Deutsche Gesellschaft ◽  
Poet Laureate ◽  
Heroic Style ◽  
First Time

Christiane Mariane von Ziegler wrote these 33 letters between 1731 and 1733. They illuminate both her character and particular events in her life during the years between her invitation to join the Deutsche Gesellschaft and her coronation as poet laureate. Ziegler actively participated in some of the intrigues surrounding the first Professor of German Rhetoric in Halle, Johann Ernst Philippi. Her involvement in these intrigues provoked Philippi to acts of revenge that ultimately damaged Ziegler's own reputation. Orchestrating much of the mischief from afar were the Liscow brothers and Hagedorn, opponents of the gallant and heroic style in literature. The letters are reprinted her for the first time since 1792.

HEROIC HAYDN, THE OCCASIONAL WORK AND ‘MODERN’ POLITICAL MUSIC

2007 ◽  
Vol 4 (1) ◽  
pp. 7-25 ◽  
Author(s):  
NICHOLAS MATHEW
Keyword(s):  
Political Discourse ◽  
Political Life ◽  
Napoleonic Wars ◽  
Public Identity ◽  
Political Music ◽  
Aesthetic Autonomy ◽  
Work Concept ◽  
Historically Situated ◽  
Heroic Style ◽  
Cultural Hero

AbstractSeveral compositions by Haydn from the 1790s appear to reflect, both directly and indirectly, the newly martial and patriotic atmosphere generated by the war with France. While this has long been recognized by music historians – in particular with reference to ‘Gott erhalte Franz den Kaiser’ – Haydn scholars have yet to describe or explain this trend adequately. Only Beethoven scholars have considered this music in any depth, portraying Haydn as the Viennese progenitor of the so-called heroic style. The paradox of this teleological Beethovenian reading of Haydn’s music from the 1790s is that the type of compositions that music historians have traditionally denigrated with the label ‘occasional works’ are portrayed as the ancestors of some of the most vaunted symphonic masterworks in the canon: historically situated music somehow creates the very pieces that supposedly instantiated the historically resistant ‘work concept’ in the period around 1800. Yet this paradox points to a growing tension within Haydn’s public identity and music in the 1790s – a tension between the emerging ideal of aesthetic autonomy and the reality of political appropriation during the revolutionary and Napoleonic Wars. Indeed, this very tension allowed Haydn and his music to enter political life and political discourse as never before, articulating a relationship between music and contemporary events that cannot adequately be described by the notion of the ‘occasional work’. Haydn’s emergence as a cultural hero, on a par with contemporary war heroes, and the attribution to his music of a sublime power analogous to worldly, even political, powers meant that his music could be heard as possessing a voice in its own right – a voice that could thus speak independently, and persuasively, on behalf of institutions and ideologies, rather than merely echoing them.

scholarly journals Cannon-fever: Beethoven, Waterloo and the Noise of War

Romanticism ◽  
2018 ◽  
Vol 24 (3) ◽  
pp. 255-265 ◽  
Author(s):  
Philip Shaw
Keyword(s):  
French And English ◽  
Heroic Style ◽  
A Minor

Originally written to commemorate the Duke of Wellington's victory over Joseph Bonaparte at the Battle of Vitoria in Spain on 21 June 1813, Wellington's Victory, or, the Battle of Vitoria (Wellington's Sieg oder die Schlacht bei Vittoria), Op. 91 became, in the months following the Battle of Waterloo, ‘a national stock-piece’ (Literary Gazette, 1817, 91). Based around a simple, not to say simplistic, opposition between French and English musical motifs – ‘Rule Britannia’ and ‘God Save the King’ for the British, and ‘Marlborough s'en va-t-en guerre’ (a tune better known in English as ‘For He's a Jolly Good Fellow’) – the symphony moves towards a carefully notated clash of arms, involving rapid bursts of musketry and cannon fire from opposing orchestral ‘sides’, and rhythmic simulations of galloping cavalry. However, as contemporary accounts of performances of the symphony reveal, the excessive frequency of the loud cracks, bangs and crashes, often deployed by live artillery, made for uncomfortable listening, evoking Goethe's description of the disorientating effects of ‘cannon-fever’ (kanonenfieber). In its activation of the ‘noise’ of war, a mimetic dissonance at odds with the formal unities of the heroic style, Beethoven's symphony thus subverts its assumed status as a pièce d'occasion while also emphasising the sense in which the sounds of battle exceed the regulatory parameters of the Kantian sublime. This article argues that although the Wellington symphony was denounced by critics as a ‘minor’ piece, it highlights an emergent note of discontent in Beethoven's music with the appropriation of music for triumphalist ends.

A Kabirion Vase

1964 ◽  
Vol 84 ◽  
pp. 155-156
Author(s):  
S. J. Peter Levi
Keyword(s):  
Subject Matter ◽  
National Museum ◽  
Private Collection ◽  
The Subject ◽  
Heroic Style ◽  
Modern Solution

This black-figure skyphos, ornamented with pleasing burlesque scenes, is now in a private collection in London. Although it came to light some time after the publication by Wolters and Bruns of Das Kabirenheiligtum bei Theben it has all the characteristics of a Kabirion vase. These vases have been securely classified by Wolters and Bruns and most of them are now to be seen in a recently opened gallery of the National Museum in Athens. The general form of the cup, the ear-shaped handles, the white ground and the black bands, the heavy frieze of grapes and the unmistakably anti-heroic style of the drawing, make it impossible to doubt that it comes from the workshop of the Kabiros Painter.The subject-matter of Kabirion vases is often mysterious. With undoubted representations of Kabiros and of local gods and heroes, it includes many scenes of abandoned comedy which have defied modern solution. It has been suggested that many of the paintings may be related to sacred mysteries, and it is certainly true that they often allude to the cult of gods and heroes.

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