Watering Brazil’s Desert

2017 ◽  
Author(s):  
Eve E. Buckley
Keyword(s):  
Twentieth Century ◽  
Agricultural Extension ◽  
Folk Songs ◽  
Federal Funds ◽  
Land Expropriation ◽  
Cultivation Methods ◽  
Dry Farming ◽  
Popular Ballads ◽  
Folk Poetry ◽  
Civil Engineers

This chapter focuses on the drought agency agronomists who established irrigated smallholder colonies and agricultural extension posts in the sertão, highlighting the challenges they faced from several quarters: civil engineers whose projects competed with theirs for federal funds; elites who opposed the land expropriation and empowerment of marginal farmers inherent in any irrigated smallholding project; and sertanejo farmers who did not readily embrace agronomists’ recommendations for more intensive cultivation methods. The leading figures in this story are IFOCS agronomists José Augusto Trinidade and José Guimarães Duque, a vigorous promoter of dry-farming techniques. Sources include folk poetry (cordéis) and folk songs from the mid-twentieth century about drought and development in the sertão—notably the popular ballads by northeastern musician Luiz Gonzaga—along with a range of reports and materials that were produced by drought agency agronomists to promote irrigated smallholding.

scholarly journals Ukrainian folk songs of the stormy years (songs of captivity of the Second World War)

2020 ◽  
Vol 10 (19) ◽  
pp. 62-74
Author(s):  
Tamara Nikolchenko ◽  
◽  
Maria Nikolchenko ◽  
Keyword(s):  
Twentieth Century ◽  
Folk Songs ◽  
Second World War ◽  
Folk Song ◽  
Forced Labor ◽  
World War ◽  
Complex Processes ◽  
History Of ◽  
Second World ◽  
Folk Poetry

The article covers the complex processes of folk art during the Second World War, in particular slave poetry. In times of war, the creation of folk poetry is intensified, which is caused by the need to respond to events, to record them, above all, in memory. These song responses to events take place on the material of "old" samples of poetry that are already known. And «innovations» are used by participants of events and are saturated with new realities. Such is the folk song of the period of fascist captivity during the Second World War. The genesis of the poetry of captivity of the studied period can be traced on a large factual material, it is proved that genetically slave poetry of the period of the Second World War is connected with the cries of slaves and has its roots in the long history of Ukraine. These motives are still heard in the old Cossack thoughts, in which the lamentation gradually turns into a lyrical song. And during the war troubles of the twentieth century, these songs became relevant and sounded in a modern way. The article analyzes recordings of songs that reflect the grief of young girls taken to forced labor in Germany, the suffering of mothers who lose their children. Most of the analyzed works are stored in the funds of the IMFE of Ukraine, as well as in the own records of the authors of the article. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals.

Harmonious Investigators of Nature: Music and the Persona of the German Naturforscher in the Nineteenth Century

2003 ◽  
Vol 16 (1-2) ◽  
pp. 121-145 ◽  
Author(s):  
Myles Jackson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Critical Role ◽  
Folk Songs ◽  
Cultural Resource ◽  
Early Nineteenth Century ◽  
Crucial Component ◽  
Choral Society ◽  
Scientific Identity ◽  
German Association

ArgumentDuring the early nineteenth century, the German Association of Investigators of Nature and Physicians (Versammlung Deutscher Naturforscher und Ärzte) drew upon the cultural resource of choral-society songs as a way to promote male camaraderie and intellectual collaboration. Investigators of nature and physicians wished to forge a unified, scientific identity in the absence of a national one, and music played a critical role in its establishment. During the 1820s and 30s, Liedertafel and folk songs formed a crucial component of their annual meetings. The lyrics of these tunes, whose melodies were famous folk songs, were rewritten to reflect the lives of investigators of nature and physicians. Indeed, the singing of these Liedertafel songs played an important part in the cultivation of the Naturforschers’ persona well into the twentieth century.

scholarly journals Folk songs and small genres of folklore in A.S. Pushkin’s tragedy «Boris Godunov»

2020 ◽  
pp. 32-44
Author(s):  
S.А. Dzhanumov
Keyword(s):  
Folk Songs ◽  
Boris Godunov ◽  
Folk Poetry

The article considers folk songs, proverbs and sayings, motifs and images of the Russian folklore, which are creatively used in A.S. Pushkin’s tragedy “Boris Godunov”: to characterize the situation, to recreate historical colouring, folk customs, to reveal the personality and psychology of a character, the features of his / her speech. The purpose of the study is to establish the role of folklore genres in the structure of “Boris Godunov”, their artistic functions in Pushkin’s tragedy, their connection with the characters and the plot situations of the play. The article uses modern principles and methods of studying the problem of “literature and folklore”, formulated in numerous studies of domestic literary scholars and folklorists, including the works of the author of this article. The article concludes that such qualities of Pushkin’s style as accuracy, clarity and expressiveness come in many respects from the Russian folk poetry. Pushkin’s mastery of the poetics and stylistics of folklore contributed to the development of remarkable simplicity and at the same time of the aphoristic nature of the writing, which characterize the whole tragedy “Boris Godunov”.

scholarly journals The Engineers' Engineer: Sir John Kennedy and the Port of Montreal

2009 ◽  
Vol 27 ◽  
pp. 5-26
Author(s):  
Richard White
Keyword(s):  
Civil Engineer ◽  
Twentieth Century ◽  
Working Life ◽  
River Channel ◽  
Canadian Society ◽  
Chief Engineer ◽  
Early Twentieth Century ◽  
St Lawrence River ◽  
Civil Engineers

Abstract This article gives an overview and analysis of the career of Canadian civil engineer Sir John Kennedy (1838-1921), and comments on what Kennedy's career reveals of the professional ideals of early twentieth century engineering. Kennedy was a highly regarded engineer in his day. He served as an early President of the Canadian Society of Civil Engineers (CSCE) in 1892 and is one of the few Canadian engineers to have been knighted. Kennedy spent most of his working life as Chief Engineer of the Montreal Harbour Commission, in which capacity he oversaw the deepening of the St Lawrence River channel from Quebec to Montreal and a complete reconstruction of the Montreal harbour—two projects that essentially made the modern Port of Montreal. The study provides details of these construction jobs and of Kennedy's role in the work. So well regarded was Kennedy by his peers that shortly after his death the CSCE named its highest professional award after him, making him literally a professional icon. The author takes this to indicate that Kennedy's professional style and values—congenial, practical, and public-spirited—evidently embodied the professional ideals of the time.

In The Mirror Game: Ubuntu Philosophy and Umbundu

2020 ◽  
Vol 03 (12) ◽  
Author(s):  
José Viegas Brás ◽  
Keyword(s):  
Folk Songs ◽  
The Other ◽  
African Culture ◽  
The South ◽  
Human Community ◽  
Know How ◽  
Philosophy Of Life ◽  
Folk Poetry ◽  
The Universe

The Epistemologies of the South awaken our reflection to knowledge and practices of the traditional African culture which have been silenced in the historical unfolding. Such is the case of Ubuntu. In this philosophy of life, we have an existence which is only an existence because there are other existences. In this culture, which has an almost endless capacity for seeking consensus and reconciliation, a shift has taken place from an excluding notion of identity “I am because you are not” to an inclusive notion “I am because we are, and because we are then I am”. In this sense, we formulate as starting question to know how the concerns contained in the Ubuntu philosophy find expression in the oral heritage of Umbundu, given that they belong to the same linguistic matrix of Bantu. As core goal of this study we highlight: to interpret how Umbundu has integrated, preserved and disseminated the principles of the Ubuntu philosophy of life. We selected as sources of this research elements of the oral heritage (folk songs, folk poetry, proverbs, lullabies, chants). The methodology used focuses on the analysis of the structuring principles of the Ubuntu philosophy: 1) to live at peace with oneself (relation with self); 2) to live at peace with the other (relation with the others); and 3) to live in harmony with nature and the cosmos (relation with the universe). The findings of our research have led us to conclude that principles can be found in the oral heritage of Umbundu that have helped perpetuate and disseminate the Ubuntu philosophy. So, the oral heritage of Umbundu has contributed to renew the spirit of solidarity and the spirit of belonging to the universe and to the human community, through the belief that everything in the universe exists in full connection.

scholarly journals Translations of slovenian children’s poetry into russian

2020 ◽  
Vol 18 (2) ◽  
pp. 364-381
Author(s):  
Mariya Gromova ◽  
Keyword(s):  
Children's Literature ◽  
Children’S Literature ◽  
Folk Songs ◽  
Long Period ◽  
History Of ◽  
Number Of Publications ◽  
Folk Poetry ◽  
Children's Poetry ◽  
At Home

This study summarizes the history of Slovenian poetry for children and its translation into Russian. The article reviews translated poems by Slovenian authors and Slovene folk poetry written for children from 1955 to the present. Translations of Slovenian children’s folk lore into Russian date back to 1971. They are mainly represented by folk songs and addressed to preschoolers translated into Russian by Leonid Yakhnin. Currently, Zhanna Perkovskaya is engaged in translations of Slovenian children’s literature into Russian. The largest number of publications of Slovenian poetry for children happened in the 1980s. After 1991, there was a long period of silence. However, in recent years, due to the interest of Russian publishers in Slovenian children’s literature successful at home, as well as a significant demand for books for preschoolers, the publication of children’s poetry by Slovenian authors has resumed.

ЖАНРОВО-СТИЛЬОВІ ОСОБЛИВОСТІ КАМЕРНО-ВОКАЛЬНОЇ ТВОРЧОСТІ І. МАРТОНА

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Twentieth Century ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Culture ◽  
Harmonic Language

Досліджено камерно-вокальну творчість українського композитора І. Мартона, з ім’ям якого пов’язана професіоналізація музичної культури Закарпаття другої пол. ХХ ст. На основі аналітичної характеристики обробок народних пісень та збірки солоспівів зроблено висновок, що вони виявляють ознаки пізньоромантичної та неокласичної стилістики, які розкриваються у ладо-гармонічній мові (опора на тритонові інтонації, зменшені септакорди, енгармонічні модуляції), образному змісті (переважання у циклі лірико-драматичних, елегійних, ліричних мініатюр), формі (куплетно-варіаційна; невелика за масштабами, струнка). В обробках народних пісень автор орієнтується на фольклорні зразки. Незначні зміни у ладо-тональному й фактурному аспектах надають їм самобутніх рис.Ключові слова: камерно-вокальна творчість, І. Мартон, музична культура Закарпаття, українська музика. The article explores the chamber and vocal work of the famous Ukrainian composer I. Marton, whose name is associated with the professionalization of the musical culture of Transcarpathia in the second half of the twentieth century. On the basis of the analytical characteristics of folk song processing and the collection of solo songs, it is concluded that they show signs of late-romantic and neoclassical stylistics, which are revealed in the harmonic language (reliance on tritonic intonation, reduced septaccords, harmonic modulations, preference) elegiac, lyrical miniatures), form (couplet-variational; small in scale, slender). In the treatment of folk songs, the author focuses on specific folklore samples. Minor changes in the tone-and-textural aspects give them distinctive features.Key words: chamber and vocal creativity, I. Marton, musical culture of Transcarpathia, Ukrainian music.

Introduction

Street Songs ◽  
2018 ◽  
pp. 1-12
Author(s):  
Daniel Karlin
Keyword(s):  
Twentieth Century ◽  
Fifteenth Century ◽  
Virginia Woolf ◽  
William Wordsworth ◽  
Marcel Proust ◽  
Literary Work ◽  
Folk Songs ◽  
Urban Art ◽  
Transient Nature ◽  
The Rich

Street Songs, based on the Clarendon Lectures for 2016, is about the use made by poets and novelists of street songs and cries. Karlin begins with the London street-vendor’s cry of ‘Cherry-ripe!’, as it occurs in poems from the sixteenth to the twentieth century: the ‘Cries of London’ (and Paris) exemplify the fascination of this urban art to writers of every period. Focusing on nineteenth and early twentieth-century writers, the book traces the theme in works by William Wordsworth, Elizabeth Barrett Browning, Robert Browning, Walt Whitman, George Gissing, James Joyce, Virginia Woolf, and Marcel Proust. As well as street cries, these writers incorporate ballads, folk-songs, religious and political songs, and songs of their own invention into crucial scenes, and the singers themselves range from a one-legged beggar in Dublin to a famous painter in fifteenth-century Florence. The book concludes with the beautiful and unlikely ‘song’ of a knife-grinder’s wheel. Throughout the book Karlin emphasizes the rich complexity of his subject. The street singer may be figured as an urban Orpheus, enchanting the crowd and possessed of magical powers of healing and redemption; but the barbaric din of the modern city is never far away, and the poet who identifies with Orpheus may also dread his fate. And the fugitive, transient nature of song offers writers a challenge to their more structured art. Overheard in fragments, teasing, ungraspable, the street song may be ‘captured’ by a literary work but is never, finally, tamed.

Rasul Rza's creativity as the beginning of the tradition of free poetry in Azerbaijani literature

2021 ◽  
Vol 67 (06) ◽  
pp. 68-73
Author(s):  
Nazilə Əli qızı Quliyeva ◽  
Keyword(s):  
Twentieth Century ◽  
Middle Ages ◽  
Stage Of Development ◽  
Classical Poetry ◽  
Literary Process ◽  
Main Factors ◽  
New Form ◽  
Internal Struggle ◽  
Folk Poetry ◽  
Logical Result

There was a certain tradition of free poetry in Azerbaijan until the 20th century. In the Middle Ages, along with the chain of eruz poetry, the increase of syllable rhythms is also a concrete practical indicator of the poem's internal struggle for liberation. The beginning of the stage of free poetry in the twentieth century was the logical result of centuries-old processes of liberation in Azerbaijani poetry. People's poet Rasul Rza's contribution to the transformation of free poetry into a special stage of development in Azerbaijani literature is unparalleled. The literary process, marked by the transition to figurative poetic thinking since the late 1950s, is enrichhed with a number of new forms and elements of expression that define the innovative direction of poetry. Since the early 1960s, our poetry has been characterized by a method of figurative-associative expression, the first examples of intellectual beginnings, which should be considered as a new form of return to tradition. Different forms of associative artistic thinking, which we find in folk poetry, especially in bayats and in our classical poetry, begin to acquire a new essence in the second half of the twentieth century with their rebirth in poetry. In the process of this development, the main factors determining R.Rza's creativity are the departure from rhetorical pathos, pathetic expression, the transition to concrete, figurative, and then associative thinking, and innovative qualities. Key words: Azerbaijani literature, free poetry, tradition, innovation, style poetry, Rasul Rza, poem, weight, inner rhyme

The Music of the Past in Modern Baltic Paganism

2005 ◽  
Vol 8 (3) ◽  
pp. 39-58 ◽  
Author(s):  
Michael Strmiska
Keyword(s):  
Twentieth Century ◽  
Ethnic Identity ◽  
Folk Music ◽  
Crucial Role ◽  
Folk Songs ◽  
Religious Movements ◽  
Soviet Period ◽  
The Past ◽  
Folk Traditions ◽  
Post Soviet Period

Modern Baltic Paganism grew out of nineteenth- and twentieth-century folklore research into the folk music, folklore and traditional ethnic cultures of Latvia and Lithuania. Research into native Latvian daina and Lithuanian daino folk songs with their rustic beauty, symbolic richness, and intriguing linkages to ancient Indo-European cultures and religions generated a new sense of pride and ethnic identity among Latvians and Lithuanians. Spiritually inclined folklorists developed religious movements that recreated rituals and beliefs linked to the dainas and dainos. Repressed during Soviet times, these movements have reemerged and flourished in the post-Soviet period. There can be no doubt that music, which over the centuries has played such a crucial role in the transmission of Latvian and Lithuanian folk traditions including native Pagan religions, will remain front and center in the continuing evolution of modern Baltic Pagan religions in Latvia and Lithuania and beyond.

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