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This article explores the representation of suicide committed for love in English popular print in the seventeenth and early eighteenth centuries. It shows how, within ballads and pamphlets, suicide resulting from failed courtship was often portrayed as romantic and an expression of devotion. Within this literature, however, young women often bore the blame for male suicide, influenced by early modern ideas about the innate characteristics of men and women. This examination interrogates a context in which suicide, rather than being condemned, was consistently depicted sympathetically. It also sheds crucial light on the representation and performance of masculinity and femininity in courtship and matters of love. [ABSTRACT FROM AUTHOR]

The eighteenth century saw an increasing interest in oral narrative ballad poetry, whose perceived decline prompted major efforts among antiquarians and collectors to find and preserve all that remained of the old popular songs. Women, long associated with oral tradition, were seen as the preservers of ballad poetry, transmitting their songs orally across generations. Yet while male collectors acknowledged female singers' contributions, they obscured the broader realities of women's engagement with print ballad culture. This article revisits the ballad traditions of Scottish women, exploring how the male-dominated scholarly discourse of the era shaped perceptions of women's involvement in ballad culture. While collectors emphasised the role of female singers as preservers of purely oral tradition, they downplayed women's broader engagement with ballads as printed literature, including their participation in the commercial broadside industry as sellers and consumers. This study reveals a more nuanced picture of women's involvement in balladry, challenging traditional narratives that align women singers exclusively with oral ballad tradition. By acknowledging the diverse ways in which women participated in ballad culture, this research sheds light on the complexities of gender dynamics within the ballad tradition, highlighting the need for a re-evaluation of women's reception and transmission of ballads historically. [ABSTRACT FROM AUTHOR]

This article is an attempt to read Thomas Davis' poem "The Sack of Baltimore" (1845) from a literary-historical perspective. It explores Davis' representation of the sack of Baltimore village, West Cork, Ireland as a historical event depicted from a literary angle. A typical nineteenth-century historical Irish ballad, "The Sack of Baltimore" has not only remained at the margins of literary studies, but even where it has received attention, it has mainly been treated as a historical source material on an Algerian piratical raid that has come to be called "the sack of Baltimore". This paper proposes that we need to reread the Irish poet's narrative poem with a stronger interest both in its literary composition and historical contexts. Only in this way would it be possible to do justice and draw more sustained attention to this hitherto understudied lyrical narrative poem. [ABSTRACT FROM AUTHOR]

This article discusses two books that contribute to the study of ballads in early modern England and Europe. Patricia Fumerton's book focuses on the intermediality of early modern ballads and explores their multifaceted nature. Una McIlvenna's book examines execution ballads across five languages and 400 years, highlighting the emotional effects of these songs on both the singer and the listener. Both books emphasize the importance of understanding ballads as a form of performance and explore the connections between music, words, and emotions. The article acknowledges that not all readers may agree with the authors' findings, but praises their depth of knowledge and theoretical approaches. [Extracted from the article]

The article focuses on reconciling contradictory assessments of the status of ballads in poet, William Wordsworth and Samuel Taylor Coleridge's "Lyrical Ballads" collection, delineating their renovations of ballad style in the 1798 Ballads, and complicating conventional views on their prosodic tendencies. It examines their departures from key balladic influences and arguing for a reassessment of the role of popular verse in their achievements.

The article discusses the theme of the shadow in recent films and how it has evolved over time. It contrasts the portrayal of the shadow in American movies from 1943, where the identity of the villain was often a surprise, with contemporary films where shadow figures hide in plain sight. The article also analyzes the film "Killers of the Flower Moon" by Martin Scorsese, highlighting its exploration of European immigrants bringing moral ambiguity to America. It concludes by suggesting that the film offers a possibility of healing and a return to innocence for contemporary America. [Extracted from the article]

The article inquires whether a mid-18th-century chapbook of prose history held by the Folger Shakespeare Library was a source for the play "Titus Andronicus" by William Shakespeare and George Peele. It considers the argument raised by Marco Mincoff that the prose history was dependent on the Titus ballad, which was dependent upon the play. It discusses similarities and differences between the ballad and play, including the marriage of Lavinia, slaughter, throat-cutting, and pie-baking.

This article represents a follow-up to a previous article on 'Farinel's Ground', published in the May 2021 issue of this journal. There, I had focused on the numerous instrumental versions of this extremely popular ground bass, not least because the late 17th- and early 18th-century folia —as it was known more widely across Europe—seems to have been primarily an instrumental genre. Nevertheless, the popularity of this ground in the 1680s—and of some of the divisions associated with it—gave rise to a number of vocal versions or ballads, some of which may have been at least comparable in popularity to the instrumental versions printed in The Genteel Companion (1683) and The Division-Violin (1684). Sharing the same melody and bass (whether notated or implied), these ballads were written and published during some of the most turbulent years in British history (1682–1702). While the origins of the first of these, Thomas D'Urfey's The King's Health or 'JOY to great Caesar ', can be traced to the violin and recorder divisions on Farinel's Ground published at more or less the same time as D'Urfey's song, the song itself seems to have spawned a number of offshoots, including later instrumental versions referring to its textual incipit. Resulting from a study of the music, text and context of songs on 'Farinel's Ground, this article also discusses issues applicable to English broadside ballads of the 17th century more generally, such as changes in the political environment and the at times almost decorative function of musical notation on broadsides. [ABSTRACT FROM AUTHOR]

In this essay, I want to revisit the theme of 'truth in song', identified by Herbert Halpert in his seminal 1939 article. Since songs first entered print, tension has existed between the event as related and the documented facts of the incident to which a song refers. Twentieth-century folk song scholars have widened this dialectic on the nature of truth in a song text to encompass other key factors, namely context and performance, as a means of understanding a song's function and meaning, thereby acknowledging the importance of the extratextual information that certain singers attach to particular songs. The notorious 1840 Glasgow Railway Murder, to which the song 'Green the Ganger' (Roud 30616) relates, still resonates today through scholarly articles and documentary dramatization. Just as the performance of the song 'McCaffery' (Roud 1148) was perceived as undermining the military establishment, so a rendition of 'Green the Ganger' might provide the flashpoint for unrest among Irish migratory workers in the construction industry. This paper reflects on the power of truth in such songs in the light of the performer and their audience. [ABSTRACT FROM AUTHOR]

Even though on multiple occasions scholars of Mexican balladry have decreed its death, the Mexican corrido survives. Not only does it survive; it remains the most important balladic production in the world, given its historical corpus and its extensive and continuous living tradition, its immense production, and its manifestation as an industry that manages multimillion-dollar profits in Mexico, the United States, and some other Latin American countries. This article reflects on the tradition of the corrido in Mexico. It begins with an overview of the corrido's origins (the Hispanic thesis versus the indigenista thesis) as well as the geography of its development in Mexico (El Bajío according to Vicente Mendoza and the Mexican-Texan border according to Américo Paredes). The article then examines the conditions that have led to the continuity and development of corridos in Mexico. There are many countries with a ballad tradition, but Mexico is the only one that preserves several living traditions of the ballad in the corrido. [ABSTRACT FROM AUTHOR]

Although most well-known for his plays and prose, the Irish writer Brendan Behan also recorded a number of songs, some of his own composition and others either traditional or written by contemporaries. His best-known recording, Brendan Behan Sings Irish Folk Songs and Ballads, remarkably captures not only his voice, but also his wit and distinct joie de vivre. The collection from 1960 includes not only the songs themselves (with Behan still in fine singing form), but also his introductions and wry comments on a range of subjects. The article looks at the circumstances behind the recording, the actual songs included on the album, and Behan’s ongoing commentary about a range of topics. The focus is on the first half of the recording which consists of songs from his play The Hostage, with an additional short discussion of one of his most well-known pieces, “The Auld Triangle,” which serves as an ongoing leitmotif in his earlier play, The Quare Fellow. [ABSTRACT FROM AUTHOR]

The article reviews the website English Broadside Ballad Archive located at ebba.english.ucsb.edu.

Pālā has attained a special position as an indigenous art of Odisha. A cultural folk ballad genre of Odisha that incorporates elements of Sanskrit and Odia literature is known as Pālā. It has achieved immense popularity for bringing progress to Odisha in the fields of religion, culture, literature, and social values. This research paper delves into the rich cultural heritage of Odisha, focusing on the Indigenous Ballard form that has been an integral part of the state's cultural fabric. Ballads in Odisha have served as a dynamic medium for storytelling, preserving historical events, and expressing the socio-cultural ethos of the region. This study aims to provide a comprehensive analysis of the Indigenous Ballard form, with a particular emphasis on its song texts. The research employs a multifaceted approach, combining ethnographic methods, linguistic analysis, and literary criticism to unravel the layers of meaning embedded in the song text. The study also investigates the role of oral tradition in the transmission of these ballads across generations and its impact on language preservation. Furthermore, the research explores the intersection of the Indigenous Ballard form with broader issues such as identity, community dynamics, and cultural resilience. [ABSTRACT FROM AUTHOR]

This essay examines a trans literary history within nineteenth-century British reception of Sappho. Preceding and complicating the sexological language of inversion, Algernon Charles Swinburne's Poems and Ballads , First Series (1866) inaugurated an indexical relation between Sapphism and gender variance, which came to entail a complex practice of intertextual signaling and allusion organized around Sappho's poetry. This practice of trans Sapphism, which persists in Swinburne's later writings, was taken up later in the Victorian period by writers like Walter Pater, Michael Field, and Vernon Lee, becoming a signature for a literary subculture invested in exposing the tenuous conditions of gender through trans possibilities. [ABSTRACT FROM AUTHOR]

This article considers how the figure of the buchona can be seen as another form of victimization for women in north-western Mexico. It focuses on previous representations of gender violence by the photographer Mayra Martell in her photography series Ensayo de la Identidad (2005–2020) and her more recent project Buchonas (2017–2023), composed of six items, including the photography book Culichi Town (2018) and the playing/ collectors' cards, Plebes (2019). This article argues that visible femininity associated with certain (often prosthetic) beauty standards can be considered a victim of a hyperviolent machista presence, in line with Sayak Valencia's theorizations in Capitalismo Gore (2018), using the work of comedian Cid Vela's alter ego, El Ezequiel, singer of 'narcocorridos' – ballads popular in Mexican drug culture – to demonstrate how, rather than use satire to critique systemic gender violence, Vela's work revictimizes these women. [ABSTRACT FROM AUTHOR]

This article explores representations of disaster and survival in the 1798 edition of the Lyrical Ballads. It starts with Samuel Taylor Coleridge's "The Rime of the Ancyent Marinere," a poem exemplary of the survival narrative, a poetic articulation of disaster fraught with fragmentation, repetition, and stagnation, in form and content. The article then reads the survival narrative in William Wordsworth's "Simon Lee" and "The Last of the Flock," arguing that, in Wordsworth's poems, what has been affected by disaster can exist beyond repair. I focus on disastrous thinking, considering it another aspect of disaster that penetrates thought. Disastrous thinking appears in Wordsworth's poems but also in our critical tradition, from New Criticism to more recent post-critical readings. It attempts to ameliorate catastrophe even when disaster has eliminated the historical and philosophical causes that make it comprehensible. The article finally re-turns to Coleridge's poem to highlight the presence of active passivity, a mode of being that resists productivity and marketability while it emphasizes political thought over thoughtless action. Active passivity constitutes a form of arresting resistance that bears the potential for radical world change through the practice of patience, another name for constant laboring without quantifiable results. [ABSTRACT FROM AUTHOR]

This article provides analyses of the versification and rhythmicmelodic features found in a collection of ten ballads originating from the Teleorman folklore region. An analysis is conducted on the types of verses and linguistic features found in the old songs. The emphasised lexical characteristics include syllabic additions, apocope or syllabic elision, anacrusis, and rhyme. The melodic and rhythmic elements are conveyed through the sound systems of the ambitus, the architectural structure, and the epic recitative. An identifiable feature showcased in the ballad is the appoggiatura. The sound systems consist of five modes, three of which having variations. Regarding the architectural form, we identified ten distinct variants for each of the analysed samples, having noticed that the ballad has a free, improvisatory architectural form. Recitative can be categorised as recto-tone recitative, melodic recitative, and parlato or fairy tale recitative. The appoggiaturas included in the ballad serve as a distinctive feature of the performer's uniqueness. The appendices provide the 10 ballads that are the topic of this article. [ABSTRACT FROM AUTHOR]

The freestanding CSV file also has the advantage of being easily transportable by end-users who prefer to engage with Music DH as a spreadsheet instead of a website. (hereafter Music DH) (https://rutgersdh.github.io/musicdh/) represents the work of a collaborative project of the Digital Humanities Interest Group of the Music Library Association. The tools built into Minicomp/Wax helped the Music DH team process image data (specifically, a screenshot of each catalogue item) and assign metadata to those images in a standard way. An item-access statement has been manually added outside of the metadata block coming from the CSV to each of the four records with restricted content (in the website html it is denoted as [Access is limited, restricted or paywalled]). [Extracted from the article]

W hen cold Winter has taken his leave and Spring clothes the world in green again, and when bushes and flowers bloom in profusion in the fields, and birds sing sweetly for joy, you can hear the song of the nightingale which makes the hearts of lovers happy and carefree. [ABSTRACT FROM AUTHOR]

Copyright of Linguistische Treffen in Wrocław is the property of Oficyna Wydawnicza ATUT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As early as the late 19th century, George Carter Stent introduced the translations and adaptations of Beijing ballads and songs to the English world. His two collections, The Jade Chaplet and Entombed Alive, reaped ballads and songs from folk music and libretto about folk tales, local landscape, artefacts popular in Beijing in the 19th century. The ballads and songs in Entombed Alive are typically featured by their Beijing origin, and thus could be used as significant resources for the study of Beijing history, culture, and folk customs. The two collections by Stent drew much attention from the English world in the 19th Century, resulting from the folk customs conveyed by the collections, Stent's position as a famous sinologist, his rhymed translation skills and the way of publication. However, these two collections fell into oblivion in the 20th century. This change may be concerned with the selection and compilation of ballads and songs, and the design of content. It reveals that we should have a comprehensive consideration about the translation purpose, target readers, the selection and compilation of materials, translator's positioning and the way of publication, in order to promote the circulation of prestigious Chinese popular literature and folk customs in the English world. [ABSTRACT FROM AUTHOR]

In this article, we will introduce the concept of trans-regeneration: the way in which a traditional discourse (in this case a folk ballad) may be manifested as different texts as the story that it contains is told and retold both over time and over space. Our aim is to illustrate this process with the example of a wellknown English-language ballad Geordie (of uncertain origins), and how, in its lifespan, it has undergone numerous changes in content both in the various English and non-English versions as it has been appropriated and performed by artists in many other languages. We will argue that, because of its distinct nature, it is useful to describe such a process with a distinct term, trans-regeneration, which differently to terms like transcreation, takes into account the important artistic considerations underlying the choices made by the various rewriters and performers. Finally, we will describe a case study where Albanian-speaking students participated in a workshop analysing the various trans-regenerations of Geordie based on Christiansen (2022) and were invited to produce their own version in Albanian, thereby becoming themselves not just spectators but also actors in this process. [ABSTRACT FROM AUTHOR]

Adrian Daub's study, "What the Ballad Knows: The Ballad Genre, Memory Culture, and German Nationalism," explores the hybrid literary and music ballad genre. Daub argues that the ballad genre lived off the fantasy of tapping into an earlier, premodern, oral mode of relating to poetry and the community, while also embodying modernity. The book delves into the ballad's relationship to orality, its incorporation into operatic narratives, its gender dynamics, and its role in German nationalism. Daub's work offers insights into the lives and creativity of ballad authors and meditates on the genre's complexities and contradictions. [Extracted from the article]

The aim of the article is to present the language of Czech broadside ballads and determine its position in the contemporary (language) context. The analysis of the language of the broadside ballads is carried out taking these two basic criteria as decisive: 1. whether the broadside ballad was published in the seventeenth or eighteenth century, and 2. whether the theme of the broadside ballad was spiritual or secular. First, the article briefly outlines the current knowledge of the language of the broadside ballads and the language of the period. Based on the language material of about 254 broadside ballads and their careful analysis, it then discusses selected phonological and morphological phenomena previously interpreted as manifesting a particular “decay”. The aim of the analysis is to relate the phenomena to everyday language practice as described in grammar books and thus view them as common in the given period. Vocabulary and syntax are also focused on with a similar conclusion. [ABSTRACT FROM AUTHOR]

A literary criticism of the novel "The Bloody Chamber" by Angela Carter is presented. It focuses on the subversion of patriarchal narrative structures, the deconstruction of binary notions of gender and sexuality, and the exploration of queer desires and relationships. It highlights Carter's transformative and revolutionary approach to fairy tale retellings.

With more than 150 years of history since the term ballad was rooted on the territory of Romania, the old traditional folk song encapsulates a wide variety of epic works. This is a declamatory genre that is sung only when requested in front of a repertoire-savvy, engaged audience that empathises strongly with the performer, resulting in a powerful communal experience. Ballad is part of the folk genres that necessitate a musical accompaniment, performed by violin and kobza or violin and dulcimer, and is found not only in Teleorman County, but across the entire Greater Wallachia territory. There are two vocal styles, according to Emilia Comișel: the syllabic style and the melismatic style. Using Alexandru Amzulescu's classification of ballads, we attempted to identify the primary categories of ballads found in the area we wished to study: fantastic, heroic, pastoral, related to the feudal court, family, and oral journals. Regarding the analysis of popular verse structure, a melodic line corresponds to a verse. [ABSTRACT FROM AUTHOR]

The purpose of the work is to identify the Biedermeier features of thinking in F. Chopin's large forms in the embodiment of the ideas of the spiritualised "light" play of the noble salon gatherings in memory of the historical Greater Poland. Such a heroic and melancholic background of Chopin's presentation of his achievements, especially within large forms, inspired the understanding of the thought orientation (according to I. Belza) of his thinking. The research methodology is the intonation vision of the genetic unity of musical and speech principles in the development of the concept of B. Asafiev and B. Yavorsky based on the works of D. Androsova, O. Markova, L. Stepanova, L. Shevchenko, with an emphasis on the hermeneutical perspective of the intonation approach, as well as with the advancement of methods -- biographical and descriptive, with emphasis on the intellectual-biographical aspect for the sake of accuracy of interpretive indicators of the analysis of works, analytical and structural as a concentration of musicological specificity of thematic and constructive features of compositions, interspecies stylistic comparative for understanding the interactions of artistic and scientific-religious tendencies in the environment of F Chopin. The scientific novelty of the work is determined by the reliance on Biedermeier's concept of "the big in the small" in the analysis of the large ballad forms, especially with regard to the initial Warsaw and late periods, the time of the composer's formation and final search. Conclusions. Biedermeier draws out the underestimated tempo-factual essence of Chopin's presentation of those forms that, in high tempo playing, "dematerialised" the theatrical variegation of expression in favour of bringing the Ballades closer to the thoughtful, i.e. lyric-epic forms. The latter appear prolonged in the hallelujah complex of Chopin's ultra-fast playing as a representative of spiritualised salon light pianism, with its distancing from existential drama in favour of the glorious lyricism of the "pearl" fioriture of sound in the spirit of the passage figurativeness of old church singing. The parallel of F. Chopin's thoughtful thinking with his contemporary and passionate confessor of the national idea T. Shevchenko's poetic and thoughtful content of the genre expression of large-scale compositions is noteworthy. [ABSTRACT FROM AUTHOR]

This article provides a close examination of sixteenth-century vihuela books to understand the ways in which vihuelists affected courtly poetry in Renaissance Spain. Analysis of their cancioneros in the light of other poetry collections and accounts of the aulic life reveal aural and performative aspects of the production and consumption of poetry that otherwise would have remained hidden to literary studies. These aspects range from voice register of the singer to tempo and musical ornamentation, but also textual manipulation of ballads and sonnets—which they help popularize among courtiers—and management of noise and interruptions. [ABSTRACT FROM AUTHOR]

Ballads are often among the bestselling songs of heavy metal and hard rock bands. Within these genres, ballads represent a way to address emotions such as love that are not part of the primary self-understanding of those genres. Still, "genre ideals and style" often seem to be at odds with the sentimental aesthetics of the ballad and its emotional expression and experience. In this article, we take a close look at the sonic, textual, performative, visual, and emotional-somatic articulation of love and the generation of sentimentality in three selected metal ballads. Even if the term "power ballad," which is often used in reference to hard rock and metal ballads, refers to the simultaneity of "heaviness" in the sound and the thematization of love in the lyrics, sentimental ballads in the stereotypically more masculine-connotated genres nevertheless create friction and skepticism in their discursive evaluation, as they generate aesthetic discrepancies between concrete songs and genre conventions. Their quantitative popularity contrasts with their qualitative evaluation. Therefore, in a second step, we analyze the reception of the selected ballads, in particular their discursive evaluations in music reviews, in order to point out the ways of argumentation through which frictions are established. As a result, we show that evaluations are related to how love is addressed in the songs and to the extent of proximity of the ballads to genre rules. [ABSTRACT FROM AUTHOR]

The role of folk songs in evoking memories is evident, on both a collective and individual level. Many songs, created for certain circumstances, even historical ones, remain layered in collective memory within folklore. Later, through the analysis of folk songs that shape our collective memory, in addition to shedding light on the circumstances that caused their creation, we manage to discover parts of our cultural identity, our national character and our unwritten history. Ballads and folk songs preserve our national features which were formed during certain circumstances, and which memories have brought to us today. Based on this concept I will take into consideration an Albanian folk song that can be categorized as a historical ballad, which contains historical facts from an event that occurred during the Ottoman period in the Balkans. This folk song, named 'Fryni era, u çel taraba' [The wind blew, the fence opened], is very popular among Albanian-speaking areas in the Balkans. The Antigone motif, a sister that sacrifices herself for her brother, is what characterizes this ballad, and reveals other features of the community's national character such as honor, hospitality, revenge, etc. Its presence in Albanian-speaking oral tradition is very old and long, while also becoming very successful in theatre as dramas and ballets. Based on qualitative inquiry, where data collection and data analysis techniques are combined to provide a deep and comprehensive understanding of why and how things happen, I will try to raise these issues: What is the role of folklore in preserving the memories of a community? What events should become folk songs or ballads to remain in collective memory? What 'feeds' it to stay alive? The theoretical framework will be built on the works of authors Jan Vansina, Paul Thompson, Maurice Halbwachs, David C. Rubin, Joseph Von Hammer, Ahmet Qeriqi, Ndoc Selimi, Rrustem Berisha, Harry Hodgkinson. [ABSTRACT FROM AUTHOR]

The aim of this study is to understand how communities hold onto memories through ballads and folk songs, especially when they relate to social issues, and will use a Portuguese narrative song based on a true event to examine this and other related matters. On 13 September 1914, a boy and girl from different socio-economic classes enacted a suicide pact because their families disapproved of their love. The violent death of these youngsters imprinted a strong impression on the small Portuguese community where it happened. The case was perpetuated in the narrative song, 'José Pina e Maribela', that spread throughout the years to various regions where it was collected. Based on fifteen versions of this song, this paper analyses how and what facts of the event were kept by the collective memory of the community and identifies the narrative invariance of the song and the variants that occur in these versions. The paper also refers to the appropriation of 'José Pina e Maribela' by some regional entities, creating a constructed memory as a touristic product, as opposed to the natural process of transmission of traditional literature, which accepts variation. [ABSTRACT FROM AUTHOR]

This essay considers the archival traces left by early modern playhouse song. Acknowledging that most extant sources of theatrical song were not actually produced as records of playhouse practice per se, it advocates an approach to such material that is as attentive to the context of the surviving textual witnesses as it is to a song's dramatic origins. By putting playhouse and wider context in direct conversation, this approach seeks not only to elucidate the cultural life of dramatic songs beyond the playhouse, but also to shed new light on playhouse music itself, based on wider engagements with and transformations of the songs. Taking a case study approach, the essay investigates one song, "Come Follow Your Leader, Follow," from The Spanish Gypsy , tracing its wide cultural circulation as a ballad tune under the title "The Spanish Jeepsie." Building on previous work focusing on the song's dramatic function in the playhouse, the essay argues that the song's theatrical use as a locus of imaginative identification with marginal subject positions is then taken up in a series of ballads encouraging identification with figures ranging from fairies and drunkards to cobblers and Diggers. [S.S.] [ABSTRACT FROM AUTHOR]

Weddings in various cultures mark both a beginning and an end, similar to birth and death. This ceremony is a stage of life and has created unique practices and oral literary texts in every culture. Bashkirs also have bridal ballads called senglevs, that tell about the bride’s sadness at being separated from her family and are sung on the wedding day. These folk songs have been preserved in the archive of Bashkir State University and were compiled from four regions of Bashkortostan (Burzyanzky, Khaybullinsky, Kugarchinsky-ZianchurinskyBaymaksky, and Salavatsky) between 1957-1969. Nine of the 18 bridal ballads had been compiled from the Salavatsky district. These bridal ballads have talk about the bride’s pain at leaving her family, longing for her childhood, and complaining to her father. This study explains the features of the Bashkir bridal ballads and shares etymological opinions regarding the word senglev. Basically, the article thematically studies the vocabulary of the bridal song lyrics and identified 15 themes: topography/geography/time, family, colors, animals, food, body, numbers, goods, clothes, abstract/concept, onomastics, plants, religion, society, metals/minerals, and home. The study also presents opinions, comments, and analyses regarding the words from these themes. The bride ballads are created and performed by women and reflect the world of Bashkir women in terms of vocabulary. The themes of geography/time, family, and animals occur more frequently than other themes, with the themes of minerals, foods, and religions occurring the least. The Bashkir bridal ballads consist of about 286 words, including some words and morphemes that are not found in dialectical dictionaries or monographies. Transcriptions and Turkish translations of the bridal texts are added at the end of the study [ABSTRACT FROM AUTHOR]

Copyright of Folklore Studies / Tautosakos Darbai is the property of Institute of Lithuanian Literature & Folklore and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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A handful of John Ireland's works have become relatively popular and these have tended to attract the label "English pastoral", a stereotype which does not reflect the range of genres, styles and emotions that can be found in the composer's oeuvre. The Ballade of 1929 is a case in point exploring, as it does, an array of moods, topics and emotions that are a long way from pastoralism, and it also features a structural economy and directional intensity which place the work in the tradition of 19th-century musical narration. It thus presents itself as a richly-endowed vehicle for both conventional and hermeneutic analysis, raising a number of research questions: how do structural and hermeneutic analyses interrelate? What role do topics and the composer's biography play in the musical narrative? How do the foregoing questions relate to a performance of the work? Answers to these questions form the substance of the article which concludes by offering thoughts on how the various strands may be projected in performance. The article is illustrated with extracts from the author's own video recording. [ABSTRACT FROM AUTHOR]

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

On July 1, 1523, Hendrik Vos and Johann van den Esschen, two friars from nearby Antwerp, were burned at the stake on the Grand Plaza in Brussels for holding "heretical Lutheran" beliefs. Their deaths were the first executions of the Reformation. Like Martin Luther, the men were members of the Congregation of German Reformed Augustinians, a small reform group within the broader Augustinian Order. The deaths moved Luther to compose his first song, a ballad entitled A New Song Here Shall Be Begun. This article explores the Congregation's history in the Low Countries, the background to the executions, and Luther's connections to this episode. It argues that when understood in this broader context, Luther did not see these deaths as merely the predictable outcome of the Reformation clash of ideas, or simply as an opportunity for anti-Church propaganda (as some have argued), but as confirmation that God Himself was at work in the early Reformation. [ABSTRACT FROM AUTHOR]

This essay approaches ballads as a vital cultural form for dramatizing the histories and social meanings of racial conflict in the US, turning to a series of recent poems written alongside the rise of the Black Lives Matter movement. This archive of poems draws attention to recursive racial divisions as they emerge anew in a calamitous event, highlighting themes of anonymity and hypervisibility, motion and arrest, the violent imposition of carceral order, and the insurrectionary prospects of its refusal. Examining the ways a range of Black poets have been drawing on features associated with ballads, this essay considers how these writers recount the stories and scenes of Ferguson and other now-famous locales of anti-Black state violence and community uprising. With their narratives of common persons subjected to surveillance, exposure, and acts of violence, these poems further the social imaginaries and storytelling mode of the ballad to consider continuing forms of racial injustice and new eruptions of protest in the present. The archive of Black poetic works I consider pursues more oppositional orientations, keyed to the insurgent energy of the streets as well as to the layered practices of Black revisionary ballad and the material histories they encode. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "Phantastes" by George MacDonald is presented. It outlines the characters and explores their symbolic significance. It also examines irony in the preface of the book and various kinds of fairies in the book. An overview of the story in different parts is also given.

This article considers the migration of theatre music into the English broadside ballad tradition from 1797 to 1844, the most prolific era of the broadside during which the fierce professional competitors John Pitts (active 1797–1844) and James Catnach (active 1813–41) operated their presses in the Seven Dials, near London's patent theatres. The discussion is based on the findings of a database that was constructed systematically to cross-reference 520 theatrical works from the London stage with 11,432 broadside songs of this period from the Bodleian Library's broadside collections. By considering the scale and mechanism of the migration of theatre music into the broadside tradition—as well as examining the characteristics of the songs themselves—this article explores the effects of theatre music on nineteenth-century street literature and song, evaluating the ways in which theatre songs transformed the broadside tradition, and the ways in which they conformed to it. [ABSTRACT FROM AUTHOR]

In this article, I consider how The Lady of the Lake navigates two simultaneous and ill-fated revivals. It temporarily brings a fictional episode of Scottish history under King James V back to life, and rejuvenates the outdated literary tradition of medieval, chivalric romance. In uniting the literary revival with the rediscovery and remediation of the ancient ballad-history, Scott begins to trace a complex relationship between literary form and historical narrative. I explore how Scott positions the Harp of the North in the narrative frame to reconcile, negotiate, and ultimately disappoint these revivals, marking the ballad-history for its own transience and obsolescence before it has even begun. I consider why Scott consigns the Harp of the North to its continued decay and abandonment in the wilds of the Trossachs at the poem's conclusion, and then outline the complicated relationship that this forges between poetic inspiration and physical breathlessness in the main narrative. By drawing attention to important instances of exhaustion in Fitz-James's history, I illustrate the nuanced ways that breathlessness underpins the narrative and historical structure of Scott's The Lady of the Lake. [ABSTRACT FROM AUTHOR]