Siân Reynolds
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199560424
- eISBN:
- 9780191741814
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199560424.003.0001
- Subject:
- History, European Early Modern History, Cultural History
This Prologue describes the 1780 wedding of Marie-Jeanne Phlipon and Jean-Marie Roland, which happened at short notice and with only close relatives present.
This Prologue describes the 1780 wedding of Marie-Jeanne Phlipon and Jean-Marie Roland, which happened at short notice and with only close relatives present.
L. A. Swift
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199577842
- eISBN:
- 9780191722622
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199577842.003.0007
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter explores how Greek tragedy evokes hymenaios. The chapter begins with a discussion of the role that choral song played in the Greek wedding, and a discussion of Sappho's hymenaioi and ...
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This chapter explores how Greek tragedy evokes hymenaios. The chapter begins with a discussion of the role that choral song played in the Greek wedding, and a discussion of Sappho's hymenaioi and poetry by other authors which imitated hymenaeal forms. The second part of the chapter looks at how tragedy makes use of hymenaios, including the so‐called ‘marriage‐to‐death’ motif, whereby a young girl's death is described as a form of marriage. The chapter also investigates mixed‐sex choral performance as a hymenaeal trope, and examines two plays (Euripides' Hippolytus and Aeschylus' Suppliant Women) where mixed‐sex choruses are used to highlight themes of marriage and of dysfunctional sexuality.Less
This chapter explores how Greek tragedy evokes hymenaios. The chapter begins with a discussion of the role that choral song played in the Greek wedding, and a discussion of Sappho's hymenaioi and poetry by other authors which imitated hymenaeal forms. The second part of the chapter looks at how tragedy makes use of hymenaios, including the so‐called ‘marriage‐to‐death’ motif, whereby a young girl's death is described as a form of marriage. The chapter also investigates mixed‐sex choral performance as a hymenaeal trope, and examines two plays (Euripides' Hippolytus and Aeschylus' Suppliant Women) where mixed‐sex choruses are used to highlight themes of marriage and of dysfunctional sexuality.
Karen B. Westerfield Tucker
- Published in print:
- 2001
- Published Online:
- November 2003
- ISBN:
- 9780195126983
- eISBN:
- 9780199834754
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019512698X.003.0007
- Subject:
- Religion, History of Christianity
The marriage rites and accompanying official legislation related to marriage defined the nature and purpose of Christian marriage for Methodists. Yet, because of Methodism's gradual abandonment of ...
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The marriage rites and accompanying official legislation related to marriage defined the nature and purpose of Christian marriage for Methodists. Yet, because of Methodism's gradual abandonment of its countercultural stance in favor of accommodating certain views and practices of American society, rites and legislation became significantly adjusted between the late eighteenth and the late twentieth century. During that time, restrictions against marriage with unbelievers or without parental consent were reformulated. Changing perceptions of marriage, the family, gender roles, and divorce were translated into the texts of rite and legislation. Wedding customs that blurred the churchly and the civil were sometimes embraced, but also challenged the Methodists to consider what makes a Christian wedding or a Christian marriage.Less
The marriage rites and accompanying official legislation related to marriage defined the nature and purpose of Christian marriage for Methodists. Yet, because of Methodism's gradual abandonment of its countercultural stance in favor of accommodating certain views and practices of American society, rites and legislation became significantly adjusted between the late eighteenth and the late twentieth century. During that time, restrictions against marriage with unbelievers or without parental consent were reformulated. Changing perceptions of marriage, the family, gender roles, and divorce were translated into the texts of rite and legislation. Wedding customs that blurred the churchly and the civil were sometimes embraced, but also challenged the Methodists to consider what makes a Christian wedding or a Christian marriage.
Barry Stephenson
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199732753
- eISBN:
- 9780199777310
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199732753.003.0002
- Subject:
- Religion, History of Christianity, Religion and Society
Each year, the town of Wittenberg hosts two Luther-themed festivals: Reformation Day and Luther’s Wedding. This chapter provides an introduction to the content and nature of the festivals and ...
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Each year, the town of Wittenberg hosts two Luther-themed festivals: Reformation Day and Luther’s Wedding. This chapter provides an introduction to the content and nature of the festivals and describes the historical origins and development of Luther-themed festivity and commemoration. An analytical approach to studying contemporary festivity in terms of cultural domains and number of key foci is presented.Less
Each year, the town of Wittenberg hosts two Luther-themed festivals: Reformation Day and Luther’s Wedding. This chapter provides an introduction to the content and nature of the festivals and describes the historical origins and development of Luther-themed festivity and commemoration. An analytical approach to studying contemporary festivity in terms of cultural domains and number of key foci is presented.
J. Warren Smith
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780195369939
- eISBN:
- 9780199893362
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195369939.003.0007
- Subject:
- Religion, Theology
Having discussed Ambrose’s view of resurrection in Chapter 5, the book turns to the Christological and pneumatological foundation of Ambrose’s understanding of the Christian’s participation in the ...
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Having discussed Ambrose’s view of resurrection in Chapter 5, the book turns to the Christological and pneumatological foundation of Ambrose’s understanding of the Christian’s participation in the transformation of resurrection and the new humanity of the resurrection through an analysis of his use of the Pauline contrast between the inner man born in baptism and the outer man that is wasting away (Col. 3:9–10). In Christ Jesus, Ambrose sees the restoration and perfection of the harmonic relation of soul and body that is the prototype for the new humanity of the resurrection. In the Spirit, Ambrose locates the divine power that divinizes the soul and so allows the Christian’s life to be conformed to the model of the new Adam.Less
Having discussed Ambrose’s view of resurrection in Chapter 5, the book turns to the Christological and pneumatological foundation of Ambrose’s understanding of the Christian’s participation in the transformation of resurrection and the new humanity of the resurrection through an analysis of his use of the Pauline contrast between the inner man born in baptism and the outer man that is wasting away (Col. 3:9–10). In Christ Jesus, Ambrose sees the restoration and perfection of the harmonic relation of soul and body that is the prototype for the new humanity of the resurrection. In the Spirit, Ambrose locates the divine power that divinizes the soul and so allows the Christian’s life to be conformed to the model of the new Adam.
M. Whitney Kelting
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195389647
- eISBN:
- 9780199866434
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195389647.003.0005
- Subject:
- Religion, World Religions
In chapter 5, the focus is on the narrative and rituals associated with the sati Rajul, who is rejected on her wedding day when her fiancé Nemi (the twenty‐second Jina) renounces. Rajul decides to ...
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In chapter 5, the focus is on the narrative and rituals associated with the sati Rajul, who is rejected on her wedding day when her fiancé Nemi (the twenty‐second Jina) renounces. Rajul decides to follow her husband, Nemi into renunciation. Rajul's renunciation and Jain ordination of women are read through the lens of sati discourse, which illuminates parallels between these two ideals for women—nuns and satimatas—and challenges the received interpretation of Jain ordination being modeled on the wedding rites. Though Jains reject the rite of dying with one's husband, shifts particularly in the medieval literature in the portrayal of the Nemi and Rajul story and the veneration of Rajul trace the movement of this narrative from an uncomplicated Jain renunciation narrative to a narrative that shares many features with Hindu satimata stories. Likewise, Jain women venerate Rajul in veil songs and worship her in ways seemingly drawn from satimata worship.Less
In chapter 5, the focus is on the narrative and rituals associated with the sati Rajul, who is rejected on her wedding day when her fiancé Nemi (the twenty‐second Jina) renounces. Rajul decides to follow her husband, Nemi into renunciation. Rajul's renunciation and Jain ordination of women are read through the lens of sati discourse, which illuminates parallels between these two ideals for women—nuns and satimatas—and challenges the received interpretation of Jain ordination being modeled on the wedding rites. Though Jains reject the rite of dying with one's husband, shifts particularly in the medieval literature in the portrayal of the Nemi and Rajul story and the veneration of Rajul trace the movement of this narrative from an uncomplicated Jain renunciation narrative to a narrative that shares many features with Hindu satimata stories. Likewise, Jain women venerate Rajul in veil songs and worship her in ways seemingly drawn from satimata worship.
Karen M. Dunak
- Published in print:
- 2013
- Published Online:
- March 2016
- ISBN:
- 9780814737811
- eISBN:
- 9780814764763
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814737811.001.0001
- Subject:
- History, Social History
When Kate Middleton married Prince William in 2011, watched by hundreds of millions of viewers, the wedding followed a familiar formula: ritual, vows, reception, and a white gown for the bride. ...
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When Kate Middleton married Prince William in 2011, watched by hundreds of millions of viewers, the wedding followed a familiar formula: ritual, vows, reception, and a white gown for the bride. Commonly known as a white wedding, the formula is firmly ensconced in popular culture, with movies like Father of the Bride or Bride Wars, shows like Say Yes to the Dress and Bridezillas, and live broadcast royal or reality-TV weddings garnering millions of viewers each year. Despite being condemned by some critics as “cookie-cutter” or conformist, the wedding has in fact progressively allowed for social, cultural, and political challenges to understandings of sex, gender, marriage, and citizenship, thereby providing an ideal site for historical inquiry. This book establishes that the evolution of the American white wedding emerges from our nation's proclivity towards privacy and the individual, as well as the increasingly egalitarian relationships between men and women in the decades following World War II. Blending cultural analysis of film, fiction, advertising, and prescriptive literature with personal views expressed in letters, diaries, essays, and oral histories, the book engages ways in which the modern wedding emblemizes a diverse and consumerist culture and aims to reveal an ongoing debate about the power of peer culture, media, and the marketplace in America. Rather than celebrating wedding traditions as they “used to be” and critiquing contemporary celebrations for their lavish leanings, the book provides a history of the American wedding and its celebrants.Less
When Kate Middleton married Prince William in 2011, watched by hundreds of millions of viewers, the wedding followed a familiar formula: ritual, vows, reception, and a white gown for the bride. Commonly known as a white wedding, the formula is firmly ensconced in popular culture, with movies like Father of the Bride or Bride Wars, shows like Say Yes to the Dress and Bridezillas, and live broadcast royal or reality-TV weddings garnering millions of viewers each year. Despite being condemned by some critics as “cookie-cutter” or conformist, the wedding has in fact progressively allowed for social, cultural, and political challenges to understandings of sex, gender, marriage, and citizenship, thereby providing an ideal site for historical inquiry. This book establishes that the evolution of the American white wedding emerges from our nation's proclivity towards privacy and the individual, as well as the increasingly egalitarian relationships between men and women in the decades following World War II. Blending cultural analysis of film, fiction, advertising, and prescriptive literature with personal views expressed in letters, diaries, essays, and oral histories, the book engages ways in which the modern wedding emblemizes a diverse and consumerist culture and aims to reveal an ongoing debate about the power of peer culture, media, and the marketplace in America. Rather than celebrating wedding traditions as they “used to be” and critiquing contemporary celebrations for their lavish leanings, the book provides a history of the American wedding and its celebrants.
Todd Lewis and Subarna Tuladhar
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195341829
- eISBN:
- 9780199866816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195341829.003.0008
- Subject:
- Religion, Hinduism
A vivid description of the wedding negotiations, engagement rites, and wedding rituals for Prince Siddhārtha and Yashodharā dominate the chapter. King Dandapani tells King Shuddhodana that for him to ...
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A vivid description of the wedding negotiations, engagement rites, and wedding rituals for Prince Siddhārtha and Yashodharā dominate the chapter. King Dandapani tells King Shuddhodana that for him to allow his daughter to marry the prince, Siddhārtha must prove his warrior valor and learning in a formal competition with other Shākya youth, including Devadatta and another cousin, Nanda. Siddhārtha wins every event. The poet then describes in minute detail most of the extended ceremonial procedures performed in an upper‐caste Newar wedding. Here we can note one reason that Chittadhar composed Sugata Saurabha, wanting to record for the future the old customs of Newar life. The chapter concludes with the couple worshiping the god Ganesh together, then retreating to the couple's newly built pleasure palace, designed to focus the Prince's mind on material life, sexual pleasure, and kingship.Less
A vivid description of the wedding negotiations, engagement rites, and wedding rituals for Prince Siddhārtha and Yashodharā dominate the chapter. King Dandapani tells King Shuddhodana that for him to allow his daughter to marry the prince, Siddhārtha must prove his warrior valor and learning in a formal competition with other Shākya youth, including Devadatta and another cousin, Nanda. Siddhārtha wins every event. The poet then describes in minute detail most of the extended ceremonial procedures performed in an upper‐caste Newar wedding. Here we can note one reason that Chittadhar composed Sugata Saurabha, wanting to record for the future the old customs of Newar life. The chapter concludes with the couple worshiping the god Ganesh together, then retreating to the couple's newly built pleasure palace, designed to focus the Prince's mind on material life, sexual pleasure, and kingship.
Bernard Cooke and Gary Macy
- Published in print:
- 2005
- Published Online:
- July 2005
- ISBN:
- 9780195154115
- eISBN:
- 9780199835591
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195154118.003.0004
- Subject:
- Religion, History of Christianity
Friendship rituals help create the important relationships that give individuals self-worth and identity. In Christianity, the most important of these rituals is marriage. Marriage within ...
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Friendship rituals help create the important relationships that give individuals self-worth and identity. In Christianity, the most important of these rituals is marriage. Marriage within Christianity can be understood as the clearest symbol of the selfless love of God for humans. This chapter details the history of marriage within Christianity, as well as the relations of marriage to the wedding ritual. An appendix explains the different Christian positions on the possibility of dissolving a Christian marriage through divorce or annulment.Less
Friendship rituals help create the important relationships that give individuals self-worth and identity. In Christianity, the most important of these rituals is marriage. Marriage within Christianity can be understood as the clearest symbol of the selfless love of God for humans. This chapter details the history of marriage within Christianity, as well as the relations of marriage to the wedding ritual. An appendix explains the different Christian positions on the possibility of dissolving a Christian marriage through divorce or annulment.
Cele C. Otnes
- Published in print:
- 2003
- Published Online:
- May 2012
- ISBN:
- 9780520236615
- eISBN:
- 9780520937505
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520236615.003.0005
- Subject:
- Anthropology, American and Canadian Cultural Anthropology
This chapter studies the mini-rituals that are involved in a wedding. It notes that many outsiders and critics view the mini-rituals of a wedding as very disenchanting, mostly due to the fact that ...
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This chapter studies the mini-rituals that are involved in a wedding. It notes that many outsiders and critics view the mini-rituals of a wedding as very disenchanting, mostly due to the fact that these are highly scripted and routine. The chapter emphasizes that, as the wedding becomes more expensive, it becomes even longer, thus turning the wedding day into a wedding weekend, and then studies the wedding from the anthropologists' viewpoint, from which it provides a deep sense of transformation. It then discusses in detail these mini-rituals, before focusing on the role of wedding photography and wedding videos. The final part of the chapter centers on the different rituals involved during the wedding reception.Less
This chapter studies the mini-rituals that are involved in a wedding. It notes that many outsiders and critics view the mini-rituals of a wedding as very disenchanting, mostly due to the fact that these are highly scripted and routine. The chapter emphasizes that, as the wedding becomes more expensive, it becomes even longer, thus turning the wedding day into a wedding weekend, and then studies the wedding from the anthropologists' viewpoint, from which it provides a deep sense of transformation. It then discusses in detail these mini-rituals, before focusing on the role of wedding photography and wedding videos. The final part of the chapter centers on the different rituals involved during the wedding reception.
Mandakranta Bose
- Published in print:
- 2004
- Published Online:
- April 2005
- ISBN:
- 9780195168327
- eISBN:
- 9780199835362
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195168321.003.0008
- Subject:
- Religion, Hinduism
This chapter studies narrative design. Gender roles are studied, in which three versions of the wedding of Rāma and Sītā as they appear in Valmiki's Rāmāyana, in Tulsidas's Ramcaritmanas, and the TV ...
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This chapter studies narrative design. Gender roles are studied, in which three versions of the wedding of Rāma and Sītā as they appear in Valmiki's Rāmāyana, in Tulsidas's Ramcaritmanas, and the TV version by Rāmanand Sagar are compared. It shows how the classical, medieval, and contemporary portrayals differ from each other, and speculates about what meanings the refocusing of the narrative may hold for the cultural authority of contemporary mass media. It is argued that looking at the different periods from which each version of the tale was created, the focus has shifted from duty to devotion and from devotion to entertainment, although the message of wifely devotion has, if anything, gained greater currency and has solidified conventional gender paradigms.Less
This chapter studies narrative design. Gender roles are studied, in which three versions of the wedding of Rāma and Sītā as they appear in Valmiki's Rāmāyana, in Tulsidas's Ramcaritmanas, and the TV version by Rāmanand Sagar are compared. It shows how the classical, medieval, and contemporary portrayals differ from each other, and speculates about what meanings the refocusing of the narrative may hold for the cultural authority of contemporary mass media. It is argued that looking at the different periods from which each version of the tale was created, the focus has shifted from duty to devotion and from devotion to entertainment, although the message of wifely devotion has, if anything, gained greater currency and has solidified conventional gender paradigms.
Elizabeth Brake
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199774142
- eISBN:
- 9780199933228
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199774142.003.0002
- Subject:
- Philosophy, Feminist Philosophy
This chapter examines the marriage promise. What do spouses promise, and under what conditions might they be excused from this promise? The answers to these questions have implications for the ...
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This chapter examines the marriage promise. What do spouses promise, and under what conditions might they be excused from this promise? The answers to these questions have implications for the morality of divorce, as well as sexual exclusivity and other marital obligations. Here I emphasize the diversity of marriages, arguing that the promise made in marriage depends on spouses’ intentions – but not all intentions are promises. A vow sometimes taken as central to marriage – to love, honor, and cherish – is not a possible subject of promise at all. Likewise, promises to take on spousal roles presuppose a robust and shared understanding of the moral content of that role – something many modern spouses may lack. Many wedding vows are thus not promises but failed attempts at promising. This casts doubt upon the idea that the distinctive moral significance of marriage is promissory.Less
This chapter examines the marriage promise. What do spouses promise, and under what conditions might they be excused from this promise? The answers to these questions have implications for the morality of divorce, as well as sexual exclusivity and other marital obligations. Here I emphasize the diversity of marriages, arguing that the promise made in marriage depends on spouses’ intentions – but not all intentions are promises. A vow sometimes taken as central to marriage – to love, honor, and cherish – is not a possible subject of promise at all. Likewise, promises to take on spousal roles presuppose a robust and shared understanding of the moral content of that role – something many modern spouses may lack. Many wedding vows are thus not promises but failed attempts at promising. This casts doubt upon the idea that the distinctive moral significance of marriage is promissory.
Timothy K. Nenninger and Charles Pelot Summerall
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813126180
- eISBN:
- 9780813135649
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813126180.003.0009
- Subject:
- History, Military History
In May 1901, orders came for the battery to return to Manila. Afterwards, an order came for the battery to return to San Francisco on the Pak Ling, a fast tea ship, as a guard for some hundred ...
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In May 1901, orders came for the battery to return to Manila. Afterwards, an order came for the battery to return to San Francisco on the Pak Ling, a fast tea ship, as a guard for some hundred prisoners. Only the personnel were to go on board, leaving horses, guns, and equipment behind. On June 30, Charles Summerall told General Mordecai that he wanted to marry his daughter. August 14 was the fixed date for the wedding. The ceremony took place at noon before a flower-draped, improvised altar in the large house of the commanding officer of the arsenal. Then the reception and the lunch followed on the beautiful lawn. The whole setting was like a paradise. Charles' promotion to captain took place on July 1.Less
In May 1901, orders came for the battery to return to Manila. Afterwards, an order came for the battery to return to San Francisco on the Pak Ling, a fast tea ship, as a guard for some hundred prisoners. Only the personnel were to go on board, leaving horses, guns, and equipment behind. On June 30, Charles Summerall told General Mordecai that he wanted to marry his daughter. August 14 was the fixed date for the wedding. The ceremony took place at noon before a flower-draped, improvised altar in the large house of the commanding officer of the arsenal. Then the reception and the lunch followed on the beautiful lawn. The whole setting was like a paradise. Charles' promotion to captain took place on July 1.
Inna Naroditskaya
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195340587
- eISBN:
- 9780199918218
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340587.003.0011
- Subject:
- Music, History, Western
In the course of the eighteenth century, a wide array of social genres encompassed coronations, princely weddings, parades, masquerades, and operas. With its formulaic plots about ancient Roman ...
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In the course of the eighteenth century, a wide array of social genres encompassed coronations, princely weddings, parades, masquerades, and operas. With its formulaic plots about ancient Roman emperors or Persian kings opera seria was attuned to the Russian monarchy. In La Clemenza di Tito, staged for the coronation of Elisabeth, the chorus praised Tito as Elisabeth; the Roman emperor was enacted by a female singer; with the empress situated in a majestic elevated space, she and the female Tito engaged in a play of reflection. Triumphant Minerva became a theatrical, visual, and audio identifier of Catherine II. Elsewhere the empress fostered an image of herself as the historical Russian hero, Prince Oleg. The operas reciprocated the empresses’ dual gender role as triumphant monarch-warrior and virtuous mistress of the court.Less
In the course of the eighteenth century, a wide array of social genres encompassed coronations, princely weddings, parades, masquerades, and operas. With its formulaic plots about ancient Roman emperors or Persian kings opera seria was attuned to the Russian monarchy. In La Clemenza di Tito, staged for the coronation of Elisabeth, the chorus praised Tito as Elisabeth; the Roman emperor was enacted by a female singer; with the empress situated in a majestic elevated space, she and the female Tito engaged in a play of reflection. Triumphant Minerva became a theatrical, visual, and audio identifier of Catherine II. Elsewhere the empress fostered an image of herself as the historical Russian hero, Prince Oleg. The operas reciprocated the empresses’ dual gender role as triumphant monarch-warrior and virtuous mistress of the court.
Inna Naroditskaya
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195340587
- eISBN:
- 9780199918218
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340587.003.0033
- Subject:
- Music, History, Western
The last quarter of the eighteenth century was marked by the collection and publication of folk and urban songs, tales, oral poems, and airs. Although several Russian intellectuals including Mikhail ...
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The last quarter of the eighteenth century was marked by the collection and publication of folk and urban songs, tales, oral poems, and airs. Although several Russian intellectuals including Mikhail Chulkov and Vasily Levshin worked in the inherently connected domains of skazka, folk songs, and theater, it was Empress Catherine II who concocted fairy-tale “comic” opera. Her venture into writing libretti and staging operas paralleled her military and political campaigns. Within about a year she wrote three libretti; during a four-year period she completed and produced four opera-skazkas, Boeslavich, Champion of Novgorod (1786), Fevei (1786), The Brave and bold knight Akhrideich] (1787), and The Woebegone-Hero Kosometovich (1789). They represent different types of Russian operatic tales that blossomed in the following century: magic opera, opera-bylina, and satirical opera. In all of her operatic tales, Catherine endorsed folk songs, old native tales, ritualistic elements, and big traditional princely weddings.Less
The last quarter of the eighteenth century was marked by the collection and publication of folk and urban songs, tales, oral poems, and airs. Although several Russian intellectuals including Mikhail Chulkov and Vasily Levshin worked in the inherently connected domains of skazka, folk songs, and theater, it was Empress Catherine II who concocted fairy-tale “comic” opera. Her venture into writing libretti and staging operas paralleled her military and political campaigns. Within about a year she wrote three libretti; during a four-year period she completed and produced four opera-skazkas, Boeslavich, Champion of Novgorod (1786), Fevei (1786), The Brave and bold knight Akhrideich] (1787), and The Woebegone-Hero Kosometovich (1789). They represent different types of Russian operatic tales that blossomed in the following century: magic opera, opera-bylina, and satirical opera. In all of her operatic tales, Catherine endorsed folk songs, old native tales, ritualistic elements, and big traditional princely weddings.
Mary Burke
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199566464
- eISBN:
- 9780191721670
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199566464.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
The history of the Irish minority Traveller community is not analogous to that of the ‘tinker’, a Europe-wide underworld fantasy created by 16th-century British and continental Rogue Literature that ...
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The history of the Irish minority Traveller community is not analogous to that of the ‘tinker’, a Europe-wide underworld fantasy created by 16th-century British and continental Rogue Literature that came to be seen as an Irish character alone as English became dominant in Ireland. By the Revival, the tinker represented bohemian, pre-Celtic aboriginality, functioning as the cultural nationalist counter to the Victorian Gypsy mania. Long misunderstood as a portrayal of actual Travellers, J. M. Synge’s influential The Tinker’s Wedding was pivotal to this ‘Irishing’ of the tinker, even as it acknowledged that figure’s cosmopolitan textual roots. Synge’s empathetic depiction is closely examined, as are the many subsequent representations that looked to him as a model to subvert or emulate. In contrast to their Revival-era romanticization, post-Independence writing portrayed tinkers as alien interlopers, while contemporaneous Unionists labelled them a contaminant from the hostile South. However, after Travellers politicized in the 1960s, more even-handed depictions heralded a querying of the ‘tinker’ fantasy. Such change shapes contemporary screen and literary representations of Travellers and has prompted Traveller writers to transubstantiate Otherness into the empowering rhetoric of ethnic difference. Though its Irish equivalent has oscillated between idealization and demonization, US racial history facilitates the cinematic figuring of the Irish-American Travele as lovable ‘white trash’ rogue. This process is informed by the mythology of a population with whom Travelers are allied in the white American imagination, the Scots-Irish (Ulster-Scots). In short, the ‘tinker’ is much more central to Irish and even Irish-American identity than is currently recognized.Less
The history of the Irish minority Traveller community is not analogous to that of the ‘tinker’, a Europe-wide underworld fantasy created by 16th-century British and continental Rogue Literature that came to be seen as an Irish character alone as English became dominant in Ireland. By the Revival, the tinker represented bohemian, pre-Celtic aboriginality, functioning as the cultural nationalist counter to the Victorian Gypsy mania. Long misunderstood as a portrayal of actual Travellers, J. M. Synge’s influential The Tinker’s Wedding was pivotal to this ‘Irishing’ of the tinker, even as it acknowledged that figure’s cosmopolitan textual roots. Synge’s empathetic depiction is closely examined, as are the many subsequent representations that looked to him as a model to subvert or emulate. In contrast to their Revival-era romanticization, post-Independence writing portrayed tinkers as alien interlopers, while contemporaneous Unionists labelled them a contaminant from the hostile South. However, after Travellers politicized in the 1960s, more even-handed depictions heralded a querying of the ‘tinker’ fantasy. Such change shapes contemporary screen and literary representations of Travellers and has prompted Traveller writers to transubstantiate Otherness into the empowering rhetoric of ethnic difference. Though its Irish equivalent has oscillated between idealization and demonization, US racial history facilitates the cinematic figuring of the Irish-American Travele as lovable ‘white trash’ rogue. This process is informed by the mythology of a population with whom Travelers are allied in the white American imagination, the Scots-Irish (Ulster-Scots). In short, the ‘tinker’ is much more central to Irish and even Irish-American identity than is currently recognized.
Philip Kitcher
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195321029
- eISBN:
- 9780199851317
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195321029.003.0019
- Subject:
- Literature, 20th-century Literature and Modernism
At the very beginning of Part III, there is a sleepy stirring, a dim awareness that this is all a dream. It offers a kaleidoscope of scenes where HCE and ALP appear as young parents, calming the ...
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At the very beginning of Part III, there is a sleepy stirring, a dim awareness that this is all a dream. It offers a kaleidoscope of scenes where HCE and ALP appear as young parents, calming the night fears of young children, and as much older. The drawing back of the covers, the unmasking of the marriage bed, reveals the course of the lives of HCE and ALE. They encounter obstacles and have to steer through difficulties. Although they fall in one sense, declining toward death, in another they do not. For they are not driven off course, their “tableau final” is a recognizable development of how they began. At the end, one can shed sympathetic tears for their decline as they approach their deaths. But one can also applaud their power to endure, to continue to delight in their ordinary lives together.Less
At the very beginning of Part III, there is a sleepy stirring, a dim awareness that this is all a dream. It offers a kaleidoscope of scenes where HCE and ALP appear as young parents, calming the night fears of young children, and as much older. The drawing back of the covers, the unmasking of the marriage bed, reveals the course of the lives of HCE and ALE. They encounter obstacles and have to steer through difficulties. Although they fall in one sense, declining toward death, in another they do not. For they are not driven off course, their “tableau final” is a recognizable development of how they began. At the end, one can shed sympathetic tears for their decline as they approach their deaths. But one can also applaud their power to endure, to continue to delight in their ordinary lives together.
Michael Peppard
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780300213997
- eISBN:
- 9780300216516
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300213997.003.0005
- Subject:
- Religion, History of Christianity
The eastern and northern walls of the baptistery feature the main artistic program, which is a procession of women. This chapter surveys and challenges the usual identification and interpretation of ...
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The eastern and northern walls of the baptistery feature the main artistic program, which is a procession of women. This chapter surveys and challenges the usual identification and interpretation of these female figures. While the traditional interpretation of them as the women at the tomb of Christ on Easter morning has arguments to support it, the preponderance of evidence supports our recovering an old counter-proposal, which identifies them as virgins at a wedding. When biblical, artistic, and ritual sources are read with this in mind, the singular importance of marriage motifs in early Syrian Christianity becomes clear. The closest artistic comparanda from Syria render a biblical wedding procession—that of Jesus’ Parable of the Wise and Foolish Virgins—with the same iconography as the figures on Dura’s walls. In addition, the motif of spiritual marriage at initiation in a “bridal chamber” was very prominent in proximate textual traditions. That being said, ritual texts and homilies from the fourth century begin to show metaphorical interference between imagery of weddings and funerals, and so polysemic interpretations of this procession are certainly warranted. The marriage motif dominates, but does not completely subordinate, the notions of death and resurrection at initiation.Less
The eastern and northern walls of the baptistery feature the main artistic program, which is a procession of women. This chapter surveys and challenges the usual identification and interpretation of these female figures. While the traditional interpretation of them as the women at the tomb of Christ on Easter morning has arguments to support it, the preponderance of evidence supports our recovering an old counter-proposal, which identifies them as virgins at a wedding. When biblical, artistic, and ritual sources are read with this in mind, the singular importance of marriage motifs in early Syrian Christianity becomes clear. The closest artistic comparanda from Syria render a biblical wedding procession—that of Jesus’ Parable of the Wise and Foolish Virgins—with the same iconography as the figures on Dura’s walls. In addition, the motif of spiritual marriage at initiation in a “bridal chamber” was very prominent in proximate textual traditions. That being said, ritual texts and homilies from the fourth century begin to show metaphorical interference between imagery of weddings and funerals, and so polysemic interpretations of this procession are certainly warranted. The marriage motif dominates, but does not completely subordinate, the notions of death and resurrection at initiation.
Laurel Kendall
- Published in print:
- 1996
- Published Online:
- May 2012
- ISBN:
- 9780520201989
- eISBN:
- 9780520916784
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520201989.003.0001
- Subject:
- Anthropology, Asian Cultural Anthropology
This chapter explains the author's motivation for conducting an ethnographic study of Korean weddings, relating her experience in attending a Korean wedding in 1970 that was the total opposite of the ...
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This chapter explains the author's motivation for conducting an ethnographic study of Korean weddings, relating her experience in attending a Korean wedding in 1970 that was the total opposite of the romantic image of the Korean past. This motivated her to investigate the changes in Korean wedding customs and rituals, including the selection of partners and wedding ceremonies. This book aims to show how changes in the performance of wedding rites, and perceptions and discourses about their performance, have been set in play in the shifting social milieu of recent and contemporary Korea.Less
This chapter explains the author's motivation for conducting an ethnographic study of Korean weddings, relating her experience in attending a Korean wedding in 1970 that was the total opposite of the romantic image of the Korean past. This motivated her to investigate the changes in Korean wedding customs and rituals, including the selection of partners and wedding ceremonies. This book aims to show how changes in the performance of wedding rites, and perceptions and discourses about their performance, have been set in play in the shifting social milieu of recent and contemporary Korea.
Laurel Kendall
- Published in print:
- 1996
- Published Online:
- May 2012
- ISBN:
- 9780520201989
- eISBN:
- 9780520916784
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520201989.003.0002
- Subject:
- Anthropology, Asian Cultural Anthropology
This chapter describes the wedding of Pak Yŏnghŭi and Yi Chongil held at the Rose Wedding Hall in Righteous Town, Korea in July 1983, explaining that the wedding, like all new-style weddings, ...
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This chapter describes the wedding of Pak Yŏnghŭi and Yi Chongil held at the Rose Wedding Hall in Righteous Town, Korea in July 1983, explaining that the wedding, like all new-style weddings, unfolded against a recognized masterscript of wedding rituals as packaged and marketed by commercial wedding halls. It discusses the author's observation that even the individually authored churye's speech had a formulaic quality readily susceptible to parody. The chapter argues that the Korean wedding draws its legitimacy and power from the replication of textually ordained gestures and movement, and that the ceremony abides in an esteemed domain of cultural practice associated with written texts and learned transmission.Less
This chapter describes the wedding of Pak Yŏnghŭi and Yi Chongil held at the Rose Wedding Hall in Righteous Town, Korea in July 1983, explaining that the wedding, like all new-style weddings, unfolded against a recognized masterscript of wedding rituals as packaged and marketed by commercial wedding halls. It discusses the author's observation that even the individually authored churye's speech had a formulaic quality readily susceptible to parody. The chapter argues that the Korean wedding draws its legitimacy and power from the replication of textually ordained gestures and movement, and that the ceremony abides in an esteemed domain of cultural practice associated with written texts and learned transmission.
