Of Song And Singularity

Reprint of the original, first published in 1874.

Wrenna is a citizen of Avalon, a utopia governed by a synthetically intelligent being named Sophia. But when Sophia sends the Eos to take thousands of people away to an unknown location, Wrenna decides to run away instead, fearing Sophia's plans. But the outside world is a heartless and cold place, and she will face obstacles unknown to her when she lived under the protective care of Avalon. Helpless and scared, Wrenna must trust in the help of her father, and a few new friends, to survive in the wild, while also uncovering what happened to Sophia, and answer one question that keeps her up at night: Who are The Song?

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These two volumes list late-and mid-Victorian poets, with brief biographical information and bibliographical details of published works. The major strength of the works is the 'discovery' of very many minor poets and their work, unrecorded elsewhere.

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The legacy of Augustine of Hippo (354-430) continues to shape Western Christian language about both the Trinity and the Church, yet scholars rarely treat these two topics as related in his work. In Augustine, the Trinity, and the Church, Adam Ployd argues that Augustine's ecclesiology drew upon his Trinitarian theology to a surprising degree; this connection appears most clearly in a series of sermons Augustine preached in 406-407 against the Donatists, the rival Christian communion in North Africa. As he preached, Augustine deployed scriptural interpretations derived from his Latin pro-Nicene predecessors - but he adapted these Trinitarian arguments to construct a vision of the charitable unity of the Catholic Church against the Donatists. To condemn the Donatists for separating from the body of Christ, for example, Augustine appropriated a pro-Nicene Christology that viewed Christ's body as the means for ascent to his divinity. Augustine also further identified the love that unites Christians to each other and to Christ in his body as the Holy Spirit, who gives to us what he eternally is as the mutual love of Father and Son. On the central issue of baptism, Augustine made the sacrament a Trinitarian act as Christ gives the Spirit to his own body. The book ultimately shows that, for Augustine, the unity and integrity of the Church depended not upon the purity of the bishops or the guarded boundaries of the community, but upon the work of the triune God who unites us to Christ through the love of the Spirit, whom Christ himself gives in baptism.

Enables the less well-known aspects of the Codex Buranus to receive greater scrutiny, and bring new perspectives to bear on the more thoroughly explored parts of the manuscript. Making accessible existing discourse and encouraging fresh debates on the codex, the essays advocate fresh modes of engagement with its contents, contexts, and composition.

Given the variety and richness of the sixteenth- and seventeenth-century English 'songscape', it might seem unsurprising to suggest that early modern song needs to be considered as sung. When a reader encounters a song in a sonnet sequence, a romance, and even a masque or a play, however, the tendency is to engage with it as poem rather than as musical performance. Opening up the notion of song from a performance-based perspective The Matter of Song in Early Modern England considers the implications of reading song not simply as lyric text but as an embodied and gendered musical practice. Animating the traces of song preserved in physiological and philosophical commentaries, singing handbooks, poetic treatises, and literary texts ranging from Mary Sidney Herbert's Psalmes to John Milton's Comus, the book confronts song's ephemerality, its lexical and sonic capriciousness, and its airy substance. These features can resist critical analysis but were vital to song's affective workings in the early modern period. The volume foregrounds the need to attend much more closely to the embodied and musical dimensions of literary production and circulation in sixteenth- and seventeenth-century England. It also makes an important and timely contribution to our understanding of women's engagement with song as writers and as performers. A companion recording of fourteen songs featuring Larson (soprano) and Lucas Harris (lute) brings the project's innovative methodology and central case studies to life.

Presence Through Sound narrates and analyses, through a range of case studies on selected musics of China, Japan, Korea, Taiwan, and Tibet, some of the many ways in which music and ‘place’ intersect and are interwoven with meaning in East Asia. It explores how place is significant to the many contexts in which music is made and experienced, especially in contemporary forms of longstanding traditions but also in other landscapes such as popular music and in the design of performance spaces. It shows how music creates and challenges borders, giving significance to geographical and cartographic spaces at local, national, and international levels, and illustrates how music is used to interpret relationships with ecology and environment, spirituality and community, and state and nation. The volume brings together scholars from Australia, China, Denmark, Japan, Korea, Taiwan, and the UK, each of whom explores a specific genre or topic in depth. Each nuanced account finds distinct and at times different aspects to be significant but, in demonstrating the ability of music to mediate the construction of place and by showing how those who create and consume music use it to inhabit the intimate, and to project themselves out into their surroundings, each points to interconnections across the region and beyond with respect to perception, conception, expression, and interpretation. In Presence Through Sound, ethnomusicology meets anthropology, literature, linguistics, area studies, and – particularly pertinent to East Asia in the twenty-first century – local musicologies. The volume serves a broad academic readership and provides an essential resource for all those interested in East Asia.

An essential history of the greatest love poem ever written The Song of Songs has been embraced for centuries as the ultimate song of love. But the kind of love readers have found in this ancient poem is strikingly varied. Ilana Pardes invites us to explore the dramatic shift from readings of the Song as a poem on divine love to celebrations of its exuberant account of human love. With a refreshingly nuanced approach, she reveals how allegorical and literal interpretations are inextricably intertwined in the Song's tumultuous life. The body in all its aspects—pleasure and pain, even erotic fervor—is key to many allegorical commentaries. And although the literal, sensual Song thrives in modernity, allegory has not disappeared. New modes of allegory have emerged in modern settings, from the literary and the scholarly to the communal. Offering rare insights into the story of this remarkable poem, Pardes traces a diverse line of passionate readers. She looks at Jewish and Christian interpreters of late antiquity who were engaged in disputes over the Song's allegorical meaning, at medieval Hebrew poets who introduced it into the opulent world of courtly banquets, and at kabbalists who used it as a springboard to the celestial spheres. She shows how feminist critics have marveled at the Song's egalitarian representation of courtship, and how it became a song of America for Walt Whitman, Herman Melville, and Toni Morrison. Throughout these explorations of the Song's reception, Pardes highlights the unparalleled beauty of its audacious language of love.

The Song of Songs in the Middle Ages is a wide-ranging and insightful book that is carefully researched and gracefully written. It is of importance alike to those interested in mysticism, Middle English, the twelfth century, the fourteenth century, and feminist approaches to literature. — Studia Mystica"This deceptively slender volume is valuable in a number of ways. Astell further substantiates even as she extends and deepens the insights of historical scholars such as Beryl Smalley by distinguishing more precisely the various forms taken by the twelfth-century reemphasis on the letter of the Biblical text and by specifying the psychohistorical circumstances that conditioned that response. She contributes original and insightful readings of important texts, including St. Bernard's Sermones, the mystical writings of Hugh of St. Victor and Richard Rolle, the Middle English religious lyrics, and Pearl. And her bold claim that the 'powerful fusion of letter and allegory in readers' experience of the Song from the twelfth through the fourteenth centuries provided the key definitional model for Christian poetics and rhetoric during that time' encourages a new look at other works .Astell's book is both stimulating and convincing." — Journal of English and Germanic Philology"[Astell] proves herself to be a very good close reader. [Her] sensitive attention to shifts of gender and their rhetorical motivation yields subtle and compelling results." — Speculum