Song and Significance - Virtues and Vices of Vocal by Dinda L. Gorlée
By Dinda L. Gorlée
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Additional resources for Song and Significance - Virtues and Vices of Vocal Translation (Approaches to Translation Studies, Volume 25)
In hymns we see a threefold act, involving Saint Paul’s psalms, hymns and spiritual songs), it is the exhortation to seek admission to the spirit of God, at odds with the pursuits of narcissistic love and even with the love for mostly altruistic neighbors. ” or rephrased as a loving “contact with God, … , under the influence of the Holy Spirit, …; and the created spirit itself which is the human locus and ‘subject’ of the visitation” (Menasce 1968: 325). Spirit is also called in three terms: theology, christology and missiology (Bell 2000: 58-65) in order to show the icons of belief, adherence, assurance with the belief in the supernatural.
Gorlée studying but from the experience of singing a favorite paraphrastic hymn together. Take the following two examples of visions and revisions of hymnal phrase and paraphrase. The Latin hymn on Pentecost, “Beata nobis gaudia” (4th Century, ascribed to Saint Hilary of Poitiers),16 with the first germs of Latin rhyme, was in pseudo-modern days translated twice from Acts 2: 1-4 derived from the Vulgate, the Latin translation from Hebrew (Aramaic) and Greek. This hymn was increased into various stanzas and in the new, English language: ‘O joy!
Modern hymns are still called creative hymns, that is, songs abstracted from the conventional psalms and paraphrases of Scriptural passages, liturgical texts and prayer chants. In the 20th Century many poor hymns which had found favor in the past were courageously dropped from new and revised hymnals. Creative hymns renew the “lost art” (Washburn 1938: 5). Liturgically, hymns are in this period … used as “fillers”; as “rest periods” in otherwise well-built programs; far too often with no thought of the logical and artistic unity of “services,” so-called.