The National Anthem and the Intellectuals in China,1912-1927

2010 ◽  
Vol 17 (17) ◽  
pp. 105-118
Author(s):  
Yuko Ushijima
Keyword(s):  
2000 ◽  
Vol 36 ◽  
pp. 299-318
Author(s):  
J. R. Oldfield

Some years ago I was invited to spend a day in an elementary school in Columbia, South Carolina. The day began, as I imagine every day began, with the national anthem and the pledge of allegiance to the American flag. The children then sang a song, a ditty really, which began as it ended with the simple refrain: ‘I am special’. Later I was shown some of the work the class had been doing. Across the back of the room were pinned up the children’s attempts to answer a question that had been exercising me, namely what was special about the United States. Some of the responses were fairly predictable. America was special, one seven-year-old wrote, because it was a democracy. Others singled out freedom or liberty as their country’s unique virtue. One brave soul boldly asserted that America was special because Americans were rich, while another thought the secret had something to do with happiness.


1970 ◽  
Vol 23 (3) ◽  
pp. 237-255 ◽  
Author(s):  
Frank J . Fabry

It is well known that Sir Philip Sidney modeled eight of his thirty-two 'Certaine Sonnets’ upon existing ‘tunes,’ as he called them. To date, only one, relatively unimportant, musical model is known—the current Dutch National Anthem, to which Sidney wrote CS 23, ‘Who hath his fancy pleased.’ The result of this association of the sister arts is a simple, metrically precise, stylistically dull lyric whose numbers are directly proportioned to the regularity of its musical model. Of his other models, one, ‘The Smokes of Melancholy,’ appears to have been an English consort song; the others (five Italian, one Spanish) are probably variant forms of the villanella, a type of sixteenth-century art-song written for three or four voices and distinguished by its rhythmic lightness, its homophonic (chordal) structure, and its mildly satirical or openly vulgar text.


2018 ◽  
Vol 3 (1) ◽  
pp. 34
Author(s):  
Widhi Setyo Putro

This article discusses the national consensus between the Republic of Indonesia (RI) and the Bijeenkomst voor Federaal Overleg (BFO) which embodied in the 1949 Inter-Indonesia Conference. Using conflict and consensus theory of Ralf Dahrendorf, this article seeks to understand the conflicts of interest background and the process towards a consensus between RI and BFO. The conflict between RI and BFO motivated by the Dutch aimed to control Indonesia. One of his efforts was to divide the Indonesian nation by forming states, which led to a conflict between the Republicans (Republicans) who supported the united state, and the federalists (BFO) in favor of the federal state. The study found that the Dutch federal policy was not entirely a success because the federalists which incorporated in BFO was not affected. The conflict between the Republican and federalists subsided with the implementation of the Goodwill Mission and the sending of the BFO Liaison Commission to meet Indonesian leaders detained after the Dutch Military Aggression II. The summit was a national consensus between RI and BFO, it embodied in the Inter-Indonesia Conference in 1949 which took placed at Yogyakarta and Jakarta. They reached a consensus by agreeing on fundamental issues as the identity of a sovereign state, such as the name of the country, Merah Putih as the official flag, Bahasa Indonesia as the official language, and the Indonesia Raya as the national anthem.


2020 ◽  
pp. 77-81
Author(s):  
Ludmyla Sorochuk

The creative activity of Mykhailo Mykhailovych Verbytsky, as one of the brightest representatives of the national elite of the period of the Ukrainian cultural revival of the XIX century, was traced. The importance of the social-cultural mission of the artist, a priest of the Greek Catholic Church, a public figure, the founder of professional music in Galicia and the founder of the national school of composition in Ukraine was emphasized. A representative of the artistic elite, the famous composer M. Verbytsky was a model of professionalism in music and, very importantly, a bearer of national and cultural ideas. The article raises the question of the significance of the creation of the anthem song "Ukraine is not dead yet": the words of P. Chubynsky, the music of M. Verbytsky. The famous musicial composition, the words and melody of which united more than one generation, united Ukrainians around the world, influenced the formation of identity and awakened national consciousness. Working on the creation of a majestic song, the authors realized that the songs-hymns encode political levers, which reveal the potential for democratic development of the nation and the consolidation of citizens. After Ukraine gained independence, the text of the anthem was approved, with simultaneous editing, and in March 2003, the Verkhovna Rada of Ukraine adopted the Law "On the National Anthem of Ukraine" to the music of V. Verbytsky, P. Chubynsky's words "Ukraine is not dead yet, and Glory, and Will "– is one of the most important state symbols. Emphasis is placed on the fact that M. Verbytsky is the author of music for the National Anthem of Ukraine and his life choice, active social activity and creative work carried out a social-cultural mission. The talented composer, spiritual mentor, patriot M. Verbytsky realized the value of what he was doing, worked selflessly and sacrificially, promoting the position of self-affirmation of Ukrainians as free and self-sufficient people.


2018 ◽  
Vol 14 (2) ◽  
Author(s):  
Sri Heriyani Nasution ◽  
Amrin Saragih ◽  
Rahmad Husein

This qualitative study is aimed to find the Realization of Experiential Fuction of National Anthem of Indonesia. It was conducted by applying documentary study. The data analysis for this research was the text of National Anthem of Indonesia. The data were collected by applying a documentary technique. The document was read and analyzed to find out the Experiential Function. The data were analyzed by some procedures: data condensation, data display and drawing conclusion. Every elements of experintial function in the song or National Anthem represents the purpose of the song because the experiential function functions to represent the experience. The researcher also found there are so many ellipsis word in the song. Where that element can be found or detected from the context. Ellipsis means what is something left of linguistic elements. The ellipsis use because song is the simple language.Keywords: Experiential Function, National Anthem, Discourse, Text and Context


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