Sacrifice (yajña) is considered to be one of the most mentioned words in the Hindu texts, and Panikkar understands it in relation to the preservation, continuation, and regeneration of the universe ...in existence. While Panikkar’s interpretation of sacrifice focuses mainly on creation, this article extends his arguments to interpret the Hindu apocalypse as a yajña from four major angles, including the end of a kalpa and the concept of declining dharma in the successive yugas, the journey from the cosmological to the transcendental brahman, entire creation being the food of sacrifice, and the apocalypse as a reflection of the yajña. This study incorporates both śruti and smriti texts.
Chapter 1: Unity. This chapter surveys the various arguments (formal, religious, geographical, etc.) that have been adduced to prove that DAp and PAp did not always form a single unified hymn. It is ...argued that these are all insufficient and that the hymn should be considered an original unity. Chapter 2: Structure. This chapter analyses the hymn's double structure, noting the numerous close correspondences between its two parts and some of the major devices (priamel, apostrophe, journeys) that are used to signal divisions. Chapter 3: Date and Context. This chapter discusses the evidence for the dating of the hymn and for its context. Most of the supposed historical allusions are discounted as highly dubious. The hymn's description of the Delian festival (147-76) suggests it had some original link to Delos, but this would not exclude later performances elsewhere. It is tentatively suggested that the hymn's particular blend of Delian and Pythian themes would suit a Delian performance in the second half of the sixth century, perhaps in connection with the activities of the tyrants Peisistratus or Polycrates. Chapter 4: Authorship. This chapter discusses the poet's description of himself as the 'blind Chian' (172-3). It is argued that this reflects, and seeks to promote, an already existing legend about Homer, that this legend was at least partly fostered by the guild of Chian rhapsodes called Homeridae, and that therefore the ancient attribution of the hymn to the Homerid Cynaethus, which would not be incompatible with its likely date, may be tentatively accepted. Chapter 5: Language. This chapter discusses the hymn's language relative to the rest of early Greek hexameter poetry. Some signs of post-Homeric diction are noted. The difficulties of using language to construct a relative chronology of early epos are discussed. Doubt is cast upon the linguistic evidence for the hymn's division. Non-Homeric and non-Hesiodic forms are assembled and briefly examined. The large number of parallels with the Homeric poems are assessed and it is suggested that, while much of this material is probably traditional, a close relationship between HAp and these poems is possible at certain points. Chapter 6: Metre and Prosody. This chapter analyses the hymn's inner and outer metric, and certain prosodic features. In most cases its practice does not diverge significantly from that of Homer and the other Hymns. Chapter 7: Text and Transmission. This chapter summarises the hymn's textual transmission. Places where the commentary diverges from Càssola's text are noted. Chapter 8. Commentary on lines 1-178.
En este artículo, analizo cómo las prácticas litúrgicas y devocionales cambiaron en Hungría tras del Concilio Vaticano II. En un contexto autoritario y ateo, las canciones religiosas se vincularon ...con el emergente "movimiento popular de masas". El análisis de la himnodia popular húngara ofrece a una nueva perspectiva del catolicismo de Europa del Este y nos ayuda a comprender cómo el “catolicismo vivido” refleja el espíritu del Vaticano II. Esta himnodia tras el Telón el Acero, que actuó como catalizadora de un nuevo estilo de prácticas devocionales, se conceptualiza como “teología representada” que expresa y. actualiza relaciones sociales, espirituales, eclesiásticas y escatológicas.
Chan-bul-ga (찬불가, 讚佛歌), which in English means ‘songs in praise of the Buddha’, refers to a style of Korean Buddhist hymn that emerged during the modernization of Korean Buddhism. Buddhist ...hymns—which can be considered to be based on Christian hymns—are characterized by the fact that they can be easily learned by the general public so that they can easily participate in Buddhist rituals together, unlike the existing Korean Buddhist musical styles of ‘Beom-pae (범패, 梵唄)’ and ‘Hwa-cheong (화청, 和請)’. The monk Baek Yong-sung (1864–1940), who embraced the function and effectiveness of these new religious music styles as one of his methods of propagation, participated in the independence movement after the 1910 Korea–Japan Annexation Treaty, and he led both the public enlightenment movement and the spread of Buddhism by creating Buddhist hymns. The present study seeks to examine Baek Yong-sung’s social activities and the context in which modern Buddhist hymns emerged. This study also explores the religious, social, and musical meanings of Buddhist hymns while focusing on his works ‘Wang-seng-ga (왕생가)’ and ‘Se-gye-gi-si-ga (세계기시가)’.
