Language and Vision in the Epinician Poets

2017 ◽  
Author(s):  
David Fearn
Keyword(s):  
Material Culture ◽  
The Other ◽  
Visual Narrative ◽  
Short Treatment ◽  
Narrative Style ◽  
Cultural Terms ◽  
Language And Vision

This chapter explores the ways in which the other two contemporary epinician poets, Simonides and Bacchylides, use aesthetics and material culture as a way of drawing attention to their own individual and distinctive poetic voices and poetic agendas. Their affinities with and differences from Pindar are explored on the strength of the available evidence. Simonides’ Danae fragment receives detailed coverage, interpreted in visual-cultural terms in relation to Simonides’ ongoing fame as the original commentator on the relation between art and text. Discussion then turns to Bacchylides, and the predominance of a visual narrative style in his work. The argument covers not only epinician material but also an interesting but understudied fragmentary dithyramb. The focus then returns to Pindar with a short treatment of the themes of vision and visual and material culture in Nemean 10.

Imagining the Woman Reader in the Age of Dante

2018 ◽  
Author(s):  
Elena Lombardi
Keyword(s):  
Material Culture ◽  
Mother Tongue ◽  
The Other ◽  
Women Readers ◽  
Literary Authority ◽  
Woman Reader ◽  
History Of ◽  
Female Literacy ◽  
Female Audience ◽  
Shed Light

The literature of the Italian Due- and Trecento frequently calls into play the figure of a woman reader. From Guittone d’Arezzo’s piercing critic, the ‘villainous woman’, to the mysterious Lady who bids Guido Cavalcanti to write his grand philosophical song, to Dante’s female co-editors in the Vita Nova and his great characters of female readers, such as Francesca and Beatrice in the Comedy, all the way to Boccaccio’s overtly female audience, this particular sort of interlocutor appears to be central to the construct of textuality and the construction of literary authority in these times. The aim of this book is to shed light on this figure by contextualizing her within the history of female literacy, the material culture of the book, and the ways in which writers and poets of earlier traditions (in particular Occitan and French) imagined her. Its argument is that these figures of women readers are not mere veneers between a male author and a ‘real’ male readership, but that, although fictional, they bring several advantages to their vernacular authors, such as orality, the mother tongue, the recollection of the delights of early education, literality, freedom in interpretation, absence of teleology, the beauties of ornamentation and amplification, a reduced preoccupation with the fixity of the text, the pleasure of making mistakes, dialogue with the other, the extension of desire, original simplicity, and new and more flexible forms of authority.

scholarly journals Translation Analysis of Cultural Terms Found in the Novel Ronggeng Dukuh Paruk by Ahmad Tohari and The Dancer by Rene T.A Lysloff and its Contribution to Cross Cultural Understanding Teaching

2018 ◽  
Vol 8 (2) ◽  
Author(s):  
Setyani Tri Wahyu Briliyanti ◽  
Arso Setyaji ◽  
Indri Kustantinah
Keyword(s):  
New Media ◽  
Material Culture ◽  
Qualitative Analysis ◽  
Cross Cultural ◽  
The Novel ◽  
Social Culture ◽  
Cultural Understanding ◽  
Descriptive Research ◽  
Cultural Terms ◽  
Translation Analysis

The objectives of the study are (1) To categorize the cultural terms found in the novel Ronggeng Dukuh Parukinto The Dancer(2) To describe the techniques implemented in the translation of cultural terms in the novel Ronggeng Dukuh Parukinto The Dancer (3) To find out the contribution of novel Ronggeng Dukuh Paruk and The Dancer to Cross Cultural Understanding teaching.This is a descriptive research with qualitative analysis. The writer used following steps: (a) the writer read the novel Ronggeng Dukuh Paruk by Ahmad Tohari and its translation The Dancer by Rene T.A. Lysloff, (b) the writer search the cultural terms in the novel, (c) the writer analyzed the cultural terms found in the novel Ronggeng Dukuh Paruk and its translation The Dancer, (d) the writer analyzed the technique of translation, (e) the writer analyzed both of the novel to find out the possible contribution to Cross Cultural Understanding teaching. The result of this research are (1) Categories cultural terms found in the novel Ronggeng Dukuh Paruk and The Dancer. There are four categories of cultural terms related to Ronggeng Dukuh Paruk and The Dancer. Those are material culture, social culture, activities and procedures, and then gestures and habits. (2) technique implemneted in the translation of cultural terms in the novel Ronggeng Dukuh Paruk into The Dancer. In translation the novel, the translator applied borrowing technique i.e without any change the word of culture. (3) contribution of the novel Ronggeng Dukuh Paruk and The Dancer to Cross Cultural Understanding teaching. The contribution of translation analysis of cultural terms in the novel is giving information and developing the student’s knowledge. It also can be the new media of Cross Cultural Understanding teaching. 

scholarly journals Connoting 'Reconciliation' in History: A Multimodal Analysis of Indo-Pakistani Visual Narrative

2021 ◽  
Vol VI (I) ◽  
pp. 50-60
Author(s):  
Malik Haqnawaz Danish
Keyword(s):  
The Other ◽  
Visual Narrative ◽  
Functional Grammar ◽  
National Narratives ◽  
Systemic Functional Grammar ◽  
Multimodal Analysis ◽  
War And Conflict

Entangled in history awash with events of war and conflict, both India and Pakistan have ensured the representation of national narratives in their respective media. Being apprehensive neighbours since the day of partition, the sensation of patriotism has led these nations towards three major wars and numerous skirmishes on the borders, claiming lives of the peoples on both sides of the border. The mutual derision for the 'other' has secured the text, both written and visual. Besides endeavours to justify stances of conflicts, these narratives of history have also created space for standoffs. An attempt to such reconciliation and shatter the image of 'other' is investigated in Indian movies, Border and Bajrangi Bhai Jan, through grammatology of image. The signification in the image is explored by applying Multimodal introduced by Gunther Kress and Theo van Leeuwen. The multimodal by the theorists have been appropriated by utilizing Halliday's theoretical Systemic Functional Grammar. Both of the movies have been selected to compare the occasions depicted the historical backdrop of war and fear-based oppression and occasionally delineated attempts of reconciliation.

scholarly journals Late Prehistoric Stelae, Persistent Places and Connected Worlds: A Multi-disciplinary Review of the Evidence at Almargen (Lands of Antequera, Spain)

2019 ◽  
Vol 30 (1) ◽  
pp. 69-96 ◽  
Author(s):  
Marta Díaz-Guardamino ◽  
Leonardo García-Sanjuán ◽  
David Wheatley ◽  
José Antonio Lozano-Rodríguez ◽  
Miguel Ángel Rogerio-Candelera ◽  
...  
Keyword(s):  
Material Culture ◽  
The Other ◽  
Global Dynamics ◽  
Late Prehistoric ◽  
Late Neolithic ◽  
Place Making ◽  
Local Character ◽  
Local Identities ◽  
Unique Site ◽  
The One

This paper examines how monuments with ‘local’ idiosyncrasies are key in processes of place-making and how, through persistence, such places can engage in supra-local and even ‘global’ dynamics. Departing from a detailed revision of its context, materiality and iconography, we show how a remarkable Iberian ‘warrior’ stela brings together the geo-strategic potential of a unique site, located literally between the Mediterranean and the Atlantic worlds, the century-long dialogue between shared and local identities and the power of connectivity of inexorable global processes. Previous approaches to Iberian late prehistoric stelae have had problems in developing bottom-up, theoretically informed and empirically sound approaches to their simultaneously local and supra-local character. The remarkable site of Almargen provides the opportunity to explore this issue. Located in Lands of Antequera (Málaga), a region with a strong tradition of landscape-making through monuments going back to the Late Neolithic, the Almargen ‘warrior’ stela serves us to explore the notion of ‘glocalization’, which embodies persistent local engagements with material culture, sites and landscapes on the one hand, and their connections with wider regional and even ‘global’ worlds on the other.

Archaeology, Theory, and War-Related Violence

2014 ◽  
Author(s):  
Helle Vandkilde
Keyword(s):  
Material Culture ◽  
Point Of View ◽  
The Other ◽  
Human Biology ◽  
Prime Mover ◽  
Ample Evidence ◽  
Late Discovery ◽  
Discursive Field ◽  
Made In

Warfare may be understood as violent social encounter with the Other, and has in this sense occurred from the first hominid societies until today. Ample evidence of war-related violence exists across time and space: skeletal traumata, material culture, weapons, war-related ritual finds, fighting technologies, fortifications, and martial iconographies. The archaeology of war is a late ‘discovery’ of the mid 1990s, but advances have recently been made in understanding the scale and roles of warfare in pre- and protohistory and how warfare and warriorhood relate to society, culture, evolution and human biology. This chapter ventures into this discursive field from a theoretical and archaeological point of view while reflecting upon the effectiveness and role of war as a prime mover in history. It is argued that war was often present but never truly endemic, and that war essentially is a matter of culture.

scholarly journals Libertad, igualdad, competitividad: En torno a la transfiguración de los valores europeos tras la era de la modernización

2019 ◽  
pp. 131
Author(s):  
Teresa López Ruiz
Keyword(s):  
Natural Selection ◽  
Social Order ◽  
Production System ◽  
Economic Indicator ◽  
Cultural Dimensions ◽  
The Other ◽  
Innovation Development ◽  
Other Hand ◽  
Cultural Terms

Competitividad es una expresión polisémica que, en términos económicos,implica el grado de integración de la sociedad en un modelo productivobasado en la investigación, la innovación y las altas tecnologías. Pero, a su vez, entérminos ideológicos no deja de hundir sus raíces en la idea darwinista de la luchapor la supervivencia y la selección natural. Por ello, aun cuando la competitividadse invoca en términos pretendidamente objetivos como los económicos, conscienteo inconscientemente se refuerza a la vez el relato de un determinado orden social;un relato que divide el mundo entre ganadores y perdedores y que determinaquiénes merecerán perder o ganar. Y en términos culturales ello es probablementelo único que se hace, en tanto que mayores dosis de cultura competitiva no implicannecesariamente la mejora de ningún indicador real. El artículo confronta algunosde los principales indicadores económicos y sociales en el entorno UE28, conlos índices culturales de cada sociedad, encontrando que son otros los conjuntos devalores que inciden en la productividad, el empleo, la riqueza, el bienestar o ladesigualdad.Competitiveness is a polysemic word that, first of all, makes referenceto a production system based on innovation, development and high technologies.But, on the other hand, in ideological terms it refers us to the darwinist ideasof the natural selection and the fight for survive. So, when we appeal to competitivenesseven in economic, impartial terms, at the same time -and conscious orunconsciously- we reinforce the narrative of a social order that divides our societybetween winners and losers, and defines who of all will deserve to be at one sideor at the other. And in cultural terms it probably is the only thing we do, becausehigher doses of competitive culture do not necessarily increase the improvement ofany social or economic indicator. This work confronts some of these indicatorswith the cultural dimensions of the UE28 countries, finding that are others thevalues that affect the results on wealth, productivity, employment, welfare or inequality.

Costume and the Self-Extension: The Functions of Costume in Elmer Gantry from the Perspective of Material Culture

2010 ◽  
Vol 33 ◽  
pp. 474-478
Author(s):  
J.W. Luo ◽  
K. Yu
Keyword(s):  
Material Culture ◽  
Nobel Prize ◽  
Nobel Prize Winner ◽  
The Self ◽  
The Other ◽  
The Novel ◽  
Social Significance ◽  
Self Identity ◽  
Inner Self ◽  
The Usa

As the other creation of material culture, clothes have concrete forms, and reflect the wearer’s taste and appreciation of beauty while provide certain social significance. This paper attempts to analyze the connection between the costume of the hero Elmer Gantry in the novel Elmer Gantry and his self-identity, then to discover how the novelist, Sinclair Lewis ,the first Nobel Prize winner in the USA, by describing the costume of the character, explores the different inner self-identities of one man.

The Moon as a Symbol of Life and Fertility in Sandawe Thought

Africa ◽  
1969 ◽  
Vol 39 (1) ◽  
pp. 24-53 ◽  
Author(s):  
Eric Ten Raa
Keyword(s):  
South Africa ◽  
Material Culture ◽  
Religious Beliefs ◽  
The Other ◽  
Central Position ◽  
The Sun ◽  
The Moon ◽  
Bantu Languages ◽  
Opening Paragraph ◽  
Good And Evil

Opening ParagraphThe Sandawe of central Tanzania speak a click language which shows no relationship with the languages of their Bantu-speaking neighbours, nor with any of the other non-Bantu languages in the neighbourhood; rather, it may be remotely related to the Khoisan languages of South Africa, in particular to Nama Hottentot. Physically the Sandawe differ to a degree from their neighbours, and their closest affinities may again be with Hottentot peoples. Sandawe material culture also differs to a degree from the cultures of their neighbours; like them, the Sandawe have an economy which largely depends on cattle-keeping and horticulture, but it is less sophisticated and their reliance on food-gathering and hunting is still considerably greater. Considering this difference in background it would be not at all surprising if their system of beliefs also showed differences. Comparisons cannot yet be profitably made, however, because little has so far been published about Sandawe religion, except a paper by van de Kimmenade and some details which can be found in the writings of Dempwolff and Bagshawe. In his ethnographic survey Huntingford draws our attention to the lack of knowledge of Sandawe religious beliefs, pointing out that these have been imperfectly recorded; yet he recognizes that the moon (láb′so or !áoso) and the sun (//′akásu) occupy a central position in Sandawe religion, which he summarizes as follows:It appears that the sun and the moon are regarded as supreme beings, and that propitiatory sacrifices are made to the ancestral spirits who can do both good and evil to mankind.

Traditions of Metal-Working in the Later Neolithic and Early Bronze Age of Britain: Part I

1963 ◽  
Vol 29 ◽  
pp. 258-325 ◽  
Author(s):  
Dennis Britton
Keyword(s):  
Material Culture ◽  
Bronze Age ◽  
Point Of View ◽  
The Other ◽  
Early Bronze Age ◽  
Metal Working ◽  
Other Hand ◽  
Middle Bronze Age ◽  
The One

This paper is concerned with the earliest use in Britain of copper and bronze, from the first artifacts of copper in the later Neolithic until the transition from the Early to the Middle Bronze Age, as marked by palstaves and haft-flanged axes. It does not attempt to deal with all the material, but instead certain classes of evidence have been chosen to illustrate some of the main styles of workmanship. These groups have been considered both from the point of view of their archaeology, and of the technology they imply.Such an approach requires on the one hand that the artifacts are sorted into types, their associations in graves and hoards studied, their distributions plotted, and finally a consideration of the evidence for their affinities and chronology. On the other hand there are questions also of interest that need a different standpoint. Of what metals or alloys are the objects made? Can their sources be located? How did the smiths set about their work? Over what regions was production carried out? If we are to understand as much as we might of the life of prehistoric times, then surely we should look at material culture from as many view-points as possible—in this case, the manner and setting of its production as well as its classification.

scholarly journals Politeness and other types of facework

Pragmatics ◽  
2008 ◽  
Vol 18 (4) ◽  
pp. 681-706 ◽  
Author(s):  
Nieves Hernández-Flores
Keyword(s):  
Social Situation ◽  
The Other ◽  
Institutional Characteristics ◽  
Communicative Acts ◽  
The Third ◽  
Political Ideas ◽  
The Social ◽  
Cultural Terms ◽  
The One ◽  
The Relationship

TV-panel discussions constitute a communicative genre with specific features concerning the situational context, the communicative goals, the roles played by the participants and the acts that are carried out in the interaction. In the Spanish TV-debate Cada día, discourse is characterized as semi-institutional because of having both institutional characteristics – due to its mediatic nature – and conversational characteristics. In the communicative exchanges the social situation of the participants is negotiated by communicative acts, that is, facework is realised. Facework concerns the speakers’ wants of face, both the individual face and the group face. In the present article face is described in cultural terms within the general face wants autonomy and affiliation and in accordance with the roles the speakers assume in interaction. In the analysis of an excerpt from the TV-debate Cada día two types of facework are identified: On the one hand politeness, that is, when an attempted balance between the speaker’s and the addressees’ face is aimed at and, on the other hand, self-facework, which appears when only the speaker’s face is focused on. No samples of the third case of facework, impoliteness, are found in this excerpt. The results of the analysis display the relationship between the communicative purposes of this communicative genre (to inform, to entertain and to convince people of political ideas) and the types of facework (politeness, self-facework) that are identified in the analysed data.

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