Suchergebnisse

The very first studies of Belarusian incantations in the European area demonstrate a number of very close correspondences. Further identification of Belarusian­Western European parallels in subjects, motifs and images would help both to expose the genetic and typological in the Belarusian incantation compendium and to determine the possibilities and ways of borrowing, as well as the formation of unique complexes and images. The semantics of the incantation­based motif of three female assistants personified by needlewomen continue the pre­Christian ideas of goddesses and spirits of fate based on the mythology of weaving. From ancient times, the needlewoman is the embodiment of a creative goddess. A definite influence is the Gospel and, accordingly, the iconographic motif of the Virgin Mary portrayed with a spindle in her hands. Early European incantations offer a story of three virgins on a stone, one of which twists and ties, the second untwists and the third helps; in later German, English and Scandinavian incantations, these are the traveling female characters who help the sick along the way. The needlework motif begins to dominate Polish and Latvian incantations, although it is the motif of traveling that still prevails. On the other hand, Russian, especially North Russian tradition, elaborates in detail the story of a needlewoman in the sacred centre, where the Virgin dominates in this role. The Belarusian ethnic territory proves to be a place of a unique meeting of these two powerful movements, organically absorbing the key subject­semantic nodes and developing them in line with its own tradition, including through offering an original image of three female characters who do not know how but only help in healing.

C'est dans les années 1980/1990 que s'est imposée la prise de conscience que la France se coupait progressivement de ses racines religieuses. Au même moment, la société française a commencé à se poser un certain nombre de questions politiques concernant l'islam. Ces vastes débats culturels et politiques liés à la religion se sont prolongés à l'École avec la question de l'enseignement du «fait religieux». À partir de l'étude de l'enseignement de l'histoire dans les classes de 6e et 2de, on peut montrer qu'une bonne partie du discours général sur l'importance de la sensibilisation au «fait religieux» débouche en réalité sur peu de choses concrètes, cette paralysie résultant essentiellement de l'inadaptation de l'institution scolaire et universitaire.

We seek to reinvigorate and clarify the Copenhagen School's insight that 'security' is not 'a sign that refers to something more real; the utterance ['security'] itself is the act'. We conceptualise the utterances of securitising actors as consisting not in arguments so much as in repetitive spouting of ambiguous phrases (WMD, rogue states, ethnic cleansing). We further propose that audience acceptance consists not in persuasion so much as in joining the securitising actors in a ritualised chanting of the securitising phrase. Rather than being performed to, the audience participates in the performance in the manner in which a crowd at a rock concert sings along with the artists. We illustrate our argument with a discussion of how the ritualised chanting of the phrase 'weapons of mass destruction' during the run-up to the Iraq War ultimately produced the grave Iraqi threat that it purportedly described. Adapted from the source document.

AbstractWe seek to reinvigorate and clarify the Copenhagen School's insight that 'security' is not 'a sign that refers to something more real; the utterance ['security'] itself is the act'. We conceptualise the utterances of securitising actors as consisting not in arguments so much as in repetitive spouting of ambiguous phrases (WMD, rogue states, ethnic cleansing). We further propose that audience acceptance consists not in persuasion so much as in joining the securitising actors in a ritualised chanting of the securitising phrase. Rather than being performed to, the audience participates in the performance in the manner in which a crowd at a rock concert sings along with the artists. We illustrate our argument with a discussion of how the ritualised chanting of the phrase 'weapons of mass destruction' during the run-up to the Iraq War ultimately produced the grave Iraqi threat that it purportedly described.