Suchergebnisse

This treatment is an examination of the Federal Emergency Management Agency's response, or lack thereof, to the citizens of New Orleans after the historic and catastrophic events in the wake of Hurricane Katrina. Comparisons are drawn between it and the shameful failure of the Freedmen's Bureau after the "Emancipation" of enslaved Africans in the place called America. Drawing from current media reports, historical texts, and the so-called slave narratives, this work seeks to point out Uncle Sam's alarming legacy of treacherous, institutional nonchalance and disregard for the well-being of the African-descended American.

The article dealt with a certain fragment of the linguistic world view, which is significant to be studied to provide a number of ways of describing of the national and cultural component of the concept "horse" in the English linguoculture. The article provides the description of a number of costume calendar customs prevalent in different parts of Great Britain after XIII century, with a central element the hobby-horse, which according to a number of authors (Lamb, Pikli), subsequently became a symbol of mass culture. The article considers the functioning of the studied fragment of the linguistic world view in the English phraseology and literary texts. The presented ethnographic material indicates to different functions, features and associative links of the hobby-horse, which is a central element of the described customs. The phraseological representation reflects the studied fragment of the linguistic world view in a partial way and indicates apparently to its later development. In its turn, the analysis of literary texts supported by ethnographic material, allowed to track the dynamics of new meanings emergence of the lexeme hobby-horse and its old meanings disappearance that were widespread in certain historic periods. The article concludes that the considered examples of the hobby-horse in literary texts though convey different meanings with either positive or negative connotation, however come from the common source ('prancing hobby-horse of the morris dance').

Space is often referred to as vacuum and sound cannot travel in it, thus the silence experienced in space. But based on Einstein's thought scientists now found that space is not silent after all, it is full of vibrations and energy. "The universe is a musical that we've been watching all this time as a silent movie."[1] If our outer space is not silent what can be said of our other spaces defined as such in our everyday life for example space between letters in this paper? Silence in space is gaps between particles while gaps or blanks in other fields such as literature is part of the explanation reception theorists, Iser (2006) among them, give us to the question why we have different readings of the same text arguing that these gaps, in given parts of the text "trigger synthesizing operations in the reader's mind " as they "lead to collisions between the individual ideas formed." (p.66) If space associated with silence is not silent than what will silence really mean in translation, which is bridging space between different cultures. We will see that silence as a certain form of appearance associated with all kinds of space is universal and at the same time culture-bound and, thus, it also acquires meaning in context while we try to capture and trace the different meanings and notions of it in different fields and consider it from a dialectical aspect as well.

[1] https://www.americanscientist.org/article/the-sounds-of-spacetime (12 11 2022)

The advocacy of Markus Ludescher to "democratic virtue" Civil Courage is based on literary texts from different periods and geographical origins, addressing the most diverse social contexts, such as France under the Occupation, France postcolonial or Quebec in the 90s.

Review of Amelia M. Glaser, editor. Stories of Khmelnytsky: Competing Literary Legacies of the 1648 Ukrainian Cossack Uprising. Stanford UP, 2015. Stanford Studies on Central and Eastern Europe, edited by Norman Naimark and Larry Wolff. xxiv, 296 pp. Illustrations. Maps. Table. Notes. Bibliography of Source Texts on the Khmelnytsky Uprisings. Index. $70.00, cloth.

The first full in-depth analysis and interpretation of Plutarch's Regum et imperatorum apophthegmata in its entirety as a literary piece of art.

Plutarch's Regum et imperatorum apophthegmata (Sayings of Kings and Commanders) holds a peculiar position in his oeuvre. This collection of almost 500 anecdotes of barbarian, Greek, and Roman rulers and generals is introduced by a dedicatory letter to Trajan as a summary of the author's well-known and widely read Parallel Lives. The work is therefore Plutarch's only text that explicitly addresses a Roman emperor and is likely to shed light on his biographical technique. Yet the collection has been understudied, because its authenticity has been generally rejected since the nineteenth century. Recent scholarship defends Plutarch's authorship of the text, but some remain sceptical. This book restores its reputation and provides a first full literary analysis of the letter and collection as a genuine work of Plutarch, wherein he attempts to educate his ruler by means of great role models of the past. Plutarch's thinking about the function of role models (exempla) is not only relevant for Plutarchan research, but also for our knowledge of exemplarity, a key feature both in Greek and Latin literature in the early imperial period in general. Therefore An Opaque Mirror for Trajan is also of interest for literary and historical scholars who study the broader context of ancient literature of the first centuries CE.

Ebook available in Open Access.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

We have no shortage of texts to recover representations of sound. There is also an underutilized, renewable—yet, if not recorded, ephemeral—source that can help us recover the sounds of the vanishing past: oral history. The discovery of soundways and historically contextualized soundscapes is a compelling project on its own. By "soundways," I mean the "paths, trajectories, transformations, mediations, practices, and techniques—in short, the way—that people employ to interpret and express their attitudes or beliefs about sound." Global culture can be thought of as flowing through technoscapes, ethnoscapes, mediascapes, financescapes, and ideascapes, Arjun Appadurai has argued. The flow of global culture through these "scapes" would be represented in local soundscapes. Oral history interviews are one way to follow the flow to the level of the individual. And while sensory memories—especially echoic, haptic, and iconic—are being investigated in the context of medical and psychological research, they are not often considered in connection with social history.

AbstractAs an international faculty member at a liberal arts college in Seoul, teaching and "doing" comparative literature continues to unfold as a series of open-ended learning experiences. The most fundamental lesson, which seems both epistemological and ethical in nature, has been a pragmatic one: the importance of engaging the many institutional, pedagogic, and scholarly tensions arising in this emergent educational context. In the literature classroom, more specifically, this has taken the form of being attentive to the borders of text and context. Because most Korean students have been trained to read literature contextually, often in terms of preexisting national narratives, learning close literary reading can be a considerable challenge for them. Reading with borders enables students to register the epistemological frames that, heretofore, have limited, defined, and facilitated their knowledge. In crossing borders, we should strive to be as reflective and explicit as possible about what knowledge and relations these borders both preclude and enable. Such an awareness, gleaned in no small part from pedagogic practice, also informs my ongoing scholarly engagement with Korean modernism and the disciplinary tensions between area studies and comparative or world literature.

This dissertation examines the text of the book of Daniel in light of some ancient Near Eastern archaeological discoveries. While chapter 1 of this research is introductory, chapter 2 begins by investigating personal and place names mentioned in Daniel and making a comparative analysis between the claims of Daniel's text and related archaeological discoveries. Archaeological evidence shows that the place names mentioned in the book of Daniel were real geographical locations where historical events are claimed to have taken place. Archeological materials not only help clarify some words, phrases, and locations of places, but seem to show that at least some aspects of the book can be possibly understood through material finds that have closer affinity to the Neo-Assyrian, Neo-Babylonian, and Persian periods than to the later periods. Chapter 3 concentrates on Nebuchadnezzar's administration over Judah. His political career led to the destruction of Jerusalem and the capture of part of its population and resources. The extant evidence indicates that the dreams/visions of Nebuchadnezzar and Daniel reported in the book of Daniel reflected the prevailing political situation in sixth century B.C. Neo-Babylonia and onwards. Archaeological finds discussed here also help elucidate some enigmatic passages, such as the interpretation of dreams (Dan 2, 4, 7, 8, 11), the succession of the four kingdoms (Dan 2, 7, 8, 11), the animal representation of the ancient geopolitical world (Dan 7, 8), and the judgment scene (Dan 7). The focus of chapter 4 is the fall of Neo-Babylonia in 539 B.C. to the Medes and Persians and the chronological and political succession of world empires to the time of the end. The expression "time of the end" in the book of Daniel must be viewed in light of the sequence of historical kingdoms. Archaeological evidence indicates that within this sequence, Medo-Persia was a single political power. Chapter 5 analyzes the relationship between Daniel and some parallel extra biblical texts, including the Prayer of Nabonidus, as well as apocryphal and pseudepigraphal writings. There is basically no evidence of literary dependance between these texts and Daniel. Chapter 6 presents the summary and conclusions to the entire research. Interpreters have raised serious problems with the text of Daniel, but this investigation shows that the historical setting of the book of Daniel and many of its words and expressions can be understood better in light of archaeological discoveries.

Contemporary studies about film adaptations of literary texts face many obstacles when it comes to compare two different media. They either tend to establish how faithful the film adaptation is to its textual source or they consider the literary text as canonical, which as such cannot be transposed to any other form. This contribution aims to cross the borders of 'adaptation studies' and offers an intermedial comparison between the Grimms' tale 'Sneewittchen', first published in 1812, and 'Blancanieves', a black and white silent movie directed by Pablo Berger and released in 2012. Regarding 'Blancanieves' not only as an adaptation of the Grimms' text(s), but also and above all as a reconfiguration of numerous media forms (film, photography, opera, among others), reveals how the Spanish director differentiates himself from the German tale and creates a new story with renewed meanings which echo the current social, economical and political situation of Spain.

In 2015, "Vremya publishing house" issued "A Flute Solo", a book by V. Shenderovich, of multigenre and, according to the author of the article, intermedia nature, since its content peculiarities of a political satire and a tragedy, a farce and a fantasy, on the one hand, and some features of musical pieces, a fugue in particular, on the other hand, have merged here. The text was first published in 2012 in the magazine "Polden. XX vek" ("Noon. XX century"), edited by B. Strugatsky, but then it did not receive any significant reaction. Besides, it was staged in "Another Theatre", where it was defined as a "cabaret show without music or dancing". Only after the publishing house "Vremya" published it in hardback with numerous illustrations, did rapturous readers' responses appear. Critics at the same time kept silent almost unanimously. The author of the article provides a detailed characterization of the plot constructed as a grotesque depiction of the reality, and views the text composition as relating the verbal text to a piece of music. The dominant device of the text composition, as the author sees it, is the so called counterpoint – one and the same theme is carried by different voices from "different spaces", which represent the structure of the modern society. The symbolic value of certain elements, studied within the research, does not allow to agree with the offered by some critics definition of the book as being "desperately hopeless". The text provides a number of intertextual connections of "A Flute Solo" with world classical literature. The author of the article proves that Viktor Shenderovich's work falls within the realms of the world cultural tradition, according to which the image of the flute is used as an instrument with the magical power, whose evaluation is ambivalent. It is either the power of making others aspire to the good or the power of taking revenge for the evil.

In 2015, "Vremya publishing house" issued "A Flute Solo", a book by V. Shenderovich, of multigenre and, according to the author of the article, intermedia nature, since its content peculiarities of a political satire and a tragedy, a farce and a fantasy, on the one hand, and some features of musical pieces, a fugue in particular, on the other hand, have merged here. The text was first published in 2012 in the magazine "Polden. XX vek" ("Noon. XX century"), edited by B. Strugatsky, but then it did not receive any significant reaction. Besides, it was staged in "Another Theatre", where it was defined as a "cabaret show without music or dancing". Only after the publishing house "Vremya" published it in hardback with numerous illustrations, did rapturous readers' responses appear. Critics at the same time kept silent almost unanimously. The author of the article provides a detailed characterization of the plot constructed as a grotesque depiction of the reality, and views the text composition as relating the verbal text to a piece of music. The dominant device of the text composition, as the author sees it, is the so called counterpoint – one and the same theme is carried by different voices from "different spaces", which represent the structure of the modern society. The symbolic value of certain elements, studied within the research, does not allow to agree with the offered by some critics definition of the book as being "desperately hopeless". The text provides a number of intertextual connections of "A Flute Solo" with world classical literature. The author of the article proves that Viktor Shenderovich's work falls within the realms of the world cultural tradition, according to which the image of the flute is used as an instrument with the magical power, whose evaluation is ambivalent. It is either the power of making others aspire to the good or the power of taking revenge for the evil.

In 2015, "Vremya publishing house" issued "A Flute Solo", a book by V. Shenderovich, of multigenre and, according to the author of the article, intermedia nature, since its content peculiarities of a political satire and a tragedy, a farce and a fantasy, on the one hand, and some features of musical pieces, a fugue in particular, on the other hand, have merged here. The text was first published in 2012 in the magazine "Polden. XX vek" ("Noon. XX century"), edited by B. Strugatsky, but then it did not receive any significant reaction. Besides, it was staged in "Another Theatre", where it was defined as a "cabaret show without music or dancing". Only after the publishing house "Vremya" published it in hardback with numerous illustrations, did rapturous readers' responses appear. Critics at the same time kept silent almost unanimously. The author of the article provides a detailed characterization of the plot constructed as a grotesque depiction of the reality, and views the text composition as relating the verbal text to a piece of music. The dominant device of the text composition, as the author sees it, is the so called counterpoint – one and the same theme is carried by different voices from "different spaces", which represent the structure of the modern society. The symbolic value of certain elements, studied within the research, does not allow to agree with the offered by some critics definition of the book as being "desperately hopeless". The text provides a number of intertextual connections of "A Flute Solo" with world classical literature. The author of the article proves that Viktor Shenderovich's work falls within the realms of the world cultural tradition, according to which the image of the flute is used as an instrument with the magical power, whose evaluation is ambivalent. It is either the power of making others aspire to the good or the power of taking revenge for the evil.