Raman analysis of red-brown and gray shards from 16th and 17th century Portuguese shipwrecks

2003 ◽  
Vol 6 (4) ◽  
pp. 287-299 ◽  
Author(s):  
M.A. Legodi ◽  
D. de Waal
Keyword(s):  
17Th Century ◽  
Raman Analysis

Why byloti dievop ‘speak to God’, but prašyti dieviep ‘ask God’?

2016 ◽  
Vol 7 ◽  
pp. 137-173
Author(s):  
Eglė Žilinskaitė-Šinkūnienė
Keyword(s):  
General Feature ◽  
17Th Century ◽  
Historical Usage

The paper aims to investigate the historical usage of two local cases, namely the Allative and the Adessive, governed by verba dicendi in Old Lithuanian. In Mikalojus Daukša’s Postil (1599) the Allative occurs with verbs of address and denotes the Addressee as a Goal of a verbal act. The Adessive, however, is governed by predicates of request and conveys the Source of a desired item. To verify whether this is part of Daukša’s idiolect or a general feature of Lithuanian at the beginning of its written period, the data from DP are compared to the texts of two other varieties of written Lithuanian of the 16th–17th century: Jonas Bretkūnas’ Postil (1591) and Konstantinas Sirvydas’ Punktay sakimu (two parts, 1629 and 1644). In order to explain the motivation for this usage, dialectal and typological data are used.  

Historiography and language in 17th-century Ottoman Kurdistan: A study of two Turkish translations of the Sharafnāma

2018 ◽  
Vol 6 (2) ◽  
pp. 171-196
Author(s):  
Sacha Alsancakli
Keyword(s):  
Comparative Study ◽  
17Th Century ◽  
General Observation

In the closing decades of the 11th/17th century, two Turkish translations of the Sharafnāma were produced in the Kurdish princely courts of Bidlīs and Pālū. The translators were Muḥammad Bēg b. Aḥmad Bēg, a great-great-grandson of Sharaf Khān II, the author of the work, and Sham‘ī, a secretary at the court of Amīr Yanṣūr Bēg, prince of Pālū. While their works differed in style and purpose, both men offered a reflection on the demise of Persian and increasing prestige of Turkish in Ottoman Kurdistan. In the case of Sham‘ī, this was supplemented by a more general observation on the various languages of the region. Evidence also suggests that while Persian was replaced by Turkish in the princely courts of Ottoman Kurdistan, some Kurdish literati and scholars instead chose to write part of their works in Kurdish. This article is a comparative study of Muḥammad Bēg and Sham‘ī’s translations, followed by a brief analysis of the associated sociolinguistic developments. ABSTRACT IN KURMANJIDîroknivîsî û ziman di Kurdistana Osmanî ya sedsala 17an de: Vekolînek li ser du wergerên tirkî yên ŞerefnameyêDi dehsalên dawî yên sedsala 11an/17an de, du wergerên tirkî yên Şerefnameyê li serayên mîrgehên Bidlîs û Palûyê hatin nivîsandin. Wergêrên van metnan Mihemed Beg kurê Ehmed Beg, kurê nevîçirkekî Şeref Xanê duyem ê nivîskarê berhemê yê eslî, û Şem’î, munşiyekî Emîr Yensûr Begê mîrê Palûyê bûn. Tevî ku armanc û şêweyê karên wan cuda bûn jî, herdu wergêran amaje bi lawazketina zimanê farsî û bilindbûna qîmeta zimanê tirkî li Kurdistana Osmanî kir. Li gel vê yekê, Şem’î herwiha nêrîneke giştî li ser zimanên cihê yên herêmê pêşkêş kir. Wekî din, tevî ku tirkî li serayên mîrên Kurdistana Osmanî dewsa farsî girt, hin zanyar û rewşenbîrên kurd tercîh kir ku beşek ji berhemên xwe bi kurdî binivîsînin. Ev gotar nirxandineke berhevdayî ya wergerên Şem’î û Mihemed Beg e, li gel pêdeçûneke kurt li ser pêşketinên civakî-zimanî yên pê ve girêdayî. ABSTRACT IN SORANIMêjûnûsî w ziman le Kurdistanî 'Usmanîy sedey 17hem da: twêjîneweyek bo dû wergêrranî turkîy ŞerefnameLe duwa deyekanî sedey 11hem/17hem da dû wergêrranî turkîy Şerefname le dîwanî mîrayetîy Bedlîs û Pallû berhem hatin. Wergêrrêkîyan Miḧemed begî kurrî Eḧmed beg bû, ke newey newey nûserî xudî berhemeke, wate Şerefxanî dûweme, wergêrrekey tirîş Şem'î, sikritêr le koşkî mîr Yensûr beg mîrî Pallû bû. Le katêk da karekanyan le rûy stayl û amancewe cuda bûn, herdû piyawekan amajey lawazbûnî zimanî farsî û hellkişanî payey zimanî turkî le kurdistanî 'Usmanî xiste rû. Le ḧalletî Şem'î da, eme be têrwanînêkî giştî ziyatir le merr zimanekanî herêmeke tewaw kira. Bellgekan ewe pêşniyar deken ke le katêk da le dîwanî mîrayetîy Kurdistanî 'Usmanî da zimanî farsî be zimanî turkî cêgay degorêtewe, hendêk le roşinbîr û zana kurdekan eweyan hellbijard ke beşêk le karekanyan be kurdî binûsinewe. Em babete twêjîneweyekî berawirdkarîye bo herdû wergêrranekeyi Miḧemed beg û Şem'î, we kurte hellsengandinêkî peywest bew geşesendine komellayetî-zimanewaniyey be duwa da dêt.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

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