Resonance: Aeschylus' Persae and the Poetics of Sound

Ramus ◽  
2013 ◽  
Vol 42 (1-2) ◽  
pp. 122-137
Author(s):  
Sean Gurd
Keyword(s):  
Extreme Form ◽  
Great Fall ◽  
Absolute Music ◽  
Poetic Diction ◽  
Materiality Of Language ◽  
Narrative Framework

Scholars tend to agree that Aeschylus' choice of material for the Persae was overdetermined: the battle at Salamis and its lead-up constituted a moment of the highest trauma and pride for the Athenian demos, one that could be accommodated to a well-known narrative framework (that of great pride followed by a great fall) and exploited as an exploration of the relations between (Athenian) Greek and Persian other. But in this essay I propose to set aside the tragedy's ethical or ethno-political engagements. I want to focus instead on its auditory aesthetics—what it says about sound, and how it works with it. I think that the Persae is intensely and persistently engaged with sound; so much so, in fact, that at moments it comes closer than any other Athenian drama to a kind of ‘absolute’ music. In the final 40 lines of the play, for example, when extralinguistic cries increasingly predominate, the ‘script’ starts to read more like a score, prescribing the timbral and rhythmic part of a music whose pitches have been lost. Though I will not treat its engagements with the Persian ‘other’ directly, I do think that the Persae's interest in sound is related to its choice of setting and theme. Locating the action in Persia allowed Aeschylus to explore a poetic diction that could flirt with the thick edge of signification by invoking linguistic otherness; this facilitated a way of writing in which the materiality of language, that is, its status as sound, could become more palpable. In choosing to depict the Persian court as it learns the news of the defeat at Salamis, Aeschylus had the opportunity to represent an extreme form of lamentation, and by ideologically jacking up the stakes and transforming one military defeat into the fall of an empire, Aeschylus could go to the limits of language and beyond: the play ends with an extraordinary near-abandonment of signifying language in favour of non-verbal cries. Finally, Aeschylus' version of the battle of Salamis included the Greeks using sound as a psychological tactic; the story of the battle that is the kernel around which the play crystallised was itself a story of sound and its effects.

A Strategy for Analysing Multiple Risk Factors with Application to Cervical Pain Syndrome

1989 ◽  
Vol 28 (01) ◽  
pp. 14-19 ◽  
Author(s):  
J. F. Dartigues ◽  
Ph. Peytour ◽  
E. Puymirat ◽  
P. Henry ◽  
M. Gagnon ◽  
...  
Keyword(s):  
Risk Factors ◽  
Low Power ◽  
Head Trauma ◽  
Pain Syndrome ◽  
Psychological Status ◽  
Confounding Factors ◽  
Cervical Pain ◽  
Extreme Form ◽  
Explanatory Variables ◽  
Multiple Risk Factors

Abstract:When studying the possible effects of several factors in a given disease, two major problems arise: (1) confounding, and (2) multiplicity of tests. Frequently, in order to cope with the problem of confounding factors, models with multiple explanatory variables are used. However, the correlation structure of the variables may be such that the corresponding tests have low power: in its extreme form this situation is coined by the term “multicollinearity”. As the problem of multiplicity is still relevant in these models, the interpretation of results is, in most cases, very hazardous. We propose a strategy - based on a tree structure of the variables - which provides a guide to the interpretation and controls the risk of erroneously rejecting null hypotheses. The strategy was applied to a study of cervical pain syndrome involving 990 subjects and 17 variables. Age, sex, head trauma, posture at work and psychological status were all found to be important risk factors.

Text Prophetism

2017 ◽  
Vol 7 (1) ◽  
pp. 40
Author(s):  
Elvira Lumi ◽  
Lediona Lumi
Keyword(s):  
Key Words ◽  
Literary Texts ◽  
Modern World ◽  
Greek Mythology ◽  
Divine Inspiration ◽  
Religious Doctrine ◽  
The World ◽  
Poetic Text ◽  
Poetic Diction ◽  
Life On Earth

"Utterance universalism" as a phrase is unclear, but it is enough to include the term "prophetism". As a metaphysical concept, it refers to a text written with inspiration which confirms visions of a "divine inspiration", "poetic" - "legal", that contains trace, revelation or interpretation of the origin of the creation of the world and life on earth but it warns and prospects their future in the form of a projection, literary paradigm, religious doctrine and law. Prophetic texts reformulate "toll-telling" with messages, ideas, which put forth (lat. "Utters Forth" gr. "Forthteller") hidden facts from fiction and imagination. Prometheus, gr. Prometheus (/ prəmiθprə-mee-mo means "forethought") is a Titan in Greek mythology, best known as the deity in Greek mythology who was the creator of humanity and charity of its largest, who stole fire from the mount Olympus and gave it to the mankind. Prophetic texts derive from a range of artifacts and prophetic elements, as the creative magic or the miracle of literary texts, symbolism, musicality, rhythm, images, poetic rhetoric, valence of meaning of the text, code of poetic diction that refers to either a singer in a trance or a person inspired in delirium, who believes he is sent by his God with a message to tell about events and figures that have existed, or the imaginary ancient and modern world. Text Prophetism is a combination of artifacts and platonic idealism. Key words: text Prophetism, holy text, poetic text, law text, vision, image, figure

„Raps“

POETICA ◽  
2020 ◽  
Vol 50 (3-4) ◽  
pp. 282-313
Author(s):  
Robert Stockhammer
Keyword(s):  
Climate Change ◽  
Present Article ◽  
Subject Matter ◽  
Literary Studies ◽  
Close Reading ◽  
Literary Traditions ◽  
Man And Nature ◽  
Cultivated Plant ◽  
Materiality Of Language

Abstract The recent controversy about the possibility of defining a new geological era called ‘Anthropocene’ has far-ranging consequences. The new notion forces us to rethink the dichotomy between the entities formerly referred to as men and nature and to conceive of their relation as an interrelation. The relevance of these considerations for literary studies is not limited to the anthropocene as a subject matter of literature, or to the possible use of literature as a means of enhancing the reader’s awareness of climate change. Rather, what is at stake is the relation of language to the new interrelation between man and nature, including the poetical and metalinguistic functions that emphasize the materiality of language. The present article explores the relation between the materiality of language and the materiality of things by way of a close reading of a single poem written by Marcel Beyer. Devoted to the cultivated plant rape, the literary traditions which this poem invokes reach beyond nature lyrics into georgic. An excursus recalls this genre of agriculture poetry and distinguishes it from pastoral, especially with regard to its use of language.

ISLAM WASATHIYAH TO BUILD A DIGNIFIED INDONESIA

2019 ◽  
Vol 1 (1) ◽  
pp. 54-61
Author(s):  
Amirsyah Tambunan
Keyword(s):  
Extreme Form ◽  
Global Challenges

Muslims in Indonesia in Indonesia face global challenges in the form of liberalism in various dimensions of life. Therefore, Muslims can express their aspirations through the known 411 action, 212 in a peaceful manner. Various parties respect Muslims, because they are able to prove Muslims who agree in Indonesia. Carrying out Islam wasathiyah (moderate), so as not to cause anarchy. However important prevention efforts that promote Islam as a religion of mercy to all the worlds (Islam rahmata lil 'alamin) through understanding of Islam washatiyah, to avoid understanding the extreme form of terrorism, anarchism, separatism and other forms of destructive life of society, nation and state.

Autism: Is It An Extreme Form of the “Male Brain”?

2015 ◽  
Vol 23 (10) ◽  
pp. 1775
Author(s):  
Shuqin CAO ◽  
Yanyan CAO
Keyword(s):  
Extreme Form

Introduction

2018 ◽  
Author(s):  
Muna Ali
Keyword(s):  
Identity Crisis ◽  
Muslim Community ◽  
American Muslim ◽  
Narrative Framework

This introductory chapter presents three vignettes that illustrate the four narratives that frame this book: the notion of an identity crisis among young Muslims, the purported conflict between a “pure or true” Islam and a “cultural” Islam, an alleged “Islamization of America,” and the imperative for creating an American Muslim community and culture. It also sketches the methodology employed in the book, detailing the centrality of a narrative framework from the inception of this project to its methods, the challenges encountered, the analysis, and ultimately to the production of this ethnographic narrative. This beginning chapter argues that narrative is a particularly useful way to examine identity.

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

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