Communication as source and motivator of language evolution

2003 ◽  
Vol 27 (3) ◽  
pp. 249-268 ◽  
Author(s):  
Vilmos Benczik
Keyword(s):  
Language Change ◽  
Language Evolution ◽  
Communication Technologies ◽  
Point Of View ◽  
Syntactic Complexity ◽  
Linguistic Resources ◽  
Human Thought ◽  
The Past ◽  
History Of ◽  
The One

Language emerges and changes primarily through communication; therefore communication technologies play a key role in the history of language change. The most powerful communication technology from this point of view is phonetic writing, which has a double effect on language: on the one hand it impoverishes suprasegmental linguistic resources; on the other hand it evokes in language a profound and sophisticated semantic precision, and also syntactic complexity. The huge progress in abstract human thought that has taken place over the past three or four centuries has come about on the basis of these linguistic changes. Today, when writing seems to be losing its earlier hegemony over communication, the question arises as to whether this will lead to the erosion of human language, and also of human thought.

The Place of Tulsī dās in North Indian Devotional Tradition

1966 ◽  
Vol 98 (2) ◽  
pp. 123-140 ◽  
Author(s):  
F. R. Allchin
Keyword(s):  
Point Of View ◽  
North India ◽  
Considerable Part ◽  
The Past ◽  
Whole Process ◽  
Great Body ◽  
Small Measure ◽  
History Of ◽  
The One ◽  
Relationship Of

To the outside observer the history of Hindu sectarianism often appears as a disorganized tangle, lacking clarity and precision. The whole process is made if anything more complex by the ill-defined relationship of sect and non-sect. As Renou remarks: Though no statistics are available, even for the present day, we have grounds for supposing that the most active sects were themselves only isolated groups within the great body of believers. From another point of view, however, the history is more understandable. A considerable part of sectarian activity during the past 1,500 years has been concerned with the spread and regional development of a single great devotional movement. Seen from this position, the uniformity and theological coherence of the sects, whether they be called Vaiṣṇavite, Śaivite, or by some other name, is remarkable and often overrides the no less real disparities of doctrine or detail at another level. Again, in this process regional variations have arisen in no small measure as a result of the popular character of the writings of particular saints. Thus, for example, Basava or Purandara Dāsa hold pride of place in the Karnāṭka, the one Vīra Śaiva, the other Vaiṣṇava; in Mahārāṣṇra devotion has in no small part been moulded by the thought of Jāân Dev or Tukā Rām; in the Pañjāb by Nānak; and in the Hindī region by Kabīr Dās, Tulsī Dās, and Sūr Dās. Throughout north India the influences which lay behind the movement were largely, but by no means exclusively, Vaiṣṇavite; yet other streams contributed, Śaivite, Buddhist, Tāntrika, Yogī, etc.

scholarly journals History of Human Thought Knowing God

2021 ◽  
Vol 4 (1) ◽  
pp. 575-581
Author(s):  
Syarifuddin Syarifuddin
Keyword(s):  
Point Of View ◽  
Word Of God ◽  
Scientific Content ◽  
Religious People ◽  
Human Thought ◽  
Constant Change ◽  
True Purpose ◽  
History Of ◽  
The One ◽  
The Universe

The aims of this study to find out the history of human thought knowing god. The result of this study The scientific content in the word of God which is owned by the belief of understanding the divinity of religious people, should be the responsibility of Muslim scientists to make it a scientific answer, to those who need it, including all children of the nation of different religions in life who are bound by the one God values. Currently, the interest of preaching and scientific seminars must be able to inspire, and change the mindset of people from not having their hijab open to God, to being able to open their veils to God, not to blaspheme and corner other people, especially those who are not of the same religion. Or in other words, it must be able to shift the soul of a believer into a pious person's soul instantly, with a strand of contemporary language, where in the language of da'wah. By having a good and correct divine science, it is clear that religion is nothing but composed of conceptually real laws like the universe which consists of nothing but the laws of physics, chemistry and biology. It's just that the dignity and dimensions of these religious laws are higher and are essential, absolute and if viewed philosophically it appears that this nature is very perfect. Divine philosophy teaches us how to utilize and apply both physical and spiritual aspects and how to conform to God's plan, and reveal the true purpose of life. In fact, as seen from a spiritual point of view, life has no division: life is one, as is constantly. There is no death, only constant change.

scholarly journals Caesura of History: Performing Greek Tragedy after Brecht

2017 ◽  
Vol 2 (2) ◽  
pp. 241
Author(s):  
Matthias Dreyer
Keyword(s):  
Greek Tragedy ◽  
Point Of View ◽  
The Other ◽  
The Past ◽  
History Of ◽  
The One ◽  
A Site ◽  
Established Order ◽  
The Way

Taking into account the intertwining of the theory of tragedy on the one hand and theatrical work on ancient tragic texts on the other, the paper explores the way in which tragedy poses the question of history. This is especially the case in conceptions of tragedy as an interruption in a continuum. Hölderlin’s idea of caesura, its reflection in Benjamin’s understanding of tragedy as a revision of myth are in the center of a critical dramaturgy of this kind. By analysing Brecht’s work on Antigone as well as the stagings of critical theatre makers that came after Brecht (Einar Schleef, Dimiter Gotscheff), the paper shows the consequences of the concept ‘tragedy as caesura‘ on the level of the aesthetics of the theatre, unclosing in a radical way the temporality of the tragic process. From this point of view, tragedy is understood as a site of encounter with the persisting powers of the past; as reflexive rupture in the transition between times, that undermines the established order, but without, however, arriving at a new one. Although in the history of theatre and thought tragedy has been too often associated with the universal and timeless, how is it possible to think of historicity in a way negating submission under the universal without losing the genre of tragedy itself?

scholarly journals CLASSICISM AND NEO-CLASSICISMS IN THE HISTORY OF MUSIC

2021 ◽  
Vol 5 (1) ◽  
pp. 115-122
Author(s):  
Gabriel BULANCEA ◽  
Keyword(s):  
20Th Century ◽  
Point Of View ◽  
The Other ◽  
The Past ◽  
Creative Identity ◽  
History Of ◽  
The One ◽  
Rudimentary Form ◽  
The 19Th Century ◽  
Looking Back

In one of his articles, Octavian Paler draws attention in a metaphorical-mythologizing manner upon one of the risks taken by those who chose tradition as their source of inspiration. The epigonic spirit, because this is what he refers to, cannot escape idolatrising tradition, phenomenon that happens within an alterity of the creative identity, within the pettiness of controlling the artistic means, within the infatuation of his own image which is placed under the protection of the great creative figures. The epigone masters in an embryonic form some techniques which, for various reasons, he cannot manipulate creatively. He is somehow suspended between two sensibilities, hence his failure. On the one hand, he is not aware of the risk of assuming past sensibilities, and on the other, he does not assume his contemporariness. Giving in to the temptation of looking too much into the past, the epigonic artist loses his identifying sensibility. “The mistake of neo-classicism, with its statues painted or sculpted based and antique models, is Orpheus’ mistake. As we no longer have the soul of the ancient Greeks, imitating their art is useless because in art too, looking back kills if there is no conscience of the irreversibility. From this point of view, there is no turning back unless in order to desolate everything” (Paler, 2016, pp. 189-190). This quote refers to neo-classicism perceived in its most rudimentary form, in which it would identify itself with the epigonic phenomenon. Of course, no relation of equality can be claimed between an epigone and a neo-classicist. If we are to give a brief definition in which to establish a relationship between these two terms, the epigone is a neo-classicist that lacks fantasy. Neo-classicism means to creatively take over technical means, past sensibilities in order to anchor them in the tumultuousness of contemporary times. Neo-classicism represents the happiest mixture between past and present, that form of artistic reverberation in which modernity still makes room for the seal of the past. Not servility, not obedience, not anachronism which denote the incapacity to assimilate new composing techniques or the lack of vigour of creative energies, but the power to adapt to new sensibilities through restorative interventions. Starting from here, we will trace a re-echeloning line of various types of neo-classic sensibilities specific to the end of the 19th century and to the entire 20th century

History of Tour de France from the Geographical Point of View

2013 ◽  
Vol 22 (3-4) ◽  
pp. 255-277 ◽  
Author(s):  
Vladimír Bačík ◽  
Michal Klobučník
Keyword(s):  
Point Of View ◽  
The Past ◽  
Advanced Technologies ◽  
The World ◽  
Spatial Dimensions ◽  
Tour De France ◽  
Wide Circle ◽  
History Of ◽  
Expert Community ◽  
Geographical Point

Abstract The Tour de France, a three week bicycle race has a unique place in the world of sports. The 100th edition of the event took place in 2013. In the past of 110 years of its history, people noticed unique stories and duels in particular periods, celebrities that became legends that the world of sports will never forget. Also many places where the races unfolded made history in the Tour de France. In this article we tried to point out the spatial context of this event using advanced technologies for distribution of historical facts over the Internet. The Introduction briefly displays the attendance of a particular stage based on a regional point of view. The main topic deals with selected historical aspects of difficult ascents which every year decide the winner of Tour de France, and also attract fans from all over the world. In the final stage of the research, the distribution of results on the website available to a wide circle of fans of this sports event played a very significant part (www.tdfrance.eu). Using advanced methods and procedures we have tried to capture the historical and spatial dimensions of Tour de France in its general form and thus offering a new view of this unique sports event not only to the expert community, but for the general public as well.

The Invention of Papal History

2019 ◽  
Author(s):  
Stefan Bauer
Keyword(s):  
Catholic Reformation ◽  
History Writing ◽  
Historical Texts ◽  
The Past ◽  
History Of ◽  
Cultural Standards ◽  
Commissioned Works ◽  
The One ◽  
Late Renaissance ◽  
The Church

How was the history of post-classical Rome and of the Church written in the Catholic Reformation? Historical texts composed in Rome at this time have been considered secondary to the city’s significance for the history of art. The Invention of Papal History corrects this distorting emphasis and shows how history-writing became part of a comprehensive formation of the image and self-perception of the papacy. By presenting and fully contextualizing the path-breaking works of the Augustinian historian Onofrio Panvinio (1530–68), this book shows what type of historical research was possible in the late Renaissance and the Catholic Reformation. Historiography in this period by no means consisted entirely of commissioned works written for patrons; rather, a creative interplay existed between, on the one hand, the endeavours of authors to explore the past and, on the other hand, the constraints of patronage and ideology placed on them. This book sheds new light on the changing priorities, mentalities, and cultural standards that flourished in the transition from the Renaissance to the Catholic Reformation.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

La citoyenneté et la construction de l'Europe : discussions théoriques

Res Publica ◽  
1994 ◽  
Vol 36 (3-4) ◽  
pp. 361-380
Author(s):  
Paul Magnette
Keyword(s):  
Second World War ◽  
Point Of View ◽  
Nation State ◽  
The European Union ◽  
World War ◽  
Dual Nature ◽  
European Citizenship ◽  
History Of ◽  
The One ◽  
Second World

This paper examines the evolving ideological content of the concept of citizenship and particularly the challenges it faces as a consequence of the building of the European Union. From an epistemological point of view it is first argued that citizenship may be described as a dual concept: it is both a legal institution composed of the rights of the citizen as they are fixed at a certain moment of its history, and a normative ideal which embodies their political aspirations. As a result of this dual nature, citizenship is an essentially dynamicnotion, which is permanently evolving between a state of balance and change.  The history of this concept in contemporary political thought shows that, from the end of the second World War it had raised a synthesis of democratic, liberal and socialist values on the one hand, and that it was historically and logically bound to the Nation-State on the other hand. This double synthesis now seems to be contested, as the themes of the "crisis of the Nation State" and"crisis of the Welfare state" do indicate. The last part of this paper grapples with recent theoretical proposals of new forms of european citizenship, and argues that the concept of citizenship could be renovated and take its challenges into consideration by insisting on the duties and the procedures it contains.

WHY STUDYING THE HISTORY OF PHILOSOPHY MATTERS

Think ◽  
2021 ◽  
Vol 21 (60) ◽  
pp. 5-20
Author(s):  
Anna Marmodoro
Keyword(s):  
Ancient Philosophy ◽  
History Of Philosophy ◽  
Special Focus ◽  
The Past ◽  
History Of ◽  
The One

The debate over whether and how philosophers of today may usefully engage with philosophers of the past is nearly as old as the history of philosophy itself. Does the study of the history of philosophy train or corrupt the budding philosopher's mind? Why study the history of philosophy? And, how to study the history of philosophy? I discuss some mainstream approaches to the study of the history of philosophy (with special focus on ancient philosophy), before explicating the one I adopt and commend.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

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