The voice in modern Japan: translations from the history of the senses

Japan Forum ◽  
2018 ◽  
Vol 30 (3) ◽  
pp. 303-312
Author(s):  
Jonathan Service
Keyword(s):  
History Of ◽  
The Senses ◽  
Modern Japan ◽  
The Voice

How the Bible Feels

2017 ◽  
Vol 8 (1-2) ◽  
pp. 27-37 ◽  
Author(s):  
Dorina Miller Parmenter
Keyword(s):  
Affect Theory ◽  
Material Object ◽  
Bodily Harm ◽  
The Bible ◽  
History Of ◽  
The Senses ◽  
Christian Leaders ◽  
Christian History

Despite Christian leaders’ insistence that what is important about the Bible are the messages of the text, throughout Christian history the Bible as a material object, engaged by the senses, frequently has been perceived to be an effective object able to protect its users from bodily harm. This paper explores several examples where Christians view their Bibles as protective shields, and will situate those interpretations within the history of the material uses of the Bible. It will also explore how recent studies in affect theory might add to the understanding of what is communicated through sensory engagement with the Bible.

Cinema and the Haptic in Modern Japan

Screen Bodies ◽  
2018 ◽  
Vol 3 (1) ◽  
pp. 23-36
Author(s):  
Daisuke Miyao
Keyword(s):  
The Body ◽  
Film Culture ◽  
Visual Medium ◽  
German Cinema ◽  
The Status ◽  
The Senses ◽  
Modern Japan

The process of modernization in Japan appeared as a separation of the senses and remapping of the body, particularly privileging the sense of vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s respond to such a reorganization of the body and the elevation of vision in the context of film culture? How did they formulate a cinematic discourse on remapping the body when the status of cinema was still in flux and its definition was debated? Focusing on cinematic commentary made by different writers, this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwasaki Akira questioned the separation of the senses, which was often enforced by state. Inspired by German cinema released in Japan at that time, they explored the notion of the haptic in cinema and problematized the privileged sense of vision in this new visual medium.

scholarly journals The translation and transmission of ‘diatribal’ verbs in the textual traditions of the Zlatostruj collection

2021 ◽  
Author(s):  
Simeon Dekker
Keyword(s):  
Middle Ages ◽  
Form Equation ◽  
Verb Forms ◽  
Textual History ◽  
History Of ◽  
Textual Traditions ◽  
The Voice ◽  
Over Time ◽  
The Middle Ages

AbstractThe ‘diatribe’ is a dialogical mode of exposition, originating in Hellenistic Greek, where the author dramatically performs different voices in a polemical-didactic discourse. The voice of a fictitious opponent is often disambiguated by means of parenthetical verba dicendi, especially φησί(ν). Although diatribal texts were widely translated into Slavic in the Middle Ages, the textual history of the Zlatostruj collection of Chrysostomic homilies especially suits an investigation not only of how Greek ‘diatribal’ verbs were translated, but also how the Slavic verbs were transmitted or developed in different textual traditions. Over time, Slavic redactional activity led to a homogenization of verb forms. The initial variety of the original translation was partly eliminated, and the verb forms "Equation missing" and "Equation missing" became more firmly established as prototypical diatribal formulae. Especially the (increased) use of the 2sg form "Equation missing" has theoretical consequences for the text’s dialogical structure. Thus, an important dialogical component of the diatribe was reinforced in the Zlatostruj’s textual history on Slavic soil.

FROM TESTIMONY TO HETEROGLOSSIA: THE VOICE(S) OF LAMENT IN WE ARE THE PERSIANS!

2021 ◽  
Vol 1 (46) ◽  
pp. 151-182
Author(s):  
Marios Chatziprokopiou ◽  
Keyword(s):  
Asylum Seekers ◽  
Real Life ◽  
Main Body ◽  
Original Play ◽  
Documentary Theatre ◽  
History Of ◽  
Audiovisual Archives ◽  
Displaced People ◽  
The Voice ◽  
Ancient Drama

We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.

Senses of Vibration

2012 ◽  
Author(s):  
Shelly Trower
Keyword(s):  
Sensory Experience ◽  
Cultural Imaginary ◽  
Wide Range ◽  
History Of ◽  
The Senses ◽  
To Come ◽  
The Brain

The study of the senses has become a rich topic in recent years. Senses of Vibration explores a wide range of sensory experience and makes a decisive new contribution to this growing field by focussing not simply on the senses as such, but on the material experience - vibration - that underpins them. This is the first book to take the theme of vibration as central, offering an interdisciplinary history of the phenomenon and its reverberations in the cultural imaginary. It tracks vibration through the work of a wide range of writers, including physiologists (who thought vibrations in the nerves delivered sensations to the brain), physicists (who claimed that light, heat, electricity and other forms of energy were vibratory), spiritualists (who figured that spiritual energies also existed in vibratory form), and poets and novelists from Coleridge to Dickens and Wells. Senses of Vibration is a work of scholarship that cuts through a range of disciplines and will reverberate for many years to come.

Agency and the Senses in the Context of Museality from the Perspective of Aesthetics of Religion

2011 ◽  
Vol 4 (1) ◽  
pp. 102-133
Author(s):  
Isabel Laack ◽  
Esther-Maria Guggenmos ◽  
Sebastian Schüler
Keyword(s):  
European History ◽  
Sense Making ◽  
History Of Religions ◽  
History Of ◽  
The Senses

AbstractThe aim of this paper is to apply the perspective of aesthetics of religion to the context of museality, focusing on notions of the agent and the senses. After sketching different roles of agency in the field of museality and suggesting some theoretically interesting links to research on European history of religions, the notion of agency will be extended to aesthetic, sensual, bodily, cognitive, and other aspects of experience, perception, sense-making, and interpretation of objects and media in the context of museality. Furthermore, questions of how specific cultural and religious sense hierarchies affect the interaction of agents with museality are raised. Finally, the insights gained are applied to a discussion of the analytical value of the concept of 'museality.'

Sign in / Sign up

Export Citation Format

Share Document