Euripides’ Bacchae

Classics ◽  
2019 ◽  
Author(s):  
Fiona McHardy
Keyword(s):  
The Other ◽  
Royal Family ◽  
Maternal Grandfather ◽  
Mountain Lion ◽  
The City ◽  
As If ◽  
Iphigenia At Aulis

Produced posthumously along with Iphigenia at Aulis and Alcmaeon in Corinth and awarded first prize at the City Dionysia in 405 bce, Euripides’ Bacchae is one of his most well-known and influential tragedies. One of the most significant aspects of the play, attracting religious, gendered, psychological, philosophical, and metatheatrical readings, is the appearance as a major character of the god Dionysus seeking to establish his cult in the city of Thebes. Dionysus is simultaneously an outsider, setting off from Lydia with his band of Asiatic maenads, and a son of the city, conceived by Semele, a member of the Theban royal family, and born out of his father Zeus’ thigh after the death of his mother. Worshipping Dionysus brings ecstasy and joy, experienced through revels, music, and dancing, yet there is also a vengeful and destructive side to the god. He seeks to punish his maternal aunts for their lack of belief in his divine parentage and drives them from the palace onto the mountains along with the other Theban women. At the same time, the Theban elder Cadmus, Dionysus’ maternal grandfather, and the prophet Tiresias attire themselves in Bacchic garb and head for the mountains in a show of respect for the god. But Cadmus’s grandson Pentheus, the ruler of the city, is hostile to the establishment of Dionysus’ cult and refuses to accept the outsider. In the course of the play, Pentheus confronts Dionysus and attempts to constrain him by force to reassert his control over the city. Yet it is impossible for a mortal to defeat a god. Intrigued by news of the women’s Bacchic revels on the mountains, Pentheus is persuaded by Dionysus to disguise himself as a maenad and visit the mountains to observe the women. A messenger reports the terrible news of Pentheus’s death, torn apart as if he were an animal in a Bacchic ritual, by his mother and her two sisters. The play culminates with a powerful scene in which Agave returns to the palace carrying the head of her own son, believing it to be the head of a mountain lion they have killed. During the scene her father Cadmus gradually helps her to see that she has in fact dismembered her own son. The play concludes with the exile of the remaining members of the royal family.

Sidis in Mumbai: Negotiating Identities between Mumbai and Gujarat

2007 ◽  
Vol 6 (3) ◽  
pp. 305-319 ◽  
Author(s):  
Beheroze Shroff
Keyword(s):  
Middle Class ◽  
Low Income ◽  
The Other ◽  
Royal Family ◽  
Other Hand ◽  
Upper Middle Class ◽  
The City ◽  
Different Parts

AbstractIn this essay, I discuss issues of identity within the context of social and economic circumstances of the Sidi1 community in Mumbai. I argue that the Sidis who work as caretakers of shrines in Mumbai are accorded dignity and status from the community of devotees who are often from the Muslim, Hindu and Parsi Zoroastrian communities. Those Sidis who are dispersed in different parts of the city and who work as domestics in the homes of middle class Muslim or Hindu families, on the other hand, merge into the nameless toiling masses of the city of Mumbai. Most of these Sidis work in low-income jobs and live in one or two room shanty dwellings. Part of my enquiry also raises the question of home and belonging for the Sidi community. Where do Sidis locate home and how do they construct belonging in India? Finally, I conclude my essay by examining a very different Sidi presence in Mumbai, that of the descendants of the royal family of the Sidis of Janjira (an island off the coast of Mumbai) who live in the upper middle class area of Mumbai. I discuss how the descendants of the Sidis of Janjira construct identity in terms of class and privilege.

scholarly journals REPENSANDO AS FRONTEIRAS: A TRADUÇÃO DE IDENTIDADES NA OBRA DE JORGE LUIS BORGES

Organon ◽  
2004 ◽  
Vol 18 (37) ◽  
Author(s):  
Denise Vallerius De Oliveira
Keyword(s):  
Latin American ◽  
Jorge Luis Borges ◽  
The Other ◽  
Human Being ◽  
New Frontier ◽  
Proper Definition ◽  
Set Up ◽  
The One ◽  
The City ◽  
As If

The rearrangement of concepts about frontiers has made possible the emergence of a different approachto Jorge Luis Borges’ regionalist production – this production has often been misunderstood and supposedlyconsidered inappropriate in relation to his other universal and remarkable masterpieces. However, the themefrontiers is set up within the limits of his pampa i revealing the need to search for identities that insist on denyingtheir own proper definition. It demands different representations: first, the frontier between the country and the city,in the shade of Sarmiento and Hernández – the former, desiring a civilized and urbane Argentinean identity, totallyagainst the country barbarian; the latter, speaking of the pampa and the gaúchoii as if in a free existence, opposite tothe urbanized world. After these descriptions of city and country, Borges proposes to talk about the “arrabal”region, which translates a certain meaning of frontier, delineated by “fights and guitars” between the pampa andBuenos Aires. Once this new frontier is established, he tries to write about the ambiguous human being who lives inthat region: the compadrito – a mix of the urban man and the gaucho. This compadrito belongs to a place whichcannot be completely delimitated; he is intended to be not only a representation of Argentina’s culturecharacteristics, once his identity is often migrating between the I and the Other, thus making possible the listening tothe voices of differences, therefore translating this frontier identity – the one that truly represents the very Latin-American self.

Ghosts of Exile: Doubles and Nostalgia in Vergil's "Parva Troia" ("Aeneid" 3.294ff.)

1997 ◽  
Vol 16 (1) ◽  
pp. 8-33 ◽  
Author(s):  
Maurizio Bettini
Keyword(s):  
Eighteenth Century ◽  
Total Loss ◽  
The Other ◽  
The Past ◽  
Other Hand ◽  
Early Eighteenth Century ◽  
The Dead ◽  
The City ◽  
As If ◽  
At Home

This paper provides an analysis of Aeneas' visit to the "parva Troia" in Epirus (Vergil, "Aeneid" 3.294ff.), centered on the theme of "substitutes" and "doubles," and beginning with Andromache, the heroine of this encounter. With Helenus as a substitute for her deceased husband, Hector, Andromache is involved in a sort of levirate marriage. Moreover, she reacts to Aeneas and his companions as if they too were "substitutes," living persons who immediately evoke images of the dead, "doubles" for her lost loved ones (Hector first and foremost, and also Creusa and Astyanax). This makes Andromache perfectly at home in "parva Troia", which is itself a "double," a "substitute" for the city destroyed by the Greeks. Except that, like all "doubles," "parva Troia" is an insubstantial illusion, the effigy of something that no longer exists. This city and its landscape can only be "seen," not actually "inhabited." These Trojan exiles are thus victims of a syndrome very similar to "nostalgia" (a Greek word unknown to the ancient Greeks, dating to the early eighteenth century, and beautifully described in a remarkable passage by Chateaubriand). Helenus and his companions are "too faithful" to their vanished city; their destiny, like that of the dead, has been hopelessly fulfilled. Aeneas, however, is not allowed to become a prisoner of the past. Against his will, he must be "unfaithful" to his former city: he will not rebuild Troy. The companions of Helenus and Andromache suffer from an "excess of identity" (one way to define nostalgia). Aeneas, on the other hand, submits to the almost total loss of his own identity: except for the Penates, a highly significant, sacred part of the lost patria, which will contribute to the formation of his identity in a way similar to Helenus and Andromache's own nostalgic cult of the image of Troy.

scholarly journals A Translation into English of Khalil I. Al-Fuzai’s1 “Chivalry of the Village”

2020 ◽  
Vol 9 (3) ◽  
pp. 74
Author(s):  
Gassim H. Dohal
Keyword(s):  
The Other ◽  
Cultural Issue ◽  
Rural People ◽  
Her Family ◽  
Police Station ◽  
Village People ◽  
The Village ◽  
The City ◽  
Country People ◽  
As If

Hameed goes to the city to sell his crops and buy some goods for his wedding. His fate leads him to meet a thief. He beats the thief and is taken to prison. At the beginning of the story, Khalil I. Al-Fuzai paints a living picture, showing how farmers arrange their trips to the city, using donkeys as a means of transportation. The animals are treated without mercy; though living creatures, they are beaten and overloaded: “The donkey may feel the human being’s injustice. Hence it takes the opportunity to drop its load and run away … 3” and “donkeys … shake their heads up and down with each step they take …” as if commenting on their owners’ treatment of them. The story addresses the village-city relationship as well; the city is important for village residents as a marketplace where they can “sell their loads of fruits and crops from their farms …” and buy what they need for their families and neighbors, as shown in both this story and the previous one, “Thursday Fair.” In other stories, like “Wednesday Train,” people go to the city to look for jobs.  In dealing with city customers, experience and advice are important; if the protagonist had not figured out that the customer had disappeared into a mosque and slipped out the other door, he could have waited as long as he wanted and still have left empty-handed. In this case, the advice of Olyan’s mother in “Thursday Fair” is relevant for naïve village youths: “Salesmen of the city are deceitful, so be careful, O Olyan.” The same is true for city customers, as this story shows.  On the other hand, the story demonstrates that one of the main characteristics of rural people is that they are helpful and united, so the author refers to them as if they are one cooperative group.  The country people are also hard workers. Even on his wedding day, Hameed goes to the city to sell the crops of his land. As a countryman, he does not want to bother his friends, and likes to assume his business on his own: “It will be a burden for you to add my things to yours to sell.” In addition, the story refers to a cultural issue: In some Arabian societies, a man cannot see the woman he is going to marry until she becomes his wife—and at that moment, he cannot go back on his word. Usually, a man’s female relatives choose the girl and, if her family accepts the proposal, then the man’s family prepares for the marriage. Hence, it is the judgment of the female relatives that rules in such situations. Sometimes a previous friendship or an earlier acquaintance between the two females may affect the whole story, as we will see in “Wednesday Train.” So, “the bride here to some extent is similar to a watermelon …” for the bridegroom. Hameed uses “watermelon” in his simile because he knows well such a fruit; it is his main produce.  At the end, the story refers to an administrative issue: a cop “takes [Hameed] to the police station.” In the afternoon, all the investigators at the police station are either busy with cases they want to finish before going home, or they have already left their offices, so Hameed must spend the night there, waiting for the next business day before an investigation can take place. Briefly, this story relates that village people are simple and innocent, but when it comes to values they believe in, they do not hesitate to take action.4

From Container to Claustrum: Projective Identification in Couples

2014 ◽  
Vol 4 (2) ◽  
Author(s):  
Tamara Feldman
Keyword(s):  
Psychological Health ◽  
Projective Identification ◽  
The Self ◽  
The Other ◽  
Intimate Partners ◽  
And Control ◽  
The Relationship ◽  
As If

This paper is a contribution to the growing literature on the role of projective identification in understanding couples' dynamics. Projective identification as a defence is well suited to couples, as intimate partners provide an ideal location to deposit unwanted parts of the self. This paper illustrates how projective identification functions differently depending on the psychological health of the couple. It elucidates how healthier couples use projective identification more as a form of communication, whereas disturbed couples are inclined to employ it to invade and control the other, as captured by Meltzer's concept of "intrusive identification". These different uses of projective identification affect couples' capacities to provide what Bion called "containment". In disturbed couples, partners serve as what Meltzer termed "claustrums" whereby projections are not contained, but imprisoned or entombed in the other. Applying the concept of claustrum helps illuminate common feelings these couples express, such as feeling suffocated, stifled, trapped, held hostage, or feeling as if the relationship is killing them. Finally, this paper presents treatment challenges in working with more disturbed couples.

Pengaruh Kotbah, Musik Gereja Dan Fasilitas Gereja Terhadap Tingkat Kehadiran Jemaat

2016 ◽  
Vol 1 (1) ◽  
pp. 1-15
Author(s):  
Frederich Oscar Lontoh
Keyword(s):  
Regression Analysis ◽  
Multiple Regression Analysis ◽  
Church Music ◽  
Pearson Correlation ◽  
Descriptive Analysis ◽  
Target Population ◽  
The Other ◽  
Pearson Correlation Coefficient ◽  
Christian Church ◽  
The City

This research is titled " The influence of sermon, church music and church facilities on the level of attendance”. The purpose of research is to identify and analyze whether sermon, church music and church facilities have influence on the the level of attendance. The target population in this study is a Christian church members who live in the city of Surabaya.. Sample required is equal to 47 respondents. Through sampling stratified Random techniques.These influence was measured using Pearson correlation coefficient and multiple regression analysis, t-test and analysis of variance. Descriptive  analysis  were taken to analyze the level of attendance according to demographic groups.The hypothesis in this study are the sermon, church music and church facilities have positive and significant on the level of attendance. The results showed that collectively, there are positive and significant correlation among the sermon, church music and church facilities on the level of attendance  96,2%. It means that 96,2 % of level of attendance influenced by sermon, church music and church facilities and the other 28,9% by others. All of the variable partially have significant correlation to level of attendance.

KONSEP DIRI “ I “ DAN “ME” TOKOH HIROKO DALAM NOVEL NAMAKU HIROKO KARYA NH.DINI

2012 ◽  
Vol 5 (2) ◽  
pp. 109
Author(s):  
Besin Gaspar
Keyword(s):  
Point Of View ◽  
The Other ◽  
Self Concept ◽  
The Novel ◽  
Main Character ◽  
Fictional Character ◽  
Social Customs ◽  
The Social ◽  
The Village ◽  
The City

This research deals with the development of  self concept of Hiroko as the main character in Namaku Hiroko by Nh. Dini and tries to identify how Hiroko is portrayed in the story, how she interacts with other characters and whether she is portrayed as a character dominated by ”I” element or  ”Me”  element seen  from sociological and cultural point of view. As a qualitative research in nature, the source of data in this research is the novel Namaku Hiroko (1967) and the data ara analyzed and presented deductively. The result of this analysis shows that in the novel, Hiroko as a fictional character is  portrayed as a girl whose personality  develops and changes drastically from ”Me”  to ”I”. When she was still in the village  l iving with her parents, she was portrayed as a obedient girl who was loyal to the parents, polite and acted in accordance with the social customs. In short, her personality was dominated by ”Me”  self concept. On the other hand, when she moved to the city (Kyoto), she was portrayed as a wild girl  no longer controlled by the social customs. She was  firm and determined totake decisions of  her won  for her future without considering what other people would say about her. She did not want to be treated as object. To put it in another way, her personality is more dominated by the ”I” self concept.

STUDY OF ORNAMENTS IN HUNTO SULTAN AMAY MOSQUE GORONTALO

ARTic ◽  
2019 ◽  
Vol 4 ◽  
pp. 167-176
Author(s):  
Risti Puspita Sari Hunowu
Keyword(s):  
Qualitative Method ◽  
The Other ◽  
Visual Form ◽  
Research Material ◽  
Other Hand ◽  
The World ◽  
Existing Form ◽  
The City ◽  
Dutch Colonial

This research is aimed at studying the Hunto Sultan Amay Mosque located in Gorontalo City. Hunto Sultan Amay Mosque is the oldest mosque in the city of Gorontalo The Hunto Sultan Amay Mosque was built as proof of Sultan Amay's love for a daughter and is a representation of Islam in Gorontalo. Researchers will investigate the visual form of the Hunto Sultan Amay Mosque which was originally like an ancient mosque in the archipelago. can be seen from the shape of the roof which initially used an overlapping roof and then converted into a dome as well as mosques in the world, we can be sure the Hunto Sultan Amay Mosque uses a dome roof after the arrival of Dutch Colonial. The researcher used a qualitative method by observing the existing form in detail from the building of the mosque with an aesthetic approach, reviewing objects and selecting the selected ornament giving a classification of the shapes, so that the section became a reference for the author as research material. Based on the analysis of this thesis, the form  of the Hunto Sultan Amay mosque as well as the mosques located in the archipelago and the existence of ornaments in the Hunto Sultan Amay Mosque as a decorative structure support the grandeur of a mosque. On the other hand, Hunto Mosque ornaments reveal a teaching. The form of a teaching is manifested in the form of motives and does not depict living beings in a realist or naturalist manner. the decorative forms of the Hunto Sultan Sultan Mosque in general tend to lead to a form of flora, geometric ornaments, and ornament of calligraphy dominated by the distinctive colors of Islam, namely gold, white, red, yellow and green.

A utopia do direito à cidade: Possibilidades de superação da dicotomia favela-bairro no Rio de Janeiro

GEOgraphia ◽  
2010 ◽  
Vol 7 (14) ◽  
Author(s):  
Márcio Piñon de Oliveira
Keyword(s):  
Rio De Janeiro ◽  
The Other ◽  
Right To The City ◽  
Other Hand ◽  
The Right ◽  
The City

A utopia do direito à cidade,  no  caso específico do Rio de Janeiro, começa, obrigatoriamente, pela  superação da visão dicotômica favela-cidade. Para isso, é preciso que os moradores da favela possam sentir-se tão cidadãos quanto os que têm moradias fora das favelas. A utopia do direito à cidade tem de levar a favela a própria utopia da cidade. Uma cidade que não se fragmente em oposições asfalto-favela, norte-sul, praia-subúrbio e onde todos tenham direito ao(s) seu(s) centro(s). Oposições que expressam muito mais do que diferenças de  localização e que  se apresentam recheadas de  segregação, estereótipos e  ideologias. Por outro  lado, o direito a cidade, como possibilidade histórica, não pode ser pensado exclusivamente a partir da  favela. Mas as populações  que aí habitam guardam uma contribuição inestimável para  a  construção prática  desse direito. Isso porque,  das  experiências vividas, emergem aprendizados e frutificam esperanças e soluções. Para que a favela seja pólo de um desejo que impulsione a busca do direito a cidade, é necessário que ela  se  pense como  parte da história da própria cidade  e sua transformação  em metrópole.Abstract The right  to the city's  utopy  specifically  in Rio de Janeiro, begins by surpassing  the dichotomy approach between favela and the city. For this purpose, it is necessary, for the favela dwellers, the feeling of citizens as well as those with home outside the favelas. The right to the city's utopy must bring to the favela  the utopy to the city in itself- a non-fragmented city in terms of oppositions like "asphalt"-favela, north-south, beach-suburb and where everybody has right to their center(s). These oppositions express much more the differences of location and present  themselves full of segregation, stereotypes and ideologies. On  the other  hand, the right to  the city, as historical possibility, can not be thought  just from the favela. People that live there have a contribution for a practical construction of this right. 

Rhetoric and argumentation: the unity of the field

2017 ◽  
Author(s):  
Michel Meyer
Keyword(s):  
The Other ◽  
Classic Problem ◽  
False Dilemma ◽  
The Difference ◽  
As If

Rhetoric has always been torn between the rhetoric of figures and the rhetoric of conflicts or arguments, as if rhetoric were exclusively one or the other. This is a false dilemma. Both types of rhetoric hinge on the same structure. A common formula is provided in Chapter 3 which unifies rhetoric stricto sensu and rhetoric as argumentation as two distinct but related strategies adopted according to the level of problematicity of the questions at stake, thereby giving unity to the field called “Rhetoric.” Highly problematic questions require arguments to justify their answers; non-divisive ones can be treated rhetorically through their answers as if they were self-evident. Another classic problem is how to understand the difference between logic and rhetoric. The difference between the two is due to the presence of questions explicitly answered in the premises in logic and only suggested (or remaining indeterminate) in rhetoric.

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