What, if anything, is a caesura? The ontology of the ‘pause’ in English heroic verse

2019 ◽  
Vol 28 (3) ◽  
pp. 263-279
Author(s):  
Peter Groves
Keyword(s):  
18Th Century ◽  
Linguistic Features ◽  
Definition Of ◽  
Iambic Pentameter

The term ‘caesura’ (or ‘pause’) has featured in discussion of English iambic pentameter for four centuries, and yet it still lacks what the Latin hexameter or the French alexandrine have: a definition of the term that might be usefully applied in stylistic description. Despite the temptation to dismiss it as a prosodic chimera or a mere epiphenomenon of syntax, this article will investigate a rough consensus that emerged amongst 18th-century theorists and practitioners about the bisecting caesura as both a normative element of versification and an aesthetic instrument, and attempt to formalize that consensus into a taxonomy based on linguistic features that will allow the caesura to function as a feature of stylistic description and analysis, not just for the heroic couplet but for the pentameter more generally, in terms of three independent and objectively definable properties that I term ‘balance’, ‘juncture’ and ‘integration’.

Vyshnivetsky Castle Library of Prince Mychailo Servaty Vyshnivetsky – Historical Book Heritage and Object of Bibliological and Historical Reconstruction

2014 ◽  
Vol 3 ◽  
pp. 166-182
Author(s):  
Iryna Tsiborovska-Rymarovych
Keyword(s):  
18Th Century ◽  
Historical Analysis ◽  
Cultural Significance ◽  
Historical Sources ◽  
Cultural Images ◽  
The Enlightenment ◽  
Printed Books ◽  
History Of ◽  
Grand Duchy Of Lithuania ◽  
Definition Of

The article has as its object the elucidation of the history of the Vyshnivetsky Castle Library, definition of the content of its fund, its historical and cultural significance, correlation of the founder of the Library Mychailo Servaty Vyshnivetsky with the Book.The Vyshnivetsky Castle Library was formed in the Ukrainian historical region of Volyn’, in the Vyshnivets town – “family nest” of the old Ukrainian noble family of the Vyshnivetskies under the “Korybut” coat of arm. The founder of the Library was Prince Mychailo Servaty Vyshnivetsky (1680–1744) – Grand Hetman and Grand Chancellor of the Grand Duchy of Lithuania, Vilno Voievoda. He was a politician, an erudite and great bibliophile. In the 30th–40th of the 18th century the main Prince’s residence Vyshnivets became an important centre of magnate’s culture in Rich Pospolyta. M. S. Vyshnivetsky’s contemporaries from the noble class and clergy knew quite well about his library and really appreciated it. According to historical documents 5 periods are defined in the Library’s history. In the historical sources the first place is occupied by old-printed books of Library collection and 7 Library manuscript catalogues dating from 1745 up to the 1835 which give information about quantity and topical structures of Library collection.The Library is a historical and cultural symbol of the Enlightenment epoch. The Enlightenment and those particular concepts and cultural images pertaining to that epoch had their effect on the formation of Library’s fund. Its main features are as follow: comprehensive nature of the stock, predominance of French eighteenth century editions, presence of academic books and editions on orientalistics as well as works of the ideologues of the Enlightenment and new kinds of literature, which generated as a result of this movement – encyclopaedias, encyclopaedian dictionaries, almanacs, etc. Besides the universal nature of its stock books on history, social and political thought, fiction were dominating.The reconstruction of the history of Vyshnivetsky’s Library, the historical analysis of the provenances in its editions give us better understanding of the personality of its owners and in some cases their philanthropic activities, and a better ability to identify the role of this Library in the culture life of society in a certain epoch.

Two Commentaries on Euclid's Definition of Proportional Magnitudes

1994 ◽  
Vol 4 (1) ◽  
pp. 181-198 ◽  
Author(s):  
Bijan Vahabzadeh
Keyword(s):  
18Th Century ◽  
The Other ◽  
Identical Manner ◽  
Definition Of

Euclid's definition of proportional magnitudes in the Fifth Book of the Elements gave rise to many commentaries. We examine closely two of these commentaries, one by al-Jayyānī (11th century) and the other by Saunderson (18th century). Both al-Jayyānī and Saunderson attempted to defend Euclid's definition by making explicit what Euclid had only implied. We show that the two authors explain Euclid's position in a virtually identical manner.

Digital Technology: the Answer to the Art Historical Conundrum of A ccessibility?

2018 ◽  
Author(s):  
Abigail Berry
Keyword(s):  
Digital Technology ◽  
Art History ◽  
18Th Century ◽  
Modern Technology ◽  
Travel Costs ◽  
Special Collections ◽  
The People ◽  
Accessibility Problem ◽  
Definition Of ◽  
High Level

The famous anthropologist Pierre Bourdieu argued that there is an “unnatural idea of inborn culture, of a gift of culture, bestowed on certain people by Nature.” [1] Bourdieu is arguing that people, who have not been born into a higher class, or who cannot receive a high level of education, are unable to appreciate and understand art. The study of art history is expensive, and often involves extremely high travel costs, thus making it inaccessible to anybody who does not enjoy the means to pursue it. How can we address this accessibility problem in the study of art history? Is there any way to bring art to the people who do not possess “inborn culture?” Bourdieu wrote his book on art and class in 1984, at a time when the computer, and its democratizing potential, was a new and little -understood invention. My research proposes that modern technology provides an answer to this problem, which has plagued the discipline of art history. This presentation will examine three research projects that I’ve been working on at Queen’s. Each project uses digital technologies to improve the general public’s knowledge and access to art. The projects are all different: the first focuses on creating a digital model of 18th - century Canterbury Cathedral based on a book from W.D. Jordan Rare Books and Special Collections, the second project works on understanding Herstmonceux Castle and medieval England through technology, and the third involves image processing for art historical investigations. Despite their differences, each project makes art accessible to people who do not possess Bourdieu’s definition of “inborn culture.”        

scholarly journals The Meaning of the Old Russian Plurale Tantum PAMIATI

Slovene ◽  
2015 ◽  
Vol 4 (1) ◽  
pp. 45-51
Author(s):  
Marina A. Bobrik
Keyword(s):  
18Th Century ◽  
17Th Century ◽  
Actual Practice ◽  
Old Russian ◽  
Russian Dialect ◽  
Definition Of ◽  
Written Sources

The paper deals with the meaning of the Old Russian plurale tantum pamiati, hitherto attested only in a 17th-century list of food served at banquets that is published in Ivan Zabelin’s Domashnii byt russkikh tsarei. The tentative meaning ‘brain (of crane)’ proposed in the Slovarʹ russkogo iazyka 11–17 vv. does not reflect actual practice. Other 17th- and 18th-century written sources, primarily food lists but also lexicographic sources and Russian dialect data, allow for the definition ‘breastbone and meat (of poultry).’ In this meaning, as well as in other meanings of the Russian dialectal word pamiati, the plural and the singular forms are synonyms. In the newly found context of the 17th-century Skazka o molodtse, kone i sable, the word pamiati refers to the breastbone of a horse, so the meaning can now be more precisely defined as ‘breastbone and meat (of poultry and cattle).’ The definition of pamiati proposed in the Slovarʹ russkogo iazyka 11–17 vv. seems to reflect the “mental” notion of memory as being positioned in the head, whereas the meaning ‘breastbone and meat (of poultry and cattle),’ discussed here, relates rather to the ancient idea of memory as being placed in the breast.

scholarly journals The role of cognitive style in the formation of a professional discursive personality of journalist N. I. Novikov

2020 ◽  
Vol 9 (29) ◽  
pp. 307-315
Author(s):  
Tatyana Aleksandrovna Sidorova ◽  
Elena Revovna Kornienko ◽  
Elvira Nikolaevna Akimova ◽  
Natalya Evgenyevna Petrova
Keyword(s):  
Cognitive Style ◽  
18Th Century ◽  
Knowledge Structures ◽  
New Approaches ◽  
The World ◽  
Interpretative Analysis ◽  
Definition Of

The relevance of the research is due to the growing interest in finding new approaches to describing the discursive personality in General and professional, in particular. The main goal of the research is to identify the features of cognitive style and determine its role in the formation of professional discursive personality of N. I. Novikov as a journalist. The research is carried out within the framework of cognitive-discursive and linguistic paradigms. As the main one, we use an interpretative analysis of the knowledge structures behind the language means of N. I. Novikov's discourse. The paper highlights and interprets the components of the cognitive style of N. I. Novikov's discursive personality in correlation with his language consciousness. The methods of perception of the world by N. I. Novikov's discursive personality, the peculiarities of representation of the world's realities in discourse, and the manner of transmitting information about the world are determined. Personal preferences of a discursive person, as well as cognitive, semiological and motivational ones are revealed. It is proved that the features of N. I. Novikov's professional discursive personality are determined by the specifics of his cognitive style, objectified by cognitive and linguistic mechanisms of discursive activity. A definition of the concept of "cognitive style" is proposed. The components of cognitive style are interpreted as an element of theory for the analysis of a discursive personality. The role of cognitive style in the formation of a professional discursive personality of a journalist of the 18th century is determined.

Allusions to the Victim and Sacrifice in the Andrey Kurbsky’s History and Reception of the 17th — Early 18th Centuries

2021 ◽  
pp. 186-207
Author(s):  
Alexey I. Popovich ◽  
Keyword(s):  
18Th Century ◽  
Historical Context ◽  
Transitional Period ◽  
Literary Context ◽  
History Of ◽  
Interpretation Process ◽  
The Rich ◽  
Ivan The Terrible ◽  
Definition Of

The literary topoi and allusions to the victim and sacrifice in the biblical and historical context at the same time played a great role for Andrey Kurbsky as a traditionalist and innovator writer in the embodiment of the complex author’s intention of the History of the Grand Prince of Moscow (the second half of the 16th century). The article notes that the writer distinguishes, as opposites, the axiology of sacrificial feat for power doer and persecuted heroes. The article reveals the diverse reception of the author’s interpretation by readers and scribes of History. Kurbsky’s contemporaries and readers of the late 17th — early 18th century had different attitudes toward Kurbsky’s definition of the personality of Ivan the Terrible who makes unrighteous victims and the characterization of people affected by him as new martyrs. The rich handwritten tradition of History, including as part of the Kurbsky Collections, contributed to the emergence of new reader’s interpretations based on literary topoi and allusions used by Kurbsky. The intellectuals of the ‘transitional’ period A.S. Matveev, Evfimy Chudovsky, A.I. Lyzlov, V.V. Golitsyn and others were involved in this process. Textological and typological comparisons of certain monuments and Kurbsky’s History contributed to a deeper understanding of the literary context of the time when the prince’s writings spread. The study also helped to determine which Kurbsky’s ideas about the victim and sacrifice remained relevant for members of different class groups, and which were leveled out and outdated in the text interpretation process.

scholarly journals Defining Multimorbidity: From English to Portuguese Using a Delphi Technique

2015 ◽  
Vol 2015 ◽  
pp. 1-4 ◽  
Author(s):  
Filipe Prazeres ◽  
Luiz Miguel Santiago ◽  
José Augusto Simões
Keyword(s):  
General Practice ◽  
Delphi Technique ◽  
Expert Panel ◽  
Acceptance Rate ◽  
Research Network ◽  
Practice Research ◽  
Linguistic Features ◽  
Consensus Score ◽  
Definition Of ◽  
Final Round

Objective. To translate the European General Practice Research Network multimorbidity definition according to Portuguese cultural and linguistic features.Methods. Similar to the process completed in several other European countries, a forward and backward translation of the English multimorbidity definition using the Delphi technique was performed in Portugal.Results. Twenty-three general practitioners (GPs)—14 males and 9 females—agreed to form the Portuguese expert panel for the Delphi process (59% acceptance rate). The Portuguese definition of multimorbidity was achieved after two Delphi rounds with a mean (SD) consensus score for final round of 8.43/9 (0.73).Conclusion. With this paper the definition of multimorbidity is now available in a new language—Portuguese. Its availability in the local language will raise Portuguese GPs’ awareness about multimorbidity and allow future national and international research. The operationalization of the definition will allow an easier identification of patients with multimorbidity.

scholarly journals Image of Kumgang Mountains (Geumgangsan) in Korean fine arts: tradition and modernity

2021 ◽  
pp. 102-117
Author(s):  
Ю.И. Гутарёва
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
Mountain Range ◽  
Korean Art ◽  
Traditional System ◽  
Central Image ◽  
The Republic ◽  
Definition Of ◽  
Far Eastern ◽  
Artistic Image

В статье исследуются особенности корейской пейзажной живописи, развитие которой с начала XVIII века оказывается неразрывно связано со знаменитой горной цепью Корейского полуострова Кымгансан. Утвердившись как центральный образ в пейзажах «подлинного вида», горы Кымган со временем приобретают значение не только художественного феномена, но и знакового национального символа родной земли в корейском культурном сознании, оставаясь для художников воплощением естественных красот и сплетением разнообразной символики. Цель статьи — определить значимость образа гор Кымган в корейском изобразительном искусстве как выразителя национальной самобытности искусства Кореи и хранителя художественно-ценностных традиций. В статье изложен анализ произведений корейских художников с XVIII столетия и до наших дней. Исследуются произведения ряда современных северокорейских и южнокорейских художников, чьи работы, разные по стилю и технике исполнения, объединяет единство мировосприятия гор Кымган как духовного источника, репрезентируя стремление к этнической аутентичности, возрождение традиций и выражение патриотизма в современном искусстве Республики Корея и КНДР. Предлагается обзор тенденций в корейском изобразительном искусстве, где в данном образе проявился национальный подход, натурное видение природы родной страны и творческое переосмысление открытий великих корейских пейзажистов в контексте адаптации новых художественно-выразительных особенностей в рамках традиционной системы дальневосточной живописи тушью и творческих экспериментов с разнообразными техниками. В заключение делается вывод о важности художественного образа гор Кымган, который, утвердившись в корейском пейзаже в XVIII веке, стал прочной основой для развития корейской живописи современного периода, демонстрируя не только приверженность традициям, но и способность к новациям как в приобретении новых символических оттенков в его прочтении, так и в расширении творческих поисков для выражения его эстетического идеала в картине мира современности. The article examines the features of Korean landscape painting, the development of which since the beginning of the 18th century is inextricably linked with the famous mountain range of the Korean Peninsula Kumgangsan (Diamond Mountains). Having established itself as the central image in landscapes of “true appearance”, the Kumgang Mountains over time acquire the significance of not only an artistic phenomenon, but also an iconic national symbol of the native land in the Korean cultural consciousness, remaining for artists the embodiment of natural beauties and the interweaving of various symbols. The purpose of the article is to determine the significance of the image of the Kumgang Mountains in Korean fine art of past and present eras, as an exponent of the national identity of Korean art and a keeper of artistic value traditions. The main objective of the article is to study the image of the Kumgang Mountains based on the analysis of the works of Korean artists from the 18th century to the present day, with the definition of its role and place in the contemporary fine arts of Korea. The article analyzes the works of a number of modern North Korean and South Korean artists, different in style and technique of execution, but similar in perception of the Kumgang mountains as a spiritual source, representing the desire for ethnic authenticity, the revival of traditions and the expression of patriotism in contemporary art of the Republic of Korea and the DPRK. The article provides an overview of trends in Korean painting, where this image manifests a national approach, a natural vision of the native country and a creative rethinking of the discoveries of the great Korean landscape painters in the context of adapting new artistic and expressive features within the traditional system of Far Eastern ink painting and creative experiments with various techniques. It is concluded that the artistic image of the Kumgang mountains is important as it has established itself in the Korean landscape in the 18th century, and become a solid foundation for the development of Korean painting in the modern period, demonstrating not only adherence to traditions, but also the ability to innovate, both in acquiring new symbolic shades, and expanding artistic and expressive means to display its aesthetic ideal in the picture of the world of our time.

scholarly journals Status teoretyczny emblematu w polskiej dekoracji

Terminus ◽  
2021 ◽  
Vol 23 (3) ◽  
pp. 227-258
Author(s):  
Magdalena Kinga Górska
Keyword(s):  
18Th Century ◽  
Artistic Practice ◽  
Aesthetic Value ◽  
Departure Point ◽  
Decorative Art ◽  
Historical Materials ◽  
Genre Classification ◽  
Theoretical Status ◽  
Definition Of

The Theoretical Status of the Emblem in Polish Decorative Art This paper argues that the theoretical status of the emblem in decorative art has methodological significance in emblem studies and art history, comparable to its status in the so-called book’s editorial frame. This claim is justified in the historical and theoretical tradition of defining emblems in the sources. The departure point for the author’s considerations comes from the findings of applied emblematics, and its foundation is provided by the theoretical sources describing symbolic genres (scil. emblema, symbolum, hierogliphicum) published in Poland from the 16th to the 18th century, including books of poetics, rhetoric, dictionaries and compendia. The first part of the article presents an overview of research on decorative emblems in Poland, together with factors responsible for the scarcity of such studies, including the lack of symbolic typology of the decorations, and the division into literary and non-literary studies, motivated by the philological roots of emblem studies. It is noted that the emblemata in the so-called book’s editorial frame and those in decorations should be studied separately, as the latter are of ornamental nature, and require a distinct order of perception, explication, and the recipient’s role. Besides, it is pointed out that the anachronism of the 16th-century formulae of emblema raises problems for the genological classification of Polish decorations, and so does the inter-genre, compendiumtype pattern of symbolism dominant in the 18th century. The second part of the article discusses the definition of the emblema, focusing on its details relevant for the artistic practice and present-day genre classification, such as technique, composition, the content of the image, which is confronted with Polish historical materials. The analysis carried out in the paper supports the claim that providing a genelogical definition of a work of art sheds light on its artistic rendition and aesthetic value. It also enhances the perspective on emblem studies, the workshop of an emblem artist and the reception of the emblem. Additionally, it enables the verification of synthetic accounts and research practice, offering a profound reflection on the chronology and previous conceptions of the emblem. Finally, it helps to formulate postulates, which can be useful for the met

scholarly journals Gleðimenn, gleðimeyjar og Gleðikvennafélag Vallahrepps

Ritið ◽  
2018 ◽  
Vol 18 (3) ◽  
pp. 97-123
Author(s):  
Guðrún Þórhallsdóttir
Keyword(s):  
Foreign Language ◽  
18Th Century ◽  
Men And Women ◽  
History Of ◽  
Nominal Compounds ◽  
Definition Of

This paper discusses the history of the nouns gleðimaður, which is known from Old as well as Modern icelandic, and gleðikona which first occurs in an 18th-century source. Other nominal compounds for men and women that have gleði- as their first member are also introduced. The meaning of these words is compared, as is their usage, in order to test the claim that the words for men normally have a neutral meaning (‘cheerful man, party animal’) but the words for women have a pejorative meaning (‘hussy, prostitute’). The nature of the changes in the history of the gleði-compounds is also discussed, e.g., to what extent borrowing from a foreign language has taken place. Lars-Gunnar Andersson’s categorization of the so-called “ugliness” of words is used for a more detailed definition of the semantic changes. Finally, we touch on the wish to reclaim the word gleðikona that has been observed in the last decades, i.e., to revive the practically forgotten meaning ‘cheerful woman, female party animal’.

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