scholarly journals The Byzantines in Medieval Arabic Poetry: Abu Firas’ "Al-Rumiyyat" and the Poetic Responses of al-Qaffal and Ibn Hazm to Nicephore Phocas’ "Al-Qasida al-Arminiyya al-Malʿuna" (The Armenian Cursed Ode)

2009 ◽  
Vol 19 ◽  
pp. 35 ◽  
Author(s):  
Nizar F. HERMES

<font size="3"><font face="Times New Roman"><span style="font-weight: normal">Up until the Crusades, it was <em>al-Rūm </em>who were universally seen by Arab writers and Arab poets in particular as the Other <em>par excellence</em>. Nowhere is this more conspicuous than in the sub-genre of <em>Al-Rūmiyyat </em>(poems about the Byzantines), namely as found in the <em>Rūmiyyat</em> of Abu Firas al-Hamdani(d.968), and in the poetic responses of al-Qaffal(d</span><span><strong>. </strong></span><span style="font-weight: normal">946</span><span style="font-weight: normal">) and Ibn Hazm(d.</span><span><strong> </strong></span><span style="font-weight: normal">1064</span><span style="font-weight: normal">) to what was described by several medieval Muslim chronicles as <em>Al-Qasida al-Arminiyya al-Malʿuna </em>(The Armenian Cursed Ode). By exploring the forgotten views of the Byzantines in medieval Arabic poetry, this article </span><span style="font-weight: normal">purports to demonstrate that </span><span style="font-weight: normal">contrary to the impression left after reading Edward Said&rsquo;s groundbreaking <em>Orientalism: Western Conceptions of the Orient</em> (1978) and other postcolonial studies, Orientals have not existed solely to be &lsquo;orientalized&rsquo;. Perhaps even before this came to be so, they too had &lsquo;occidentalized&rsquo;</span><span><strong> </strong></span><span style="font-weight: normal">their Euro-Christian Other(s)</span><span><strong> </strong></span><span style="font-weight: normal">in a way that mirrored in reverse the subject/object relationship described as Orientalism.</span></font></font> <h1 style="margin: 0in 0in 0pt 0.5in; direction: ltr; unicode-bidi: embed; text-align: center" align="center"><strong></strong></h1><h1 style="margin: 0in 0in 0pt 0.5in; direction: ltr; unicode-bidi: embed; text-align: center" align="center"><strong></strong></h1>

2008 ◽  
Vol 18 ◽  
pp. 159 ◽  
Author(s):  
Αγγελική Π. ΠΑΠΑΓΕΩΡΓΙΟΥ

<p><span style="font-family: 'Times New Roman','serif'; color: black; font-size: 11pt">MICHAEL CHONIATES’ </span><em><span style="font-family: 'Times New Roman','serif'; color: black; font-size: 11pt">ΥΠΟΜΝΗΣΤΙΚΟΝ</span></em><em><span style="font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> </span></em><span style="font-family: 'Times New Roman','serif'; color: black; font-size: 11pt">AND THE TERM <em>KASTRENOI</em></span><span style="line-height: 150%; color: black; font-size: 11pt"><font face="Times New Roman"> </font></span></p><p><span style="line-height: 150%; color: black; font-size: 11pt"><font face="Times New Roman">The aim of this paper is to prove that the term <em>kastrenoi</em>, used by Michael Choniates, metropolitan of Athens, in the letter he addressed to the emperor Alexios III Angelos in 1198, denotes the inhabitants within the castle, i.e. the city. There are two different views on the subject, the one expressed by Sp. Lambros in the commentary to his edition of Michael Choniates’ work and the other by Professor Aik. Christophilopoulou. Both believe that the term <em>kastrenos </em>means a member of a military unit. The paper examines Michael Choniates’ passage, as well as other contemporary sources, which prove that the term <em>kastrenos </em>has no military meaning whatsoever, but refers solely to a group of people, usually of the upper class, living inside the walls of a fortified city.</font></span></p>


Perichoresis ◽  
2020 ◽  
Vol 18 (3) ◽  
pp. 63-75
Author(s):  
Oane Reitsma

AbstractIn a concert hall, the attitude of the audience focusses on the formalistic aspects of music. In religious rituals, music is a means of leading the hearer to a spiritual experience. What happens when music, meant originally for a liturgical purpose, is played in a concert setting? Gadamer shows, with his conception of Verwandlung ins Gebilde, that an art work is never static, but carries a depth in itself, which is connected to an artistic ingenuity throughout centuries. In this ‘depth’ lies the connection to the listener, which is broader than a mere aesthetical one. On the other hand, music in itself has a strong ‘theatrical’ side, which can easily surpass its contemplative aspect in consumer culture. It appears that this aspect, in combination with the formalistic-aesthetic approach of modern museum culture, of which concert culture is a part, made the hearer become almost ‘deaf ’ to the religious content; because a concert practice focusses primarily on entertaining the hearer, s/he is not able to engage in the music as a source of spiritual edification of the soul. Nevertheless, Gadamer’s conception of play makes us be aware that there will always be new, unexpected ways in which the truth comes into being in the interaction of a piece of music and its hearer. In order to create such a reality, it is necessary to turn to new and renewing hearing practices, where the play between music and the hearer has a wider range of musical experience than the mere formalistic aspect.


Author(s):  
M. N. Tripathi

<p class="MsoNormal" style="text-align: justify; margin: 0in 0.5in 0pt;"><span style="font-size: 10pt;"><span style="font-family: Times New Roman;">The subject of advertising remuneration has always been a controversial subject despite the advertising industry coexisting with other industries for over a century. Both clients and agencies have different views on the subject depending on their objectives. Business needs however, have compelled both, to call a truce to these altercations, since both cannot exist without the other, especially the agencies. This paper examines the various options of remuneration prevalent in the industry, how these have evolved as time has elapsed and how clients and agencies have adapted to it over time. It critically examines the motivations and conflicts arising in the evolvement of a suitable remuneration system and the means of resolution available to both parties for amicable settlement.</span></span></p>


Author(s):  
S.R. Allegra

The respective roles of the ribo somes, endoplasmic reticulum, Golgi apparatus and perhaps nucleus in the synthesis and maturation of melanosomes is still the subject of some controversy. While the early melanosomes (premelanosomes) have been frequently demonstrated to originate as Golgi vesicles, it is undeniable that these structures can be formed in cells in which Golgi system is not found. This report was prompted by the findings in an essentially amelanotic human cellular blue nevus (melanocytoma) of two distinct lines of melanocytes one of which was devoid of any trace of Golgi apparatus while the other had normal complement of this organelle.


2010 ◽  
Vol 4 (2) ◽  
pp. 135-156 ◽  
Author(s):  
Dorothea E. Schulz

Starting with the controversial esoteric employment of audio recordings by followers of the charismatic Muslim preacher Sharif Haidara in Mali, the article explores the dynamics emerging at the interface of different technologies and techniques employed by those engaging the realm of the Divine. I focus attention on the “border zone” between, on the one hand, techniques for appropriating scriptures based on long-standing religious conventions, and, on the other, audio recording technologies, whose adoption not yet established authoritative and standardized forms of practice, thereby generating insecurities and becoming the subject of heated debate. I argue that “recyclage” aptly describes the dynamics of this “border zone” because it captures the ways conventional techniques of accessing the Divine are reassessed and reemployed, by integrating new materials and rituals. Historically, appropriations of the Qur’an for esoteric purposes have been widespread in Muslim West Africa. These esoteric appropriations are at the basis of the considerable continuities, overlaps and crossovers, between scripture-related esoteric practices on one side, and the treatment by Sharif Haidara’s followers of audio taped sermons as vessels of his spiritual power, on the other.


Author(s):  
Iryna Rusnak

The author of the article analyses the problem of the female emancipation in the little-known feuilleton “Amazonia: A Very Inept Story” (1924) by Mykola Chirsky. The author determines the genre affiliation of the work and examines its compositional structure. Three parts are distinguished in the architectonics of associative feuilleton: associative conception; deployment of a “small” topic; conclusion. The author of the article clarifies the role of intertextual elements and the method of constantly switching the tone from serious to comic to reveal the thematic direction of the work. Mykola Chirsky’s interest in the problem of female emancipation is corresponded to the general mood of the era. The subject of ridicule in provocative feuilleton is the woman’s radical metamorphoses, since repulsive manifestations of emancipation becomes commonplace. At the same time, the writer shows respect for the woman, appreciates her femininity, internal and external beauty, personality. He associates the positive in women with the functions of a faithful wife, a caring mother, and a skilled housewife. In feuilleton, the writer does not bypass the problem of the modern man role in a family, but analyses the value and moral and ethical guidelines of his character. The husband’s bad habits receive a caricatured interpretation in the strange behaviour of relatives. On the one hand, the writer does not perceive the extremes brought by female emancipation, and on the other, he mercilessly criticises the male “virtues” of contemporaries far from the standard. The artistic heritage of Mykola Chirsky remains little studied. The urgent task of modern literary studies is the introduction of Mykola Chirsky’s unknown works into the scientific circulation and their thorough scientific understanding.


Author(s):  
Maxim B. Demchenko ◽  

The sphere of the unknown, supernatural and miraculous is one of the most popular subjects for everyday discussions in Ayodhya – the last of the provinces of the Mughal Empire, which entered the British Raj in 1859, and in the distant past – the space of many legendary and mythological events. Mostly they concern encounters with inhabitants of the “other world” – spirits, ghosts, jinns as well as miraculous healings following magic rituals or meetings with the so-called saints of different religions (Hindu sadhus, Sufi dervishes),with incomprehensible and frightening natural phenomena. According to the author’s observations ideas of the unknown in Avadh are codified and structured in Avadh better than in other parts of India. Local people can clearly define if they witness a bhut or a jinn and whether the disease is caused by some witchcraft or other reasons. Perhaps that is due to the presence in the holy town of a persistent tradition of katha, the public presentation of plots from the Ramayana epic in both the narrative and poetic as well as performative forms. But are the events and phenomena in question a miracle for the Avadhvasis, residents of Ayodhya and its environs, or are they so commonplace that they do not surprise or fascinate? That exactly is the subject of the essay, written on the basis of materials collected by the author in Ayodhya during the period of 2010 – 2019. The author would like to express his appreciation to Mr. Alok Sharma (Faizabad) for his advice and cooperation.


2019 ◽  
Vol 95 (2) ◽  
pp. 231-245
Author(s):  
Erik Ode

Abstract De-Finition. Poststructuralist Objections to the Limitation of the Other The metaphysic tradition always tried to structure the world by definitions and scientific terms. Since poststructuralist authors like Derrida, Foucault and Deleuze have claimed the ›death of the subject‹ educational research cannot ignore the critical objections to its own methods. Definitions and identifications may be a violation of the other’s right to stay different and undefined. This article tries to discuss the scientific limitations of the other in a pedagogical, ethical and political perspective.


2020 ◽  
Author(s):  
Abimael Francisco do Nascimento

The general objective of this study is to analyze the postulate of the ethics of otherness as the first philosophy, presented by Emmanuel Levinas. It is a proposal that runs through Levinas' thinking from his theoretical foundations, to his philosophical criticism. Levinas' thought presents itself as a new thought, as a critique of ontology and transcendental philosophy. For him, the concern with knowledge and with being made the other to be forgotten, placing the other in totality. Levinas proposes the ethics of otherness as sensitivity to the other. The subject says here I am, making myself responsible for the other in an infinite way, in a transcendence without return to myself, becoming hostage to the other, as an irrefutable responsibility. The idea of the infinite, present in the face of the other, points to a responsibility whoever more assumes himself, the more one is responsible, until the substitution by other.


2014 ◽  
pp. 104-121
Author(s):  
Aleksandra Kułaga

The article is devoted to the subject of the goals of the climate and energy policy of the European Union, which can have both a positive, and a negative impact on the environmental and energy policies. Positive aspects are the reduction of greenhouse gas emissions, diversification of energy supplies, which should improve Europe independence from energy imports, and increasing the share of renewable energy sources (RES) in the national energy system structures. On the other hand, overly ambitious targets and actions can lead to large losses for the economies of EU Member States. The article also highlights the realities prevailing in the international arena and noncompliance of international actors with global agreements on climate protection.


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