scholarly journals Two kinds of music in B. Poplavsky’s poem Dark Madonna

Author(s):  
Gleb M. Mamatov ◽  

The article studies the topic of music and its functioning in the poem by B. Poplavsky Dark Madonna. Its motivational and symbolic structure, as well as its composition and intertextual ties with the modernist poetry are considered. The article focuses on the description of the ‘spirit of music’ concept in the poet’s philosophy and its interpretation in the text of the miniature.

2016 ◽  
Vol 1 (2) ◽  
pp. 251-269
Author(s):  
Keding Zhang

The imperative-conditional construction (ICC) in English is a type of construction which consists of an ordinary imperative clause and an ordinary declarative clause connected by the connective and or or. This article deals with the speaker intentions of ICCs and their motivations from a cognitive-pragmatic approach. Based on the concept of construction in cognitive linguistics, an ICC can be called a complex symbolic structure which, though composed of two components, should be regarded as a single pragmatic processing unit. It is demonstrated that, in everyday communication, the ICC can usually convey three kinds of speaker intentions: a prohibitive intention, an inducing/forcing intention, and an advisory intention. The first refers to the intention of the speaker to prohibit the hearer from carrying out the act described by the imperative. The second is the intention of the speaker to induce or force the hearer to bring about the act described by the imperative. The third refers to the intention of the speaker to advise the hearer to carry out the act described by the imperative. These speaker intentions are highly motivated. The motivations include the constructional context, the conditional relation between the imperative and the declarative, the directive force of the imperative, the pragmatic enrichment of the declarative, and the complementary and interactive relationship between the imperative and declarative clauses, among which the constructional context serves as an overall motivation, and the rest may be seen as specific motivations.


1962 ◽  
Vol 16 (4) ◽  
pp. 303-315
Author(s):  
Joseph X. Brennan
Keyword(s):  

Prospects ◽  
1998 ◽  
Vol 23 ◽  
pp. 23-38
Author(s):  
David Haven Blake

Of the many authorities Thomas McGrath rejected during his life, one of the most significant was the American Revolution, for his work explicitly questions the founders as a source of aesthetic and political creativity. “The National Past has its houses,” he writes in Letter to an Imaginary Friend, “but their fires have long gone out!” From his pronouncing the death of Virginia's deified presidents to his condemnation of the “local colorist” hunting for patriotic “HEADwaters” by which to camp, the poet's renunciation of the “false Past” amounts to a coherent commentary on the relations between American politics and modernist poetry (Letter, 315). E. P. Thompson has remarked in paving homage to his friend that “McGrath is a poet of alienation…. His trajectory has been that of willful defiance … At every point when the applause – anyone's applause, even the applause of the alienated – seemed about to salute him, he has taken a jagged fork to a wilderness of his own making.” Although his language strongly recalls that of Emerson's “Self-Reliance,” Thompson views McGrath as more than a romantic individualist. McGrath's alienation was not simply the estrangement that Marx saw afflicting all of capitalist society, nor was it a momentarily fashionable pose; rather, it was a calculated and thorough opposition to what Thompson calls “official culture” and its destruction of political, historical, and literary values. McGrath's refusal to make a “usable past” out of the American Revolution participates in this general defiance of “official culture,” as his work insistently reminds us that among the regular patrons of Monticello and Mt. Vernon were the many establishment poets well entrenched in bourgeois universities. In defying modernism's efforts to renovate the 18th century, McGrath makes a wilderness of his own, a wilderness which grows in opposition to the wellplowed fields of American empire.


This is the first occasion on which I have had the great honour of addressing the Royal Society on this anniversary of its foundation. According to custom, I begin with brief mention of those whom death has taken from our Fellowship during the past year, and whose memories we honour. Alfred Young (1873-1940), distinguished for his contributions to pure mathematics, was half brother to another of our Fellows, Sydney Young, a chemist of eminence. Alfred Young had an insight into the symbolic structure and manipulation of algebra, which gave him a special place among his mathematical contemporaries. After a successful career at Cambridge he entered the Church, and passed his later years in the country rectory of Birdbrook, Essex. His devotion to mathematics continued, however, throughout his life, and he published a steady stream of work in the branch of algebra which he had invented, and named ‘quantitative substitutional analysis’. He lived to see his methods adopted by Weyl in his quantum mechanics and spectroscopy. He was elected to our Fellowship in 1934. With the death of Miles Walker (1868-1941) the Society loses a pioneer in large-scale electrical engineering. Walker was a man of wide interests. He was trained first for the law, and even followed its practice for a period. Later he studied electrical engineering under Sylvanus Thompson at the Finsbury Technical College and became his assistant for several years. Thereafter, encouraged by Thompson, he entered St John’s College, Cambridge, with a scholarship, and graduated with 1st Class Honours in both the Natural Sciences and the Engineering Tripos. Having entered the service of the British Westinghouse Company, he was sent by them to the United States of America to study electrical engineering with the parent company in Pittsburgh. On his return to England he became their leading designer of high-speed electrical generators


2018 ◽  
Vol 44 (5) ◽  
pp. 829-847 ◽  
Author(s):  
Minda Holm ◽  
Ole Jacob Sending

AbstractThe symbolic structure of the international system, organised around sovereignty, is sustained by an institutional infrastructure that shapes how states seek sovereign agency. We investigate how the modern legal category of the state is an institutional expression of the idea of the state as a liberal person, dependent on a one-off recognition in establishing the sovereign state. We then discuss how this institutional rule coexists with the ongoing frustrated search for recognition in terms of sociopolitical registers. While the first set of rules establishes a protective shield against others, regardless of behaviour, the second set of rules specify rules for behaviour of statehood, which produces a distinct form of misrecognition. States are, at one level, already recognised as sovereign and are granted rights akin to individuals in liberal thought, and yet they are continually misrecognised in their quest to actualise the sovereign agency they associate with statehood. We draw on examples from two contemporary phenomena – fragile states, and assertions of non-interference and sovereignty from the populist right and non-Western great powers, to discuss the misrecognition processes embedded in the bifurcated symbolic structure of sovereignty, and its implications for debates about hierarchy and sovereignty in world affairs.


Author(s):  
Vasili Byros

Topics and harmonic schemata powerfully interact in the late eighteenth-century communicative channel. This chapter illustrates both a categorial and pragmatic interfacing of the two domains in Beethoven’s “Eroica” Symphony, where a particular schema, thele–sol–fi–sol(Byros 2012, 2009), enables the communication of a powerful philosophical message involving the spiritual consequences of suffering, self-sacrifice, and death. Thele–sol–fi–sol, as an instance of harmonic grammar, is closely related to theombratopic with mortal, funereal, and sacrificial connotations. As a hybrid symbolic structure, this schema–topic amalgam is the basis for establishing a number of correlations of oppositions in the structural and expressive domains of the symphony, which communicate a “tragic-to-transcendent” expressive genre and the cultural unit of “abnegation” (Hatten 1994).


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