scholarly journals The Pragmatics of Film Language and Sentence in the Creation of African Myths in Nigerian Movies: An Evaluation of Obi Emelonye’s The Mirror Boy

2016 ◽  
Vol 2 (3) ◽  
pp. 3
Author(s):  
Agozie Ugwu
Keyword(s):  
Raw Materials ◽  
Movie Industry ◽  
African Culture ◽  
Life After Death ◽  
The World ◽  
The Creation ◽  
The Dead ◽  
Film Language

<table border="1" cellspacing="0" cellpadding="0"><tbody><tr><td colspan="3" width="618"><p align="center"> </p></td></tr><tr><td width="168"><p align="center"> </p></td><td width="265"><p align="center"> </p></td><td width="186"><p align="center"> </p></td></tr><tr><td colspan="3" valign="top" width="618"><p>African myths or mythological reality of African extractions is one major source of raw materials the Nigerian movie industry popularly called Nollyword explores as an avenue for generating content for their films. Mythological realities like the appearance of the dead, re-incarnation, potency of the gods, life after death, the communion between the living and the dead and many more often times are represented in the Nigerian movies. Art evidently is a representation of the people’s culture. It is also a vehicle through which the people’s culture is driven. Myths are part of African culture and their efficacy in the preservation and sustenance of Nigerian culture appears to be the reason why the representation of mythological reality in Nigerian films has become a recurring decimal. It appears that the representation of mythological reality in Nigeria movies is yet to attain a level where the audience will be submerged into the world of the myths. This is because the potential audience has a consciousness and a preconceived idea of how these characters should be represented due to the archetypal nature of mythical characters. The audience should not through these representations have doubts over the potency of the African and Nigerian myths. To achieve this level of reality in the depiction of mythological reality, this chapter advocates for a pragmatic utilisation of the film sentence and language. The Mirror Boy  released in 2011 a film by Obi Emelonye is used as case study to establish the roles of film language and sentence in the representation of mythological reality.</p></td></tr></tbody></table>

scholarly journals Through the Gloomy Vale: Underworld Alignments at Stonehenge

2017 ◽  
Vol 21 (1 and 2) ◽  
pp. 11-30
Author(s):  
Lionel Sims ◽  
David Fisher
Keyword(s):  
Bronze Age ◽  
Mirror Image ◽  
Landscape Model ◽  
Late Neolithic ◽  
The World ◽  
The Dead

Three recent independently developed models suggest that some Neolithic and Bronze Age monuments exhibit dual design properties in monument complexes by pairing obverse structures. Parker Pearson’s1 materiality model proposes that monuments of wood are paired with monuments of stone, these material metaphors respectively signifying places of rituals for the living with rituals for the dead. Higginbottom’s2 landscape model suggests that many western Scottish megalithic structures are paired in mirror-image landscape locations in which the horizon distance, direction and height of one site is the topographical reverse of the paired site – all in the service of ritually experiencing the liminal boundaries to the world. Sims’3 diacritical model suggests that materials, landscapes and lunar-solar alignments are diacritically combined to facilitate cyclical ritual processions between paired monuments through a simulated underworld. All three models combine in varying degrees archaeology and archaeoastronomy and our paper tests them through the case study of the late Neolithic/EBA Stonehenge Palisade in the Stonehenge monument complex.

CO2 Emissions due to Cement Manufacture

2011 ◽  
Vol 685 ◽  
pp. 181-187 ◽  
Author(s):  
Chen Li ◽  
Xian Zheng Gong ◽  
Su Ping Cui ◽  
Zhi Hong Wang ◽  
Yan Zheng ◽  
...  
Keyword(s):  
Global Warming ◽  
Raw Materials ◽  
Precise Method ◽  
Know How ◽  
Basic Framework ◽  
The World ◽  
Cement Manufacture ◽  
The Right ◽  
The Way

With increasing concerns about global warming, and the cement plants emitting huge CO2, it is necessary to know how the CO2 emits and how much the CO2 emits due to cement manufacture in both direct and indirect ways. A precise method to calculate CO2 emissions including three processes was established in this paper and a case study was provided. From the case of LQDX plant, we can see the amount of CO2 emissions at the right level. The summary of CO2 emissions is consisted by emissions from raw materials, fuels and electricity. The direct CO2 emissions are 0.822 ton CO2 per ton clinker, and the total CO2 emissions are 0.657 ton CO2 per ton cement in this study. Therefore, the way that CO2 emissions due to cement manufacture was pictured and then measured. An approach provides a basic framework to identify various situations in different cement plants in China and other in the rest of the world. The framework would be useful in quantitatively evaluating CO2 emissions for government to know precisely CO2 emissions in cement plants.

scholarly journals INTERPRETATION OF DEATH IN THE CH. PALAHNIUK’S ARTISTIC WORLD

2017 ◽  
pp. 216-222
Author(s):  
E. R. Chemezova
Keyword(s):  
American Literature ◽  
Physiological Process ◽  
The Body ◽  
Art World ◽  
Contemporary American Literature ◽  
Life After Death ◽  
Fight Club ◽  
The World ◽  
The Dead ◽  
Different Levels

The article is devoted to the interpretation of the phenomenon of death in contemporary  American  literature  on  the  example  of  Ch. Palahniuk’s  novels. The article analyzes the approaches to the phenomenon of death in different fields of knowledge such as philosophy, sociology, medicine. We describe the overview of the “life after death” theme in native and foreign literature. The place of the phenomenon  of  death  in  the  artistic  world  and  the  influence  of  this  phenomenon on the attitude of the characters to each other are in the focus of our attention. Death in the artistic world defines the characters’ relations, their presence / absence on different levels of the artistic world, the process of transition from the world of the living  to  the  world  of  the  dead  and  vice  versa.  The  process  of  heroes’  formation in the world of the living and in the world of the dead depends on the representation of the phenomenon of death in the works of Ch. Palahniuk. The boundary between the world of the living and the world of the dead is almost invisible and the transition between the worlds is done according to certain laws of the art world, followed by the characters of the novels. This article discusses several Ch. Palahniuk’s novels written  in  different  periods  of  his  oeuvre.  The  article  examines  the  differences and similarities  in  the  author's  interpretation  of  the  death  and  its  significance in the early (“Fight Club”, “Lullaby”) and the latest (“Damned”, “Doomed”) novels. In the early novels of Charles Palahniuk death is a physiological process with anatomical details, but at the same time dying is the soul leaving the body. The latest novels of the author differ from the early ones as they demonstrate to the reader not only the life and its ending, but also the life after death. 

scholarly journals COVID-19: a metaphor-based neologism and its translation into Arabic

2020 ◽  
Vol 19 (05) ◽  
pp. A01
Author(s):  
Amal Haddad Haddad ◽  
Silvia Montero-Martinez
Keyword(s):  
Mass Media ◽  
World Health Organization ◽  
World Health ◽  
The World ◽  
Official Languages ◽  
The Creation ◽  
Health Organization

‘Coronavirus Disease 2019 (COVID-19)’ is the neologism coined in reference to the pandemic disease currently affecting countries worldwide. The World Health Organization (WHO) was the international entity that coined this neologism in all its official languages, Arabic amongst them. However, in mass media, the most commonly used term is ‘coronavirus’, which is a meronymic denomination. This corpus-based case study aims at giving new insights into the creation of these neologisms in English and their equivalents in Arabic, and to the adequacy of the meronymic use of the term ‘coronavirus’ in the English and Arabic mass media.

scholarly journals Da ostentação, luxo e poder à simplicidade do uso quotidiano: arqueologia e simbologia de joias e adornos da Idade Moderna Portuguesa

2020 ◽  
pp. 1837-1848
Author(s):  
Jéssica Iglésias
Keyword(s):  
Raw Materials ◽  
Human Being ◽  
The World ◽  
Personal Wealth ◽  
The Creation ◽  
Public Demonstration

Over the centuries and around the world, jewelry and personal adornments have always fascinated the human being. These objects came to be used as a public demonstration of cultural, personal wealth, and the user’s own taste both in life and in death. In this sense, the use of these objects during the 14th-18th centuries, made of different raw materials, provided the appearance and creation of hybrid elements, which were largely the result of influences caused by the Portuguese overseas experience, and by the changes undergone in tastes and fashions. Europeans who contributed to the creation of a new society, who continued to believe in the apotropaic and prophylactic values of raw materials absorbing new beliefs resulting from contacts with new cultures.

scholarly journals Le abetine di Vallombrosa nel 1791. I monaci vallombrosani e l'assestamento forestale nel XVIII secolo: un patrimonio culturale da salvaguardare

2021 ◽  
Author(s):  
Giovanni Galipò ◽  
Duccio Baldassini
Keyword(s):  
Eighteenth Century ◽  
Information Systems ◽  
Geographic Information Systems ◽  
Cultural Heritage ◽  
New Technologies ◽  
Land Planning ◽  
Historical Archives ◽  
The World ◽  
The Creation

The study of microtoponomastics, the examination of sources and the use of new technologies for the creation of geographic information systems capable of gathering various layers of information, allows the extraction of extremely interesting materials for land planning. The case study of the Vallombrosa Forest, probably the best-known forest area in Italy, is indicative of how the exploration of the world of historical archives is important still today. From the evidence that the Vallombrosan Benedictine monks, in the last years of the eighteenth century, had already drawn up a forest regulation plan, we can see the need and urgency to preserve a real scientific and cultural heritage. The creation of a Silvomuseum in Vallombrosa is confirmed as a brilliant intuition and its careful and punctual realization represents the challenge that awaits the current managers of the millenary forest, the cradle of Italian forestry sciences.

Vercelli Homily VIII and the Christ

PMLA ◽  
1927 ◽  
Vol 42 (2) ◽  
pp. 314-330
Author(s):  
Rudolph Willard
Keyword(s):  
Central Feature ◽  
Son Of Man ◽  
Last Judgment ◽  
The World ◽  
Resurrection Of The Dead ◽  
The Creation ◽  
The Dead ◽  
Hands And Feet

Homily VIII of the Vercelli Codex CXVII, is a brief dramatic sermon on penance and the Last Judgment, intended for the first Sunday after Epiphany. It opens with an admonition to the faithful to remember the Lord's warning of the tribulation attending the end of this world. Let us never think our sins too grievous or too shameful for confession: for it is better to confess our sins here before one man, than to confess them at the Day of Judgment, before God and the whole host of Heaven, when all our deeds shall be revealed. The homilist briefly outlines the advent of the Judgment: the coming of the Son of Man in power and great glory, God's mercy to the righteous, the angels blowing their trumpets to the four ends of the world, the resurrection of the dead, and the raging fire. All this, however, is introductory to the central feature of the homily—the address of the Judge to the guilty souls. From His throne of Judgment, God the Son reviews His dealings with man: the Creation, the establishment of man in the joys of Paradise, the Fall, God's mercy to fallen man in His Incarnation, Passion, and Death. The Savior dramatically calls the sinner to behold the wounds in His hands and feet and side; then, charging man with indifference and ingratitude, He sentences him to dwell forever with Satan and his host in Hell. After a brief description of the torments of Hell, the homilist closes with an exhortation to be worthy of the Lord's welcome to the righteous, and of the bliss of Heaven.

scholarly journals The dead and the abhorred: Mindhunter and the persistence of mother-blame

2021 ◽  
pp. 174165902110312
Author(s):  
Michele Byers ◽  
Rachael Collins
Keyword(s):  
American Literature ◽  
Ways Of Knowing ◽  
Serial Killer ◽  
Cultural Narratives ◽  
Starting Point ◽  
The World ◽  
The Dead ◽  
Mother Blame

In her study of violent protagonists in American literature, Wilson-Scott argues that “mothers are frequently used as the principle traumatizing factor, demonized and depersonalized in order to reassert their violent offspring’s humanity” (p. 191). Further, Wilson-Scott states that her work “reveals the persistent assumption that mothers make monsters” (p. 193). Taking our tacit agreement with Wilson-Scott as a starting point, we argue along with her that mother-blame remains a central motif of mainstream cultural narratives about violent masculinity. The focus of this essay is on the strategies through which mother-blame is used to validate the authorial authenticity of the male serial killer and his ways of knowing and of being in the world. In this essay we offer the first season of the popular Netflix series Mindhunter (2017–) as a case study and ask how the representation of the serial killer’s insight and seemingly accurate understanding of his own pathology is linked to its antithesis, woman-hate, and often, the pathologizing of the mother.

Sign in / Sign up

Export Citation Format

Share Document