scholarly journals Laatokka: Suurjärven kiehtova rantahistoria

2021 ◽  
Author(s):  
Maria Lähteenmäki
Keyword(s):  
Natural Waters ◽  
Drainage Basin ◽  
Border Region ◽  
Historical Change ◽  
Lake Ladoga ◽  
Main Theme ◽  
Sensory History ◽  
Leningrad Province ◽  
History Of ◽  
The One

For the first time worldwide, this collection brings together analyses of the last two centuries of historical change around the shores and drainage basin of Lake Ladoga, Europe’s largest lake. The main focus of the narrative is the Northern Ladoga region, which was a Finnish administrative area between 1812 and 1944. After the Second World War, the entire shoreline of Lake Ladoga was incorporated into the northeast part of Russia’s border region, the Autonomous Republic of Karelia and the Leningrad Province. The main theme uniting this collection is how the relationship between humans and nature is shaped by industrialization and modernization in society. Other key issues include protecting nature and perspectives on particular places and times, which are reflected in the methodological and thematic choices made in this volume. The research framework set by the editor, Professor Maria Lähteenmäki, is the new lakefront history (Finn. uusi rantahistoria), focusing on approaches to environmental, economic and sensory history of lakes. To draw broad conclusions, on the one hand, the multilevel changes on the lakefront cannot be understood without knowledge of the history of the wider drainage basin, and awareness of the geopolitics of the region and the climate changes. On the other hand, the human relationship to natural waters has changed significantly in 200 years. Thinking in terms of economic benefit has gradually given way to principles of sustainable development. Lake Ladoga is also being redefined from a spatial perspective, as nationalist ownership of the region is coupled with global concern about the state of Europe’s largest lake.

scholarly journals From Substance to Computation: Internalization and Hierarchical Structure in Evolutionary Phonology

2020 ◽  
Author(s):  
Shin-ichi Tanaka
Keyword(s):  
Optimality Theory ◽  
Language Evolution ◽  
Hierarchical Structures ◽  
Vital Role ◽  
Historical Change ◽  
New Paradigm ◽  
Sound Structure ◽  
History Of ◽  
The One ◽  
Computational Systems

AbstractIn the history of phonological theory, the paradigm of computational systems has shifted in tandem with a better understanding of substantive issues such as typology, acquisition, social variation, and historical change in sound structure. The paradigm shift in the past 50 years can simply be characterized as the one from ‘serial derivation by rules’ to ‘parallel evaluation by constraints,’ and now Optimality Theory (OT) focusses on substantive issues by improving its phonetic groundings and has ceased groping for a better mode of computation. This is because OT is primarily a substantive theory of CON, and at least in its standard version, the computational systems of Eval and GEN are merely ‘given assumptions.’In this article, we will overview some arguments against OT in substantive respects. As an ultimate problem in substance, it cannot solve ‘the poverty paradox,’ which means the paradox of ‘the poverty of the stimulus’ in ontogeny and ‘the poverty of the inheritance’ in phylogeny. Moreover, as a proximate problem in substance, certain gaps to be missed in syllable typology would erroneously be predicted to exist by OT. Alternatively, we will rethink the mode of computation in phonology and propose a new paradigm for phonology from the viewpoint of language evolution under a minimalist lens. Our proposal is based on Fujita’s (2016a, 2017) Hypothesis on Motor Control Origin of Merge in Language Evolution, which solves ‘the poverty paradox’ and thus satisfies both explanatory and evolutionary adequacy. We will demonstrate that substantive findings in OT can successfully be carried over to this scenario, in which the empirical problem concerning the typological gap is offered a reasonable explanation. We will also show that phonology has a vital role in computation and is not merely a subsidiary issue at the interface of the Sensory-Motor systems in linearization or externalization. We will take up one case for this claim: the English syllable CCVC has structural ambiguity, which means that phonology involves internalization with some mechanisms in order to create different hierarchical structures.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Theodor W. Adorno

2018 ◽  
Author(s):  
Colby Dickinson
Keyword(s):  
The Other ◽  
History Of Thought ◽  
History Of ◽  
The One

In his somewhat controversial book Remnants of Auschwitz, Agamben makes brief reference to Theodor Adorno’s apparently contradictory remarks on perceptions of death post-Auschwitz, positions that Adorno had taken concerning Nazi genocidal actions that had seemed also to reflect something horribly errant in the history of thought itself. There was within such murderous acts, he had claimed, a particular degradation of death itself, a perpetration of our humanity bound in some way to affect our perception of reason itself. The contradictions regarding Auschwitz that Agamben senses to be latent within Adorno’s remarks involve the intuition ‘on the one hand, of having realized the unconditional triumph of death against life; on the other, of having degraded and debased death. Neither of these charges – perhaps like every charge, which is always a genuinely legal gesture – succeed in exhausting Auschwitz’s offense, in defining its case in point’ (RA 81). And this is the stance that Agamben wishes to hammer home quite emphatically vis-à-vis Adorno’s limitations, ones that, I would only add, seem to linger within Agamben’s own formulations in ways that he has still not come to reckon with entirely: ‘This oscillation’, he affirms, ‘betrays reason’s incapacity to identify the specific crime of Auschwitz with certainty’ (RA 81).

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

Out of War

2018 ◽  
Author(s):  
Mariane C. Ferme
Keyword(s):  
Sierra Leone ◽  
Red Cross ◽  
Cultural Survival ◽  
Social Fabric ◽  
Rural Landscapes ◽  
Republic Of China ◽  
Liminal Spaces ◽  
Humanitarian Interventions ◽  
Sensory History ◽  
History Of

Out of War is an ethnographic engagement with the nature of intercommunal violence and the material returns of history during and after the 1991–2002 Sierra Leone civil war. The questions raised concern the nature and reckoning of time and reality, fact and fiction; the experience of violence and trauma; the reversibility of perpetrator and victim, friend and enemy; and past, present, and future in the colony and postcolony. The book is a reflection on West African epistemologies and ontologies that contribute to questions in counterpoint with those of international humanitarianism, struggling with the possibilities of truth and quandaries of justice. In the context of massive population displacements and humanitarian interventions, the ethnography traces strategies of psychological, political, and cultural survival and material dwelling in liminal spaces in the midst of the destruction of the social fabric engendered by war. It also examines the juridical creation of new figures of crimes against humanity at the Special Court for Sierra Leone. The Sierra Leone scene, in the aftermath of war, is visualized as a landscape of chronotopes, neologisms that summon the uncertainty of war: the sobel (“soldier by day, rebel by night”), pointing to the instability of distinctions between enemy and friend, or of opposing parties in the war (the rebels of the Revolutionary United Front [RUF] and soldiers in the national army), and the rebel cross, pointing to the possibility that the purported neutrality of the Red Cross masked partisan interests alongside the RUF. Chronotopes also testify to the difficulty of discerning between facts and rumors in war, and they freeze in time collective anxieties about wartime events. Finally, beyond the traumas of war, the book explores the returns of material traces in counterpoint to the more “monumental” presence of Chinese investments in Africa today, and it explores the forgotten sensory history of another China (Taiwan versus the People’s Republic of China) and another Africa inscribed in ordinary agrarian practices on rural landscapes, and in the fabric of domestic life, particularly since the non-aligned movement emerged from the Bandung conference in 1955.

Evolution of the Paran drainage basin and its relation to the Plio-Pleistocene history of the Arava Rift western margin, Israel

2000 ◽  
Vol 49 (4) ◽  
pp. 215-238 ◽  
Author(s):  
Hanan Ginat ◽  
Yoav Avni ◽  
Zvi Garfunkel ◽  
Hanan Ginata ◽  
Yosef Bartov
Keyword(s):  
Drainage Basin ◽  
Western Margin ◽  
History Of

THE ROLE OF ANTHROPONYMS IN THE SEMANTIC FIELD OF ARTISTIC WORKS

2019 ◽  
Vol 2019 (29) ◽  
pp. 66-77
Author(s):  
Lidiya Derbenyova
Keyword(s):  
Literary Work ◽  
Main Theme ◽  
Semantic Field ◽  
New Meanings ◽  
Minor Part ◽  
The One ◽  
A Minor ◽  
And Storage ◽  
Horizon Of Expectations

The article explores the role of antropoetonyms in the reader’s “horizon of expectation” formation. As a kind of “text in the text”, antropoetonyms are concentrating a large amount of information on a minor part of the text, reflecting the main theme of the work. As a “text” this class of poetonyms performs a number of functions: transmission and storage of information, generation of new meanings, the function of “cultural memory”, which explains the readers’ “horizon of expectations”. In analyzing the context of the literary work we should consider the function of antropoetonyms in vertical context (the link between artistic and other texts, and the groundwork system of culture), as well as in the context of the horizontal one (times’ connection realized in the communication chain from the word to the text; the author’s intention). In this aspect, the role of antropoetonyms in the structure of the literary text is extremely significant because antropoetonyms convey an associative nature, generating a complex mechanism of allusions. It’s an open fact that they always transmit information about the preceding text and suggest a double decoding. On the one hand, the recipient decodes this information, on the other – accepts this as a sort of hidden, “secret” sense.

NURTURING OF CHILDREN THROUGH DRAMA AND THEATRE: THE CASE OF INTWASA KOBULAWAYO PERFORMANCES

2016 ◽  
Vol 13 (2) ◽  
pp. 86-99
Author(s):  
Vimbai Moreblessing Matiza
Keyword(s):  
Political Development ◽  
Children And Youth ◽  
Main Task ◽  
Growing Up ◽  
Theatrical Performances ◽  
History Of ◽  
The One

Dramatic and theatrical performances have a long history of being used as tools to enhance development in children and youth. In pre-colonial times there were some forms of drama and theatre used by different communities in the socialisation of children. It is in the same vein that this article, through the Intwasa koBulawayo performances, seeks to evaluate how drama and theatre are used to nurture children and youth into different developmental facets of their lives. The only difference which this article will take into cognisance is that the performances are done in a different environment, which is not the one used in the pre-colonial times. Although these performances were like this, the most important factor is the idea that children and youth are socialised through these performances. It is also against this backdrop that children and youth are growing up in a globalised environment, hence the performances should accommodate people from all walks of life and teach them relevant issues pertaining to life as they live it now. Thus the main task of the article is to spell out the role of drama and theatre in the nurturing of children and youth through socio economic and political development in Intwasa koBulawayo festivals.

Responsive Architecture and the Problem of Obsolescence

2014 ◽  
Vol 8 (3) ◽  
pp. 95 ◽  
Author(s):  
Mark Meagher
Keyword(s):  
Computer Science ◽  
Digital Information ◽  
Material Response ◽  
Responsive Architecture ◽  
History Of ◽  
The One

Responsive architecture, a design field that has arisen in recent decades at the intersection of architecture and computer science, invokes a material response to digital information and implies the capacity of the building to respond dynamically to changing stimuli. The question I will address in the paper is whether it is possible for the responsive components of architecture to become a poetically expressive part of the building, and if so why this result has so rarely been achieved in contemporary and recent built work. The history of attitudes to- ward obsolescence in buildings is investigated as one explanation for the rarity of examples like the one considered here that successfully overcomes the rapid obsolescence of responsive components and makes these elements an integral part of the work of architecture. In conclusion I identify strategies for the design of responsive components as poetically expressive elements of architecture.

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