Attic Geometric Vase Scenes, Old and New

1966 ◽  
Vol 86 ◽  
pp. 1-5 ◽  
Author(s):  
John Boardman
Keyword(s):  
New York ◽  
The Other ◽  
Small Fish ◽  
Vase Painting ◽  
Filling Device ◽  
Siamese Twin ◽  
Funeral Practice ◽  
The Dead ◽  
Dead Man

The New York crater, 14.130.15 (PLATES I–III), was first published by Miss Richter fifty years ago. Since then it has frequently been accorded illustration and comment both for its figure scenes—notably the prothesis, the chariot friezes and the occurrence of ‘Siamese twin’ warriors—and for its place in the development of Attic Geometric vase painting. There are, however, a number of features in the figure scenes which have escaped notice hitherto in publication, and which are of some interest to the student of Geometric funeral practice and iconography.The prothesis itself (PLATE II a) is conventional enough in most of its details. The child crouching over the legs of the dead man extends his arms over them. The child standing behind the head tears his hair with one hand while the other seems to be stretched towards the dead man's mouth. Certainly no branch or fan is held—the motif found in some other prothesis scenes. Before the child's leg is a small fish. The gesture and the fish (an odd filling device, if it is one) are not readily explained but may be borne in mind when other features of the frieze are discussed.

sacrifice. [17] Philoneos’ concubine went along for the sacrifice. When they were in Peiraieus, Philoneos sacrificed, of course. And when he had completed the sacrifice, the female wondered how to administer the drug to them, before or after dinner. And as she considered the matter she concluded that after dinner was better; she was also acting on the instructions of this Klytaimestra, my brother’s mother. [18] The full account of the dinner would be too longwinded for me to tell and you to hear. I shall try to give as brief an account as I can of the rest, of how the poison was administered. After dinner, naturally, since one was sacrificing to Zeus of Possessions and entertaining the other, and one was about to go on a voyage and was dining with a close friend, they made a libation and offered incense for their future. [19] And while Philoneos’ concubine was pouring the libation for them – as they offered prayers which would never be fulfilled, gentlemen – she poured in the poison. Thinking she was being clever, she gave more to Philoneos in the belief perhaps that if she gave him more she would win more affection from him – she had no idea that she was my stepmother’s dupe until disaster struck – while she poured less in our father’s drink. [20] They for their part after pouring their libations took their final drink, holding in their hands their own killer. Philoneos died at once on the spot; our father was afflicted with a sickness from which he died after twenty days. For this the assistant who carried out the act has the reward she deserved, though she was not to blame – she was put on the wheel and then handed over to the public executioner; the guilty party, the one who planned it, will soon have hers, if you and the gods will it. [21] Note how much more just my plea is than my brother’s. I urge you to avenge the dead man, who is the victim of an irreparable wrong. For the dead man my brother will offer no request, though he deserves your pity and support and vengeance for having his life taken in a godless and inglorious manner before his time by the last people who should have done this. [22] His plea will be for the murderess, a plea which is unprincipled, unholy, which deserves neither fulfilment nor attention either from the gods or from you; he will seek with his plea (to induce you not to convict her for her crimes) though she could not induce herself not to devise them.* But you must give your support not to those who kill but to the victims of deliberate

2002 ◽  
pp. 47-48
Keyword(s):  
Close Friend ◽  
The Other ◽  
Full Account ◽  
The Public ◽  
The Dead ◽  
The One ◽  
Dead Man ◽  
The Sacrifice

Face to Face with the Dead Man: Ethical Responsibility, State-Sanctioned Killing, and Empathetic Impossibility

1997 ◽  
Vol 22 (4) ◽  
pp. 467-492 ◽  
Author(s):  
Patricia Molloy
Keyword(s):  
The Other ◽  
Ethical Responsibility ◽  
Death Row ◽  
Face To Face ◽  
The Face ◽  
The Dead ◽  
Dead Man ◽  
As If ◽  
The Way

The image of the death house with its polished tiles and gleaming oak chair is fading. I turn my attention to where life is. Although I have decided that I will not be going to death row again, I cannot bear to think that there are some men there now who are facing death alone. The other man's death calls me into question, as if, by my possible future indifference, I had become the accomplice of the death of the other, who cannot see it; and as if, even before vowing myself to him, I had to answer for this death of the other, and to accompany the Other in his mortal solitude. The Other becomes my neighbour precisely through the way the face summons me, calls for me, begs for me, and in so doing recalls my responsibility, and calls me into question.

scholarly journals Heterotopisk Svalbard-krim

Nordlit ◽  
2015 ◽  
pp. 63 ◽  
Author(s):  
Lisbeth Pettersen Wærp
Keyword(s):  
Police Officer ◽  
Michel Foucault ◽  
Theoretical Framework ◽  
Crime Fiction ◽  
The Other ◽  
The Arctic ◽  
The World ◽  
The Dead ◽  
Dead Man

<p align="LEFT">How is the Arctic represented in modern crime fiction written by a female glaciologist, meterologist and polar explorer? Monica Kristensen is the author of a new, critically acclaimed, series of crime <span style="font-family: TimesNewRomanPSMT;">novels set in Svalbard. The first four novels of the series are </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Hollendergraven </span></em><span style="font-family: TimesNewRomanPSMT;">(2007, </span><span style="font-family: TimesNewRomanPS-ItalicMT;"><em>The Dutchman's Grave</em></span><span style="font-family: TimesNewRomanPSMT;">), </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Kullunge </span></em><span style="font-family: TimesNewRomanPSMT;">(2008, </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Coal Baby</span></em><span style="font-family: TimesNewRomanPSMT;">), </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Operasjon Fritham </span></em><span style="font-family: TimesNewRomanPSMT;">(2009, </span><span style="font-family: TimesNewRomanPS-ItalicMT;"><em>Operation Fritham</em></span><span style="font-family: TimesNewRomanPSMT;">), </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Den døde i Barentsburg </span></em><span style="font-family: TimesNewRomanPSMT;">(2011, </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">The Dead Man in Barentsburg</span></em><span style="font-family: TimesNewRomanPSMT;">) </span><span style="font-family: TimesNewRomanPSMT;">and </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Ekspedisjonen </span></em><span style="font-family: TimesNewRomanPSMT;">(2014, </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">The Expedition</span></em><span style="font-family: TimesNewRomanPSMT;">). According to the publisher, Forlaget </span>Press, the series, when completed, will consist of altogether 12 books. The originality of the series is the use of Svalbard as setting. The setting is not only spectacular, it is significant: Knowledge of nature and climate is of greatest importance to the characters, the protagonist, police officer (sysselmannsbetjent) Knut Fjeld, as well as his various antagonists. <span style="font-family: TimesNewRomanPSMT;">Svalbard is not only a place in the Arctic, but also a group of </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">islands</span></em><span style="font-family: TimesNewRomanPSMT;">. Both aspects </span>are effectively exploited in Kristensen's novels. The representation of the Arctic <span style="font-family: TimesNewRomanPSMT;">archipelago is to a great extent based on the </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">differences </span></em><span style="font-family: TimesNewRomanPSMT;">from other places, e.g. </span>mainland Norway. The arcticle argues that the arctic archipelago as represented in these novels comes close to what French philosopher Michel Foucault calls <span style="font-family: TimesNewRomanPS-ItalicMT;"><em>heterotopia</em></span><span style="font-family: TimesNewRomanPSMT;">: A place that is totally different from other places, a place that represents </span><span style="font-family: TimesNewRomanPS-ItalicMT;"><em>the other, </em></span><span style="font-family: TimesNewRomanPSMT;">the </span><em><span style="font-family: TimesNewRomanPS-ItalicMT;">deviant, </span></em><span style="font-family: TimesNewRomanPSMT;">and like the utopia and dystopia reflects the world of which it </span>is an extension. Heterotopia is Foucault’s neologism (1967), and unlike the utopia/dystopia, the heterotopia actually exists. Within this theoretical framework the article presents a reading of the first five novels with special emphasis on the exploitation of place.</p>

Review: Islam and politics in Iranian Kurdistan at a time of revolution: the life of Ahmad Moftizadeh

2017 ◽  
Vol 5 (1) ◽  
pp. 80-87
Author(s):  
Martin Van Bruinessen
Keyword(s):  
New York ◽  
Middle East ◽  
Political Order ◽  
The Other ◽  
Islam And Politics ◽  
Cultural Rights ◽  
Revolutionary Regime

Ali Ezzatyar, The Last Mufti of Iranian Kurdistan: Ethnic and Religious Implications in the Greater Middle East. New York: Palgrave Macmillan, 2016. xv + 246 pp., (ISBN 978-1-137-56525-9 hardback).For a brief period in 1979, when the Kurds had begun confronting Iran’s new Islamic revolutionary regime and were voicing demands for autonomy and cultural rights, Ahmad Moftizadeh was one of the most powerful men in Iranian Kurdistan. He was the only Kurdish leader who shared the new regime’s conviction that a just social and political order could be established on the basis of Islamic principles. The other Kurdish movements were firmly secular, even though many of their supporters were personally pious Muslims.

From the New York Herald to the Italian screen

2017 ◽  
Vol 3 (2) ◽  
pp. 175-193 ◽  
Author(s):  
Katherine Frances Nagels
Keyword(s):  
New York ◽  
The Other ◽  
Comic Strip ◽  
Women In The Workplace

The popular 1907–9 American newspaper comic strip character Fluffy Ruffles was an iconic embodiment of contemporary American femininity between the eras of the Gibson Girl and the later flapper and “it” girl. This article discusses Fluffy Ruffles as a popular phenomenon and incarnation of anxieties about women in the workplace, and how she underwent a metamorphosis in the European press, as preexisting ideas of American youth, wealth, and liberty were grafted onto her character. A decade after her debut in the newspapers, two films—Augusto Genina's partially extant Miss Cyclone (La signorina Ciclone,1916), and Alfredo Robert's lost Miss Fluffy Ruffles (1918)—brought her to the Italian screen. This article looks at how the character was interpreted by Suzanne Armelle and Fernanda Negri Pouget, respectively, drawing on advertisements and the other performances of Negri Pouget to reconstruct the latter. The article is illustrated with drawings and collages based on the author's research.

Producers' Response to Changes in Prices and Marketing Policies: A Case Study of Sugarcane and Paddy in Eastern U.P. by S. C. Gupta and A. Majid. New York: Asia Publishing House, 1965.

1968 ◽  
Vol 8 (2) ◽  
pp. 308-309
Author(s):  
Mohammad Irshad Khan
Keyword(s):  
New York ◽  
Time Series ◽  
Time Series Data ◽  
Publishing House ◽  
Economic Incentives ◽  
The Other ◽  
Series Data ◽  
Poor Countries ◽  
Northern India

It is alleged that the agricultural output in poor countries responds very little to movements in prices and costs because of subsistence-oriented produc¬tion and self-produced inputs. The work of Gupta and Majid is concerned with the empirical verification of the responsiveness of farmers to prices and marketing policies in a backward region. The authors' analysis of the respon¬siveness of farmers to economic incentives is based on two sets of data (concern¬ing sugarcane, cash crop, and paddy, subsistence crop) collected from the district of Deoria in Eastern U.P. (Utter Pradesh) a chronically foodgrain deficit region in northern India. In one set, they have aggregate time-series data at district level and, in the other, they have obtained data from a survey of five villages selected from 170 villages around Padrauna town in Deoria.

Alive Still

2019 ◽  
Author(s):  
Cathy Curtis
Keyword(s):  
New York ◽  
Modern Art ◽  
Severe Form ◽  
The Other ◽  
Left Hand ◽  
Right Hand ◽  
The 1950S ◽  
Village Voice

In 1942, at age twenty, after a vision-impaired and rebellious childhood in Richmond, Virginia, Nell Blaine decamped for New York. Operations had corrected her eyesight, and she was newly aware of modern art, so different from the literal style of her youthful drawings. In Manhattan, she met rising young artists and poets. Her life was hectic, with raucous parties in her loft, lovers of both sexes, and freelance design jobs, including a stint at the Village Voice. Initially drawn to the rigorous formalism of Piet Mondrian, she received critical praise for her jazzy abstractions. During the 1950s, she began to paint interiors and landscapes. By 1959, when the Whitney Museum purchased one of her paintings, her career was firmly established. That year, she contracted a severe form of polio on a trip to Greece; suddenly, she was a paraplegic. Undaunted, she taught herself to paint in oil with her left hand, reserving her right hand for watercolors. In her postpolio work, she achieved a freer style, expressive of the joy she found in flowers and landscapes. Living half the year in Gloucester, Massachusetts, and the other half in New York, she took special delight in painting the views from her windows and from her country garden. Critics found her new style irresistible, and she had a loyal circle of collectors; still, she struggled to earn enough money to pay the aides who made her life possible. At her side for her final twenty-nine years was her lover, painter Carolyn Harris.

Kant, Marginal Cases, and Moral Standing

2018 ◽  
Author(s):  
Christine M. Korsgaard
Keyword(s):  
Life Stage ◽  
The Other ◽  
Moral Standing ◽  
Human Beings ◽  
Identity Problem ◽  
The Subject ◽  
The Dead ◽  
Moral Difference

According to the marginal cases argument, there is no property that might justify making a moral difference between human beings and the other animals that is both uniquely and universally human. It is therefore “speciesist” to treat human beings differently just because we are human beings. While not challenging the conclusion, this chapter argues that the marginal cases argument is metaphysically misguided. It ignores the differences between a life stage and a kind, and between lacking a property and having it in a defective form. The chapter then argues for a view of moral standing that attributes it to the subject of a life conceived as an atemporal being, and shows how this view can resolve some familiar puzzles such as how death can be a loss to the person who has died, how we can wrong the dead, the “procreation asymmetry,” and the “non-identity problem.”

The Turn of the Screw and Other Stories

2008 ◽  
Author(s):  
Henry James
Keyword(s):  
New York ◽  
The Other ◽  
Victorian Culture ◽  
Ghost Story ◽  
Country House ◽  
Small Children ◽  
New York Edition

A young, inexperienced governess is charged with the care of Miles and Flora, two small children abandoned by their uncle at his grand country house. She sees the figure of an unknown man on the tower and his face at the window. It is Peter Quint, the master's dissolute valet, and he has come for little Miles. But Peter Quint is dead. Like the other tales collected here – ‘Sir Edmund Orme’, ‘Owen Wingrave’, and ‘The Friends of the Friends’ – ‘The Turn of the Screw’ is to all immediate appearances a ghost story. But are the appearances what they seem? Is what appears to the governess a ghost or a hallucination? Who else sees what she sees? The reader may wonder whether the children are victims of corruption from beyond the grave, or victims of the governess's ‘infernal imagination’, which torments but also entrals her? ‘The Turn of the Screw’ is probably the most famous, certainly the most eerily equivocal, of all ghostly tales. Is it a subtle, self-conscious exploration of the haunted house of Victorian culture, filled with echoes of sexual and social unease? Or is it simply, ‘the most hopelessly evil story that we have ever read’? The texts are those of the New York Edition, with a new Introduction and Notes.

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