“IDENTITY” AND “DIFFERENCE” IN THE TEXTUALIZATION OF ZUNI VERBAL ART

2021 ◽  
pp. 17-30
Keyword(s):  
Verbal Art ◽  
Identity And Difference

Fin-de-siècle Lyrical Drama and the European Modernist Sensibility on the Eve of World War One

2015 ◽  
Vol 11 (2) ◽  
pp. 242-259
Author(s):  
Slobodanka Vladiv-Glover
Keyword(s):  
Western Europe ◽  
World War ◽  
World War One ◽  
Verbal Art ◽  
Cultural Paradigm ◽  
European Thought ◽  
Relationship Of ◽  
Identity And Difference ◽  
The Relationship ◽  
Tristan And Isolde

The paper analyses the relationship of lyrical drama, which emerged as the dominant genre of European Modernism, and opera, representing a paradigm shift in European thought on the eve of World War One. The musical metaphor of love-death, originating in Wagner’s Tristan and Isolde, was adopted widely and transposed into verbal art by the dramatists and prose-writers of Modernism in Eastern and Western Europe. This metaphor or leit-motif is read in the context of the theory of the Freudian death-drive and the emergence of a modern analytic of finitude, which announces a new European cultural paradigm, grounded in identity and difference. A new ‘modern’ sensibility is formed out of these metaphysical elements, which come to expression in the Modernist genre of lyrical drama, in which a synaesthetic relationship is forged between music and the verbal text. A musical motif (love-death) is generalised into desire in the verbal text which it structures through intonation, gesture and the representation of unconscious drives on stage.

Domesticated mammoths: Mythic and material in Nenets verbal tradition on ya’ xora

Multilingua ◽  
2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Karina Lukin
Keyword(s):  
The Other ◽  
Verbal Art ◽  
The World ◽  
The One

AbstractThis article discusses language materialities and the Otherworld through the findings of mammoth remains and text-artifacts representing Nenets verbal art. The remains and verbal art are read together as a network of mythic knowledge that forms a semiotic whole, where different signs interact and create potentials for new significations. The article aims to open up a web of relations in which materialities of differing ages and durabilities meet and affect each other through their semiotic potentialities. The materialities operate on several levels of signification, ranging from basic metaphors for mammoths to larger regimes that organize the signification. Consequently, mythic knowledge concerns worlds that are, on the one hand, imperceptible but, on the other, sensible through narration and imagination in terms of materialities. The key material elements of the mythic knowledge are tainted by the narration, such that they cannot be considered without the mythic qualities. In addition, the knowledge concerning the world affects Nenets rituals and ways of dwelling.

scholarly journals Passing on Dance: practices of translating the choreographies of Pina Bausch

2018 ◽  
Vol 8 (3) ◽  
pp. 393-420
Author(s):  
Gabriele Klein
Keyword(s):  
Translation Theory ◽  
Sociological Perspective ◽  
Production Analysis ◽  
Specific Potential ◽  
Using Data ◽  
Identity And Difference ◽  
Pina Bausch

Abstract: This text aims to analyze the process of passing on choreographies, as exemplified in the work of the Tanztheater Wuppertal Pina Bausch. It presents this process as a praxis of translation. The paper discusses the limitations and possibilities of translating choreography, as well as the specific potential inherent and visible in practices of translating choreographies by Pina Bausch. From a philosophical and sociological perspective of translation theory and based on a methodology of the ‘praxeological production analysis’ (Klein, 2014a; 2015a), I’m using data gathered during rehearsals and two years of interviews with dancers and collaborators of the Tanztheater Wuppertal Pina Bausch. The text will demonstrate that the translation of choreographies is characterized by a paradox between identity and difference.

Aspects of style and meaning in the analysis of a Hausa Poem

1982 ◽  
Vol 45 (3) ◽  
pp. 546-570
Author(s):  
G. L Furniss
Keyword(s):  
Political Party ◽  
Verbal Art ◽  
Praise Poetry ◽  
The Way

Much of modern Hausa verse is either didactic in tone or is written in praise of God, a person, or a political party. Didacticism and praise are often seen as separate descriptive labels for poetry, song or other forms of verbal art. Yet treatment of topic may in fact be very similar in didactic and in praise poetry; certainly in Hausa this is the case. The aspect of treatment that shows this similarity is the association of the message/theme/topic with words conveying the ideas ‘good’, ‘worth’, ‘quality’ or words indicating their opposites ‘bad’, ‘worthlessness’, ‘lack of quality’. This association is made rather in the way that a product is sold by being linked by the advertiser to things ‘attractive’, ‘of value’, ‘of use’, etc., except that the valueloaded words in Hausa are drawn from a moral and religious code very different from those ‘codes’used to sell soap.

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