scholarly journals A Testimonie’S Stance: Editorial Positioning in Ælfric’S Sermo in die Pascae

2012 ◽  
Vol 47 (4) ◽  
pp. 81-95 ◽  
Author(s):  
Margarita Mele-Marrero
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Anglo Saxon ◽  
Religious Perspective ◽  
Pragmatic Analysis

Abstract Being one of the first texts to reproduce in printed form the Anglo-Saxon characters, A Testimonie of Antiquity, basically an edition of Ælfric’s “Sermo in Die Pascae”, has been the object of philological studies. Its subject matter related to the Anglican reform has also been analysed from a religious perspective. This article intends to focus on a different aspect, the reason for the text’s success evidenced in its several reproductions and content discussions, which have reached the 20th century. We claim the main credit for this success is to be given to its editors and, therefore, a pragmatic analysis concentrating on stance and engagement (Hyland 2005, 2009) is an adequate study frame. The conclusions will reveal how although there are quantifiable markers that facilitated the positive reception of the text, there were other elements (closer to modern writing implements) the authors utilized to achieve their final objective.

XVII.—Recent Translations of Old English Poetry.

PMLA ◽  
1903 ◽  
Vol 18 (3) ◽  
pp. 445-458
Author(s):  
James M. Garnett
Keyword(s):  
Old English ◽  
Subject Matter ◽  
The Other ◽  
English Poetry ◽  
William Morris ◽  
Anglo Saxon ◽  
Old English Poetry ◽  
The Past

The desire was expressed some years ago that we might soon have in English a collection of translations of Old English poetry that might fill the place so well filled in German by Grein's Dichtungen der Angelsachsen. This desire is now in a fair way of accomplishment, and much has been done during the past ten years, the period embraced in this paper. As was naturally to be expected from the work previously done in criticism of both text and subject-matter, Beowulf has attracted more than ever the thoughts and efforts of translators, for we had in 1892 the rhythmical translation of Professor J. Lesslie Hall and the prose version of Professor Earle; in 1895 (reprinted in cheaper form in 1898) the poetical translation of William Morris and A. J. Wyatt, the editor of Beowulf; in 1901 the prose version of Dr. J. R. Clark Hall, author of A Concise Anglo-Saxon Dictionary; and only the other day, in 1902, the handy prose version of Professor C. B. Tinker.

scholarly journals Kryzys filozofii polityki

2011 ◽  
Vol 13 ◽  
pp. 23-42
Author(s):  
Barbara Markowska
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Theoretical Consideration ◽  
Scientific Discipline ◽  
Operating Conditions ◽  
Decisive Factor ◽  
Early 20Th Century ◽  
Leo Strauss ◽  
Set Up ◽  
Scholarly Pursuit

The purport of the article is a reflection on the operating conditions of the philosophy of politics, beginning with its crisis, as described by Leo Strauss in the early 20th century and continuing up to the latest proposals, which emerged at the turn of the 20th and 21st centuries. First, the author poses a question regarding the essence of this crisis; was it related to the scientific paradigm of the philosophy of politics applied hitherto or, rather, to the very subject matter of this scholarly pursuit, which is to say, to politics itself. A scientific discipline must be able to delineate its subject matter and if the latter undergoes an unexpected modification, the former suffers a crisis. Was this what happened to politics itself? What was the decisive factor which caused it to escape a theoretical consideration that ceased to be a systematic reflection, in short, ceased to be science, only to become philosophy again, whereby the author understands ‘philosophy’ as a level of reflection such as to allow itself to posit subliminal questions purely in order to set up the determinants for further thinking as to what science is, what politics is and what makes politics different from non-politics.

Metonymy, Gifre, Grædig, and a Devouring-the-Dead Theme

2017 ◽  
Author(s):  
Heather Maring
Keyword(s):  
Subject Matter ◽  
Half Line ◽  
Dead Body ◽  
Anglo Saxon ◽  
The Dead

Chapter 2 describes how Anglo-Saxon poets made use of the metonymy of traditional phraseology and oral-connected themes (multiforms) by exploring the “devouring-the-dead” theme in Beowulf, Soul and Body I, and Soul and Body II. The “devouring-the-dead” theme, first proposed here, depicts a ravenous agent destroying a dead body. Due to its subject matter, the theme commonly draws on the half-line collocation grædig ond gifre (“greedy and devouring”), which also arises independently of the theme. The collocation and the “devouring-the-dead” theme are written oral idioms that make use of the metonymic referentiality of oral-traditional signs for both utilitarian and aesthetic purposes.

Gill, Eric (1882–1940)

2018 ◽  
Author(s):  
Tracy Bergstrom ◽  
Ruth Cribb
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Arts And Crafts ◽  
Early 20Th Century ◽  
Arts And Crafts Movement ◽  
Popular Press ◽  
Working Relationship ◽  
The Arts ◽  
Religious Subject ◽  
Public Architecture

Eric Gill was a sculptor, typeface designer, printmaker and craftsman associated with the Arts and Crafts movement whose greatest influence was on the development of modern British sculpture in the early 20th century. As an advocate of hand-making in small workshops, he is considered one of the main proponents of the method of direct carving. Through his close working relationship with Jacob Epstein between 1910 and 1912, and receiving support from Roger Fry, Gill’s sculptures were received as representing modernity through direct carving, the simplification and flattening of line and form, and the use of British stones. Gill’s work as a typographer, letter cutter, wood engraver, and essayist also placed him at the heart of many modern movements in Britain during his lifetime, including the Society of Wood Engravers. As a writer and prolific sculptor for public architecture in the 1930s, he became prominent in the popular press. As a Catholic convert, his views and the religious subject matter of his art have complicated his status in the art historical canon. Since his death, his influence and importance have been predominately attributed to his letter cutting and typography.

Performative aspects of late medieval English wills

2002 ◽  
Vol 3 (2) ◽  
pp. 205-227 ◽  
Author(s):  
Gabriella Del Lungo Camiciotti
Keyword(s):  
Historical Development ◽  
Cultural Context ◽  
Historical Context ◽  
Religious Practices ◽  
Anglo Saxon ◽  
Late Medieval ◽  
Legal Enforcement ◽  
Pragmatic Analysis ◽  
Literate Culture

This paper presents a case study of the fifty earliest English wills in the Court of Probate, London, with a view to contributing towards highlighting the historical development of this legal genre. By analysing these documents from a pragmatic perspective and setting them in a diachronic framework, I show how the realisation of the act of bequeathing is highly dependent on the socio-cultural context of production and use. Late medieval wills are utterly different from Anglo-Saxon ones in that they are the product of a relatively literate culture in which drafters followed the format of Latin testaments; in this sense late medieval wills are similar to modern ones because they conform to the model of autonomous, formal text. However, they do not fulfil all the felicity conditions necessary to achieve their full constitutive potential as the authority validating these documents remains rooted in religious practices rather than in legal enforcement. This paper offers evidence in favour of the view that a proper pragmatic analysis of medieval documents can only be achieved by taking the historical context into account.

Paris, Théâtre du Châtelet: Péter Eötvös's ‘Angels in America’

Tempo ◽  
2005 ◽  
Vol 59 (232) ◽  
pp. 74-75
Author(s):  
Rachel Beckles Willson
Keyword(s):  
Racial Identity ◽  
20Th Century ◽  
Subject Matter ◽  
Benjamin Britten ◽  
The Usa ◽  
Opera House ◽  
World Drama ◽  
Angels In America

Tony Kushner's play Angels in America is now secure in the canon of 20th-century US (and probably world) drama, but its subject-matter has not often been explored in the opera house. The play centres around questions about racial identity, connubial relationships and politics (that's all very operatic, of course); but also a type of intolerance and spiritualism that is peculiar to parts of the USA; and, most dramatically and provocatively, homosexual partnerships and AIDS. Aside from the historical examples provided by certain operas by Benjamin Britten (among others), the only operas on gay themes known to this writer are Matthias Pintscher's Thomas Chatterton (1994–97), Stewart Wallace's Harvey Milk (premièred 1995), Paula M. Kimper's Patient and Sarah (premièred 1998) and Estele Pizer's Perverse (premièred 2002) – and none addresses AIDS. So Péter Eötvös's new opera, to a libretto by Mari Mezei, directed by Philippe Calvario and premiered under the composer's baton on 29 November, seems nothing if not an intervention.

Context and text in scientific disciplines of English

2019 ◽  
Vol 1 (1) ◽  
pp. 4-38
Author(s):  
David G. Butt
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Disciplinary Knowledge ◽  
Verbal Art ◽  
Political Subject ◽  
World Languages ◽  
Grammatical Metaphor ◽  
Scientific Disciplines ◽  
Innovative Potential ◽  
The Right

Abstract As major world languages – Chinese, Spanish and Portuguese, for instance – become the medium of university networks, it may be the right time to take stock of the influence that English has had over the way the disciplines of humanities and sciences have been shaped, directed and evaluated, in particular in the second half of the 20th century. This paper is an attempt to understand some of the textual, linguistic and historical determinants of Disciplinary English (DE) specifically in the spectrum of technical subjects. DE is now a way of meaning which has become associated with objective authority. From this association, DE has shaped our disciplinary knowledge and spread across to registers of bureaucratic and political subject matter. The discussion also considers innovative potential in disciplinary discourses, in particular what Halliday regarded as the “knight’s move” in text: this is the related, analogical effect of Hasan’s “symbolic articulation” in verbal art and grammatical metaphor in the language of technical disciplines.

scholarly journals Полонистика в Московском Государственном Университете имени м. В. Ломоносова

2015 ◽  
Vol 36 ◽  
pp. 225-233
Author(s):  
Наталия [Naliia] Ананьева [Anan'eva]
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
Scientific Work ◽  
State University ◽  
Language And Literature ◽  
Polish Language ◽  
Student Training ◽  
The Subject ◽  
Second Year ◽  
Slavic Studies

Polish studies at Lomonosov State University in MoscowPolish Studies at Moscow University are one of specialisations of the department of Slavic Studies at the Faculty of Linguistics. The beginnings of Slavic Studies as a university discipline dates back in 1835. In the 20th century such outstanding scholars as Afanasij Sieliszczew and Samuił Bernsztejn worked as lecturers here. The Polish language and literature together with Czech, Serbo-Croatian and Bulgarian department has existed permanently until today. The Chair of Polish Studies is currently held by the author of the article. Enrolment for Polish Studies takes place once three years. Groups consist of ca. 10–15 people. There is a division into two specialisations – linguistics and literature since the second year of studies. The article presents the subject matter of research and scientific work of didactic workers and their main publications. Student training in Poland and lectures of Polish specialists help mastering fluency in the Polish language.

Sickert, Walter (1860–1942)

2018 ◽  
Author(s):  
Tom Furness
Keyword(s):  
20Th Century ◽  
Subject Matter ◽  
New Age ◽  
Future Generations ◽  
Early 20Th Century ◽  
Pictorial Space ◽  
Edgar Degas ◽  
British Art

Walter Sickert is widely acknowledged as one of the most important figures in modern British art. He was instrumental in furthering acceptance of Impressionist art in Britain and in the progression of modern British painting during the pre-war period in his capacities as both a painter and a writer for periodicals such as New Age. Sickert’s works demonstrate an abiding interest in the surface of pictures and the essence of paint as a material. The painting Minnie Cunningham at the Old Bedford (1892) shows Sickert at the confluence of his two great influences. Inspired by the tutelage of Whistler, its thin washes of wet paint and a shallow pictorial space depict a theatrical subject matter much favored by Edgar Degas. A decade later, in early 20th-century London, Sickert found his place as the elder statesman amongst artists including Spencer Gore, Harold Gilman and Malcolm Drummond in the Camden Town Group and London Group. Through his teaching at, among others, the Westminster School of Art, he imparted his devotion to everyday, urban subjects and his dispassionate recording of visual fact to future generations of figurative artists including William Coldstream and David Bomberg.

Ashcan School

2018 ◽  
Author(s):  
Lara Kuykendall
Keyword(s):  
New York ◽  
20Th Century ◽  
Subject Matter ◽  
Public Spaces ◽  
Early 20Th Century ◽  
Popular Entertainment ◽  
Ashcan School ◽  
American Artists ◽  
George Bellows ◽  
Total Freedom

The Ashcan School was a group of American artists that began exhibiting together in the early 20th century and advocated for total freedom in style and subject matter. Also known as Urban Realists because of their focus on urban, public spaces including trains, streets and parks, restaurants and bars, and other spaces of popular entertainment, Ashcan members included Robert Henri, John Sloan, George Luks, William Glackens, Everett Shinn, and George Bellows. "Ashcan" was initially a pejorative term applied to the group because they employed dark colors and painterly, unblended brushstrokes, which were thought to make their works appear dirty or unfinished. The Ashcan School was initially associated with a secessionist art group called The Eight, which also included postimpressionists Arthur B. Davies, Maurice Prendergast, and Ernest Lawson. The Eight rebelled against the National Academy of Design, the principal art school and host of prestigious juried exhibitions in New York, because they sought greater stylistic freedom and more control over their exhibition opportunities. Implicitly, the Ashcan painters also rebelled against The Ten, a group of American Impressionists, because they thought their predecessors’ works were too delicate in style and genteel in subject matter.

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