scholarly journals Evolution of Middle English Alliterative Phrases in 15th-Century Scottish Poetry: New Forms and Functions

2020 ◽  
pp. 89-97
Author(s):  
Anastasiya G. Stolyarova ◽  
Keyword(s):  
Characteristic Feature ◽  
Middle English ◽  
Typical Feature ◽  
Individual Author ◽  
Potential Variation ◽  
The Past ◽  
15Th Century ◽  
Alliterative Revival

Alliterative phrases, along with traditional poetic words and substantivized epithets, are considered to be a typical feature of the diction of alliterative revival in England and Scotland, a special marker of this tradition. Formulaic alliterative phrases are quite a different phenomenon than traditional oral poetic formulas; their formulaic character is expressed in potential variation of their elements provided that the semantics and the alliteration scheme are preserved, which allows poets to create individual author variants on the basis of traditional phrases. The paper discusses the use of formulaic alliterative phrases as illustrated by two alliterative Scottish poems that were written nearly at the same time (second half of the 15th century) and belong to the same tradition, but to different genres: the romance Golagros and Gawain and the allegorical poem The Buke of the Howlat. Golagros and Gawain is a poem composed in the decline of the genre of romance, which glorifies the virtues of chivalry and the heroic world becoming a thing of the past. A characteristic feature of the poem is the extensive use of variation between the elements of set phrases typical of the tradition of alliterative revival. A large number of alliterative phrases in Golagros and Gawain are individual author variants describing an ideal chivalric hero. In The Buke of the Howlat, on the contrary, most phrases are fixed and stereotyped. The author of this poem prefers to exploit formulas as a satiric device, putting typical phrases in an unusual context and thus altering their meaning.

scholarly journals Development of hospital treatment of persons with mental disorders

2011 ◽  
Vol 139 (suppl. 1) ◽  
pp. 6-9 ◽  
Author(s):  
Milutin Nenadovic
Keyword(s):  
Mental Health ◽  
19Th Century ◽  
Psychiatric Patients ◽  
Psychiatric Hospitals ◽  
Hospital Treatment ◽  
Social Community ◽  
Mental Patients ◽  
The Past ◽  
15Th Century ◽  
The 19Th Century

Discordances of harmonic mental functioning are as old as the human kind. Psychopathological behaviour of an individual in the past was not treated as an illness. That means that psychopathology was not considered an illness. In all past civilizations discordance of mental harmony of an individual is interpreted from the physiological aspect. Psychopathologic expression was not considered an illness, so social attitudes about psychiatric patients in the past were non-medical and generally speaking inhuman. Hospitals did not follow development of medicine for admission of psychiatric patients in past civilizations, not even in the antique era. According to historic sources, the first hospital that was meant for mental patients only was established in the 15th century, 1409 in Valencia (Spain). Therefore mental patients were isolated in a special institution-hospital, and social community rejected them. Only in the new era psychopathological behavior begins to be treated as an illness. Therefore during the 19th century psychiatry is developed as a special branch of medicine, and mental disorder is more and more seen according to the principals of interpretation of physical illnesses. By the middle of the 19th century psychiatric hospitals are humanized, and patients are being less physically restricted. Deinstitutialisation in protection of mental health is the heritage of reforms from the beginning of the 19th century which regarded the prevention of mental health protection. It was necessary to develop institutions of the prevention of protection in the community which would primarily have social support and characteristics.

scholarly journals Trichoscopic findings in cicatricial alopecias and hair shaft disorders and its application in histopathology

2017 ◽  
Vol 5 (12) ◽  
pp. 5254 ◽  
Author(s):  
Ashwini S. Khadatkar ◽  
Nishant B. Ghodake
Keyword(s):  
Characteristic Feature ◽  
Hair Follicle ◽  
Lupus Erythematosus ◽  
Hair Shaft ◽  
Discoid Lupus Erythematosus ◽  
Pathological Findings ◽  
Diagnostic Features ◽  
The Past ◽  
Type Iv ◽  
Folliculitis Decalvans

Background: Many studies have been published on dermoscopy of hair and scalp disorders in the past few years, but these have been mainly carried out in western countries. Indian skin is mainly type IV and V and has its own unique set of problems and pathological findings. Hence, we conducted a study at our institute to study the dermoscopic patterns of various cicatricial alopecias.Methods: This was a descriptive study conducted in the Dermatology outpatient department, Skinaccess clinics, Nashik, between August 2014 to June 2016. The most common and characteristic feature seen in patients with cicatricial alopecia was hair follicle effacement seen in all 24 patients (100%). Hair follicle plugging was seen in 6 (25%) patients with DLE, and one patient with idiopathic scarring. Hyperkeratotic perifollicular scaling was seen in 2 patients with lichen plano pilaris. Perifollicular hyperpigmentation was seen in one patient of discoid lupus erythematosus (DLE) and 2 patients with idiopathic scarring. Hair casts were seen in 2 patients with lichen plano pilaris, and in one patient with idiopathic scarring. Patchy depigmentation was seen in 4 patients with discoid lupus erythematosus, 3 patients with idiopathic scarring, and one patient with lichen plano pilaris.Results: The most common and characteristic feature seen in patients with cicatricial alopecia was hair follicle effacement seen in all 24 patients (100%). Hair follicle plugging was seen in 6 (25%) patients with DLE, and one patient with idiopathic scarring. Hyperkeratotic perifollicular scaling was seen in 2 patients with lichen plano pilaris. Perifollicular hyperpigmentation was seen in one patient of discoid lupus erythematosus (DLE) and 2 patients with idiopathic scarring. Hair casts were seen in 2 patients with lichen plano pilaris, and in one patient with idiopathic scarring. Patchy depigmentation was seen in 4 patients with discoid lupus erythematosus, 3 patients with idiopathic scarring, and one patient with lichen plano pilaris.Conclusions: Hair follicle effacement is a characteristic dermoscopic feature of cicatricial alopecia. Hair follicle plugging, patchy depigmentation and red dots are seen in DLE. In lichen plano pilaris the dermoscopic findings of blue dots, white dots and perifollicular scaling were found to be useful for making an accurate diagnosis. Perifollicular scaling and tufting of hair is characteristically seen in patients with folliculitis decalvans. Dermoscopy is very useful in differentiating cicatricial from non-cicatricial alopecias. A biopsy obtained from the peripheral edge of the patch is more likely to show diagnostic features than the central portion. Dermoscopic guided biopsies were shown to yield definitive pathological diagnosis in 95% of the cases. Hair shaft disorders can be easily diagnosed by dermoscopy, without the need for hair.

Some Sources of 15th Century English Music

1949 ◽  
Vol 2 (4) ◽  
pp. 65-67
Author(s):  
Manfred F. Bukofzer
Keyword(s):  
British Museum ◽  
List Type ◽  
Type Number ◽  
Separate Part ◽  
The Past ◽  
15Th Century ◽  
Annotated List ◽  
English Music

In the past years a number of manuscripts and small fragments have come to light which enlarge in various degrees our knowledge of 15th-century music in England. It may be useful to give a brief annotated list:1.British Museum, Add. MS 40011 B. Flyleaves from a Memorandum Book of Fountains Abbey containing three- and four-part settings of the Mass, and a few motets some of which are incomplete. The fragment is valuable especially for the concordances with the Old Hall MS.2.British Museum, Egerton MS 3307. Thematic catalogue: Schofield, The Musical Quarterly XXXII (1946), 509. This manuscript is one of the most important recent additions to English music of the Renaissance. It transmits a series of sacred compositions for Holy Week, and, in a separate part, carols with English words and Latin cantilenas for two and three voices. Of particular interest are a three-voice composition of the old Goliard song O potores exquisiti and a four-part motet Cantemus Domino socie, based in its text on the beginning of an elegy by Sedulius.

What does āgen mean in the Lindisfarne Gospels?

2019 ◽  
Vol 72 (2) ◽  
pp. 245-272
Author(s):  
Letizia Vezzosi
Keyword(s):  
Middle English ◽  
Significant Contribution ◽  
Past Participle ◽  
Latin Text ◽  
The Past ◽  
Lindisfarne Gospels ◽  
Object Of Study ◽  
Core Meaning ◽  
Source Of Information

Abstract Aldred’s interlinear glosses added to the Latin text of the Lindisfarne Gospels have undoubtedly an inestimable value as one of the most substantial representatives of late Old Northumbrian. Therefore, they have been an object of study both as a source of information on this Old English variety and on the typological changes affecting Middle English. Starting from the assumption that glosses have an ancillary function with respect to the Latin text they accompany, I have argued in the present paper that they can make a significant contribution to delineating the history and meaning of a word inasmuch as glossators could have chosen vernacular words according to their core meaning. The particular case of the verbs of possession āgan and the forms derived from it, including the past participle āgen, will be used in the following discussion of the role of glosses: the investigation of their meaning in the Lindisfarne Gospels will help us understand the development of āgen into the PDE attributive intensifier own.

Negation and OV order in Late Middle English

2000 ◽  
Vol 36 (1) ◽  
pp. 13-38 ◽  
Author(s):  
RICHARD INGHAM
Keyword(s):  
Middle English ◽  
Large Database ◽  
Negative Concord ◽  
15Th Century

Optional OV order in Later Middle English (LME) has given rise to conflicting theoretical accounts. Earlier analyses postulating movement to AgrOP or alternative base orders are found to be inadequate to deal with the occurrence of OV in non-literary LME; in a large database of 15th century private familial correspondence, residual OV order is found to have been productive only with negated objects. Multiple subject constructions with there expletives showed the same restriction. These phenomena are accounted for by postulating overt Neg Movement (Haegeman 1995) as a permitted option in LME. In this framework, it is argued that LME showed a mixed typology having both Neg movement and a null Neg operator. LME had three ways of satisfying the NEG Criterion (Haegeman 1995): Merge not in Spec NegP, coindex [OP]i … [XP(Neg)]i, and Move XP(Neg) to Spec NegP. Modern English has only the first two. The distribution in this period of negative concord with not is shown to support our analysis.

scholarly journals The Distribution of the Perfect Auxiliaries be/have in Middle English Texts

2018 ◽  
pp. 33-46
Author(s):  
Katarzyna Alicja Zdziera
Keyword(s):  
Simple Model ◽  
Middle English ◽  
16Th Century ◽  
Auxiliary Verbs ◽  
15Th Century ◽  
Verbs Of Motion ◽  
Verb Phrases ◽  
Main Factors ◽  
Germanic Languages

Like many Germanic languages, English has developed specific periphrastic constructions to express perfective meaning. Before being fully grammaticalized in the 16th century, they were used occasionally in Old and Middle English as complex verb phrases with either habban ‘to have’ or beon/wesan ‘to be’ acting as auxiliary verbs. By the Modern English period, forms created with be disappeared from the language and were almost completely replaced by forms with have, a process which did not occur, for instance, in German. As the data on this development are quite scarce, a relatively simple model is assumed with a steady diachronic progress towards the system established in Modern English, a model which disregards synchronic variation. This paper attempts to investigate the distribution of the perfective constructions with be and have, especially in the 15th century texts and to identify the main factors accounting for diff erences in their usage. Instead of taking into account only the diachronic aspect of the development described, the present study focuses mainly on investigating the synchronic variation in the auxiliaries used with the two most frequent verbs of motion, namely come and go in the perfective meaning.

scholarly journals Thomas Tranströmer’s poetic syntax and its Russian translation

2020 ◽  
Vol 18 (2) ◽  
pp. 372-393
Author(s):  
Elena Chekalina ◽  
Keyword(s):  
Special Function ◽  
Russian Translation ◽  
Syntactic Structure ◽  
Typical Feature ◽  
Relative Pronoun ◽  
Complex Objects ◽  
The Past ◽  
Outer World ◽  
Poetic Vision ◽  
Semantic Significance

The article discusses the syntactic structure of Tomas Tranströmer’s poems that reflects the uniqueness of his poetic worldview and the depth of philosophical meaning. Chains of homogenous parts of the sentence, mostly with conjunctionless coordination, are used to reflect the infinite diversity of the outer world as seen through the poetic vision. In these conjunctionless coordinated chains of nominal parts of the sentence — attributes and objects — commas are used for rythmical and expressive purposes, stressing the semantic significance of every component, and facilitate preserving the alliterative sounding of the poem. By contrast, when objects of the outer world are depicted with a negative value as a chaotic mass, commas between the lexemes that refer to them, are absent. Tranströmer’s poetic syntax is also characterized by a special “density” of relative clauses introduced with the conjunction som, that often expand on the main part in the form of a nominal sentence. They often have a complicated syntactic structure with “cyclic” repetition of the prop-word. Another typical feature of versification in Tranströmer’s works is the use of elaborate syntactic compounds which include various constructions — extended predicative attributes, adverbial constructions with the preposition med, as well as complex objects with an infinitive. A special function in Tranströmer’s syntactic structure is assigned to colons and hyphens. The use of colons makes it possible to express what is only accessible to the poet’s inner vision — what is hidden in the past or the future, seen in a dream, and revealing itself in the distant space. The use of hyphens inside sentences and between them expands the limits of the outer world making its image multidimensional. Translating Tranströmer involves the use of syntactic transformations caused by the typological differences between Swedish and Russian. Lexical substitutions can also be found, including the use of Russian words of a higher register, for example, the translation of the relative pronoun som ‘which’ with the conjunction что meaning ‘which’ but in a higher register and typical of an epic narrative, allows for the preservation of the rythmic structure of the original.

scholarly journals DISPLAYING THE POLYTEMBRALITY OF THE ORCHESTRA OF UKRAINIAN FOLK INSTRUMENTS WHEN ARRANGED FOR ACCORDION "UKRAINIAN FANTASY" YAROSLAV OLEKSIV

2021 ◽  
Author(s):  
Oleksiv Halyna Vasylivna
Keyword(s):  
Characteristic Feature ◽  
Chamber Ensemble ◽  
Deep Understanding ◽  
Original Compositions ◽  
Combined Analysis ◽  
The Past ◽  
The Subject ◽  
The Right ◽  
Favorable Conditions

Over the past decade, the arsenal of original compositions for the accordion has considerably expanded, but a significant place among the performing repertoire is the genre of translation of works from the repertoire of other instruments, ensembles or orchestras for the accordion. Since the translation of the orchestral repertoire with account of the timbre features of the accordion, has not yet become the subject of musicology research, the task is to elucidation of the main principles of this genre. The combined analysis of translations and executive-methodical recommendations become the basis for a deep understanding of the ideological conception, stylistic features and rethinking of the timbre transformations, and therefore the quality of the performance of the work itself.Translation works for the accordion from the repertoire of the Ukrainian folk instruments orchestra has favorable conditions for many parameters, as demonstrated by Y. Oleksiv "Ukrainian fantasy". The timbre specificity - the existence of a large number of different instrumental groups and voices in the orchestra is successfully transmitted in the accordion translation due to a number of timbre registers of the instrument, the diversity of which allows the most complete transfer of orchestral coloration. The author takes into account the slight difference in the sound of the right and left keyboards of the accordion and demonstrates it in an advantageous applying for translation, creating the effect of a multi-timbre "dialogue". The techniques of playing on the accordion fully reproduce the dynamic gradations of the orchestral sound, as the characteristic feature of such orchestra is a chamber. The author simulates the techniques of sound formation and the specifics of various orchestral instruments. The bandura pinch, the overtones dulcimer "echo", the reed pipe glissando, the violin detache and the articulation variety of instrumental composition of the orchestra composer transmits using a detail palette. Perfect constructive features of the accordion allow you to successfully adapt the multi-layer orchestra texture. In the accordion translations of orchestral compositions, the epic and poetics of folk melodies are transmitted as clearly as possible. This work is aimed at deeper understanding of the content and expressiveness of translated works by the performers. The research can be an impetus for transmissions and their research on the repertoire of the chamber ensemble for the accordion, as well as the translation of pieces for the accordion.

scholarly journals York’s Guilds’ Names in the 15th Century and Their Translation into Spanish

2017 ◽  
Author(s):  
Cristina Mourón Figueroa
Keyword(s):  
Middle English ◽  
Medieval England ◽  
Late Medieval ◽  
Corpus Christi ◽  
15Th Century ◽  
Late Medieval England ◽  
Corpus Christi Cycle ◽  
Definition Of

En la Inglaterra de la Baja Edad Media, los gremios de la ciudad de York se encargaban de representar escenas bíblicas tomadas del ciclo de Corpus Christi. Nuestro objetivo principal será describir, definir y traducir los nombres de los gremios que aparecen en la lista de Burton (1415). Asimismo, trataremos problemas surgidos del intento de establecer una correspondencia adecuada entre los términos en inglés medio, en español y la definición del gremio. Como veremos, los términos que designan a los gremios ingleses no suelen reflejar con exactitud aquellos usados para los gremios medievales españoles o para trabajos y profesiones actuales.Palabras clave: Gremios de York, ciclo de Corpus Christi, traducción, inglés medio, comercio.ABSTRACTIn late medieval England, YorkKs guilds were responsible for the performance of short Biblical scenes from the Corpus Christi cycle. Since no translation of the whole cycle into Spanish is available, we will describe, define and translate the guildsK names in BurtonKs list (1415). We will also deal with some problems found when establishing an accurate correspondence among the terms in Middle English, in Spanish and the definition of the craft. The terms which designate the English guilds do not exactly reflect those used for the Spanish medieval gremios or for current trades and jobs in English and Spanish.Key words: YorkKs guilds, Corpus Christi cycle, translation, Middle English, trade

scholarly journals Choreography of the Past: Accounting and the Writing of Christine de Pizan

2017 ◽  
Vol 44 (1) ◽  
pp. 51-62 ◽  
Author(s):  
Frances Miley ◽  
Andrew Read
Keyword(s):  
Christine De Pizan ◽  
Historical Period ◽  
Budget Management ◽  
Royal Court ◽  
The Past ◽  
15Th Century ◽  
Single Entry ◽  
Love Of God ◽  
The City

ABSTRACTThis research discusses The Treasure of the City of Ladies, a manuscript written by Christine de Pizan in France during the early 15th century to give guidance on account keeping and budgeting. Christine de Pizan was born in Italy but raised in the French royal court. Her manuscript gives the keeping of accounts and budget management a religious imperative. She describes them as functions where the three divine virtues of reason, rectitude, and justice are applied. Christine de Pizan describes how demonstrating these virtues through the proper keeping of accounts and budgets is a way to demonstrate love of God. Although historical accounting records show how accounting was done, this manuscript explains why it was done. In giving a rationale for single-entry bookkeeping and budgeting, the manuscript provides a source that prevents present-mindedness when attempting to undertake contemporary analyses of accounting records from this historical period.

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