ВОПРОС АУТЕНТИЧНОСТИ ПРИПИСЫВАЕМЫХ МУСАЙЛИМЕ ТЕКСТОВ В СВЕТЕ ДРЕВНЕАРАВИЙСКОЙ ТРАДИЦИИ РЕЛИГИОЗНОЙ РЕЧИ

2020 ◽  
Author(s):  
Vladimir Rozov
Keyword(s):  
Close Relation ◽  
Oral Transmission ◽  
Religious Speech ◽  
Literary Anthologies ◽  
False Prophet

Средневековые мусульманские источники, включая исторические и литературные антологии, а также богословские труды, содержат высказывания, приписываемые современнику Мухаммада, лжепророку Мусайлиме из оазиса Йамама. Аутентичность этих текстов неоднократно подвергалась сомнению. Тем не менее формульный характер и вариативность приведенных в источниках отрывков подтверждают вероятность длительной устной передачи текстов. Структура текстов, следование принятым в доисламской Аравии традициям религиозной речи, включая широкое использование синтаксического параллелизма, рифмованной и ритмизованной прозы и иных художественных средств, характерных для речей доисламских прорицателей, а также их содержание позволяют предположить возможность создания этих текстов в племенном аравийском обществе VII в н. э. Устная передача текстов после победы ислама вплоть до их фиксации средневековыми мусульманскими авторами может быть объяснена чувством племенной солидарности по отношению к автору высказываний.Medieval Muslim sources, including historical and literary anthologies, as well as theological works, contain the utterances attributed to the false prophet Musaylima from the oasis of Yamama, who was a contemporary of the Prophet Muhammad. The authenticity of these texts has been repeatedly challenged. Nevertheless, the formulaic nature and variability of the fragments cited in the sources could be evidence of prolonged oral transmission of these texts. The structure of the texts, their close relation to the traditions of religious speech in pre-Islamic Arabia, including the widespread use of syntactic parallelism, rhymed and rhythmic prose and other artistic means characteristic of the speeches of pre-Islamic kahins, imply the possibility of these texts being created in tribal Arabian society in the 7th century A.D. The oral transmission of the text after the victory of Islam, up to their fixation by medieval Muslim authors, could be explained by a sense of tribal solidarity with the author of the utterances.

scholarly journals A visibilidade e representação social das religiões nos selos postais brasileiros (The visibility and social representations of religions in Brazil postage stamps).DOI: 10.5752/P.2175-5841.2012v10n25p233

2012 ◽  
Vol 10 (25) ◽  
pp. 233-254
Author(s):  
Diego Andres Salcedo ◽  
Karla Patriota Bronsztein
Keyword(s):  
Social Representations ◽  
Close Relation ◽  
Social Representation ◽  
Religious Practices ◽  
Post Offices ◽  
Postage Stamps ◽  
Catholic Religion ◽  
Religious Speech ◽  
The Media ◽  
Religious Theme

Este trabalho analisa a forma com a qual o selo postal brasileiro contribuiu para a construção de representações da religião católica em relação a outras práticas religiosas. Foi considerado, para isso, a concepção deste artefato enquanto media, texto semiótico e sua estreita relação com o discurso religioso. O corpus é composto por selos postais comemorativos brasileiros emitidos durante o século XX. A sua identificação e análise foi feita a partir do catálogo RHM. Entre o ano de 1900 e 2000, os Correios emitiram 2354 selos postais do tipo comemorativo. A partir da observação e identificação de recorrências religiosas foram compilados 222 selos postais comemorativos. O estudo correlacionou a recorrente temática religiosa com o contexto histórico brasileiro, considerando o declínio do catolicismo como maioria religiosa no país e às representações das práticas religiosas nas mídias. A conclusão indica a influência da Conferência Nacional dos Bispos do Brasil, junto ao Ministério das Comunicações e dos Correios do Brasil, consagrando e enaltecendo a visibilidade de personalidades, eventos e a práxis católica, como um discurso único e superior às demais práticas religiosas. AbstractThis paper analyses the way in which postal Brazilian stamps have contributed to the construction of representations of the catholic religion regarding other religious practices. In this sense, the conception of these stamps was taken into account as media, semioptical texts in close relation with the religious speech. The corpus is composed by postal commemorative Brazilian stamps issued during the twentieth century. The identification and analyzes of the stamps were made through RHM catalogue.  Between the year of 1900 and 2000, the Brazilian post offices issued 2.354 commemorative postage stamps. From the observation and identification of religious recurrences 222 commemorative stamps were compiled. The study correlated the recurring religious theme with the historical Brazilian context, taking into account the decline of the Catholicism as the major religion in Brazil and also the representations of the religious practices in the media. The conclusion of this paper indicates the influence of the National Conference of the Bishops of Brazil regarding the Ministry of the Communications, establishing and enforcing the visibility of Brazilian personalities, events, and also of catholic practices taken as special and superior in comparison with other religious practices.Key-words: Brazil; Religion; Postage Stamps; Social Representation; Visibility.

The Orchestra as Acting Area in Greek Tragedy

Ramus ◽  
1985 ◽  
Vol 14 (2) ◽  
pp. 75-84 ◽  
Author(s):  
Graham Ley ◽  
Michael Ewans
Keyword(s):  
Greek Tragedy ◽  
Close Relation ◽  
Central Problem ◽  
Classical Drama ◽  
Considerable Experience

For some years past there has been a welcome change of emphasis towards the consideration of staging in books published on Greek tragedy; and yet with that change also a curious failure to be explicit about the central problem connected with all stagecraft, namely that of the acting-area. In this study two scholars with considerable experience of teaching classical drama in performance consider this problem of the acting-area in close relation to major scenes from two Greek tragedies, and suggest some general conclusions. The article must stand to some extent as a critique of the succession of books that has followed the apparently pioneering study of Oliver Taplin, none of which has made any substantial or sustained attempt to indicate where actors might have acted in the performance of Greek tragedy, though most, if not all, have been prepared to discard the concept of a raised ‘stage’ behind the orchestra. Hippolytus (428 BC) is the earliest of the surviving plays of Euripides to involve three speaking actors in one scene. Both Alcestis (438 BC and Medea (431 BC almost certainly require three actors to be performed with any fluency, but surprisingly present their action largely through dialogue and confrontation — surprisingly, perhaps, because at least since 458 BC and the performance of the Oresteia it is clear that three actors were available to any playwright.

The Other Entrepreneurs - Migrant Economies as Spaces for Social Innovation?

2019 ◽  
Vol 16 (2) ◽  
pp. 265-271
Author(s):  
Claudia Lintner
Keyword(s):  
Social Innovation ◽  
Close Relation ◽  
The Other ◽  
Structural Level ◽  
Structured Interviews ◽  
Economic Activities ◽  
Migrant Entrepreneurship ◽  
False Dichotomy ◽  
Migrant Entrepreneurs ◽  
The One

This article analyses the relationship between migrant entrepreneurship, marginalisation and social innovation. It does so, by looking how their ‘otherness’ is used on the one hand to reproduce their marginalised situation in society and on the other to develop new living and working arrangements promoting social innovation in society. The paper is based on a qualitative study, which was carried out from March 2014- 2016. In this period, twenty semi-structured interviews were conducted with migrant entrepreneurs and experts. As the results show, migrant entrepreneurs are characterised by a false dichotomy of “native weakness” in economic self-organisation against the “classical strength” of majority entrepreneurs. It is shown that new possibilities of acting in the context of migrant entrepreneurship are mostly organised in close relation to the lifeworlds and specific needs deriving from this sphere. Social innovation processes initiated by migrant entrepreneurs through their economic activities thus develop on a micro level and are hence less apparent. Supportive networks are missing on a structural level, so it becomes difficult for single innovative initiatives to be long-lasting.

“Quasi industre giardiniero”

2016 ◽  
Vol 33 (4) ◽  
pp. 522-568
Author(s):  
Cory M. Gavito
Keyword(s):  
Complex Nature ◽  
Editorial Process ◽  
Fluid Exchange ◽  
Oral Transmission ◽  
Musical Practices

Among the roughly 150 Italian songbooks published between 1610 and 1665 with the guitar tablature known as alfabeto, about thirteen are anthologies. These anthologies often advertise the role of a compiler who has gathered together music by diverse authors. The extent to which compilers also functioned as authors and editors is not well understood. This essay considers the case of Giovanni Stefani, a compiler who, in the preface to his Scherzi amorosi of 1622, describes the anthology as a collection of his choosing that contains “varie compositioni de Virtuosi della prima classe” (various compositions of first-class virtuosos). Intriguingly, none of the settings Stefani prints (in both this alfabeto anthology and two others) include attributions. Since the 1880s, scholars have been preoccupied with matters of transmission and attribution, unearthing a network of textual and musical concordances. This article expands the nexus of Stefani’s songs and their concordant sources, revealing an array of examples that range from identical copies to “partial” concordances that take over motives, phrases, refrains, or harmonic schemes. These examples indicate that in preparing his anthologies, Stefani mined a corpus of existing prints and manuscripts while also relying heavily on oral transmission. The complex nature of Stefani’s approach, taken together with his complete avoidance of composer attributions, points toward an editorial process shaped by a fluid exchange between oral and written musical practices.

Ekottarika-?gama Discourse Without Parallels

2018 ◽  
Vol 35 (1-2) ◽  
pp. 125-134
Author(s):  
Anālayo Bhikkhu
Keyword(s):  
Main Topic ◽  
Pure Land ◽  
Central Importance ◽  
Oral Transmission

With the present paper I study and translate a discourse in the Ekottarika-?gama preserved in Chinese of which no parallel in other discourse collections is known. This situation relates to the wider issue of what significance to accord to the absence of parallels from the viewpoint of the early Buddhist oral transmission. The main topic of the discourse itself is perception of impermanence, which is of central importance in the early Buddhist scheme of the path for cultivating liberating insight. A description of the results of such practice in this Ekottarika-?gama discourse has a somewhat ambivalent formulation that suggests a possible relation to the notion of rebirth in the Pure Abodes, suddh?v?sa. This notion, attested in a P?li discourse, in turn might have provided a precedent for the aspiration, prominent in later Buddhist traditions, to be reborn in the Pure Land.

Potential of Fecal-Oral Transmission and Gastrointestinal Manifestation of COVID-19

2020 ◽  
Vol 21 (1) ◽  
pp. 53
Author(s):  
Randy Adiwinata ◽  
Visakha Revana Irawan ◽  
Jonathan Arifputra ◽  
Bradley Jimmy Waleleng ◽  
Fandy Gosal ◽  
...  
Keyword(s):  
Oral Transmission ◽  
Gastrointestinal Manifestation

KAZAKH MUSIC CULTURE ON THE GLOBALIZATION CROSSROADS: ETHNIC TRADITIONS VERSUS COMPOSER SCHOOL IN INTERCULTURAL INTERACTION

2020 ◽  
Vol 384 (2) ◽  
pp. 185-193
Author(s):  
A. Raimkulova
Keyword(s):  
20Th Century ◽  
Cultural Policy ◽  
Information Technologies ◽  
Cultural Landscapes ◽  
Social Institutions ◽  
Music Culture ◽  
Oral Transmission ◽  
Intercultural Interaction ◽  
History Of ◽  
New Type

At the present stage, Kazakh musical culture is heterogeneous. It represents traditions coexisting at the same time and interacting with each other: Kazakh ethnic and newly established composer school (tradition). Examining changes in cultural landscapes of the 20th century I reveal the peculiarities of interaction and dialogue between two kinds of culture: ethnic and global (endogenous and exogenous). The procedures include the complex study of the history of Kazakh culture in the 20th century, stylistic analysis of traditional and composer’s music, semiotic approach to intercultural interaction, as far as a comparative analysis of oral and written music of 19th and 20th centuries. On one hand, dramatic changes in the structure of music culture were caused by external objective reasons: new industrial and postindustrial civilization phases (urbanization and information technologies); intensification of interaction with western (mainly Russian) cultures, etc. On the other hand, some changes were inspired by inner factors: diverse development of local song and kui (dombyra piece) traditions; Soviet cultural policy. As a result new type (or layer) of national culture – Kazakh composers’ music – appeared. It was connected with the formation of a national style based on transcriptions and borrowing. Traditional music was influenced by new social institutions (philharmonic halls, theatres, radio, conservatoire) that caused changes in the creative process (decrease of oral transmission, lack of traditional social context) as well as in the style (virtuoso performance, new genres of songs).

Menapak Jejak Seni Gambuh dalam Naskah-Naskah Panji Melayu

2020 ◽  
Vol 11 (2) ◽  
pp. 139
Author(s):  
Priyo Joko Purnomo ◽  
Wahyudhi Wahyudhi
Keyword(s):  
Performance Art ◽  
Oral Tradition ◽  
Close Relation ◽  
Cultural Transformation ◽  
Historical Aspects ◽  
Historical Approach ◽  
University Library ◽  
Critical Method ◽  
History Of ◽  
Performing Art

Gambuh as the performing art in Malay area became one of the cultural transformation evidences of the close relation between Java and Malay. The history of gambuh performance in Malay area recorded in the archipelago’s manuscripts, one of them is a manuscript entitled Surat Gambuh which is being the collection of Leiden University Library. This paper attempts to examine the contents of the manuscript in order to reconstruct the gambuh performance art in Malay and also trace the historical aspects. As far as the research had been done, there have been no studies of this manuscript so it is necessary to first transliterate it using a critical method. Furthermore, the historical aspects are explored using a historical approach by adding data from other texts of Panji. The analysis result of the reflection of Malay gambuh performance rules and historical aspects show that there is a transformation of work from oral tradition to written tradition, the cultural acculturation between Java and Malay, and the Islamic influence behind Malay gambuh.

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