scholarly journals Bride behind the Threshold: “The Lay of the Nibelungs”, Body-Shifters and the Mythology of Exogamic Marriage

Corpus Mundi ◽  
2020 ◽  
Vol 1 (3) ◽  
pp. 132-146
Author(s):  
Аsia A. Sarakaeva ◽  
Elina A. Sarakaeva
Keyword(s):  
Host Family ◽  
Folk Tales ◽  
Epic Poem ◽  
The Dead ◽  
Characteristic Features ◽  
Dead Man

Basing on the German epic poem “The Nibelungenlied” and European folk tales, authors of the article single out the story of a bride left nearby her groom’s house. Characteristic features of this story are explained as originating from a ritual myth which used to codify the rites of the exogamic marriage. The bride in this plot is viewed as a shape-shifter whose bodily transformations reflect her origins from the Underworld and manifest her ability to kill. Changing the bodily form is thus representative of the evil powers and dangerous qualities of a being. The transformations of the bride’s body are only present in the most archaic forms of the plot, where her ability and proneness to kill are manifested straightforwardly – by assuming the image of a murderous animal. It’s possible to neutralize her harmful potency with the help of a wonderful assistant, the dead man who embodies one’s ancestor, or by performing certain ritual actions, creating special conditions under which the bride could change and become one of our own, safe for herself and her host family, rejecting all ties with the dangerous space of the Otherworld.

“THE DEAD MAN COME TO LIFE AGAIN”: EDWARD ALBERT AND THE STRATEGIES OF BLACK ENDURANCE

2017 ◽  
Vol 45 (2) ◽  
pp. 293-320
Author(s):  
Natalie Prizel
Keyword(s):  
Merchant Marine ◽  
University Of Washington ◽  
The Dead ◽  
Dead Man ◽  
The University

This essay tells a story of endurance: the endurance of a person and the endurance of an object in an archive, both of which have survived despite their apparent fungibility and ephemerality. It focuses on a Jamaican veteran of the navy and merchant marine – one Edward Albert – who lost his legs while at sea and therefore took to working at various intervals as a crossing sweeper, beggar, shop-owner, and author in London and Glasgow. Albert should have been lost. His shipmates burnt his legs to the point of bursting, and his doctors presumed him to be dead following their amputation. I located Edward Albert initially in the pages of Henry Mayhew's massive, unwieldy, almost unnavigable archive, the four volumes of London Labour and the London Poor. Mayhew interviews Albert in his home and then refers to a small chapbook Albert sells to accompany his begging. A simple WorldCat search led me to a copy of the book, housed at the University of Washington in Seattle. It had endured.

Addendum

1968 ◽  
Vol 1 (3) ◽  
pp. 156-156
Keyword(s):  
Large Element ◽  
The Dead ◽  
Dead Man

SINCE this paper was submitted for publication a further case relevant to the issue of the sentencing of youthful manslaughter has been reported (R. v. Turrise; Sydney Morning Herald 4.7.1968). In brief, the youth, aged 17 years, was charged with the murder by shooting of his 24-year-old brother. T. had his plea of guilty to manslaughter accepted by the Crown. The evidence indicated that the accused was of good character, and that he had bought a .22 repeating rifle to protect himself from his brother who was a “violent hoodlum who was released from prison a week before his death”. Mr. Justice Allen is reported as saying that “It was tragic to see a schoolboy charged with the murder of his brother”. He said that “in his view the Crown's acceptance of the manslaughter plea was completely appropriate because there was undoubtedly a large element of provocation”. He continued, “the dead man had been described as a hoodlum, a man of violence and probably a psychopath”. Mr. Justice Allen sentenced T. to 3 years gaol, but suspended execution of the sentence on his entering a $500 bond for three years.

A gold diadem from Aegina

1987 ◽  
Vol 107 ◽  
pp. 182-182
Author(s):  
Reynold Higgins
Keyword(s):  
Bronze Age ◽  
British Museum ◽  
The South ◽  
North West ◽  
The North ◽  
The Dead ◽  
Middle Helladic ◽  
Dead Man ◽  
The Bronze Age ◽  
Grave Goods

A recent discovery on the island of Aegina by Professor H. Walter (University of Salzburg) throws a new light on the origins of the so-called Aegina Treasure in the British Museum.In 1982 the Austrians were excavating the Bronze Age settlement on Cape Kolonna, to the north-west of Aegina town. Immediately to the east of the ruined Temple of Apollo, and close to the South Gate of the prehistoric Lower Town, they found an unrobbed shaft grave containing the burial of a warrior. The gravegoods (now exhibited in the splendid new Museum on the Kolonna site) included a bronze sword with a gold and ivory hilt, three bronze daggers, one with gold fittings, a bronze spear-head, arrowheads of obsidian, boar's tusks from a helmet, and fragments of a gold diadem (plate Va). The grave also contained Middle Minoan, Middle Cycladic, and Middle Helladic (Mattpainted) pottery. The pottery and the location of the grave in association with the ‘Ninth City’ combine to give a date for the burial of about 1700 BC; and the richness of the grave-goods would suggest that the dead man was a king.

scholarly journals УПОТРЕБЛЕНИЕ, ВСТРЕЧАЮЩЕЕСЯ В ВИДЕ СЛОВОСОЧЕТАНИЯ В ОБРАЗЦАХ ЗАПИСИ

2021 ◽  
pp. 77-86
Author(s):  
Әлия Баербекова ◽  
Құрмет Бажикеев
Keyword(s):  
Abstract Concepts ◽  
Auxiliary Verbs ◽  
Epic Poem ◽  
Complex Verbs ◽  
Characteristic Features ◽  
Popular Language

Аталмыш мақалада ХV-ХVІІ ғасырларда түркі халықтары тілдеріне енген араб, парсы сөздерінің түркі жазба ескерткіштерінде сөз тіркесі түрінде қолданылу мәселесі қарастырылады. Сонымен қатар, бұл кезеңдегі түркі жазба тілдеріне тән белгілердің бірі – халық тіліне енбеген, көбінесе дерексіз ұғым атаулары болып келетін араб және парсы сөздерін де актив қолдану, бұл ретте әсіресе, араб-парсы сөздерінің түркі тілінің көмекші етістіктерімен тіркесуі арқылы күрделі етістік жасап пайдалану өте көп кездеседі. Мақалада,Өтеміс қажының «Шыңғыснамасы», «Әділ сұлтан» эпикалық жыры, Қадырғали Жалайыридің «Жамиғат-Тауарихы» және Әбілғазы Бахадүр ханның «Түркі Шежіресі» атты шығармалары талданады. Түйінді сөздер: түркі халықтары, сөз тіркесі, тұрақты тіркестер, жазба ескерткіштер. В данной статье рассматривается вопрос использования арабских и персидских слов, вошедших в языки тюркских народов в ХV-ХVІІ веках, в виде словосочетаний в тюркских письменных памятниках. Кроме того, одной из характерных особенностей тюркских письменных языков этого периода является активное употребление арабских и персидских слов, которые не вошли в народный язык, часто являются абстрактными понятиями, при этом особенно распространено использование сложных глаголов путем сочетания арабско–персидских слов с вспомогательными глаголами тюркского языка. В статье анализируются произведения отемиса кажы «Чингиснама», эпическая поэма «Адиль султан», «Жамигат-Тауарихи» Кадыргали Жалаири и «тюркская шежире» Абельгазы Бахадур хана. This article discusses the use of Arabic and Persian words that entered the languages of the Turkic peoples in the XV-XVII centuries, in the form of phrases in the Turkic written monuments. In addition, one of the characteristic features of the Turkic written languages of this period is the active use of Arabic and Persian words, which are not included in the popular language, are often abstract concepts, and the use of complex verbs by combining Arabic – Persian words with auxiliary verbs of the Turkic language is especially common. The article analyzes the works of Otemis kazha "Genghisnam", the epic poem "Adil Sultan"," Zhamigat-Tauarihi "by Kadyrgali Zhalairi and "Turkic shezhire" by Abelgazy Bahadur Khan.

scholarly journals AN(OTHER) EPITAPH FOR TRIMALCHIO: SAT. 30.2

2014 ◽  
Vol 64 (1) ◽  
pp. 422-425
Author(s):  
Ulrike Roth
Keyword(s):  
Wall Paintings ◽  
Scholarly Discussion ◽  
The Dead ◽  
Dining Room ◽  
The Moment ◽  
Dead Man ◽  
Ring Composition ◽  
The Temple

Trimalchio's fabulous epitaph, recited in full by Petronius’ colourful host towards the end of the Cena (Sat. 71.12), has long attracted abundant comment. Similarly, allusions to the underworld in much of the decoration leading to and in Trimalchio's dining room have been the object of intense scholarly discussion of the freedman's morbid characterization. In consequence, it is now accepted that epitaph and funereal allusions make for a deliberate mirage of the netherworld – so much so that ‘… Trimalchio's home is in some sense to be regarded as a house of the dead’. As John Bodel has shown, ‘Petronius signalled his intention to portray Trimalchio's home as an underworld earlier in the episode’. Examples for this include the procession from the baths to Trimalchio's house that preceded the banquet (Sat. 28.4–5) – ‘resembling nothing so much as a Roman cortege’, and the wall paintings in the porticus of Trimalchio's house which made Encolpius stop and pause, as Aeneas had done at the Temple of Apollo at Cumae (Sat. 29.1). The example of the pairing of the Cerberus-like watchdog encountered by Encolpius and friends during their escape (Sat. 72.7) and the painted dog in Trimalchio's vestibule that frightened Encolpius upon his arrival (Sat. 29.1) makes it moreover clear that Petronius engaged in some elaborate ring composition concerning Trimalchio's portrayal as a dead man walking. It is surprising, then, that Petronius should have failed to square the circle as regards Trimalchio's epitaph: Sat. 71.12 appears to lack an earlier match – and this despite the fact that a visitor to a Roman tomb might well expect to be informed about the name of the deceased, and perhaps a few other details, at the moment of entering the tomb.

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
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