scholarly journals La parole aux images, ou Multilinguisme et traduction dans les films de John McTiernan

2013 ◽  
Author(s):  
Sylvain Agiboust
Keyword(s):  
Spoken Language ◽  
The Other ◽  
Foreign Languages ◽  
The Real ◽  
Language And Culture ◽  
Mise En Scene ◽  
Spoken Words ◽  
The Spectator ◽  
The One

Most of modern Hollywood action movies are Manichean and ethnocentric but John McTiernan’s films are surprisingly scrupulous in the depiction of other cultures and the use of foreign languages. The director first uses theses languages for their musicality and exotic feeling. The ability to speak is depicted as the main characteristic of humanity. The understanding of the other one is based on the knowledge of its language, so the interpreter became a very important role in McTiernan’s movies. The interpreter’s character appears as a link between the individuals, wrangled over their own language and culture. The interpreter is also standing for the spectator and leads him into unknown worlds. John McTiernan does not only make movies about interpreters. The act of translation appears to be the one of the most important aspects of his cinematographic style. McTiernan considers spoken words mostly as noises and thinks that the real meaning of the movie is delivered by the pictures themselves: the expressivity of cinema is the one of framing and camera moves. The audience may not understand the language spoken by the characters but he can always rely on the pictures, which are meaningful. McTiernan’s mise en scene becomes a substitute for spoken language.

Hidden “holes” in the capital of banks and the supply of credit to the real sector of economy

2018 ◽  
pp. 49-68 ◽  
Author(s):  
M. E. Mamonov
Keyword(s):  
Credit Risk ◽  
The Other ◽  
Real Sector ◽  
Capital Management ◽  
Loan Loss ◽  
Short Term ◽  
The Real ◽  
Ex Post ◽  
The One

Our analysis documents that the existence of hidden “holes” in the capital of not yet failed banks - while creating intertemporal pressure on the actual level of capital - leads to changing of maturity of loans supplied rather than to contracting of their volume. Long-term loans decrease, whereas short-term loans rise - and, what is most remarkably, by approximately the same amounts. Standardly, the higher the maturity of loans the higher the credit risk and, thus, the more loan loss reserves (LLP) banks are forced to create, increasing the pressure on capital. Banks that already hide “holes” in the capital, but have not yet faced with license withdrawal, must possess strong incentives to shorten the maturity of supplied loans. On the one hand, it raises the turnovers of LLP and facilitates the flexibility of capital management; on the other hand, it allows increasing the speed of shifting of attracted deposits to loans to related parties in domestic or foreign jurisdictions. This enlarges the potential size of ex post revealed “hole” in the capital and, therefore, allows us to assume that not every loan might be viewed as a good for the economy: excessive short-term and insufficient long-term loans can produce the source for future losses.

Language and Art in Senegal: The Crossbreeding of Identities in Music

2021 ◽  
Vol 8 (1) ◽  
pp. 61-69
Author(s):  
Ibrahima Sarr
Keyword(s):  
Cultural Identity ◽  
Arab World ◽  
The Other ◽  
Foreign Languages ◽  
The West ◽  
Melting Pot ◽  
Classical Form ◽  
Language And Culture ◽  
African Languages ◽  
Contact Situation

Senegal is a melting pot of several civilizations mainly originated from the West (Europe) and the East (the Arab world). Assuming that language and culture are intrinsically related, the settlement of those people and their status as dominant minority sparked and strengthened the use of their languages in formal domains. In the long ran, as they became domesticated, thus now considered African languages because they have contributed to mold the cultural identity of younger generation, they involve in all linguistic interaction. Arab, in its classical form, remains a symbol of Islam which earns it a certain degree of sacredness. Nevertheless the contact situation with the other languages forced it to crossbreed in special ways like borrowings and interferences. As for the other foreign languages, namely French, English, Spanish, and German at a least extent, they are made to carry the weight of local cultures.

On indirect Methods of acquiring Knowledge - The Method of History. - The First Table of Mortality

1851 ◽  
Vol 1 (1) ◽  
pp. 40-46
Author(s):  
Edwin James Farren
Keyword(s):  
Real Line ◽  
English Language ◽  
The Other ◽  
Adult Student ◽  
Indirect Methods ◽  
The Real ◽  
Straight Line ◽  
Point To Point ◽  
The One

The term scholar, as current in the English language, has two extreme acceptations, tyro and proficient; or what the later Greeks fancifully termed the alpha and omega of acquirement. If we attempt to trace the steps by which even the adult student of any especial branch of professional or literary knowledge has fairly passed the boundary defined by the one meaning in passing on to that position denoted by the other, it will commonly be found, that in place of that lucid order, that straight line from point to point, which theory and resolve generally premise, the real order of acquirement has been desultory—the real line of progression, circuitous and uncertain.

scholarly journals The “Establishment”, the “Élites”, and the “People”

2017 ◽  
Vol 16 (4) ◽  
pp. 551-565 ◽  
Author(s):  
Ruth Wodak
Keyword(s):  
The Other ◽  
Right Wing ◽  
The Real ◽  
The People ◽  
Politics Of Fear ◽  
The One ◽  
Disenchantment With Politics

Abstract In this paper, I discuss the attempt by all right-wing populist parties to create, on the one hand, the ‘real’ and ‘true’ people; and on the other, the ‘élites’ or ‘the establishment’ who are excluded from the true demos. Such divisions, as will be elaborated in detail, have emerged in many societies over centuries and decades. A brief example of the arbitrary construction of opposing groups illustrates the intricacies of such populist reasoning. Furthermore, I pose the question why such divisions resonate so well in many countries? I argue that – apart from a politics of fear (Wodak 2015) – much resentment is evoked which could be viewed as both accompanying as well as a reaction to the disenchantment with politics and the growing inequalities in globalized capitalist societies.

scholarly journals MEMBANGUN SEMANGAT KERASULAN REMAJA KATOLIK DALAM KONTEKS MASYARAKAT PLURALIS DI INDONESIA

2017 ◽  
Vol 17 (9) ◽  
pp. 3-14
Author(s):  
Agustinus Supriyadi
Keyword(s):  
Logical Consequence ◽  
Cross Cultural ◽  
The Other ◽  
Real Form ◽  
Pluralistic Society ◽  
The Real ◽  
Self Discovery ◽  
The One ◽  
The Church

Catholic teens Indonesia is part of the Church in Indonesia and the Indonesian people. Indonesia consists of thousands of islands that stretched from Sabang to Merauke. This fact opens the possibility of a fairly wide occurrence of the encounter between cultures and simultaneous cross-cultural. This diversity is certainly a logical consequence to an enrichment of civilizations and diversity (plurality), although also contains elements of the loss. Plurality of Indonesian society on the one hand can make the Catholic teens swept away in the swift currents of the community to lose our identity or conflict. However Plurality can also awaken in the Catholic teen award nature between one race to the other races, between ethnic or tribal one with the other tribes, between groups with one another. In a pluralistic society such as this, the Catholic teens called to the apostolate. Through the act of self-discovery, live in love and have a sense of tolerance of differences is the real form of the apostolate.

scholarly journals The essentialness of diachrony

Diacronia ◽  
2015 ◽  
Author(s):  
Francisc Gafton
Keyword(s):  
The Other ◽  
Language And Culture ◽  
Natural Entities ◽  
The One ◽  
And Function

Natural entities—plants and animals, on the one hand, society, language, and culture, on the other—emerge through an assiduous diachronic effort, respond to diachronically developed needs, exist and function diachronically. However, through the instruments at his disposal, man can only perceive and grasp the “fragment”, seizing it for a prolonged instant, which explains his objective tendency to segment the spatiotemporal reality according to his own proportions and abilities. Reality itself, however, cannot be subjected to the unnatural segregation of one of its own products and elements, and cannot be fully comprehended in any other way than how it exists: as a whole. At the end of the synchronic road, what offers comprehension and understanding of the ontologically-becoming whole is the path of the diachronic method.

scholarly journals Are magicians specialists at identifying deceptive motion? The role of expertise in being fooled by sleight of hand.

2021 ◽  
Author(s):  
Elias Garcia-Pelegrin ◽  
Clive Wilkins ◽  
Nicola Clayton
Keyword(s):  
The Other ◽  
Diverse Range ◽  
The Real ◽  
The Spectator ◽  
Attention And Perception ◽  
Inherent Ambiguity ◽  
Blind Spots

Abstract The use of magic effects to investigate the blind spots in the attention and perception and roadblocks in the cognition of the spectator has yielded thought-provoking results elucidating how these techniques operate. However, little is known about the interplay between experience practising magic and being deceived by magic effects. In this study, we performed two common sleight of hand effects and their real transfer counterparts to non-magicians, and to magicians with a diverse range of experience practising magic. Although, as a group, magicians identified the sleights of hand as deceptive actions significantly more than non-magicians; this ability was only evidenced in magicians with more than 5 years in the craft. However, unlike the rest of the participants, experienced magicians had difficulty correctly pinpointing the location of the coin in one of the real transfers presented. We hypothesise that this might be due to the inherent ambiguity of this transfer, in which, contrary to the other real transfer performed, no clear perceptive clue is given about the location of the coin. We suggest that extensive time practising magic might have primed experienced magicians to anticipate foul play when observing ambiguous movements, even when the actions observed are genuine.

scholarly journals Transformation of the Banking Sector of Ukraine: Reasons and Consequences

2017 ◽  
Vol 1 (13) ◽  
pp. 33-48
Author(s):  
Myroslava Khutorna
Keyword(s):  
Economic Development ◽  
Banking Sector ◽  
Financial System ◽  
Market Concentration ◽  
The Other ◽  
Real Economy ◽  
The Real ◽  
Other Hand ◽  
The One

This paper is devoted to the consideration of the preconditions and results of the banking sector of Ukraine transforming, its influence on the sector’s productivity, stability and significance for the real economy. It’s grounded that banking sector of Ukraine has seriously weakened its potential for the economic development stimulation. On the one hand, due to the banking sector clearance from the bad and unscrupulous banks the system has become much more sensitive to the monetary instruments and its state is going to be more predictable and better controlled. But on the other hand, massive banks’ liquidations have caused the worsening of the confidence in financial system and radical increasing of the market concentration the highest degree of which is observed in the householders’ deposit market.

Baudelaire's Two Cosmopolitanisms

2021 ◽  
Vol 21 (1) ◽  
pp. 85-98
Author(s):  
Stephen Adam Schwartz
Keyword(s):  
The Other ◽  
Work Of Art ◽  
Aesthetic Object ◽  
The Spectator ◽  
The One ◽  
Ways Of Life

In his text on the ‘Exposition Universelle 1855’, Baudelaire upholds what he calls ‘cosmopolitisme’ as the antidote to the constraining influence of universalizing principles of taste that are meant to define beauty for all times and places. Baudelaire’s view is that such aesthetic systems close off the possibility of beauty, which, he maintains must contain an element of novelty. Accordingly, the proper attitude for the viewer (or reader or spectator) to take before a work of art is one that remains always open to novelty and to the ‘universal vitality’ out of which it springs. This attitude is the cosmopolitan one. Yet Baudelaire characterizes this attitude in ways that seem fundamentally incompatible if not diametrically opposed. On the one hand, cosmopolitanism as described in this text seems to involve the slow, lived apprenticeship in the values, ways of life, and criteria of judgement of those in other places, the better to be able to appreciate the beauty of the objects produced in them. On the other, he speaks of the appropriate attitude toward an aesthetic object — indeed toward any object that presents itself to our senses — as one resulting solely from the spectator’s exertions on his or her own mind and will, exertions by which the spectator refrains from imposing criteria of judgement upon the putative aesthetic object in order, instead, to derive one’s criteria from it. While the text on the ‘Exposition’ provides the reader with no way of resolving this contradiction, Baudelaire’s remarks on fashion in ‘Le Peintre de la vie moderne’ (1863) provide a dialectical resolution.

French Impressions: The Transnational Afterlives of Verlaine’s ‘La lune blanche’ in Song

2021 ◽  
pp. 150-152
Author(s):  
David Evans
Keyword(s):  
Art Song ◽  
National Identities ◽  
The Other ◽  
Mode I ◽  
Source Text ◽  
The Real ◽  
Art Form ◽  
The One

In this chapter I compare settings of Verlaine’s ‘La Lune blanche’ (‘The White Moon’) by composers of different nationalities (Delius, Webern, Sorabji, Loomis, Nevin, Loeffler, Hennessy, Poldowski, McEwen, Szulc, Stravinsky) in order to show how different ideas of French song – and of art song itself – emerge through the multiple dialogues of its transnational crossings. Two opposing approaches become clear: on the one hand, songs which maintain a reverence towards the source text as a symbol of the cultural cachet which French mélodie has enjoyed since its 1880-1930 heyday; and on the other, songs which offer a curiously unplaceable musical material, staking a claim for music as an mode of articulation which functions independently from language and, indeed, from national identities which are always in danger of falling into repetition, cliché, and pastiche. This latter mode, I suggest, comes closest to the real heart of mélodie as understood by its foremost French purveyors, Fauré and Debussy, and which composers like Stravinsky draw out of Verlaine’s text: a conception of song as an art form uniquely placed to offer a critique of fixed national paradigms and stable interpretative systems, by constantly calling into question, through their formal complexities, the very processes by which meaning itself is produced.

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