scholarly journals Yeni Bir İhtilâcnâme - Seğirnâme Nüshası / A New ihtilâcnâme - Seğirnâme Manuscript

2017 ◽  
Vol 6 (3) ◽  
pp. 682
Author(s):  
Hakan Yalap
Keyword(s):  
The Body ◽  
Public Works ◽  
Important Place ◽  
Literary Forms ◽  
History Of ◽  
Ancient Times ◽  
The Moment ◽  
The University ◽  
University Of Leipzig ◽  
History Of Literature

<p><strong>Abstract</strong></p><p>For mankind, the feeling of knowing beyond the moment has always been a matter of curiosity. For this reason, it can be seen that fortune and kinds of fortune are constant and influential in all cultures. Therefore, in literature, literary forms are found around the concept of "fortune". The fortune book Irk Bitig written in Gokturk letters is the earliest known document of this type.</p><p>Twitching is an uncontrollable movement which may occur somewhat part of the body, that is the muscles beneath the skin move slightly with the skin. The works taken on the basis of the interpretations made on the basis of twitching any of the organs of the human body are called seğirnâme or ihtilâcnâme. Seğirnâme’s, which were dated to ancient times in Turkish culture and Turkish literature, have an important place for the history of literature and language. There have been many studies on these types of manuscripts in Turkey and in the world's libraries. When the studies are examined, it has been seen that the texts of seğirrnâme texts are mostly prose texts, but there are also verse texts. In this work, which is based on a self-contained manuscript in the Library of the University of Leipzig, the work on public works was evaluated and the text was transcribed into the transcription alphabet and the language and spelling characteristics were examined. The text in which 139 twitches are involved can be considered voluminous. As a result of the new academic studies from seğirnâme manuscripts to be carried out after that, a more detailed informations about the type of seğirnâme’s, the contents of the languages and language features will be reached. </p><p><strong>Öz</strong></p><p>İnsanoğlu için bulunduğu anın ötesini bilme ve ötesinde yaşama hissi her dönem etkili olmuştur. Bu sebeple tüm kültürlerde fal ve fal türlerine ilginin sürekli ve etkili olduğu görülebilir. Dolayısıyla edebiyatta “fal” kavramı etrafında şekillenmiş edebî türlere rastlanmaktadır. Göktürk harfleri ile yazılmış olan <em>Irk Bitig</em> adlı fal kitabı bu türün şimdilik bilinen en eski belgesidir.</p><p>Seğirmek, vücudun bir yerinde deri ile birlikte derinin hemen altındaki kasların hafifçe oynamasıdır. İnsan bedeninin herhangi bir organının seğirmesine dayanılarak yapılan yorumlar neticesinde kaleme alınan eserlere seğirnâme veya ihtilâcnâme adı verilir. Türk kültüründe ve Türk edebiyatında çok eski dönemlere tarihlenen seğirnâmeler edebiyat ve dil tarihi için önemli bir yere sahiptir. Türkiye ve dünya kütüphanelerinde pek çok yazma nüshası olan bu türler hakkında çalışmalar yapılmıştır. Yapılan çalışmalar incelendiğinde seğirnâme metinlerinin çoğunlukla mensur metinler olduğu, ancak manzum seğirnâmelerin de bulunduğu görülmüştür.  Leibzig Üniversitesi Kütüphanesindeki müstakil bir yazma nüshaya dayanan bu çalışmada umumi olarak seğirnâmeler üzerine yapılan yayınlar değerlendirilerek metin transkribe edilmiş, dil ve imlâ özellikleri incelenmeye çalışılmıştır. 139 seğirmenin yer aldığı metin, bu hâliyle hacimli sayılabilir. Yeni seğirnâme nüshaları üzerinden bundan sonra yapılacak akademik çalışmalar neticesinde seğirnâme türü, seğirnâmelerin içeriği ve dil özellikleri hakkında daha etraflı bilgilere ulaşılacaktır. </p>

Who Framed Theatre? The ‘Moment of Change’ in British TV Drama

1999 ◽  
Vol 15 (1) ◽  
pp. 58-74 ◽  
Author(s):  
Madeleine MacMurraugh-Kavanagh ◽  
Stephen Lacey
Keyword(s):  
Cultural Context ◽  
New Technology ◽  
Television Drama ◽  
Doctoral Research ◽  
British Drama ◽  
History Of ◽  
Post War ◽  
The 1960S ◽  
The Moment ◽  
The University

It has long been the received wisdom that television drama has become increasingly ‘filmic’ in orientation, moving away from the ‘theatrical’ as its point of aesthetic reference. This development, which is associated with the rejection of the studio in favour of location shooting – made possible by the increased use of new technology in the 1960s – and with the adoption of cinematic as opposed to theatrical genres, is generally regarded as a sign that the medium has come into its own. By examining a key ‘moment of change’ in the history of television drama, the BBC ‘Wednesday Play’ series of 1964 to 1970, this article asks what was lost in the movement out of the studio and into the streets, and questions the notion that the transition from ‘theatre’ to ‘film’, in the wake of Ken Loach and Tony Garnett's experiments in all-film production, was without tension or contradiction. The discussion explores issues of dramatic space as well as of socio-cultural context, expectation, and audience, and incorporates detailed analyses of Nell Dunn's Up the Junction (1965) and David Mercer's Let's Murder Vivaldi (1968). Madeleine MacMurraugh-Kavanagh is the Post-Doctoral Research Fellow on the HEFCE-funded project, ‘The BBC Wednesday Plays and Post-War British Drama’, now in its third year at the University of Reading. Her publications include Peter Shaffer: Theatre and Drama (Macmillan, 1998), and papers in Screen, The British Journal of Canadian Studies, The Historical Journal of Film, Radio and Television, and Media, Culture, and Society. Stephen Lacey is a lecturer in Film and Drama at the University of Reading, where he is co-director of the ‘BBC Wednesday Plays’ project. His publications include British Realist Theatre: the New Wave and its Contexts (Routledge, 1995) and articles in New Theatre Quarterly and Studies in Theatre Production.

L. A. Beaurline and the Illusion of Completeness

PMLA ◽  
1971 ◽  
Vol 86 (1) ◽  
pp. 121-127
Author(s):  
Ejner J. Jensen ◽  
L. A. Beaurline
Keyword(s):  
Human Activities ◽  
Recent Article ◽  
Ben Jonson ◽  
History Of Ideas ◽  
The Other ◽  
Literary Works ◽  
Overall Design ◽  
Literary Forms ◽  
History Of ◽  
The Moment

Scholarship, like most human activities, has its fashions. One mode very much in the ascendant at the moment is that which concerns itself with the relation between literary forms and other intellectual structures in a given era ; its method might be described as a combination of the history of ideas with a sort of formalism. L. A. Beaurline's recent article on Ben Jonson, in its design and strategy, illustrates this approach.1 The overall design of such a paper may be indicated as follows: the scholar describes a concept for which he claims wide intellectual acceptance; next, he shows how this concept may be traced in certain literary works. After this initial demonstration, his strategy consists primarily of moving between specific works of literature and other manifestations of the concept to show how each class illuminates the other and how each substantiates the other's status. The end of all this activity is not merely increased understanding of the temper of an age, nor is it merely a clearer view of the works under discussion; ideally, it is both.

Dramaturgy of the Body: Marcello Moretti's Construction of Arlecchino at the Piccolo Teatro of Milan

2018 ◽  
Vol 34 (2) ◽  
pp. 130-144
Author(s):  
Gabrielle Houle
Keyword(s):  
Oral History ◽  
Life Experiences ◽  
Video Recording ◽  
Assistant Professor ◽  
The Body ◽  
Historical Research ◽  
Commedia Dell'arte ◽  
Canadian Universities ◽  
History Of ◽  
The University

In this article Gabrielle Houle examines the dramaturgical process that actor Marcello Moretti applied to his creation of Arlecchino's body in Giorgio Strehler's globally acclaimed productions of The Servant of Two Masters at the Piccolo Teatro of Milan between 1947 and 1960. She provides a critical analysis of Moretti's interdisciplinary and trans-historical research and creative process, including his study of iconographic representations of the commedia dell’arte, his observation of farmers in Padua in the mid-twentieth century, and the connections he made between his life experiences and his understanding of Arlecchino. She then examines Moretti's acting style, signature postures, and footwork, both as the international press described them and as she observed them in a video recording and in photographs of the productions. The article, based on extensive archival research at the Piccolo Teatro and on interviews with artists who knew both Moretti and Strehler, concludes with a discussion of Moretti's legacy within and beyond Italy. Gabrielle Houle is a theatre scholar, educator, and artist specializing in the recent staging history of the commedia dell’arte, contemporary mask-making practices, and masked performance. She has taught in several Canadian universities, and is a member of the Centre for Oral History and Tradition at the University of Lethbridge, where she is also an Adjunct Assistant Professor.

Stars & Stones: Astronomy and Archaeology in the Works of the Mexican Polymath Antonio León y Gama, 1735–1802

Itinerario ◽  
2009 ◽  
Vol 33 (1) ◽  
pp. 61-77 ◽  
Author(s):  
Juan Pimentel
Keyword(s):  
Mexico City ◽  
Central Place ◽  
Public Works ◽  
Construction Work ◽  
Face To Face ◽  
The Enlightenment ◽  
History Of ◽  
Mary Louise Pratt ◽  
The Moment ◽  
The City

The main square of Mexico City, known as the Zocalo, occupies a central place in the make-up of the city, the nation, and even the national identity of Mexico. As we all know, the conquistadors built Mexico City on the site of Tenochtitlán, the capital of the Aztec empire. Indeed, the ruins of the Great Temple of the old city lie hidden under the square itself. This essay deals with the moment when the native past began to emerge from beneath the plaza, when a viceroy had the ground paved, and undertook a series of public works to solve the problems of drainage and water channelling which had existed throughout the history of the city. In his effort to modernise, the viceroy brought his contemporaries face to face with a long-buried past. For amidst the construction work two great archaeological pieces were discovered in 1790. These findings were subsequently studied by the multi-talented Creole, Antonio León y Gama, one of the most steadfast representatives of the Enlightenment in New Spain. By examining elements of Leon y Gama's work, I want to do a bit of historical excavation myself and reveal the existence of what we might describe, following Mary Louise Pratt, as a contact zone—one in which contemporary tools for investigatively ordering time and space were brought to bear on natural and cultural phenomena alike, in order to situate Mexico and its cultural heritage historically as well as geographically.

On the Method and Tasks of the History of Literature as a Science

Tekstualia ◽  
2019 ◽  
Vol 3 (54) ◽  
pp. 33-52
Author(s):  
Aleksandr Nikołajewicz Wiesiełowski
Keyword(s):  
World Literature ◽  
Comparative Method ◽  
Historical Study ◽  
History Of ◽  
The University ◽  
History Of Literature

Aleksander Wiesiełowski article On the Method and Tasks of the History of Literature as a Science is based on his lecture that inaugurated his class in world literature at the University of Petersburg in 1870, which marks the beginning of the Russian scholar’s affi liation with that university. Problematizing the understanding of world literature and the methods of its study at German and French universities, Wiesiełowski describes the usefulness of the comparative method in the historical study of literature. He assumes that broad generalizations are possible and emphasizes the applicability of the comparative method across disciplines.

scholarly journals Magnus Stevns

1949 ◽  
Vol 2 (1) ◽  
pp. 74-78
Author(s):  
Vagn Riisager
Keyword(s):  
High School ◽  
Folk Songs ◽  
Entrance Examination ◽  
Central Idea ◽  
Folk High School ◽  
History Of ◽  
In Memoriam ◽  
The University ◽  
Teachers Training ◽  
History Of Literature

Magnus Stevns: In Memoriam. By Vagn Riisager. Magnus Stevns, the student of Grundtvig, who died on March 30, 1949, was born in 1900 and was the son of the Headmaster of Kvissel High-School. As a young man he worked in agriculture and, at intervals, was a pupil at Askov and Støvring High-Schools; afterwards he took the University entrance examination and studied at Copenhagen University, where he was especially influenced by Valdemar Vedel. He took his M. A. Degree in the History of Literature in 1930, and in 1934 became cand. mag.; after this he was a much-valued teacher at the Danish Teachers’ Training College. Stevns was always a good disciple of the spirit of the Danish Folk High-School ; most of his written works deal with folk-songs and Grundtvig’s hymns; his essays, though based on conscientious research on special subjects, are always related to a central idea. In particular, his accounts of Grundtvig’s spiritual characteristics, theology and hymn-writing are of such importance that a collected edition of them ought to be published.

Fleas on the Back of a Wild Dog

2018 ◽  
Vol 28 (1) ◽  
pp. 63-74
Author(s):  
John Conger
Keyword(s):  
Evolutionary History ◽  
Life Experience ◽  
The Body ◽  
History Of The Body ◽  
History Of ◽  
Wild Dog ◽  
The Moment ◽  
Present Life ◽  
Complete History

«Fleas on the Back of a Wild Dog” describes the evolutionary history of the body we address as somatic therapists. Competent therapists take a complete history, and this paper addresses an ignored history, disregarded, concerning the body itself. As body-oriented therapists, the historical body in front of us, like the psychological history, has often unexpected relevance. The body we walk around in is no invention of the moment. Our instinctual attitudes carry a history that deepens our sense of the body’s purposeful movements and it’s frustrations. Otherwise uninformed, we suffer a loss of background. This paper provides something of the innate skills still underlying our present life experience.

scholarly journals Caring Caresses and the Embodiment of Good Teaching

2013 ◽  
Vol 6 (2) ◽  
pp. 65-83
Author(s):  
Stephen Smith
Keyword(s):  
Codes Of Conduct ◽  
Well Being ◽  
The Body ◽  
Good Teaching ◽  
Self Monitoring ◽  
Ethical Imperative ◽  
The Moment ◽  
The University ◽  
Monitoring Behavior ◽  
Self Motion

Attention is drawn to the movements of the body and to the ethical imperative that emerges in compelling, flowing moments of teaching. Such moments of teaching are not primarily intellectual, discursive events, but physical, sensual experiences in which the body surrenders to its own movements. Teaching is recognized momentarily as a carnal intensity embedded in and emerging from the flesh. The ethical imperative to this teaching is felt proprioceptively and kinaesthetically when one holds in self-motion the well-being of another as being of the same flesh. The teaching caress offers a primary example. This gesture of intimacy discloses an embodied ethic that contrasts with the transcendental ethics of curricular prescriptions, professional codes of conduct, and the presumptions of self-monitoring behavior. It is a gesture of care for another person, without fastidious carefulness. It is a gesture of pure duration, without sanctimonious purity, in its contact with the beauty, truth and value of the teachable moment. From earliest engagements with children to the dynamics of the university classroom, what makes for good teaching is essentially attentiveness to intimate gestures, such as the caress, that guide teachers kinethically in the moment.

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