The Centripetal Force of Expression: Drawing Embodied Histories into Glassblowing

Getting at the tacit understandings of an artful practice is critical in coming to understand the processes of creativity. To achieve this, the researcher, specifically the ethnographer, must place herself in the position of the maker, that is she must herself, make and create. This article provides an account of arriving at the methodological imperative of in situ ethnographic research through actual ethnographic research on the relation of maker and material. From an in situ position, it theorizes the modalities of expression in practice, from problem-solving, to personal style, to the intentional drawing in of embodied histories in practice. This incorporation of varying embodied histories into a current practice is then explored as the possibility for affecting what is recognized in the field as ”new” or ”innovative”. We will see, however, that is affect is grounded more in the corporeal revealing of unexpected aspects of the material worked up.

Features of Jalal Abbasov’s Work ‘Munajat – I’

The article analyzes the chamber-instrumental work of Jalal Abbasov, a brilliant representative of the modern Azerbaijani school of composition, in particular, ‘Munajat-I’. It also looks at the work of Jalal Abbasov against the background of the development of Azerbaijani music culture and explores the genre diversity of chamber-instrumental works. In addition, the study highlights the form and content, music, and harmonic language in the composer’s chamber-instrumental works, especially in the work ‘Munajat-I’. The article emphasizes the peculiar stylistic features of Jalal Abbasov’s chamber-instrumental work, its connection with musical folklore, and its tendency to modernity based on traditions. The purpose of the research is to analyze the work of Jalal Abbasov ‘Munajat’ and to study the individual stylistic features of the composer. The main features are the emergence of the characteristic features of the composer’s chamber-instrumental work and its special importance in the development of modern Azerbaijani musical culture. The basis of the research is the involvement of J. Abbasov, a worthy representative of the modern generation of Azerbaijani composers, in the detailed research work of the work ‘Munajat-I’, which has not been subjected to scientific and theoretical analysis. From this point of view, the research is based on the method of complex theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that the composer’s personal style has improved in the process of development, modern innovative ideas, modern technical methods have been used uniquely in the diversity of genres. At the same time, based on the scientific-theoretical principles and research of Azerbaijani musicologists, the article forms the methodological basis. The scientific novelty of the research is that the article, presented for the first time as special research work, is based on manuscripts dedicated to the chamber-instrumental work of the representative of the modern school of the composition of Azerbaijan J. Abbasov and the features of ‘Munajat-I’. For the first time in the presented article, the work "Munajat", which is important in the work of J. Abbasov, but has not been studied so far, has been scientifically analyzed. Conclusions. The comprehensive analysis of Jalal Abbasov’s chamber-instrumental work, especially ‘Munajat-I’ in the presented article, allows us to draw important conclusions about the features of the composer’s personal style. An important feature of the composer's chamber-instrumental works, distinguished by their original creative style, is the richness and deep content of the musical language. It was noted that J. Abbasov, who organically combined nationalism and modernity in his works, expressed his deep philosophical thoughts with high demand and seriousness. From this point of view, the elements of national music in the composer’s works with a bright content and individual style are expressed by the features of modern writing techniques. It was noted that the philosophical, rich imagery, deep meaning, and thoughtful thoughts characteristic of the composer’s work are reflected in his chamber-instrumental works, including ‘Munajat-I’. That is why the works of J. Abbasov have been successfully performed not only in his native Azerbaijan but also in many foreign countries and have successfully represented our modern school of composition. Jalal Abbasov is currently living in the period of the wisdom of his work, enriching Azerbaijani music by creating new modern works.

Quintilian and Visual Art

Visual art provides a rich seam of analogy for Quintilian, offering parallels for both the art of rhetoric and the art of training orators. Most famous is his catalogue of artists in Book 12, a list of eleven Greek painters and ten Greek sculptors from the sixth to fourth centuries ce. These he uses to demonstrate variations in personal ‘style’, comparing them with a selection of Roman and Greek orators. At first glance, the passage is not especially novel: this kind of artist–orator analogy, his choice of artists, and many of his comments on their merits all have parallels in other authors. But on closer inspection, we can discern two features which are distinctive of Quintilian the educator: the first is his teacherly appreciation of artists and orators who combine talent with hard work; the second is his method of teaching-by-doing. His catalogue of artists is itself a textbook example of the rhetorical skill he demands of his students: a sustained manipulation of the listener’s opinion, elevated by (just enough) specialist detail to appear authoritative.

Love and Death in Latin Elegy

Love and death is a common and shared human experience that many poets of the ancient world explored in their various poetic works. The elegists of Rome famously wrote love poems in which each pined for a specific mistress or lover, and in some of these poems, love and death were simultaneously prominent themes. In this article I examine the relationship between the concepts of love and death in Propertius 4.7, Tibullus 1.3 and Ovid’s Amores 3.9. From this study it is evident that each poet, through means of their own style, depicted the ideal that love had the ability to overcome death. To support my analysis of these texts and the issues surrounding them, I refer to Papanghelis, Hinds and Maltby. While these authors consider many aspects of Proptertius’, Tibullus’ and Ovid’s works, the relationship and connection present between love and death has not been significantly considered. In order to establish each poet’s personal style I begin with a brief overview of elegiac poetry; then, an examination of each poem’s tone, word usage and thematic distinctions. I will begin the discussion with Propertius’ poems; Tibullus’ and Ovid’s poems will then be considered, first separately, and then as a pair. The concepts of love, death and those affected by the death in the poem will be analyzed. In addition, I will consider how love and death interact with each other in the poems. To further supplement the discussion, I will analyze how these three poets’ write in the same genre and about the same topics, but in different contexts and styles. This analysis leads to an understanding that each poet expressed their unique style in their poems, while maintaining a similar theme and genre, that love has the ability to overcome the unavoidable and inevitable force of death.

The Acquisition of Verbal Epistemic Stance Marking during Study Abroad: The Case of je pense in L2 French

Epistemic stance markers, such as je pense in French, take on a variety of discursive functions, ranging from asserting an opinion, indicating the source of information, and mitigating a claim, to pragmatic functions, such as gaining time for discourse planning. Previous research suggests that the epistemic marker je pense is mostly used in French conversation to express opinions and can be used as an indicator of the development of a learner’s assertiveness and pragmatic competence during a study abroad period. Using a functional approach, this paper seeks to find out the extent to which study abroad fosters the development of assertiveness and pragmalinguistic competence among L2 learners, through an analysis of stance marking in interview data from 26 Anglophone learners of French, who spent nine months abroad in a French-speaking country, and 10 French native speakers. The results show that learners are globally less assertive in their use of je pense than native speakers, particularly prior to departure, and that they develop pragmatic uses of je pense, thereby showing a development in their interactional strategies. Finally, the high inter-variability in the way learners used je pense suggests the importance of personal style.

Literary “higher dimensions” quantified: a stylometric study of nine stories

The study will focus on the quantitative assessment of nine stories, considered important contributions in the supernatural and in the early and modern science-fiction prose. Besides the two treatments of the topic of imaginary Flatland – penned by E. A. Abbott and C. H. Hinton –, the corpus includes writings by H. G. Wells, A. Blackwood, M. Leinster, G. Waldeyer, R. A. Heinlein, L. Padgett, and A. C. Clarke. Texts are researched on the bases of four analyses (moving-average type-token ratio, average tokens length, Busemann’s coefficient, and collocation associativity), with the results tested for statistical significance; next, the textual comparisons will provide a springboard for sketches of literary criticism interpretations. The analyzed corpus has revealed the distinctive and colorful take writers have in their stories. By the nature of their subject, the texts are expected to share higher dimensions and time warps, a thread implying a meeting point in terms of vocabulary richness, plot development, and possibly of narrative structure. Yet, in most cases, the findings suggest basic and nuanced differences, hinting at clear stylistic physiognomies in the authorship. The outcome affects not only the assessment of the weight individual samples have, but also the interface between a common (sub)genre and personal style.

THE DIALOGUE BETWEEN SOLOIST AND ORCHESTRA WITHIN THE CONCERTO PRESENTED THROUGH PEIRCE'S “THEORY OF SIGNS”

The dichotomy between individualism and collectivism, deeply rooted in the development of social life, reflects an anthropological aspect that is also reflected in the art of music. This opposition, which is manifested through the relationship between the soloist and the orchestra within the concerto, is one of its main genre features. It survives despite all the changes that have taken place throughout history, but it is still subject to modifications. However, the role of these entities, apart from the style of the epoch, was also influenced by the composer`s personal style which must also be taken into account when considering the work from any point of view. The proposal to apply the method of Charles Peirce's “Theory of Signs” is to help to elucidate the meanings that this type of dialogue produces and which are hierarchically arranged and positioned within the pyramidal structure. Accordingly, the theme of the paper aims at showing the relationship between the soloist and the orchestra, showing what their function is within the concerto, as well as how their roles have changed throughout the change of epochs in history and the meaning this type of dialogue conveys.