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2022 ◽  
Vol 6 ◽  
Author(s):  
Rashmi Rashmi

Linden Hills by Gloria Naylor marks psychological fragmentation which results into immense pain and suffering. Naylor, in this novel, addresses the physical and mental hierarchies which act as blockades in the higher purpose of human integration. This paper aims to investigate the saga of undiluted suffering in the lives of women in Linden Hills. The novelist shows in true colors how the black women become sacrificial lambs and receive the brunt of the frustration of the black males of their society. This paper is also a close study of black males mentality when they get unbridled power and exert it on all those who are subversive to them. Women become the easy victim of their ruthless power play. The tragedy is more intense because the women have been suffering for many generations. In every generation, Nedeed male marries a light-complexioned woman just to reduce her to a child-bearing tool. Failing that, the woman has to lead a life full of hardships and depravity. This paper analyses how her loud desires to stand against the institutionalized trauma herald a new era of freedom from pain and suffering.


2021 ◽  
Vol 62 (1-2) ◽  
pp. 25-54

Abstract In the focus of this paper a survey of the draft score will disclose major corrections of the concept and discuss deleted and rewritten sections in both Sonatas for Violin and Piano no. 1 (1921) and no. 2 (1922). A close study of the unusual-type preliminary sketches of the First Sonata in his so-called Black Pocket-Book (facsimile edition: 1987) already gave insight into Bartók’s atypical composition when he had to work without a piano at hand for shaping and refining a new major work (see Somfai, “‘Written between the Desk and the Piano’: Dating Béla Bartók’s Sketches,” in A Handbook to Twentieth-Century Musical Sketches, ed. by Patricia Hall and Friedemann Sallis, Cambridge: Cambridge University Press, 2004). The two draft scores (no. 1 = 34 pages, no. 2 = 21 pages, including discarded and rewritten sections) open new vistas in understanding the concept of the individual compositions. The next stage of manuscripts provides a significant source: the score and violin part used at the first performances, the latter with fingering and bowing contributed by the hand of Jelly Arányi and Imre Waldbauer in the First Sonata, Waldbauer, Ede Zathureczky, Zoltán Székely, and Jelly Arányi in the Second. A study of the revision of metronome numbers will conclude the investigation.


Author(s):  
Josefina Budzisch

This paper deals with attributive possession in North, Central and South Selkup and focuses on a quantitative analysis of the frequency with which marking strategies are used in Selkup dialects. In Selkup, attributive possession can be head marked (with a possessive suffix), dependent marked (with genitive or adessive marking), and double marked (both combined), but close study shows that while dependent marking with genitive is most commonly used for lexical possessors, for non-lexical possessors the most common usage is head marking with a possessive suffix. The paper also illustrates the usage of different types of possession (e.g. inalienable/alienable) and shows that they are rarely treated differently with regard to their marking.


2021 ◽  
Vol 26 (2) ◽  
pp. 217-226
Author(s):  
Olga I. Scherbinina

The article deals with the historical novels reception of Howard Fast (a writer who was extremely popular in the 1950s, though he is almost forgotten now) in the Soviet Union. Once a USA Communist Party member loyal to the USSR, he became a fierce opponent of Soviet communism. The analysis of the American context uncovers the reasons why the author of left-wing beliefs turned to the genre of a historical novel and peculiarities of the literary market he faced. A close study of Soviet reviews demonstrates that the novels The Last Frontier and The Freedom Road were perceived by Soviet literary critics as Fasts protest against racial discrimination and growing right-wing sentiment. These problems were a matter of urgency against the background of the McCarthy campaign, which Fast fell victim to in 1947. His novel The Freedom Road was put on the stage in Moscow theaters. According to Soviet reviewers, the absence of decadent primitivism set Fast apart from other once-friendly Soviet writers such as Richard Wright and Claude McKay. Within this tradition of exoticism criticism, dating back to the 1920s and 1930s, novels about distant lands were highly appreciated only when ethnographic descriptions were used for consistent social criticism. Being a committed supporter of the concept art as a weapon developed in the Soviet Union, Fast perceived exaggerated exoticism, top-heavy descriptions of historical novels as a sign of escapist literature that ignores the method of dialectical materialism.


2021 ◽  
Author(s):  
Dániel Kiss

The final clause of Sallust, Jugurtha 3.1 has been transmitted in six different ways in the principal manuscripts; four more reconstructions were proposed by German scholars in the nineteenth century. Close study of these versions reveals that all of them raise problems, and most can be ruled out as unidiomatic. However, the reading transmitted by an authoritative source, the manuscript P poses problems that are soluble, and this version may well be genuine.


Medievalia ◽  
2021 ◽  
Vol 53 (2) ◽  
pp. 131-153
Author(s):  
Stephen Parkinson ◽  

In the manuscripts of the Cantigas de Santa Maria, the refrains following each strophe, as well as the rubrics preceding each poem, are copied in red ink, into spaces left after the copying of the body of the text in black ink. This creates two specific constraints: the need to fit text into predetermined spaces, and the repetition inherent in copying the same text many times over. The task was probably delegated to junior copyists, meaning that many pages have more than one hand represented. Close study of the copying of refrains reveals that the copyists used a range of devices to vary and justify the text of refrains, and that copying could proceed across the whole page rather than column by column.


Author(s):  
Sucheta Chaturvedi

The Bhakti movement in India attempted reforms by fighting caste rigidities and superstitions. Almost around the same time the Cambridge reformers were attempting to reform the Catholic Church and propagating Protestant ideas. This paper attempts a comparative perspective on George Herbert’s poetry in relation to some aspects of Bhakti poetry in India, especially with reference to Kabir. George Herbert who was a Metaphysical poet is classified as a devotional poet for the corpus of religious poetry he wrote. The approach of this Metaphysical poet and poets like Kabir from the Bhakti movement has certain points of comparison. Certain similarities in the discourse of the disciple as slave to his Lord; as the lover in search of a union etc. finds place in this discussion. This paper engages in a close study of the religious poetry of George Herbert and that of Kabir in relation to the trends of the Bhakti movement. The language used by most Bhakti poets is simple and words from the vernacular languages of India find a presence in pure or mixed form. Kabir uses the ‘sadhukkadi’ or ‘khichdi’ language. Though Herbert wrote in the English language the world-view of both the poets is quite similar. Some of the images and the philosophy that manifests itself in the two poets are examined through this comparative study.


2021 ◽  
Author(s):  
◽  
Lily Phillips

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>


2021 ◽  
Author(s):  
◽  
Lily Phillips

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>


2021 ◽  
Author(s):  
◽  
Thomas Lissington

<p>The masculine nature of the angels in Paradise Lost, in conjunction with their sexuality as revealed in Book VIII, prompted C. S. Lewis to try and explain away, not entirely convincingly, any potential “homosexual promiscuity” in his Preface to the epic. But other critics are unconcerned about the angels’ sexuality, probably because, unlike Lewis, they see them as essentially immaterial beings.  In what follows I argue that a complete understanding of the angels’ sexuality must rest on Milton’s gradual revelation of the angels’ morphic substance, critical to their sexuality and gender identity. Milton’s use of the conventions associated with classical pastoral in depicting the angels suggests a male homosocial model analogous with the learning institutions of Milton’s own historical context – helpful when it comes to establishing the type of society, and relationships, in the heaven of Paradise Lost. Similarly, an exploration of bi-erotic elements occurring elsewhere within the Miltonic canon helps contextualise the bisexual potential of angelic desire.  With these things in mind, a comprehensive understanding of the angelic sexuality can be achieved through close study of instances of desire, and sexuality, in Paradise Lost. The strong parallel between the angels, and Adam and Eve infers the potential for their descendants to evolve into a similar state of intimacy free of “Of membrane, joynt, or limb, exclusive barrs”.</p>


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