ABOUT THE DISAPPEARED WORD NINGORON 'WOMAN' IN UDMURT LANGUAGE

The purpose of the research is to analyze the archaic vocabulary of written monuments of the Udmurt language of the 18th century. The article presents an analysis of the word ningoron ‘woman’ that disappeared in the Udmurt language, which was recorded in the handwritten dictionary of the first explorer of Siberia D.G. Messershmidt in 1726. The relevance of the proposed topic is determined not only by the fact that it, absolutely not yet investigated, is an important part of the Udmurt philological science, but also by the fact that, being at the intersection of the interests of a number of other branches of philology (etymology, modern and historical lexicology, history of the literary language (section of lexis), also almost not yet developed, creates a serious empirical basis for their development. Scientific novelty lies in the study of archaisms of the monuments of early Udmurt writing. As a result of the study, it was revealed that in the monuments of early Udmurt writing, compiled in a later period, this lexeme no longer appears. In various dictionaries and glossaries of the 18th century, only parallels kyshno synonymous with this word are cited with the broader meaning of “wife, woman” or an exact correspondence to the modern Udmurt kyshnomurt “woman.” However, the former existence of the Udmurt form of ningoron “woman” is eloquently proved by the materials of the related languages. For example, in the Komi language, the first component nin- , denoting the concept of ‘female’, is recorded in the combination nin cheri ‘female salmon’. In the modern Komi language, the nin -component is no longer used independently.

The Caravana of Central American Mothers in Mexico: Performances of Devotional and Saintly Motherhood on a Transnational Stage-in-Motion

Like earlier mother activism in Latin America, the annual Caravana de Madres Centroamericanas (Caravan of Central American Mothers) through Mexico strategically activates the traditional archetype of mothers as passive, pious, suffering victims whose self-abnegation forces them, almost against their will, out of their supposedly natural domestic sphere. Three elements, however, distinguish the caravana from earlier protests staged by mothers. First, this protest crosses national borders, functioning as a transnational pilgrimage to the memory of the disappeared relative. This stage-in-motion temporarily spotlights and claims the spaces traversed by undocumented Central American migrants in Mexico, attempting to recast those migrants as victims of violence rather than as criminals. Second, through performances of both devotional motherhood and saintly motherhood, the caravana's mother-based activism de-normalizes violence related to drugs and migration. Third, performances of family reunification staged by the caravana organizers take place in the few cases in which they manage to locate family members who have not fallen prey to violence but have simply resettled in Mexico and abandoned or lost touch with families left behind in Central America. These performances of family reunification serve important functions: they shift the performance of motherhood from devotion to saintly tolerance, patience and forgiveness – even toward prodigal offspring who were ‘lost’ for years; they provide a chance for other mothers to vicariously feel joy and hope that their children are still alive; they exemplify world citizens challenging incompetent or indifferent nation state authorities; and they enact a symbolic unification of Central America and Mexico in defiance of contemporary nation state borders.

VIRTUAL RESTORATION OF THE GREAT WALL BASED ON THE EVIDENCES SCALES, TAKE THE NINE-EYES WATCHTOWER AS AN EXAMPLE

Aiming at solving the problem of how to obtain the different evidence and deduce the disappeared sections of the Great Wall site, this paper quoted the concept of evidence scale and proposed a virtual restoration framework. In this paper, taking the Nine-eyes watchtower as an example, we modified the evidence-scale from 10 to 3: the existed relic, the direct evidence and the indirect evidence. The framework consisted of three parts, namely, the classification of evidence scale, the evidence checks and the generation of three-dimensional (3D) virtual models. Base on the support of the restoration scheme and 3DMAX technology, the disappeared parts of Nine-eyes watchtower was finally restored to its original appearance. The result of virtual restoration could not only help the tourists to visit the original appearance of cultural heritage, but also experience the culture value and historical vicissitude. Therefore, it was of great scientific significance and cultural value to study how to carry out virtual restoration for the ancient relics.

EXPLORATION OF THE METHOD OF TRACING THE BOUNDARY AND PATTERN OF THE IMPERIAL GARDEN BY FOLLOWING THE TRACES OF HISTORY – TAKING CHANGCHUN GARDEN AS AN EXAMPLE

In the process of digital restoration of cultural heritage, for the disappeared royal gardens, where information is relatively scarce, the process of accurate digital restoration usually encounters a problem of how to effectively use the fragmented and limited historical and status quo information for discernment, to achieve accurate digital alignment restoration of the disappeared royal gardens in the region, and to complete the overall digital restoration of boundaries and patterns. Taking Changchun Garden as an example, this paper uses recent status quo mapping, aerial photography and current status quo structures as the basis, historical archival materials, style house plans, early mapping, early aerial photography and various historical documents as the starting point for the credibility and priority of various materials, and uses the iconic remaining information of key locations, such as buildings, water systems and fences, through historical traces, relative positions and proportional relationships. The identification of the 'line' is done by using the 'point' to determine the location of the wall in the east, north, west and south directions, thus defining the boundary and pattern of the historical Changchun Garden. This approach is based on the disappearing royal gardens and the digital restoration process can be effective in completing the task of solving problems and giving ideas and directions to those working in the relevant fields.

Sensible/visible: les hijes de detenides desaparecides en Hasta que mueras, de Raquel Robles (2019) y Yo la quise (2020), de Josefina Giglio

The literature of the children of forced disappeared victims, including that of Raquel Robles and Josefina Giglio, who went through the traumatic experience of the last Argentine civic-military ecclesial business dictatorship in 1976, has been the subject of multiple approaches by vernacular critics (Reati, Domínguez, Basile), or foreign (García Díaz, Bolte, Gatti, et al). In this study, I name the group as lowercase in order to displace the institutional character that, although important, can reduce the perspective that I am trying to display. This perspective focuses on questioning what the writing of children of the disappeared contributes in terms of complexity to literary studies within the framework of memory-literature articulation. Thus, I notice an accumulation of writings, whether in the multiple arc of narrative or poetry, where the assumption of the voice that enunciates, in some cases, works the experience in the first person from styles already registered in literature, although the experiences of the authors enhance writings that are difficult to place in literary trends. As if literature were to make visible the very tension that its politicity implies from the narrative voices with one foot in the lived experience and the other in the creative laboratory; It is also necessary to point out that this experience places state politics as the central node since it reconfigured the life not only of the authors but of all society, in this case Argentina. In the selected novels we are faced with what Jacques Rancière (2015, 2011) understands as a principle of action, from which neither literature nor readers can be far from a new ethos. From this it is possible to connect with certain experiences that emerge in this case from both novels and that affect our perception of reality and history. Argentine literature, born in the very bosom of the nation-state, is not the same after the sons once they intervened in the street in the second half of the 90s of the last century to demand justice, they speak in the new millennium and write experiences that affect us all, and that reshape the ways of thinking politics, literature and history.

My Promise to Look for You

Lulú Herrera tells her story of the search for her disappeared husband, eight-year-old son, and two brothers-in-law. In the process, Herrera discovered others searching for the disappeared and with them she became a founding member of the organisation Forces United for Our Disappeared in Coahuila, Mexico. She realised how invisible these disappearances are even when the numbers are so high. Indeed, they were unknown to her before her own life was transformed by disappearance. She was forced to become a different person to be able to carry out the search. A search that continues for her family members and those of others in Coahuila.

Wilson’s Testimony: Abuse of Authority

Wilson (pseudonym) recounts the story of the disappearance and struggle to find his partner’s son. He shows the everyday forms of abuse by state authorities of suspected gang members and their families that can end in disappearance. He also explains the efforts family members take to try to find their disappeared relatives and the constraints they face in doing so. These barriers are imposed by state authorities and gangs. Against these odds, Wilson expresses how hope, solidarity with other relatives of the disappeared, and organisations of victims keep families motivated in their struggle.