Końska mięta (Mentha arvensis), kobyli szczaw (Rumex obtusifolius) i krowi mlecz (Taraxacum officinale)

Field Mint [Polish: “Horse Mint”] (Mentha arvensis), Curly Dock [Polish: “Mare Dock”] (Rumex obtusifolius) and Dandelion [Polish: “Cow Dandelion”] (Taraxacum officinale). On the Names of Farm Animals in Folk Phytonyms The subject of the article are folk phytonyms with an animal component. While analyzing the “animal” names of plants in the cultural context, the author reaches for so-called “co-linguistic data” (i.e. folk knowledge, beliefs and practices) related to animals and plants. Also, she arranges the phytonyms according to the semantic criterion, distinguishing the names of plants motivated by: (1) the animal’s appearance and (2) the appearance of the animal’s body parts, (3) animals’ smells, (4) the use of a plant as animal food, (5) the way in which the plant is used in folk magic and (6) in folk veterinary medicine. The analysis of dialectal names of plants in the cultural context makes it possible to consider the status of the animal part of the name. On the basis of her analyses, the author proves that both in the case of complex plant names and noun derivatives, the animal part of the name becomes “independent” in terms of a meaning and adopts qualitative meanings such as “big, great”, “dedicated to an animal (as food or medicine)”, “worse, useless for a human being”.

RAPTORS: ON THE ICONOGRAPHY OF AN ENIGMATIC CAPITAL IN THE NAVE OF BEVERLEY MINSTER

This article deals with the iconography of a unique fourteenth-century capital, situated near the one-time tomb of St John of Beverley in the nave of Beverley Minster, Yorkshire. The capital features two hybrid creatures, part animal, part human. Both creatures hold a severed bird’s claw. This article argues that these severed bird’s claws, resembling drinking vessels, are likely to be griffin claws. This interpretation allows for a reappraisal of the meaning of these figures and their use in the church.

Healing Conflict With Grigri

Hoodoo is an ethnomedical, natural healing method of magical rituals derived from West and Central African traditions, elements of Christianity, Native American folklore and African-American slavery. Rootlore applies herbs, roots, minerals, implements and animal part charms for ritual and personal use as intercessory curios that petition supernatural help and flaunt superstition. Grigri is a hoodoo object believed to protect the wearer from evil. Belief and protection associated with personal hoodoo may be appreciated with concepts in ritual healing, rootlore and meaningful experiences with respect to placebo effects. The study provides a narrative analysis of elements of ritual preparation of a chicken feet Grigri within a shared space with extended family members. In a personal account, a successful attempt of curing a conflict by unconventional means is reported. Ideas about extraordinary experiences outside traditional western medicine arise. Thoughts about the efficacy of taboo ritual material as complementary to western medicine speak to needing more innovative directions in psychotherapy.

“ΚΑΘΆΠΕΡ ἌΝΘΡΩΠΟΣ ΦΡΌΝΙΜΟΣ”: Prudence in Aristotle’s Ethics and Biology

It is a well-known feature of Aristotle’s biology that he resorts to the analogy with human art to explain the concept of final causality operative in living things. In this Aristotle’s theory of biology is explicitly anti-Empedoclean: whereas for Empedocles a randomly generated animal part is preserved if it happens to suit an expedient function, for Aristotle the formal nature produces an animal part with a useful function in view. In this article, by contrast, I focus on those cases in Aristotle’s biology in which nature adapts an apparently purposeless part to some useful function (for example, the omentum). I argue that such cases not only indicate a partial return of Empedocles’ logic of generation but are also thought by Aristotle by analogy with human prudence (as opposed to human art). To consider Aristotle’s account of nature as prudent is not only to disclose a hitherto underappreciated aspect of his biology but also to gain a more comprehensive understanding of prudence in his ethics.

UNGKAPAN MAKIAN BAHASA TIOCHIU (STUDI KASUS MASYARAKAT TIONGHOA SENGGARANG)

Abstrak: Penelitian ini bertujuan untuk mendeskripsikan jenis makian dan fungsi makian dalam bahasa Tiochiu masyarakat etnis Tionghoa Senggarang di kota Tanjungpinang, Provinsi Kepulauan Riau. Penelitian ini, merupakan penelitian kualitatif dengan menggunakan pendekatan Sosiolinguistik.Objek penelitian ini adalah tuturan yang bersumber dari penutur asli bahasa Tiochiu yang merupakan 70% etnis Tionghoa yang menetap di Senggarang, berupa bahasa makian yang diucapkan oleh penutur dalam kehidupan sehari-hari.Metode penyediaan data dilakukan dengan melibatkan 10 informan penutur asli dengan menggunakan metode cakap semuka dan metode simak, teknik simak libat cakap dan teknik catat.Instrumen yang digunakan dalam pengumpulan data adalah alat rekam dan alat tulis.Metode analisis menggunakan metode analisis makna Dari pengumpulan data yang telah dilakukan, peneliti menemukan 56 ungkapan makian dalam bahasa Tiochiu masyarakat Senggarang. Kemudian, setelah dilakukan analisis, ungkapan-ungkapan makian tersebut mengandung 8 jenis referen atau acuan, yaitu hewan, kekerabatan, profesi, makhluk halus, aktivitas, keadaan, benda-benda dan bagian tubuh. Referen keadaan terbagi menjadi keadaan mental dan keadaan tidak beruntung.Sedangkan bagian tubuh, terdiri dari bagian tubuh manusia dan hewan. Untuk benda-benda, selain benda-benda yang secara umum dianggap menjijikkan, juga terdapat referen berupa sayuran yang sering dikonsumsi oleh etnis Tionghoa, yaitu kol dan lobak. Dari data ungkapan makian yang ditemukan berfungsi untuk mengungkapkan kekesalan, kemarahan, ejekan, dan ketidaknyamanan. Selain itu, peneliti juga menemukan pemakaian makian untuk menciptakan suasana keakraban. Kata Kunci : makian, tiochiu, sosiolinguistik Abstract: This study aims to describe Tiochiu cursed expressions and its functions that are used by Tionghoa community in Senggarang, Tanjungpinang, Kepulauan Riau. This research is type of qualitative research, with sociolinguistics approach. Object of the study cursed expressions in Tiochiu languages which are most spoken language by 70% Chinese in Senggarang, one of the biggest Chinese central community in Tanjungpinang. The data derived from 10 informants who are Chinese Tiochiu speaker. Instruments used were in the form of recording devices and stationery. Methods and data provisioning techniques were competent methods, skillful techniques and referring methods (techniques for referring to proficient involvement and notetaking techniques). Data analysis method uses meaning analysis method. The research found that there are 56 cursed expressions that consist of 8 kinds of references ; situation, animal, part of body, kindship, esprit, occupation, things and activities. Situation consist of mental situation and unlucky situation. Part of body refers to human and animals. Things, include vegetebles that are familiar for Chinese, cabbage and radish. The data show that people use cursing expressios for various fuctions; expressing upset, anger, ridicule, uncomfortable and also friendly atmosphere.Keywords : cursed expression, teochew, sociolinguistics.

Fantastic Beings and Where to Make Them ‒ Boats as Object-Beings in Bronze Age Rock Art

The boat motif in Bronze Age rock art is generally assumed to represent real or symbolic boats in some form. In this paper, however, it is argued that Bronze Age rock art motifs are independent material articulations, made to do something rather than to represent. From such a perspective, the hybrid character of the boat motif as part animal, part object is conceived as a special type of entity, an object-being that has no original elsewhere. The change of perspective, from representation to articulation, and from object to being, allows for a more coherent view of Bronze Age rock art as primarily enacted imagery integrated with rock and metal as vitalist devices, aimed to affect the world.

Comenius' man in the context of internal and external freedom towards physical, intellectual and emotional spheres

Is comeniology a science? This question becomes the guiding thought of my contem-plations. I conduct the analysis of John A. Comenius's concept according to the selected scientific criteria: logical order, levels of theory, explanatory power, heuristic power, degree of persuasion and degree of justification, power of prediction, language and methods. I accept the image of a man as a triad involving spirit (immortal part connected with the spiritual world), soul (rational part considering the free will given by the Creator) and body (animal part and the part of the soul capable of perceiving sensory stimuli). In my article I am searching for a proper in-terpretation of Comenius' concept of a free man that was based on observation and experience.

THE CHARACTER ZHU BAJIE IN “JOURNEY TO THE WEST” BY WU CHENGEN

“Journey to the West”, one of the Four Great Classical Novels of Chinese literature, was adapted for cinematographic, theatrical and television production, amongst others and spread beyond China’s border, making it familiar to millions of readers and audience in many parts of the world, including Vietnam. On the journey to retrieve original Buddhist scriptures for China, the character Pigsy or Zhu Bajie is portrayed as a half-man, half-pig monster with both good and bad personalities which are represented by the animal part and human part. In the article, the analytical and synthetic methods are used to clarify the meaning and significance of the image of Pigsy or Zhu Bajie in “Journey to the West” by Wu Chengen, and this contributes to teaching ancient Chinese literature to Vietnamese students.

UnCaging Cunningham’s Animals

This chapter excavates the natural strains in John Cage and Merce Cunningham’s composing and choreographic habits vis-à-vis animality. Cage and Cunningham reveal their recognition that the artistic is primarily about pleasure and affect, and that it is the animal part of us that responds most fully to such provocations. I read the little-known Cunningham book of drawings, Other Animals (2002), in the context of such ambitious performance pieces as Beach Birds (1991) and Ocean (1994). Cunningham’s propensity for drawing vibrantly colored animals in his notebooks links him back to Duncan, a founder of modern dance, who modeled her movement on the “free animals.” Moreover, specific illustrations in Other Animals are remarkably reminiscent of the depictions of animal hordes in Virginia Woolf’s Lugton tale. This chapter, therefore, allows me to trace the vibratory, excessive impulse of bioaesthetics from modernism to the early twenty-first century.