Zeitschriftenartikel zum Thema „Antique phrases“

La première partie de cette étude abordait les prémisses rationnelles et logiques sous-jacentes à l’utilisation de termes inintelligibles, ou voces magicae , dans le but de modifier un système (physique ou social) en crise, une pratique qui connut un essor important à l’époque impériale. Cette première partie concluait que, dans le sillage d’une tradition ancienne caractérisée par l’emploi de mots comme remèdes dans les carmina , les prières ou les hymnes, les mots et les lettres se sont vu attribuer une dynamis ou puissance propre à l’époque impériale. De ce fait, il convenait de traiter les mots selon des méthodes analogues à celles employées pour les herbes, les aliments et d’autres exemples de materia medica , afin de bénéficier de leur puissance et opérer les changements désirés. Comme l’essentiel de cette materia medica relevait du régime quotidien de la plupart des gens, son utilisation dans le but de produire des effets différents impliquait aussi d’en employer les ingrédients selon des modalités différentes de leurs usages habituels. De même l’emploi de voces , parfois conjointement avec de tels ingrédients plus substantiels, impliquait-il des pratiques d’énonciation et d’écriture différentes de l’usage habituel de la parole. Pour effectuer cette distinction, l’on pouvait choisir des mots obscurs, composer des chaînes non-naturelles de voyelles ou de consonnes, écrire certains mots à l’envers ou les répéter, décontextualiser des phrases ou encore employer des alphabets idiosyncrasiques. Le présent article identifie les méthodes les plus couramment employées pour transformer les mots en ingrédients susceptibles d’opérer des changements dans le contexte de la pédagogie impériale et tardo-antique, les exercices scolaires et leurs représentations littéraires. Il sera ensuite suggéré que le phénomène des voces n’est pas seulement lié conceptuellement aux pratiques thérapeutiques mais aussi aux tactiques militaires. En particulier, nous proposons d’associer l’habitude de représenter les voces en formation aux tableaux de stratégies que l’on trouve dans les manuels militaires.

Abstract In his liturgical commentary Rationale divinorum officiorum, the thirteenthcentury writer Guillaume Durand describes a special, “antique” way of singing sequences called “neumatizing” (“neumatizare”). According to Durand, a sequence could be neumatized either by singing certain phrases melismatically or by vocalizing the entire sequence without words. The chief focus of this investigation is the identification of which sequences were still being neumatized after the decline of that practice around 1100, where and at which feasts they were sung, and why. The evidence suggests that neumatizing was especially cultivated in northern France during the twelfth and thirteenth centuries, especially in the cathedral towns of Rouen, Laon, Cambrai, and Amiens, as well as at various religious institutions in Metz, Andenne, Chichester, and Bamberg. The liturgical period of Advent, Christmas Eve, the Feast of John the Evangelist, and masses celebrating patron saints were the most typical liturgical occasions where neumatizing took place. The rationales for the singing practice appear to have been manifold, ranging from the practical and mundane to the spiritual and sacred. Motives for neumatizing include improving preexisting structures for purposes of fulfilling expectations about genre; using musical responses to highlight poetic topoi; lending solemnity and symbolic meaning to important liturgical feasts; and honoring ancient traditions while resisting some of the newer trends found with late examples of the genre.

Belonging to the style of late eclectics, products of the Ekaterinburg Lapidary Factory are scarce in the collections of Russian museums. Their small size and complex forms did not correspond to the notion of objects worthy of preservation. For this reason, most of the works created by Ural masters in the 1870s–1900s did not enter their collections at the early stage of the formation of Soviet museums. The insignificant presence of these works in available collections, the possibility of becoming acquainted with many of them only from graphic materials, together with a general negative attitude towards the decorative arts of late eclecticism and historicism, led to a lack of systematic analysis, often replaced by general phrases about decadence and insufficient artistic level. Meanwhile, more and more works by the Imperial Lapidary Factory in Ekaterinburg appearing on the antique market during this period are evidence of a strenuous search for new forms. The absence of a recognizable approach to form makes the attribution of such items extremely difficult, and often impossible without reference to the graphic heritage of the factory. Scattered and still awaiting systematization, it indicates the involvement of artists of different trends in the search for new forms and principles of decorating stone works. The article considers the existing complexes of graphic works connected with the activity of the Ekaterinburg Lapidary Factory, restoring the fate of previously undescribed objects. Also, the author provides information on the known materials, analyzing the style of proposed and executed designs and providing examples of attributions made based on drawings. Several graphic sheets are introduced into scholarly circulation for the first time.

The article tries to reveal the national particularity of usage of borrowed phrasemes, to show that despite their international character they function differently in different target languages adapting to culture, traditions, reflecting national psychology. The semantics of the same phraseological calque varies to some extent in various languages. The context of usage, frequency and relevance to the culture may vary significantly. The article describes some phrasemes with supplemental words, semantic extension, cases when collocations undergo further mataphorisation. Among the international phrasemes to be compared are some borrowings from the Bible, classic phrasemes of antique origin, mythologems. The diachronic processes leading to alteration of frequency, coining or losing of some connotations are also studied. The phraseme is considered to be like a living thing which adapts to a cultural environment and reacts to the changes occurring in it. The article contributes to cultural linguistics, helps to find the ways of fruitful intercultural communication.

The article aims to present and analyze those passages of the Hexameron (Šestodnev) in which ‘heretics’, ‘Manichaeans’, ‘pagans’ or ‘pagan Slavs’ are mentioned. The fragments are compared with their Greek counterparts (as long as these exist); the Old Bulgarian texts (especially those that can be considered original additions or loose compilations) are utilized for interpreting certain elements of heterodox doctrines common to Manichaeism, Paulicianism, Massalianism and Bogomilism. The Old Bulgarian translation/compilation by John Exarch supplies important information on the cosmology, theological doctrine and liturgical life of the Neo-Manichaeans within the Byzantine- Slavic world. The original additions and passages that can be seen as loose translations or compilations testify to the relevance of anti-dualist polemics even in the later periods of the Byzantine-Slavic religious community. The old Gnostic and Manichaean concepts, adapted by later dualist heresies (as e.g. Massalianism and Paulicianism), coupled with Trinitarian and Christological deviations from the official dogma, infiltrate the 1st Bulgarian Empire and provide a hospitable environment for the appearance of Bogomilism. In this sense, the Old Bulgarian Hexameron turns out to be an important source of information on the predecessors of the ‘Bulgarian heresy’. The original additions and loose translations/compilations of certain passages uncover some ‘common areas’ characteristic of all medieval Neo-Manichaean doctrines: the dualist creation myth, the belief in Satan as God’s ‘first-born son’ and the related Trinitarian and Christological departures from the prescribed dogma. Especially noteworthy is the passage referring to the Trisagion (Trisvetoe). The rejection of particular elements of the Liturgy of the Faithful attests to the dualists’ more diversified attitude towards the official ritual – not an indiscriminate renunciation, but the exclusion of those elements that were considered to praise the Old Testament God and to be irreconcilable with the Neo-Manichaean beliefs concerning creation and forgiveness. The mentioning of a Slavic pagan sun cult should be analyzed not only in connection with the charges against Manichaeans and Slavs concerning idolatry, but also in a wider context of the refutation of antique astrological beliefs and soothsaying practices. The comparison of particular lexemes, phrases and larger textual units in John Exarch’s Hexameron on the one hand and the Sermon Against the Heretics on the other makes it possible to conjecture that Cosmas the Priest was familiar with his predecessor’s work and made use of it when composing his own anti-heretic text.

This article examines the ways in which Stephan Hoeller, head of the Ecclesia Gnostica, has transformed a very diverse set of late antique currents, with doctrines phrased in a mythic language unfamiliar to most moderns and rituals only sketchily documented in the sources, into a form of lived religiosity relevant for contemporary audiences.

In this paper, eleven new inscriptions are presented, which were found between 1981 and 2017 at Assos in the southern Troad, Asia Minor. Funerary inscriptions that can be dated to the Late Antique and Byzantine periods constitute the majority of the inscriptions found during the period defined above. The first inscription, carved on a lintel, is an acclamation of the Lord/ Emmanouel. The personal name Chrysogonos in the second inscription may have been the name of a stonecutter who worked in the quarry. The third inscription is the epitaph of the gravediggers of the Orthodox “Great Church”. By the phrase “Great Church” (μεγάλη ἐκκλησία), a cathedral must have been intended, located inside the city or its immediate surroundings. The fourth inscription presented here is the sarcophagus inscription of the heirs of an individual called Daniel. The fifthis the sarcophagus inscription of Theoktistos. The inscriptions nos. 6-10 from the oor of Ayazma Church include several sarcophagus inscriptions: No. 6 is of Bas(s)os, no. 7 is of Eutychianos, and no. 8 is of Onesimos, whose father’s name is uncertain due to a crack and damage on the surface of the stone. No. 9 is the sarcophagus of presbyter Anastasios, and no. 10 is the sarcophagus of Eugenios. The eleventh inscription is a fragmentary sarcophagus inscription.

AbstractAfter clarifying the theological implications of the phrase τὸ πολὺ πέλαγος τοῦ καλοῦ in Plat. Symp. 210d4 and demonstrating that it cannot be considered the archetype, the article aims to examine the Nachleben of Gregory of Nazianzus’ expression πέλαγος οὐσίας ἄπειρον καὶ ἀόριστον (Or. 38.7 and 45.3): not only is it spread in late antique and mediaeval literature both Greek and Latin, but it is also present in Dante’s Commedia. The huge diffusion of this image across time and space, supported by a careful examination of the use that is made of it by authors who pick it up, makes it possible to demonstrate that πέλαγος οὐσίας ἄπειρον καὶ ἀόριστον became a very well known proverbial topos in the Christian world.

Background. One of the typical trends of modern musicology is the increasing interest in the problem of components dialogue in the synthetic forms of art. In the context of this global topic, the issue of music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century is of particular interest. The connection of music and choreography in the art of stage dance of the 17th – the first half of the 18th century appears as a kind of continuation of the syncretic unity of ancient art seen through the prism of the professional experience of the creators of court musical and stage productions in the French classicism style. In the court operas, ballets and other types of performances such of the composers, as A. Kampra, J.-B. Lully, J. F. Rameau, the spirit of the antique art was reviving in its own special way representing the “ensemble of arts” in a miniature. The research objective is to identify the features of the combination and interaction of musical and choreographic arts in the stage dances of French musical and theatre productions of the 17th – the first half of the 18th century. The article uses the method of comparative analysis. This method allows to analyze the features and the ways of interaction between the elements of dance and musical syntax. Results. The art of choreography is a rhythm and plastic form of thinking and self-expression, which can reflect reality not only in its eventual plot related manifestations, but also to rise to the broad abstract generalizations. In view of its rather conditional nature, dance requires, to one degree or another, the interpretation of its content. In the 17th and early 18th centuries, the need for such an explanation increases significantly because of the great role of emblems and encoded content in various aesthetic and artistic phenomena. In the dance, the close relation to the court ceremonial, which did not allow the expression of emotions, initiated this feature additionally. For example, at that time one was believed that stepping a minuet means “drawing up secret signs of love”, which were recognized in movements, poses, facial expressions and gestures. In the Baroque Epoch the audience easily was recognizing the content of such dances, whereas for the modern observer and researcher it remains unknown. The dance moves and their combinations in stage dances of the 17th and early 18th century receive a specific meaning in the context of poetic, musical and dance phrases. However, first, the moves of dancers-performers were consistent with the music. As a rule, the result of making a choreographic production depended on the composer’s choice of the musical form. Most of the dances within the researched period were set to music in a two-part form. Less often we can find the samples in the form of a couplet rondo and ostinato variations. When making the dance productions, French choreographers took into account the features of other popular musical forms of the 17th –18th centuries. In some cases they emphasized or combined with their own author’s decision the symmetric basis laid down in the musical structure (the form of rondo), in others – they disclosed the effect of the continuity principle. An example of the embodiment of a choreographic idea set to music in the form of a rondo is the passepied production (fr. passé-pied) “La Gouastalla” realized by R. A. Feye to the music of the unknown composer. The choreographic composition consists of five dance periods corresponding to five sections of the musical form. A slightly different choreography scheme – ABCBC is combined with the symmetric scheme in the musical variation– ABACA. In this production the combination of the musical form and the choreographic composition is somewhat changed, however, this does not mean the complete neglect of the musical form regularities in the construction of the dance general plan. One of the aspects of the musical and choreographic arts combination in French stage dances of the 17th and 18th centuries is the connection with of the choreographic component of the latter with the tonal plan of the musical work. The tonal coloring of the music was reflecting in the formation of a choreographic drawing of dance, in the process of expressing in the movements of various emotions and feelings. Changes of tonalities, the most used of which, as a rule, a certain circle of images and affects, their own “character” carried along at that time, were associated with a variety of transitions in the emotional coloring of the dance. It is from such, emotional, the perception of tonality, the versions of the tonal plans of French dances follows, which are unusual for later canons of Viennese Classicism, in particular, with the violation of the harmonic sequence of T-D-S-T. Conclusions. Thus, the stage dance of the 17th and early 18th century is a peculiar form of embodiment of the “miniature ensemble of arts”, where dance moves and their combinations receive a specific coloring in the context of poetic, musical and dance phrases and certain allegorical meanings. Nevertheless, first and foremost, the moves of dancers-performers were consistent with the music. Obvious is the great dependence of the choreographic production on the musical form and its components – the rhythm as well as the tonal and harmonic plan, which combined with the choreographic elements, prompt the feelings transmitted in the dance, which give to it the life and inspiration.

"The king of Oussouye is actually a priest" is a phrase we are used to hearing when we talk about the issue of royalty in Basse-Casamance. This question prompted us to conduct a parallel study with the aim of showing a congruity between priesthood and royalty. The myth of Nemi, the works of Romulus and Numa, the anthropological studies on the Diolas were the elements through which the royal priesthood was analyzed.

Every company has an effective strategy for determining whether to develop, maintain or even withdraw from the market. With the development of the times, limited edition products are now mushrooming. Limited edition labels are now given not only to antique, exclusive and expensive products such as luxury cars and savings items but also to fast moving consumer goods. This study will analyze a systematic review using the Preferred Reporting Items for Systematic Reviews and Meta-analysis method. Searches for research articles relevant to the research topic were carried out on the international journal databases of Springer Link, Science Direct, Emerald, and Wiley using the phrase “limited edition products”. The results show that purchasing decisions are influenced by the factors of scarcity, need for uniqueness, and brand-retailer collaboration. This research is expected to be used as material for consideration by the company to formulate the right marketing strategy.

Professor Goodwin has been most good to me, tells me what books to read, argues my “modernisms” of thought away as much as he can.—A. Mary F. Robinson (1879)The command of words and felicity of phrase are as remarkable as the decorative, yet unconventional, qualities of form and colour, so unusual a merit in the handling of motives chosen from the antique. Throughout, thetechniqueis large and modern.—Graham R. Tomson's review of Amy Levy'sA Minor Poet(1891)Her verse is … modern, clever.—Review of Graham R. Tomson'sA Summer Night(1891)… it is for us, England's living and yet unspent poets to make all things new. We are for the morning – the nineteenth century thinks it has no poets – nothing to lose – verily it has nothing: for we are not of it – we shake the dust of our feet from it, and pass on into the twentieth century.—Michael Field,Journal(1892)I don't know what I am or what I shall become.The Modern.—Michael Field,Journal(1894)

AbstractThis paper seeks to test a venerable scholarly and popular commonplace: that the ideology of religious martyrdom is based upon and further reflects a literal or even hyper-literal interpretation of Scriptures. Through two test-cases from late antique Christian writings, Tertullian's scorpiace and Origen's exhortatio ad martyrium, I seek to demonstrate the inadequacy of the literal/allegorical dichotomy to comprise and comprehend the complex, ingenious ways in which "the dialect of the holy Scriptures" (Origen's phrase) is claimed to speak in one unambiguous voice that instructs the Christian to accept martyrdom under persecution through confession. Self- and other-characterizations using the labels of "literal" and "allegorical" readings abound in these writings, but are not confined to one side or another. Via such "fighting words," the lexicon of hermeneutical claims of fidelity to or apostasy from the Scriptures is pressed into service by authors who, like Tertullian in Carthage and Origen in Caesarea, craft careful apologetic and protreptic arguments to support the claim that for Christians "it is better to prefer a religious death to an irreligious life."

En la comedia de Aristófanes Los acarnienses se presenta a Pseudartabas, un embajador del Imperio aqueménida, que saluda a la Asamblea de los atenienses con un verso en un texto incomprensible. Se han hecho varias interpretaciones del pasaje sobre la hipótesis de que responde a un antiguo persa real y no a una mera sucesión de sílabas que suenan a una lengua extranjera. El presente artículo hace una nueva propuesta en el primer sentido, integrando el mensaje del saludo de Pseudartabas con su segunda intervención, que constituye el contenido real de la embajada persa. In Aristophanes' Acharnians Pseudartabas, an ambassador of the Achaemenid Empire, who greets the Assembly of the Athenians with a verse in an incomprehensible text, is introduced. Several interpretations of the passage have been made on the hypothesis that it responds to a real Old Persian and not a mere succession of syllables that sound like a foreign language. This paper proposes a new interpretation, integrating the message of the Pseudartabas' first intervention with his second phrase, which constitutes the real content of the Persian embassy.

Constantius, as though the Temple of Janus had been closed and all enemies had been laid low, was longing to visit Rome and, following the death of Magnentius, to hold a triumph, without a victory title and after shedding Roman blood. For he did not himself defeat any belligerent nation or learn that any had been defeated through the courage of his commanders, nor did he add anything to the empire, and in dangerous circumstances he was never seen to lead from the front, nor even to be among the front ranks. But he wanted to display an exaggeratedly long procession, standards stiff with gold and the beauty of his attendants, to a population who were living more peacefully, neither anticipating nor wishing to see this or anything like it. For perhaps he was unaware that some earlier emperors had been content with lictors in peacetime, but when the heat of battle could not allow inactivity, one of them had entrusted himself to a small fishing boat, blasted by raging gales, another had followed the example of the Decii and offered up his life in a vow for the state, and another had himself explored the enemy camp alongside the regular soldiers; that, in short, various of them had won renown for magnificent deeds, and so committed their glories to the distinguished memory of posterity. …When he was approaching the city, observing with a serene expression the respectful attendance of the Senate, and the venerable likenesses of the patrician families, he thought, not like Cineas, the legate of Pyrrhus, that a multitude of kings had been assembled together, but rather that this was the refuge of the whole world [cumque urbi propinquaret, senatus officia, reuerendasque patriciae stirpis effigies, ore sereno contemplans, non ut Cineas ille Pyrrhi legatus, in unum coactam multitudinem regum, sed asylum mundi totius adesse existimabat]. Next, when he turned his gaze to the general populace, he was astonished at the speed with which every type of men from everywhere had flowed into Rome. As though he were trying to terrify the Euphrates or the Rhine with the sight of arms, with the standards in front of him on each side, he sat alone in a golden chariot, glittering with the shimmer of many different precious stones, whose flashes seemed to produce a flickering light. After many others had preceded him, he was surrounded by dragons, woven from purple cloth and affixed to the golden, bejewelled tips of spears, open to the wind with their broad mouths and so hissing as though roused with anger, trailing the coils of their tails in the wind [eumque post antegressos multiplices alios, purpureis subtegminibus texti, circumdedere dracones, hastarum aureis gemmatisque summitatibus illigati, hiatu uasto perflabiles, et ideo uelut ira perciti sibilantes, caudarumque uolumina relinquentes in uentum]. Then there came a twin column of armed men, with shields and plumed helmets, shining with glittering light, clothed in gleaming cuirasses, with armoured horsemen, whom they call clibanarii, arranged among them, masked and protected by breastplates, encircled with iron bands, so that you might have thought them to be statues finished by the hand of Praxiteles, not men [sparsique catafracti equites, quos clibanarios dictitant, personati thoracum muniti tegminibus, et limbis ferreis cincti, ut Praxitelis manu polita crederes simulacra, non uiros]. Slender rings of metal plates, fitted to the curves of the body, clothed them, spread across all their limbs, so that, in whatever direction necessity moved their joints, their clothing moved likewise, since the joins had been made to fit so well.When he was hailed as Augustus with favourable cries, [Constantius] did not shudder at the din that thundered from hills and shores, but showed himself unmoved, as he appeared in his provinces. For, when passing through high gates, he stooped his short body, and, keeping his gaze straight, as though his neck were fixed, he turned his head neither right nor left, as though an image of a man, and he was never seen to nod when the wheel shook, or to spit or wipe or rub his face or nose, or to move his hand [nam et corpus perhumile curuabat portas ingrediens celsas, et uelut collo munito, rectam aciem luminum tendens, nec dextra uultum nec laeua flectebat, tamquam figmentum hominis, nec, cum rota concuteret, nutans, nec spuens, aut os aut nasum tergens uel fricans, manumue agitans uisus est umquam]. Although this behaviour was an affectation, it, and other aspects of his more private life, were however indications of extraordinary endurance, granted to him alone, as it was given to be supposed. This passage, which describes the aduentus of Constantius II into Rome in 357, is one of the best-known episodes in the Res Gestae of Ammianus Marcellinus. This historical work was completed by the retired military officer in around 390, with the surviving books covering the period from 353 to the aftermath of the Battle of Adrianople in 378. Unsurprisingly, this passage is also one of the most debated. Throughout his work, Ammianus regularly criticized Constantius as a weak, vicious ruler, influenced by women and, in particular, eunuchs, and so contrasted him with his cousin and successor Julian, the emperor who receives the most favourable treatment within this text. The degree and nature of criticism within this particular passage has, however, been the subject of a variety of wildly differing interpretations. It is clear that, at the outset, Ammianus is inveighing against the notion of holding a triumph for victory in a civil war, but there has been debate over whether Constantius was actually celebrating a triumph or merely the anniversary of his accession. Similarly, the description of the Senate as ‘the refuge of the whole world’ has been read in contrasting ways, being regarded as derogatory by Johannes Straub, as neutral, or even positive, by Pierre Dufraigne, and as respectful by R.C. Blockley. While this passage as a whole is generally read as an attack on Constantius for his pretentions to ill-deserved military glory, it also raises the question of whether Ammianus was also criticizing Constantius for the way in which he performed his aduentus, emphasizing his pompous and autocratic behaviour in order to contrast him with Julian, who preferred to behave more like a ciuilis princeps in public. Of course, such a reading almost inevitably produces a portrait of Ammianus as an impractically nostalgic figure, harking back to a style of rule which was anachronistic in the post-Diocletianic Later Roman Empire. In addition, Ammianus also presented Julian as performing an aduentus into Constantinople in 361, employing some phrases that were similar to those used to describe Constantius’ procession in 357. Furthermore, as John Matthews has illustrated, Ammianus’ presentations of the occasions when Julian eschewed late-antique imperial protocol are not without tinges of criticism, and his judgement on the propriety of different modes of imperial behaviour varied dependent on the context.

About the Thought-Image in Grundtvig’s Last PoemBy William MichelsenThe article is a contribution to the on-going debate about the interpretation of a hardly legible line in Grundtvig’s last poem, .Old Enough I Now Have Grown. (Grundtvig Studier, 1994, p. 107).In last year’s Grundtvig Studier, FI. Lundgreen Nielsen argues in favour of the reading .Soul-Ferry-Prow., understanding the phrase as determined by .a reversed Charon myth, the antique ferryman having been replaced by the Spirit of God, and his barge pole by the compass of God’s word. (Grundtvig Studier, 1994, p. 116).Thus, with some support in Bent Noack’s interpretation (Vartovbogen, 1993), FI. Lundgreen-Nielsen can read the poem as pervaded by maritime images. William Michelsen agrees on this point, but objects to the understanding of Grundtvig’s last poem as a reversed Charon myth. Instead William Michelsen reads the poem as an example of Grundtvig’s use of the symbol world of Nordic mythology in his personal Christian poetry. Grundtvig expresses his thoughts in poetry, and thus a thought image arises. The decisive feature of the thought image in this poem is precisely that it contradicts the Charon image, i.e. the notion that man’s death is a journey to the land of the dead. To Grundtvig, the sea is usually not an image of death, but an image of history, of human life. In Grundtvig’s view, death does not mean that life comes to an end, but death means a dangerous journey, since it takes man either towards the land of the dead or the heavenly harbour. In accordance with the old world picture, the firmament is close to the earth, encircling the horizon. In Nordic mythology, the inhabited land was surrounded by the ocean, separating the earth from the land of the dead, Hel or Valhalla. Thus William Michelsen defines the poem not just as a »song of farewell«, but as a poem expressing a view of life, applicable to every Christian. Instead of »Soul-Ferry-Prow«, Grundtvig’s son Svend Grundtvig reads the difficult line as »Soul-Eye-Prow«, which would make the poem into an exclusively personal poem. William Michelsen does not reject this personal interpretation, but sees the ship as the nave, the »church ship«, the Christian church, where the Spirit of God is the master mariner, and where many people, the whole of Christendom, together with Grundtvig, are on board. Usually Grundtvig sees the church in terms of a house, and not until now, during the composition of this poem, does he see the church as a ship, steered by the Spirit of God to ensure that the church reaches the »Heavenly Harbour« - this being emphasized by the masculine ending of the last stanza but one. The poem is an expression of Grundtvig’s Christian interpretation of the existential situation of man facing death.

The objective of this descriptive study was to analyze students' grammatical errors in writing assignments, in this case writing a cover letter for second-semester Computer Science students at University of Semarang. The target population included 21 Computer Science students enrolled in a Business English class chosen randomly from a pool of 50 participants. They were asked to write an application letter in English. Then, using the surface approach taxonomy, the researcher examined the students' writing for the following errors: 1. Omission Errors; 2. Addition Errors; 3. Misinformation Errors; and 4. Misordering Errors. The findings of this study show that student errors range from the most common to the least common, with a total of 67 phrases: (1) Omission 38.8%, (2) Misinformation on Sub-Alternating Forms 23.8%, (3) Addition on sub-Simple Addition 22.3%, (4) Misinformation on sub-Alternating Forms 8.9%, (5) Addition to sub double markings 2.9%, (6) Misinformation to sub regularization 2.9%. The errors in the Addition type (sub-regularization) and Misinformation categories do not appear at all (0%). According to the data above, pupils still do not comprehend how to employ basic English grammar structures or how the first language (L1) affects how sentences are formed in English.@font-face {font-family:SimSun; panose-1:2 1 6 0 3 1 1 1 1 1; mso-font-alt:宋体; mso-font-charset:134; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:515 680460288 22 0 262145 0;}@font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;}@font-face {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4; mso-font-charset:0; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-469750017 -1073732485 9 0 511 0;}@font-face {font-family:"Book Antiqua"; panose-1:2 4 6 2 5 3 5 3 3 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:647 0 0 0 159 0;}@font-face {font-family:"\@SimSun"; panose-1:2 1 6 0 3 1 1 1 1 1; mso-font-charset:134; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:515 680460288 22 0 262145 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin-top:0cm; margin-right:0cm; margin-bottom:10.0pt; margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:SimSun; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:EN-GB;}.MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:10.0pt; mso-ansi-font-size:10.0pt; mso-bidi-font-size:10.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:SimSun; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-fareast-language:EN-ID;}div.WordSection1 {page:WordSection1;}

This study investigates the syntactic structuration of the five select Hiligaynun Visayan Print Media Articles, namely: three news articles such as WANTED PERSON SA ANTIQUE, PRISU, LALAKI GINSIRBIHAN WARRANT, 4- KA TU-IG NGA BATA NALUMUS SA SUBA, and two editorials: SWILDU SANG MANUNUDLU and SAKA SA KUNTRIBUSYUN SA SSS. The study focuses on the following linguistic aspects (1) Immediate Constituents Analysis of the sentences, (2) phrase structures of the syntactic forms, and (3) pedagogic grammar monograph on Visayan Hiligaynun Syntax. The syntactic analysis through Immediate Constituents was the method used for the structuration segments of the articles. The sentences were analyzed using the constituent analysis to reveal syntactic structuration. ICA (Immediate Constituent Analysis) has two phases: phase one, identifying immediate constituents, and phase two, the rule in determining the syntactic structure. Based on the ICA and phrase structures of the sentences, the following are the findings: The ICA of the articles reveals that out of the nineteen sentences, eight are composed of simple sentences, eight compound sentences, and three compound-complex sentences. The syntactic structure phrasal analyses of the five articles yield nineteen sentences consisting of noun phrases, verb phrases, and prepositional phrases. A pedagogic grammar on Hiligaynun Visayan syntax is developed to guide the teaching and learning of Hiligaynun.

This study investigates the syntactic structuration of the five select Hiligaynun Visayan Print Media Articles, namely: three news articles such as WANTED PERSON SA ANTIQUE, PRISU, LALAKI GINSIRBIHAN WARRANT, 4- KA TU-IG NGA BATA NALUMUS SA SUBA, and two editorials: SWILDU SANG MANUNUDLU and SAKA SA KUNTRIBUSYUN SA SSS. The study focuses on the following linguistic aspects (1) Immediate Constituents Analysis of the sentences, (2) phrase structures of the syntactic forms, and (3) pedagogic grammar monograph on Visayan Hiligaynun Syntax. The syntactic analysis through Immediate Constituents was the method used for the structuration segments of the articles. The sentences were analyzed using the constituent analysis to reveal syntactic structuration. ICA (Immediate Constituent Analysis) has two phases: phase one, identifying immediate constituents, and phase two, the rule in determining the syntactic structure. Based on the ICA and phrase structures of the sentences, the following are the findings: The ICA of the articles reveals that out of the nineteen sentences, eight are composed of simple sentences, eight compound sentences, and three compound-complex sentences. The syntactic structure phrasal analyses of the five articles yield nineteen sentences consisting of noun phrases, verb phrases, and prepositional phrases. A pedagogic grammar on Hiligaynun Visayan syntax is developed to guide the teaching and learning of Hiligaynun.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 《詩》、《書》成書甚早，其文辭古雅，歷代學者多有《詩》、《書》難明之嘆。比年以來，考古學發展迅速，出土文獻材料與曰俱增，且多爲先賢所未曾獲睹。二十世紀初，王靜安先生嘗提出著名之“二重證據法”，謂以今日之新發現、新材料、新學問補足、印證，乃至修訂傳世文獻、古籍之記述。從今日新見之青銅器銘文可知，金文用語形式更靈活多變，不拘一格，細審其用詞、用語，實有不少能與《詩》、《書》等先秦古籍參照比觀者，吾人固可藉此契機，將兩者作比觀發明，互補有無。因此，本文以新見金文材料與傳世文獻作相互印證，從而對《詩》“假以溢我”及《書》“乃命寧予以秬鬯二卣”二語之語義內涵作重新探討。 The books Shijing and Shangshu have an early history of formation, and due to its usage of antique wordings and sentence structure, various scholars had expressed great regrets at their difficulties in understanding. In recent years, since the prosperous development in archeology, a huge amount of long-lost documents have been discovered and excavated. In the early 20th century, the reputed scholar Wang Kuo-wei had proposed his famous theory of “dual attestation”, advocating the application of new findings, new materials and new knowledge to supplement, verify or even revise the received documents. As shown by the bronze inscriptions newly found, though their language structures are diverse and unstable, a number of which could also be recognized coherent and consistent with those found in received texts such as Shijing and Shangshu. Taking such critical opportunity, we could surly compare the two for the sake of acquiring a better understanding on their language. Therefore, this paper aims at re-examining the meaning of the phrases "jia yi yi wo" in Shijing and “nai ming ning yu yi ju chang er you” in Shangshu by undertaking a mutual verification between the excavated and the received documents.

Abstract Modern discussions of abortion in Jewish thought often invoke the Talmudic phrase “ubar yerekh imo,” the fetus is the thigh of its mother. This article examines the ten instances in which the phrase first appears in the Babylonian Talmud. I demonstrate that the rabbis of Late Antique Sasanian Babylonia deploy the phrase in two specific contexts: discussions of the sanctification, criminalization, or sale of non-human animal fetuses, and discussions of the sale and manumission of the fetuses of enslaved people. Drawing on insights from animal studies and studies of slavery, I argue that this phrase illuminates how the rabbis think with the fetus to value some lives over others in a world reliant on the exploitation of enslaved humans and animals, and compare this approach with that of the Roman jurist Ulpian. Ultimately, I shed light on ancient rabbinic anthropologies of the human body and the body politic.

Gr/edigne Gudhafoc and d/et Gr/ege Deor: Una revisión del tema de las Bestias de la Guerra (57-65h) en las traducciones de la Batalla de Brunanburi.La entrada correspondiente al año 937 de la Crónica Anglosajona narra los hechos que tuvieron lugar en dicha fecha mediante una interpolación poética que constituye una de las piezas más importantes de la poesía heroica del inglés antiguo: La Batalla de Brunanburh. Los versos contenidos en esta entrada son importantes pues su condición y disposición poética nos permite clasifi carlos como poesía heroica del inglés antiguo tanto en la forma (unidades métricas) como en el contenido (imaginería, dicción). Este poema, como tantos otros dentro de la literatura del inglés antiguo (Bueno 2003), usa los hechos históricos como mecanismo narrativo para construir la historia interna del poema experimentando cono los temas (estilo, dicción, imaginería) de la poesía heroica: estilo aliterativo, vocabulario formulaico, el tema de las “bestias de la guerra”, frases sacadas del corpus heroico anglosajón, etc, etc. Parece evidente que estos temas se tendrán que tener en cuenta cuidadosamente cuando se traduzca el texto a otras lenguas. En un trabajo anterior revisé tres grupos diferentes de traducciones y de traductores que consideraron el poema a) de modo aislado, b) en el contexto de la Crónica Anglosajona, y c) como excusa para la creación poética. En este artículo quiero centrarme únicamente en textos de la categoría a) y dentro de ellos analizaré exclusivamente el llamado tema de las “bestias de la guerra” (57-65a), un asunto de gran interés desde el punto de vista de los estudios en traducción poética. Este artículo tiene como objetivo revisar el poema y ver cómo se ha analizado este tema en algunas traducciones importantes, tanto al inglés (Treharne 2004, Hamer 1970, Rodrigues 1996, Crossley-Holland 1982 as revised and edited by Barber 2008) como al español (Lerate & Lerate 2000, Bravo 1998, Bueno 2007). Como complemento se discutirá de modo breve una poco conocida versión del texto en asturiano (Santori 1999).Abstract:The annal for the year 937 of the Anglo-Saxon Chronicle narrates the events which took place with a poem that constitutes one of the main pieces of Anglo-Saxon heroic epic poetry: The Battle of Brunanburh. The verses contained in this annal are important because those lines fall into the rhythmical units of OE verse and have diction and imagery associated with heroic poetry. This poem, as many others in OE literature (Bueno 2003), uses history as a narrative device to build the inner story of the text experimenting with the topics (style, diction, imagery) of heroic poetry: alliterative style, formulaic vocabulary, the beasts-of-battle topos, phrases taken from the stock of the heroic corpus, etc. It seems most evident that a careful consideration of these topics has to be made when translating the text into other languages. In a previous work I revised three different groups of translations –and translators– that considered the poem a) in isolation, b) in the context of the Anglo-Saxon Chronicle, or c) as an excuse for poetic inspiration. In this article I want to concentrate only in texts from category a), and within them, I will exclusively revise the so-called beasts-of-battle topos (57-56a), a very interesting topic from the point of view of poetic translation studies. My aim will be then to revisit how this topos (57-65a) has been dealt with in several important English (Treharne 2004, Hamer 1970, Rodrigues 1996, Crossley-Holland 1982 as revised and edited by Barber 2008) and Spanish (Lerate & Lerate 2000, Bravo 1998, Bueno 2007) translations. As a complement, a version in Asturian (Santori 1999) will be briefl y discussed.