Journal articles on the topic 'Igala Art'

This paper examines the duality of dance as both art and science. It argues on the premise that only the manifestations of dance as an art form has been explored whilst its scientific manifestations have been arguably ignored. It avers that duality is seen in the processes involved in dance choreography. In doing this, it maintains that dance as an art often manifests in the intuition and creativity involved during the creation of dances while dance as science manifests itself during the execution of movements. It argues that the traditional practitioners of dance in Nigeria and Africa are generally aware of the scientific nature of dance, which they adhere to unconsciously while creating dances without knowing it has a scientific posturing. The article insists that intelligence displayed in dance choreographies attests to the above claims. The study uses syncretism and Humphrey-Weidman theory of dance composition as theoretical moorings to contend that the Agbaka dance of the Igala people of Kogi State in North Central Nigeria expresses and displays the scientific nature of dance. Consequently, the dance form is examined from the physiological, psychological and biomechanical perspectives, informing the conclusion that dance practitioners in Nigeria should engage in a conscious exploration and admittance of dance as both art and science. Keywords: Syncretism, Art, Science, Duality of dance, Biomechanics, Agbaka dance

When discussing the art of video games, three different contexts need to be considered: the 'high' art (video games and the art); commercial video games (video games as the art) and the fan art. Video games are a legitimate artistic medium subject to modifications and recontextualisations in the process of creating a specific experience of the player/user/audience and political action by referring to particular social problems. They represent a high technological medium that increases, with practically each new commercial game, the aesthetic potential of audio-visualperformances and includes more complex narrations and characters/avatars. A number of artists take part in their creation: designers, composers and actors. Video games are a medium through which the fans of commercial games are trying to secure their position in the contemporary technologised culture.

The article describes the life and work of amateur composers, instrumentalists and folk singers Tluril Labazan from Inkho, Karimgadzhiyav, Arashev Omar, Abdulkhan, Gadzhiakhmed, Gaychulav from Igali, Shigabudin and Mukhumaali from Araderich, who left a noticeable trace in musical art not only of this region, but also of the entire territory of distribution of the Avar ethnos. Some of them were at one time known throughout Dagestan.

Studije diljem Europe pokazale su da se ljudi u ranim fazama pandemije COVID-19 nisu u potpunosti pridržavali preventivnih mjera i preporuka koje su dale vlasti. Kao što je vidljivo, stope usklađenosti mogu ovisiti o mnogim različitim čimbenicima, uključujući osobine ličnosti, spol, dob, pa čak i iracionalno vjerovanje u teorije zavjere. Ovi nalazi naglašavaju heterogenost među ljudima i, u kombinaciji s uvidima iz teorije igara i eksperimentalne ekonomije, sugeriraju da bi bilo teško održati visoke stope usklađenosti i spriječiti širenje smrtonosnog virusa bez uvođenja strožih mjera koje su kasnije usvojene.

On 26 September 2014, forty-three students from the Ayotzinapa Rural Teachers’ College disappeared from Iguala, a city in the state of Guerrero, Mexico. Two students’ bodies have been recovered, while forty-one students remain missing. In Los Angeles, mourning for the students has taken the form of what we call “anti-memorialization,” where traditional forms of memorialization are upended through informality, ephemerality, art, and the digital in order to politicize and bring attention to an injustice. While informal memorials have existed as long or longer than their formal counterparts, anti-memorialization moves these informal memorials into the contemporary reality of a digitally networked world, pushing private mourning to public activism. Among these informal efforts reflecting ongoing calls for justice, one piece, part of an exhibit sponsored by Boyle Heights-based arts organization Self Help Graphics and Art, was entitled 43: From Ayotzinapa to Ferguson. The exhibition anti-memorializes not just the forty-three students from Ayotzinapa, but victims of police brutality in the United States as well, linking the two social movements across national borders.

En México la demanda de maíces híbridos forrajeros (Zea mays L.) ha incrementado aceleradamente. El objetivo del estudio fue identificar híbridos más productivos, estables y de mayor calidad forrajera para diferentes regiones del país. En 2004 se evaluaron cuatro híbridos del Instituto Nacional de Investigaciones Forestales, Agrícolas y Pecuarias (INIFAP) y tres comerciales, en seis localidades del país con diferencias extremas en altitud y clima: Pabellón, Ags., Iguala, Gro., Chapingo, Méx., Valle del Yaqui, Son. y Torreón, Coah., primavera y verano. Se utilizó un diseño de bloques completos al azar con tres repeticiones. Se fertilizó con 180 a 240 kg ha-1 de N y 70 a 90 kg ha-1 de P y se sembró a una densidad de población de 80 mil plantas/ha. Se midió materia seca total (MST), fibra detergente neutro (FDN) y ácido (FDA), digestibilidad in vitro (DIV), proteína cruda (PC), y se estimó la producción de leche por hectárea (LEHA). Hubo interacción híbridos x localidades para MST y LEHA (P ≤ 0.05). El híbrido subtropical ‘H-376’ sobresalió en MST a través de localidades, con producciones de 17.6 a 23.0 t ha-1; también sobresalió ‘H157’ de valles altos pero sólo en localidades más favorables como Pabellón, Iguala, Torreón Primavera y Chapingo con rendimientos de 20.0 a 23.9 t ha-1. El testigo ‘ABT-7887’ fue el mejor en calidad forrajera con menor FDN y mayor DIV, y superó a ‘H-376’ en 37 y 33 g kg-1, respectivamente en promedio de ambientes. En producción de leche por hectárea sobresalieron ‘H-376’ y ‘H-157’ por su estabilidad a través de ambientes especialmente en Iguala, Pabellón, Sonora y Torreón en siembras de primavera, donde rindieron entre 11.5 y 13.8 t ha-1. El testigo ‘Z-23’ tuvo mejor respuesta en ambientes más favorables, como Sonora y Pabellón donde rindió más de 15.0 t ha-1.

Directed by Ricardo Abad and choreographed by Matthew Santamaria, Sintang Dalisay—a Filipino adaptation of Shakespeare’s Romeo & Juliet—is often lauded for its use of the igal ethnic dance of the Sama-Badjau, a Muslim tribe located in the southern region of the Philippines. It depicts Rashiddin and Jamillia’s star-crossed love amidst a violent and ancient feud between their families. This paper discusses the process and product of interweaving performance traditions and cultures in Sintang Dalisay and how the adaptation transforms Shakespeare’s Romeo and Juliet from tragic to utopic. It does so in two aspects: the kinesthetic and the mythic. First, the use of the igal dance motif expresses and unearths the play’s inherently religious and celestial language. Second, the appropriation of Asian myths or beliefs—particularly of Chinese and Filipino origins—transforms and transcends the tragic ending of Romeo and Juliet’s deaths.

After a struggle of eleven years, and the loss, according to the conservative estimate of Carlos María de Bustamante, of 2000,0000 lives, Mexico awoke in September 1821 an independent nation. For months before the culmination of independence there was no doubt who would rule the nation – that is, who was the de facto chief of state, at least for the moment. Agustin de Iturbide, author of the Plan of Iguala, conceiver of the idea of the Three Guarantees that united all factions in favor of independence, chief of the Army of the Three Guarantees, signatory on Mexico's part of the Treaties of Cordoba that granted independence de jure (in Mexico's view), was the undisputed leader. Incorruptible, invincible, wise, Christian, the consummate politician, the salvation of the Church, the Protector of Spaniards in Mexico, the Hero of Iguala, the Liberator, the Father of the Nation, Iturbide had broken the yoke of the Lion of Castile. Mexicans, of all political persuasions, rallied around the demigod in a euphoria of rejoicing and hope that has no equal in the history of the country.

The purpose of this study was to describe the pattern of the typical Baboon wasp/Banjar dialect to the accompaniment of the Kuda Gipang dance at the Asam Rimbun studio through sound study and notation. Qualitative descriptive research methods are used as a reference in implementing data collection techniques by interviewing, observing and documenting. The data that has been obtained is then analyzed to get the conclusion of the research findings in the form of the Banjar baboon notation. In this study, the Kuda Gipang Igal Anak dance was the sample. This activity lasts for 4-5 months. The results of the study are as follows: The Variety of Movements in the Kuda Gipang Dance at the Asam Rimbun Art Studio, is very much based on the rhythm of wasps of baboons. There are 11 distributions of wasp patterns based on the variety of motions, namely (1) Initial punch, (2) Timangan 1, (3) Timangan 2, (4) Kijik Punch, (5) Lagurih Punch, (6) Kapak Taguk Punch, (7) Punch Jumping Horse, (8) Horse Ax Punch, (9) Hunjal Punch, (10) Dump, (11) Sambah Dump. Baboons have Pambaduk and Rumpiang parts. There are 10 basic sound colors for baboons, 3 of which are produced by Pambaduk, 5 for Rumpiang and 2 for Pambaduk and Rumpiang Combined. Each pattern has 8 beats, using a 4/4 time scale, where there are 4 beats/counts in each bar -his. The. The baboon tabuhan in the Kuda Gipang Igal Anak dance has a role in harmony between the movements and the dance accompaniment and requires harmonization between the dancers and the musicians.

Problems discussed by Dadas Dance in Forming Disciplinary Character of Children in Jgal Palangka Raya Studio Igal. This study aims to determine the Dadas Dance in the Formation of Disciplinary Characters of Children in Jgal Palangka Raya Studio Igal. The method used is a qualitative method. The research instruments are included: observation sheets, interview, literature study, documentation.The results of the research that the meaning of dadas dance in shaping the character of discipline that performs dadas dance there, of course, if it is not disciplined in doing dance exercises it cannot be done, must have a high concentration in dancing to adjust the rhythm and motion so that inevitably the studio children indirectly train the studio disciplined character in conducting exercises. The values ??contained in dadas dance are magical values, cultural art values, historical message values, character values ??and aesthetic values ??of beauty and uniqueness in dance and music. So that the dancer dances must have good attitude and character, physically and mentally healthy, if not then, another impression can come in because it has megis values. Factors supporting the formation of discipline character are schedules that are made and mutually agreed upon because each team member must be disciplined in time and also committed. Then the inhibiting factor when there are members who are undisciplined and difficult to memorize the character that he holds and the movement and suitability between motion and music Penelitian ini bertujuan untuk melihat makna tarian dadas dalam membentuk karakter disiplin anak pada sanggar Igal Jue Kota Palangka Raya. Metode penelitian menggunakan Pendekatan penelitian yang digunakan dalam penelitian adalah kualitatif deskriptif karena dalam penelitian ini menghasilkan kesimpulan berupa data yang menggambarkan secara rinci, bukan data yang berupa angka-angka. Penelitian kualitatif adalah suatu pendekatan ilmiah yang mengungkap situasi sosial tertentu dengan mendeskripsikan kenyataan secara benar, dibentuk oleh kata-kata berdasarkan teknik pengumpulan analisis data yang relevan yang diperoleh dari situasi yang alamiah. Hasil penelitian menunjukan bahwa makna tarian dadas dalam membentuk karakter disiplin yang melakuklan tarian dadas disitu sudah tentu jika tidak disiplin dalam melakukan latihan tarian itu tidak bisa dilakukan harus mempunyai konsentari yang tinggi dalam menari untuk menyesuaikan irama dan gerak sehingga mau tidak mau anak sanggar secara tidak langsung melatih karakter disiplin dalam melakukan latihan. Nilai–nilai yang terkandung dalam tarian dadas adalah nilai magis, nilai seni budaya, nilai pesan sejarah, nilai karakter dan nilai estetika keindahan dan keunikan dalam tarian dan musik. Sehingga penari tarian dadas haru mempunyai sikap dan karakter yang baik sehat jasmani dan rohani jika tidak maka, kesan lain bisa masuk karena mempunyai nilai – nilai megis. Faktor pendukung pemebentukan karakter disiplin adalah jadwal yang di buat dan disepakati bersama sebab setiap anggota tim, harus disiplin waktu dan juga mempunyai komitmen. Kemudian faktor penghambat ketika ada anggota yang tidak disiplin dan sulit menghapal karakter yang ia pegang serta gerakan dan kesesuaian anatara gerak dan musik

En este texto se aborda la cuestión del tipo de violencia que llevó a la matanza de Tlatelolco, en 1968, y a la desaparición de los estudiantes de Ayotzinapa en la llamada “noche de Iguala”, 46 años después. El primero fue el suceso más relevante después de la Revolución mexicana; el segundo, desnudó la colusión de un Estado corrupto con el crimen organizado. Sin duda, en ambos acontecimientos hay una violencia estructural e institucional atribuible al Estado. No obstante, es necesario ir más allá para señalar las particularidades de cada uno y la manera como se vinculan, a pesar de las décadas que los separan.

Insulin glargine 100 U/ml (iGla) is gradually giving way to a fixed combination of insulin glargine 100 U/ml+ lixisenatide (iGlaLixi) — an effective and safe drug for Diabetes Mellitus Type 2 (DM2T) control. It has demonstrated the economic benefits in naïve patients as well as for treatment intensification aft er failure of insulins. Economic aspects of iGlaLixi in DM2T in comparison with another effective drugs — insulin degludec (iDeg) and insulin degludec + insulin aspart (iDegAsp) were not evaluated before.Materials and methods. Indirect treatment comparison (ITC) for iGlaLixi with others EDL drugs — iDeg and iDegAsp — has been performed through common comparator — iGla based on published results of efficacy in naïve and insulinized DM2T patients separately. Patients reached target HbA1c level (%) were chosen as a criterion of drugs efficacy. Odds ratio (OR) of efficacy has been calculated, modelling has been performed for direct and indirect costs. Sensitivity analysis was done for validation of results.Results. Efficacy of iGlaLixi were higher as well in naïve as in insulinized patients in comparison with iDeg family: with iDeg comparison OR 2.23 (95 % CI 1.40; 3.53); 3.34 (2.06; 5.40), with iDegAsp OR 1.90 (1.23; 2.95) и 2.49 (1.54; 4.04) accordingly. Direct costs in sum for iGlaLixi were less for iDeg on 22.1, and on 18.3 % for iDegAsp in naïve patient group, and on 35.9 % and 7.0 % for insulinized patients respectively. In total expenditures (direct and indirect costs) for iGlaLixi were less vs iDeg and iDegAsp for naïve patients on 18.9 % and 28 %, and on 15.5 % and 8.9 % for insulinized patients accordingly for 26 weeks treatment. Sensitivity analysis has confirmed of results.Conclusion. iGlaLixi has economic benefits vs iDeg and iGedAsp for DM2T treatment.

Hypereidés Euxenippos mellett Polyeuktosszal szemben hazaárulás ügyében elmondott védőbeszédét az első kiadó, Churchill Babington Kr. e. 334-re keltezte. Domenico Comparetti azonban hamarosan Kr. e. 330 és 324 közé szorította a keletkezés lehetséges dátumát. Érvelése szerint a szónok csak úgy idézhette Olympiasnak, Alexandros anyjának az athéni néphez írt leveléből a „Molossia az enyém” kifejezést, ha Olympias már valóban a terület ura volt, tehát Kr. e. 331, azaz fi vére halála után. A keltezést jó másfél évszázada tényként kezelik, olyannyira, hogy a kiadók több szövegjavítást és értelmezési alternatívát is ehhez az elképzeléshez igazítottak. A tanulmány amellett érvel, hogy a hagyományozott, jól értelmezhető szövegnek megfelelően a beszédet Kr. e. 334/333-ra kell datálni, javításokra nincs szükség, Churchill Babingtonnak igaza volt.

Business models in the video game industry have shifted from physical to digital. With microtransactions, game producers have been provided with the ability to charge for extra in-game content. Loot boxes are one of the most controversial forms of microtransactions in video games. These are the prize packages that consist of one or multiple virtual items, whose specific content remains unknown to the player prior to opening. This study is aimed at identifying the combination of the factors that act as motivators for players in Serbia to engage themselves in monetary transactions for the purchase of loot boxes. To address the requirements of the study, modifications were made to the fundamental Technology Acceptance Model (TAM) so as to encompass the additional variables that had been perceived as significant for players' decision-making processes. The findings of the study indicate the fact that the "perceived enjoyment, customization", and "perceived ease of use" variables are the important factors that can predict the "perceived usefulness of loot boxes" variable. Additionally, the "perceived usefulness of loot boxes" and "propensity for gambling" variables are significant predictors of players' intention to purchase. Furthermore, the "intention to purchase loot boxes" variable has a statistically significant impact on the "actual use of loot boxes" variable.

Igbo studies, especially on political organisations, have enjoyed robust scholarly attention in historical discourse in recent times. The Igbo, unlike their immediate neighbours such as Benin (Edo) and the Igala, ran two parallel systems of government in the pre-colonial period. While some practised a centralised system of government, a reasonable number of Igbo communities contended with decentralised systems. Some reasons for the reign of peace and harmony amongst the Igbo have remained largely uninvestigated and unappreciated. The role of deities as the judicial arm of government in the defence and execution of the law in Igboland has been sketchy in the literature. This extant gap appears to have been ignored by most Igbo scholars who, having been trained in mission schools, have negatively profiled deities and their roles in the traditional Igbo political system. This Eurocentric view calls for a re-interpretation so as to broaden the frontiers of knowledge of this religio-political institution and its role in justice delivery among the Igbo in the decentralized group. This study, therefore, investigates the role of deities in the sustenance of village democracy and autonomy in Igboland. Data garnered from the above sources were organised, analysed and presented through descriptive and analytical approach. This study stirs up deeper insight into this more or less dormant area of Igbo history and also arouses scholarly attention thereto. The study found that deities in non-centralised Igbo communities substituted monarchical institutions and thus brought spiritual dimensions into the Igbo system of governance.

A acne é provavelmente a mais frequente doença cutânea cujos gastos com tratamento nos Estados Unidos ultrapassam US$ 2 bilhões anuais. É uma doença multifatorial que ocorre por uma doença específica da unidade pilossebácea. Este estudo teve como objetivo comparar o perfil alimentar de indivíduos que apresentam acne e aqueles isentos da doença, bem como avaliar a interferência do nível de estresse no acometimento da doença. Foram avaliados o perfil alimentar por meio de questionário de frequência alimentar (QFA) e Recordatório de 24 horas, além do grau de estresse de 57 indivíduos, dentre eles 30 possuíam acne e 27(controle) não possuíam. Nestes o nível de estresse e os resultados demonstram maior nível de estresse no grupo com acne do que no grupo controle. O consumo alimentar analisado através do Recordatório 24h e do QFA compara a ingestão de macronutrientes para os dois grupos (indivíduos com acne e grupo controle), o consumo dos indivíduos com acne se iguala quantitativamente ou supera o grupo controle em praticamente todos os grupos alimentares, sendo apenas no fornecimento de lipídios no grupo de leguminosas e ovos aquele em que grupo de sujeitos com acne teve menor taxa de consumo em relação ao grupo controle. Conclui-se com este trabalho que houve uma tendência de consumo maior por alimentos de índice glicêmicos mais elevados no grupo com acne do que no grupo controle, ressaltando também que o nível de estresse dos participantes pode também interferir no aparecimento da doença.

Since 1964, the Institute of Musicology of the Serbian Academy of Sciences and Arts has been cherishing the official archive of the academician Ljubica Jankovic, ethnochoreologist, which originates from her service at the Ethnographic Museum in Belgrade (1939-1951). The legacy contains documentation about the activity of the Folk Dance Section of the Ethnographic Museum in Belgrade, and extensive data on folk dances in Yugoslavia from the first half of the twentieth century. This paper presents part of the archival documentation relating to the establishment and activity of the Folk Dance Section. It was the first state institution to collect primary and secondary research sources relating to folk dance structure and to the social context of a rural dance practice. Apart from that, it was the institution for education on folk dance preservation and staging. The focus of the paper is on the fundamental documents of ethnochoreological cultural and research policy in Serbia, manuscripts The Draft for Work at the Folk Dance Section of the Ethnographic Museum in Belgrade [Nacrt za rad u Otseku narodnih igara pri Etnografskom muzeju u Beogradu] (1939) and The Program for Work at the Department for Intangible Culture with the Sections: 1) Folk Dances and Folk Music; 2) Folk Literature; 3) Folk Art and Ornamentation; 4) Folk Customs and Religion; 5) Folk Medicine [Program rada u Odeljenju za duhovnu kulturu sa Otsecima: 1) za narodne igre i narodnu muziku; 2) za narodnu knjizevnost; 3) za narodnu likovnu umetnost i ornamentiku; 4) za narodne obicaje i veru; 5) za narodnu medicinu] (1946). The aim of this study is to contribute to the history of ethnochoreology in Serbia by introducing the ideas of Ljubica Jankovic concerning folk dance research and preservation strategies because of their importance for the interpretation of numerous ethnochoreological and ethnomusicological theoretical and analytical results, mostly achieved in cooperation with her sister, Danica Jankovic. In addition, we indicate the applicability of the first official ethnochoreological ideas for current folk dance research in Serbia.

Anastasio Bustamante is one of the forgotten men of early nineteenth-century Mexican history. Like many of his contemporaries during the so-called age of Santa Anna – José Maria Tornel, Gabriel Valencia, Juan Nepomuceno Almonte, Mariano Paredes y Arrillaga, to name only a few – he has attracted scant attention of biographers and little serious study has been made of his long and eventful career. Yet Bustamante was in full control of the presidency, as president or vice-president, for a longer period in total than any president before Porfirio Díaz and he presided over crucial stages in the nation's development from colony to sovereign republic. By ideological conviction or political expediency – it is still not clear which – he came to be the figurehead of the conservative, traditionalist forces in Mexican society which struggled to preserve not only their economic control but also their religious, social and moral values against what they considered to be the destructive onslaught of increasingly fashionable and radical liberal ideas. Born in 1780 at Jiquilpan (Michoacán), son of Spanish parents, trained as a doctor, Bustamante fought for the royalist cause in the war of independence until he joined with Iturbide in the plan of Iguala (1821). Various important political posts followed and he first rose to supreme power in 1829 when, as vice-president, he successfully led a rebellion against president Vicente Guerrero.

Anna Krylova questions whether the spontaneity-consciousness paradigm, the standard interpretive approach toward Bolshevik thought in the field of Soviet studies, offers an exhaustive account of Bolshevik discourse. To do that she examines the centrality of V I. Lenin's What Is to Be Done? (1902) in Bolshevik thought and points to the 1905 revolution as the formative event in the Bolshevik conception of the worker. Krylova introduces an overlooked Bolshevik notion of “class instinct” (klassovyiinstinkt, klassovoe chut'ie) and argues that the notion of “class instinct” centrally informed the Bolshevik vision of the worker, structuring her article as a dialogue between scholars of Soviet history and their historical subjects. In the conclusion, she suggests the consequences that such a broadened notion of the Bolshevik conception of proletarian identity—beyond the spontaneity-consciousness paradigm—has for interpretations of Bolshevik and Stalinist culture. In “A Paradigm Lost?” his response to Krylova's essay, Reginald E. Zelnik welcomes Krylova's “class instinct” thesis as a fresh enrichment of and supplement to the spontaneity-consciousness paradigm, but, he argues, if we place this language in its early historical context, we cannot avoid the conclusion that with or without the introduction of “instinct,” Lenin and the Bolsheviks still had to face the same kind of contradictions in their conceptualization of the role of workers in the revolutionary movement. The revolutionary value of particular consciousness or particular instinct still had to be judged in accordance with an external point of reference, the nature of which remained and remains elusive. Igal Halfin, in his response, “Between Instinct and Mind: The Bolshevik View of the Proletarian Self,” argues that the Bolshevik notion of the self indeed deserves careful scrutiny. Focusing on how the official Soviet language characterized the interaction between workers’ bodies and workers’ souls, Halfin argues that the synthesis of the affective and the cerebral was key to this construction of the New Man in the 1920s and 1930s.

Anna Krylova questions whether the spontaneity-consciousness paradigm, the standard interpretive approach toward Bolshevik thought in the field of Soviet studies, offers an exhaustive account of Bolshevik discourse. To do that she examines the centrality of V I. Lenin's What Is to BeDone? (1902) in Bolshevik thought and points to the 1905 revolution as the formative event in the Bolshevik conception of the worker. Krylova introduces an overlooked Bolshevik notion of “class instinct” (klassovyiinstinkt, klassovoe chut'ie) and argues that the notion of “class instinct” centrally informed the Bolshevik vision of the worker, structuring her article as a dialogue between scholars of Soviet history and their historical subjects. In the conclusion, she suggests the consequences that such a broadened notion of the Bolshevik conception of proletarian identity—beyond the spontaneity-consciousness paradigm—has for interpretations of Bolshevik and Stalinist culture. In “A Paradigm Lost?” his response to Krylova's essay, Reginald E. Zelnik welcomes Krylova's “class instinct” thesis as a fresh enrichment of and supplement to the spontaneity-consciousness paradigm, but, he argues, if we place this language in its early historical context, we cannot avoid the conclusion that with or without the introduction of “instinct,” Lenin and the Bolsheviks still had to face the same kind of contradictions in their conceptualization of the role of workers in the revolutionary movement. The revolutionary value of particular consciousness or particular instinct still had to be judged in accordance with an external point of reference, the nature of which remained and remains elusive. Igal Halfin, in his response, “Between Instinct and Mind: The Bolshevik View of the Proletarian Self,” argues that the Bolshevik notion of the self indeed deserves careful scrutiny. Focusing on how the official Soviet language characterized the interaction between workers’ bodies and workers’ souls, Halfin argues that the synthesis of the affective and the cerebral was key to this construction of the New Man in the 1920s and 1930s.

Anna Krylova questions whether the spontaneity-consciousness paradigm, the standard interpretive approach toward Bolshevik thought in the field of Soviet studies, offers an exhaustive account of Bolshevik discourse. To do that she examines the centrality of V I. Lenin's What Is to BeDone? (1902) in Bolshevik thought and points to the 1905 revolution as the formative event in the Bolshevik conception of the worker. Krylova introduces an overlooked Bolshevik notion of “class instinct” (klassovyiinstinkt, klassovoe chut'ie) and argues that the notion of “class instinct” centrally informed the Bolshevik vision of the worker, structuring her article as a dialogue between scholars of Soviet history and their historical subjects. In the conclusion, she suggests the consequences that such a broadened notion of the Bolshevik conception of proletarian identity—beyond the spontaneity-consciousness paradigm—has for interpretations of Bolshevik and Stalinist culture. In “A Paradigm Lost?” his response to Krylova's essay, Reginald E. Zelnik welcomes Krylova's “class instinct” thesis as a fresh enrichment of and supplement to the spontaneity-consciousness paradigm, but, he argues, if we place this language in its early historical context, we cannot avoid the conclusion that with or without the introduction of “instinct,” Lenin and the Bolsheviks still had to face the same kind of contradictions in their conceptualization of the role of workers in the revolutionary movement. The revolutionary value of particular consciousness or particular instinct still had to be judged in accordance with an external point of reference, the nature of which remained and remains elusive. Igal Halfin, in his response, “Between Instinct and Mind: The Bolshevik View of the Proletarian Self,” argues that the Bolshevik notion of the self indeed deserves careful scrutiny. Focusing on how the official Soviet language characterized the interaction between workers’ bodies and workers’ souls, Halfin argues that the synthesis of the affective and the cerebral was key to this construction of the New Man in the 1920s and 1930s.

Abstract Horse trading was an important aspect of the Igbo economy and horse-related title taking was a unique feature among various Nigerian groups, especially in eastern Nigeria. The demand for the introduction of humane horse killers in eastern Nigeria was heightened by the economic drive of the colonial political economy, and was not necessarily a consideration for the harmful treatment of animals. Horse-related title taking was accompanied by the increasing rate of intergroup relations between northern Nigeria and various Nigerian groups such as Igala and the Igbo. Ordinarily, men and women sought horse-related titles as signs of prestige and honour. The culture and traditional humane living of the people saw Ogbuinya horse-related title taking as a way of achieving certain degree of social status, but it also regrettably promoted animal cruelty. Sources for writing this article were derived from archival documents, books, journals, and other written materials. A descriptive method of analysis has been adopted in writing this article.

NNC-965 selectively stimulates insulin receptors with greater Akt and less MAPK activation, which improved vascular function, insulin sensitivity (IS), and weight gain versus conventional basal insulin in diabetic rats. We hypothesized that improved vascular function on NNC-965 unloads the heart thereby improving left ventricular (LV) structure and function. We compared the effects of NNC-965 and IGla on flow-mediated dilation (FMD), IS, body weight, vascular function and cardiac function/structure (assessed by MRI) in 86 people with type 2 diabetes on basal insulin ± oral agents in a randomized, double-blind study over 26 weeks. NNC-965 improved FMD and IS versus IGla (table). Glycemic control and liver fat responded similarly to both insulins, but body weight and fat mass increased more with NNC-965. LV ejection fraction and LV stroke volume slightly decreased with NNC-965 and increased with IGla, but the differences were not significant. We observed no clinically relevant changes in LV mass, LV enddiastolic and endsystolic volume by either treatment. In conclusion, NNC-965 showed some characteristics of a functionally selective insulin but increased body weight. The observed improvement in FMD might lead to long-term reductions in cardiovascular risk; however, studies with longer treatment duration may be needed to assess effects on cardiac function and structure. Disclosure J. Jordan: Research Support; Novo Nordisk A/S, Boehringer-Ingelheim. Speaker's Bureau; Menarini. Advisory Panel; Theravance. Stock/Shareholder; Eternygen. D. Gerlach: None. H. Haraldsson: Employee; Antaros Medical. T. Heise: Research Support; ADOCIA, AstraZeneca, Biocon, Crinetics Pharmaceuticals, Inc., Eli Lilly and Company, Genova, Novo Nordisk A/S. Consultant; Gan&Lee Pharmaceuticals. Speaker's Bureau; Eli Lilly and Company. Research Support; Altimmune Inc., Sanofi, Zealand Pharma A/S, BIOTON, Civica Foundation, Enyo Pharma, Gan&Lee Pharmaceuticals, Nanexa AB, SamChunDang Pharm. Co. T. Herbrand: None. K. Lyby: Employee; Novo Nordisk A/S. Stock/Shareholder; Novo Nordisk A/S. J. Tank: None. E. Nishimura: Employee; Novo Nordisk A/S. Stock/Shareholder; Novo Nordisk A/S. L. Plum-Moerschel: Other Relationship; Novo Nordisk A/S, Eli Lilly and Company, Zealand Pharma A/S, Betagenon, Nanexa, Neodyne, Biocon, Spiden, BIOTON, Gan & Lee Pharmaceuticals. Ó. Thórisdóttir: Employee; Novo Nordisk A/S. Stock/Shareholder; Novo Nordisk A/S. L. Johansson: Stock/Shareholder; Antaros Medical. Employee; Antaros Medical.

La desaparición de 43 estudiantes de la Escuela Normal Rural “Raúl Isidro Burgos” de Ayotzinapa y el asesinato de seis personas más, la noche del 26 al 27 de septiembre de 2014 en Iguala, Guerrero, puso en evidencia la grave crisis de derechos humanos por la que atraviesa México y generó una enorme solidaridad entre los artistas. El objetivo de este artículo, de acuerdo con la noción de litigio artístico de la abogada colombiana Yolanda Sierra, es explicar las piezas Papalotes, de Francisco Toledo, Nivel de confianza, de Rafael Lozano-Hemmer y Retratos de LEGO. Caso Ayotzinapa, de Ai Weiwei. Se mostrará que, articuladas a partir de las imágenes de los rostros de los estudiantes, estas piezas ejecutan acciones de reconocimiento y memoria que contribuyen a gestionar el duelo, imaginar formas diferentes de relación social entre los mexicanos y llamar la atención sobre el caso en el ámbito global.

La isla de Bali de Miguel Covarrubias se ha mantenido como uno de los tratamientos más consolidados acerca del tema, desde su publicación original en 1937. La facilidad que tiene el libro con las palabras se iguala con la elegancia del dibujo. El libro se hizo en un contexto colonial, escrito por un mexicano que a su vez era parte de un grupo euro americano de intelectuales y artistas cosmopolitas. A Miguel Covarrubias se le ha criticado por “orientalista” y se le ha elogiado como un visionario transpacífico. El encuentro de Covarrubias con Bali fue especialmente un encuentro con el arte balinés, en específico con una nueva forma de modernismo que emergió en los años treinta. El interés de Covarrubias por la magia coincidió con las preocupaciones balinesas por las fuerzas espirituales, algo que Covarrubias buscó con su estudio de los textos balineses. Para Covarrubias, el arte era un vehículo para lograr una liberación. A pesar de haber tenido una fuerte intervención editorial externa, La isla de Bali adelantó una visión global de las conexiones entre sociedades a través del arte.

Abstract: In recent decades, the trend in Anglophone Caribbean literary production has been increasingly shifting towards practices that highlight the fluidity and unmarkedness of a multilingual language setting. This article explores these trends and the ways in which they affect how Caribbean works are translated as well as which books are translated, using translations into Finnish as a case in point. Muutuvad suundumused Kariibi piirkonna erikeelsete kirjanduste tõlgetes Kariibi mere piirkonnas on mitmekeelsus keelekogukondadele niivõrd sügavalt omane, et ka nende kogukondade kirjandustes on hakatud rakendama mitmesuguseid erikeelsuspraktikaid. Kariibi kirjanikud segavad keeli äärmiselt orgaaniliselt ning sujuvalt, mis kajastab keelelist muutlikkust kogukondades, milles nende teoste tegevus aset leiab. Kariibi keelekogukondades on ümberlülitumine ühelt keelelt teisele, näiteks inglise keelelt kreooli keelele niivõrd tavaline, et mitmekeelsusest on saanud keelekasutuse markeerimata vorm ning paljudel juhtudel pole võimalik eri keelte vahele piire tõmmata. Viimastel aastatel on kirjanduslike väljenduskeelte paljususele tähelepanu juhtimise asemel Kariibi kirjandusmaastikul toimunud üha enam nihkeid praktikate suunas, mis toovad esile mitmekeelsusliku tausta muutlikkust ning markeerimatust. Käesolevas artiklis vaadeldakse muutuvaid suundumusi Kariibi kirjandusloomingus ning viise, mil need mõjutavad seda, kuidas tõlgitakse Kariibi teoseid, ning seda, milliseid raamatuid tõlgitakse soome keelde. Eriti on aastate jooksul oluliselt muutunud kreooli keelte positsioon Kariibi piirkonna kirjutuses. Eelnenud kümnenditel on kirjanikud Kariibi piirkonna keelelise ja kultuuritausta kujutamisel rakendanud erisuguseid uuenduslikke võtteid, sillutades teed nüüdisaegsetele autoritele ning pakkudes neile tunduvalt suuremat vabadust nende teoste keelekasutuses. Kariibi kirjanduse teoste erikeelsuspraktikates aja jooksul aset leidnud muutustest ilmneb, et suundumused näivad lahknevat kahes eri suunas, kuigi paistab, et mõlemad neist liiguvad edasi suhteliselt kõrvuti: esiteks on olemas erikeelsuse orgaanilisem kujutamine ning teisalt esineb inglise ja kreooli keeli teineteisega segavates teostes suundumus teatava „ükskeelestamise“ poole. Kuigi Kariibi piirkonna kirjandusteosed sisaldavad ikka veel erikeelsuselemente, tundub nende perspektiiv olevat mõneti nihkunud globaalsemast lokaalsema suunas. Erikeelsuse kaasamise asemel, mis võimaldab teksti mõista rahvusvahelisel lugejal, kes ei ole kursis Kariibi keelte ega kultuuridega, on erikeelsusperspektiiv muutunud kariibilikumaks. Tõlkijale esitab nende teoste ainulaadne keelekasutus teatavaid väljakutseid. Kuhu tõmmata keeltevahelisi piire tekstis, mis sujuvalt segab omavahel keeli ja keelevariante? Paljud autorid kaaluvad kursiivi kasutamist, et luua mittevajalikke ja meelevaldseid keeltevahelisi piire tingimustes, kus sellised piirid loomupäraselt puuduvad. Ent sellise teose tõlkija seisab silmitsi keerulise olukorraga, milles ta on sunnitud langetama otsuseid selliste meelevaldsete keeltevaheliste eristuste põhjal. Varasemates teostes, kus kursiivi kasutatakse koodivahetuse eristamiseks teksti põhikorpusest, oli sellise eristuse tegemine tõlkijale palju lihtsam kui uuemates teostes, kus üleminekud on orgaanilisemad. Ka kipub tõlkekirjandus sellistele suundumustele reageerima algupärastest teostest mõneti aeglasemalt. Seda võib täheldada Kariibi romaanide tõlgetes soome keelde, kus kursiivi on lisatud ka mõne sellise romaani tõlkesse, mis seda originaalis ei kasuta. Paljudel juhtudel peab tõlkija asuma rolli, milles tal on tarvis tõmmata keelte ja keelevariantide vahele eristusjooni, mida algses kirjandusteoses ei tarvitse tingimata olemas olla. Isegi kui erikeelsuse või keelepiiride määratlemine kirjandusteose raames ei ole lugeja jaoks tihtipeale vajalik, võib see muutuda vajalikuks tõlkija jaoks. See, kas tõlkija läheneb tekstile kui ükskeelsele või erikeelsele, mõjutab mõistagi tõlkestrateegia valikut. Nende tekstide ainulaadse olemusega tegelemiseks ei ole ühtainsat lahendust või strateegiat, vaid igale neist tuleb läheneda raamatu vaimu tundlikult arvesse võttes ning uurides uuenduslikke võimalusi selle väljendusvahendite jaoks sildade leidmisel.

Abstract: The purpose of this article is to examine the reception in Sweden of Jaan Kaplinski, one of the most internationally known Estonian writers and to trace the relations that emerge from the perspective of world literature. Is the most significant aspect of the translation and reception of Kaplinski’s work circulation through centres of world literature, similarly to the conception of Pascale Casanova? Or, rather, has the literary communication between Estonian and Swedish literature taken the shape of a dialogue between two national cultures? Are there alternatives or combinations of these approaches? Using the example of Jaan Kaplinski’s Swedish reception, I investigate what characterises the meeting between the fields of two (semi) peripheral national literatures, and what world literary contexts are expressed in the reception. I also identify and trace which interpretations of Kaplinski are distinctive in the Swedish literary field. Jaan Kaplinski loomingu rootsi retseptsioon ja maailmakirjanduse välja avaldumine Jaan Kaplinski loomingu rootsi retseptsioon ja maailmakirjanduse välja avaldumine Jaan Kaplinski (1941–2021) on rahvusvahelisemalt tuntuimaid eesti luuletajaid, kelle autorikogusid on ilmunud 20 keeles ning kui juurde arvata antoloogiates ilmunu ning proosa, on keeli üle 30. Rootsi keeles on tal ilmunud 11 teost, nii luulet kui proosat. Selles artiklis on lähema vaatluse all neist viis – eelkõige kõik luulekogud (1982; 1987; 1988; 2007) ning lisaks mõttepäevik „Titanic och isen“ (1997; eesti keeles „Jää ja Titanic“, 1995). Artiklis analüüsin Jaan Kaplinski loomingu rootsikeelsete tõlgete ilmumist ja nende vastuvõttu arvustustes, et selgitada, kuidas on toimunud eesti kirjanduse ja rootsi kirjandusvälja vaheline suhtlus: kuivõrd mõjutatud on Kaplinski rootsikeelne retseptsioon maailmakirjanduse keskuste kaudu käivast kirjandusringlusest – sarnaselt Pascale Casanova kontseptsiooniga (2007) – või kuivõrd on tegemist peamiselt kahe rahvuskultuuri vahelise dialoogiga. On ka võimalus, et suhtluses olid olulised hoopis mõned muud, näiteks poliitilised tegurid. Selgus, et Jaan Kaplinski näite puhul on aktuaalsed mõlemad dünaamika võimalused ning need on omavahel ka põimunud. Näite põhjal paistab ka, et eesti ja rootsi kultuuri vahel on kirjanduslik kontakt olnud sujuvam siis, kui kirjaniku loomingut saab pidada semiperifeerse kultuuri osaks. Veel enam, selle juhtumi analüüs võimaldab tähelepanu juhtida võimalusele, et väiksemad kultuurid saavad maailmakirjanduse ringlust (ja selle kaudu kaanonit) mõjutada ka omavahelise tõlketegevuse kaudu. Kõige omanäolisemalt kahe rahvuskultuuri vahel sündinud, kuid sellegipoolest globaalsema ambitsiooniga on Kaplinski retseptsioon esimese valikkogu puhul (1982), mis oma ilmumisega ennetab keskuste kaudu käivat maailmakirjanduse liikumist. Arvustuste hulk oli siis veel küll tagasihoidlikum (6). Kaplinski teise, Kaljo Põlluga koostöös sündinud tõlkeraamatuga „Barn av vind och vatten“ („Tuule ja vee lapsed”, 1987) jätkub eripärasem eestlaste ja rootslaste vaheline kirjandussuhtlus. Siiski võib aimata, et vastuvõttu toetab nüüdsest ka Kaplinski rahvusvahelise tuntuse tõus, arvustuste hulk on veidi kasvanud (11). Kaplinski kolmanda luulekogu ilmumine Rootsis (1988) jäljendab väliselt, eelkõige pealkirja „Samma hav i oss alla“ („Seesama meri meis kõigis“) kaudu kõige enam autori rahvusvahelise tuntuse narratiivi, kuigi sisult see kogu samanimelise ingliskeelse väljaandega ei kattu. Keskuste kaudu käiva maailmakirjanduse ringluse mõju on igatahes tugevamalt taustal, nagu on näha ka Rootsis ilmunud arvustuste hulga suurenemisest (15) ja nende prominentsematest ilmumiskohtadest. Lisaks on Kaplinski esinenud raadios ja televisioonis ning olnud külaline Malmö luulefestivalil. 1997. aastal ilmunud „Titanic och isen“ on teos, mille kohta on ilmunud kõige rohkem arvustusi (21). Selleks ajaks oli tõusnud ka Kaplinski rahvusvaheline tuntus ning mainimised Nobeli kirjanduspreemia kontekstis. Teose lokaalsemat tasandit rõhutab asjaolu, et see ilmus mõni aasta pärast Eesti–Rootsi suunal sõitnud parvlaeva Estonia hukku. Lõpuks, 2007. aastal ilmunud valikkogu „Någonstans vid världens kant“ („Kuskil maailma äärel“) on justkui Kaplinski uustutvustus järgmisele põlvkonnale pärast 18 aastat. 2000. aastate teise poole vastuvõtu puhul paistab silma, et kirjanduse vahendamine trükimeedia kaudu on kahanenud. Vastukaja on mahuliselt vähem (6) ning see on osalt organiseeritud Göteborgi raamatumessi kontekstis, mis tõi esile sotsiaalsemat, Eesti riigi või rahvuse keskset lähenemist kirjandusele. Uurisin ka, missugused maailmakirjanduslikud kontekstid Kaplinski loomingu vastuvõtus veel avalduvad ning missugused tõlgendused on eripärased just rootsi kirjandusväljal. Esimese valikkogu „Våra skuggor är mycket långa“ („Meie varjud on väga pikad“, 1982) puhul pandi kriitikute poolt kõige enam tähele Kaplinski jõulisemaid ökoloogilise sõnumiga luuletusi tema varasemast perioodist ning kõige isikupärasemaks hinnati luuletaja loitsulikke-palvelikke luuletusi tsüklist „Seesama meri meis kõigis“. Kuna Kaplinski luulekogu avaldanud kirjastuses Fripress ilmusid samal ajal ka kolme teise Ida-Euroopa luuletaja raamatud ja neid ka arvustati üheskoos, on ka Kaplinski päritolumaad tajutud osana suuremast regioonist. Kaplinski ja Põllu teose „Tuule ja vee lapsed“ (1987) puhul tajuti selle tõukumist piirkondlikest rahvusküsimustest (sh venestamisest) ja juurte otsimisest, kuid märgati ka Kaplinski proosaluule kvaliteeti ning teose kõrget esteetilist taset ja aktuaalsust avaramaski maailmakirjanduse kontekstis, sest teos kujutab kaasaegsete väljendusvahenditega ürgset loodusrahvaste maailmataju. Esimest korda aktualiseerus ka arutelu eesti kultuuri põhjamaisuse üle. Kolmanda valikkogu „Seesama meri meis kõigis“ (1988) arvustustest jäid kõlama üksikisiku üldistusjõud, isikupärane voolav luulekeel ning detaili jõud. Raamatu kontekstidest võib välja tuua budistlikuma maailmatunnetuse ning luuletaja Bo Carpelani eessõna tugevdab sidemeid põhjamaisema kirjandusväljaga. Lisaks nägid kriitikud Kaplinski sidemeid mõnede rootsi tippluuletajate vaimsusega (Tomas Tranströmer, Gunnar Ekelöf), eriti selle pinnalt, kuidas üksikisiku kogemus saab universaalseks. Olgugi et poliitilise reaalsuse kujutamist on teoses väga vähe, lõid kriitikud need seosed end huvitavate teemadega Kaplinski isiku või tema varasema luule kaudu. Ka Ida-Euroopa kultuuriväli oli umbes kolmandikus arvustustest endiselt taustal. Selleks ajaks, kui ilmus mõttepäevik „Titanic och isen“ (1997), olid rootsi kriitikud juba teadlikumad Kaplinski autoriprofiilist. Osati märgata tema omapärasid, tasast ja selget kirjutamislaadi, kauneid vaikust püüdvaid looduskirjeldusi, mikro- ja makrotasandi sidumist. Viimase, 2007. aastal ilmunud valikkogu arvustustes olid luuletaja tutvustused julgemalt maailmakirjanduse väljal, kuid poeetika lähemal vaatlusel toetuti võrdlustele pigem rootsi autoritega, kuid siis just nendega, kellel on samuti suurem rahvusvaheline tuntus. Kaplinski teoste arvustuste sisuanalüüsist selgub, et maailmakirjanduse väli avaldub vastuvõtuprotsessis igal juhul – üldiselt pooltel juhtudel globaalsemas mõõtmes ja pooltel juhtudel rahvuskultuuride vaheliselt. Tuli ka välja, et teoste puhul, mida ei ole ilmunud suurtes kirjanduskeeltes, ei pruugi retseptsioon jääda tingimata ainult kahe rahvuskultuuri vaheliseks – kirjanduskriitikas aktualiseerub pooltel juhtudel ka regionaalselt avaram või globaalsem väli. Samuti tuli Eesti ja Rootsi näite puhul välja, kuidas kahe rahvuskultuuri vaheline kirjandussuhtlus kipub olema ka poliitiline, seega mitte ainult autonoomsel kirjandusväljal. Edasiseks aruteluks võib välja pakkuda hüpoteesi, et ehk ongi tõlkekirjanduse ringlemisele kõige kasulikum, kui kaasatud on mõlemad, nii kahe rahvuse vaheline dialoog kui ka avaram maailmakirjanduslik kontekst.