Academic literature on the topic 'M-f romance'
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Journal articles on the topic "M-f romance"
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Polilova, Vera. "Spanish Romancero in Russian and the semantization of verse form." Studia Metrica et Poetica 5, no. 2 (January 28, 2019): 77–108. http://dx.doi.org/10.12697/smp.2018.5.2.04.
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In this paper, I analyze Russian translations and close imitations of Spanish Romancero poetry composed between 1789 and the 1930s, as well as Russian original poems of the same period marked by “Spanish” motifs. I discuss the Spanish romance as an international European genre, and show how this verse form’s distinctive features were transferred into Russian poetry and how the Russian version – or, rather, several Russian versions – of this form came into being. I pay special attention to the genesis of the stanza composed of a regular sequence of feminine (F) and masculine (m) clausulae FFFm. In Johann Gottfried Herder’s Der Cid, this clausula pattern was combined with unrhymed trochaic tetrameters, but, in early twentieth-century Russia, it emancipated from this metrical form, having retained the semantic leitmotifs of the Spanish romance, as well as its “Spanish” theme. I contextualize other translation equivalents of romance verse and compare them to the original Spanish verse form. I show (1) which forms poets used in translating romance verse and how those forms correlate (formally and functionally) with the original meter. Further, I discuss (2) when and how the trochaic tetrameters rhyming on even lines (XRXR) – originally used in translations of Spanish romances in German and English poetry – became the equivalent of romance verse in the Russian tradition. Finally, I demonstrate (3) how, in Konstantin Balmont’s translations of Spanish poetry, the FFFm clausula pattern lost its connection with trochee. After Balmont, other poets of the Silver Age of Russian literature started using it in original non-trochaic compositions to express “Spanish” semantics.
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García Castañeda, Salvador. "La varia fortuna del condestable: una imagen romántica de don Álvaro de Luna." Lectura y Signo, no. 12 (February 6, 2018): 171. http://dx.doi.org/10.18002/lys.v0i12.5314.
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<p>Don Álvaro de Luna (1388?-1453) alcanzó un poder nunca visto, y los nobles, que le veían con temor y<br />con envidia, le acusaron de tener dominado al débil e indeciso monarca Juan II, quien muy a su pesar le<br />condenó a muerte. Las circunstancias de su ejecución y el valor y la dignidad con que don Álvaro fue al<br />patíbulo atrajo a los autores y artistas románticos, que vieron en él una víctima del sino y de los altibajosde la fortuna. Estudio aquí cuatro obras consideradas representativas: un relato breve, «The Fate ofLuna» de Telesforo de Trueba y Cosío; el romance histórico «Don Álvaro de Luna» del Duque de Rivas; el drama histórico, Don Álvaro de Luna de Antonio Gil y Zárate; y un romance de ciego, El Suplicio de D. Álvaro de Luna, de «F. M».</p><p><br /><br />Don Álvaro de Luna (1388?-1453) became the most powerful statesman of his time, but the nobility ―<br />jealous and fearful of his power― pressured King Juan II of Castile, a weak and ungrateful man, to sign<br />his death sentence. The circumstances of his execution, and the courage and poise in meeting his death at the scaffold sparked the imagination of Romantic authors and artists, who considered him a victim of Destiny and of capricious Fortune. In this article, I study four representative works of that period: Telesforo de Trueba y Cosío’s short story «The Fate of Luna»; the Duque de Rivas’s historical romance «Don Álvaro de Luna»; the historical drama Don Álvaro de Luna by Antonio Gil y Zárate; and «F. M.»’s El Suplicio de D. Álvaro de Luna, a «romance de ciego».</p>
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White, David L. "Possible Solutions for Long-standing Problems Involving Old English Nominal Forms." Anglica. An International Journal of English Studies, no. 29/2 (2020): 27–53. http://dx.doi.org/10.7311/0860-5734.29.2.02.
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Solutions are presented, most involving Celtic influences in West Germanic (WG) dur- ing the ancient period, for some long-standing problems involving nominal forms. The M N-SG forms of /n/-stems in WG may be seen as due to loss of /-n/ (in analogical /-ͻͻn/) having happened after shortening. Apparent replacement of the F G-SG by the D-SG in WG may be seen as due to the D-SG of the F personal pronoun being employed, in “external possession”, as a kind of indirect reflexive, after /siin-/ became limited (for reasons connected with Celtic influence) to M SG meaning. This case has analogues in Romance. Final /-s/ in the A-PL of M /a/-stems may be seen as due to Celtic influence causing /-nz/ to be replaced by /-ns/.
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Kryvytska, Tetіana, and Svitlana Panasyuk. "“A song without words” op. 9 no. 3 by Yakiv Stepovyi: features of intonation development and interpretation." Pedagogìčnij časopis Volinì 1(16), no. 2020 (2020): 26–32. http://dx.doi.org/10.29038/2415-8143-2020-01-26-32.
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Purpose of Article. The purpose of the work is to reveal the intonation and interpretive features of “Songs Without Words” op. 9 No. 3 by Yakiv Stepovyi. Methodology. The methodology of the research is based on the complex application operations of genre, stylistic, intonation and interpretive analysis. Scientific Novelty. The scientific novelty of the research is to determine the genre-style genesis of the little-known the composition, but indicative for the composerʼs style. Author describes his characteristic intonation features and properties. He pays attention to the performing technique. Conclusions. The author of the study proved that “A Song Without Words” op. 9 No. 3 by Yakiv Stepovyi continues the traditions of F. Mendelssohn-Bartholdy, M. Lysenko, A. Lyadov, O. Scriabin, F. Chopin. This piece is full of Ukrainian song and romance intonations. It contains allusions to the works of F. List and F. Chopin. Author introduces the intonations of lira music, folk group singing, baroque music. The composer revealed these properties of the artistic image with the help of gamma, figuration and chord technique of pianism.
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Zavgorodnyaya, Galina Yur’evna. "“A Little Hero” by F. M. Dostoevsky in the Context of the Writer’s Creative Work: Traditions of the Chivalric Romance." Filologičeskie nauki. Voprosy teorii i praktiki, no. 3 (March 2022): 641–47. http://dx.doi.org/10.30853/phil20220099.
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Filatova, T. V. "Semantic aspects of harmony: the phenomenon of unlocked structures in romance lyrics of XIX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 47–68. http://dx.doi.org/10.34064/khnum2-49.04.
Full textAbstract:
Relevance of the study. The revealing of methodological effectiveness of integration interaction of different methods of analysis and scientific reflections for analytical procedures is relevant in the context of the intersection of interests of studies of harmony and musical semantic. Main objective of the study – to designate semantic aspects of harmony in conditions of unlocked structures on material of romances of the nineteenth century. Methodology. An integrative methodological projection of algorithms of study tonally-harmonic and compositional processes on the procedure of musical semantic analysis is proposed. General outline of the analytical operations deployed in several discourses: • functional-harmonic and compositional analysis of the piece in its entirety, taking into account the poetic framework; examine the nature of the interaction of harmonic and compositional logic; • the isolation of the verbal text of the key signs of poetry - semantic words; determination of their compositional arrangement in musical form; • segmentation of musical intonation tokens, their selection from the text of the work, revealing the breadth of contextual coverage of meanings and semantic potential; correlation with the semantics of «migratory genre and intonation formulas»; • detection of specificity of implement semantic elements within the analyzed text or composing style, revealing of aspects of particular musical semantics; detection meaning of harmonic connection tokens, wich unlock structure, with the word and the melodic intonation; definition of internal, external and immanent, extramusical nature of the phenomenon; establishing its degree of semantic activity. Results. Varieties of unlocked structures are systematized: with system-logical parameters – functionally, subsystemically and modulation unlocked structures; with phonic parameters – dissonance and consonance unlocked structures; with causal parameters – potentially and principally unlocked structures. External or extramusical and internal, immanent-harmonic motivations of their forming are identified. Among the external factors of unlocking are articulated: the impact of the poetic word as the source of empathy; irreversible course of imaginative mutations; retention of states innuendo, incompleteness, undecidability, anxiety, confusion, fear; semantic marks of question, surprise, regret. The gap of functional balance in the phase of clotting of harmonic integrity is seen as a reaction to the motion of meaning. Among the internal factors the unlocking are highlighted: density and irreversibility of modulation streams; phenomena of modal variability; the impact of modal experience of regulation of harmonic processes; the power of cyclic unity; inner aspiration to an open form as allusion of infinity. Functional inversion, and the special status of the tonal system with reduced centripetal potential (Y. Holopov) are listed as an important incentive of the unlocking. The phenomenon of the unlocking as a principle (the mechanism) the organization of text units of harmony is investigated in conjunction with the semantic field of piece, music tokens, artistic word and meaning. Factors of the displacement of semantic connotations fixing of keywords, semantics of "migratory genre and intonation formulas" (L. Shaimukhametova) during the formation of the vertical layers of music are considered. Three positions based on analysis of the works of R. Schumann, F. Liszt, G. Mahler, P. Tchaikovsky, M. Mussorgsky, illustrating the semantic nature of the harmonic disjunction are allocated. Position 1: harmony as meaning generator. It acts at the level of the formation of intonation and harmonic tokens – pitch compacted units of musical sense, elements of particular musical semantics. It forms a zone of high concentration of semantic elements in a vertical cut of music. It is fixed in vocal miniatures: R. Schumann’s «Im wunderschonen Monat Mai», F. Liszt’s «Verlassen», M. Mussorgsky‘s «Orphan». Position 2: harmony as a regulator of meaning. It acts at the level of the changes of emotional amplitudes. It provides strength and depth of emotional impulse. It revealed in F. Liszt’s romances and songs: «J’ai perdu ma force et ma vie», «Sonetto XC», «La?t mich ruhen», «Was Liebe sei?», «Einst». Position 3: harmony as a modulator of meaning. It affects to the level of tonal drama, transformation of semantic field of piece. It transforms the track of pitch content irreversibly. It appears in the case of a harmonic unlocking of the modulating type, wich running contrary to the idea of rounding tone frame. It shifts whole pitch platform of musical piece under the combined influence of intonation, word, number of plot and drama of movement of meanings. It forms in vocal works: F. Liszt’s «Gebet», P. Tchaikovsky’s «We were sitting with you», M. Mussorgsky’s «General», G. Mahler «Erinnerung».
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Filatova, T. V. "Semantic aspects of harmony: the phenomenon of unlocked structures in romance lyrics of XIX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 47–68. http://dx.doi.org/10.34064/khnum1-49.04.
Full textAbstract:
Relevance of the study. The revealing of methodological effectiveness of integration interaction of different methods of analysis and scientific reflections for analytical procedures is relevant in the context of the intersection of interests of studies of harmony and musical semantic. Main objective of the study – to designate semantic aspects of harmony in conditions of unlocked structures on material of romances of the nineteenth century. Methodology. An integrative methodological projection of algorithms of study tonally-harmonic and compositional processes on the procedure of musical semantic analysis is proposed. General outline of the analytical operations deployed in several discourses: • functional-harmonic and compositional analysis of the piece in its entirety, taking into account the poetic framework; examine the nature of the interaction of harmonic and compositional logic; • the isolation of the verbal text of the key signs of poetry - semantic words; determination of their compositional arrangement in musical form; • segmentation of musical intonation tokens, their selection from the text of the work, revealing the breadth of contextual coverage of meanings and semantic potential; correlation with the semantics of «migratory genre and intonation formulas»; • detection of specificity of implement semantic elements within the analyzed text or composing style, revealing of aspects of particular musical semantics; detection meaning of harmonic connection tokens, wich unlock structure, with the word and the melodic intonation; definition of internal, external and immanent, extramusical nature of the phenomenon; establishing its degree of semantic activity. Results. Varieties of unlocked structures are systematized: with system-logical parameters – functionally, subsystemically and modulation unlocked structures; with phonic parameters – dissonance and consonance unlocked structures; with causal parameters – potentially and principally unlocked structures. External or extramusical and internal, immanent-harmonic motivations of their forming are identified. Among the external factors of unlocking are articulated: the impact of the poetic word as the source of empathy; irreversible course of imaginative mutations; retention of states innuendo, incompleteness, undecidability, anxiety, confusion, fear; semantic marks of question, surprise, regret. The gap of functional balance in the phase of clotting of harmonic integrity is seen as a reaction to the motion of meaning. Among the internal factors the unlocking are highlighted: density and irreversibility of modulation streams; phenomena of modal variability; the impact of modal experience of regulation of harmonic processes; the power of cyclic unity; inner aspiration to an open form as allusion of infinity. Functional inversion, and the special status of the tonal system with reduced centripetal potential (Y. Holopov) are listed as an important incentive of the unlocking. The phenomenon of the unlocking as a principle (the mechanism) the organization of text units of harmony is investigated in conjunction with the semantic field of piece, music tokens, artistic word and meaning. Factors of the displacement of semantic connotations fixing of keywords, semantics of "migratory genre and intonation formulas" (L. Shaimukhametova) during the formation of the vertical layers of music are considered. Three positions based on analysis of the works of R. Schumann, F. Liszt, G. Mahler, P. Tchaikovsky, M. Mussorgsky, illustrating the semantic nature of the harmonic disjunction are allocated. Position 1: harmony as meaning generator. It acts at the level of the formation of intonation and harmonic tokens – pitch compacted units of musical sense, elements of particular musical semantics. It forms a zone of high concentration of semantic elements in a vertical cut of music. It is fixed in vocal miniatures: R. Schumann’s «Im wunderschonen Monat Mai», F. Liszt’s «Verlassen», M. Mussorgsky‘s «Orphan». Position 2: harmony as a regulator of meaning. It acts at the level of the changes of emotional amplitudes. It provides strength and depth of emotional impulse. It revealed in F. Liszt’s romances and songs: «J’ai perdu ma force et ma vie», «Sonetto XC», «La?t mich ruhen», «Was Liebe sei?», «Einst». Position 3: harmony as a modulator of meaning. It affects to the level of tonal drama, transformation of semantic field of piece. It transforms the track of pitch content irreversibly. It appears in the case of a harmonic unlocking of the modulating type, wich running contrary to the idea of rounding tone frame. It shifts whole pitch platform of musical piece under the combined influence of intonation, word, number of plot and drama of movement of meanings. It forms in vocal works: F. Liszt’s «Gebet», P. Tchaikovsky’s «We were sitting with you», M. Mussorgsky’s «General», G. Mahler «Erinnerung».
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Nascimento de Oliveira, Diane, and Thiago Martins Caldas Prado. "QUEBRANDO A PRIMEIRA REGRA DO CLUBE DA LUTA: UM ESTUDO SOBRE A ORIGEM E O DESENVOLVIMENTO DA LUTA EM CLUBE DA LUTA E CLUBE DA LUTA 2." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 25, no. 2 (December 31, 2021): 52–65. http://dx.doi.org/10.34019/1982-0836.2021.v25.35295.
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Clube da luta 2, de Palahniuk e ilustração de Stewart, dá continuidade, em quadrinhos ao romance Clube da luta. O objetivo deste trabalho é estudar, comparativamente, as diferenças entre a origem e o desenvolvimento do grupo, apresentado nas duas obras. Para fundamentar a pesquisa, têm-se: Eisner (2010 e 2005), McCloud (1995 e 2006), Bey (2001 e 2007), Prado (2016). Assim, o que outrora era uma possibilidade de reivindicação do poder individual, no romance, transforma-se em um espaço de opressão, nos quadrinhos. REFERÊNCIAS ARQUITETURA da destruição. Direção: Peter Cohen. Suécia, 1989. (110 min.). Son, Color. BAKAN, J. A Corporação: busca patológica por lucro e poder. Trad. Camila Werner. São Paulo: Novo Conceito, 2008. BAUMAN, Z. Vida para o Consumo: a transformação das pessoas em mercadorias. Trad. Carlos Alberto Medeiros. Rio de Janeiro: Zahar, 2008. BEY, H. TAZ: zona autônoma temporária. Trad. Renato Rezende e Patrícia Decia. São Paulo: Conrad do Brasil, 2001. BEY, H. et al. Terrorismo poético (TP). In.: BEY, H. Caos; Terrorismo Poético e Outros Crimes Exemplares. Trad. Patricia Decia e Renato Resende. 2007. Disponível em: <http://catarse.co.nr/hakimbey/>. Acesso em: 30 out. 2016. EISNER, W. Narrativas Gráficas. Trad. Leandro Luigi Del Manto. São Paulo: Devir, 2005. EISNER, W. Quadrinhos e Arte Sequencial: princípios e práticas do lendário cartunista. Trad. Luís Carlos Borges e Alexandre Boide. 4. ed. São Paulo: WMF Martins Fontes, 2010. LANG, C. E.; BARBOSA, J. F.; CASELLI, F. R. B. A geração criada por mulheres: o pai e o masculino no Clube da luta. Revista Mal-estar e Subjetividade. Fortaleza, v. 11, n. 2, p. 843-870, jun. 2011. MCCLOUD, S. Desvendando os Quadrinhos. Trad. Helcio de Carvalho e Marisa do Nascimento Paro. São Paulo: M. Books do Brasil, 2005. MCCLOUD, S. Reinventando os Quadrinhos. Trad. Roger Maioli. São Paulo: M. Books do Brasil, 2006. PALAHNIUK, C. Clube da Luta. Trad. Cassius Medauar. São Paulo: LeYa, 2012. PALAHNIUK, C. Clube da Luta 2. Ilustração de Cameron Stewart. Trad. Érico Assis. São Paulo: LeYa, 2016.
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Matiash, Iryna. "First Belarusian Foreign Missions in Ukraine (1918): Attempt To Establish Diplomatic Relations Between The UPR And The BPR (Romance of Hope and Reality)." Diplomatic Ukraine, no. XIX (2018): 76–95. http://dx.doi.org/10.37837/2707-7683-2018-3.
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The article highlights attempts to establish official intergovernmental relations between the Belarusian People’s Republic and the Ukrainian People’s Republic in 1917–1920. The article also pays attention to the creation of the Belarusian People's Republic, the persons of its representatives and attempts to preserve the Belarusian statehood. The author stresses that the first official contacts had already been started before the proclamation of the independence of the BPR. Relying upon archival information from the funds of the Ukrainian and Belarusian archival institutions, the activities of the Belarusian foreign missions in the UPR and the Ukrainian State are highlighted. Accomplishments of the Ukrainian, Belarusian and Polish historiography regarding the study of the history of interstate relations between the UPR and BPR are considered. The paper analyses the position of Belarusian representatives in the negotiation process with the Ukrainian side. It is specified that the Belarusian delegation having the right to deliberative vote included prominent Belarusians, who resided in Kyiv: M. Dovnar-Zapolskyi, I. Kraskovskyi, F. Burchak. Attempts to gain recognition of the BPR by Ukraine are studied. Special attention is paid to the role of the representatives of the BPR (F. Burchak, A. Tsvikevych, S. Rak-Mykhailovskyi, P. Trempovych), the undisclosed facts about their life paths are revealed. Keywords: BPR, Belarusian foreign missions in Ukraine, Aleksiuk, Trempovych, Tsvikevych, Dovnar-Zapolskyi, Belarusian Chamber of Commerce.
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Gontijo Rosa, Carlos. "Textos-moldura como literatura: o meta-paratexto de um quebra-cabeça literário." Boletín Galego de Literatura, no. 59 (December 30, 2021): 1–21. http://dx.doi.org/10.15304/bgl.59.7715.
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Neste artigo, propomo-nos a reflexão do “quebra-cabeça literário” intitulado S., escrito por J. J. Abrams e Doug Dorst, publicado nos EUA em 2013 e no Brasil em 2015. A obra literária estrutura sua narrativa metaficcionalmente, o que quer dizer que tudo o que explicarmos faz parte da ficção construída pelos autores empíricos. A base para o quebra-cabeças é o romance O navio de Teseu, escrito por V. M. Straka e editado por F. X. Caldeira, que também escreve a “Nota de tradução e prefácio”. Sobre (“acerca de” e “em cima de”) a obra, dois leitores dialogam, comentando a publicação, o autor, o editor e a si próprios. É dessa sobreposição de vozes que extraímos nossa reflexão acerca da obra, no sentido de rastrear visões teórico-críticas presentes nos elementos meta-paratextuais de O navio de Teseu, cujas autorias ficcionais pertencem às personagens Caldeira, no prefácio e nas notas de rodapé, e Jennifer e Eric, nas marginálias. Há uma tensão entre os críticos-leitores da obra de Straka que será explorada para identificar uma narrativa secundária de ordem metaliterária. Ao final, busca-se evidenciar como a materialidade gráfica do livro-objeto interfere e constrói, ela própria, uma narrativa a mais em S.
Dissertations / Theses on the topic "M-f romance"
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Ranftl, Josef J. "Von der wirklichen zur behaupteten Schuld : Studie über den Einfluss von F. M. Dostojewskijs Romanen "Schuld und Sühne" und "Der Doppelgänger" auf Franz Kafkas Roman "Der Prozess /." Erlangen : Palm et Enke, 1991. http://catalogue.bnf.fr/ark:/12148/cb40084136c.
Full textBooks on the topic "M-f romance"
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1984-, Petit Arnold, ed. Wallbanger. Paris: J'ai lu, 2015.
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Douglas, Penelope. Falling away: A Fall Away novel. New York: NAL, New American Library, 2015.
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Miss Taken: Romance M/F. Independently Published, 2021.
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Robins, Kaydee. Two SEALs and Their Hostage: A M/M/F Military Romance. Independently Published, 2020.
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Obsession. Independent Publishing, 2016.
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Hariharan, Laxmi, and Scarlette Brooke. Captive of the Alpha: Omegaverse M/F Romance. Independently Published, 2019.
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Hariharan, Laxmi. Taken by the Alpha: Omegaverse M/F Romance. Independently published, 2019.
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Hariharan, Laxmi. Wanted by the Alpha: Omegaverse M/F Romance. Independently Published, 2019.
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Hariharan, Laxmi. Owned by the Alpha: Omegaverse M/F Romance. Independently Published, 2019.
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Downey, Barbara. Hot Dreams: A Hot Mixed M-F Romance. Independently Published, 2017.
Find full textBook chapters on the topic "M-f romance"
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Herendeen, Ann. "Having it Both Ways; or, Writing from the Third Perspective: The Revolutionary M/M/F Ménage Romance Novel." In Romance Fiction and American Culture, 405–19. Routledge, 2017. http://dx.doi.org/10.4324/9781315563237-25.
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"Women’s Rites of Dionysos in Greek Cities." In Women’s Religions in the Greco-Roman World, edited by Ross Shepard Kraemer, 27. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195170658.003.0013.
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Abstract author: Originally from Agyrium, in Sicily, Diodorus remains an enigmatic figure. The exact dates of his life are not known, but his works are thought to date from 60 to 30 b.c.e. His forty-volume history of the world drew extensively on the works of various earlier historians and annalists. Although his work has been considered undistinguished by modern scholars, it contains some intriguing references to the religious activities of women, including the one excerpted here. Regrettably, because he depended so heavily on other authors, it is particularly difficult to assess the reliability of his information. translation: LCL (C. H. Oldfather, C. L. Sherman, R. M. Geer, and F. R. Walton, 1933–67, 12 vols.). text: Teubner (F. Vogel, C. T. Fisher, and L. Dindorf [1887] 1970–85, 6 vols.). additional translation: F. M. Salter and H. L. R. Edwards, eds., The “Bibliotheca Historica” of Diodorus Siculus, trans. John Skelton, 2 vols. (New York: Oxford University Press, 1968–71). bibliography: See entry 1.
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"Backmatter." In Die Brüder Karamasow – Zur Struktur der Romane F. M. Dostojewskis, 47–52. De Gruyter, 1985. http://dx.doi.org/10.1515/9783112712856-003.
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"Anmerkungen." In Die Brüder Karamasow – Zur Struktur der Romane F. M. Dostojewskis, 40–46. De Gruyter, 1985. http://dx.doi.org/10.1515/9783112712856-002.
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"Frontmatter." In Die Brüder Karamasow – Zur Struktur der Romane F. M. Dostojewskis, 1–2. De Gruyter, 1985. http://dx.doi.org/10.1515/9783112712856-fm.
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"Text." In Die Brüder Karamasow – Zur Struktur der Romane F. M. Dostojewskis, 3–39. De Gruyter, 1985. http://dx.doi.org/10.1515/9783112712856-001.
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L.Sihler, Andrew. "Notes on Citation and on the Transcription of Words in IE Languages." In New Comparative Grammar of Greek and Latin, 24–34. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195083453.003.0005.
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Abstract Sanskrit. Various transcription systems have been used to romanize Skt.; the system used here is in accord with current practice. The Skt. short vowels are a (pronounced [J ]), i, and u; the long counterparts are ii, T, and ii, respectively. The symbols r and ! (the latter only occurring in a few forms from a single root) are syllabic liquids, and are short vowels in the Skt. grammatical tradition; f, which is of secondary origin in Indic, is to r as ii is to a. The letters e and o stand for syllabics which the native grammarians call diphthongs; they reflect Pinlr. * ay and * aw, respectively, and although not marked as such they are always LONG as to literal duration (but they are nevertheless at the same time ‘short diphthongs’). In Ved. devf nom.sg. ‘goddess’ < Pinlr. * daywi < PIE * deyw-iH2 both syllabics are long, even though only one letter carries a macron. The ‘long diphthongs’ (63-4) corresponding to e and o are are written iii and iiu, respectively. Many of the letters used in transcribing consonants are self-explanatory, such as m, r, p. The sound system of Indic, though complex, is highly patterned; the following is the scheme of the native grammarians, and is incidentally the order of the letters of the Devanagari’ writing system (read across):
Conference papers on the topic "M-f romance"
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Herzen, A. "DNIESTER FORTIFICATIONS ON THE OLD MAPS." In Man and Nature: Priorities of Modern Research in the Area of Interaction of Nature and Society. LCC MAKS Press, 2021. http://dx.doi.org/10.29003/m2605.s-n_history_2021_44/198-207.
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Old maps of the North-Western Black Sea region of the era of antiquity (reconstructions and reproductions of works of ancient Greek and Roman authors), the Middle Ages (Arabic, Italian, etc.), the Renaissance period (A. Bianco, F. Mauro, B. Wapowski, M. Beneventano, N. de Cusa, S. Münster, I. Honter, I. Stumpf, G. Reichersdorff, M. Bronovius and others) and modern times (G. Gastaldi, A. Ortelius, V. Godreccio, A. Pograbius, G. L. Boplan , V. Hondius, J.A.B. Rizzi-Zannoni, F.V. Bawr and others) contain information about numerous fortifications on the banks of the Dniester, in the immediate vicinity of the river and within the basin. The analyzed cartographic works are key for identifying fortifications in the study area, determining the stages of the historic-geographical evolution of the region and the development of cartography in general.
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Nitu, E. C., O. Cirstina, F. I. Lupu, M. Leu, A. Nicolae, and M. Carciumaru. "PORTABLE ART OBJECTS DISCOVERED IN THE UPPER PALEOLITHIC OF ROMANIA." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.22-23.
Full textAbstract:
In addition to their undeniable aesthetic value, ornaments are the element that may differentiate the various social groups or individuals belonging to certain groups. More specifically, body decoration is closely related to social identity. The ornament, as a form of communication, has a certain advantage over other means of communication because, once displayed, perhaps even more than language itself, the individual wearing it need not make any effort to deliver his/her message, social sta-tus, their belonging to a group etc. The first adornments used during the Paleolithic are beads, while perforated shells are among the earliest examples of this sort. In a few cases, the perforated shells come from species rarely used in the Paleolithic, brought from long distances, in terms of the settlements in which they were found so, apart from individualizing and characterizing a certain group, they may represent important documents regarding migrations over wide areas and even regarding the origin of a culture. This is shown by new discoveries made in an early Gravettian layer at the Poiana Cireului site (Piatra Neam, north-eastern Romania), dated between 30 ka and 31 ka BP (Niu et al., 2019). The ornaments discovered here include a unique association of perforat-ed shells represented by three species of mollusks: Lithoglyphus naticoide, Litho-glyphus apertus and Homalopoma sanguineum (an exclusively Mediterranean spe-cies). This occupation differs from Central and Eastern European Gravettian tradi-tions through the symbolic behavior of the communities, defined by the use of perfo-rated shells of freshwater and marine (Mediterranean origin) mollusk belonging to species very rarely used in the Palaeolithic. Poiana Cireului is one of the very few Gravettian sites where perforated Homalopoma sanguineum shells were found and is the only Gravettian settlement where Lithoglyphus naticoides shells were used. We present the ornaments discovered and the results of analysis performed to identify the perforation methods and the use-wear traces. The presence of a Mediterranean species at the Poiana Cireului settlement located more than 900 km from the nearest source suggests the connection of communities here with the Mediterranean area. In the light of these new findings, the origin and diffusion of the Gravettian from the Mediterranean to the east of the Carpathians are a hypothesis that should be considered. Niu, E.-C., Crciumaru, M., Nicolae, A., Crstina, O., Lupu, F. I., Leu, M. (2019). Mobility and social identity in the Early Upper Palaeolithic: new personal ornaments from Poiana Cireului site (Piatra Neam, Romania). PLOS ONE, 14 (4), e0214932. https://doi.org/10.1371/journal.pone.0214932
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Nitu, E. C., O. Cirstina, F. I. Lupu, M. Leu, A. Nicolae, and M. Carciumaru. "PERSONAL ORNAMENTS DISCOVERED IN THE EARLY UPPER PALEOLITHIC OF POIANA CIREȘULUI-PIATRA NEAMȚ (ROMANIA)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.20-21.
Full textAbstract:
In addition to their undeniable aesthetic value, ornaments are the element that may differentiate the various social groups or individuals belonging to certain groups. More specifically, body decoration is closely related to social identity. The ornament, as a form of communication, has a certain advantage over other means of communication because, once displayed, perhaps even more than language itself, the individual wearing it need not make any effort to deliver his/her message, social sta-tus, their belonging to a group etc. The first adornments used during the Paleolithic are beads, while perforated shells are among the earliest examples of this sort. In a few cases, the perforated shells come from species rarely used in the Paleolithic, brought from long distances, in terms of the settlements in which they were found so, apart from individualizing and characterizing a certain group, they may represent important documents regarding migrations over wide areas and even regarding the origin of a culture. This is shown by new discoveries made in an early Gravettian layer at the Poiana Cireului site (Piatra Neam, north-eastern Romania), dated between 30 ka and 31 ka BP (Niu et al., 2019). The ornaments discovered here include a unique association of perforat-ed shells represented by three species of mollusks: Lithoglyphus naticoide, Litho-glyphus apertus and Homalopoma sanguineum (an exclusively Mediterranean spe-cies). This occupation differs from Central and Eastern European Gravettian tradi-tions through the symbolic behavior of the communities, defined by the use of perfo-rated shells of freshwater and marine (Mediterranean origin) mollusk belonging to species very rarely used in the Palaeolithic. Poiana Cireului is one of the very few Gravettian sites where perforated Homalopoma sanguineum shells were found and is the only Gravettian settlement where Lithoglyphus naticoides shells were used. We present the ornaments discovered and the results of analysis performed to identify the perforation methods and the use-wear traces. The presence of a Mediterranean species at the Poiana Cireului settlement located more than 900 km from the nearest source suggests the connection of communities here with the Mediterranean area. In the light of these new findings, the origin and diffusion of the Gravettian from the Mediterranean to the east of the Carpathians are a hypothesis that should be considered. Niu, E.-C., Crciumaru, M., Nicolae, A., Crstina, O., Lupu, F. I., Leu, M. (2019). Mobility and social identity in the Early Upper Palaeolithic: new personal ornaments from Poiana Cireului site (Piatra Neam, Romania). PLOS ONE, 14 (4), e0214932. https://doi.org/10.1371/journal.pone.0214932