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Mondal, Krishna Chatur Sow. "Tripathi's Sita: A Symbol of Feminist Revisionist Nationhood". International Research Journal of Multidisciplinary Scope 05, n.º 02 (2024): 830–45. http://dx.doi.org/10.47857/irjms.2024.v05i02.0661.
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Amish Tripathi's novel Sita: Warrior of Mithila (2017) is the second installment in the Rama Chandra Series, offering a reimagined portrayal of Lord Rama and other key figures from the Ramayana in a modernized context. Through its exploration of human nature, politics, and morality, the series captivates readers both in India and internationally. Tripathi's adept fusion of Indian mythology and history has garnered widespread acclaim, with his books consistently ranking as bestsellers. The title, Sita: Warrior of Mithila, aptly reflects the central character's portrayal as a formidable female warrior. While the narrative begins with Sita's demonstration of courage during her abduction, it evolves to delve deeper into her transformation into a warrior princess. Sita embodies a form of feminist nationalism, championing altruistic warrior ideals. Guided by her mother's wisdom, she emerges as a symbol of this novel feminist nationalism, challenging traditional gender roles within the political sphere. Through Sita's journey, the narrative dismantles gender-based political norms, offering a fresh perspective on nation-building and the role of women within it. In contrast to conventional mythology, the revisionist approach taken by Tripathi actively engages with the development of women's political identities, highlighting their significance in the broader context of nationhood. The research question for the current study is: How does Amish Tripathi's novel Sita: Warrior of Mithila depict the development of Sita's feminist ideology, challenge traditional portrayals of Sita in the Ramayana, and explore the connection between Sita's transformation and the concept of feminist nation-building?
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Bednar, Michael Boris. "Mongol, Muslim, Rajput: Mahimāsāhi in Persian Texts and the Sanskrit Hammīra-Mahākāvya". Journal of the Economic and Social History of the Orient 60, n.º 5 (26 de julho de 2017): 585–613. http://dx.doi.org/10.1163/15685209-12341434.
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The life of a Mongol named Mahimāsāhi underwent a series of transformations in Persian and Sanskrit texts. Mahimāsāhi was born a Mongol, became a New Muslim, and died a Kshatriya Rajput warrior in 1301. With time, he moved from history into historical memory. This historical memory was further transformed by literary conventions in Sanskrit and Persian texts. While Mahimāsāhi represents a Mongol threat in Persian texts, he embodies the warrior’s duty in the Sanskrit Hammīra-Mahākāvya and serves as an example for others on how to become Rajput.
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Meshcheriakov, Sergey. "Stanislav Krakov: Writer and Warrior". Stephanos Peer reviewed multilanguage scientific journal 54, n.º 4 (31 de julho de 2022): 17–25. http://dx.doi.org/10.24249/2309-9917-2022-54-4-17-25.
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Stanislav Krakov, writer and warrior, hero of the Balkan Wars and First World War, who worked for the Serbian government from 1942 to 1944, was rediscovered in the late 20th century and became vastly popular in Serbia. His masterpiece “Wings” (1922), an Expressionist war novel, features the last year on the Salonika front as a series of fi lm shots selected from the footage. The life of Krakov’s characters is totally under the control of Eros and Thanatos. The novel contains both romantic and naturalistic scenes, as well as dramatic and lyrical features.
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Chivers, Marian, Lesley Speed e Meg Tasker. "The warrior woman in Harlequin’s Bombshell Athena Force series". Australasian Journal of Popular Culture 3, n.º 3 (1 de setembro de 2014): 335–49. http://dx.doi.org/10.1386/ajpc.3.3.335_1.
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Yao, Wenmin, Tong Chu, Wenlong Tang, Jingyu Wang, Xin Cao, Fengjun Zhao, Kang Li, Guohua Geng e Mingquan Zhou. "SPPD: A Novel Reassembly Method for 3D Terracotta Warrior Fragments Based on Fracture Surface Information". ISPRS International Journal of Geo-Information 10, n.º 8 (5 de agosto de 2021): 525. http://dx.doi.org/10.3390/ijgi10080525.
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As one of China′s most precious cultural relics, the excavation and protection of the Terracotta Warriors pose significant challenges to archaeologists. A fairly common situation in the excavation is that the Terracotta Warriors are mostly found in the form of fragments, and manual reassembly among numerous fragments is laborious and time-consuming. This work presents a fracture-surface-based reassembling method, which is composed of SiamesePointNet, principal component analysis (PCA), and deep closest point (DCP), and is named SPPD. Firstly, SiamesePointNet is proposed to determine whether a pair of point clouds of 3D Terracotta Warrior fragments can be reassembled. Then, a coarse-to-fine registration method based on PCA and DCP is proposed to register the two fragments into a reassembled one. The above two steps iterate until the termination condition is met. A series of experiments on real-world examples are conducted, and the results demonstrate that the proposed method performs better than the conventional reassembling methods. We hope this work can provide a valuable tool for the virtual restoration of three-dimension cultural heritage artifacts.
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Flynn, Catherine. "OPERANT: …(IPHIGENIA) AT BERKELEY". Ramus 52, n.º 1 (junho de 2023): 65–68. http://dx.doi.org/10.1017/rmu.2023.3.
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Speaking by phone to a critic several weeks before the premiere of …(Iphigenia), director Lileana Blain-Cruz announced: ‘esperanza challenges the absurdity of this myth… Men must kill a young woman so they can go to war. Why repeat what does not work? What does it feel like to be a young woman thrust into this absurd story?’ In fact, the Wayne Shorter-esperanza spalding production exaggerates the myth's absurdity, minimizing the pain of Agamemnon and flattening the familial calamity at the heart of Euripides’ play until it becomes a conflict between aggressive men and suffering women. It is easy to judge these toxic male warriors with their Wagnerian helmets and hints of white nationalism. It is also easy for the female members of the audience to identify with Iphigenia, and with the series of Iphigenias whom the warriors put to death. Yet, at our moment, Shorter and spalding's reimagining of a myth about the sacrifice of a virgin to power a fleet invites us to consider our own implication in an urgent calamity, one in which we are both warrior and virgin.
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Komorowska, Joanna, e Aneta Kliszcz. "Unending War: Combat Trauma in Joss Whedon’s "Firefly"". Załącznik Kulturoznawczy, n.º 10 (31 de dezembro de 2023): 449–67. http://dx.doi.org/10.21697/zk.2023.10.21.
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The article discusses the long-term effects of combat trauma as portrayed in Joss Whedon’s Firefly series, focusing on the issues of trust, identity, and belonging. In doing so, it highlights the image of warrior and war in popular culture.
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Mironova, Olga A., Alexander P. Lesnov e Anton P. Karmazin. "Horizons of biotechnology in Russia’s animal husbandry". RUDN Journal of Ecology and Life Safety 32, n.º 1 (15 de março de 2024): 77–86. http://dx.doi.org/10.22363/2313-2310-2024-32-1-77-86.
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This study opens a series of articles on current trends in the development of innovative biotechnologies. They consistently describe the unlimited possibilities of the world of microorganisms - the microcosm, the mechanisms of which humanity can use for creative purposes, control and manage existing biotechnologies, applying them for the benefit of humanity. Adhering to the unshakeable opinion that the Microcosm is not a Warrior, the Microcosm is a worker…
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Kezia Clarissa Langi, Setiawan Sabana e Hafiz Aziz Ahmad. "Kezia Clarissa Langi STUDI LAPANGAN: TRADISI BAJU PERANG NIAS MASA KINI DI KOTA GUNUNGSITOLI DAN DESA BAWOMATALUO". PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (24 de janeiro de 2020): 8–13. http://dx.doi.org/10.33153/semhas.v2i0.95.
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For centuries the title ‘warrior’ is embedded in Nias society. As a warrior, the person, their duty, and its costumecannot be separated. To become the protector of a village, a series of task are needed. Therefore, being awarrior is a prestigious status. Today, Nias and its war costume are on the edge of modernity. The thin linebetween tradition and attraction is created due to globalization and its tourism purpose. To understand theimportance of the tradition of Nias war costume, it is crucial to analyze the history through literature and theimpact of globalization in Nias today. The result of this research could adapt into creating future Nias warcostume that is suitable for the Ono Niha (term for the people of Nias). To fully understand about the conditionof this tradition, field research is needed. This research aims to obtain data from Gunungsitoli city andBawomataluo village regarding the tradition of Nias war costume. The results of this research are the untoldstory of Nias and the needs of the society regarding Nias tradition in the future.
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Seregin, N. N., A. A. Tishkin, S. S. Matrenin e T. S. Parshikova. "Burial of a warrior of the Rouran period from Northern Altai". VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, n.º 2(61) (15 de junho de 2023): 80–94. http://dx.doi.org/10.20874/2071-0437-2023-61-2-7.
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The article introduces into scientific discourse cultural, chronological and social interpretation of the warrior burial, investigated during the excavations of the necropolis of the Bulan-Koby Culture of the Choburak-I funerary and ritual complex. The site is located on the right bank of the Katun River, to the south from the Elanda village of Chemal district, Altai Republic. During the research, a burial of a man with a horse and accompanying equipment, including a representative set of weapons (bow, a large number of arrows with iron tips, a sword, two combat knives), a belt decorated with numerous belt fittings, horse equipment, and other items were studied. A detailed description of the finds, including both widespread and very rare types of items, has been carried out. The indi-cated circle of analogies from the sites of the Bulan-Koby Culture of Altai, as well as complexes excavated in ad-jacent territories, allows us to determine the date of burial mound №30 to the 4th c. AD. This conclusion is con-firmed by the results of radiocarbon dating of a series of objects from the Choburak-I necropolis. The complex of elements of ritual practice indicates that the burial mound belongs to the previously identified Dialyan burial tradi-tion of the Altai population of the end of the 1st mil. BC — first half of the 1st mil. AD. This is suggested by the combination of the following features: an oval mound with a crepidoma, inhumation burial rite, northwest orienta-tion of the deceased, accompanying of the deceased by a horse laid “at the feet” of the person and its orientation with its head in the same direction as the deceased, inner grave construction in the form of a deck. The composi-tion of the grave goods allows us to conclude that the buried man was of a high social status, possibly a warrior who commanded a large unit of professional warriors, and also, possibly, the leader of a local group of pastoral-ists who left the Choburak-I necropolis. Some peculiar features of the analysed complex reflect the ideological paradigm of the Bulan-Koby population, such as placement into the grave of a broken (disassembled?) bow and a large number of arrows, covering the person’s body at the time of the burial.
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Amstein, Walter L. "The Warrior Queen: Reflections on Victoria and Her World". Albion 30, n.º 1 (1998): 1–28. http://dx.doi.org/10.2307/4052381.
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The subject of monarchy remains more fashionable in the pages of People and the National Inquirer than among NEH peer review panelists or professional historians generally. To a surprising degree, indeed, the subject has been left to non-professionals or to non-historians. Yet, when one reflects on the fact that the best-known wedding and the most traumatic funeral of the twentieth century both involved the British monarchy in a very immediate fashion, then one can hardly contend that that institution is of no account in modern cultural history. In the course of the past decade, I have drafted, and in part published, a series of topical essays involving Queen Victoria as symbol, as personality, and as actor on the political stage, and this paper constitutes a consideration of yet another facet of her world. In the process of exploring Queen Victoria's world in both printed and unpublished sources, I have made two discoveries that may not surprise you unduly once I set them forth.First, each major biographer of Queen Victoria—and there have been a great many—tends to react to the last major previous biographers. Thus Giles St. Aubyn in 1991 and Stanley Weintraub in 1987 drafted their works in the context of Elizabeth Longford's biography of 1964 and Cecil Woodham-Smith's life of 1972. The latter two wrote their lives in reaction to Lytton Strachey's biography of 1921 and Arthur Benson's of 1930. In the process, these more recent historians have at times unwittingly neglected a number of cogent conclusions reached by Sidney Lee way back in 1902.
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Jørgensen, Lea Grosen. "Vikingens udødelige sang". Passage - Tidsskrift for litteratur og kritik 34, n.º 81 (1 de junho de 2019): 54–70. http://dx.doi.org/10.7146/pas.v34i81.114430.
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Lea Grosen Jørgensen: “The Viking’s Undying Song – A Comparison of Old Norse Poems and Heroic Portrayals in Vikings (2013-) and Oehlenschläger’s Regnar Lodbrok (1849)”
This article discusses the portrayal of the legendary Viking Regnar Lodbrok in Michael Hirst’s TV series Vikings and Adam Oehlenchläger’s Romantic poem Regnar Lodbrok. Focusing on the incorporation of the Old Norse death song “Krákumál” in both the series and the poem, the article shows that the reinterpretations of the death song determine the versions of the Viking hero. Reinventing the hero after the fashion of their own age, as either a modern self-made hero or as a tender warrior-skald , Hirst and Oehlenschläger contribute to the perception of the Viking Age in the twenty-first and the nineteenth century, respectively.
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Quinn, John M., Vladimír Bencko, Alexander V. Bongartz, Preslava Stoeva, Adrijana Atanasoska Arsov, Stefano De Porzi, Milos Bohonek et al. "NATO and evidence-based military and disaster medicine: case for Vigorous Warrior Live Exercise Series". Central European Journal of Public Health 28, n.º 4 (18 de dezembro de 2020): 325–30. http://dx.doi.org/10.21101/cejph.a6045.
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Silvina, Silvina, Rizka Khairiza e Muhammad Rizqy Setyarto. "Apert Syndrome: Case Series and Review of The Literature". Jurnal Plastik Rekonstruksi 8, n.º 1 (23 de abril de 2021): 1–5. http://dx.doi.org/10.14228/jprjournal.v8i1.316.
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Summary: Apert syndrome is a type 1 acrocephalosyndactyly, a rare syndrome characterized by the presence of multiple craniosynostoses, dysmorphic facial manifestations, and syndactyly of hand and feet. It affects 1:100.00 of birth and the second most common of syndromic craniosynostosis. Molecular genetic tests that identify the heterozygous pathogenic variant in FGFR2 genes - identical with Apert syndrome cost too high to be applicable in developing countries. Therefore, the diagnosis of Apert syndrome should be suspected from the clinical findings. Three cases from the Community of Indonesian Apert Warrior Group were collected. These series were based on medical and surgical records. We obtained the patient characteristic from the phenotypic manifestations only. We present cases of 6-years-old male, 2-years-old female, and 3-years-old female, respectively, with similar anatomical findings, such as skull shape abnormality, midface hypoplasia, intraoral disfigurement, and hands and feet deformities that resemble Apert Syndrome. Our series presents similar Apert syndrome characteristics, such as typical craniofacial dysmorphic with symmetrical syndactyly of both upper and lower extremities. These clinical findings are essential to establish an initial diagnostic of Apert Syndrome.
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Šmidchens, Guntis. "National Heroic Narratives in the Baltics as a Source for Nonviolent Political Action". Slavic Review 66, n.º 3 (2007): 484–508. http://dx.doi.org/10.2307/20060298.
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The national heroes of Estonia, Latvia, and Lithuania that emerged in literary culture during the nineteenth century were warrior heroes. In the twentieth century, a series of interpretations and adaptations by leading authors disarmed and desacralized Kalevipoeg, Bearslayer (Lāčplēsis), and King Mindaugas, tempering or rejecting their violent actions and recasting these central allegories of national myth into a nonviolent mold. These heroes are part of the cultural context in which the nonviolent Baltic “Singing Revolution” emerged; they offer an intriguing example of evolving (or devolving) aggressive drives and the civilizing process in the Estonian, Latvian, and Lithuanian national cultures.
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Embleton, Sheila. "Names and Their Substitutes". Target. International Journal of Translation Studies 3, n.º 2 (1 de janeiro de 1991): 175–206. http://dx.doi.org/10.1075/target.3.2.04emb.
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Abstract The Astérix comic-book series, originally in French, is well-known and widely translated. Each book relates an adventurous episode in which the principal character is Astérix, a small, witty warrior from a fictional Gaulish village, the only village to have successfully resisted the Roman occupation. The series relies on many humorous techniques, but word-play and puns form an integral part. Much humour derives from the names used, combining various comic effects, particularly puns and double entendres. Thus the translator faces not only the usual problems in translating literary names, but also the problem of retaining these comic effects. This paper examines these problems and their solutions, based on a complete collection of name data from all 30 books in 4 languages (French original; English, German, Finnish translations), with numerous references to translations into other languages.
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Brown, Alan S. "Viking vs. Samurai". Mechanical Engineering 132, n.º 03 (1 de março de 2010): 44–45. http://dx.doi.org/10.1115/1.2010-mar-5.
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This article discusses the application of mechanical engineering concepts in a day-to-day TV serial world. Instrumenting weapons and armor showed that Viking chain mail could withstand the slashing attack of a Samurai katana in the TV series named Deadliest Warrior. The show pits fighters with different styles of fighting who never met—Spartan vs. Ninja or Apache vs. Gladiator —against one another. The show’s experts include a doctor, a computer programmer, and Desmoulin, the go-to guy for figuring out the impact of ancient arms. They feed their findings into a Monte Carlo simulation that runs hundreds of simulations and picks the most likely winner.
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Hampshire, Kathryn. ""Who Killed the World?": Monstrous Masculinity and Mad Max". Digital Literature Review 4 (13 de janeiro de 2017): 177–90. http://dx.doi.org/10.33043/dlr.4.0.177-190.
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In a futuristic, dystopian Australia, Max Rockatansky is a lone warrior struggling against the forces that have ripped his family, and society as a whole, to shreds. From rogue motorcycle gangs to violencebased legal systems, the Mad Max films depict a world in which the most toxic aspects of masculinity have poisoned society, mutating into something far more dangerous — something monstrous. The series presents a version of monstrosity that has sunk its claws into the very masculinity it usually serves to validate; in light of these subversions, this analysis utilizes monster theory in conjunction with gender studies to examine toxic masculinity in the Mad Max franchise
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Golubov, Nattie. "Female Warriors, Social Injustice and the Transformational Force of Anger in Jaye Wells' Sabina Kane Series". Esferas Literarias, n.º 6 (21 de dezembro de 2023): 21–37. http://dx.doi.org/10.21071/elrl.vi6.16293.
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Urban fantasy heroines tend to be highly trained supernatural or magical beings who unapologetically use violence to achieve their goals. Their stories, often plotted as revenge narratives, are in many cases driven by anger, a key force of good in the quest for justice. Heroines are transformed into protectors when their personal trajectories, often motivated by complicated family bonds, become entangled with the fate of specific cities. Rereading Jaye Wells’ Sabina Kane series in the context of recent feminist reinterpretations of women’s anger, I will argue that anger is a source of social responsibility, thus resolving the apparent contradiction between caring and violence, and can become a legitimate affect in romance fiction. I will explain how, in Wells series, the female questor achieves the transition from lone wolf to caring warrior without sacrificing her capacity to expertly wield extreme violence or deny her rage.
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Jones, Rebecca. "A Game of Genders: Comparing Depictions of Empowered Women between A Game of Thrones novel and Television Series". Journal of Student Research 1, n.º 3 (17 de setembro de 2012): 14–21. http://dx.doi.org/10.47611/jsr.v1i3.100.
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The main women in George R. R. Martin's novel Game of Thrones, first published in 1996, and the adapted television series in 2011, are empowered female figures in a world dominated by male characters. Analyzing shifts in the characters’ portrayals between the two mediums conveys certain valences of the cultures for which they are intended. While in the novel the characters adhere to a different set of standards for women, the television series portrays these women as more sympathetic, empowered, and realistic with respect to contemporary standards. Using literary archetypes of queen, hero, mother, child, maiden and warrior and applying them to Cersei Lannister, Catelyn Stark, Arya Stark, Sansa Stark, and Daenerys Targeryen, provides a measure for the differences in their presentations. Through the archetypical lens, the shifts in societal and cultural standards between the novel and series’ airing reveal changing pressures and expectations for women. By reading the novel and watching the series with the archetypes in mind, the changes in gender norms from 1996 to 2011 becomes clear. The resulting shift shows the story’s changes in the realm of fantasy in relation to the American society that consumes it.
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O'Donnell, Marcus. "Jack Bauer: The Smart Warrior's Faustian Gift". Media International Australia 129, n.º 1 (novembro de 2008): 33–45. http://dx.doi.org/10.1177/1329878x0812900105.
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Jack Bauer of the television series 24 is a highly charged contemporary mythic character who exists in powerful relationship to past and present real-world and fictional figures. If Rambo was a classic Reagan era cinematic ‘hard body’ (Jeffords, 1994), Jack is the archetypal Bush ‘smart warrior’ in a post -Patriot Act era. Like Rambo, Reagan's displays of bravado were decisive and successfully staged; however, George Bush has faced a multiplying set of uncertainties. This sets up a more complex set of relations between Jack, George W. Bush and contemporary masculinities than those presented by the Reagan era. Jack is both an emblem of unimpeded presidential will and a parable of its Faustian consequences.
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Wade, Harry. "Wood, Churchill". Teaching History: A Journal of Methods 29, n.º 1 (1 de abril de 2004): 50–51. http://dx.doi.org/10.33043/th.29.1.50-51.
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This new title in the British History in Perspective series by Ian S. Wood, Lecturer in History at Napier University in Edinburg, is not a conventional biography of Churchill- adding another seemed superfluous to the author- but rather a thematic study of the major and sometimes overlapping issues in the long and exceptional career of Winston Churchill. After a short preface in which Churchill's political career is divided into three phases- 1900-1915, 1915-1939, and 1939-1955- the author investigates Churchill's career through nine themes that make up the nine chapters of the book. Among the themes are "Churchill the Warrior," "National Leader, 1940-1495 ," and "Churchill, Party Politics and Social Policy."
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Gimpl, Ádám. "The Representation of the Scottish Accent in Hollywood Movies and TV Series". Folia Humanistica et Socialia 1, n.º 2 (11 de junho de 2024): 47–64. http://dx.doi.org/10.69705/fhs.2023.1.2.5.
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Both Scottish culture and the Scottish accent have been oft misrepresented in Hollywood movies and TV series starting in the 20th century and continuing into the 21st. The purpose of this paper is to analyse said misrepresentations, determine why characters are given Scottish accents, how that accent contributes to their characterisation and what kind of character types tend to receive the Scottish accent. The paper concludes that the Scottish accent is selected for certain characters because the previous success of Scotland-based Hollywood movies has made the accent popular among audiences, thus Hollywood, utilising what has worked before and seeing the popularity of the accent, decided to bestow the accent to more characters. It is also given to characters to make them humorous; the accent sounding foreign makes it funny for American audiences, thus many comic relief characters have got it. Tough-as-nails and masculine characters can likewise receive Scottish accents. Moreover, certain archetypes are assigned with the accent in mind by default, such as the Highlander warrior and dwarves, its usage in their case being questionable notwithstanding. Lastly, having a Scottish accent is integral to characterisation, which is exemplified by analysing Shrek, McDuck and three other hyper-stereotypical cartoon characters.
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Sengupta, Sohini. "Empowering Girlhood Journeys: Feminist Mythic Revision in Contemporary Indian Diaspora Children’s Fiction". International Journal of English Literature and Social Sciences 7, n.º 3 (2022): 248–52. http://dx.doi.org/10.22161/ijels.73.37.
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There had been relatively little interest in a narrative of female individuation within mythology. Revisionist myths and legends in contemporary literaturehave thus addressed issues of women’s identity and autonomy while redesigningthe gendered spaces in these cultural narratives. The need for alternative mobility arcs within the cultural imaginary was also recognized for adolescent girls in their quest for subjectivity.This paper thus explores two works of children’s fiction, viz. Sayantani Dasgupta’s Game of Stars(2019) from the Kiranmala and the Kingdom Beyond series and Roshani Chokshi’s Aru Shah and the End of Time (2018) as coming-of-age immigrant narratives where young girls undergo heroic adventures restructuringIndian mythology and Bengali folktales. Dasgupta’s Kiranmala and the Kingdom Beyond series intertwines intergalactic science and Bengali folktales, mostly from the Thakumar Jhuli (1907), meshing different fairy tale characters aidingthe adolescent female protagonist Kiranmala, who isa neotericgutsy counterpart of the warrior princess in Dakshinaranjan Mitra Majumder's fairy tale collection.At the same time, Roshani Chokshi’s Aru Shah fantasy adventure series celebrates the Indian heritage of Hindu mythology (particularly the Mahabharata) in the diaspora, while empowering young immigrant girls to imagine and undertake non-normative feminist voyages.
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Renardy Reza, Razali, e Lubis Munawar Adhar. "Apert Syndrome: A Case Report". Clinical Journal of Obstetrics and Gynecology 6, n.º 4 (27 de dezembro de 2023): 233–35. http://dx.doi.org/10.29328/journal.cjog.1001154.
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Background: Apert syndrome is a type 1 acrocephalosyndactyly, a rare syndrome characterized by the presence of multiple craniosynostoses, dysmorphic facial manifestations, and syndactyly of hand and feet. It affects 1:100.00 of birth and is the second most common of syndromic craniosynostosis. Molecular genetic tests that identify the heterozygous pathogenic variant in FGFR2 genes - identical with Apert syndrome cost too high to be applicable in developing countries. Therefore, the diagnosis of Apert syndrome should be suspected from the clinical findings. Three cases from the Community of Indonesian Apert Warrior Group were collected. These series were based on medical and surgical records. We obtained the patient characteristics from the phenotypic manifestations only. Case report: We present a case of a newborn baby girl, with similar anatomical findings, such as skull shape abnormality, midface hypoplasia, intraoral disfigurement, and hands and feet deformities that resemble Apert Syndrome. Our series presents similar Apert syndrome characteristics, such as typical craniofacial dysmorphic with symmetrical syndactyly of both upper and lower extremities. These clinical findings are essential to establish an initial diagnosis of Apert Syndrome.
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Sheets, Kevin B. "Antiquity Bound: The Loeb Classical Library as Middlebrow Culture in the Early Twentieth Century". Journal of the Gilded Age and Progressive Era 4, n.º 2 (abril de 2005): 149–71. http://dx.doi.org/10.1017/s1537781400002553.
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Armed with volumes of Greek and Latin classics, James Loeb waged a gentleman's war. He took aim at what the modern world prized and with the ammunition of antiquity he sought to defeat it. Specifically, in 1912, he inaugurated the publication of his eponymous classical library of ancient texts and facing-page English translations. The Loeb Classical Library, numbering in the hundreds of volumes, collected into one series all the important works and many obscure texts from antiquity. With the same popularizing instinct that guided other purveyors of middlebrow culture, Loeb aimed to connect a general audience with its classical heritage. With his set of compact green and red volumes whose publication he funded, Loeb saw himself as a warrior in the centuries-long battle between the ancients and the moderns.
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de Castro, Eduardo Viveiros. "Exchanging Perspectives". Common Knowledge 25, n.º 1-3 (1 de abril de 2019): 21–42. http://dx.doi.org/10.1215/0961754x-7299066.
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Originally published in 2004 in the Common Knowledge symposium “Talking Peace with Gods,” this article elaborates the nature and consequences of the perspectivist cosmologies of Amerindian societies. Contemporary Western cosmologies regard humans as ex-animals who became differentiated from other nonhuman species through the acquisition of advanced cognitive capacities. Amerindian cultures, by contrast, regard animals as ex-humans who became differentiated from both modern humans and other animal species via a series of physical adaptations. Underneath these physical differences, both humans and nonhumans retain a shared human soul; what is more, each species perceives its own kind as human and all other kinds—including humans—as animals. Viveiros de Castro distinguishes this “perspectivism” from relativism: whereas Western relativism assumes multiple valid cultural models, Amerindian perspectivism holds that human and nonhuman species possess a common values system and cultural framework. While this commonality is ordinarily obscured by biologically grounded, perceptual differences, the gap in perspective may be bridged by shamans, whose gift of adopting nonhuman subjectivities enables them to see other species as they see themselves—namely, as humans partaking in human culture. Perspectivism influences both the practices that Amerindian peoples adopt toward nonhuman species and their attitudes toward other human groups, especially in the context of warfare. The Amerindian warrior’s capacity to overcome an enemy ultimately depends on a shaman-like entry into the subjectivity of another: rather than denying the personhood of his enemy, the Amerindian warrior must acknowledge the affinity between them.
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LaGrand, James B. "Clyde Warrior: Tradition, Community, and Red Power. New Directions in Native American Studies Series. By Paul R. McKenzie-Jones." Western Historical Quarterly 47, n.º 4 (15 de julho de 2016): 484–85. http://dx.doi.org/10.1093/whq/whw139.
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Domínguez, Adolfo J. "Not Only “invincible in arms, a glorious warrior” (Plut. Pyrrh. 11.8). Pyrrhus and the Administration of the Epirote Kingdom". Klio 104, n.º 2 (17 de novembro de 2022): 550–86. http://dx.doi.org/10.1515/klio-2021-0033.
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Summary In relation to King Pyrrhus of Epirus, a great number of studies have analysed his different military campaigns, but very few have focused on the political and economic aspects of his reign. Based on a series of references taken from literary accounts, we seek to demonstrate how the internal organisation of the Kingdom of Epirus under Pyrrhus was similar to that of other contemporaneous Hellenistic kingdoms, replete with a Court consisting of a large number of the king’s friends and companions. Using certain archaeological evidence, especially funerary remains, we seek to reflect the existence of this Epirote élite in material terms. The literary tradition bears witness to an interest in agriculture and livestock farming during Pyrrhus’ period, although the accounts handed down to us provide little detail. Once again, archaeology enables us to provide corroborating evidence. In this respect, we focus on the existence of a series of fortified rural residences distributed in irregular manner throughout Epirote territory, which are interpreted as being those of the members of this aristocratic élite, who used these fortified enclosures as centres of exploitation for their lands and as symbols of their power and prestige. As comparative points of reference that enable us to understand these processes, we provide various examples from neighbouring Macedonia, a kingdom with which Epirus maintained close links, especially as of the mid-fourth century B.C., which appears to be the period in which many of these new developments also began to emerge in Epirus, reaching their culmination during the reign of Pyrrhus.
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Li, Feng, Yongli Gao, António José Estêvão Grande Candeias e Yao Wu. "Virtual Restoration System for 3D Digital Cultural Relics Based on a Fuzzy Logic Algorithm". Systems 11, n.º 7 (21 de julho de 2023): 374. http://dx.doi.org/10.3390/systems11070374.
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This research proposes a virtual restoration system and method for 3D digital cultural relics based on a fuzzy logic algorithm, aiming to solve the problems of the low classification accuracy and poor splicing effect of Terra Cotta Warrior fragments. This method adopts a series of steps to improve the efficiency and accuracy of fragment splicing. Firstly, features such as curvature, torsion, and left and right chord lengths were extracted from the fracture surface contour lines of the cultural relic fragments to form feature vectors. Then, the feature vector was fused and compressed by using the multilayer perceptron. The multilayer perceptron is a neural network model that can process and learn input data via multiple levels of computation, resulting in more expressive feature representations. Next, we used the calculation results of the multilayer perceptron to perform the splicing operation on the fragments. This means that, based on the calculation results of the feature vectors, the system can automatically select appropriate splicing methods to accurately match and splice fragments. Finally, by adjusting the weight of the multilayer perceptron, the error rate of fragment splicing can be reduced, further improving the accuracy of repair. The experimental results show that the method proposed in this article is significantly better than traditional methods in terms of time consumption and can effectively improve the efficiency of fragment matching and stitching. Conclusion: The fragment-stitching algorithm based on multi-feature adaptive fusion improved the speed and effectiveness of stitching in fragment-stitching tasks. In summary, the fragment-stitching algorithm based on multi-feature adaptive fusion can improve the speed and effectiveness of stitching in fragment-stitching tasks. The application of this method is expected to play an important role in the field of cultural relic protection, such as the restoration of Terra Cotta Warrior fragments.
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Cooper, Daniel E., e James D. Heckman. "The Heel of Achilles: Calcaneal Avulsion Fracture from a Gunshot Wound". Foot & Ankle 9, n.º 4 (fevereiro de 1989): 204–6. http://dx.doi.org/10.1177/107110078900900411.
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Greek mythology relates that the legendary warrior Achilles was made invincible by his mother Thetis, who dipped him in the River Styx while holding him by his heel. Because his heel was never immersed, it remained his one area of vulnerability. After the fall of Troy, Achilles met his demise when he was shot in the heel by Paris, whose arrow was guided by the Greek god Apollo. This is the derivation of the term “Achilles tendon.” Avulsion fractures of the tuberosity of the calcaneus are rare injuries. 1 , 2 , 3 , 6 , 7 , 12 Schonbauer 14 reviewed a series of 870,000 accident cases treated at the Vienna Trauma Hospital and found only four such cases in addition to 151 cases of subcutaneous Achilles tendon rupture. In Bohler's 4 series of 182 calcaneal fractures, avulsion of the calcaneal tuberosity accounted for less than 1% of these injuries. Rowe 13 reported four Achilles avulsion fractures in his series of 154 calcaneal fractures. Three basic mechanisms of injury have been described: (1) dorsiflexion violence against the maximally plantarflexed foot, typically occurring in a fall from a height; (2) powerful contraction of the triceps surae muscle with simultaneous extension of the knee such as when a person is about to sprint in a race; (3) a direct blunt blow to the hindfoot. 1 , 2 , 8 We are describing a case of avulsion of the calcaneal tuberosity due to direct penetrating trauma from a gunshot wound, a mechanism not previously reported.
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Veldman, Meredith. "“Dressed in an Angel's Nightshirt”: Jesus and the BBC". Journal of British Studies 56, n.º 1 (janeiro de 2017): 117–37. http://dx.doi.org/10.1017/jbr.2016.117.
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AbstractThis article examines images of Jesus broadcast on the BBC from the 1930s through the 1950s. During these years, the BBC sought to use its cultural influence to replace popular religiosity with what the clerics who staffed its Religious Broadcasting Department (RBD) regarded as a more masculine, modern, and vigorous national religious faith. To achieve this aim, the RBD marshaled the might of British New Testament scholarship and its image of a warrior-like, apocalyptic historical Jesus. Yet the RBD's hopes of bridging the gap between popular religiosity and its own vision of Christianity went unrealized. Programs on Jesus that reached a genuinely national audience—The Man Born to be King, Dorothy L. Sayers's wartime radio drama, andJesus of Nazareth, a popular television series from the 1950s—instead featured Anglicized and ahistorical images deeply embedded within British popular culture. The story of Jesus on the BBC highlights both this popular culture's strength and Christian Britain's fragmentation.
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Drawnel, Henryk. "The Mesopotamian Background of the Enochic Giants and Evil Spirits". Dead Sea Discoveries 21, n.º 1 (20 de fevereiro de 2014): 14–38. http://dx.doi.org/10.1163/15685179-12341263.
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Abstract In the myth of the fallen Watchers (1 En. 6–11) the giants, illegitimate offspring of the fallen angels, are depicted as exceedingly violent beings that consume the labour of all the sons of men. They also kill men, devour them, and drink blood. Finally, they sin against all the animals of the earth. The violent behaviour of the giants in 1 En. 7:2–5 continues in 1 En. 15:11 where the spirits of the giants attack humanity, thus it appears that the spirits behave in a manner similar to that of the giants. The present article argues that the description of the giants in 1 En. 7:2–5 and their spirits in 15:11 is modeled after the violent behaviour of the demons found in the Mesopotamian bilingual series Utukkū Lemnūtu. The giants, therefore, are not to be identified with the Mesopotamian warrior-kings, but their behaviour rather indicates that they actually are violent and evil demons.
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Balfour, Robert. "Victim–Survivor–Warrior–Healer: An autoethnographic account of a male childhood sexual violence survivor’s activist journey". Social Work and Social Sciences Review 23, n.º 2 (7 de dezembro de 2022): 103–25. http://dx.doi.org/10.1921/swssr.v23i2.2086.
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It has been argued that stories inform our perceptions of reality and social change is driven by stories (Sarbin, 1986; Bochner, 2012; Frank, 2011/2013). Sexual violence is a complex cultural challenge for societies (Rape Crisis, 2020). Individual survivor identity is formed in that complexity and personal posttraumatic growth (PTG) can be forged in such challenges (Tedeschi & Calhoun, 2004). Activism is one way the survivor can help forge social change both for themselves and the ‘community of interest’ they belong to (Raskovic, 2020; Herman, 1992). This article uses autoethnography to explore one male survivor’s story of childhood sexual violence and his 22-year journey of activism. It adopts a novel approach weaving metaphors taken from episodes of the long-running British television series Doctor Who. It attempts to link social action to PTG in its reflections on meaning and redemption beyond shame via activism and lived experience witnessing (Bruner, 2002). The power of lived experience can powerfully bring the ‘unspeakable’ to society’s conscious awareness (Herman, 1992; Balfour, 2013). By sharing the raw reality of victim blaming when challenging the status quo. The reality of political and professional agents’ resistance to change is evidenced. It uses psychological and other theories, aiming to weave them through the story and illuminate one activist’s journey. Its limitation is its just one story, However, within that lies an authentic strength. It does not claim to be objective. Instead, it knits both the subjective and objective together to allow you to experience something as old as humans, a real story told in a new form (Gottschall, 2012).
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Lu, Su-Ju, Yu-Chiao Lin, Kim Hua Tan e Ying-Chieh Liu. "Revolutionizing elementary disaster prevention education and training via augmented reality-enhanced collaborative learning". International Journal of Engineering Business Management 14 (janeiro de 2022): 184797902110673. http://dx.doi.org/10.1177/18479790211067345.
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In light of a recent spike in natural and man-made disasters, there has been an increase in interest in disaster prevention education and training. The effectiveness of both publicly-funded and voluntarily organized disaster education (DE) has attracted wide attention. More studies are needed to understand the innovative pedagogical practice and the impact of technological advances on disaster learning content development, effectiveness and motivation. This study investigates the application of augmented reality (AR) in DE and training. An AR-enhanced tool named ‘disaster-proof warrior’ was developed and tested to evaluate its enhancement effect on learning under two collaborative learning modes. A series of quasi-experiments involving 85 elementary school subjects was carried out to assess the learning effectiveness and the subjective reaction in learning motivation. The results showed the AR embedded learning tool is effective in engaging and motivating collaborative team knowledge building. This study adds to the existing literature of AR applications in education and training as well as providing a useful reference for future development and improvement of national DE and training.
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Kozlenko, Roman, e Olha Puklina. "Roman Terracottas From the Lower City of Olbia from the collection of the National Museum of the History of Ukraine". Archaeology, n.º 1 (16 de março de 2021): 108–17. http://dx.doi.org/10.15407/archaeologyua2021.01.108.
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The article introduces clay figurines of eagles and terracotta of a Roman soldier, which were found during excavations at the Lower City of Olbia in the 1930—1940-ies, and are kept in the National Museum of the History of Ukraine. The iconography of the eagles is similar to the terracotta statuette of an eagle found in the praetorium building in the Upper City of Olbia. The series of rooms, in which the eagle figurines were found, belong to the Roman garrison structures, which were located in the port area of the city. Terracotta eagle figurines could be used in military sanctuaries, and imitate Roman military standards, or be associated with the worship of Jupiter. Analogies to these products are known from the Roman fortresses on the Danube and in Dacia province. The fragment of terracotta with a shield was a part of a Roman soldier figurine with hanging limbs. The warrior was depicted wearing a Roman military cloak (sagum). This indicates his higher rank, in contrast to the soldiers dressed in tunics. In his left hand he holds a shield (clipeus), which depicts a deity in armor, with rays above his head. The terracotta depicts warriors armed with gladius, and belted with a Roman military belt (cingulum militare). They depict the servicemen of the auxiliary troops of the Roman army — auxilia, or, given the non-standard shape of their shields, the sailors of the Moesian fleet (milites classiarii), whose units were stationed in Olbia, as is known from the epigraphic finds. The places of their finds mark the points of deployment of the Roman troops in the Northern Black Sea region. These terracottas could serve as votives in ritual rites associated with the cult of Mithras, which appears in Olbia as a result of the Roman garrison deployment in the city during the second half of the 2nd — first half of the 3rd c. AD.
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Kirişçi, Kemal. "The transformation of Turkish foreign policy: The rise of the trading state". New Perspectives on Turkey 40 (2009): 29–56. http://dx.doi.org/10.1017/s0896634600005203.
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AbstractRecently, Turkish foreign policy, compared to the 1990s, has manifested a number of puzzlements. They range from the rapprochement with Greece, the turnabout over Cyprus, mediation efforts involving a series of regional conflicts to a policy seeking an improvement in relations with Armenia and Kurds of Northern Iraq. These puzzlements have increasingly transformed Turkey from being cited as a “post-Cold War warrior” or a “regional coercive power” to a “benign” if not “soft” power. Academic literature has tried to account for these puzzlements and the accompanying transformation in Turkish foreign policy from a wide range of theoretical perspectives. This literature has undoubtedly enriched our understanding of what drives Turkish foreign policy. At the same time, this literature has not paid adequate attention to the role of economic factors shaping Turkish foreign policy as we approach the end of the first decade of the new century. This article aims to highlight this gap and at the same time offer a preliminary conceptual framework based on Richard Rosecrance's notion of the “trading state” and Robert Putnam's idea of “two-level diplomatic games” to explore the impact of economic considerations on Turkish foreign policy.
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Ramola, Tanya. "Fusing the Mythological with the Contemporary: A Study of the Revisionist Version of Sita in Amish Tripathis Sita: Warrior of Mithila". International Journal for Research in Applied Science and Engineering Technology 9, n.º 10 (31 de outubro de 2021): 884–86. http://dx.doi.org/10.22214/ijraset.2021.38547.
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Abstract: Sita: Warrior of Mithila (2017), the second book in the Ramachandra series by Amish Tripathi, is a true representative of the genre of revisionist writings. Using the technique of hyperlink, the author portrays Valmiki’s leading lady as a fierce woman unlike other versions of the classical text wherein the character of Sita is docile and much more suppressed without a voice of her own. She is practical and intelligent and has the habit of taking decisions on her own during her adolescence. She is completely opposed to the caste system practised in India that acts as a hindrance in the progress of the country where people blindly follow the rigid caste system, giving utmost importance to their caste and not to their skills or karmas. Tripathi projects the carefree and adventurous character of Sita skilled in various arts. Relationship between nature and Sita is depicted in most of the chapters wherein nature is shown as the protector as well as the destroyer. This paper is an attempt to study the revisionist portrayal of Sita as projected by Amish Tripathi and the various ways this portrayal is different from the various other portrayals of Sita in other contemporary revisionist texts. Keywords: Dharma Nation Complexion Nature Caste system Patriarchy
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Yarnykh, Vera. "The knight’s fall: personification of Pride in Southern French hagiography and iconography of the 11th — early 12th centuries". St. Tikhons' University Review 115 (25 de dezembro de 2023): 11–23. http://dx.doi.org/10.15382/sturii2023115.11-23.
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The paper explores the dismounted knight as the personification of Pride in the context of Southern French art and hagiography of the 11th–12th centuries. This motif is based on the Psychomachia, the Late Antique allegorical poem by a 4th-century Christian poet Prudentius that visualizes a series of combats between Virtues and Vice. The key point in the sequence is the battle between Humility and mounted Pride culminating in the fall of the latter into the pit. The metaphor of Pride brought low literally visualized as the fall of a proud she-warrior from her steed resonates in the literature of the 11th–12th century. In the society where the image of an armed horseman is strongly associated with a member of the secular elite, the classical motif acquires a new social dimension. The Southern French hagiography of the 11th – early 12th century adapts it to the stories of punishment and derision of violent knights. Since the late 11th century allegorical figures of Virtues and Vices pass from the manuscript pages of illuminated treatises to the sculpted and painted decor of Romanesque churches. The Prudentius’ armed and armored she-warriors grow progressively abstract in this novel visual space. Following this development, Pride is the only vice to show little change in the way it is visualized. Within the iconographic programs of some church spaces mostly oriented towards constructing a social model using hagiographical topoi, Pride comes to be the only vice to keep her military attributes. Still personified as the dismounted cavalier, Pride becomes part of the universal eschatological perspective of the Last Judgment within the carved portal of the basilica of Sainte-Foy de Conques. The image has a local parallel in the episode of a knight’s fatal fall in the 11th century Book of Miracles of Saint Foy, with recent events remodeled on the episode of Prudentius’ learned poem. Thus, the image of a dismounted knight comes to stay in the visual allegory of the Middle Ages as an articulation of the aristocratic vice, one of the military elite. Starting as a mere episode in the allegorical combat of Virtues and Vices, the motif of Pride’s fall is shown to crystallize into a self-sufficient iconographic formula and literary topos.
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Fialko, O. Ye, e V. V. Neroda. "SCYTHIAN AMAZON BURIAL IN CHERKASY REGION". Archaeology and Early History of Ukraine 31, n.º 2 (25 de junho de 2019): 364–74. http://dx.doi.org/10.37445/adiu.2019.02.29.
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The burial complex of an armed woman was investigated in 1988 on the outskirts of the town Gorodyshche in Cherkasy region. The design of the burial complex combines features characteristic of both nomadic Scythians and the local forest-steppe population. The funeral inventory of the deceased is made up of objects typical of the Scythians: meat food on a wooden plate, two spears, a set of 11 arrows with bronze arrowheads; a bone cheek-piece and jewelery — gold earrings, a pendant and neck hryvnia tips. By all indications (a specially erected kurhan, the powerful wooden construction, the size and interior of the grave, decorations made of precious metal), the buried woman belonged to a small group of commanders or leaders of a certain fighting unit of the Scythians.
It is possible that this Amazon could lead one of the Scythian squads that controlled certain sections of land communications through which trade flows took place. She could also lead a militarized unit of mercenaries who served the local aristocracy. In any case, she was buried as a Scythian warrior.
This complex replenishes a small series of 27 graves of the Amazons in the forest-steppe Dnieper region and dates from the first half of the 4th century BC.
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Graham, Catherine. "Views & Reviews". Canadian Theatre Review 112 (setembro de 2002): 70. http://dx.doi.org/10.3138/ctr.112.009.
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The relationship of jazz and theatre, as the articles in this issue demonstrate, is a complex one. The three reviews featured here speak to some of the diverse influences jazz, and the community it comes out of, has on contemporary theatre. Kate Bligh’s review discusses a collaborative work created for the Montreal International Jazz Festival by one of Canada’s best known men of the theatre, Robert Lepage, in collaboration with musician Peter Gabriel. Her description of the piece, which took place in a cabaret setting reminiscent of the early jazz scene, demonstrates the affinity of Lepage’s creation techniques with the jazz process of improvising to create multiple variations on well-known motifs. In the end though, Bligh wonders why Lepage’s use of these techniques yielded a series of images that, taken together, had only limited impact. Why, she asks, did the transitions between scenes sometimes seem more interesting than the scenes themselves? Was the technology overwhelming the liveness of the onstage performers? Or was there a more serious problem here, a problem that is perhaps evidenced in directorial choices that emphasized the formal qualities of the piece over its social meanings, as in a sequence where a monkey and a Zulu warrior seem to be presented as virtual stand-ins for each other?
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Hilal, Syamsul, Afrizal Hendra e Tri Legionosuko. "Battle of Ambarawa from the perspective of the universe war strategy". Strategi Perang Semesta 8, n.º 2 (31 de dezembro de 2022): 145. http://dx.doi.org/10.56555/sps.v8i2.1521.
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The battle in Ambarawa was reasonably crucial in the history of the Struggle of the Indonesian nation because the battle of Ambarawa was one of a series of events to maintain independence during the revolution. How the application of the universal war strategy in the battle of Ambarawa is carried out by the warrior figures and the goals to be achieved in Palagan Ambarawa, and the impact resulting from the battle becomes the goal of this historical research in addition to making historical knowledge that may one day be lost. The method used in this study is a historical method that follows the flow from heuristic steps, source criticism, interpretation, and historiography. The Universal People's War Strategy or Incumbent System with Supit Urang tactics applied to the Battle of Ambarawa brought success and victory, apart from the factors of the superiority of infantry tactics and techniques, the superiority of the number of personnel deployed, the management of field administration operations Field logistics and better field health and the integration of operations involving all components of the nation. The victory in the battle in Ambarawa had a significant positive impact on the Struggle for the nation's daughters in cultivating a sense of trust in one's strength in continuing his Struggle, both militarily and politically.
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Alhawamdeh, Hussein A., e Feras M. Alwaraydat. "The dramatization of the shepherd warrior in Christopher Marlowe’s Tamburlaine and the Jordanian drama Bedouin series Rās Ghlai (‘The head of Ghlai’)". Journal of Screenwriting 13, n.º 2 (1 de julho de 2022): 169–86. http://dx.doi.org/10.1386/josc_00092_1.
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Parts 1 and 2 of the Arab Jordanian series Rās Ghlai (‘The head of Ghlai’) (2006‐08), written by Jordanian screenwriter Muafā āli and directed by Amad D‘aibis and Sha‘lān al-Dabbās, share three ‘common denominators’, in Haun Saussy’s terminology, with Christopher Marlowe’s Tamburlaine the Great, Parts 1 and 2 (1587): (1) the shepherd character as a monstrous despot, (2) pastoral love of the shepherds and (3) the mobilization of nations/tribes to take revenge against Tamburlaine/Ghlai. āli’s delineation of the nomadic hero Ghlai is similar to the Marlovian model of Tamburlaine in a time of war and love. Ghlai, as an Arab Jordanian Tamburlaine, seeks in a Machiavellian manner an ultimate rule and control over all nomadic tribes in the Jordanian desert and behaves as a monstrous lover. This article takes two pieces of literature from two different cultures as an example of the adaptability of screen narrative to the scope of comparative literature and appropriation studies, showing simultaneously the experience of Jordanian screenwriters as one example of what Craig Batty calls the ‘screenwriting turn’ (2014: 1). Both Marlowe and āli dramatize the shepherd despots to warn against the threat of colonial and imperial ambitions and models.
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El-Ariss, Tarek. "VIE HÉROÏQUE: IN MEMORY OF BARBARA HARLOW (1948–2017)". International Journal of Middle East Studies 49, n.º 3 (26 de julho de 2017): 575–76. http://dx.doi.org/10.1017/s0020743817000563.
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On 28 January 2017, the field of Middle East studies lost one of its strongest and most vocal advocates—Barbara Harlow. Barbara led a heroic life: writing, resisting, drinking, and smoking, to the end! With the heart of a warrior, she practiced muqāwama at every level and in every possible way. Her power of the “No” confronted structures of power, normativity of all kind, and fluff. She was solid, engaged, wise, and infinitely supportive of her students, colleagues, and causes. She was the first to arrive at every demonstration and the last to leave, making sure that the pro-bono lawyers were ready at police stations to work on releasing those arrested. Barbara was real, genuine, and fun to be around. She loved to hear the latest news—and gossip—from Cairo and Beirut as we sat at her kitchen table, sipping white wine and smoking. She read everything, from mystery novels set in Cairo or London to the most recent study on Arabic literature and culture. Browsing her library one finds graphic novels from the Ghassan Kanafani Foundation that she used to learn Arabic; all of Lacan, Blanchot, Artaud, and Derrida from her poststructuralist days; legal and political theory books dealing with South Africa and Palestine; and complete series of journals such as al-Hadaf and al-Karmel.
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Wile, Douglas. "The Many Lives of Yang Luchan: Mythopoesis, Media, and the Martial Imagination". Martial Arts Studies 13 (1 de fevereiro de 2023): 83–97. http://dx.doi.org/10.18573/mas.167.
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The life of Yang Luchan, patriarch of the Yang lineage and founder of taijiquan’s most popular style, is a biographical blank slate upon which conservative, progressive, orientalist, and just plain rice bowl interests have inscribed wildly divergent narratives. Conservative scholar-disciples sought to link him with the invented Wudang-Daoist lineage, while progressives emphasized his humble origins and health benefits of the practice. His life (c.1799-1872) straddled the height of the Manchu empire and decline into semi-colonial spheres of foreign influence, while successive generations of Yang descendants propagated his ‘intangible cultural heritage’ through Republican, Communist, ‘open’ and global eras. Practiced world-wide by hundreds of millions, taijiquan’s name recognition made it ripe for media appropriation, and Yang Luchan has been remythologized in countless novels, cartoons, television series, and full-length feature films. The case of Yang Luchan offers an unusual opportunity to witness an ongoing process of mythopoesis against a background of historical antecedents and to compare these narratives with traditional Chinese warrior heroes and Western models of mythology and heroology. If the lack of facts has not constrained the fabrication of invented biographies, neither should it discourage the quest for historical context as we sift and winnow truth from trope in examining the patterns of motivated reasoning that characterize the many reconstructions of Yang’s biography.
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Ehrlikh, Vladimir R. "A Helmet of the Archaic Period in the Krasnodar Museum – Problems of Attribution". Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, n.º 6 (2021): 102. http://dx.doi.org/10.31857/s086919080016582-7.
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In 2020, an illicitly excavated bronze helmet confiscated by the FSB was brought to the Krasnodar Felitsyn State Historical and Archaeological Museum-Reserve. The helmet was assembled from two parts and embellished with engraved geometric and zoomorphic designs. The upper section is marked with a finial crafted from a wax model in shape of the head of a bird of prey. Two other helmets of this type are currently known, both from archaeological complexes: one from the village of Kholodny Rodnik near Tuapse (discovered in 2012), the other from the megalithic burial “Krinitsa-I” (2018 excavations). An analysis of the items found with these helmets allows us to date all three helmets to the 6th century BCE. The Krasnodar helmet is the more elaborately decorated of the three, with geometric ornaments analogous to those on Colchian-Koban bronzes of this period and zoomorphic designs imitating the Scythian Animal Style. All this gives reason to suggest this series of helmets to have been produced on commission for the warrior elite of the Northwestern Caucasus in the workshops of the Central Caucasus, which traditionally produced bronze table wares. The Krasnodar helmet is probably the earliest in this group. A rudimentary rim encircles the entire calotte – a feature going back to cast helmets of the Kuban type. The Krasnodar helmet can be dated to the end of the 7th – first half of the 6th centuries BCE.
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Stępnik, Małgorzata. "“Grand Narratives” and “Personal Dramas”: (Re)reading the Masterpieces by Artemisia Gentileschi". Arts 13, n.º 2 (22 de fevereiro de 2024): 43. http://dx.doi.org/10.3390/arts13020043.
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This article discusses the œuvre of Artemisia Gentileschi, a prominent Baroque painter who was rediscovered by art historian Roberto Longhi in the 1910s. Today, her art is interpreted through various lenses, including art theory, women’s studies, and psychoanalysis. Gentileschi’s paintings are often “read” in close reference to her painful biography, with a focus on the “chiaroscuro” of trauma and its overcoming. Significantly, such biography-oriented approaches seem to be predominant in scholarship on art created by women. The argument presented is that Gentileschi’s works require a thorough re-reading free of “compulsive biographism”, as postulated by Salomon. The focus should shift from an empathic Einfühlung (or empathic projection) towards an objective analysis based purely on art-historical or sociological criteria. This article also explores the presence of the socially mediated and mediatised figure of the artist in fine literature (novels by Banti, Lapierre and Vreeland), cinematic biographies (Artemisia, directed by Merlet, documentaries (Artemisia Gentileschi: Warrior Painter, directed by River), anime (a series titled Arte, directed by Takayuki Hamana), and graphic novels (Ferlut and Baudouin; Siciliano). In this artistic constellation Artemisia is labelled as an art/feminist “icon”, a female genius, and as in numerous scholarly texts dedicated to her, “a victim”. I propose that the discussed literary and visual texts related to Gentileschi be interpreted as symptomatic (in line with Panofsky’s concept of ‘iconology’) of the contemporary mentality, which is filtered through feminist and subaltern thought.
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Poulton, M. Cody. "Warrior Ghost Plays from the Japanese Noh Theatre. Parallel translations, with commentary, by Chifumi Shimazaki. Ithaca, N.Y.: Cornell East Asia Series, No. 60. 1993, xv, 220 pp. $11.00." Journal of Asian Studies 53, n.º 2 (maio de 1994): 576–77. http://dx.doi.org/10.2307/2059892.
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Duskin, Eric. "Molotov: Stalin's Cold Warrior. By Geoffrey Roberts. Shapers on International History Series. Washington, D.C.: Potomac Books, 2012. xxii, 231 pp. Notes. Bibliography. Chronology. Index. Photographs. Maps. $29.95, hard bound." Slavic Review 72, n.º 2 (2013): 423–24. http://dx.doi.org/10.5612/slavicreview.72.2.0423.
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Maier, Christoph T. "Richard W. Kaeuper, Holy Warrior: The Religious Ideology of Chivalry. (The Middle Ages Series.) Philadelphia: University of Pennsylvania Press, 2009. Pp. xi, 331; 1 black-and-white figure. $59.95." Speculum 85, n.º 4 (outubro de 2010): 981–83. http://dx.doi.org/10.1017/s0038713410003428.
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