scholarly journals The Observance of All Souls' Day in the Guinea-Bissau Region: A Christian Holy Day, An African Harvest Festival, an African New Year's Celebration, or All of the Above(?)

1984 ◽  
Vol 11 ◽  
pp. 1-34 ◽  
Author(s):  
George E. Brooks
Keyword(s):  
Local Church ◽  
Men And Women ◽  
Palm Wine ◽  
Guinea Bissau ◽  
Army Officer ◽  
Local Practices ◽  
Alcoholic Drinks ◽  
The Dead ◽  
To Come ◽  
As If

“[A] desecration of our religion.”On the eve of All Saints' Day on November 1, 1898, a Portuguese army officer, Henrique Augusto Dias de Carvalho, observed a colorful and noisy crowd of people wending through the streets of Bolama beginning the celebration of dia dos finados (All Souls' Day), which day of supplication for the faithful departed is observed by Christians on November 2.The indigenous Christians generally from long-standing custom and according to local practices customarily pay homage to the dead on the second day of November, beginning this commemoration on the eve of All Saints' Day after midnight.They come out of their dwellings and gather at the door of the local church whence they proceed with little lights walking in procession through all the streets singing the Ave-Maria mixed with African songs.Men and women with fantastic costumes, as if it were carnival, and swigging aguardente and palm wine wander about for three entire nights in this manner until after daybreak; then they disperse, everyone returning to their dwellings, to come out again at night, and spending all day on the 2nd in singing and dancing. The groups combine this with alcoholic drinks and engage in lewd behavior, which debauchery attains its peak during the night of the 2nd until dawn, when after several hours of rest, the finale of the commemoration takes place, which consists of feasting and more drinking, inside or in the open air at a place some distance from the settlement, afterwards singing once again Ave-Marias for the souls of all the departed.

scholarly journals XXXI. A short account of Dr. Maty's illness, and of the appearances in the dead body, which was examined on the 3d of July, 1776, the day after his decease

1777 ◽  
Vol 67 ◽  
pp. 608-613 ◽  
Keyword(s):  
Dead Body ◽  
Short Account ◽  
The Dead ◽  
As If

About two weeks before he died, he was taken with a fit of violent oppressive pain, just above the pit of the stomach, which made him feel as if he was very near dying. He was bled, and gradually recovered; yet so imperfectly, that any motion of his body, or any pressure upon that part with the point of a finger, instantly brought on such oppressive pain, that he was convinced the least addition to what he had several times felt, must have put an end to his life. He had an idea that there might be a collection of matter behind the sternum, which might be discharge by some chirurgical operation.

Using Old Photographs in Interviews: Some Cautionary Notes About Silences in Fieldwork

1990 ◽  
Vol 17 ◽  
pp. 327-334 ◽  
Author(s):  
Bill Bravman
Keyword(s):  
Power Relations ◽  
Men And Women ◽  
Cultural Assumptions ◽  
The People ◽  
Taita Hills ◽  
National Archives ◽  
Long Time ◽  
Photo Collection ◽  
Image Production ◽  
To Come

In September 1987, early in my research at the Kenya National Archives, I came across a collection of photographs taken by a British missionary during the 1920s and early 1930s. The collection contained nearly 250 photos of the terrain and people of Kenya's Taita Hills, where I would soon be going for my fieldwork. I pored over the photo collection for a long time, and had reproductions made of twenty-five shots. The names of those pictured had been recorded in the photo album's captions. Many of the names were new to me, though a few WaTaita of the day who had figured prominently in the archival records were also captured on film. When I moved on to Taita in early 1988,1 took the photographs with me. Since I would be interviewing men and women old enough either to remember or be contemporaries of the people in the pictures, I planned to show the photos during the interviews. At first I was simply curious about who some of the people pictured were, but my curiosity quickly evolved into a more ambitious plan. I decided to try using the photographs as visual prompts to get people to speak more expansively than they otherwise might about their lives and their experiences.In the event, I learned that using the photographs in interviews involved many more complexities than I had envisaged in my initial enthusiasm. I found that I had to alter the expectations and techniques I took to Taita, and feel out some of the limitations of working with the photographic medium. I had to recognize the power relations embedded in my presence as a researcher in Taita, in my position as bearer of images from peoples' pasts, and in the photos themselves. I found, too, that I needed to come to grips with a number of issues about the politics of image production, and the historical product of those politics: the bounded, selected images that are photographs. Finally, I had to address some of my own cultural assumptions about photography and how people respond to pictures, assumptions that my informants did not necessarily share.

Lxxix: Conrad's Revision of “the Lighthouse” in Nostromo

PMLA ◽  
1937 ◽  
Vol 52 (4) ◽  
pp. 1183-1190
Author(s):  
George W. Whiting
Keyword(s):  
Dead Wood ◽  
The Other ◽  
Final Version ◽  
Fresh Material ◽  
The Dead ◽  
To Come ◽  
The One ◽  
Consummate Skill

To the student of writing and literature few inquiries are more interesting and valuable than that into an author's practices in revising his own work. To observe the various stages in the evolution of the final version, to note carefully an artist at his work of pruning the dead wood, adding fresh material, smoothing away harsh phrases, selecting just words, and letting light into obscure places—to do this is to come somewhat nearer to an understanding of what in spite of all analysis will remain essentially a mystery. Especially fascinating and instructive is the study of Conrad's revision, for here one sees a supreme artist at work. In his vigorous hewing and rebuilding there is conclusive proof of the artist's untiring industry and consummate skill. Conrad's revision of Nostromo is of particular interest, for this novel occupies a critical place in the evolution of Conrad's prose. Mr. Richard Curie has justly characterized the change that came over Conrad's prose—a change perceptible in the “Amy Foster” of Typhoon and fully marked in from Under Western Eyes onward. This evolution has smoothed away the cadence, has concentrated the manner, has toned down the style of Conrad's former exuberance. At first glance the later and the earlier Conrad appear two totally different men. The unruly splendor of the one has given way to the subtle and elastic suavity of the other … His earlier prose is sometimes uncertain, sometimes exaggerated, but his later prose has the uniform temper of absolute mastery.

Le langage des murs qui enferment dans L'Étranger de Camus et Hiroshima mon amour de Duras

2021 ◽  
pp. 77-83
Author(s):  
Vincent Grégoire
Keyword(s):  
The Elderly ◽  
Popular Justice ◽  
A Cell ◽  
Horizontal Collaboration ◽  
To Come ◽  
As If

Meursault from L’Étranger, and “Elle” from Hiroshima mon amour are tragic characters who, as if driven by an ancient fatum, have committed a crime, blood crime or crime of love, for which they must pay. While the first is accused of insensitivity and sentenced to death because justice sees him as a “moral monster”, the second is found guilty of “horizontal collaboration” and punished by “popular justice”. From then on, locked up in a cell for Meursault, or alternately in a room and a cellar for “Elle”, these two characters seek the faces and voices of past loves. The quest for these faces and voices from a bygone world which make the protagonists suffer by their absence will give way for Meursault and “Elle” to a state of peace that will allow them to come to terms with their past. While the first character, who has changed in prison, is going to rediscover his mother and finally understand her desire to reembrace life in the home for the elderly, the second character, “healed” by the Japanese, will finally find a sentimental balance.

Heart disease and gender in mass print media

2008 ◽  
Vol 14 (1) ◽  
pp. 18-20
Author(s):  
Juanne Clarke
Keyword(s):  
Heart Disease ◽  
Cause Of Death ◽  
Heart Attack ◽  
Print Media ◽  
Men And Women ◽  
High Achieving ◽  
And Gender ◽  
Developed World ◽  
As If ◽  
The Way

Heart disease is a major cause of death, disease and disability in the developed world for both men and women. Nevertheless, the evidence suggests that women are under-diagnosed both because they fail to visit the doctor with relevant symptoms and because doctors tend to dismiss the seriousness of women's symptoms of heart disease. This study examines the way that popular mass print media present the possible links between gender and heart disease. The findings suggest that the ‘usual candidates’ for heart disease are considered to be high achieving and active men for whom the ‘heart attack’ is sometimes seen as a ‘badge of honour’ and a symbol of their success. In contrast, women are less often seen as likely to succumb, but they are portrayed as if they are and ought to be worried about their husbands. Women's own bodies are described as so problematic as to be perhaps useless to diagnose, because they are so difficult to understand and treat.

scholarly journals Rupert Brooke’s Neo-Paganism

2016 ◽  
Vol 10 (2) ◽  
pp. 487
Author(s):  
Tomislav M. Pavlović
Keyword(s):  
Sudden Death ◽  
Great War ◽  
To Come ◽  
The Great War ◽  
Rupert Brooke ◽  
Spiritual Pilgrimage ◽  
Lasting Change ◽  
As If

Rupert Brooke (1887-1915) embodies the myth of the Great War but after his sudden death his war poems tended to be disapproved of. His pre war Georgian lines are also dismissed on account of their effete pestoralism and alleged escapism. It seemed as if both the critics and the audience simply failed to understand the subtext of his poems that reveals a magnificent spiritual pilgrimage undertaken by a poet in the age of anxiety. In search of the calm point of his tumultuous universe Brook varies different symbolic patterns and groups of symbols thus disclosing the lasting change of his poetic sensibility that range from purely pagan denial of urban values and the unrestrained blasphemy up to the true Christian piety. Our analysis affirms him the true modernist poet, a cosmopolitan mind, always apt to accumulate new experiences and it is certain that his work will be seen in quite a new light in the decades to come.

‘Not Keeping One’s Place in the Church’

Church Life ◽  
2019 ◽  
pp. 193-211
Author(s):  
Anne Dunan-Page
Keyword(s):  
Eighteenth Century ◽  
Men And Women ◽  
Baptist Churches ◽  
Lay Participation ◽  
Particular Baptist ◽  
Church Life ◽  
Early Eighteenth Century ◽  
To Come ◽  
The Church ◽  
First Admission

This chapter examines the issue of absenteeism in seventeenth- and early eighteenth-century gathered churches through their manuscript church records. Absenteeism was the offence most frequently cited in disciplinary meetings, yet some members who were censured for absence were active supporters of their churches in other ways. This chapter focuses on those members who were never under a sentence of excommunication but who had ceased to be involved in church life and to take communion. It examines the question of Dissenting identity through lay participation, the reasons why men and women ceased to come to church, and what prompted them to seek reconciliation, sometimes decades after their first admission. Evidence is taken from manuscript church records belonging to Congregational, Particular Baptist, and General Baptist churches, spanning the period c.1640 to c.1714.

Introduction

2019 ◽  
pp. 1-11
Author(s):  
Matthew C. Bingham
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
The Self ◽  
Men And Women ◽  
Self Identity ◽  
English Revolution ◽  
The World ◽  
Central Argument ◽  
To Come ◽  
Considerable Body

Ushering the reader into both the world of early modern radical religion and the considerable body of scholarly literature devoted to its study, the introduction offers a précis of what is to come and a backward glance to explain how the proposed journey contributes to ongoing scholarly conversations. After orienting readers to the basic methodological boundaries within which the book will operate and briefly situating the book within the wider historiography, the introduction adumbrates the shape of the work as a whole and encapsulates its central argument. The introduction contends that the mid-seventeenth-century men and women often described as “Particular Baptists” would not have readily understood themselves as such. This tension between the self-identity of the early modern actors and the identity imposed upon them by future scholars has significant implications for how we understand both radical religion during the English Revolution and the period more broadly.

Imagination in the Experience of Art

1972 ◽  
Vol 6 ◽  
pp. 88-105 ◽  
Author(s):  
R. K. Elliott
Keyword(s):  
Philosophical Investigations ◽  
Visual Impression ◽  
Starting Point ◽  
To Come ◽  
The Aesthetic ◽  
As If ◽  
Art Critics

In this paper I shall not be concerned with the imagination as insight, but only with certain aspects of ‘magical’ imagination, that division of the concept which centres upon the notion of an image. In the Philosophical Investigations (II xi) Wittgenstein makes the extremely interesting remark that when a printed triangle is seen, for instance, as a mountain, it is as if an image came into contact, and for a time remained in contact, with the visual impression (i.e. with the object as seen by me). He goes on to say that in a picture a triangular figure may have some such aspect permanently — in the pictorial context we would read the figure at once as a mountain — but that we can make a distinction between ‘regarding’ and ‘seeing’ the figure as the thing meant. I take him to be contrasting those common experiences in which we see a figure in a picture as depicting a person, or as a ‘picture-person’, with those rarer experiences, referred to by art-critics when they talk of ‘presence’, in which it seems as if the person depicted in the picture is there before us ‘in the flesh’, and I assume that, like Sartre, Wittgenstein would suppose that imagination plays a part in experiences of this latter kind. In this paper I shall be concerned not with this sense of the presence of the object depicted, but chiefly with types of imaginal experience in which the image which seems to come into contact with what is perceived is an image of something which is not depicted or described in the work, but which nevertheless achieves a certain strength of presence. I shall consider, also, some types of imaginal experience which we would not naturally describe as an image's coming into contact with what is perceived. Though I shall relate some of the examples I discuss to my starting-point in Wittgenstein, I do not claim to be elaborating Wittgenstein's remark in a manner which would have been acceptable to him. My aims are to give some indication of the nature and scope of the imaginal experience of art, to defend the aesthetic relevance of this type of experience, and to suggest why the imaginal experience of art has been, and still is, valued.

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