A Spanish Play on the Battle of Pavia (1525)

PMLA ◽  
1930 ◽  
Vol 45 (2) ◽  
pp. 516-531
Author(s):  
Joseph E. Gillet
Keyword(s):  
Subject Matter ◽  
Point Of View ◽  
Title Page ◽  
The Other ◽  
External Appearance ◽  
Left Group ◽  
The Subject ◽  
The Right ◽  
A Performance

The invasion of Italy by Charles VIII in 1494 became, shortly after, the subject of an égloga by Francisco de Madrid, and the peace of Cambray in 1529, which, it was fondly hoped, would end the Franco-Spanish wars in Italy, was celebrated dramatically by Hernán López de Yanguas. The battle of Pavia (Feb. 24, 1525), falling between these two events and marking the culmination of the struggle, is discussed, from the Spanish point of view, naturally, in the present little play which has not thus far been noticed by the students of early Spanish drama. Like the other two it is a festival-play, combining with a political preoccupation the bucolic tone of the dramatic égloga, a type of which the origin may well be the fifth égloga of Juan del Encina “adonde se introducen cuatro pastores, . . . . y primero Beneito entró en la sala adonde el Duque y Duquesa estaban, y comenzó mucho á dolerse y acuitarse porque se sonaba que el Duque, su señor, se habia de partir á la guerra de Francia; . . . . y despues llamaron á Pedruelo, el cual les dió nuevas de paz. . . . .” The play is short, however, and although possibly intended for a performance or actually performed, it is close, both in subject-matter and external appearance, to the news-sheets in ballad-form which were fairly common at the time. The print which is here reproduced formerly belonged to D. Pascual de Gayangos, and is now in the Biblioteca Nacional, in Madrid. It seems to have been mentioned only by Gallardo. On its title-page a vignette represents a battle fought under massive city- or castle-walls by knights in full armour, on foot, some wielding swords, some daggers, several carrying shields, one of which, on the right, is painted with a large human countenance. In the left group of four warriors one has already fallen, pierced by a sword. Behind the right group of three may be distinguished a throng of helmeted figures in a thicket of tall lances.

An Achievement test in Solid Geometry

1928 ◽  
Vol 21 (3) ◽  
pp. 151-162
Author(s):  
Louis A. McCoy
Keyword(s):  
Secondary School ◽  
Subject Matter ◽  
Achievement Test ◽  
School Mathematics ◽  
The Other ◽  
Good Teacher ◽  
Secondary School Mathematics ◽  
Solid Geometry ◽  
The Subject ◽  
The Right

In the work of teaching secondary school mathematics in a large school where there are as many as twelve different divisions of the same subject, it would be very interesting and indeed very enlightening to see the different grades of work being done. Different teachers have their own pet ways of doing things, of presenting new matter, of conducting recitations, of drilling on old matter, of developing mathematical power in their pupils, etc. And yet they are all striving for the same results. The fact that one teacher's pupils consistently attain better results naturally should put a premium on that teacher's methods, and the work of the department would be improved if some of the other teachers would take a leaf out of the successful teacher's book. Students will often remark “So and So is a good teacher; I get a lot out of his class; he makes things clear; he has good discipline; he certainly gets the stuff over, etc.”An inspector visits the class, notes the attitude of the pupils, the personality and skill of the teacher, and oftentimes is familiar enough with the subject matter of the recitation to see if the pupils are catching and giving back the right things, and then grades the teacher as an Al man, for example. But does the opinion of the boys themselves or the visitor answer the question whether or not the teacher is successful in giving his subject to the pupils? Don't we need something more objective, more tangible, more exact on which to pin our faith? In general the supervisors are hitting it right, also the students, but we think we can do better.

scholarly journals Forensic Science: a Crisis or the Need to Clarify the Subject?

2017 ◽  
pp. 26-32
Keyword(s):  
Forensic Science ◽  
Subject Matter ◽  
Civil Procedure ◽  
Point Of View ◽  
The Other ◽  
Forensic Sciences ◽  
Aim Of Science ◽  
Science In Russia ◽  
The Subject

The article is devoted to clarification of the phenomenon and logics included into the subject of forensic science. The author criticizes attempts of other commentators to extend the subject matter of this science as well as the statements about so-called crisis in forensic science in Russia. From the author’s point of view, there is no reason to speak about a crisis. At the same time, it is necessfry to specify the subject matter of forensic science. The author argues against extension of the subject matter of forensic science to the fields of civil procedure and arbitration. He believes that the main aim of science has been still to detect a trace picture of a crime. So, forensic science is primarily in the field of fighting crime. Only powerful bodies and officials carry out forensic activities. As for the other subjects (such as advocates) – they can only use the achievements of forensic sciences. The author analyzes positions of Russian (including Soviet) and German commentators. The analysis allowed the author to propose the definitions of forensic science and criminalistical (forensic) characteristics of crime.

Salvation in Perspective: A New Interpretation of Piero Della Francesca’s Flagellation of Christ

2017 ◽  
Vol 72 (3) ◽  
pp. 489-523
Author(s):  
Franck Mercier
Keyword(s):  
Subject Matter ◽  
Saint Augustine ◽  
The Other ◽  
Linear Perspective ◽  
Byzantine Empire ◽  
Spiritual Exercise ◽  
Pictorial Space ◽  
The Subject ◽  
New Interpretation ◽  
The Right

An absolute masterpiece of linear perspective as well as a true icon of the Renaissance, Piero della Francesca’s Flagellation of Christ (conserved at the Galleria Nazionale delle Marche in Urbino) is one of the greatest enigmas of the Italian Quattrocento. Uncertainty surrounds not only the date and the original intended location of the painting, but also the subject matter itself. Despite long-running disputes about the overall significance of the picture, and in particular about the identification of the three figures in the right foreground, the Flagellation remains an unsolved puzzle. Continuing in a rich and varied hermeneutic tradition, this article proposes a new interpretation of this famous painting, diverging both from a political reading (based on the supposed links with the Byzantine Empire) and from the other traditional solution which argues for the ordinary nature of Piero’s iconography. The analysis of the geometrical pictorial space and its potential theological significance leads to a reconsideration of the painting as a visual meditation on temporality inspired by Saint Augustine, as well as a singular spiritual exercise.

scholarly journals AKIVAIZDAUS TAPATUMO KERAI

2009 ◽  
Vol 6 (1-2) ◽  
pp. 84-101
Author(s):  
Nerijus Čepulis
Keyword(s):  
Phenomenological Analysis ◽  
Point Of View ◽  
The Other ◽  
Western Thought ◽  
Traditional Notion ◽  
The World ◽  
The Face ◽  
The Subject ◽  
The Right ◽  
The Way

Šiuo straipsniu siekiama permąstyti tradicinę tapatumo sąvoką. Į tapatumą Vakarų mąstymo istorijoje buvo žiūrima visų pirma ontologiniu požiūriu. Moderniųjų laikų posūkis į subjektą susitelkia į Aš kaip bet kokio tapatumo centrą, pagrindą ir gamintoją. Fenomenologinė analizė tapatumo ištakas pagilina iki Aš santykio su išore, su pasauliu, su kitybe. Tačiau kitybė, tapdama sąmonės turiniu, nėra absoliuti kitybė. Būdas, kuriuo tapatumas, įsisavindamas savinasi pasaulį ir naikina kitybę, yra reprezentacija, siekianti akivaizdumo. Reprezentacija kaip intencionalus įžvalgumas bet kokį objektą lokalizuoja sąmonės šviesoje. Šviesa ir regėjimas – tai paradigminės Vakarų mąstymo tradicijos metaforos. Straipsnyje siekiama parodyti, kodėl ir kaip šviesa bei akivaizdumas netoleruoja absoliučios kitybės. Iš akivaizdumo kerų tapatumas atsitokėti gali tik per atsakingą santykį su Kitu, tai yra etiką. Čia tapatus subjektas praranda pirmumo teisę kito asmens imperatyvo atžvilgiu. Begalybės idėja, draskydama totalų tapatumą iš vidaus, neleidžia jam nurimti ir skatina atsižvelgti į transcendenciją, į kitybę, idant ji būtų laisva nuo prievartinio tapimo egocentrinio tapatumo turiniu ir manipuliacijos auka. Atsakomybė kito žmogaus veido akivaizdoje eina pirma akivaizdaus suvokimo ir įteisina jį.Pagrindiniai žodžiai: tapatumas, akivaizdumas, kitybė, socialumas.Charms of Evident IdentityNerijus Čepulis SummaryIn this article I seek to rethink the traditional notion of identity. In the tradition of Western thought identity was viewed first and foremost from an ontological point of view. After the turn toward the subject, the I is thought of as the centre, the base and the producer of any identity. Phenomenological analysis deepens the origin of identity to the relation of the I to the world, i.e. to the alterity. Yet the alterity, by becoming the content of consciousness, is not an absolute alterity. The way, in which identity assimilates, possesses the world and annihilates alterity, is representation. Representation seeks evidence. Representation as intentional perceptivity localizes every object in the light of consciousness. Light and vision are paradigmatic metaphors of the traditional Western thought. Hence in this article I seek to show why and how light and evidence do not tolerate absolute alterity. Identity can be sobered from the charms of evidence only by responsible relation to the Other, i.e. by ethics. Here identical subject loses the right of priority in front of the imperative of the other person. Idea of infinity worries total identity from within. Infinity does not permit identity to quiet down and induces to heed transcendence and alterity. Only in this way alterity can escape the violence to become a content of egocentrical identity and the victim of manipulation. Responsibility in the face of the other person precedes evident perception and legitimates the latter.Keywords: identity, evidence, alterity, sociality.

scholarly journals Marking Sacred Time and Sacred Place in The Grave of Sunan Pandan Aran

2018 ◽  
pp. 67
Author(s):  
Abraham Usman
Keyword(s):  
Qualitative Research ◽  
Subject Matter ◽  
The Other ◽  
Sacred Place ◽  
Other Hand ◽  
Religious Narrative ◽  
The Subject ◽  
To Come ◽  
The Right ◽  
Holy Place

This study analyzes Islamic relations and traditions in the Pilgrimage ritual debate. The subject matter of the study emphasizes the aspects of timing and place of pilgrimage as important in the zairah procession. Through qualitative research, with the setting of the Tomb of Sunan Pandan Aran, data was obtained from interviews, observation and documentation. This study succeeded in revealing the grave pilgrimage debate in the contestation of traditional and modernist Islam. On the other hand, the community believes that the right time and day are important elements in the success of the pilgrimage. Making a pilgrimage in the middle of the night, especially on Tuesday and Friday nights becomes a determinant in the pilgrimage ritual. They feel fear, admiration, love, joy. These religious feelings are important things that make them miss, so they always want to come back again and again. The tomb of Sunan Pandan Aran is believed to be a holy place, the place of prayer for pilgrims is granted, and is considered sacred and mystical as a religious narrative of the community.

Transformative Power in Performance

Matatu ◽  
2020 ◽  
Vol 51 (1) ◽  
pp. 79-93
Author(s):  
Yvette Ngum
Keyword(s):  
Sexual Violence ◽  
Subject Matter ◽  
Personal Experience ◽  
Critical Reflection ◽  
The Self ◽  
The Other ◽  
Transformative Power ◽  
The Subject ◽  
Female Bodies ◽  
A Performance

Abstract Despite the crucial role that performative arts play in enabling progressive transformation, education, healing and psychological protection for abuse on certain female bodies, often the intentions or agenda of such performances habitually outweighs the transformative potentials therein. In the context of this paper, my association with transformation is related to power in a performance that invites participants to reclaim the broken pieces of their lives as a form of agency. Tears in the Mirror, is based on my personal experience narrated in a performance-based project on sexual violence. In my position as the artist directing the play, I took down notes over a period of one-week rehearsal with the actor, representing my experience. The autoethnographic performance method for information sourcing was used with the actor. I used observation and discussion in the process and each stage reflected a continuing process of integrating the ‘doing’ of autoethnography with a critical reflection upon the subject matter. My findings showed that victims of sexual violence are more likely to identify with narratives of other victims during a performance. This is because in viewing the image of the actor on stage one is simultaneously viewing the self in the mirror of the other.

scholarly journals The Subject Matter of the Lawsuit as a Feature Individualizing the Lawsuit

Lex Russica ◽  
2021 ◽  
pp. 61-72
Author(s):  
V. N. Ivakin
Keyword(s):  
Subject Matter ◽  
Point Of View ◽  
Legitimate Interest ◽  
Legal Relationship ◽  
The Subject ◽  
The Law ◽  
Definition Of ◽  
The Right ◽  
Substantive Law

The question concerning the concept of the subject matter of the claim, which is one of the features that individualize the claim, is one of the most disputable and unsettled in the doctrine devoted to the claim. A number of legal scholars define the subject matter of the lawsuit as the substantive law claim of the plaintiff against the defendant. However, this definition cannot be accepted as correct, since, first, petitioners bring claims that cannot meet the above requirement (for example, claims for recognizing transactions as invalid), and, second, the statements of claim filed with the court contain demand (request) for the court, rather than a claim against the defendant.According to another point of view, the subject matter of the claim should be understood as the subjective right indicated by the plaintiff and the corresponding obligation or civil legal relationship in general, about which the court must make a decision. It is also impossible to agree with the above definition of the subject matter of the lawsuit in view of the fact that, as A. A. Dobrovolsky correctly noted, the law provides that the statement of claim must indicate the plaintiff’s claim rather than the disputed legal relationship. We should also agree with the argument given by G. L. Osokina, according to which the logic and practice of the statement of claim for the defense dictate the need to include a subjective right or legitimate interest in the basis of the claim, and not in its subject matter. According to the point of view of K. S. Yudelson, the subject matter of the claim is the requirement to the court to protect the right in the form that corresponds to the stated requirement. However, since this definition is too general, it cannot be used to resolve the issue of the equivalence of claims. The definition of the subject matter of the claim as protection (V.N.Scheglov) or a method of protecting the right (G.L. Osokina) also have the similar drawback. The most correct is the definition of the subject matter of the claim as the protection of a subjective right, freedom or legitimate interest through the specific application of one of the methods provided for by law or the direct exercise of the right that the plaintiff asks the court about.

A peculiarity in Haydn’s early symphonic work: Form and possible sources of the first movement of Symphony Hob. I:21

2010 ◽  
Vol 51 (3-4) ◽  
pp. 419-428
Author(s):  
Ioannis Fulias
Keyword(s):  
Subject Matter ◽  
18Th Century ◽  
Point Of View ◽  
The Other ◽  
Joseph Haydn ◽  
Sonata Form ◽  
Unique Form ◽  
The Subject ◽  
Structural Case ◽  
Symphonic Work

Among the first forty symphonies that Joseph Haydn wrote up to 1765, Symphony Hob. I:21 has a slow first movement that does not resemble any other, since it is not based on the usual mid-18th-century ternary or binary sonata form; its structure would be better described as a fantasy with allusions of sonata form, and this special structural case should be placed somewhere in the middle of two other notable “capriccios” from the same period: the first movement of Keyboard Trio Hob. XV:35 (a pure sonata form) and the Keyboard Capriccio Hob. XVII:1 (a pure fantasy on a single theme). Yet, the unique form of Hob. I:21 / I does not seem to be absolutely novel in the “pre-classical” repertoire, since some slow movements from Carl Philipp Emanuel Bach’s “Württemberg” Sonatas (Wq. 49 nos. 1, 3 and 6) display several common characteristics with it. Thus, the present paper, focusing on similarities between C. P. E. Bach’s and J. Haydn’s compositions during the 1760s, aims at the broadening of the subject-matter of one’s influence on the other, not only from a chronological point of view but also in terms of an interrelation between different music genres.

scholarly journals Intersubjectivity in Maria Stepanova's poetic cycle «Spolia»

2021 ◽  
Vol 1 (24) ◽  
pp. 52-57
Author(s):  
Alexei S. Bokarev ◽  
◽  
Yulia V. Tkachuk ◽  
Keyword(s):  
Speech Production ◽  
Point Of View ◽  
The Other ◽  
The World ◽  
The Subject ◽  
The Individual ◽  
The Right ◽  
The Cost ◽  
Modern Artists ◽  
The Relationship

The article considers M. Stepanova's cycle of poems «Spolia» (2015) from the point of view of the relationship between the author and the hero, whose outlooks are clearly getting closer at the non-classical stage of poetics development. The authors analyse the artistic strategy where «I», being the subject of the utterence, delegates the right to speak and/or the right to make judgements to the «other», «connecting» to the «other» for the sake of self-expression. Spolia is based on the complex of meanings connected with the author's consciousness, directed towards the author, but not autonomous in relation to the subject: replication (usually not marked graphically) and «alien» intention (understood as value expression directed at the protagonist) are the most popular forms of speech production in the cycle. The author's powers are thus limited to recording judgements addressed to the heroine and critically interpreting Stepanova's texts (the poet's works must be read as meta-lyrics), and to organizing the space for dialogue. The «voices» of both classical and modern artists (from A. Griboyedov and P. Tchaikovsky to Ven. Yerofeyev and G. Dashevsky) are included in the subjective sphere of «Spolia» as inseparable but not merging with the author's voice. When the purpose of the intertext comes down to expanding the boundaries of the personality, which is no longer understood as a «center», but as a «radius» of the artistic world, it is natural to disregard the individual biography of the writer. The poet's «passport» name, according to Stepanova, is a «synonym» for the epicenter of pain: unity with the world is only bought at the cost of suffering, which opens up to the author the possibility of «no-self-speaking», rare in poetry

THE METADIALOGUE CONCEPT IN ITS LINGUISTIC ASPECT

2019 ◽  
Vol 29 (5) ◽  
pp. 721-726
Author(s):  
Yu.V. Kupriyanova ◽  
I.M. Vasilyanova
Keyword(s):  
Subject Matter ◽  
Dynamic Structure ◽  
Point Of View ◽  
Semantic Relations ◽  
Human Cognition ◽  
Main Research ◽  
Key Points ◽  
Research Findings ◽  
The Subject ◽  
Linguistic Aspect

The article summarizes the key points in the development of the metadialogue phenomenon from a linguistic point of view. Some stages of the development of this concept and the difficulties associated with its structuring are covered. The main research findings of modern foreign and domestic experts on its study are considered. Some characteristics of the subject of the research from the standpoint of various pragmatic installations are given. On the basis of the dynamic structure of the metadialogue development, certain principles of semantic relations connected with the dialectical nature of human cognition are presented. Excursion into the history and evolution of the concept is presented. Several types of formulation of the subject matter are given. In accordance with the goal of speech exposure, internal problems of the development of metadialogue are highlighted and the critical points related to solving these problems are described. The rules of metadialogue flow are explained at the level of steps, the success/failure of which directly affects the final result of communication. The prospects of development of the concept research in accordance with various types of discourse are indicated.

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