scholarly journals Paggi, coppieri e imberbi: gli effeminati nella cultura persiana

2021 ◽  
Vol 16 ◽  
pp. 147-160
Author(s):  
Anna Vanzan
Keyword(s):  
Visual Arts ◽  
Central Place ◽  
Persian Language

Mentioned in the Qur’an and ḥadīṯs, described by Muslim treaties of medicine, and celebrated in the literature and visual arts, effeminates have a central place in Persianate culture, as indicated by the fact that Persian language has a rich vocabulary to define them. Poetry also abounds of aesthetic and erotic descriptions that turn effeminates into objects of desire, at time sublimating them with mystic fervour, at other times celebrating them more prosaically and physically. Through a diachronic approach, the essay places these figures in a theoretical, socio-cultural and artistic-literary perspective.

Corporate Sustainability: Challenge to Managerial Orthodoxies

2003 ◽  
Vol 9 (1) ◽  
pp. 2-11 ◽  
Author(s):  
Dexter Dunphy
Keyword(s):  
Case Studies ◽  
Corporate Sustainability ◽  
Central Place ◽  
Marked Contrast ◽  
Sustainability Management

ABSTRACTThis paper addresses the issue of corporate sustainability. It examines why achieving sustainability is becoming an increasingly vital issue for society and organisations, defines sustainability and then outlines a set of phases through which organisations can move to achieve increasing levels of sustainability. Case studies are presented of organisations at various phases indicating the benefits, for the organisation and its stakeholders, which can be made at each phase. Finally the paper argues that there is a marked contrast between the two competing philosophies of neo-conservatism (economic rationalism) and the emerging philosophy of sustainability. Management schools have been strongly influenced by economic rationalism, which underpins the traditional orthodoxies presented in such schools. Sustainability represents an urgent challenge for management schools to rethink these traditional orthodoxies and give sustainability a central place in the curriculum.

Skill transfer in visual arts expertise.

2016 ◽  
Vol 10 (2) ◽  
pp. 147-156 ◽  
Author(s):  
Bonnie L. Angelone ◽  
Richard W. Hass ◽  
Marissa Cohen
Keyword(s):  
Visual Arts ◽  
Skill Transfer

Why A Doc With a Dip Doc?

2011 ◽  
Vol 1 (1) ◽  
pp. 30-34
Author(s):  
Catherine Morley
Keyword(s):  
Nutrition Education ◽  
Visual Arts ◽  
Documentary Film ◽  
Eating Behaviour ◽  
Knowledge And Skills ◽  
Time Out ◽  
Power Differentials ◽  
Research Findings

In 2007, when I began studies toward two diplomas, one in textile arts, and one in documentary film this seeming ‘change of focus’ prompted questions from dietetics and research colleagues: Was I changing careers? What did visual arts and film have to do with dietetics and research? In addition to personal reasons for these studies, I wanted ‘time out’ from consulting and research to develop my knowledge and skills in these artforms, and to explore them as means to broaden the reach of research findings. In this article, I discuss the potential for film and visual arts in dietetics practice and education. Arts-based inquiry and practice offer ways to disrupt power differentials, to question what counts as knowledge and whose/what voices ought to count, to invite reflections on and conversations about meanings imbedded in food and in eating behaviour, and to integrate this knowledge into collaborative, client-centred approaches to nutrition education.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Pre-Linnaean pictures of the secretarybird, Sagittarius serpentarius (J. F. )

2008 ◽  
Vol 35 (2) ◽  
pp. 243-251 ◽  
Author(s):  
RAGNAR K. KINZELBACH
Keyword(s):  
Nineteenth Century ◽  
Sub Saharan Africa ◽  
Careful Examination ◽  
Nile Valley ◽  
Rain Forests ◽  
Roman Emperor ◽  
Persian Language ◽  
The Family ◽  
Other Information ◽  
Sub Saharan

The secretarybird, the only species of the family Sagittariidae (Falconiformes), inhabits all of sub-Saharan Africa except the rain forests. Secretarybird, its vernacular name in many languages, may be derived from the Arabic “saqr at-tair”, “falcon of the hunt”, which found its way into French during the crusades. From the same period are two drawings of a “bistarda deserti” in a codex by the Holy Roman Emperor Frederick II (1194–1250). The original sketch obviously, together with other information on birds, came from the court of Sultan al-Kâmil (1180–1238) in Cairo. Careful examination led to an interpretation as Sagittarius serpentarius. Two archaeological sources and one nineteenth century observation strengthened the idea of a former occurrence of the secretarybird in the Egyptian Nile valley. André Thevet (1502–1590), a French cleric and reliable research traveller, described and depicted in 1558 a strange bird, named “Pa” in Persian language, from what he called Madagascar. The woodcut is identified as Sagittarius serpentarius. The text reveals East Africa as the real home of this bird, associated there among others with elephants. From there raises a connection to the tales of the fabulous roc, which feeds its offspring with elephants, ending up in the vernacular name of the extinct Madagascar ostrich as elephantbird.

Katherine Mansfield and Translation

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Central Place ◽  
Literary Texts ◽  
Katherine Mansfield ◽  
Literary Language ◽  
Specific Interest ◽  
Literary Traditions ◽  
Political Ideas ◽  
Key Features ◽  
Critical Interest

Our understanding of Anglophone modernism has been transformed by recent critical interest in translation. The central place of translation in the circulation of aesthetic and political ideas in the early twentieth century has been underlined, for example, as well as translation’s place in the creative and poetic dynamics of key modernist texts. This volume of Katherine Mansfield Studies offers a timely assessment of Mansfield’s place in such exchanges. As a reviewer, she developed a specific interest in literatures in translation, as well as showing a keen awareness of the translator’s presence in the text. Throughout her life, Mansfield engaged with new literary texts through translation, either translating proficiently herself, or working alongside a co-translator to explore the semantic and stylistic challenges of partially known languages. The metaphorical resonances of translating, transition and marginality also remain key features of her writing throughout her life. Meanwhile, her enduring popularity abroad is ensured by translations of her works, all of which reveal sociological and even ideological agendas of their own, an inevitable reflection of individual translators’ readings of her works, and the literary traditions of the new country and language of reception. The contributions to this volume refine and extend our appreciation of her specifically trans-linguistic and trans-literary lives. They illuminate the specific and more general influences of translation on Mansfield’s evolving technique and, jointly, they reveal the importance of translation on her literary language, as well as for her own particular brand of modernism.

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