scholarly journals „Jedz, laleczko…”, czyli o zaświatowym charakterze niektórych potraw

2021 ◽  
Vol 53 (4) ◽  
pp. 193-206
Author(s):  
Iwona E. Rusek
Keyword(s):  
Fairy Tales ◽  
The Other ◽  
Funeral Ritual ◽  
Additional Information ◽  
Other Hand ◽  
The Dead

The article describes the ritual function of the funeral ritual of feeding the ancestors and the foods associated with it, such as bread, cake, fruit, honey, milk, alcohol, and lentils. On the example of Adam Mickiewicz’s Dziady [Forefathers’ Eve], the author shows the sense and meaning of the food of the dead and the act of “feeding” the spirits. On the other hand, the use of fairy tales is intended to extract additional information about the foods (raspberries, blueberries, strawberries, cabbage, meat) and their role in the text. 

Gendering grief: The Strī Parvan of the Mahābhārata

2020 ◽  
Vol 7 (2) ◽  
pp. 109-120
Author(s):  
Kumkum Roy
Keyword(s):  
The Other ◽  
Small Section ◽  
Other Hand ◽  
The Dead

The article focuses on Śānti Parvan, a small section of the Mahābhārata, describing the scene after the cataclysmic war. It explores the convergences and divergences between masculine and feminine expressions of grief in response to bereavement, as described here. The former appears to be concerned with identities of the dead as kshatriyas and kings. The latter, on the other hand, focuses more centrally on the dead as kinsmen-related through both natal and marital ties, even as there are overlaps.

scholarly journals Wróg dla syna, matka dla wnuka – caryca Katarzyna II i jej relacje z synem i wnukiem

2018 ◽  
pp. 359-372
Author(s):  
Agata Strzelczyk
Keyword(s):  
Fairy Tales ◽  
The Other ◽  
Other Hand ◽  
First Case

This article is about Russian Empress Catherine the Great, her relations with her son Paul and grandson Alexander and role that she played in their upbringings. When Paul, Catherine’s only legal son was born, he was taken from her by Empress Elizabeth. That – and the fact, that Paul blamed Catherine for the death of his father – resulted in the fact, that they never develops proper, familial relation. On the other hand, Catherine was very active and affectionate grandmother, primarily for her oldest grandson, Alexander. She wanted to raise him to become ideal enlightened monarch. She took care of his education and even wrote fairy tales for him herself. Paul hated mother with bitter passion. Alexander loved her, but her influence shaped also his negative features. Catherine had undoubtedly great impact on both her son’s and grandson’s lives, but in the first case – impact was definitely negative and in second case – only arguably positive.

Terjemahan syat Mutashabihat: snalisis fungsi prosedur kksplisitasi

2019 ◽  
Vol 4 (2) ◽  
pp. 154-170
Author(s):  
Nasimah Abdullah ◽  
Lubna Abd. Rahman ◽  
Abur Hamdi Usman
Keyword(s):  
Qualitative Approach ◽  
The Other ◽  
Target Language ◽  
Source Text ◽  
Additional Information ◽  
Other Hand ◽  
Text Content

A mutashabihat verse (anthropomorphism) is a verse that contains many interpretations as it has various dimensions of meaning. Explicitation is one of the translation procedures introduced by Vinay and Darbelnet as an effort to make the target language readers understand clearly the implicit meaning contained in the source text. In other words, the implicit meaning contained in the source text can be revealed into the target text through this procedure. A translator whose role is to transfer the meaning of source text is always bounded by a certain ideology that will influence his translation works. This study aims to examine the forms of explicitation used in the translation of the mutashabihat verses in the Quran and relate them to translators’ ideologies. This study adopted a qualitative approach that led to the analysis of text content of the Quran, which is elaborated descriptively by selecting three (3) words found in the text of the Quran that is related to Allah, as the sample of the study which are )يد( ,)استوى( and (أعين ). The corpus texts used are the Malay Quran translation by Abdullah Basmeih, Mahmud Yunus, and Zaini Dahlan. The findings showed that the translation of the mutashabihat verses used various forms of explicitation to enhance a clearer understanding of the target readers to the meaning of the Qur'an, such as lexical specification, the addition of explanatory remarks, additional information in brackets and footnotes. In addition, studies found that Mahmud Yunus and Zaini Dahlan retained the meaning of translated mutashabihat verses literally without giving an esoteric interpretation of the Quran and sometimes inclined towards the ideology of al-Ta’wil. On the other hand, Abdullah Basmeih was more prone to the ideologies of al-Ta’wil and al-Ithbat bi Dawabit in translating the verses. ABSTRAK Ayat mutashabihat ialah ayat yang mengandungi banyak pentafsiran kerana mempunyai pelbagai dimensi makna. Eksplisitasi pula ialah salah satu prosedur terjemahan yang diperkenalkan oleh Vinay dan Darbelnet sebagai usaha agar pembaca bahasa sasaran memahami dengan jelas makna implisit yang terkandung di dalam teks sumber. Melalui prosedur ini, bentuk makna implisit yang terkandung di dalam teks sumber dapat dizahirkan ke dalam teks sasaran. Penterjemah selaku pihak yang memainkan peranan dalam memindahkan makna sebenarnya sentiasa terikat dengan ideologi tertentu yang akan mewarnai teks sasaran yang dihasilkannya. Kajian ini bertujuan meneliti bentuk eksplisitasi yang terdapat dalam terjemahan ayat-ayat mutashabihat dalam al-Quran serta menghubungkaitkannya dengan pengaruh aliran pemikiran yang dipegang oleh penterjemah. Kajian ini menggunakan pendekatan kualitatif yang menjurus kepada analisis kandungan teks al-Quran yang dihurai secara deskriptif dengan memilih tiga (3) perkataan yang dinisbahkan kepada Allah SWT yang terdapat dalam teks al-Quran sebagai sampel kajian iaitu lafaz )ىوتسا(, )دي( dan (أعين ). Korpus kajian pula adalah teks al-Quran yang diterjemahkan oleh Abdullah Basmeih, Mahmud Yunus dan Zaini Dahlan. Hasil kajian menunjukkan bahawa terjemahan ayat-ayat mutashabihat menggunakan pelbagai bentuk eksplisitasi untuk memberi kefahaman yang lebih jelas kepada pembaca sasaran terhadap makna al-Quran iaitu bentuk pengkhususan, penambahan maklumat, maklumat tambahan dalam kurungan dan nota kaki. Selain itu, kajian juga mendapati bahawa Mahmud Yunus dan Zaini Dahlan mengekalkan makna literal teks al-Quran tanpa takwilan dan kadang-kadang condong kepada aliran pemikiran al-Ta’wil dalam menterjemahkan ayat mutashabihat. Manakala Abdullah Basmeih pula lebih cenderung kepada aliran pemikiran al-Takwil dan al-Ithbat bi Dawabit dalam memberikan maksud ayat mutashabihat.

scholarly journals VII. The aerodynamics of a spinning shell.—Part II

1922 ◽  
Vol 222 (594-604) ◽  
pp. 227-247 ◽  
Keyword(s):  
Quantitative Analysis ◽  
Qualitative Agreement ◽  
The Other ◽  
Suitable Method ◽  
Force System ◽  
Additional Information ◽  
Other Hand ◽  
The Subject ◽  
Angular Oscillations ◽  
Shell Part

In a previous paper the authors, with others, have described observations of the angular oscillations of the axis of a 3-inch shell over the first 600 feet from the muzzle of the gun, and from an analysis of the observations have obtained information about the forces due to the air. In the experiments, shells were fired from two guns giving different degrees of axial spin to the shell. While the shells fired from the gun giving the more rapid spin were all stable, most of the shells from the other gun were slightly unstable, this condition being shown by the much larger maximum yaw developed. These unstable rounds were not analysed in (A) as no suitable method of doing so had then been devised. The analysis of these rounds, about one-third of the number fired, forms the subject of the present paper; the results confirm those of (A) and provide some additional information. The information as to the force system obtained from the stable rounds was confined to yaws up to 7 degrees or perhaps 10 degrees; by analysis of the unstable rounds this information is extended, though in a fragmentary manner, over the region up to 35 degrees of yaw. On the other hand, no information has been derived from the observed damping of the unstable rounds. The observations are, in respect of the damping, clearly in qualitative agreement with the theory and results of (A), but no method has been devised of making a quantitative analysis of the damping.

On the Etymology of ΤΡΑΓΩΙΔΙΑ

1912 ◽  
Vol 6 (1) ◽  
pp. 60-63 ◽  
Author(s):  
Louis H. Gray
Keyword(s):  
The Other ◽  
Greek Religion ◽  
Other Hand ◽  
Introductory Article ◽  
Religion And Ethics ◽  
The Dead ◽  
Griechische Mythologie

In the course of the preparation of the introductory article on ‘Drama’ for Hastings Encyclopaedia of Religion and Ethics, my attention was directed, not only to the problem of the origin of this type of drama, but also to the basal meaning of the Greek term . It need scarcely be said that the rise of tragedy is almost universally connected with the cult of Dionysos (for the most recent exponents of this theory see Miss Harrison, Prolegomena to the Study of Greek Religion, pp. 568 sqq., Cambridge, 1908; Gruppe, Griechische Mythologie und Religionsgeschichte, p. 1436, Munich, 1906; Farnell, Cults of the Greek States, v. 229 sqq., Oxford, 1909). On the other hand, the theory has been advanced by Crusius (Preussische Jahrbiicher, lxxiv. [1893], 394), Hirt (Indogermanen, pp. 477 sq., 727, Strassburg, 1905–07), and especially Ridgeway (Address before the Hellenic Society, May, 1904 [cf. Athenaeum, No. 3995, p. 660, and Maas in Wochenblatt für klassische Philologie, 1904, pp. 779–783]; and particularly in his Origin of Tragedy, Cambridge, 1910), that tragedy arose not from the Dionysos-cult, but from the desire to honour and appease the dead. It is to this latter theory that I strongly incline, and I feel that tragedy can be connected with the cult of Dionysos only through this deity's aspect of a chthonic god who gave release from the lower world and who was later identified with Attis, Adonis, and Osiris (cf. Harrison, chap. viii.; Farnell, chap, v.; Gruppe, pp. 1407–1440).

A Group of Plastic Vases

1938 ◽  
Vol 58 (2) ◽  
pp. 255-255
Author(s):  
Martin Robertson
Keyword(s):  
The Other ◽  
Other Hand ◽  
The Dead ◽  
Formed Part ◽  
Italian Origin ◽  
Made In

(JHS lviii, pp. 41 ff.). Fragments of two vases in the form of dead hares were found at Lindos (Blinkenberg, nos. 1934–5, pl. 85). These are certainly not Corinthian; Blinkenberg describes the fabric of 1934 as ‘ terre rouge fine ’ and that of 1935 as ‘ terre d'un chamois rougeâtre,’ and compares the Copenhagen vase, my no. 12. If these fragments belong to the group, the theory of an Italian origin cannot stand. On the other hand, I pointed out that the dead hare in Berlin (no. 13) has a vase-mouth differing in form and decoration from those of the rest of the group, and also lacks the distinctive colouring of the ears. It is therefore possible to detach it from the group, and suppose that vases of this type were made in two centres besides Corinth. The Lindos fragments lack ears and vase-mouth, and so cannot be definitely placed. If they go with the Berlin vase, the Italian origin of the rest of the group can still be supported. The Lindos head, however, looks in illustration more like those of the vases in Copenhagen and the Vatican (no. 11) than of that in Berlin, while the latter was found at Vulci, and so formed part of the balance of evidence for an Italian origin. The question remains open, but the probability is that the Lindos fragments belong, and so that the group was not made in Italy.

Intimations of Immortality in the Thought of Jesus: The Ingersoll Lecture for 1959

1960 ◽  
Vol 53 (1) ◽  
pp. 1-26
Author(s):  
Henry J. Cadbury
Keyword(s):  
The Other ◽  
Post Mortem ◽  
The Bible ◽  
Other Hand ◽  
Resurrection Of The Dead ◽  
The Dead ◽  
The Individual ◽  
Immortality Of The Soul ◽  
Technical Terms

The historic Ingersoll lectureship on the Immortality of Man requires of the lecturer both some legitimate extension of its terms and some necessary limitation of his field. One is justified in supposing that the pious layman who planned the foundation was not thinking in highly technical terms, but like laymen of our day was thinking of a widely shared belief in the post mortem survival or revival of those who die. If he had wished to specify the indiscriminate persistence of the individual as a philosophical tenet of the nature of man, he could well have used the more familiar term — the immortality of the soul. On the other hand, if he had wished to be faithful to the wording of much of the Bible and to the Church's creeds, he would have spoken of the Resurrection of the Dead.

scholarly journals The checklist of Hungarian bryophytes – second update

2020 ◽  
Vol 51 (2) ◽  
pp. 11-76
Author(s):  
Peter Erzberger ◽  
Beáta Papp
Keyword(s):  
Present State ◽  
The Other ◽  
Insufficient Information ◽  
Additional Information ◽  
Other Hand ◽  
Infraspecific Taxa

According to the checklist presented here, the bryophyte flora of Hungary consists of 2 species in 2 genera and 2 families of hornworts, 146 species and 3 additional infraspecific taxa (1 subspecies and 2 varieties) in 60 genera and 34 families of liverworts, and 521 species and 17 additional infraspecific taxa (5 subspecies and 12 varieties) in 186 genera and 64 families of mosses, in total 669 species, 6 subspecies and 14 varieties or 689 taxa. During the last decade, 40 bryophyte taxa (6 liverworts and 34 mosses) were added to the Hungarian bryophyte flora (Appendix 1.1), and an additional 19 taxa (4 liverworts and 15 mosses) that were already part of the Hungarian flora but not recognised in the previous checklist, are now incorporated in the list (Appendix 1.2). On the other hand, 29 taxa (7 liverworts and 22 mosses) must be excluded according to our present state of knowledge (Appendix 2). Another 13 taxa (2 liverworts and 11 mosses) that are at present not considered members of the Hungarian bryoflora are annotated in Appendix 3. They were not recognised in the previous checklist (with one exception), but are reported from Hungary in some literature and with five exceptions are also recognised in the European checklist. In many cases we have insufficient information to definitely decide upon their status. Annotations to all taxa listed in the three appendices provide additional information. In Appendix 4 to all names of bryophyte taxa that appeared in the previous checklist (except excluded taxa) the presently accepted names are assigned.

scholarly journals Антропология смерти в творчестве Дмитрия Мережковского

2018 ◽  
Vol 167 ◽  
pp. 233-247
Author(s):  
Andrzej Dudek
Keyword(s):  
Human Nature ◽  
The Other ◽  
Fear Of Death ◽  
Dead Body ◽  
Other Hand ◽  
The Dead ◽  
Cultural Forms ◽  
Dmitrii Merezhkovskii

Anthropology of deathin the works by Dmitrii Merezhkovskii Death-related images and thoughts belong to key motives in the works by Dmitrii Merezhkovskii. Biological and metaphysical aspects of death appear to be the most important issues in the analyzed texts. By means of placing plots and themes in various epochs Merezhkovskii revealed the universality of the fear of death and its importance as far as shaping human conscience is concerned. In fictional and essayistic texts either, the Russian writer stressed the importance of the attitude to the dead body, funeral ceremonies and graveyards. That motif focuses value-orien­tations and patterns of culture specific for various communities. Merezhovskii reveals mutual interdependence between death and culture: on one hand — death inspires to express the essence of human nature in cultural forms, on the other hand — death is considered a tool used in order to achieve ideological and political goals. Antropologia śmierciw twórczości Dymitra Mierieżkowskiego Śmierć to jeden z kluczowych motywów twórczości Dymitra Mierieżkowskiego. Wśród różnych obrazów śmierci i myśli o niej w omawianych tekstach istotną rolę odgrywają rozważania o biologicznych i metafizycznych aspektach śmierci. Uniwersalność doświadczenia lęku tanato­logicznego i jego znaczenie dla formowania świadomości człowieka podkreślana jest przez arty­styczne ujęcia ulokowane w kulturowej przestrzeni różnych epok. W utworach beletrystycznych i eseistycznych Mierieżkowskiego szczególne znaczenie mają fragmenty prezentujące rozmaite podejścia do martwego ciała, ceremonii pogrzebowych i cmentarzy. Motywy te ogniskują charak­terystyczne dla różnych zbiorowości orientacje wartościujące i wzory kultury. Między śmiercią i kulturą, jak pokazuje pisarz, istnieje dwustronna zależność: z jednej strony śmierć inspiruje do wyrażenia istoty natury ludzkiej w formach kulturowych, z drugiej — jest wykorzystywana doosiągania celów ideologicznych i politycznych.

scholarly journals Offervilje. Om ret og rimelighed blandt venner og fjender og om at komme og dømme levende og døde i Max Kestners film "I am Fiction"

2013 ◽  
Vol 28 (70) ◽  
Author(s):  
Louise Brix Jacobsen ◽  
Henrik Skov Nielsen ◽  
Rikke Andersen Kraglund
Keyword(s):  
Freedom Of Expression ◽  
Publishing House ◽  
The Other ◽  
The Novel ◽  
Main Character ◽  
Artistic Collaboration ◽  
Other Hand ◽  
The Dead ◽  
The One ◽  
Alleged Victim

Louise Brix Jacobsen, Rikke Andersen Kraglund & Henrik Skov Nielsen: “Selfsacrifice. On Right and Reasonableness among Foes and Friends, and on Judging the Living and the Dead in Max Kestner’s film I am Fiction”In 2011, the performance artist Thomas Skade-Rasmussen Strøbech lost a lawsuit against his former friend and collaborator Helge Bille Nielsen and the publishing house of Gyldendal. This led to a debate about copyright, freedom of expression, identity, and the line between fiction and reality. In 2008, Nielsen or Das Beckwerk published the novel The Sovereign where Strøbech – seemingly without his knowledge and apparently against his will – is the main character. About a year after losing the lawsuit Strøbech and film director Max Kestner gives his version of the events before, during, and after the trial in the film I am Fiction (Identitetstyveriet). This article analyzes I am fiction in order to show how the film on the one hand outlines Strøbech’s version of the events as a story about a victim but on the other hand undermines this version with humor and irony and points towards an artistic collaboration between alleged victim and villain.

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