Any study that concentrates on language change should assess factors such as historical context and social structure. 1However, approaching the phonetic and phonological changes that took place during the Early American Republic (1776-1861) is a complex task since it was a period of considerable social, political and economic reorganization 2 Additionally, although many biographies and studies on selected issues have been written, the scholarship about the period remains unconnected and fragmented. 3 As such, this article exposes the theoretical and methodological preparation for a research on sound change during the Early American Republic by discussing how to undertake data collection and how to approach data analysis.

When we discuss the concept of place, we mostly do so geographically, or as a metaphor. That is, by representing what we think about by geographical notions. This paper avoids this literary tendency by discussing directly the role of actual place in W.G. Sebald's The Emigrants. Not only that, While still acknowledging melancholy's main role in the novel, and the way in which it is discussed in Freud and through Freud et al, the paper takes this melancholy to be a phenomenological spring board for explicating the centrality of place within The Emigrants's melancholy. In order to do this, the paper discusses the role of place within major phenomenological thinkers like Husserl, Heidegger and Merleau-Ponty and the way their discussion dissolves the classical dichotomy of subject/object. However, as this dichotomy is dissolved, it becomes clearer as to the way places do not only belong to human-beings – simultaneously, humans belong to places. Through explicating this, we come to understand in The Emigrants what makes it such a tragic story. While the emigrants find their home to be rooted in places and memories of places, these places carry at the same time a mood of being-at-home and alongside that, a sense of ruins which haunt. Thus they become trapped between the conflicting urges of running toward and running from these memories. A dilemma that is finally solved only, in the novel, through death.

The affiliation of the Polish migr composers with Polish culture has often raised doubts which would probably not have occurred had those composers stayed in Poland. These doubts arise from the fact that in some cases it is difficult to determine those composers cultural identity because their nationality is not that obvious. However, the composers in question never renounced their Polish identity and this fact is evident in their music. One of such composers was Aleksander Tansman (1897-1986). He was of Polish-Jewish origins and spent most of his life as an migr in foreign lands, from 1938 being a French citizen. Although his works were not performed in Poland for a long time and were consistently neglected by music critics, the composer unambiguously defined his affiliation with Polish culture through his music. Semiotics has turned out to be a helpful tool in studying Tansmans cultural identity since his music can be perceived as a kind of cultural discourse. The composer used signs: non-musical (composers own statements, titles, dedications, historical figure) and musical ones (quotes, musical genres, stylization, imaginative folklore, musical symbols), which have the attributes of Polishness. The aim of the paper is to prove the thesis that music may be a means of composers cultural identification and this can be done by applying a semiotic perspective to the study.

This article will further develop E. Ann Kaplans originally American categorisation of motherhood in media in order to outline two important maternal categories in contemporary Irish film: the woman who wants to be a mother and the regretting mother. In the last chapter of her book Motherhood and Representation Kaplan defines six maternal categories. According to her, these serve as a "basis for later researchers to argue from." 1 To further develop this foundation in an Irish context, a textual analysis of Carmel Winters films Limbo, 2 and Snap 3 will serve as a starting point in this article. Winters complex female characters offer an especially valuable example of maternal representations in Irish film. The analysis will show how the woman who wants to be a mother in Limbo and the regretting mother of Snap need a more defined description of motherhood in film than Kaplans categorisation offers. The woman who wants to be a mother in Limbo is positioned in a liminal space between old and new values, negotiating her maternal identity during a time of economic change in Ireland. A victim of sexual abuse, the regretting mother in Snap is unable to tolerate emotional or physical closeness, which is represented on screen through close-ups of hands. Society, however, blames the mother for the ills of her son who must also deal with the sexual abuse by his grandfather. The newly developed categories of the regretting mother and the woman who wants to be a mother show the necessity to adapt Kaplans American categorisation to an Irish film context.

This is one of several interrelated articles on the Colossus of Rhodes submitted to ATINER journals. No conclusive literary or archaeological evidence exists to demonstrate the exact height (or configuration) of the Colossus, one of the Seven Wonders of the Ancient World, or the nature of any pedestal on which the giant statue, the largest in the Greek world, was mounted. This study gathers together for the first time all the relevant ancient and modern evidence concerning these questions, offering fresh interpretations of the material and determining that the Colossus was at least 110 feet tall and stood on a three-tiered pedestal some fifty feet high--a combined height of 160 feet. A related study printed in another ATINER journal on the Colossus' location, places the statue, a votive offering to Helios, God of the Sun and the island's patron deity, at the apex of the acropolis of Rhodes city among the island's other most sacred temples and monuments atop what is today known as Monte Smith. The latter, approaching a height of about 300 feet in antiquity, would have elevated the Colossus some 460 feet above the sea below and also made it an ideal light tower for vessels approaching and leaving Rhodes' five harbors. A number of photographs and illustrations complement the inquiry.

Paris: Brentano, 1927), 26. 2. By "philosophy" is here meant the metaphysical views that concern the ultimate nature of the universe, who, or what, created it (if it was created at all), how it Vol.6, No. 3 McDonough: Melvilleʼs New Seafarerʼs Philosophy in Moby-Dick 212 Melvilleʼs acquaintances lamented that he often wanted to talk less about his novels than he did about Greek philosophy, in particular Plato and Aristotle. 3 The paper argues that, apart from some very general convictions about the nature of the universe, Moby-Dick does not state any precise philosophical theses.Rather, it belongs to that rare genre of philosophical works, including Wittgensteinʼs Tractatus and some of Heideggerʼs later writings, that attempt to set the limits of philosophy. 4 There are four main claims in the paper.The first is that Moby-Dick advances the Ancient Greek microcosmic view that living organisms, like human beings and whales, are miniature copies of the whole cosmos. 5 The second is that understanding ourselves and the cosmos is beyond the limits of human comprehension, indeed, that it is suicidal to attempt to fathom ultimate cosmic truths.The third, concerning that "old quarrel between philosophy and poetry," 6 is that Moby-Dick is more akin to poetry than to philosophy as ordinarily understood.The fourth is that Moby-Dick distinguishes between the traditional conception of rational philosophy, at home the land, and a more daring poetic philosophy that emerges from life on the chaotic seas of life.The paper first discusses the philosophical significance of Ishmaelʼs role in Moby-Dick.This is followed by a discussion of Moby-Dickʼs microcosmic View.The paper then argues that Moby-Dick holds that knowledge of the cosmos and microcosms is unattainable and dangerous for human beings.On this basis, the paper argues that Moby-Dick is really a kind of philosophical poetry rather than a novel proper.The paper proceeds to argue that Moby-Dick attempts to disclose a kind of poetic truth that is more fundamental than propositional truth.Finally, the paper argues that that Moby-Dick expresses a new kind of "seafarerʼs" philosophy that anticipates Nietzscheʼs view of philosophy in Thus Spake Zarathustra.was created, for what purpose, and in what sense, if any, it is good or beautiful.Derivative philosophical issues concerning proper behavior, taste, and the like are not at issue here.3. Mark Anderson, "Platonic and Nietzschean Themes of Transformation in Moby-Dick," in Melville Among the Philosophers, ed.Cory McCall and Tom Nurmi (Lanham, MD: Lexington Books, 2017), 27-31.4. Wittgensteinʼs Tractatus (6.54, 7) holds that there are "mystical" things that cannot be "said" in words.Heidegger states that Heraclitus and Parmenides where not philosophers because they were "the greater thinkers."Heidegger sees metaphysical thinking as a decline from superior thinking of the Pre-Socratics.[

Global Africa comprises all those parts of the world where more than 100,000 individuals of African descent live: the African continent, European countries that had significant colonial interests or trading networks (UK, France, Portugal, Holland), and those parts of the western hemisphere where European colonial and mercantile interests fostered the forced movement of people from Africa (the United States and Canada, the Caribbean, and portions of Central and South America--notably Brazil and neighboring countries). Global Africa in the context of Arts in a Global World includes the work of visual and performing artists who carried their cultures with them from Africa between the 16th and 19th centuries, those artists of African heritage in the Diaspora whose work focuses on the history of Africans in the Americas or who are inspired by African traditional art as well as those artists whose work appeals to an international market, though they remain resident in Africa, and those who are transnational (born in Africa but living and practicing elsewhere) or bi-cultural (of African descent but whose lives have been split between Africa and the Diaspora). This essay provides a summary overview of traditions in each of these categories, focusing in the last analysis on an international fashion designer of African descent (Ade Bakare) whose career trajectory epitomizes the situation of international artists of African heritage functioning in a global art economy today.

Public space exists as part of the democratic process. Whether that space is architectural and relates to real estate, institutional in the instance of public schools, or social with respect to forums and programs that service and support entire communities, the presence and vitality of space for the public is critical to the communication and conflict ultimately required to ensure the survival of a democracy. Without this space critical thought, discourse and protest are stifled. As a visual artist and sculptor, my research questions the politics of artistic and social space in an age of globalization and privatization. My studio practice probes visual ways to represent the increasing disappearance of public space and the social ramifications attendant to that. My scholarly work is anchored in research and works by Rosalyn Deutsche, Evictions: Art and Spatial Politics, and Branko Milanovic, lead economist at the World Bank’s research division and author of The Haves and the Have-Nots. My research also includes selected works on globalization and articles detailing the role of emergency managers in determining fiscal policy and economic strategy at the local level within the United States. This arc of inquiry has produced questions that include but aren’t limited to the following: In light of the pressing global economic issues of recent years, what causes the current and unusual reimagining of what constitutes a post-recession economic emergency at the local level? What role do current U.S. state-level governments now have in determining how and for whom those fiscal emergencies are mediated at the local level? My work investigates the recent and vastly expanded role of emergency managers now routinely installed by Michigan state governor Rick Snyder. I question whether this practice also serves as a test for other states seeking, through the politicization and privatization of public space, to diminish the influence of a vibrant and at times contentious public, and the heretofore democratically determined territory that it occupies.

In a brilliant article for the exhibition Picasso and Greece, organized by the Basil and Elise Goulandris Foundation at the Museum of Contemporary Art, Andros in 2004, Niki Loizidi, Professor of Art History at the University of Thessaloniki discusses the role of classicism in Picasso’s art as a counterpart to Modernism. According to Loizidi, Picasso juxtaposes the character of the Apollonian youth in some of his works from the early 1930’s to the figure of the Minotaur, a symbol of modernist distortion. “The juxtaposition of the Minotaur-Picasso and the Apollonian figure of the young girl may embody the symbolic juxtaposition of two formative turning points of western art: the classical tradition and the modernist revolution”. The final death of the Minotaur is interpreted as a victory of classicism over modernism. It is argued that in spite of Picasso’s decisive contribution to the modernist revolution, the artist did not hesitate to honor a classical structuring of reality, a declared “truth” that he searched for throughout his life. Loizidi’s argument is corroborated in the present paper by examining it under Timothy Clark’s (2013) recent proposal that Picasso’s work (and in particular cubism) involved a form of classical framing of reality: He states: “Physical reality is something the mind or imagination can only reach out to incompletely, for objects resist our categories; and painting can speak to this ultimate non-humanness of things very well; but only by giving their otherness the form of a certain architecture, a certain rectilinear—indeed, ‘cubic’—constructedness.” While classicism and the presence of the Apollonian frame declare victory in the end, as Loizidi contests, I would claim that this still allows Picasso to establish the permanence of an ungovernable reality (the monstruous Minotaur) as an external “untruth,” that is simply impossible for the human eye to fully conceive. It is only through the infrastructure of classical art that reality can even be thought of, it is the only “truth”. To quote Clark, “Painting’s ultimate coldness is only excusable (only nontrivial) because it follows desire’s path. It mimics the process—the geography—of splitting and projection, but only by having those movements of mind and feeling become nothing but moves in an aesthetic game. ‘Expressiveness’ cedes to choreography.” The paper examines a range of artworks by Picasso from the late 1920’s and 1930’s that were clearly under the influence of Greek art, and analyses the recurrring presence of “monsters” in these compositions as instantiations of a reality (“untruths”) that Picasso finds it difficult to accommodate to his classical framework. In the end, Picasso must accept a partial defeat. As the artist openly declared: “We all know that Art is not truth. Art is a lie that makes us realize truth, at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies. If he only shows in his work that he has searched, and re-searched, for the way to put over lies, he would never accomplish anything.”