Stylistic Homogeneity Research Articles

Функционально-стилистическое своеобразие нормативного речевого жанра Schulordnung der Grundschule (на материале немецкого языка)

In the article the normative speech genre Schulordnung der Grundschule (Internal Regulations for Primary School Students) is considered on the material of the German language in the aspect of the functional and stylistic approach. The hypothesis is tested that the functional and stylistic peculiarity of the genre is the result of the interaction of formal and business style and the colloquial one, which act as the environment for the functioning of the genre and the texts actualizing it in the situation of institutional communication of adult norm-senders and children norm-recipients. The empirical material is represented by 100 text units created in accordance with the genre, the main purpose of which is to regulate the behavior of young schoolchildren while they remain in the educational institution. On the example of three stylistic features of formal and business speech – impersonality, non-emotionality and accuracy – it is shown how multi-level language means of colloquial style penetrating the normative texts violates their stylistic homogeneity, modifies stylistic features, and forms the inter-style nature of texts, reflecting the intention of addressees to take into account the cognitive and psychological characteristics of the younger subjects of the norm in the process of decoding normative messages by them. It is concluded that the genre of Schulordnung der Grundschule, as a way of selecting and combining linguistic means, shows openness towards different style inclusions, giving the addressees the opportunity to freely vary the linguistic means at their discretion in accordance with the ideas of the pragmatic effectiveness of the statement.

Componential Analysis of the Lexeme דֶברֶ (‘plague’) in Ancient Hebrew

The research is part of the compositional analysis started some time ago in the Florentine University. It is based on the application of Coseriu's theories on functional languages within Hebrew lexicographic research. In the corpus of ancient Hebrew (consisting of the inscriptions, the MT and the Qumranic epigraphic material) various functional languages characterized by chronological, dialect, sociological, and stylistic homogeneity have been identified. The research, in the first phase, comments on the occurrences of the דֶברֶ lexeme within the various functional languages in order to offer grammatical and semantic information on the lexeme itself. Subsequently, in the results, he proposes the inclusion in the overall search of the 'dimension' identified for the דֶברֶ lexeme. The reconstruction of the meanings of דֶברֶ will be given by the identification of the distinctive features, meaning by meaning the result of the complementary interaction of semantic features.

THE IMPORTANCE OF 1959-1967 PERIOD IN JAZZ HISTORY

The focus of this study is on the history of jazz music between 1959 and 1967. The 1950s was a period of intense creativity in jazz, defined by emerging styles such as third stream, cool jazz and hard bop. The end of that decade, 1959, is considered to be a watershed year in which some of jazz’s most influential recordings were made and also effected the free jazz movement, which dominated until 1967, known as the "year that jazz music died". Therefore, 1959 becomes a bridge between the stylistic homogeneity of first half of the century and an outpouring of creativity in the second half. The echoes of the pre-fusion period 1959-1967 are still influential on the musical output of jazz in the twenty first century. This study aims to convey the variety of jazz styles between 1950 and 1967 by looking at the foundational elements that create the musical understanding of these styles by means of a descriptive methodology. Keywords: Jazz, Free Jazz, Hard Bop, 1959, Third Stream, Cool Jazz, Avant-Garde

Le donne di Morselli. L’Io narrante femminile nei «Racconti» e la concinnitas morselliana

The essay analyzes Morselli's treatment of female characters in his collection of stories Una missione fortunata e altri racconti and in his novel Incontro col comunista, where the first-person narrator is a woman. The study highlights the thematic and stylistic homogeneity of the stories and Morselli's depiction of the habits and psychology of the newly emerging figure of the career woman in Italy in the 60s/ 70s, with her search for emotional and economic autonomy.

The third dimension of Pliny the Younger’s villa at Laurentum in S. K. Potocki’s vision

The Villa Laurentina project seeks to present Count S. K. Potocki’s brilliant vision of the legendary villa of Pliny the Younger at Laurentum near Rome, first rendered in the 1770s in over thirty colour drawings. This unique work, amazing in its formal and stylistic homogeneity, was produced in Rome, in collaboration with two Italian artists – Giuseppe Manocchi and Vincenzo Brenna – and probably Franciszek Smuglewicz, a Polish painter active in Rome. All the architectural plans, sections of facades and walls of the rooms are provided with scale bars in palmi romani and braccia polacche. The first stage of the project was to transfer the eighteenth-century drawings on to programs used in architectural planning studios. For this purpose, scans of the plates were transferred to a CAD programme, which enabled the plan traces, sections and renditions of the walls to be made. Historical systems of measurement were calculated according to the metric system.

The provenance and technology of a group of Hellenistic colour-coated ware pottery from the excavations at Nea Paphos on Cyprus

Colour-coated ware (CCW) comprises the dominant type of Hellenistic fine ware pottery unearthed during the excavations in Nea Paphos. The detailed and systematic macroscopic examination of this pottery, focusing on typology and fabric, identified a number of macroscopic groups (MG). A total of 164 samples were subsequently selected for further testing and characterisation of these groups, in terms of composition and technology, through a combination of macroscopic examination, refiring tests, chemical and petrographic analyses, and scanning electron microscopy. This paper focuses on two of these MGs (35 samples), addressing the question of their provenance and manufacturing technology. These two groups are typologically and stylistically associated, and very distinctive due to the macroscopic appearance of their fabric, frequent occurrence and confined chronology. The integrated macroscopic and scientific study demonstrated that all 35 samples, representative of these two MGs, form a single compositional cluster. This - together with the typological and stylistic homogeneity observed, indicates a common origin for these samples. These vessels were produced using a similar clay paste; however, the firing regimes and the surface treatments employed show some variation. The place of production of this group still remains unknown, but their distribution suggests that they were produced somewhere on Cyprus or in the Levant.

To the vicinity and beyond! Production, distribution and trade of cooking greywares in medieval Catalonia, Spain

Utilitarian greyware ceramics are one of the most abundant artefacts at rural sites in Medieval Catalonia, Spain, and were manufactured by numerous long-lived production centres. The stylistic homogeneity of this class of pottery has traditionally restricted its contribution to the archaeological interpretation of the region. However, recent scientific analyses of excavated kiln sites are offering new perspectives via the establishment of compositional reference groups for greyware ceramics. Using one such dataset, from the large workshop of Cabrera d’Anoia, this paper examines the distribution and consumption of utilitarian grey pottery at 25 Medieval sites across Catalonia. The study reveals a pattern of several regional production centres distributing their goods to small villages within the surrounding countryside and, in some cases, competing for rural markets. This is interpreted in terms of the mechanisms by which greyware pottery was distributed, as well as the socio-political and religious influences on its supply and demand in Medieval Catalonia.

A kácsi bencés apátság román kori kőfaragványai

The Benedictine abbey of Kács dedicated to St Peter was – as historical and archaeological sources suggest – in place of and around the current parish church on top of the hill in the northern part of the village, once the central lands of the Örsúr clan in the 12–13th century. The founders and advowees of the monastery were probably members of the Örsúr clan, who also built a castle on the edge of the village and in nearby Sály. The more exact foundation date of the Benedictine abbey is unknown. Its first mention „monasterium de Kach” is in a diploma of 1248 summarizing the royal land grants to the bishop of Eger. Its title and religious order –„abbas monasterii Sancti Petri de Kach de ordine Sancti Benedicti” – are known from a source of 1292. After 1347 the monastery came to be possessed by a branch of clan named after Tibold and living in nearby Darócz. After the mid-14th century, practically contemporaneously with the breaking up of the clan into branches and the local segmentation of the clan estates, as well as the impoverishment of the monastery, the abbey seems to disappear from the sources. Its demolition in 1549 was before the appearance of the Ottomans around Eger. In place of the ruins a single-nave baroque church was built in the 1720s, which became the parish church of the re-peopled village in the 18th century. In 1882 the western part of the church was enlarged and a tower built in revival romanesque style. The remains were first taken note of in the 1860s by Arnold Ipolyi (1823–1886), the canon of Eger and a researcher of architectural relics of the Árpád Age around Eger. He thought to have found remains of the medieval monastic church in the small baroque church with semi-circular apse. He described several ornamental romanesque stone carvings made from “red stone” (andesite tuff) on the site. Further medieval carvings were found during the extension of the church on the west in 1882, which went to canon Gyula Bartalos’s (1839–1923) collection. Later he gave away these fragments and thus founded the Lapidary of the archiepiscopal Liceum of Eger. In the 1960s excavations were carried on around the parish church of Kács; its archeologist (Károly Kozák) presumed (on the basis of a much-disputed theory) that the floor-plan of the singlenave church with the rounded apse suggests 11th century origin. At the same time, along the south side of the church a narrower nave section terminated also by a semi-circular apse was unearthed, which might rather suggest a 12–13th century three-aisle layout. To the south of this remain, vestiges of a north-south oriented wing were recovered, which can be identified with the Benedictine monastery building with great probability. The paper reviews the romanesque stone carvings found in Kács (which are partly in museums, partly on the spot and some regrettably lost since the 1960s), our art historical knowledge and collection historical data about them. The group of romanesque carved stone relics display stylistic homogeneity. More exact dating within the 12–13th century is hindered by the fragmentary nature and provincial features of the group. Local analogies of the stylistic features, motifs, moulding shapes can be discerned, among other places, in Szomolya, Boldva, Tarnaszentmária and the local stratum of the workshop of Eger cathedral around 1200. On these bases, the studied ensemble is datable to the last third of the 12th century or the beginning of the 13th. The romanesque fragments of Kács inform us of the cultural level and possibilities of a clan who were mainly locally important even in their heyday in the 12–13th centuries as the modest building of their small Benedictine monastery reveals. That is what lends it its significance, too, for in the regional context it is a little known architectural relic of a well-delimited area hallmarked by extant relics of the Árpád Age such as Feldebrő and Tarnaszentmária, the remains of the Benedictine abbey at Boldva and the Cistercian abbey at Bélapátfalva, or the one-time „chef de’oeuvre” of the 12th century, the cathedral of Eger in the centre of the region, rebuilt around 1200.

HORNED FIGURINES MADE OF STONE FROM THE NEOLITHIC AND CHALCOLITHIC PERIODS AND THE DOMESTICATION OF SHEEP AND GOAT

At the time of writing, fourteen horned figurines made of stone have been uncovered in eight archaeological sites of the Levant and southern Anatolia dating to the Pottery Neolithic and Chalcolithic periods (6th and 5th millennium cal bc). Their striking stylistic similarity, together with their low frequency, requires a detailed analysis. The figurines, produced of locally accessible stone, feature the head of a horned animal with characteristic spiralling horns. No comparable figurines manufactured of a different raw material like clay or ivory have been uncovered. Three typological groups can be distinguished based on the shape of the horns, possibly identified as Capra falconeri (Group 1) and Ovis aries orientalis (Groups 2 and 3) in different degrees of stylization. Recent genetic studies demonstrate that these species were progenitors of the domestic sheep and goat, respectively. Figurines of the second and third typological groups are pierced, which suggests that they were worn as personal ornaments. This paper draws attention to these figurines as a coherent group and suggests some possible meanings in proto-historic society. Their stylistic homogeneity is tentatively ascribed to a shared iconographic language across the Levant at the onset of agriculture.

Revised Moche Chronology Based on Bayesian Models of Reliable Radiocarbon Dates

The Moche civilization of the north coast of Peru is thought to be the first state-level society in South America. Understanding of the emergence, spread, and decline of this society, however, has been based almost entirely on relative ceramic phases, rather than absolute dates. This article reevaluates Moche political dynamics and intersite affiliations using radiocarbon dates associated with diagnostic ceramic styles. The phases of ceramic styles at individual sites are estimated using Bayesian models of published14C dates that have passed explicit selection criteria for reliability. The site-specific phases are incorporated into a regional chronology, which adds additional support to the idea that Moche was a collection of independent polities with complex and nuanced relationships. Based on absolute dates, Moche civilization appears to have spanned between cal AD 200–900, with a significant and socially meaningful increase in stylistic homogeneity between cal AD 600–650.

Constructing the Monk: Francis Poulenc and the Post-War Context

Following the Second World War Francis Poulenc took a keen interest in the music of the French avant-garde and was compelled to react in both his music and his writings to the aesthetic and technical experiments of the younger generation. Although the music of composers like Olivier Messiaen and Pierre Boulez did not elicit a profound change on the substance of Poulenc’s compositional language, he did grow to the realization that the style he had embraced during the interwar period—one generally described as light-hearted and ironic—had become largely out of sync with new critical trends and concerns. Poulenc’s self-conscious aim to assert a personal form of “seriousness” in his works—one constructed with recourse to religiosity, stylistic homogeneity and the ostensibly concomitant values of sincerity and authenticity—formed the backbone of a new tone and persona that emerged following the war and which inflected his entire body of work up to his death in 1963. Poulenc’s desire to reinvent himself during this period forces us to re-examine his works, writings, and elements of his biography for the way in which they were constructed as a means of facilitating the discursive emergence of this new, more “serious,” persona.

Unlimited, Unseen and Unveiled: The Force of the Aorist in Pascal Quignard's Sur le jadis

����� ��� —Jadis, si je me souviens bien […] Rimbaud, Une saison en enfer T HE FIVE VOLUMES THAT MAKE UP Pascal Quignard’s Dernier Royaume, published 2002-2005, are in some respects typical. They rehearse, elaborate, and modify themes and motifs long familiar from the author’s considerable œuvre. Irretrievable loss and transience; silence and the human voice; uterine existence and birth; rhetoric, reading, and musical resonance; horror, nakedness and the constitutive secret—all surge forth over the course of these books, formulated in Quignard’s usual kaleidoscopic and aphoristic style. As expected, deeply personal reflections and autobiographical details commingle with obscure allusions, provocative etymologies, and peculiar anecdotes drawn from the full range of the world’s nearly forgotten cultural legacies. The accumulated material is presented in verbal mosaics that closely reflect Quignard’s creative, wandering abandonment, his renunciation of mastery, his attentive submission to texts, history, and memory. For Quignard’s devoted readers, both the form and content of Dernier Royaume amount to a return to the same, a restitution of the similar, something at once new yet not without a haunting sense of deja lu. That is not to say, however, that Quignard’s pentalogy has simply succumbed to a flat, stylistic homogeneity, or that the work has fallen into a self-scripted routine. Although the terrain may be familiar, it is in no way comforting or reassuring. On the contrary, it affords the recognition of the disruptive power of the same. As Quignard has persistently demonstrated, the return to the same hardly offers respite, for the familiar is often the harbor for that which at any moment may surge forth with frightening force. Like Freud’s Heimliche, the familiar may be the secret (heimliche, geheime) container of das Unheimliche, the uncanny, l’inquietante etrangete. With Quignard, as in the Freudian model, the return to the same may always be

Centrallyrik og interaktionslyrik i 00’erne

Peter Stein Larsen: “‘Centrallyrik’ and ‘Interaktionslyrik’ in the 00s”The aim of “‘Centrallyrik’ and ‘Interaktionslyrik’ in the 00s” is to examine two ways of understanding poetry in Denmark after the year 2000. The term ‘centrallyrik’ refers to texts with a monologic mode of enunciation and stylistic homogeneity. Furthermore, such texts possess a distinct autonomous quality. The antithesis to ‘centrallyrik’ I refer to as ‘interaktionslyrik’. Here, we are dealing with poetic texts in which the lyric speaker interacts with a number of social contexts. Works pertaining to this type of poetry do not possess the same level of autonomy as ‘centrallyrik’. Taking as my point of departure the concepts ‘centrallyrik’ and ‘interaktionslyrik’, I examine different trends and authorships in new Danish poetry. Finally, I discuss the future of new Danish poetry.

The Cambridge History of the Native Peoples of the Americas. vol. 3: South America, pt. 1

The Cambridge History of the Native Peoples of the Americas. vol. 3: South America, pt. 1

Structure et identité des styles céramiques du Néolithique ancien entre Rhône et Èbre

The advance of archaeological research ceaselessly demonstrates the important polymorphism that characterizes the first agro- pastoral communities in Southern France, and, on a larger scale, in the Western Mediterranean. Through the construction of a referential corpus of homogenous ceramic assemblages and the treatment of their stylistic characteristics by quantitative analysis, a new framework is suggested for the Early Neolithic between Rhône and Ebro river. This scheme includes three main chronological phases. In the first one, impressed wares appear along the Languedocian and Catalonian coastlines with various stylistic characteristics suggesting a multiplicity of origins. The second identified phase concerns the parallel evolution of two ceramic styles, Recent Cardial and Early Epicardial, the origins of which are being discussed. The third and last chronological phase shows a stylistic homogeneity in ceramic decoration in opposition to the previous phase. The geographical extension of Recent Epicardial shows, with farming and herding plans, an exploitation of territories more and more distant from the coastline. Finally we observe a consolidation of the economic system and the first steps of exchanges networks which will greatly increase during the fourth millenium before Christ.

Word‐Length distribution in Inuktitut narratives: Empirical and theoretical findings*

This paper deals with the distribution of word length in short native mythological and historical Eskimo narrative texts. To my knowledge, no Eskimo‐Aleut data have been the object of quantitative linguistic investigation so far. Due to the strong linguistic and Stylistic homogeneity of the examined texts it was assumed that these texts can be subsumed under a single law of word length distribution, if word length distribution of a text is considered as a function of certain of its properties, such as author, language, and genre. So far, word length distribution in texts of a wide variety of languages and genres has been demonstrated to follow distributions of the compound Poisson family of discrete probability distributions. In view of the morphological idiosyncrasies of the Eskimo language in general, which are responsible for an unusually high mean word length of about 4.5 to 5.2 syllables per word in the texts, it is interesting to see whether Eskimo texts show a significantly different behaviour with respect to word length. The results demonstrate that the Eskimo data employed in this study can be fitted well by the Hyperpoisson distribution. Two further discrete probability distributions will be deduced from certain morphology‐based assumptions about Eskimo. It turns out that most of the Eskimo data can be fitted by these two distributions. The question to what extent these results point to a more grammar‐oriented theory of word length is also discussed.

Designed Dreaming: Assessing The Relationship Between Style, Social Structure And Environment In Aboriginal Australia

This research tested the 'information exchange' theory of style in which the degree of homogeneity exhibited by artefacts is related to the nature of social interaction among the producers of those artefacts. The theory is based on the assumption that style is both functional and adaptive. Stylistic homogeneity is interpreted as an adaptation to infertile environments, low population densities and widely ramified social networks. Stylistic heterogeneity is interpreted as an adaptation to fertile environments, high population densities and closed social networks. A number of recent studies of the art of various regions (eg Brandt and Carder 1987 for the Horn of Africa; Gamble 1982 for the European Upper Palaeolithic; Morwood 1984 for Central Queensland Highlands) have interpreted changes in the relative stylistic homogeneity of prehistoric art in terms of changes in the nature of social networks. There had been no explicit ethnographic testing of the theory.

Pre-Dorset and Dorset Artifacts: The View from Lake Harbour

Throughout the geographic and temporal range of dorset there is little yet documented to indicate major cultural changes. The Pre-Dorset part of the Paleoeskimo continuum is better known by its lithic artifacts, and to date too few sites have produced non-lithic ones to afford a clear picture of technological development. On the other hand, there is enough available information on the two periods to indicate that some non-lithic artifacts reflect a regularity in the shifting styles of discrete attributes over those thirty-five hundred years involved. Such minor style shifts do not readily appear functional in the sense of producing a more efficiently adaptive weapon, and some seem to entail more manufacturing energy coupled to greater risk of breakage without apparent gain in efficiency. Regardless of the reasons for these changes in style, they appear to occur simultaneously over relatively broad areas and appear to indicate an intensity of information exchange and cultural conformity within such areas. This is most notable within what has been called the core area (see Introduction): a region including North Baffin and Bylot Islands, the Fury and Hecla Straits, Southampton, Coats, and Mansel Islands, both shores of Hudson Strait, and southern Baffin Island at least as far north as Cumberland Sound. As McGhee (this volume) has suggested, there are periods in which this stylistic homogeneity extended into the High Arctic, and different periods in which the Central Arctic as far west as Victoria Island (but not the High Arctic) participated in many of these discrete style shifts.