Stylistic Traits Research Articles

A Four-Armed Goddess from Ancient Chorasmia: History, Iconography and Style of an Ancient Chorasmian Icon

This article examines a miniature silver vessel characterised by two elements: a depiction of a four-armed female deity embossed in its emblema, and a Chorasmian inscription externally incised around its rim, with a date relative to a specific “Chorasmian Era”. The representation of the goddess is analysed iconographically and stylistically and considered in the light of the available archaeological data. It is argued that besides her iconography, which shows an array of stratified Central Asian and Indian elements, the stylistic traits of the four-armed goddess clearly indicate cultural exchanges between Ancient Chorasmia and the Eastern Roman Empire during the sixth century AD, at the end of which the specimen can be dated.

Svetslav Basara columns in the daily Danas

The task of this research paper is primarily the analysis of Svetislav Basara's texts, published in the Serbian daily newspaper Danas, in the seven-day period. These texts are subject to frequent discussion in terms of their content, and also they are discussed by experts as they are subject of the constant dilemma whether we can call them columns at all, because of the style and language of this author. Today, considering the everyday struggle that we can recognize among traditional media facing the global challenges, column is one of the few journalistic genres which is still successful in maintaining a high level of popularity even in the print editions. This, however, makes room for a multitude of different kinds of authors who would like to be called a columnist today. This caused many considerations related to the problem of numerous efforts to identify and define some standards for texts which are to be regarded as columns. The ambition of this paper is aimed at achieving several objectives. Initially it is motivated by a desire to indicate normative and the stylistic traits of the column as journalistic genre, and then to present the individual analysis of narrative discourse within the text in order to make an assessment whether and to what extent they meet these requirements. This task is the wider framework of the analysis of individual analysis of Basara's texts, because it is oriented towards showing the demands that the good columnist must satisfy; at the same time providing the answer to some of the theoretical and professional issues and dilemmas, by using this sample as one where we can see all the complexities of a column as a journalistic genre. The conclusion notes the complexity of the style of the author, whose texts are sometimes indeed hard to classify under the requirements of a column. On the other hand, the author takes the position that they are almost always in the prescribed normative requirements of the genre. The conclusion is, in fact, that the main obstacle in the process of interpretation of Basara's texts and their genre specification is just his specific style and language. Therefore considering the genre requirements, Basara's texts can be seen and defined as a sort of 'upgraded" column, journalism and literary "bridged-construct" and a textbook example of a kind of a text often used by the relevant experts in order to determine all the characteristics of a column as a journalistic genre.

Assumed identities: Transgression and desire in Donatella Maiorca's cinema

This article analyses Donatella Maiorca's films Viol@ (1998) and Viola di mare/ Sea Purple (2009) in the context of contemporary Italian and transcultural debate about cinema and sexual and gendered identities, with reference to cinematic devices and gender theory. It places Maiorca's film-making in the broader context of national cinema and illustrates her films' common themes and stylistic traits, in spite of their numerous differences. It focuses specifically on the construction, deconstruction and metamorphoses of gendered identities and bodies in both films. Viol@ and Sea Purple present provocative explorations of transgressive sexual practices: they engage critically with the interconnection between society, power and gendered identities in the eras they depict and in modern Italy. I argue that the protagonists are simultaneously subjected to powerful normative gazes and act as subjects of the gaze and desire. By embracing unstable gender identities and non-normative sexualities, these characters acquire a degree of agency and self-determination and thereby the future possibility of becoming. This article aims to contribute to current transnational conversations on Italian women's cinema and cultural representations of gender and sexuality in Italy.

Book Review: The Rhetoric of Certitude: C. S. Lewis's Nonfiction Prose

The Rhetoric of Certitude: C. S. Lewis's Nonfiction Prose. By Gary L. Tandy. Kent, OH: Kent State University Press, 2009. ISBN 798-0-78338-973-0. Pp. xiii + 135. $39.95. In The Rhetoric of Certitude, Gary Tandy has produced a detailed study of the nonfiction rhetoric of C. S. Lewis. Considered as a contribution to the growing body of Lewis scholarship, this book's success is mixed. Mr. Tandy notes that a study of the rhetoric of Lewis is challenged from the outset in multiple ways. First is the size of the corpus--dozens of titles. Second is the number and diversity of the genre of those titles: literary scholarship, theology and apologetics, novels, poetry, children's fantasy, science fiction, essays, and letters. Third, and trickiest, is the seductive tendency of Lewis' writing to draw the critic away from matters of style into the substance of his arguments. Tandy addresses the first two challenges by determining to examine only(!) Lewis' nonfiction prose, encompassing the literary scholarship, the theology and apologetics, and essays. Even though this sub-set of Lewis' work is still substantial in size and quite diverse in audience, he considers that it is critical to a comprehensive assessment of Lewis' rhetoric to look for evidence of stylistic unity across a wide array of Lewis' work. Tandy states: Because of this natural separation of Lewis's into these seemingly exclusive categories, many critics have failed to recognize the unity of Lewis's rhetoric and have failed to identify those stylistic traits common both to his literary criticism and religious apologetics. (x) Tandy addresses the third challenge by simply refusing to be seduced by the content of Lewis' writing. Philosophers such as I consider this fairly odd, but Tandy has a job to do, and he sticks to it resolutely--to a fault, but that will be discussed below. This brief but loaded book is divided into five chapters. The first chapter, 'The Stance of the Last Survivor': C. S. Lewis and the Modern World, sets Lewis as a thinker and writer in the intellectual context of the twentieth century. Tandy states that Lewis viewed himself as a holdover from an earlier era, the Christian era, which Lewis thinks ended around the early nineteenth century. The first chapter sets this crucial perspective for understanding Lewis' work. Chapter 2 describes Lewis' theory of rhetoric, gleaned from his comments about language, communication, and style in his nonfiction prose (xii). This chapter includes a review of the basic categories of Lewis' theology and apologetic approach, because his view of rhetoric is so deeply entwined with his overall theory of language. In chapters 3 and 4, Tandy analyzes Lewis' practice, taking the reader through a fairly comprehensive catalog of rhetorical categories. In chapter 5, Tandy ultimately argues for the essential stylistic unity of Lewis's literary criticism and religious prose (xii). Three earlier books aim to analyze Lewis' prose: Chad Walsh's The Literary Legacy of C. S. Lewis, Richard Cunningham's C. S. Lewis: Defender of the Faith, and James Como's Branches to Heaven: The Geniuses of C. S. Lewis. All three are very good books with their own strengths, and Como, a professor of rhetoric at City University of New York, York College, has deliberately organized his book according to rhetorical categories. As far as offering an overall understanding of the excellence of Lewis' writing, ComUs brilliant essay is certainly a far more thoughtful contribution than Tandy's. Tandy's work, however, offers an extremely detailed and comprehensive basic rhetorical analysis, sticking painstakingly to that more specific and particular task. Thus, Tandy's volume has its clear contribution to make to the scholarship on Lewis. At the basic level of scholarship--the accumulation, cataloging, and marshaling of relevant primary and secondary material on the subject--Tandy's book is a significant resource in two dimensions. …

Women of Influence in Contemporary Music: Nine American Composers (review)

Women of Influence Contemporary Music: Nine American Composers. Edited by Michael K. Slayton. Lanham, MD: Scarecrow Press, 2011. [xvi, 494 p. ISBN 9780810877429, $75.] Music examples, discography, index. After reading Michael K. Slayton's Women of Influence Contemporary Music: Nine American Composers, I wanted to create a spreadsheet that would allow me, one glance, to view and weigh and compare the composers' collective musical influences, stylistic traits, daily composing rituals, educational backgrounds, preferred genres, approaches to teaching composition, notational eccentricities, relationships with performers, pre-compositional planning, life challenges and life changes, inspirations, aspirations, and thoughts about being composers who happen to be female. I didn't actually build the spreadsheet, of course, but what I found most engaging about Slayton's book was that it lent itself to precisely such multiple comparisons, highlighting, as it does, an admirable and impressive diversity of experience and approach, of perseverance and serendipity, of innovation and inspired musical juxtapositions. The nine American living composers (listed both here and the book alphabetically by surname) are Elizabeth R. Austin, Susan Botti, Gabriela Lena Frank, Jennifer Higdon, Libby Larsen, Tania Leon, Cindy McTee, Marga Richter, and Judith Shatin. The volume's portraits (two of which are authored by Slayton) are structured identically. Each includes a biography, music examples, an interview with the composer, and a coda, which provides the briefest summary of the composer's current activities and projects. End notes, a list of works, a discography, and a source list follow. The authors, addition to Slayton (Vanderbilt University), include Carson Cooman (Boston), Deborah Hayes (Uni versity of Colorado, Boulder, emerita), Donald McKinney (Interlochen Arts Aca demy), Tina Milhorn Stallard (Uni versity of South Carolina), James Spinaz zola (University of Indianapolis), Sharon Mirchandani (Westminster Choir College of Rider University), and Judith Lochhead (State University of New York, Stony Brook). Slayton indicates that the authors were chosen in collaboration with the composers themselves (p. xiii); at least two of the authors were or are engaged additional research focusing on the composers with whom they are paired this volume. Reflecting upon the multiplicity of compositional approaches, musical influences and heterogeneous backgrounds, Karin Pendle, author of Women & Music: A History (2d ed. [Bloomington: Indiana Uni - versity Press, 2001]) provides the book's foreword, entitled Who Are These Women? She notes that the composers featured not only 'women composers' but 'American composers' (p. ix) and reminds us that the many women who failed to forge successful careers (p. ix) composition failed not necessarily because they were lacking talent, but because they lacked access (italics Pendle's). Depen - dent variously upon geography, era, and class, they lacked access to the public, access to performers, access to technology, and access, perhaps most importantly, to education. The composers unanimously express a clear commitment to the triumvirate of audience, performer, and the younger generation they currently mentor and teach. Each has searched for and found inspiration for composition arenas other than music, including, but certainly not limited to, theater (Botti), personal heritage (Leon and Frank), literature (Austin and Richter), science, social theory and religion (Shatin) (p. 406), themes of social awareness (Larsen), and visual art (McTee and Higdon). The composers' stylistic characteristics and sonic tools are as wide-ranging as their individual sources of inspiration and represent the entirety of approaches to composition the twentieth and twenty-first centuries. Several, including Shatin and McTee, make use of electronic and digital media as well as employing their acoustic palette, while others, like Richter, remain resolutely acoustic. …

The Transparencies of Marisa Madieri: Autobiography as Farewell

This article analyses Marisa Madieri’s narrative with particular attention to its stylistic traits. It focuses on her autobiographical style, characterized by nostalgia and—at the same time—a puzzling and enchanting detachment. Madieri’s writing closely looks at the earthly and the physical world from ground level in its minute and marginal aspects, while, at the same time, consistently transcending it. The interplay of memory and farewell, lightly but tenaciously woven into the narrative, informs it with a vertical and metaphysical perspective. Lightness and precision constitute the stylistic elements of her prose, and can be detected in her account of the exodus from post-war Yugoslavia, as well as in her floral fable “La radura,” or in the meditative space of her “La conchiglia.”

Checking Some Wellesley Index Attributions by Empirical ‘Internal Evidence’: The Case of Blackie and Burton

Since its inception, the Wellesley Index has been a great resource for scholars wanting to know the identity of the numerous anonymous contributors to the nineteenth-century periodicals. However, when all the available external evidence was exhausted Wellesley attributors began to rely on internal evidence, and some of these attributions are now being queried as unduly speculative. This is the case with the attribution of certain articles in Tait’s Edinburgh Magazine to John Stuart Blackie and John Hill Burton, two Scottish contributors in the 1830s and 40s, where the evidence is, as Eileen Curran noted in The Curran Index, often ‘tenuous.’  Developments in computational stylistics over the last thirty years now offer statistical techniques for testing such doubtful attributions. Use of the Burrows Method, based on an author’s relative usage or non-usage of common function words, allows the researcher to isolate an author’s distinctive stylistic traits and to use these to compare his known articles with others of more doubtful provenance and to make informed judgments about the likelihood of his authorship of these. These methods were used to test the authorship of eight articles attributed to Blackie and eight attributed to Burton. The use of function words in the doubtful articles was compared to that in six articles reliably attributed to Blackie and ten reliably attributed to Burton and then to that by contemporaries also writing for other major periodicals. It was found that only four of the Blackie articles tested and two of those by Burton appear to have been correctly attributed in the Wellesley Index.

Polkabilly. How the Goose Island Ramblers Redefined American Folk Music. By James P. Leary.

Forged from an eclectic mix of ‘music from Europe’ and ‘American country music’ (p. 31) the folk music of the Upper Midwest confounds attempts at definition by its origins and historical authenticity. Repeatedly inflected and reinvigorated by elements from popular music of the day, ranging from minstrelsy to rock and roll, it combines elements of Irish, Polish, Scandinavian, and German stylistic traits with blues, gospel, and Native American musics. James P. Leary calls this music ‘polkabilly’, a term designed to capture both its rustic American and European folk roots. Lacking the oppositional political credentials of blues and gospel, or the perceived European historical lineage of Appalachian music, it expresses a comfortable, ‘old time’, down-at-home localism that is not easily appropriated by an agenda set in terms of the politics of race and nation: Like middle-aged, middlebrow, middle of the road, middle class and middle American, the words suggest at best, reliable stolidity, at worst dull mediocrity. … Lacking the antiquity of the East, the tragedy of the South, or the destiny of the West, the Midwest is most often conceived of as an enduringly average region in the American imagination: a vast flat land to fly over where, despite rusty factories and troubled farms, small towns and neighbourhoods persist and family values remain intact (p. 3).

Translator Style

Significant advances, notably by Baker (2000) and Munday (2008), have been made towards identifying individual stylistic traits in the work of translators in recent years. However, there is no clear theoretical and methodological framework to guide research in this area. This paper attempts a step in this direction by proposing a working definition of translator style and exploring the methodological difficulties of finding convincing evidence of a consistent and coherent stylistic profile in the work of a translator. The article examines the different methodological approaches adopted in previous work and tests the working definition proposed here through a corpus-driven study of the styles of two British translators, Peter Bush and Margaret Jull Costa. The analysis focuses on the use of emphatic italics and foreign words and is supplemented by examining the use of the connective that after the reporting verbs SAY and TELL.

Extended Play: Reflections of Heinrich Isaac's Music in Early Tudor England

The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac—his three-part Benedictus and the four-part La my—together with a number of other Franco-Flemish “songs without words” typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his three-part Der Hundt) and Alexander Agricola (his three-part Cecus non judicat de coloribus) that were also transmitted in textless format. The fact that these latter two pieces were published in Hieronymus Formschneider's Trium vocum carmina (Nuremberg, 1538) while Cornyshe's Fa la sol was published in XX Songes (London, 1530) shows that this type of repertoire was still prized several years after the composers' deaths. Analysis of musical connections between the work of Isaac and Cornyshe, as evident in pieces such as those from Henry VIII's Book—in particular, techniques employed by the composers to extend the structures of their “songs without words”—sheds fresh light on the reception in England of Isaac's music and that of his continental contemporary Agricola. Relevant considerations include the context in which these pieces were anthologized together and the introduction into England of viols similar to those Isaac may have known in Ferrara in 1502, when La my was composed. Such pieces are representative of a typical courtly repertoire that developed into the riches of the later Tudor instrumental consort music.

Media Review: Writing about Music: An Introductory Guide

Richard J. Wingell. Writing About Music: An Introductory Guide(4th ed.). Upper Saddle River, N.J.: Prentice Hall, 2009. Xvi + 166 pp. Appendix, Index. Softcover, ISBN 978-0-13-615778-6, $49. University students must develop the necessary skills to write intelligently about the subject they study. This scholarly form of writing requires in-depth knowledge of the subject area and understanding of how to concisely communicate in written form. While each subject area poses its own unique set of challenges, music majors must learn to use words to describe an art form that is aural and temporal in nature. Richard Wingell's manual, Writing About Music: An Introductory Guide has long been the standard writing guide for undergraduate and graduate music majors. The fourth edition of this manual keeps pace with recent changes relating to perceived needs among university students, discusses new technological developments in music research, and adjusts to the new conventions listed by the latest editions of writing guides. Wingell, professor emeritus of music history at the University of Southern California, currently works as a freelance editor for Norton Press. Along with Writing About Wingell has co-authored an introduction to music research text, authored chapters in multiple music history books, and written research articles published in the Quarterly Journal of the Music Library Association and Renaissance Quarterly. The first chapter, Why We Write About Music, describes the types of writing that university music majors tend to encounter during their course work and addresses how the writing process helps the student develop critical thinking skills. Through writing, students are able to clarify and refine their thoughts while engaging in music analysis and historical research, creating program notes, or simply completing essay questions. Students face multiple challenges in their work as they attempt to use words to describe music, choose their focus and wrestle with the idea of whether or not one can judge art. When done improperly, Wingell emphasizes that writing can often result in literary fluff without descriptive substance, may overuse metaphor, and may over emphasize a composer's life history rather than analyze his/her music. Novice writers fall into the trap of analyzing all musical styles using the same techniques or they give play-by-play descriptions of music selections rather than making connections between and within pieces. Chapter two focuses on the stylistic analysis of music with the primary purpose of encouraging young researchers to consider ways to craft new ideas about the music they are considering. According to Wingell, well-written stylistic analysis is more than simply providing harmonic and structural overviews of a musical selection. While descriptive analysis is important, researchers are expected to move beyond entry-level thinking in order to place a composer or a work within a larger musical context. This requires researchers to compare and contrast the qualities found in a work to describe stylistic traits of a composer or a musical period. According to Wingell, researchers must consider numerous factors when analyzing music, such as formal and structural traits, relation to contemporary styles and world events, and the composer's intent, inspiration, and influence. The last section of the chapter provides an array of musical examples from various periods and suggests appropriate analytical approaches a researcher may pursue. By using examples from widely differing styles and genres, Wingell demonstrates a need to adapt analytical approaches to accommodate stylistic issues that emerge from the music. Research is the first phase for creating papers on musical topics. Chapter three, Getting Started: Research, addresses many of the difficulties students encounter at this stage of writing. Wingell begins by discussing the importance of narrowing a topic, stressing that students must decide based on which primary and secondary sources are available and on the type of topic students tend to study. …

Textual Entanglement: Jean Rhys’s Critical Discourse

Textual Entanglement: Jean Rhys’s Critical Discourse J. Dillon Brown (bio) Jean Rhys has led multiple lives in the literary critical world, so much so that Jean D’Costa sees fit to begin her entry on Rhys in Fifty Caribbean Writers with a warning about the oddly fissiparous nature of Rhys criticism, noting that several different critical constituencies “lay claim to Jean Rhys” as residing squarely in their field (390).1 Delia Konzett, too, has emphasized how the complex nature of Rhys’s work has “given rise to ambivalent assessments in her literary reception, which has difficulties in classifying her work” (64), while Pierrette Frickey maintains that Rhys’s own “double identity” as both West Indian and European causes a “polarization of criticism” into camps treating her in the preestablished terms of either a Caribbean or continental literary tradition (1). This last binary, broadly discernible as a divide between critics seeing Rhys either as a modernist (European) or a postcolonial (Caribbean) writer, is prominent and long abiding, and it frequently coalesces around the discussion of two of Rhys’s novels: Voyage in the Dark, her 1934 novel portraying the experiences of a young West Indian woman trying to survive on her own in England, and Wide Sargasso Sea, her 1966 novel depicting the early life story of the Bertha Rochester character from Charlotte Brontë’s Jane Eyre. These two novels can be seen to employ themes and formal features that resonate importantly with readers sympathetic to both modernist and postcolonial approaches, making them ideal proving grounds for [End Page 568] this seemingly perennial controversy surrounding the proper critical categorization of Rhys. Voyage in the Dark has traditionally attracted attention from scholars of modernism. The novel, episodic and fragmentary in its narration, employs a disjointed interior monologue to portray the thoughts of its protagonist, Anna Morgan. In addition to being published in the midst of what is now understood as the (late) modernist period, Voyage in the Dark appears to emblematize Virginia Woolf’s insistence that modern fiction acknowledge that “Life is not a series of gig lamps symmetrically arranged; but a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end” (287–88).2 More recently, likely as a result of its explicitly colonial themes, Voyage in the Dark has also been considered through a postcolonial lens by critics such as Emery, Carol Dell’Amico, Teresa O’Connor, and Urmila Seshagiri.3 On the other hand, Rhys’s 1966 novel, Wide Sargasso Sea, has become, in Peter Hulme’s words, “firmly established as an essential text for West Indian literature [and] for ‘third-world’ or post-colonial writing more generally” (10). The book’s intertextual retort to Brontë’s novel has been seen to represent a classic instance of writing back to the colonial center, a paradigmatic postcolonial gesture intended to highlight the self-serving blind spots and ideological dispositions of imperial cultural production. Nevertheless, Wide Sargasso Sea also shares a number of stylistic traits with Rhys’s more chronologically modernist works, employing a shifting, multiperspectival narration to portray its characters’ interior thoughts (and thus exposing their grounding in unreliable memories and misapprehensions) in order to address the narrative and ideological shortcomings of a Victorian fictional form. Thus, critics, including Carole Angier, Saikat Majumdar, and Thomas Staley, have often viewed Wide Sargasso Sea as explicitly modernist, while one scholar, Jane Neide Ashcom, has even made the case that the novel in fact has more of a kinship with high modernist fiction than Rhys’s earlier work (Aschom 7).4 In the context of the critical discord over the proper literary classification of this pair of novels, it seems important to note a fundamental resemblance between the two works: their shared thematic and formal interest in exploring the structuring effects of cultural, verbal, and written production. Both Voyage in the Dark and Wide Sargasso Sea focus intensely on books and textual representation and display a distinct self-consciousness about writing and interpretation. Ultimately, both suggest the pragmatic necessity of a careful and consistent hermeneutic of suspicion when approaching any system of signs, whether in life or on the page. Indeed, this concern with discursive construction...

Dva ranoromanička ulomka crkvenog namještaja pronađena u četvrtastoj kuli kaštela Tnin

U članku se obrađuju dva nova ranoromanička ulomka crkvenog namještaja pronađena tijekom građevinske i konstruktivne sanacije na kninskoj tvrđavi, točnije sjevernom kaštelu Tnin 2006. godine. Prilikom razgradnje četvrtaste kule, koje je išlo do zdrave osnove, pronađena su dva uzidana ranoromanička ulomka, očito kao spolija u zidu. Detaljnom analizom utvrđeno je da ta dva ranoromanička ulomka pripadaju rekonstruiranom pilastru čija su dva originalna ulomka pronađena 1934. godine u bedemima kninske tvrđave. Do sada su, što u objektima kninske tvrđave, što u objektima ispod kninske tvrđave, pronađena i dvadeset četiri ulomka crkvenog namještaja. Upravo jednom od njih posvećuje se pažnja, a to je rekonstruirani pilastar kojemu su dva ulomka originalni dijelovi, a preostala dva rekonstrukcijom su nadomještena. U radu se prvi put objavljuje podatak o pronalasku dvaju ulomaka istoga pilastra koji se kod S. Gunjače navodi pod rednim brojem 9, a kasnije dobiva muzejski inventarni broj 2133. u MHAS-u. Stoga je logično primijetiti da bi i ova dva novopronađena ulomka pripadali istoj crkvi. Također se navode i komparacije s prethodno pronađenim ulomcima s kninske tvrđave, koje je svojevremeno i V. Delonga analizirala s obzirom na postojanje natpisnog polja na njima. Riječ je o pet ulomaka crkvenog namještaja, i to onih s natpisnim poljem, te ih s obzirom na stilske karakteristike datirala u vrijeme rane romanike. Iz tog vremena poznata je crkva sv. Stjepana s kraja 11 ili prijelaza u 12. st. Na kraju se daje i osvrt na radionički krug kojemu bi mogli pripadati obrađeni ulomci.

Arheološki nalazi dekorativno-funkcionalnih elemenata obuće iz kasnoga srednjeg vijeka u Kaštelima

Autor analizira nalaze dijelova gotičke nošnje na području Kaštela, koji su otkriveni tijekom recentnih istraživanja srednjovjekovnih grobalja na tom prostoru u zadnja dva desetljeća, a koji se odnose na primjerke koji uz utilitarni imaju i dekorativni karakter. Sustavnim iskopavanjima dvaju grobalja otkriveno je više takvih predmeta, od kojih dio in situ, što je omogućilo precizniju funkcionalnu determinaciju istih, te putem stilsko-tipoloških paralela utvrđivanje istih vrsta predmeta i među dislociranim nalazima u grobovima s višekratnim ukopima, kao i paralele u grobljima susjednih područja u srednjoj Dalmaciji. Radi se o župskim grobljima razvijenoga i kasnog srednjeg vijeka, koji su nastali oko predromaničkih crkava sv. Jurja od Putalja i sv. Jurja od Raduna. Uz razne kopče koje su prišivane na odjeću, po prvi put su otkrivene i kopče za cipele i to u dvije tipološke inačice.

Bronzealderens keramik – En kilde til forståelse af kommunikation og social interaktion i bronzealderen

Bronzealderens keramik – En kilde til forståelse af kommunikation og social interaktion i bronzealderen

Inferring population histories using cultural data

The question as to whether cultures evolve in a manner analogous to that of genetic evolution can be addressed by attempting to reconstruct population histories using cultural data. As others have argued, this can only succeed if cultures are isolated enough to maintain and pass on a central core of traditions that can be modified over time. In this study we used a set of cultural data (canoe design traits from Polynesia) to look for the kinds of patterns and relationships normally found in population genetic studies. After developing new techniques to accommodate the peculiarities of cultural data, we were able to infer an ancestral region (Fiji) and a sequence of cultural origins for these Polynesian societies. In addition, we found evidence of cultural exchange, migration and a serial founder effect. Results were stronger when analyses were based on functional traits (presumably subject to natural selection and convergence) rather than symbolic or stylistic traits (probably subject to cultural selection for rapid divergence). These patterns strongly suggest that cultural evolution, while clearly affected by cultural exchange, is also subject to some of the same processes and constraints as genetic evolution.

A munkácsi görög katolikus püspökök arcképcsarnoka

Abstract The portrait collection of the Boksay Jozsef Museum of Art of the County of Transcarpathia has several unexplored items of Hungarian and European relevance. Among them there are portraits of fifteen Greek catholic bishops of Munkacs (Mukacevo) and of dignitaries of the Order of St Basil the Great. Some of the portraits originated from the Basilian monastery at Munkacs-Csernekhegy, the others were still decorating the dining hall of the episcopal residence in Ungvar (Užhorod) in 1942. In addition to portraits of eight bishops of the 19–20th centuries, the series contains the portraits of Bazil Taraszovics (1634–1651), Jozsef De Camelis (1690–1706), Gyorgy Blazsovszky (1738–1742), and two each of Manuel Olsavszky (1743–1767) and Andras Bacsinszky (1772–1809). The stylistic features suggest that the half-length portrait of bishop Bazil Taraszovics (1643–1651) was probably painted between 1643 and 1648. The portrait of the bishop of Galician descent belongs to the so-called Sarmatian portrait type of...

Fictional Landscapes And Social Relations In Nineteenth-Century Broadside Ballads

The broadside ballad constitutes one of the oldest forms of popular culture in Europe and America. Even though our understanding of the genre, especially in North America, has been shaped by texts drawn from oral tradition, many of its thematic and stylistic traits reveal its origins in the modern popular press. The article examines the fictional landscapes of “whiteletter” ballads as represented in G. Malcom Laws catalog, especially categories “M” through “P.” These ballads all have love relationships as their central theme, and yet the spaces occupied by the principal characters and the manner in which the relationships unfold show a marked concern for larger social issues, such as separation through emigration, interclass tensions, and the influence of bureaucratic institutions.

Quantifying Phraseological Style in Two Modern Chinese Versions of Don Quijote

Quantifying style, or stylometry, has always been one of the oldest traditions in Western literary studies. It seems, however, that such a well-explored and long-standing scientific methodology has been rarely applied to translations, as opposed to original literary texts. The present paper, which focuses on the stylistic use of phraseology in two contemporary Chinese versions of Cervantes’ Don Quijote, shall endeavour to address the two current problems in corpus-based translation stylistics, i.e., the lack of debate on the question of semantically-rich linguistic units in quantifying style of translations, and the need for testing the use of methods and techniques adapted from corpus statistics in detecting stylistic traits in translations. It is hoped that this study, which aims at expanding the current methodological framework for translation stylistics, will help in the development of this growing area of research in Translation Studies.

Journey as Stasis: A Reading of Montale's Early Poetics

Journey as Stasis:A Reading of Montale's Early Poetics Andrea Ciccarelli Most scholars of twentieth-century Italian poetry agree that Eugenio Montale, beginning with his Ossi di seppia (hence forward Ods),1 departs from the traditional Petrarchan line of Italian poetry, and shows instead a clear interest in Dante's less evocative and more precise, specific poetic language. In his first collection, Montale chooses, in fact, a concrete vocabulary, well suited to describe and depict the dry Ligurian landscape that forms such an essential part of the work. [End Page 213] While his poetic investigation does not entirely reject the more elusive traditional lyric code—revived by Leopardi as well as by the French symbolists—it clearly shows the need for a more realistic tone and a linguistic variety that resembles the Dantean manner, as already noted from some of the first important essays on Montale.2 While many critics may therefore agree that Montale had a real interest in Dante's poetic language, the depth and the purpose of his interest are not as easily discerned or agreed upon. We might, for example, bear in mind that, when identifying sources, the critical danger is either to over-evaluate the significance of the source for the understanding of the poetics of an author, or to assume an aesthetic connection which, at times, is either a matter of convenience or of historical memory.3 In the case of Dante, for instance, poets as different as Carducci or Marinetti both identified the author of the Divine Comedy as their poetic and ethical model in the span of just a few years.4 Furthermore, the recovery of a classical source is often filtered through other readings. Leopardi, for instance, represents the watershed for a certain type of evocative language that can be traced back to Petrarch. At the same time, Pascoli's and D'Annunzio's poems (especially, for the former, Myricae [1891–1900] and Canti di Castelvecchio [1903]; and for the latter Alcyone [1904]) present many stylistic traits that are normally attributed to the classical tradition, making it difficult to identify correctly the sources of numerous twentieth-century poets whose works have been affected by these two major figures.5 In other cases, reversing chronology as well as national boundaries may guide us to a proper understanding of the utilization of specific sources. Ungaretti's general predilection [End Page 214] for a Petrarcan style, for instance, can be better interpreted if we consider that it was his early appreciation of Mallarmé that brought him to favor the more evocative trend of the Italian lyric tradition (see Ossola 239–305). Or, for another example, Manzoni scholars cannot determine whether or not his many Virgilian images come directly from the Latin poet—whose works Manzoni knew and appreciated immensely—or from posterior re-elaborations of Virgilian passages by Dante, Tasso, Parini or Monti.6 Linking a modern poet to a classical source can therefore often result in an easy but misleading critical exercise, unless we verify the depth of the relationship between the source and the modern poet. In the case of Montale and Dante, it is important to ascertain whether the former chooses to incorporate, in his own works, Dante's main poetic ideas, such as the theme of the journey as a new learning experience, the thirst for discovery as an antidote to resignation, the incessant hope for change, the drive to reach a different ethical world. In this regard, some scholars have indeed tied Montale's consideration of Dante to the former's own interest in poetic allegory; others have instead either denied such a connection with Dantean allegory, or have formulated it more simply, arguing that Montale's attention to Dante is mostly a stylistic one, with little or no ideological incorporation of Dante's aesthetic world.7 In this article, through the examination of a few key poems of Ods, I intend to revisit the issue of Montale's Dantism, believing that a closer reading of some of his early works will prove that, while the author of Ods certainly looked to Dante as one of his main models, he did not accept the major characteristic of Dante...