Cup Of Wine Research Articles

Wine Cups and the Early Chronology of Apollonia Pontica: Archaic Pottery from the Island of St. Kirik

Abstract In the last 15 years, the excavations at the island of St. Kirik offshore from Sozopol (ancient Apollonia Pontica) on the Bulgarian Black Sea coast have yielded thousands of fragments of Archaic Greek pottery, including a sizeable collection of drinking cups from the last decades of the 7th and the early 6th centuries BC – North Ionian hemispherical cups (“bird bowls”, “meander bowls”, etc.) and early types of South Ionian cups with everted rims (“Ionian cups”). The comparison with the assemblages from Istros, Berezan, Orgame, and Taganrog, all of them presumably earlier than Apollonia – with a traditional foundation date c.610 BC, reveals practically an identical repertoire. A couple of “anomalous” fragments that are even earlier, from the middle or third quarter of the 7th century BC, have parallels only at Berezan. The paper argues that there are grounds to suggest an earlier chronology of Apollonia’s foundation, closer to that of the other early Ionian apoikiai.

There are Fantastic Flowers at our home! And here is the Memory about Balsam Apple (Tcheonzamun 849th-864th)

French Missionary Dallet (1874) introduced ‘the thousand character essay’ to Western World. The thousand character essay is called ‘Tcheonzamun’ in Korea. He showed in his book the tens of Chinese character of ‘the thousand character essay’. Generally, the Koreans believe that Tcheonzamun was created by Chinese people (Han, 1583). What is the reason of inserting Chinese characters of Tcheonzamun into his book? Did Dallet (1874) think that Tcheonzamun was created by Koreans? It is considered that Dallet (1874) respected the culture of Korea. Recently, several researchers suggested that Tcheonzamun can be translated on Korean grammar and on Korean pronunciation (Park et al., 2021 a; Park et al., 2021 b; Kim, 2023). It is also thought that the subject of this masterpiece in Eastern Asia (Tcheonzamun) is the love between the husband and the wife (Kim, 2023). There are two methods for the translation of Tcheonzamun. The first method is through Korean pronunciation of Chinese characters on Tcheonzamun (Park et al., 2021 b; Kim, 2023). The second one is through the meaning of Chinese characters on Tcheonzamun (Park et al., 2021 a). The Tcheonzamun poem was translated with the second method through the meaning of Chinese characters (Park et al., 2021 a) for the present study (Tcheonzamun 849th-864th). The range of this work is the continuous 16 letters of Tcheonzamun (Tcheonzamun 849th- 864th). The title of this work is ‘There are fantastic flowers at our home! And here is the memory about balsam apple (Tcheonzamun 849th-864th)’. The theme of this research is as follows. 853-856 接(Zeob) 杯(Bae) 擧(Geo) 觴(Sang). My husband! It is not so. The wine is not such an important thing in order to get the favorable time. The joy is the only necessary thing for the happy feast, so the joyfulness is the most precious thing. My husband! At first, you must raise (擧) the wine cup (觴). And then, you can push your hands (接) in order to take the wine and in order to share (杯) the pleasure of the meeting together.

Design Ritual into Modern Product: A Case Study of Chinese Bronze Ware

Bronze wares make up some of the most important bronze artifacts in ancient China’s Xia, Shang and Western Zhou dynasties. They carry rich historical, cultural and artistic information. In order to enable modern people to reflect on the ancient through products, an important research topic that must be considered is how to carry out innovative designs with bronze ware and how to add value to the development of cultural creative industries so as to promote sustainable cultural development. This study puts forward a research framework for the innovative design of bronze ware. Based on analysis of relevant cases, such as a purple copper antique wine vessel, the “Qing Niao” (“Blue Bird”) asking love wine cup and the HIBIKI ware wine glass, the study summarizes the innovative design strategy of modern transformation design of bronze ware. From the perspectives of functional attributes, cultural symbols, cultural identity and emotional resonance, the study finally proposes three design ideas: antiqued design, simplified design and reconstructed design. The study presents a research model which still needs to be verified in future studies. We hope that the model can integrate the principles of sustainability into the modern transformation design of cultural relics.

“D.G. Messerschmidt’s Cups”

We describe two metal vessels, procured by looters and offered to D.G. Messerschmidt, who in 1722 traveled across southern Krasnoyarsk Territory. A bronze cup, judging by a description in researcher’s journal and by the accompanying drawing, resembled Old Turkic specimens. However, the hunting scene engraved on its body suggests Chinese provenance. A silver vessel from the vestry of Fort Karaulny church is peculiar to 7th–10th century Sogdian toreutics. It evidently belongs to a group of vessels with polygonal bodies, specifi cally to type 1—octagonal. Having been manufactured in Sogd, polygonal vessels were exported to China. Chinese jewelers copied the form of “wine cups” and adorned them with traditional fl oral designs and various scenes. An octagonal silver cup with an Uyghur inscription, found in 1964 in a kurgan at a medieval cemetery Nad Polyanoi, was likewise manufactured by Tang artisans. Other polygonal silver cups are listed—heptagonal and sexagonal. It is concluded that vessels made of precious metals testify to stable trade relations that emerged in 700–1100 and connected Siberia with Sogd and the Tang Empire.

The Lord's Supper Revisited

The Lord’s Supper is probably one of the most vital elements in Christianity. However, churches nowadays witness two extreme attitudes in approaching the Lord’s Supper: one that over-sacralizes the ceremony as something mystical or magical while the other simply takes it as a ritual or memorial. While both notions are not wrong in some sense, the ceremony in fact falls somewhere in the middle. Eucharist involved two important dimensions: it is a meal, and it is a “sacrificial” meal. The ordinary and the religious aspects both exist within the eucharist.
 In the records of the Last Supper, Jesus ate the Passover “meal” with His disciples and reinstituted it. From then on, the early church celebrated the Lord’s Supper, gathering and breaking bread in houses, which was then known as agape—a love feast. However, what we witness in today’s Lord’s Supper is nowhere close to the original Last Supper or the early Christian agape feast. It becomes a ceremony without a meal; a celebration without a feast. It is ironic that the so-called “supper” only involves a wafer-like bread and a really small cup of wine. It is the absence of a “meal” that this ceremony becomes more and more detached. The Lord’s Supper becomes difficult to understand because of the emphasis on its sacredness. The ceremony remains a ritual as the “sacred” is separated from the “secular”.
 It is the contention of this study that the separation of the love feast from the ceremony of the Lord’s Supper that render it meaningless. This study aims to uncover the context and history of the Lord’s Supper, especially the significance of a feast or meal in the eucharist, and how it was lost in the course of history. We will see that it is in the context of a meal that the early church celebrates the eucharist, a thanksgiving in the form of a love feast. It is in the context of a meal that Jesus introduced His body and blood in the Last Supper. It is in the context of a meal that God commanded the Israelites to observe the Passover. When we approach the Lord’s Table without a proper meal, the eating of the “bread” and “wine” without context becomes a ritual without reality.
 Finally, suggestions are given to better approach the Lord’s Table, and hopefully regain the meaning and spirit of the ceremony.

MEANS AND METHODS OF BUILDING EMOTION IN ONLINE FLASH FICTION

Online fiction is often known as an experimental platform for searching new literary forms and unconventional ways of making an emotional impact on readers. Contests hosted by many online platforms uncover high-profile texts. The article deals with a story in the genre of nanofantasy (up to 5,000 symbols) “The Final Cup of Wine” written by D. Laputina and published on M. Moshkov’s Samizdat platform as part of the 2021 contest conducted by the Chemistry and Life journal for several years in a row. The story stood out both for its bright and sensible images and for the emotional response of the readers. The article examines the means and methods of building emotion in the story from the ethical and esthetic points of view. Flash fiction implies the highest concentration of sensibility in the text as a mechanism for grasping the world sensually. A number of esthetic categories used in the text deserve special attention. At the same time, moral issues are closely woven into the narrative fabric, presenting a complex set of problems related to artificial intelligence, respect for human life, murder, ethics, and so on. The ultimate inability to verify an online author’s identity acts as an additional emotional component of the overall esthetic impact on the reader. Moreover, the competitive environment presupposes the possibility of interpersonal communication between the author and the reader when comments on the text become an integral part of the text itself. These comments can take various forms and serve as an object of a separate study. This article, however, considers comments as a means of intensifying emotional impact actively used by online authors through the example of a particular story and its anonymous author.

Melōsa and her prize: The victory of a woman in ancient Greece

AbstractThe earliest example of the Ancient Greek word for a victor's prize, nikatērion, comes in a verse inscription from the sixth century bce on an Attic kylix (wine cup) from Taras. It records the victory of Melōsa in a competition with other young women. This article draws out the significance of her victory and redefines our understanding of who she was. Previous interpretations which define Melōsa by her relationship to men are rejected. Instead, it is argued that Melōsa's verse defines her place within a female world. This inscription is significant in the pursuit of feminist historical recovery, revealing aspects of female–female social relationships outside the confines of the traditional male–female paradigm.

Ancient Hebrew Wedding Culture Concept And Its Typology With Second Coming

The Church is betrothed to Christ much the same way as betrothal in Jewish custom. The Jewish betrothal was done by gold or sum of money. Christ as the Bridegroom has sealed the betrothal of marriage by his own blood. The shared cup of wine symbolized the sealing of their marriage covenant in blood. Christ paid the mohar with His blood. The mohar consisted of a payment to the bride's father and emphasized the binding aspect of the betrothal between the two families. After the betrothal ceremony there was period of separation between the bride and groom. This usually lasted about a year. During which the groom prepared a chuppah, bridal canopy. This was a room attached to his father's house and would have been beautifully decorated for the bride (John 14:1-4). After the betrothal period the groom would bring his bride to this room. The groom could not return for his bride until his father said that the chuppah was ready. All Christians should be watching and waiting for the appearance of the Bridegroom the Lord Jesus. When Christ comes to claim His bride and take the Church to the Father’s house. The Marriage Supper follows as the third and final step and is a glorious celebration of all who are in Christ Jesus (Rev. 19:7).

Ancient Hebrew Wedding Culture Concept And Its Typology With Second Coming

The Church is betrothed to Christ much the same way as betrothal in Jewish custom. The Jewish betrothal was done by gold or sum of money. Christ as the Bridegroom has sealed the betrothal of marriage by his own blood. The shared cup of wine symbolized the sealing of their marriage covenant in blood. Christ paid the mohar with His blood. The mohar consisted of a payment to the bride's father and emphasized the binding aspect of the betrothal between the two families. After the betrothal ceremony there was period of separation between the bride and groom. This usually lasted about a year. During which the groom prepared a chuppah, bridal canopy. This was a room attached to his father's house and would have been beautifully decorated for the bride (John 14:1-4). After the betrothal period the groom would bring his bride to this room. The groom could not return for his bride until his father said that the chuppah was ready. All Christians should be watching and waiting for the appearance of the Bridegroom the Lord Jesus. When Christ comes to claim His bride and take the Church to the Father’s house. The Marriage Supper follows as the third and final step and is a glorious celebration of all who are in Christ Jesus (Rev. 19:7).

A Stylistic Analysis of Selected Christian Religion Print Advertisement in Ibadan Metropolis, Oyo State

Abstract Print advertisements, a denominator of social realities have been approached from varied linguistic orientations. Studies that have dealt with how religious groups and churches utilize print advertisement to elicit patronage are discovered as inadequate. Anchored on the principles of linguistic stylistics, this study therefore investigates some religious advertisements with a view to determining how meaning is stylistically indexed in religious discourse at the graphological level. Qualitative research method with the analysis of corpus of selected texts was adopted at the graphological level of stylistics. Data for the study consisted of a total of thirteen (13) religious advertisements which are purposively sampled from selected church handbills, posters and flyers. The language of religious advertisement indicates how people’s linguistic choices are influenced by their religious persuasions and beliefs. The advertisers employ diverse linguistic features such as pictorial elements, graphological devices of italicization, icons, capitalization, punctuation marks and figures. The choice of the words is very simple, and there are elements of code – mixing. Also, a lot of images common to the Christendom are used such as the sign of the cross and the pictures of dove, clock and cup of wine, as an indication that the adverts are meant for Christians. The study provokes a deep understanding of how language gives expression to religious discourse. The advertisers’ understanding of the people of the religious inclination inform their choice of language and semiotic features.

Sacred and Profane

Previous article No AccessSacred and Profane A Silver Wine Cup in Puritan New EnglandBenjamin ColmanBenjamin ColmanAssociate Curator of American Art, Detroit Institute of Arts Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Bulletin of the Detroit Institute of Arts Volume 94, Number 12020 A journal of the Detroit Institute of Arts Article DOIhttps://doi.org/10.1086/714903 Views: 88Total views on this site © 2021 The Detroit Institute of Arts. All rights reserved.PDF download Crossref reports no articles citing this article.

Butcher Blocks, Vegetable Stands, and Home-Cooked Food: Resisting Gender and Class Constructions in The Roman World

Butcher Blocks, Vegetable Stands, and Home-Cooked Food:Resisting Gender and Class Constructions in The Roman World Mira Green In his Metamorphoses, Ovid shares a tale about an elderly couple's home-cooked food (Met. 8.616–724). Preparing a meal for two impromptu guests who knocked on their door, Baucis brings her small kitchen flame back to life by mingling her own breath with the previous day's embers, leaves, and dry bark. She trims the cabbage that her husband, Philemon, brought in from the garden before placing it in a copper pot to be cooked. A bit of smoke-cured pork is then added to the boiling mixture. As the stew simmers, the elderly couple talk with their guests while placing cushions on their couch frame so that their two visitors can recline. Baucis freshens up a table by rubbing it with mint after steadying one of its wobbly legs with a piece of tile. She sets out olives, preserved cherries, lumps of cheese, and eggs roasted in the embers of the fire to enjoy before the cabbage and pork stew is done. The couple and their guests share some wine, eat some stew, and then consume nuts, grapes, figs, dates, and slices of honeycomb. Afterwards, Baucis and Philemon notice that their wine cups begin to fill on their own. The phenomenon gives away their guests' divinity, and the elderly couple beg forgiveness for the modest meal they offered the gods. Despite their concern about the unremarkable nature of their food and drink, it was on account of these humble offerings that the previously incognito gods ensured the deliverance of Baucis and Philemon from the dreadful fate of their neighbors. Jupiter and Mercury reveal themselves to the elderly couple, lead them away from the destruction that consumes everyone else in their town, turn their home into a temple, and grant the [End Page 115] couple's wish to live out the rest of their days together before dying at the same moment so neither has to suffer the loss of the other.1 Ovid's gentle rendering of Baucis and Philemon's kitchen labors is at odds with the majority of other Latin authors' accounts of the type of cooking that occurs at home, yet it hints at the possibility of different material experiences and sensorial knowledge for the non-elite living in the Roman world. Home-cooked meals, butcher blocks, and vegetable stands may seem to be unlikely avenues of resistance to class and gender constructions in the world of the early principate. However, small acts with daily objects allow momentary and repeated opportunities for enacted personal agency in a person's life-world (Dyck 2011.348). Indeed, passages from Roman literature in combination with visual evidence suggest possibilities for embodied experiences that countered or stood outside of elite Roman culture. In this essay, I explore how objects associated with food preparation and production became subtle yet powerful tools of ordinary Romans' experiential knowledge and resistance to that elite culture. Activities surrounding the body's nutritional needs are some of the most repetitive tasks that must be performed frequently—sometimes multiple times a day. I contend that a few literary representations of cooking and kitchen tools (once the thick patina of elite authors' moralizing agenda is scrubbed off) reveal instances when enslaved and ordinary Romans could momentarily upend, or at least muddy, social hierarchies and gender expectations. Additionally, reliefs of food vendors and butchers refigure the tacit cues that are inherent in the visual language of domestic cooking and thereby create a visual language that counters elite culture and mastery. I. METHODOLOGY While it is challenging to investigate the embodied interactions of non-elite Romans with the materiality of their daily routines and life-worlds, it is even more so to claim that these quotidian interactions between people and tools are expressions of resistance to elite Roman culture. It is difficult to get at the lived experiences of non-elite Romans; slaves and ordinary Roman men and women did not leave firsthand accounts of the details of their daily lives, their experiential knowledge of the physical world they [End Page 116] navigated, or their perceptions of elite...

The blessings of fungi

If you have ever joined a Jewish family for a meal on the Sabbath, or seen one depicted in movies, you will know it is quite a ceremonial occasion. Before...

Wine cup stoma anastomosis after extended sleeve lobectomy for central-type squamous cell lung cancer

BackgroundExtended sleeve lobectomy is rarely applied to pulmonary surgery for primary lung cancer to avoid a pneumonectomy. As there is a size discrepancy between main bronchus and peripheral bronchus, ingenuity to improve anastomosis is required in the bronchoplasty. We report herein a case in which successful reconstruction of extended sleeve lobectomy with bronchial wall flap.Case presentationWe report on a 64-year-old man suffering from hemoptysis, cough, mild fever and dyspnea. His computed tomography (CT) scan showed solid tumor of 40 mm in diameter in left lower bronchus, which obstructed the lower bronchus and caused obstructive pneumonia of left lower lobe and expanded to second carina and pulmonary artery. His bronchoscopy showed that tumor was exposed in the bronchial lumen and infiltrated to left main bronchus and upper bronchus even though the scope could pass through the exposed tumor of upper bronchus. Transbronchial lung biopsy showed squamous cell carcinoma. He had undergone left sleeve lingular segmentectomy and left lower lobectomy. Reconstruction was performed with bronchial wall flap. Pathological findings revealed pT3N0M0 stage IIB according to UICC 8th edition. Postoperative bronchoscopic findings showed no troubles at the anastomotic site. He has been well for eighteen months without recurrence after surgery.ConclusionsWe experienced a successful case who was reconstructed with bronchial wall flap (wine cup stoma) after extended sleeve lobectomy. This technique might be also useful for other types of extended sleeve lobectomy and lung transplantation to adjust caliber changes of bronchi.

The Guy

The Guy Daniel T. Durbin (bio) It had been a busy week and the return trip from Moscow, Idaho (pronounced “mos-cō” not “mos-cow,” though the locals tend to think of it as a Marxist stronghold) was always a dog-leg of flights. Worn and flight-weary, I wanted just a small sip of wine. I asked the flight attendant how much a small cup of the red would cost me. “That’s eight dollars.” On my worst day in university hell, I could never justify eight dollars for the dreck they serve on airplanes. I wasn’t going to tell her that. So, I smiled and said, “No thanks. I think I’m fine.” About twenty minutes later, the attendant returned to my seat from the back of the plane, a big smile lighting up her face, a plastic cup and a bottle of wine in her hands. “Are you working for that African American man back there? Are you his caretaker or something?” I looked back several rows. We’d been separated on this flight. But there he was, the man with the gentlest eyes I’d ever seen, an attendant kneeling in the aisle, a second one bent over his seat, all three laughing, talking, having a great time. “Well, yeah, you could say that.” She put the cup in my hand and filled it to the brim with wine. “You enjoy this and, when you’re done, you just call me back. Have as much wine as you want. Your friend is so great. We just love him. He played baseball or something, didn’t he?” “Yeah, he was a pretty good player in his day.” I held my cup of wine and turned around to see the party once again. Their laughter rang up and down the aisle. He shot me a quick glance, smiled and kept right on telling stories. “Yup,” I thought. “That’s Mudcat Grant.” Now, if you have never been a true baseball fan, then you will never get the story I have to tell. Being a middle-aged or older longtime acolyte of the game, having a room filled with autographed baseball memorabilia, or being able [End Page 28] to drop Tony Lazzeri’s lifetime triples into casual conversation with complete strangers does not make you a true baseball fan. At best, you are the ghost of a true baseball fan. Anyone who has been one knows that the true baseball fan is roughly 8–12 years of age and is not a fan of baseball. The true baseball fan is an acolyte of The Team. On that team, the true fan idolizes The Guy. An older and somewhat jaded sports scholar might aver that this should be “The Player.” But, in the kid world of true baseball fandom, this was never “The Player.” It was always “The Guy.” I was once a true baseball fan. For me, The Team was the forever frustrating and underachieving 1970 Oakland A’s. The A’s had moved to Oakland in 1968, their Kelly-green uniforms and white shoes gaudily lighting up the bay and a fleet of young talent stocking up their minor league teams. The 1970 “Swingin’ A’s” had the core set of players who would go on to become one of baseball’s great dynasties in the next half decade. But, in 1970, the entire organization was hopelessly self-destructive. A series of unnecessary mishaps kept the team firmly entrenched in second place, far behind the aging Minnesota Twins. Finding The Guy on that team was especially challenging. Reggie Jackson held out through spring training and entered the season ticked off at owner Charlie Finley (whose penny-pinching was already legendary). As a consequence, Reggie had perhaps the worst season of his long career. Joe Rudi, the steady, soon-to-be star left fielder had his fingers gruesomely crushed by an errant pitch and was out for half the season. Hall-of-Famer Rollie Fingers, two years from being a handle-bar mustachioed relief specialist, was still being uncomfortably forced into starting duties. In his infinite baseball wisdom, Finley had a revolving door of three, sometimes four, periodically...

Current Status and Design Characteristics of the Remains of ‘Meandering Stream for Floating of Wine Cups(Qū shuǐ Liú shang)’ in China

This research investigates and analyzes the distribution, creation period and creators, design characteristics, and process of change undergone by existing meandering streams used for the floating of wine cups(Liú shāng Qū shuǐ) in China. This study was conducted through literature review, fieldwork investigation and internet research. This research presented a categorization method and standard for discussion toward future research in this field by first categorizing Liú shāng Qū shuǐ facilities into five style categories: Lántíng style(A), Natural stream style(B), Cut stones excavation style(C), Broad natural rock carving style(D) and waterway style(E); this classification was carried out in addition to categorizing the Curved-stream banquet sites of B and C that are characterized by the stone carving style into the subcategories of Cut stones excavation and Broad natural rock carving styles. It is said that the ancient Liú shāng Qū shuǐ facilities of China are the product of natural landscape water systems and Pungryu(elegant lifestyle) culture; from the middle ages of the Tang and Song dynasties, garden forms changed to reflect miniascapes and an imitation of a landscape style, which represented a gradual transition from a tradition that entailed moderation in drinking and natural landscapes that copied Pungryu to those that were symbolic and placed more emphasis on games and amusement. Later in the modern Ming and Qing dynasties, the Cut stones excavation style became the mainstream approach for Curved-stream banquet sites. From this development, it seems that the Curved-stream banquet sites of China gradually evolved from Pungryu facilities used for water systems to garden facilities for amusement. However, the Lántíng⋅Natural stream⋅Cut stones excavation styles seem to have been continuously passed down in eclectic forms throughout all periods of Chinese history.

Hybrid Laser-Arc Welding of X90 Pipeline Steel: Effect of Laser Power on Microstructure and Mechanical Properties

In this work, hybrid laser-arc welding process was applied to X90 pipeline steel which has wide potential applications in the future pipeline project. The effect of different laser power (1.0, 1.5 and 2.5 kW) on microstructure and mechanical properties of weld joints was investigated. It has been found that a macroscopic morphology of “wine cup like” is observed in the weld joint with increasing laser power, where fusion zone (FZ) and heat-affected zone (HAZ) can be clearly identified. The FZ microstructure mainly includes massive ferrite, acicular ferrite (AF), and increased laser power resulting in a decrease in AF content. The HAZ consists of coarse-grained HAZ (CGHAZ), fine-grained HAZ (FGHAZ) and mixed-grained HAZ (MGHAZ). The hardness ranging from the weld center to base metal decreases and then increases, and the effect of laser power on hardness is not significant. The increased laser power leads to an evident decrease in the ultimate tensile strength and impact toughness of weld joint. The highest ultimate tensile strength and impact energy are 815 MPa, 239.1 J respectively at a laser power of 1.0 kW. A number of inclusions are observed at the bottom of dimples, which may be the (Ti,Mn)2O3 particles.

On the Formation of Modern Chinese Pseudo-Possessive-Object Constructions

Abstract Modern Chinese Pseudo-Possessive-Object Constructions (shortened as Modern Chinese PPO constructions; e.g. ta shuo le wo de haohua (他说了我的好话) ‘he has put in a good word for me’ and ta chi le wo de doufu (他吃了我的豆腐) ‘he has taken advantage of me’) are actually constructions displaying possessor-affectee syncretism. They derive from Early Modern Chinese Real-Possessive-Object constructions in bridging contexts, some examples being wo ye quande liewei daren de jiu (我也劝得列位大人的酒), ‘I also urged all the magistrates here to finish drinking your wine’ and shi nage zai jie wo de duan li (是那个在揭我的短哩) ‘who is uncovering my demerits’. Di-transitive constructions in Middle Chinese and Early Modern Chinese (e.g. Changxing! quan er yibei jiu (长星，劝尔一杯酒) ‘Comet! I urge you (to finish drinking) a cup of wine’ and shuru gan jie wu duanchu (竖儒敢揭吾短处) ‘how dare the Confucius scholar uncover my demerits’) have provided structural templates for the formation of Modern Chinese PPO constructions. They also have led to a condition in which there are more examples of a maleficiary Modern Chinese PPO construction than examples of a beneficiary Modern Chinese PPO construction (e.g. ta chi le wo de doufu (他吃了我的豆腐) ‘he has taken advantage of me’ vs. ta shuo le wo de haohua (他说了我的好话) ‘he has put in a good word for me’). The grammaticalization pathway can also explain the formation of other constructions including another Modern Chinese PPO construction (e.g. ta chi le wo de kui (他吃了我的亏) ‘he has suffered the loss caused by me’), a Modern Chinese pseudo-object construction (e.g. wo ganxie ni de haoxin (我感谢你的好心) ‘I thank you for your kindness’), and a Modern Chinese pseudo-modifier construction (e.g. wo pa le yi xiawu de shan (我爬了一下午的山) ‘I did mountain-climbing for the whole afternoon’).

JAHANGIR'S WINE CUPS: A STUDY OF THE ARTISTIC STYLES AND SYMBOLISM

The applied arts, e.g. cups of wine and opium, at the time of Indian Mughal emperors showhow great their civilization and creativity were. The present paper is an artistic study of thesecups, their styles at the time of Jahangir and their appropriateness to the function. It alsoinvestigates the materials used in manufacturing, decorations and the relationship betweenthese decorations and the cups' functions. Additionally, it aims to study the philosophy of theMughal emperors in drinking wine, how fond they were of these drinks despite the teachingsof Islam and the development of drinking wine at the time of Jahangir that the depiction of theemperor holding a cup was a well-known phenomenon. Finally, it examines the coins mintedduring Jahangir's era and the symbolism of wine cups and their relations to him in somekingly scenes.

“The Stamp of Martius”: Commoditized Character and the Technology of Theatrical Impression inCoriolanus

“The Stamp of Martius”: Commoditized Character and the Technology of Theatrical Impression in<i>Coriolanus</i>