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Starting from the concept of death in contemporary Serbian culture (in the context of thanatological and anthropological studies), the author focuses on the analysis of communication with the deceased in dreams, which is still perceived as an important form of contact with the otherworldly. The analysis of material collected during field research at various locations in Serbia and in Serbian communities in Romania (from 2017 to 2024), supplemented by dream narratives from the internet, has shown that based on the main messages conveyed by the deceased to the living, dreams can be divided into: (1) dreams about "the unappeased deceased" (who lack something in the otherworld, usually due to an omission by the living related to funerary rituals); (2) dreams in which the deceased show the otherworld and provide verbal assessments of it; (3) dreams in which the deceased inform of their departure or final passing into the world of the dead; (4) dreams in which the deceased demonstrate their presence in the world of the living, i.e., providing information pertaining to the sphere of the dreamer's social reality; (5) dreams in which the deceased convey their messages, advice or warnings to the living; and (6) dreams interpreted as the deceased person's call to the dreamer to join them in the otherworld. Basic element analysis of the spatial world image, projected via the dream, highlights the importance of the locus perceived as a border space. Dreams about the deceased seem to be ambivalent in this respect, given that, on the one hand, they are perceived as an important means of communication between this world and the otherworld, and on the other hand, through the ideas on which they are founded and that they further transmit, they are also part of the narrative strategies of the boundary between this concept of two worlds. [ABSTRACT FROM AUTHOR]

Artists understand the importance, value, and freedom of the studio space as a place within which the interpretation of their creative thoughts transforms into diverse art forms. Throughout history, art has been born there. For the religion of Spiritualism, which supports a belief in life beyond death, the séance appears to be the studio space for pioneer spirit art mediums such as Victorians Georgiana Houghton, Anna Mary Howitt, and David Duguid, and, in modernity, Susan Barnes, Shannon Taggart and myself, to retire to in order to conjoin with believed-to-be communications from the spirits of deceased persons and produce spirit inspired, and created, art. Information has been sought from Houghton’s biographical journal, Howitt’s notations on her spirit art, plus the scribed statements from Duguid’s séance in 1872. This information, accompanied by spirit drawings and paintings, is explained alongside contemporary ethnographic experiences. Spirit inspired paintings and drawings are the backdrop for this paper which seeks to unearth the significance of the séance as a studio space for the mediums who create and created spirit art. [ABSTRACT FROM AUTHOR]

The paper identifies the linguistic manifestations of suspended time, represented by chronotopes of the "other world" of fairy tale and certain rap lyrics worlds. The article is aimed at scrutinizing the semiotic, stylistic, conceptual-metaphoric and narrative properties of suspended time in fairy tales and rap lyrics in a comparative aspect, revealed through the use of the textual-semiotic, conceptual blending and stylistic analyses added by the elements of narrative, componential and archetypal analyses, which were applied in 4 consecutive stages of the study. "Suspended" time, defined as a time of everness and standstill, is identified either in the tale oneiric worlds, or the "otherworlds" related to the kingdom of the dead. It is manifested by symbolic images associated with the meaning of "eternity", by narrative speed retardation and "pause" as well as by connotations of "serenity" and "tranquility". It correlates with three topoi, denoted by lexical means of indefiniteness and spatialtemporal remoteness; nominations related to the archetypal elements of worldbuilding or their metonymic designations. The temporal distance separating suspended time from narrative time is "iconically" conveyed by the syntactic redundancy of the sentence structure. In rap lyrics suspended time characterizes the world of the rapper's Ghetto past, metaphorically interpreted as a time loop, or the oneiric world, and is marked by metaphorically reinterpreted symbols of eternity and conceptual metaphors conveying the meanings of "imprisonment", "lock up", "vicious circle", "temporary trap" and "stop", associated with narrative speed retardation and "pause" and connotating "danger", "despair" and "vicious circle". [ABSTRACT FROM AUTHOR]

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This article discusses language materialities and the Otherworld through the findings of mammoth remains and text-artifacts representing Nenets verbal art. The remains and verbal art are read together as a network of mythic knowledge that forms a semiotic whole, where different signs interact and create potentials for new significations. The article aims to open up a web of relations in which materialities of differing ages and durabilities meet and affect each other through their semiotic potentialities. The materialities operate on several levels of signification, ranging from basic metaphors for mammoths to larger regimes that organize the signification. Consequently, mythic knowledge concerns worlds that are, on the one hand, imperceptible but, on the other, sensible through narration and imagination in terms of materialities. The key material elements of the mythic knowledge are tainted by the narration, such that they cannot be considered without the mythic qualities. In addition, the knowledge concerning the world affects Nenets rituals and ways of dwelling. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Language: Meaning & Form / Valoda: Nozime un Forma is the property of University of Latvia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Faculty of Letters / Trakya Üniversitesi Edebiyat Fakültesi Dergisi is the property of Trakya University, Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Taking its starting point from the current trend towards using Indo-European comparative material for elucidating Scandinavian Bronze Age rock art sites, this article develops an interpretation of the overall iconographic program of the Massleberg Stora Skee rock art panel in Bohuslän, southern Sweden. It focuses on the hunting scene which forms one of the centerpieces of the site and poses the question of how this hunting scene relates to the remaining iconographic elements of the panel, especially the ships and footprints, and to the water flowing over the rock. Using analogies drawn from Old French “Breton lays," medieval Irish and Welsh literature, and the archaeology of the Hallstatt period (the Strettweg cult wagon), it is possible to develop an interpretation which connects the hunt with the communication between the human world and an “Otherworld" and to show how such an interpretation can tie in with the other iconographic as well as natural elements of the site. On this basis, the article concludes with a general discussion of the use of typological analogies versus the application of concepts of Indo-European heritage for the analysis of Scandinavian rock art and discusses the wider applicability of the “Otherworld" term as an analytical concept. [ABSTRACT FROM AUTHOR]

The brunt of scholarship on Marie de France's Lanval portrays Lanval's fantastical 'Otherworld' as 'utopic' in the term's oldest sense: it is a world that has 'no place.' Such scholarship severs the linkage of Otherworld and reality indicated by the lai; the relationship between earth and Avalon, in which one achieves the other, is dis-placed for a simple and disjointed 'multivalence of reality' (Hodgson 23). This article discusses Lanval's Otherworld/Avalon using Anne Wilson's psychoanalytic approach to a fantastical text 'as if the text were a human subject.' Through this approach, this article hopes to reclaim the latent, universal significance of the notion of 'Otherworld.' [ABSTRACT FROM AUTHOR]

This paper is an attempt at constructing a model of the landscape of the Gaelic imagination, including the otherworld, as evinced by place-names, poetry, songs and tales. A major division is noted between those parts where nature is domesticated, and the wilderness where nature is the ascendant force, in constant need of propitiation. The model has its roots in pagan Gaelic mythology, when the invading Gaels banished the spirits of the land underground or across the sea, while still requiring union with them and co-operation. Time in the otherworld is circular, and chaos, regeneration and creativity both threaten and attract people. The model is partly subsumed into Christianity, making exile attractive to a people who revered the wilderness. Though this model is culturally specific, it is argued that it expresses a fundamental need for negotiation between man and nature, which remains a major concern to our survival on the planet. [ABSTRACT FROM AUTHOR]

Focuses on the theme of childhood favored by many writers who spend their whole life trying to recover through their writing, which sometimes only existed only in their imaginations. Reason for the popularity of literary biography; Dissatisfaction of a writer to his or her own reality and longs to visit or even to create another; Refusal of a writer to settle for the familiar.