Search

In the context of Judiciary or Forensic Linguistics, this paper shows the results of a study on rhotic consonants in prepausal position (in the spontaneous speech of central peninsular Spanish) in order to assess their forensic value for identifying speakers. The variables that have been analysed are the number of components and the acoustic features of the first and second components of the consonant, which correspond to the closure and opening phases, respectively. The results have shown some significant differences amongst speakers, which is why the rhotics are considered a useful segmental element in comparing speech samples on judiciary purposes

The article analyses one of Japanese calligraphy’s (shodō 書道) particularities: the notion of “emptiness”, “nothingness”. This concept can be observed in different layers of the art: from the white of the paper, to the movement of the brush after it has been lifted from the paper to the interpretative process. In this way, there are instances of “emptiness” during several stages of creation and understanding of a calligraphic work. In order to illustrate this, our article will analyse two shodō 書道 works, pinpointing the use of “emptiness”, or “nothingness”, and the effect they create for the calligraphic work as a whole. We conclude that in order to grasp the transcendent meaning, one must take into account all elements present within a calligraphic work, including the instances of “emptiness”.

This paper proposes a novel source for –or at least influence on– the iconography of the Moon trump in the Rider-Waite Tarot deck, which preserves the design from the Tarot de Marseille. In fact, the Moon template appears to date back to the earliest days of the Tarot. The proposed source or prototype is a Greco-Roman talismanic design against the Evil Eye known as the “all-suffering eye”, which frequently occupies the reverse face of Byzantine copper/ bronze “Holy Rider” amulets. The paper identifies compositional elements that correspond in the Evil Eye and Moon card designs, presents reasons why the moon and the Evil Eye might have been thought of as cognates, and considers other likely inputs into the Moon card’s visual program.

The present paper discusses how various elements in shōjo manga (Japanese comics for girls) have been incorporated in works of Japanese contemporary literature. The connection between shōjo manga and literature was pointed out for the first time when the novel Kitchen by Yoshimoto Banana was published in 1987. This paper argues that this connection has developed further since then, focusing on one of the most active writers in contemporary Japanese literature, Miura Shion[1]. The paper briefly introduces the genre shōjo manga and describes its connection with the novel Kitchen before analysing a short story and an essay by Miura Shion, focusing both on their motifs and styles, to identify elements influenced by shōjo manga.

This paper is focused on private tomb scenes with mourners dated to the end of the 18th Dynasty located in the Egyptian Memphite necropolis, with a special interest on the artistic resources and the clear division of groups according to the gender of mourners, as mourning men in expressive attitudes are particularly rare in ancient Egyptian scenes. The presence of men in grief, together with the traditional female mourners, within the funerary procession is striking, portraying expressive poses which provoke feeling of empathy and sorrow in the beholder. Indeed, the expressions of feelings in mourning scenes and their diverse artistic treatment in Memphite tomb decoration reveals the innovation and originality of the artists, features that could be traced back to the reign of Akhenaten. This paper explores the complex process of creation of the funerary iconography of the Post-Amarna art, a period of religious, political and social changes which were mirrored in private tomb scenes.

The paper presents Eastern-Slavonic rushnyks (embroidered towels with a sacral meaning) with the images of death. Despite the fact that the origin of them was printed cross-stitch papers, these images became folklorized, as there have been many transformations in folk culture (both formal and mental). The aim of the article is to show different understandings of one and the same picture (a grave cross with guelder roses twigs wrapped around it and two birds sitting against each other on the twigs) and the typical inscription (“My grave is under the cross; my love is on the cross”) to it. This is possible by analyzing various combinations of mentioned visual and verbal formulas with others that were also embroidered on rushnyks in conjunction with the previous ones. The author makes the conclusion that hanging on the walls, Eastern-Slavonic embroidered towels with such formulas presented, for the most part, memento mori topic, demonstrating various forms and manifestations of passing away.

It is argued that legal language should be formal, precise and clear to avoid ambiguity and/or misunderstanding. As rights and duties are communicated through modals, clarity and precision in drafting and translating them is crucial. Otherwise, there is a possibility of conveying loose messages in the source text or different and/or inconsistent messages in the target text. However, the drafting of Arabic modal expressions does not follow clear guidelines, and their translation differs from one translator to another. This paper investigates how deontic modality of obligation and prohibition is used in The Leeds Annotated Parallel Corpus of Arabic-English Constitutions in comparison to The Leeds Monolingual Corpus of English Constitutions. More specifically, the paper presents a classification of these modal expressions and investigates the different lexical variants expressed in a Corpus of Arabic Constitutions. The paper uses corpus-based tools to analyse the different lexical forms used for deontic modality of obligation and prohibition in Arabic and how they are rendered into English. Results of such analysis are compared to a non-translated Corpus of English Constitutions to find out whether the deontic meaning of the modals is comparable to the set of deontic modals used in the constitutions originally drafted in English. The corpus-based analysis gave a detailed classification of a variety of modal expressions used in the Arabic Corpus. It also showed that the translation of deontic modals of obligation and prohibition from Arabic into English is influenced by the source text lexical variations; however, the corpus techniques employed in the study managed to capture some comparable modals in both corpora.

This paper works on the notion of transgenre (Monzó-Nebot 2001a, 2002a, b), its uses and possibilities in the study of translation as mediating intercultural cooperation. Transgenres are discursive patterns that develop in recurring intercultural situations and are recognized and used by a community. Based on the reiteration of communicative purposes and individuals’ roles in translated situations, interactions are conventionalized to streamline cooperation between cultural and social groups, thereby engendering a distinctive set of taken-for-granted assumptions and meaning-making mechanisms and signs which are particular to a translated event. The paper will first argue how this concept takes a step beyond the existing proposals from cultural, social, and linguistic approaches, especially the third space, the models of norms and laws of translation, and universals and the language of translation (translationese), by focusing on the situatedness of textual, interactional, and cultural patterns and providing a means to model and measure the development of translation as a discursive practice, as such influenced by historical, cultural, social, cognitive, ideologic, and linguistic issues. Then existing applications of the concept and new possibilities will be identified and discussed. The results of existing studies show translations build a third space of intercultural discursive practices showing tensions with both source and target systems. The legal translator is at home in this third space, resulting from their own cultural practices, which are linked to translators’ specific function in a broader multicultural system.

The aim of this paper is to explore the grammatical category of person in Italian, taking into consideration social deixis in the communication that takes place through Facebook. Social deixis is understood here as various means by which information of social nature is coded and grammaticalizedin a language. Such information concerns the situational context of the communication, social roles of its participants and their reciprocal relations (cfr. Levinson 1993: 83). The analysis focuses on phenomena that are related to social deixis such as personal pronouns, possessive pronouns and adjectives, verb forms, honorific titles, diminutives. Facebook has been chosen as a source of authentic material due to its expansion in Italian society, which allows a fairly detailed exam if heterogeneity of Facebook users is considered (in terms of age, sex, level of education, social group). Precisely, the paper takes into consideration 155 comments published to the profiles of three important Italian public figures: Sergio Mattarella, Matteo Renzi and Roberto Saviano. Means of communication offered by Facebook facilitate production of everyday, colloquial language, which permits insight into natural and spontaneous realizations of social deixis. Their decoding helps to highlight the changes that affect the rules of politeness in today’s communication. The phenomena of growing informality or infringement of good manners are caused, or at least reinforced, by the arrival of new means of communication such as Facebook, but they simply illustrate a certain tendency, already present in contemporary Italian.Their decodification helps to highlight the changes that affect the rules of politeness in today’s communication. The phenomena of growing informality or infringement of good manners are caused, or at least reinforced, by the arrival of new means of communication such as Facebook, but they simply illustrate a certain tendency, already present in contemporary Italian.

This paper shows that in the philosophy of Sánchez Vázquez the basis for creative praxis is not innovation but the activity of practical consciousness, to which that Marxist philosopher describes as dialectical unity of the subjective and the objective. Furthermore, the paper argues that, in the sense of such unity and mutatis mutandi, creation has a place in non-practical human activity.

U.S. involvement in both theatres of WWII, i.e., in Europe and in the Pacific, has been widely reflected in literature, film, music, and art. This paper investigates the way American intervention in the Pacific is showcased in Terrence Malick’s film The Thin Red Line (1998) and the miniseries The Pacific (2010), directed by, among others, Jeremy Podeswa, and produced by, among others, Tom Hanks. I seek to analyze the aesthetics and ethics of U.S. war in the Pacific that these two media project. Do the chosen examples justify American intervention? How was the war in the Pacific different from that one in Europe? Were U.S. soldiers ready to fight in the Pacific? How did the war influence its participants? These are some of the questions the paper will meditate upon in large detail.

Through the analysis of the incunable and postincunable editions of Plautus’ comedies, this paper establishes that Francisco López de Villalobos uses a 1497 Italian edition (even a 1495 one) as source text for his translation of Amphitruo. This paper also sustains that Villalobos translated Amphitruo into Spanish –at least an initial version of it– in Salamanca before August 1498. This hypothesis is supported by the analysis of Villalobos’ glosses, by his translation of verses (attributed to Italian humanist Ermolao Barbaro) that Villalobos inserted in the abovementioned edition Amphitruo, and by several characteristic features of the life and work of the Zamoran doctor. Therefore, the first translation into Spanish of a comedy by Plautus coincides in time and space with the production of the first printed version of La Celestina.

In the northwest of Cáceres there is a Romance variety with controverted affiliation. The recent book of Costas (2013) gathers several works that defend a Galician origin, explained by medieval processes of repopulation. One section contains a selection of words that have acquired a meaning in that variety; this list could be used as an evidence of the special character of this language with respect to its neighbours and to point out its distance from Portuguese. Nevertheless, this paper proposes a contrastive analysis between those words and Castilian and Portuguese dialectal materials that reveals that the situation is far from Costas’ description. In fact, almost half of the meanings that were presented as specificities of the fala are well documented in dialectal Portuguese. This paper aims to claim the need to consider dialectal materials produced close to the Valley of the Ellas, since they are essential to reach rigorous conclusions about the origin of the fala.

The paper discusses some preliminary results of the research project GRASS - Grammar Reflection at School: Syntactic Subject, which involved 444 junior and senior students from lower to higher education grades and 16 teachers. Starting from some general remarks on the current state of grammar teaching in the Italian school system, particularly critical as far as real speech, discourse and metalinguistic awareness are concerned, the paper highlights and discusses three main critical issues: a)the confusion between (con)textual reference and grammatical function, well attested by thediverse and incongruous ways used by the respondents to identify and represent the subject of sentences from a text; b) the pupils’ and students’ grammaticality judgements on verb and subject agreement, especially in cases of semantic/syntactic mismatch; c) the relation between the respondents’ explicit definitions of grammatical subject and the emerging underlying notions that characterize the different stages of Italian education as far as primary vs. secondary schools are concerned. Finally, some conclusions are drawn on the possible outcomes that this type of research can have in terms of teachers’ training and teaching practices.

The aim of this paper is to explain the connection between discursive rules and moral norms in the frame of discourse ethics. The paper begins with an analysis of the difference between action and operation and with a reconstruction of the concept of discourse. After that, the difference and the relationship between law and obligation are presented. The conclusion is that the connection between action and possible discourse is implicit in the notion of moral responsibility.

This paper considers and distinguishes two objections which ordinarily are thought to oppose a realistic conception of ethics: G. E. Moore’s naturalistic fallacy and Hume’s law. After having presented both objections, having developed their presuppositions and consequences and having answered each of them, the paper concludes that it is possible to hold today a realistic conception of ethics. It is structured in the style of a disputed question, divided in six articles.

This paper discusses some aspects of the ontological problem of bioartifacts in order to develop, within the vocabulary of philosophy of technical artifacts, a deflationed notion of bioartifact capable of revealing a meaningful distinction between those processes arisen from a natural dynamics not intentionally intervened, and those arisen from intentional intervention. With this purpose two ways of interpreting the nature of these entities (intentionalism and reproductivism) are reconstructed and evaluated. Finally this paper collects the previous arguments and tries to make explicit the levels of intentional intervention and the conditions to be a bioartifact.

A main area of Hans Blumenberg’s works, the history of science, has received little attention, in particular Blumenberg’s history of astronomy. Since 1955 Blumenberg [1920-1996] had undertaken a research on Copernican astronomy, and published many papers during the 50’s and 60’s, later put together in Die kopernikanische Wende [1965]. Blumenberg had also prepared preliminary studies on Galileo Galilei’s Sidereus Nuncius and Cusa’s De coniecturis. All this work will culminate in Blumenberg’s monumental Die genesis der kopernikanischen Welt [1975] and his posthumous book Die Vollzähligkeit der Sterne [1997]. The aim of this paper is to undertake a review on this neglected area of Blumenberg’s works. We will focus on the Heideggerian background in Blumenberg’s history of astronomy. Our thesis is that in Blumenberg’s history of astronomy we can find a metaphysics of existence in a Heideggerian way, as astronomical existential paradigms.

Taking for granted that Marx’s economic theory enjoys a scientific status and, furthermore, that it installed a real Copernican revolution in sociology, the present paper explores the possibility of deriving a system of law deserving the name of “scientific” in so far as it would be in keeping with the theses of the latter scientific theory. In this context, the paper argues against a claim recently sustained by Fernández Liria and Alegre Zahonero, for whom a system of right compatible with Marx’s theory would be compatible, too, with the classic juridical formulations conceived during the Enlightenment. The main reason why this paper testifies against such compatibility is that the enlightened concepts of “equality”, “liberty” and “autonomy” count with the individual as the realm for their juridical application. However, Marx’s subject matter being the social means of production (and not the individuals’ production of value), we conclude that the only juridical subject that could justifiably be derived from his economic investigation would be the “social class”. Finally, the paper suggests that the only way a scientific system of law could grant a juridical status to the individual would be by taking into account the other theory that also installed a Copernican revolution in the social sciences, though this time in the field of psychology: Freud’s psychoanalysis. Key words: Copernican revolution, science, scientific

This paper tries to approach the analysis of the composition of the XIII century Sicilian poetic school, those of the dialogic gender of the tenzone, in which there appears a debate about elements relative to the theory of love. In this textual corpus the paper studies the stylistic rhetorical signs used to develop the argumentation and the expressive formulae that poets use to engage, the so-called debate and discussion.

The paper examines Amartya Sen’s seminal work Development and Freedom (1999) in relation to his underlying conception of justice and particularly in relation to the tension that arises in the correlation between basic freedom and basic goods. The idea is to address the question as to which of the two elements (basic goods or basic freedoms) takes precedence to the enactment of global justice. The paper advances a particular distinction between a foundational approach and a functional approach when addressing the question of the priority and primacy of any of the two elements and sheds light on a contentious answer, namely, that basic goods are foundationally primary in relation to basic freedoms and that such a primacy does not rule out the functional priority of basic freedoms.

The paper examines a recent proposal of substitution of classic (normative) philosophy of science by a post-positivist and pluralistic axiology governed by aesthetic or formal values. The author of the paper proposes a different set of values that can enconpass not only “internal” values, but is also open to the examination of the ethical limits of tecnoscience and the principles that can govern scientific development in oru “risk societies”, which depends heavily on the general evolution of science.

This paper presents a reflection about the way in which Kant treats Future in his work, its possibility and conditions. First, I will present a résumé of the principal ideas on this task in his works Dreams os a Spirit Seer and The Conflict of the Faculties , published in 1766 and 1798. In the thirty years between both, Kant wrote his Critical Philosophy. We will see that the problem of the possibility of the speech about Future was always present on his works, and it didn’t change in the deep sense other themes did. Secondly, I will outline the most important ideas of that first part in an Antinomy and I will complete the paper with other relevant considerations in the Critique of the pure Reason. In that way I will try to offer a solution to our principal task: Is it possible to talk with Kant about knowledge refered to the Future?.

This paper provides a profound reflection on how the importance our society accords to a good image –which is based on three factors, beauty, youth and thinness– is mirrored in our linguistic expression. Firstly, we explain how our society forces us to pursue rigid aesthetic ideals, which are reflected in language. Then we analyze the cultural perception of the above-mentioned attributes and its reflection in our linguistic environment. Finally, we put forth our conclusions, where we summarize the main ideas dealt with in this paper.

This paper analyses the recent debate between J. Habermas and C. Lafont on discourse ethics. The aim is to show that Lafont’s proposal of a realist interpretation of discourse ethics must face several problems which are difficult to resolve from within the theoretical frame of discourse ethics. First of all, the paper sets out how Lafont’s position extends to the field of practical reason some important objections against Habermas’s consensus theory of truth. Subsequently Lafont’s arguments in support of moral realism are criticised, and the paper concludes with an analysis of the difference between rational agreements and compromises of interests from a procedural point of view.

This paper compares the way Aristotle explains how one body gets alive or the way one mind manages to understand, with the way Wittgenstein discusses some questions as how is it possible to get meaning from the sign, or to follow a rule. The paper’s goal is not to establish a real influence of Aristotle on Wittgenstein, but to explore some logical aspects of their explanation patterns, with the aim of clarifying several notions of Wittgenstein’s later philosophy.

This paper proposes an interpretation of the flowers and other plant motifs present in some late medieval images of four Marian themes: the Virgin Enthroned with Child, the Virgin of Humility, the Sacra Conversazione and the Coronation of the Virgin. By supplementing certain unjustified conventions that, without any argument, see these flowers as natural symbols of Mary’s love or virginity, our iconographic proposal is based on multiple evidence by prestigious Church Fathers and medieval theologians. By commenting some significant passages of the Old Testament, all of them praise the Mother of the Savior in terms of flowers and plants as metaphors for her holiness and virtue. Thus, on the basis of a solid patristic and theological tradition, this paper attempts to interpret these botanic elements as symbolic figures of purity, humility, charity, sublimity of virtue and absolute holiness of Mary and, as the essential core, her perpetual virginity and virginal divine motherhood.

According to Etchemendy, in attempting to offer an analysis of the modal features of the intuitive concept of logical consequence, Tarski has committed a modal fallacy. In this paper, I consider the thesis according to it is posible to analyze the modals properties of concept of logical consequence through of a generalization on set-theoretical interpretations. As is known, some philosophers have tried to argue for the transit from the general to the modal by showing that there are enough settheoretic interpretations so as to be able to represent the modal features of the intuitive concept of consequence. As is also known, those people have encountered a lot of difficulties. In the present paper, I will try to show that those problems are related not with the specific possibility of accounting for the modal features by means of a set-theoretic notion of model but with the possibility of coming up with a precise mathematical theory for the concept of interpretation, and, as such, they can be solved by way of appealing to the usual solutions to this problem.

This paper sums up the various pretexts Rousseau argues as reasons to defend women’s subordination. It seemed interesting to organise the paper in the two parts. The first one intends to decide whether Rousseau’s writing until 1755, date in which his Second Discourse was published, can be object of feminist criticism. The second, on the contrary, means to reconstruct historically the political, pedagogical and religious convictions which Rousseau makes use of in order to exclude women.

Although the number of Shakespeare’s Sonnets, 154, is possibly related to the figure 153 of the miraculous fishing in the Gospel (John, XXI, 1-14), as was pointed out by A. Fowler (1970), T.P. Roche (1989) and is mentioned in K. Duncan-Jones edition (1997), precedents in the use of this figure in can - zonieri by Continental Petrarchists and in other genres are ignored by students of early modern English poetry. This paper continues previous work on elements of the numerological exegesis of Augustine of Hippo (In Iohann. evang. tract., 122) in Juan Boscán’s Libro II (1543) – the first canzoniere to be printed in Spanish- and in Petrarch’s Canzoniere as a precedent. The paper calls for a revaluation of the influence of Spanish Petrarchism on English poetry in this period, and advances some proposals which will be futher substantiated in the forthcoming book Composición numérica, petrarquismo y redención («Numerological Composition, Petrarchism and Redemption»). The paper ends with a brief interpretation of an ottava rima by Thomas Wyatt, written on his leaving Spain in 1939, which is considered here a veiled homage to Garcilaso de la Vega.

Second language learning research has proved the importance of L1 as a constant point of reference in hypotheses on L2. This is specially the case when dealing with the acquisition of vocabulary, when the connection between words and concepts is done through L1, especially in the first stages of the learning process. In this paper we will analyse some of the problems related to the acquisition of the vocabulary of Romance languages, especially Italian and Spanish, in two stages of the process: comprehension and production. In comprehension the inter-linguistic similarity between languages allows to activate quite rapidly the high level processes, oriented towards concepts, although sometimes they are hindered due to cases of tricking resemblance (false friends). In lexical production, the interference of linguistic similarities is greater. The risk of fossilization suggests an adequate contrastive approach in the teaching practice, based on the comparison of semantic and formal features, which will allow to keep the two languages distinct from one another. In the last part of this paper, some examples of hispanicisms in present-day Italian will be presented, in which we may observe the humorous connotation of the contact due to proximity and transparency, and almost exclusively linked to the leisure time domain (travelling, sport, music, gastronomy): an aspect to be valued adequately for an intercultural approach to L2 teaching.

Contradicting the superficial and unjustified conventional interpretation of the lily in the images of the Annunciation, this paper proposes two new deep theological explanations of that flower in this biblical episode. Based on the analysis of an abundant amount of quotes of the Church Fathers and medieval theologians, which show a well- established doctrinal tradition about this issue, we will try to demonstrate that the stem of lilies at the scene of the Annunciation symbolizes both the Mary’s virginal divine motherhood and the supernatural human incarnation of God the Son, Christ. The current paper seeks also to relate these textual analyses of patristic and theological sources to twelve Spanish Gothic Annunciations which include a stem of lilies.

This paper aims to emphasize the importance of interpretation in the translation process, the implications deriving from it, as well as their effect on the reader and the way they affect his or her reception and cultural use of the text. This subject matter will be examined through one of Italo Calvino’s best-known works, more specifically The Invisible Cities (translated by William Weaver). This is a work that can be ascribed to one of the branches of travel literature, namely the imaginary voyage, and that can be read as a sort of philosophical vademecum. Precisely because of its nature, it can undoubtedly be considered a text characterised by a structure, a style and a language that make it susceptible to different interpretations.In the translation analysis of this work, the focus will be on how translation can sometimes move away from the so called intentio operis that is, from interpretation in semiotic terms, from what the work wants to communicate on the level of signification, expressing it through its intrinsic textual coherence (Eco, 1990). Specifically, through the examination of certain stylistic, grammatical and lexical choices made by the translator, some portions of the text will be highlighted in which the construction of the meaning differs from that of the source language, thus distorting the textual cooperation whose protagonist is the reader (Eco, 1979).

Gold glass bottoms generally found in Roman catacombs, are some of late antiquity’s most enigmatic objects. Originally conceived as vessels, once they were broken, their bases were reemployed to be embedded in the mortar sealing of the slabs of certain loculi. Drawing on the different hypotheses on the origins of the bowls or glasses these bottoms were obtained from, and reflecting on the reasons for and ways of using these glass bottoms to decorate loculi, this paper aims to reassess the position of gold glass in the culture of late antiquity by questioning its pertinence or link to "popular" culture.

Muu dancers are one of the most common elements in the funerary processions represented in the private Theban tombs of the New Kingdom, especially in the 18th dynasty. This paper aims to analyse the main characteristics of the representation of these male individuals that appear only on private tombs located in different necropolises. It will also try to understand the ritual meaning of these dancers through the attested images, an enigmatic procedure that has been interpreted in different ways by several authors. In addition, the distribution of these scenes both inside and outside the Theban necropolis will be analysed to understand the diffusion of this type of representations during the Egyptian New Kingdom. Thus, firstly I will make a description of the funerary processions painted or engraved on the walls of the private tombs. Secondly, I will describe the muu dancers following Brunner-Traut’s classification and include the representations attested, comparing them to analyse the common features of these male dancers.

The paper investigates how Christians of different denominations in the Polish-Lithuanian Commonwealth described the Tatars and the Turks in the legends related to the miraculous image/icons of Virgin Mary. It includes both the use of topoi of Tatars devastating the icons during Tatar incursions in the 13-16 centuries, general vision of the Turks and Tatars by the 17 and 18-centuries’ authors, and presentation of them as military enemies in the setting of wars between the Ottoman Empire and the Polish-Lithuanian Commonwealth as well as reflection of these plots in the visual art. The research is based on the analysis of legends and miracles dating back to the 17-18th century and available visual material. It was shown that Christians of three main denominations –Orthodox, Catholics, Greek Catholics– represented the Turks and the Tatars in a similar way and the representation corresponded to the representation of other military enemies independently of religious believes.

After the expeditions of wealthy merchants and Franciscan missionaries during the 14th century, the Chinese empire under Ming rule did not engage profusely with the European world, and vice versa. This period of artistic and intellectual silence and detachment was broken in the late 16th century when the Jesuit missionaries reconnected two worlds –Europe and China– reactivating previous medieval commercial, artistic, and intellectual routes. Silk –the product par excellence commercialized along the routes connecting China and Europe– was then accompanied by other precious products, including Chinese ceramics reaching various European courts and European paintings that reached the Ming court in Beijing. This paper addresses the complex and challenging popularization of Roman Catholicism through objects and images during the early modern era. In particular, it focuses on the diffusion of devotional images and objects used by Roman Catholic missionaries and the religious practices related to them.

The paper deals with one famous plot on Ukrainian rushnyks. This is about a scene of beating a man by his wife and the appropriate inscription to it “A woman was beating a man taking him by the forelock”. Notwithstanding the fact that nowadays it is mostly perceived as a humorous scene, the meaning of it may vary up to the sacred one. Is it connected with the fact that Ukrainian rushnyks had been regarded as things of particular significance? The author traces the roots of this embroidered plot in popular culture, showing changing of senses according to the context. Oral culture (folk humorous and dancing songs, narratives, sayings), lubok literature and fictions, Ethnographical features of Ukrainian married men and women are taken into consideration. Also, the issue of renewing the old jokes is considered. When the comic scene became irrelevant or not enough humorous, embroideresses combined it with other scenes to make it more ridiculous. The author concludes that absolutely all folk meanings of one and the same plot have right to exist.

This paper deciphers the badly damaged and barely discernible wall paintings of Saydet el Rih in Enfeh (Lebanon) using graphic surveys. This procedure consists of copying all traces of the paintings and recording their chromatic values and stratigraphy, in order to understand and visualise the creative process behind them, both stylistically and iconographically.

This paper analyses the military use of holy relics, images, and other Christian apotropaic devices in the Roman-Persian wars. I examine a wide range of literary evidence from the 4th to the 7th century exploring where, why, and how different Christian objects were used in military contexts. Moreover, I consider different factors, as the local religious practices or the rivalry between the Christian Roman Empire and Zoroastrian Persia. I argue that the earliest military uses of relics and holy images happened in the context of the Roman-Persian conflict and frontier region, and that, during the 4th-7th centuries, these uses were much more common there than anywhere else. Also, that some local practices of this region could have been adopted by military officers and the Imperial elite. I propose that three factors could explain this: First, the intensity of the cult of relics and images in Syria and the Near East. Second, the growing identification of the Roman Empire as a Christian power between the 4th and 7th centuries. Finally, the Roman-Persian conflict and the climate of religious confrontation that grew over the course of the Byzantine-Sassanian wars.

In this paper I wish to comment on the way we conceive of sexual life today, in connection with Michel Foucault’s characterization of “Sex” as something that is part of a “device for sexuality”. The paper is divided into three parts. In the first part, I attempt to analyze and criticize some major components of our conceptions of sex, namely (a) our belief that sex is a private matter, (b) the view that erotism succeeds to be a philosophical clue to the Subject-Object predicament (G. Bataille), and (c) the thesis that a new civilization based on Eros might be born (H. Marcuse). In the second part, I focus on Foucault’s position, which has been widely misunderstood. Foucault’s general argument was that the mechanics of power in our contemporary societies required a well organized device for sexual practice, theory, medical care and so on, since power required close control over the private life of individuals and the disciplinary training of bodies. He opposed the (c) thesis, which he called the “repressive hypothesis”. He also opposed the (b) view, substituting a “genealogy of the man of desire” for Bataille’s conception of erotism. Finally he opposed the (a) belief, by bringing in debate the spectacular counter-example of Ancient Greek and Latin conceptions of sexuality, to the understanding of which he devoted the last years of his life. The third part of this paper then develops Foucault’s basic assumption that in our present time, to resist power will be possible only if we become able to constitute ourselves as individuals in a new way. I argue that the enigma of sex in our lives essentially exhibits our political, philosophical and ethical weakness. With respect to politics we are deprived of the “power to act”, since every confrontation between individuals and the City has become delu- sive, thus making the art of Greek tragedy barely impossible. With respect to philosophy, we meet the major challenge of a new characterization of the Subject. With respect to ethics, we face the reality of violence everywhere. Our “private tragedies” demonstrate that we recoil into private life mainly because we feel that we have lost the world.

Translation supports the construction of a national identity through the selection of foreign texts to be transferred to the target language. Within this framework, the effort made in the 1960s by Italian editors and translators in giving new dignity to comics proves emblematic. This paper aims to reconstruct the reception of American comic strips in Italy going through the issues of Linus published in 1967 and 1968: the selected cartoonists (e.g. Al Capp, Jules Feiffer, and Walt Kelly) participate in the cultural debate of the time discussing politics, war, and civil rights. The analysis of the translation strategies adopted will reveal the difficulty of reproducing the polysemy of metaphors, idioms and puns, trying to maintain consistency between the visual and the verbal code, but primarily the need to create a purely Italian cultural discourse.

This paper proposes the reconstruction of the Scythian eschatological concepts on the basis of semantics of the Sakhnivka plate composition (4th century BC, Museum of Historical Treasures of Ukraine, branch of the National Museum of History of Ukraine). Taking into account the ritual detour of the sacral center from left to right in the Indo-Iranian tradition, the plate plots show a consecutive visual statement of the episodes of the myth of Kolaxais’ destiny. The culmination scene of the plate includes three figures. The half-turned and full-face iconography of the Goddess shows her belonging to two figures, on her both sides: to a meeting of the bearded Scythian king on the right and a scene with a young Scythian on the left (an image of the young, “regenerated” king / Kolaxais). Only the last figure has a in caftan wrapped from right to left, i.e. the clasp of the “living person” (as opposed to other figures) that confirms his special status of ‘reborn’. Accordingly, scenes show the important episodes of the Scythian eschatological representations connected with posthumous fate, basis for the ideology of funerary rites.

The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation.

This paper discusses the intense presence of Eros figures in funerary monuments from the region of Macedonia during the roman period, evolving around the perception of death, the familial bonds and social structure that these monuments reveal. Eros, depicted either leaning on or holding an inverted torch, or sleeping on a rock, when placed upon graves is perceived as Eros funéraire. The funerary connotations of Eros figures often assimilate them with Sleep, Death, and the eternal sadness of Death. Especially when used in the funerary monuments of children, these figures accentuate the parental grief for the loss of their children. On the other hand, the childlike representation of Eros symbolizes the eternal beauty of youth and the parental hope that their deceased children will continue enjoying a happy afterlife.

No Dane of flesh and bone has been written so devoutly about as Hamlet, which is why he has lived the fate of only a few literary heroes who exist independently of texts and theatre. The tragic hero has become a metaphor in himself, which is why I will attempt to read and interpret Hamlet through the prism of conceptual metaphor theory. My prime interest will be invested in metaphorical representations of life and death perceived as target domains in the process of mapping. It is preoccupation with these abstract notions that gives somber color to the play, defines its mood of nihilism and disillusionment. Hamlet is the play with a high number of references to life, death, the afterlife, and human purpose so that metaphorical linguistic expressions that deal with these themes become corpus for the analysis in this paper. Conceptual metaphor analysis will reveal profound meanings of the selected lines, which are to be found beneath the level of language and syntax, in the sphere where conceptualization of the abstract occurs. Conceptual metaphor analysis may also help us get closer to Shakespeare the man since his unlimited consciousness is, at least to some extent, translated into Hamlet.

This paper explores the most significant challenges of translating the memory of the Holocaust, focusing on the difficulties of transferring a survivor’s testimonial account to a different linguistic and cultural system. Because the concentration camp experience is inherently multicultural, and survivors have chosen to pen their ordeal in several languages, translation epitomizes a discipline that intertwines directly with the construction of universal collective memory. Consequently, translating Holocaust memoirs poses challenging questions on hermeneutics and deontology. Throughout the following pages, I will critically analyze my own Spanish rendition of Thomas Geve’s memoir, Guns and Barbed Wire: A Child Survives the Holocaust (1987), so as to delve into the ethical commitments borne by a translator, and into the formal and stylistic complexities inherent to the translation of concentrationary literature.

After Alfonso V of Aragon’s death and during Ferrante’s reign, a new poetic trend in Italian emerged in Naples. This new tendency was named “koine poetry” and has as its main testimony the so-called Cansonero, whose compilation was ordered by Giovanni Cantelmo, sixth count of Popoli. Despite the importance of this text, the main critical studies of this collection seem limited, insofar as they tend to use analytical methods created for the study of single-author chansonniers. In this paper, I intend to apply an analytical method commonly used to study Iberian chansonniers—which mostly gather poems written by more than one author—to the study of the Cansonero. The implementation of such an analytical technique will contribute to discover and underline aspects of the Cansonero that scholars have traditionally ignored or even rejected.

Cosimo III de’ Medici (1642-1723), Grand Duke of Tuscany between 1670 and 1723, has passed into history as one of the great travellers of his time, also one of the monarchs most versed in geography, cartography, botany—and authority in knowledge that would currently be qualified as intercultural. His virtues, however, have been marred by the negative historical judgment of Cosimo III as a ruler. When he was still heir to the throne, Cosimo de’ Medici made a number of travels which began in 1667 and lasted, with brief stays in Florence, until November 1, 1669, date of his definitive return. The tour of the Iberian Peninsula was extended from 25 September 1668 (when Medici’s entourage arrived in Cadaqués) until March 19, 1669, when they set sail from Corunna heading towards England. In this article we will survey the classification of all of the known sources of the journey by Cosimo de’ Medici in Spain and Portugal. a survey never before undertaken thoroughly and comparatively. This paper will as well identify real or attributed authors of the said sources.

The aim of this study is to describe some Noun Phrases collected in a corpus of medical reports. As is well known, this kind of texts is characterised by a wide use of Noun Phrases. In particular, the analysis focuses on action noun constructions formed by an action noun and its argument introduced by a preposition. In addition to this, non-prototypical structures also occur in the corpus. One case consists of an action noun which is juxtaposed to a concrete noun. Another case consists of a structure without the action noun in which only the concrete noun is attested. This paper will thus attempt to demonstrate the role played by certain textual features of medical reports on the emerging of nonprototypical Noun Phrases as a result of a variety of ellipse phenomena.