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This article presents contemporary Judeo-Spanish poetry for children in the context of the postvernacular mode (when the language is not used any more in everyday communication) of the language. It discusses the poetry collections of three authors who have published Judeo-Spanish poems in the twenty-first century: Ada Gattegno-Saltiel, Avner Perez, and Sarah Aroeste, as well as the project Yeladino, which is an anthology of Judeo-Spanish translations of Hebrew poems. It analyses the books and projects in terms of their subject matter, language, and poetic devices, as well as the relation of some of them with music, theatre-music performance, and educational activities. The paper raises the question of audience of this poetry, allowing for the fact that nowadays there are no children learning Judeo-Spanish as their first language, and that the language itself is considered severely endangered. The paper states the presence of the dual address in these books, i.e. to children and adults, both on the level of implied and real audience.

The article presents an overview of the contexts and functions of using the names of mythological creatures found in the Samogitian daily discourse of the second half of the twentieth century, paying attention to the dual – rational or subconscious – nature of naming a mythological creature. The overview is based on the material provided by the Samogitian dialect dictionaries (see Aleksandravičius 2011, Vanagienė 2014–2015) and by the collection of authentic Samogitian speech texts (see Girdenis 1996). Special attention is paid to the types of expressions formed with the name of the devil. In the Samogitian daily discourse the name of the devil (or the name of another mythological creature subordinate to the devil) is used not only in cursing but also to show one’s ignorance (the type of constructions ‘the devil knows what’ is very popular), to convey comparisons, epithets, to reinforce the meaning of certain words. The word vel’(n’)s ‘the devil’ and some of its synonyms are chosen as a distinctive, but quite common substitute for a personal name or are used as an address (addressing a person). Usually, such descriptions are related to a person’s energy and otherness or changes in his/her behaviour patterns.

The purpose of this study is to expand satirical expressions that appear in a wide range of arts into fashion and to analyse and present satirical expressions that appear in contemporary fashion through the collections of Thom Browne. Theoretical examination of satirical concepts were made of domestic and foreign academic theses, dissertations, precious studies, and publications related to satire. Analysis was conducted on cases in which satirical expressions were applied in literature, painting, sculpture, and fashion. Based on these studies, analysis was conducted on satirical expressions appearing in Thom Browne’s work. Material was gathered from collection reviews, interview articles, professional books, and internet photo material from professional fashion magazines encompassing 16 years of Thom Browne’s collections officially recorded in the international fashion magazine ‘Vogue’, ranging from the 2006 S/S collection to the 2021 S/S collection. From this, a total of 1,753 photos were collected as data. Characteristics of satirical expression were analyzed and the results were as follows. A fluid reconstruction of ‘gender fluid’, dual meanings of metaphorical allegories, playful expressions of visual wit, constructions made of overlapped disassembled material, and borrowing of morphological distortion were all identified. Accordingly, satirical approaches as social aspects and objects in the flow of modern thought appear as positive forms based in humor that hope to be improved. This study anticipate the concept of satire will expand into a positive form as a new direction of fashion.

Sefer Ḥasidim (The Book of the Pious) has long served as a crucial source for medieval Jewish historiography. Yet the dual question of who composed the anonymous text and how its varying recensions came into existence has been a contentious one among scholars of medieval Ashkenaz. In particular, opinions have been split on the issue of the book’s authorship. Ever since the 1538 publication of the editio princeps, Judah he-Ḥasid (“the Pious,” d. 1217) has been credited as the work’s singular “author,” but in the intervening years numerous theories of composite authorship have been proposed as well. The present article reassesses notions of “authorship” in medieval Ashkenaz and does so in dialogue with Ivan Marcus’s recent Sefer Ḥasidim and the Ashkenazic Book in Medieval Europe (2018), a work that seeks to deconstruct the reductive category of unitary “books” in medieval Ashkenaz, but which simultaneously reifies Judah’s self-conscious “authorial identity.” In contrast, I argue on methodological and conceptual grounds that “authorship” is a problematic category in medieval Ashkenazic culture and suggest that in the case of Sefer Ḥasidim there are textual reasons to doubt that a single individual (Judah he-Ḥasid or anyone else) was solely responsible for “authoring” the text in its entirety.

The purpose of this study is to examine the role of the translator of Chaucer’s Canterbury Tales into Afrikaans in the dual contexts of the ideological milieu that dominated the Afrikaans literary ...

Literature is a dual discipline as it deals with human beings and their environment at monist and dualist levels. Duality in literature in this respect arouses considerable interest here. It is explored in West African writings with a particular focus on Achebe’s A Man of the People and Soyinka’s The Lion and the Jewel. Both authors’ use of duality for each is examined by attempting to measure the two literary works’ main characters and the leading themes. Achebe’s Chief Nanga and his antagonist, Odili, are compared to Soyinka’s Baroka and his rival Lakunle. Sidi the center of the conflict in Soyinka’s play is measured to Achebe’s Edna. Both writers’ works are examined under the plane of the conflict of generations. The two literary works exhibit the themes of tradition versus modernity depicted through their characters. The analysis revealed that a character in one genre may be different from or similar to another’s story character from a similar or different setting.

This article examines the dual and paradoxical conception of the Arabic literary canon in Orientalist and Nahḍa discourses in the nineteenth and early twentieth centuries—an era of great change and closer mutual cultural awareness between Europe and the Arab world. What Arabic literature had long signified to European scholars since Antoine Galland’s eighteenth-century translation of The Arabian Nights (mysticism, Romanticism and a platform to explore sexual taboos) was very different from how the nationalist-minded Nahḍa intellectuals wanted to reconfigure it as the hallmark of the rational “Golden Age” of Arab civilization. Sexuality became a site of contestation between certain Orientalists who praised Arab literary “frankness” and an anxious class of Arab scholars who wanted to “cleanse” the Arabic literary canon and reconfigure it in line with modern, European standards of “respectability” and “politeness.”

The writing of literary history, generally speaking, is a matter of selecting and organizing literary works according to aesthetic judgement and historical values. If one writes the literary history of a foreign culture, however, at least if one wants to include samples of literary works, one must contend with the issue of translation, not only in the sense of having to choose which source texts to translate but also in that of choosing among existing translations or of translating oneself. The dual role of a historian and a translator is a challenging and complicated balancing act, as proven in the case of H.A. Giles (1845–1935), whose 1901A History of Chinese Literature is the first Chinese literary history ever written in English. As one of the then leading sinologists in Europe, Giles had contributed tremendously to the dissemination of Chinese literature by way of smooth translations that appealed to his English readers, but which also formed an obstacle for the reader’s proper understanding of the history of Chinese literature. The evidence for this comes from his misguided take on the dual aspects of visibility and invisibility of the translator’s identity in writing about a foreign literature.

Suddha Dharma Mandalam (SDM) is name of an ancient Hierarchy which watches over the evolutionary progress of the Humanity. In the whole Universe the Bhagavad Gita—the Yogic art of Brahman—occupies the most exalted position. The aim of this study is to explain the composition and the mystic-philosophical principles that sustain SDM Bhagavad Gita of 745 slokas and 26 chapters. Suddha Gita contains 745 verses in 26 chapters conformed by the dual extreme “The Pranava” (first and last chapters) and the central body “The Gayatri” of 24 chapters (4 feet). The first (Proem) and last one (Epilogue) represent Vyasthi- and Samasthi-para aspects of The Pranava; these aspects correspond to the Brahman conception of One and Many, respectively. While 4 feet or headings (G&ntildeana-knowledge, Bhakti-desire, Karma-action and Yoga-synthesis) correspond to 4 aspects of eternal Dharma and the 4 keys for life learning (quadruple life-path), the 24 chapters represent the 24 material tatwas. By the other hand, the greatest symbols known are The Pranava or the syllable Om and The Gayatri consisting of 24 syllables. The syllable of Pranava contains 2 expressions: 1) the analytical three-letters AUM which normally appear at the beginning of important mantras, where the first letter represents Atma or the Self-aspect of Brahman; U the Prakriti or the Not-self aspect; M the Shakti or the Force-aspect; 2) the synthetical two-letters OM which normally appear at the end of important mantras, where O (pronounced at center of the palate) integrates the 2 extreme vowels and M similar like before. The AUM at the beginning signifies that Brahman is the source from which the factors manifest themselves, and Om at the end signifies that these factors merge and become synthesized in that very Brahman. No reference has been made to the reason for the introduction by the author of the first and the twenty-sixth chapters and his linking them with the body of the twenty-four chapters compacted together under the four groups. The whole of the current recension is divided into 18 chapters and empirically divided into three shatkas—Kriya, Bhakti and G&ntildeana shatkas, which are based on “tripada gayatri”, although Gayatri to be complete has to be “chatuspada-shadangula” representing the well-known 24 principles, six in each pada. The absence, thus, of a fourth pada as such is a serious unfortunately omission. Today Suddha Gita is valid and it is being read by many people around world, since SDM Order as an outer organization has several schools distributed in American and European countries.

This reflection on the influence of Napoleon and the consequences of the wars on the major British poets of the Romantic era is meant to illustrate how the reactions of both nobility and commoners are recorded in literature and media. The dual perception of Napoleon as both hero and tyrant and the atrocious suffering of those at home and bloody battles are manifest in the works of the major poets, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelly, and especially George Gordon, Lord Byron. Even today, Napoleon transcends precise definition and he has inspired some of the greatest poets in British literature

This essay discusses Seamus Heaney’s ‘Route 110’, from Human Chain, as an example of life writing as embodied in the very specific genre of poetry. His use of Virgil’s Aeneid Book VI as a type of cultural unconscious is examined, and the connections between the two works are viewed as tesserae, which come together as type of mosaic. Heaney has described this poetic sequence as an attempt to translate parts of Book VI of the Aeneid. ‘Route 110’ is also read in the light of Heaney’s book-length posthumous translation of Aeneid Book VI, and all three texts cohere and combine to form the mosaic of significant aspects of his life, as seen from an older perspective. The sequence is read in terms of the connection between the two books as an attempt to explore aspects of Eros and Thanatos in his own writing Este ensaio discute "Route 110", de Seamus Heaney, publicado em Human Chain, como um exemplo de escrita da si incorporada no gênero específico da poesia. Seu uso do Livro VI da Eneida de Virgílio como um tipo de inconsciente cultural é examinado, e cada uma das obras é vista como tesserae, que são reunidas como uma espécie de mosaico por meio da tradução e de uma perspectiva dupla. Heaney descreveu essa sequência poética como uma tentativa de traduzir partes do Livro VI da Eneida. ‘Route 110’ também é lida à luz da tradução de Heaney do Livro VI da Eneida, e todos os três textos unem-se e se combinam para formar o mosaico de aspectos significativos de sua vida, visto da perspectiva da senioridade. A sequência é lida em termos da conexão entre os dois livros como uma tentativa de explorar aspectos de Eros e Thanatos em sua própria escrita.

India is home to multiple languages, and training automatic speech recognition (ASR) systems for languages is challenging. Over time, each language has adopted words from other languages, such as English, leading to code-mixing. Most Indian languages also have their own unique scripts, which poses a major limitation in training multilingual and code-switching ASR systems. Inspired by results in text-to-speech synthesis, in this work, we use an in-house rule-based phoneme-level common label set (CLS) representation to train multilingual and code-switching ASR for Indian languages. We propose two end-to-end (E2E) ASR systems. In the first system, the E2E model is trained on the CLS representation, and we use a novel data-driven back-end to recover the native language script. In the second system, we propose a modification to the E2E model, wherein the CLS representation and the native language characters are used simultaneously for training. We show our results on the multilingual and code-switching tasks of the Indic ASR Challenge 2021. Our best results achieve 6% and 5% improvement (approx) in word error rate over the baseline system for the multilingual and code-switching tasks, respectively, on the challenge development data., Accepted for publication at Interspeech 2021

A circular pendant found near Neble, Zealand is interpreted as a double-sided amulet, decorated respectively on one side as a shield and as a wheel on the reverse. This dual iconography is suggested as a material reference to the kenning shield-wheel, known from Snorri Sturluson´s Skáldskaparmál.

The article deals with usage of the pedagogical genre in the novels Oliver Twist by Victorian writer Charles Dickens and the story “The Gemini” by Ukrainian writer Taras Shevchenko. It demonstrates that in the novel Oliver Twist by Dickens and the story “The Gemini” by Shevchenko there are some distinct genre features of the pedagogical novel: in both works, one can observe the development of authors’ experiments—the main heroes are placed in specific pedagogical circumstances. Unlike Shevchenko, Dickens promotes the idea of “noble” heredity, which is important for further formation of personality with high moral and ethical principles of the character that is able to resist the negative impact. Despite the external similarities with biblical motifs and themes, the plot of the novels is based on archaic components: the motif of the amazing rescue of the infant and dual organization of the myth about brothers (twins), where the first represents consistency of Good and the other Evil. In both works, antagonists are infantile individuals who revolt against their loving mothers. The writers construct images of wise mentors without whom ideal characters would not form successfully.

The opposition of the opposites is also reflected in the myth of the nations and one of the main fields of the myth is the struggle of different forces. Myth is the mother of epic, and any nation that does not have a myth is also useless of epic, and the main background of the epic of any nation is its myth. So this fundamental concept has also found its way into the epic; But in the process of materialization of phenomena from myth to epic, mythical concepts are formed differently in the epic, and during this process, the confrontation of human beings or heroes with evil forces, the confrontation of two tribes and clans, The two heroes become one with each other. In general, it can be said that epic is the fruit of man's struggle with anything that is against his dreams and aspirations and in opposition to his will and action. Meanwhile, the contrast between the phenomena of nature such as night and day, darkness and light, drought and wet season, greenery and autumn and the like, had caused the human way of thinking and worldview based on the same contrast. And as a result, human mythology is full of these contradictions. Moreover, even in later periods, such a way of thinking has prevailed in the human mind and historical data have been analyzed and explained based on this approach. Another important factor in the existence of confrontation and contradiction in mythology is the existence of secondary ideas in these works; Because the important principle in the dual thought of the myths of ancient Iran is the conflict between the demonic forces and the Ahura forces, which considers the whole world as the place of these two opposing forces; Influenced by this idea, we always encounter confrontation and war between groups in Shahnameh. One of the important sources and a collection of myths and legends and even valuable historical contents of this region is Ferdowsi's Shahnameh, which is divided into three parts: mythology (from the time of Kiomars to the kingdom of Fereydoun), heroism (from the rise of the blacksmith to The assassination of Rostam and the reign of Bahman, son of Esfandiar) and historical (from the reign of Bahman and the birth of Alexander to the opening of Iran to the Arabs) has been divided.

This research aims to explore and describe the interpretation of the author’s ideology about anthology of Sumi dan Gambarnya by Ratna Indraswari Ibrahim. The interpretation was focused on the author’s socio-cultural background and the fact of humanity in each short story by Ratna Indraswari Ibrahim in this anthology. The approach used is a genetic structuralism approach. This approach was first introduced by Lucien Goldmann of Perancis. It is amount 5 short stories are used as the objects of study. The research method used is a qualitative descriptive method. The results showed the following. Ratna Indraswari Ibrahim is an accomplished woman who voices a lot about women’s issues in the fictional prose such as women who experience discrimination, subordination, have dual roles, receive negative labelling, also those who experience violence. In the fact of humanity, there were various variations of the female narrative that created her voice in ideology. The ideology is the author’s creative strategy to fight for gender equality that has remained deeply patriarchal and exclusions for women.

How Greek Tragedy Works is a journey through the hidden meanings and dual nature of Greek tragedy, drawing on its foremost dramatists to bring about a deeper understanding of how and why to engage with these enduring plays. Brian Kulick dispels the trepidation that many readers feel with regard to classical texts by equipping them with ways in which they can unpack the hidden meanings of these plays. He focuses on three of the key texts of Greek theatre: Aeschylus' Agamemnon, Euripides' The Bacchae, and Sophocles' Electra, and uses them to tease out the core principles of the theatre-making and storytelling impulses. By encouraging us to read between the lines like this, he also enables us to read these and other Greek tragedies as artists' manifestos, equipping us not only to understand tragedy itself, but also to interpret what the great playwrights had to say about the nature of plays and drama. This is an indispensable guide for anyone who finds themselves confronted with tackling the Greek classics, whether as a reader, scholar, student, or director.

The article aims to study the phenomenon of the offbeat (selected both as a formal motif and as a thematic motif ) from both a rhythmic and an existential point of view. In the modern age, we are witnessing the emergence of a reflexive awareness, not only of the facts of the mind, but also of the movement of the body and its accidentals. After having clarified, with Rousseau in support, the notion of offbeat (in its dual meaning of ‘sense’ and ‘direction’), we propose to examine the various manifestations of this process in literature, theater, and music. Among the musicians figure Wagner and Debussy; among the playwrights, Beckett; among the poets Baudelaire; among the novelists, Flaubert and Proust, ATeM Archives Texte et Musique, No 5,2: Special issue 5,2 (2020): Poésie et musique

The 200th anniversary of K. F. Graefe's "Rhinoplasty," E. Zeis' naming of the specialty of plastic surgery in 1838, and the continuing discussion on what is plastic surgery have prompted this historical-conceptual review with a semantic insight into the meaning of the word "plastic." A literature search has revealed that this term contains dual aspects: artistic and philosophical. The progressive development of these two connotations can be traced from their origin in the ceramics and the myths of ancient Greeks to their metamorphoses in fine arts, science, and philosophy of plasticity of the modern day. Although the names of plastic procedures and the title of the specialty carry both the artistic and philosophical features, the philosophical notion is less evident. This article underlines the importance of etymology in the interpretation of the concept of plastic surgery.

This article studies —on the basis of informations provided by the literary genre of the relaciones de sucesos, relations of events—, the celebrations for the beatification and canonization of Santa Teresa, examining the structure of the hagiographic feast and its elements: processions, allegories, emblematic techniques, poetic certamenes, religious ceremonies, staging and theatrical performances... to show the dual objective of doctrinal hagiographic exaltation and popular recreation of these events.

In Romania, Japanese language, literature and culture are taught at university level in two private universities and two state universities. Japanese departments are part of either a Faculty of Letters or a Faculty of Languages and Literatures. Students have to choose another language to study, in addition to Japanese. This gives them a dual major / dual specialization. A large number of graduates decide on pursuing a teaching career in one of their specializations. My paper looks at the way in which university provides an educational background for teachers at lower and upper education. It also looks into the way it shapes secondary education through its curriculum. This refers to compulsory education in an integrated national system of education. But, in the last ten years, this perspective has broadened. Language schools, which are not part of this integrated system, have appeared. Some of them teach exclusively Japanese language and Japanese culture classes. In the beginning, the students were mainly adults, age 18+ but in the last several years, more children have started to be interested in attending classes in these language schools. My paper also discusses this new perspective. A questionnaire and its results will also be presented on this topic. It will show not only the increasing number of young learners but also, their very young age, which goes as far as primary school. This tendency, in studying Japanese as a foreign language, could provide a preview into its development at the secondary level.

The Kazakh poet Abai Qunanbaiuly (1845–1904) today enjoys a dual legacy as the father of modern Kazakh literature (as distinct from its oral tradition) and also as an enlightener who translated the Russian classics into Kazakh and acted as a vital bridge between the two cultures. Much of Abai's reputation owes its existence to the twentieth-century author, critic, and scholar Mukhtar Auezov (1897–1961), whose biographical writings on the poet formed the standard narrative of his life and work. Initiated in 1937, the year of the Pushkin centennial celebrations in the Soviet Union, Auezov's literary canonization of Abai hinges on the poet's acquisition of the Russian language and his transformative encounters with Russian-language texts – most notably among them, Pushkin's Dubrovskii and Evgenii Onegin. In Auezov's account, Abai's efforts lead to the discovery of an authentically Kazakh literary voice, heralded by his successful adaptation of Pushkin's Evgenii Onegin into traditional Kazakh song form. In analyzing this prominent episode of the Abai legend, I argue that Russian literature's “conquest” in Central Asia was in fact a multifaceted dialogue in which writers laid the foundation for distinct national literary traditions by appropriating the literature of the colonizer – and in particular by reading, translating, displacing, domesticating, and “disorienting” the figure of Pushkin.

The genre specificity of oral histories about starvation of 1941-1945 is covered. The review of the main works on the history of study of oral history in the national folklore is made. Consideration of the oral history as a speech genre allowed to establish that taking into account the peculiarities of oral speech helps to understand some of its properties in a new way, which, in turn, allows to rethink the traditional folkloristic approach to its analysis. It is shown that certain types of oral histories have a dual genre nature - on the one hand, they are speech genres, and on the other - folklore. The analysis of oral histories about starvation of 1941-1945 in the context of other works of reliable stereotypical prose, including those about fighting on the fronts of the Great Patriotic war, the blockade experience, the stay in captivity, led to the conclusion that a group of oral histories about starvation of 1941-1945 can be identified as a type of speech genre memories. It is shown that at the same time it is possible to define such stories as a folklore phenomenon representing a kind of a genre of the oral story devoted to the narration about a person in an extreme life situation.

This essay examines Mothsutra: For Bicycle Delivery Men, a visual composite poetic work in English with illustrations by Chinese American writer, Russell C. Leong, translated into Chinese by Xinqiu Xie. Leong and Xie describe and critique the nature of cross-cultural translation that embodies three dimensions: that of nation (US and China), culture (immigrant working class), and language (English and Chinese).

This study investigates how second language (L2) listeners match an unexpected accented form to their stored form of a word. The phonetic-to-lexical mapping for L2 as compared to L1 regional varieties was examined with early and late Italian-L2 speakers who were all L1-Australian English speakers. AXB discrimination and lexical decision tasks were conducted in both languages, using unfamiliar regional accents that minimize (near-merge) consonant contrasts maintained in their own L1-L2 accents. Results reveal that in the L2, early bilinguals’ recognition of accented variants depended on their discrimination capacity. Late bilinguals, for whom the accented variants were not represented in their L2 lexicon, instead mapped standard and accented exemplars to the same lexical representations (i.e., dual mapping: Samuel & Larraza, 2015). By comparison, both groups showed the same broad accommodation to L1 accented variants. Results suggest qualitatively different yet similarly effective phonetic-to-lexical mapping strategies both for L2 versus L1 regional accents.

This essay focuses on a series of pictorial reportages on the city of Cuzco and the surrounding region published in the Peruvian illustrated magazine Variedades in 1924 and 1925. Looking at the interplay of the aesthetic and documentary value of photographs, I analyse how the reportages on Cuzco’s architecture and ruins contributed to the indigenista proposal of regional and national identity and how, in so doing, they articulated an idea of modernity which opposed the main narrative of Western modernization produced by the magazine. I argue that Variedades became the discursive place of an interplay between opposite ideas of modernity since it afforded its readers-viewers a dual, almost conflictive, experience. Moreover, I posit that the magazine ‘mediated’ the regional discourse for the Limeno readers through the discourses of tourism and the picturesque familiarizing them with those ‘unknown’ regions. By comparing the reportages with similar documents published in the same decade by the Argentine magaz...

Fray Bernardino de Sahagun wrote in Spanish in approximately 1577 a non-literal translation of the chronicle written in Nahuatl The Universal History of the Things of New Spain (Florentine Codex). Our research attempts to provide evidence for Sahagun’s dual attitude with respect to language and Aztec culture. The indigenous glossary presented is 1,869 words long, of which 2% is Indian vocabulary found in other colonial texts but Sahagun frequently uses them as if they were foreign words in the Spanish language. The aim of this article is to ascertain the number of Nahuatl words that Sahagun used as foreign words, as well as to furnish examples in other colonial texts for comparison. The conclusions indicate that, for Sahagun, using the Nahuatl loanwords are considered indicative of miscegenation, which follows a trend noted in other colonial texts in which the rejection of indigenous loan words is evident.

This chapter reviews recent scholarship on the interface between the Qur’an and Arabic Poetry, from pre-Islamic times to the modern period. It shows that Arabic poetry has for long been engaged in an inter-textual dialogue with the Qur’an which has taken numerous forms, subject to changing historical and cultural circumstances. At the core is the dual status of the Arabic language as bearer of a divinely created message and as cherished medium of poetic invention. The chapter shows that the resulting tension between the competing and mutually reinforcing claims of poetry and prophecy can be observed throughout the history of Arabic poetry up to the present day.

In addition to the dual missions of providing higher education and preserving indigenous/ethnic cultures, languages, and identities, Tribal Colleges and Universities (TCUs) and Ethnic Minority-Serving Institutions (EMSIs) also bear other roles relevant to their respective contexts. In specific, TCUs emphasize the importance of tribal nation building, and other roles are tributaries to this ultimate role. For EMSIs, in the centralized higher education system of China, their roles, for the most part, follow government policies. In this sense, the roles of EMSIs continually expand and change because of the evolving focus of the Chinese government on higher education in general or particular to Chinese Ethnic Minorities.

Robyn Rowland’s poems about Turkey and its history are unique in their representations of a poet’s dual perspective both from outside and from within. Her poetic depictions of the land she travels intensively are not only vivid presentations of landscape but also the personal reflections of its history and culture. Although her poetry on Turkey functions as a passage to Turkey for the readers in English, it also appeals to Turkish readers who wish to read about Turkey from the Western point of view, particularly in her poems on the Gallipoli War, which sets a common historical background for both Turks and Australians. This study is an analysis of the translation process of Robyn Rowland’s poems from English into Turkish to indicate the delicacy and particularity of translation linguistically and culturally. Poetry translation is not only transferring the lexical meaning from one language to another, but also transferring the cultural and emotional meanings in the poetics of the target language. The objective of this study is to present analytically the translation of Robyn Rowland’s poems into Turkish from the syntactic, semantic and cultural perspectives.

This chapter evaluates the corpus of Constantinian sculpted and numismatic portraiture and analyzes the new directions in imperial representation that were introduced with the appearance of the dynasty of Constantine. The chapter draws attention to the dual character of art produced during the Constantinian era, which is evident in its highly individualized portrayals of the ruler and in its conscious duplication of images and styles adopted by previous Augusti (notably Augustus and Trajan). The chapter contextualizes the homogeneity of Constantine’s sons in imperial portraiture and evaluates the enduring contribution of Constantine and his immediate successors to late Roman art.

This chapter aims to discuss the problems of translating contemporary teenage fiction, with a particular emphasis on the issue of taboo in translation, on the example of a popular genre of a teenage satirical diary. It analyses the Polish translation (done by myself) of Joanna Nadin’s widely acclaimed The Rachel Riley Diaries series. The chapter focusses on the selected translation problems such as the novel’s dual audience, intertextuality, wide-ranging cultural references as well as translation of taboo reflected in the use of slang, colloquial expressions and swear words. The latter, in the context of practical translation problems, have brought to light numerous significant issues relating to the socially and culturally shaped convention and reception of Polish teenage fiction and have disclosed some telling aspects of the Polish publishing market politics.

The Papal States represent a unique and long period in Italian government and in the government of the Roman Catholic Church prior to Italy's unification in 1870. The 25-year period prior to unification was a particularly tumultuous period when the Papal States struggled for survival, faced military and popular challenges and became increasingly indebted. Accounting could become an important tool to assist decision-making and enhance the Papal States' sustainability, as shown by the governance reforms promulgated by Pope Pius IX in this period. Nevertheless, accountants chose what to make visible and emphasised secular, rather than the sacred aspects of the Papal States. Despite reforms, there was a disconnection between the leaders and the accountants. This research therefore examines the role of accounting in such an institution, and extends the concept of a sacred-secular divide to a state government beset by resource constraints and challenged to fulfil its spiritual aims.

This article examines the publication history of W. E. B. Du Bois's The Souls of Black Folk , which has received only occasional scholarly attention. Recent publications of the book, from both W. W. Norton & Company and Oxford University Press, reprint the first edition of the text without mentioning changes to the second printing. Likewise, the book's editor has been widely misidentified by scholars. In light of this history, the essay reconsiders the initial publication and reception of The Souls of Black Folk , considering how the text circulated among a popular audience. I argue that while Du Bois and his Chicago publisher, A. C. McClurg & Co., sought to target a predominantly white audience by simultaneously appealing to and subverting fantasies of racial dominance, these efforts encountered dual attitudes of resistance. On the one hand, the vast majority of readers harshly rejected Du Bois's argument for racial equality. On the other hand, they interpreted The Souls of Black Folk as confirming racial stereotypes and essential characteristics of the Negro. Such racialized misreading dominated the US literary marketplace at the dawning of the twentieth century, and Du Bois's encounter with this reaction profoundly influenced his authorial approach for the remainder of his career.

Media portrayals of comic book fandom routinely depict the comics community as a masculine space, one in which the female fan is an anomaly. Yet, women reportedly represent a growing number of comic book purchasers and convention attendees. If women are, in fact, such a large contingent of the comic book fan community, then why do these gendered stereotypes of female fans persist? Moreover, why do we continually see narratives about the ‘exotic’ female comics fan if women are such a large population within comics culture? I theorise that many female comic book fans render themselves invisible in the comics community out of fear of stigmatisation, from both non-comics fans as well as male members of comics fandom. Drawing on the work of Erving Goffman, I use semi-structured interviews to explore how female comics fans in the United States experience fandom as members of a culture that is coded as masculine.

This chapter reads Borges’ fiction ‘Pierre Menard, Autor del Quijote’ to show what it might mean to read an individual text within the terms developed elsewhere in this book. Borges’ fiction concerning an author who writes Don Quijote as if for the first time, in words ‘identical’ to Cervantes’ text, illustrates the process by which texts’ change within overliving occurs in relation to ‘history.’ Menard’s text’s simultaneous similarity to and difference from Cervantes’ Quijote in terms of language shows how we may understand Benjamin’s concept of ‘pure language’. The text also exemplifies the dual state of singularity and connectedness that characterises texts’ overliving. Finally, both Menard’s Quijote and Borges’ fiction itself testify to the endless potential for translation contained within texts.

Since firstly written in 1612 until the “final version” in 1836, Babad Tanah Jawi had a special place among intellectual debates, partly, in regard with its “functions” as mythical genre, ancient prophecy, historical narrative of Java, genealogical prototype, and typical structure with previous texts. However, little attention was given to the fact that Mataram, largely depicted in Babad Tanah Jawi, is considered as having ‘problematic’ double genealogy, which partly resulted from a double familial lineage of Batara Guru and the Prophet Adam, and the synthetic power of Demak and Majapahit. This study attempts to depict a scholarly contestation of the double genealogy of Mataram and its implication on ambivalent narratives of rebellion in the text. Constructed as ex post facto in the universum of historical references, Babad Tanah Jawi seemingly takes its dual position in providing a subjectively constructed cosmology of Javanese characters and in attempting to objectively illustrate historical events. In some ways, it impacts on the way the text justified Javanese rulers by providing supernatural genesis of ancestors, and ‘purifying’ genealogical defects. The result is a distorted story of those who failed and succeeded to take over the Javanese kingdoms. The ambiguity lies on the way it has to maintain mythological genealogy of rebelling descendants and to perceive such rebellion as subversive.

During excavations at the temple of Taharqa at Semna, George Reisner discovered an exceptional New Kingdom private statuette covered with short cryptographic inscriptions. The peculiar texts on this statuette, now in the collection at the Museum of Fine Arts in Boston (MFA 24.743), received a preliminary treatment by Etienne Drioton in the extensive catalogue of the Semna excavations by D. Dunham and J. Janssen (1960).Nevertheless, this object has otherwise garnered little scholarly attention.A new translation of the enigmatic texts raises important considerations for understanding both the function of cryptography in private statuary and the evolution of viceregal authority in the Eighteenth Dynasty. The texts reveal that the statue belonged to a high ofcial from the Egyptian administration in Nubia, the idnw n WAwA.t (deputy viceroy of Wawat), Djehutymose. Several stylistic features of the statuette suggest a date to the reign of Amenhotep III, when Djehutymose would have been deputy to the viceroy Merymose; this administrative relationship nds additional support from a previously overlooked rock inscription in the Wadi Allaqi. This article contends that the idnw n WAwA.t Djehutymose should be identied with the viceroy of the same name dating to the reign of Akhenaten. Representing the earliest-known attestation of the division of the deputy viceroy position into two geographically dened ofces, this small statuette provides insight into hitherto little known aspects of viceregal succession and the evolution of the dual deputy ofces.

Word-level affixes of English consisting of Germanic affixes and dual Latinate affixes not only undergo the alternations that are sensitive to the edge of a phonological word, but they also fail to take part in word-internal alternations. In addition, they are not involved with stress assignment, consistently achieving stress preservation, unlike stem-level affixes. This study presents a domain-based analysis and claims that while stem-level affixes are included in a phonological word, word-level affixes are subcategorized for and thus aligned to a phonological word, making themselves subject to the alternations applying at the word edge and at the same time outside the domain of word internal phonology of English.

The provenance of this article is somewhere between a critical review of two less-well-known Catholic authors (and their respective memoirs), and a reflective commentary on the same. As the head-title has it, the unifying and necessitating chosen reading direction pits the two Catholic memoirs as contrasting romantic and classical approaches to self-representation and self-discovery; and this, of course, within the purview of their Christian itineraries. In short, I read both memoirs as sacramental journeys as well as empirical journeys. While Belloc's work invokes personality and animation across both his recounted journey and his reflective/pictorial representation of such, Knox evinces in turn a classical asceticism wary of temperamental vagaries and influences, both substantively and formally or stylistically. Precisely because both authors are less well-known, I have sampled their respective works generously, reflecting, again, the dual purview of the article: not only an interested commentar...

If ever the Etymological dictionary of the Cassubian literary language was to come into beingThe currently emerging Cassubian literary language is characterized by a considerable amount of artificially created neologisms. These neologisms cause us to think about the types of linguistic mechanisms, which cause the emergence of forms and meanings that do not occur in the living Cassubian dialects. The solutions presented in the article refer to: 1. the distribution and the change in the meaning of the Cassubian naparłęczyć się ‘to come across, to turn up’, 2. the new functions of the dual pronominal form naju, 3. the vague etymology of the neologism swiąda ‘consciousness; awareness’, 4. the history of the emergence of the neologism spodle ‘background; basis’.

This study of Maḥmūd Darwīsh’s Athar al-farāshah (The Butterfly Effect) (2008)—published in translation as A River Dies of Thirst (2009)—investigates the nuances of the word athar in Darwīsh’s text by focusing on its dual meanings in Arabic as “effect” and “trace.” The semiotic aspects of the butterfly prove to be an important signifier for Darwīsh, articulating a concept of proximity to the other as an overarching ethical and aesthetic aim of Darwīsh’s poetry. The essay ends on the concept of dwelling in the world as an embodiment of both athar (trace/effect) as well as proximity. The argument is supported by reference to Emmanuel Levinas and Martin Heidegger, and in particular the notion of “dwelling,” which helps to further elucidate the philosophical stakes of Darwīsh’s “butterfly effect.”

The present article reports on a corpus-based study that explores the relationship between English dual quantifier both and its Spanish equivalents, especially dual quantifier ambos/as , which is perceived as being functionally similar. The aim of this research is to shed some light on the causes of Spanish students’ underuse of both in their writing by analyzing and classifying the translation solutions for each different use of both and by comparing the use of both and its Spanish counterparts in fictional discourse and in non-fictional discourse to search for any possible cross-register differences. A parallel English–Spanish corpus, P-ACTRES, an ad hoc corpus of contemporary English texts and their corresponding translations into Spanish, has been used for the purpose of this study.

Langston Hughes (1902–1967) was a renowned and celebrated twentieth-century African-American poet who contributed significant literary outputs in the cultural movement known as the Harlem Renaissance and also published poems for children. This chapter draws on Text World Theory to explore Hughes’ use of first-person pronouns in two poems from The Dream Keeper. In doing so, it demonstrates how the potential for ambiguous, dual referents is an important stylistic feature of Hughes’ presentation of childhood and children in poetry that is aimed at both adult and child audiences.

Hebrew perspectives shaped medieval theology through the Tanakh and the works of Philo of Alexandria. The term nephesh, describing both human and animal life in Genesis, was translated as psyche, bringing together two different concepts of the soul. The Hebrew nephesh occurred all animals, was clearly embodied, and not immortal. Ideas of resurrection did not develop in Hebrew thought until just before the common era. Philo tried to reconcile scriptural and Platonic accounts of creation. Though he subscribed to a Platonic continuum, his theory of dual creation led to an ontological divide between eternal forms and physical bodies. Philo’s ideas did not catch on among Jewish thinkers but had a profound impact on medieval Christian life-concepts.

The paper reviews Trediakovsky’s “dilogy” [1], devoted to the engagement (1729) and marriage (1730) of A. B. Kurakin and A. I. Panina, and Lomonosov’s “Ode on the Day of the Marriage of Their Imperial Highnesses the Sovereign Grand Duke Peter Feodorovich and Grand Duchess Catherine, 1745”. Much of the mythopoetic concept of epithalamium as lyric-dramatic genre proposed by Trediakovsky will be perceived by Lomonosov and by later writers through him. The principal innovations made by Lomonosov in epithalamic genre, became his mythological and political content and submission to the form of a solemn ode. The ode of 1745 by Lomonosov is the really conceptual ode. The phenomenon of the Royal marriage with explanation of its reasons is considered in it. The dual – erotico-political – ideological complex developed by Lomonosov and the corresponding “common places” of epithalamic odes will be crucial for poets until the end of the 18th century.

The loss of the dual number in the early pre-literary phase of the development of Latin caused massive changes in the Latin declension. The dual forms of consonant stems, which in animate nouns (later masculine and feminine nouns) were probably characterised by the ending *-ē , gen. du. *-ēs (< PIE nom. du. *-eh 1 , gen. du. *-eh 1 s ), were generally reinterpreted as plurals (hence the secondary plural ending -ēs < nom. du. *-ē in Latin) and sometimes as collectives or singulars (nom. sg. -ēs < nom. du. *-ē ). The latter process led to the formation of the fifth Latin declension with the characteristic -ē- . This category includes very numerous nouns that have no plural forms ( singularia tantum ). Also the Old Latin dual forms ending in *-ī (

This article examines how the dual notions of Americanness and Americanization construct the framework within which the linked stories within Dany Laferriere's La Chair du maitre develop. This study posits that Port-au-Prince's role as main character and principal setting secures the Haitian capital's position as centre of the textual universe and, by extension, as centre of the Americas. However, despite the collection's textual creolisation, underscored by its abundance of domestic and foreign characters, heterogeneous popular cultural references, and related storylines that form the collection's backdrop, an undeniably Haitian specificity weaves through the universal Americannness that La Chair du maitre suggests at first glance. This essay proposes that a Haitian form of Americanisation, or Haitianisation, manifests itself in various tales under the guise of sexual conquest and cultural domination, with the goal of inscribing Haitian influence within the context of a continental American culture.

The psalms challenge and sustain us in a number of ways, and in times of new challenges to the very fabric of the church, to its faith, and its values, we need to re-examine these ancient prayers and songs.This book explores the place and function of the psalms in Christian prayer, preaching, and worship. Examining the dual nature of the psalms as both words to God and word from God, the author brings together the historical experience of the church, biblical studies and theological reflection to focus on the application of the psalms in contemporary Christian life. A number of individual psalms are explored in terms of what they have to say about prayer or what theological issues they raise for contemporary life. This book encourages a reclamation of the psalms in the private and public prayers of the church and in the preaching of the word.

Different Natural Language Processing (NLP) applications such as text categorization, machine translation, etc., need annotated corpora to check quality and performance. Similarly, sentiment analysis requires annotated corpora to test the performance of classifiers. Manual annotation performed by native speakers is used as a benchmark test to measure how accurate a classifier is. In this paper we summarise currently available Arabic corpora and describe work in progress to build, annotate, and use Arabic corpora consisting of Facebook (FB) posts. The distinctive nature of these corpora is that they are based on posts written in Dialectal Arabic (DA) not following specific grammatical or spelling standards. The corpora are annotated with five labels (positive, negative, dual, neutral, and spam). In addition to building the corpora, the paper illustrates how manual tagging can be used to extract opinionated words and phrases to be used in a lexicon-based classifier.