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This book details case histories from across the Five Eyes Intelligence Community, although the core focus is on Canada. Based on newly released archival material, the book portrays an intelligence...

The article analyzes the enlightenment and translation work of the Bashkir poet Safuan Yakshigulov. World perception, political activity, civic position of the poet is revealed through the analysis of works. The scientific text compares the works of Russian poets with the translator's Bashkir fables. Thoughts, open statements of writers have also been translated into Russian by the educator. Examples of new poetic images, with the help of which poets revealed the spirit of the times, and the spiritual world, and the problems of the people, are given. This is the first work in Bashkir literary criticism, where the poet-educator S. Yakshigulov reveals himself as a translator, a carrier of new cultural information for his people. If in his works the author acts as the successor of oriental poetry, then in translations he appears before the reader as the creator of a bridge between cultures. The article also describes the fact that the poet turned to fable creativity.

Este artigo demonstrará o potencial indisciplinar do que definiremos como escritas insubmissas da história. Isso será feito em dois momentos: inicialmente através da procura de Hortense Spillers por uma “nova gramática”, capaz de redefinir a forma estereotipada como os negros são pensados e escritos no presente; em seguida, terá como foco o conceito de “fabulação crítica”, proposto por Saidiya Hartman, que é tanto uma alternativa teórica para exceder ou negociar lacunas do arquivo da escravidão, quanto uma reflexão indisciplinar sobre o que faz o historiador. Antes, porém, explicaremos como essas escritas insubmissas da história fazem parte de uma tradição radical negra, que, desde o final do século XIX, tem se insurgido contra o disciplinamento epistêmico ocidental. Desafios teóricos, veremos, que semprem estiveram profundamente conectados com as demandas político-sociais dos protestos radicais contra a violência antinegra nos Estados Unidos. Ao término, a partir das considerações de Spillers e Hartman, este texto enseja pensar a indisciplina como um fim radical possível em um mundo antinegro.

The research on mysticism in Protestant spiritualities is still in the beginning stage. In this paper, I have examined the process of Thomas Uphams' appropriation of Madame Guyon's mysticism and some concerns in the interpretation on mystical experiences. Phoebe Palmer guided Upham to have spiritual experiences starting from conversion and assessed them as a model case of experiencing entire sanctification in the Wesleyan term. However, Upham had conflicts with Palmer regarding his interpretation on the death of the will or self-annihilation, which are elements of divine union. He found the appropriate explanation of his inner experience in the writings of Madame Guyon and used Madame Guyon's thoughts on self-annihilation and divine union. Upham contributed to Protestant spirituality by appropriating Madame Guyon's mystical experiences to the Holiness movement. Upham's case shows the serious influence of Madame Guyon's spiritual experiences on Protestant spirituality and mysticism. By Upham, mystical experiences were tried to be interpreted as a Protestant theological term such as entire sanctification. Upham's position was somewhat dubious but seems to have a role of bridge between Guyon and Palmer. In this paper, first, I describe Upham's experience of sanctification and his interest in mysticism. Then, I explore Upham's appropriation of Madame Guyon's mystical experiences shown in her writings and his conflicts with Phoebe Palmer regarding his deviant position on entire sanctification.

La vestimenta tradicional forma parte del patrimonio de una cultura y es reflejo de su idiosincrasia, su seña de identidad arraigada en la historia. En esta investigación analizamos los culturemas relativos a la indumentaria tradicional de Corea, el hanbok. Tomando como fuente la web turística institucio­nal de promoción del país asiático VisitKorea, hemos obtenido un corpus formado por un total de 18 culturemas. Para llevar a cabo el estudio hemos establecido una lista de técnicas traslativas a nivel mi­crotextual que se emplean en la traducción de estas palabras culturales para hacerlas comprensibles a hablantes de español, tratando de salvar así la enorme distancia lingüística y cultural entre ambas áreas. Nuestro interés se dirige a las unidades oracionales —no solo a las unidades léxicas—, en las cuales se reflejan distintos aspectos culturales en forma de paráfrasis o traducción explicativa. Como resultado del análisis concluimos que las técnicas que se usan con más recurrencia para traducir los culturemas de nuestro corpus son el préstamo, la descripción del aspecto y la descripción de los usuarios. A lo largo de la investigación hemos constatado que, para reducir la enorme brecha lingüístico-cultural entre Corea y los países hispanos, resulta imprescindible el dominio de las habilidades y los conoci­mientos lingüísticos e interculturales durante la labor de traducción-interpretación, más allá del puro trasvase verbal.

This study aims to describe the arrangement of a kebalai song in the form of a mixed choir along with ethnic Rote Ndao music accompaniment. This research use desciptive qualitative approach. The research data were obtained by means of; 1) Observation, 2) Interview (Interview), 3) Documentation. The tools used are in the form of interview guidelines, field notes, and sibelius as a presentation application. Music analysis is carried out in several stages; 1) selecting the work to be arranged, 2) processing the work (vocal arrangement and instrument arrangement), 3) orchestration and 4) presentation of the arrangement. The validity test uses triangulation sources and data collection. The results showed that the arrangements made were different from the original singing, but were still in a simple form and easy to hear with pop music styles, there was a development in vocal music both in harmony and musical style and for accompaniment there was development in rhythm, melody and alteration patterns. on a chord. The tempo used is moderate from the beginning then after the bridge there is a change in tempo. The form of presenting the kebalai song arrangement is to use sibelius. Vocals use soprano, alto, tenor and bass while the instruments used consist of one melodic instrument and three rhythmic instruments, namely Sasando, gong, drum and cymbal.

Mitau, the former capital of the Duchy of Courland and Semigallia, became the Courland Governorate centre with the Governor’s residence in a palace on an island formed by the Driksa, the branch of the Lielupe River, and great changes have taken place in this city. Artist Alexander Aleksandrovich Strekavin, who born in Mitau on 17 September 1889, studied art history, read books, investigated documents in the museum, listened to people’s stories and completed materials about events and the development of his native city. His drawings introduce with the new iron bridge for traffic and technical innovations – bicycles, the first car in the Baltics and the first phonograph in Mitau, clothes of citizens during the 19th century and at the beginning 20th century. Since the 1950s, six notebooks in Latvian with memoirs recalling by Aleksander Strekavin and an illustrative appendix – a collection of his drawings “The Atlas of Notes on Ancient Mitau” are in the funds of Jelgava History and Art Museum of Ģederts Eliass. Research object: drawings of artist Alexander Strekavin. Research goal: analysis of changes in Mitau during the 19th century and at the beginning 20th century. Research problem: Strekavin’s drawings stored in the funds of Jelgava History and Art Museum have not been studied. Research novelty: analysis of information on technical innovations included in “The Atlas of Notes on Ancient Mitau”. Research methods: studies of published literature, cartographic materials and archive documents.

This study analyzes the contribution of the first Dominicans to medieval pedagogy, through the pedagogical work of Vicente de Beauvais. His peda­gogical works, although they are wide and very var­ied, focus on four core themes: history as a method of knowledge, the ideal of wisdom, the figures of the teacher and the disciple, and health education. Top­ics that served to turn pedagogy into a science, mark the pedagogy of the thirteenth century and serve as a bridge between classical pedagogy and humanist edu­cation. The research is supported by the study of four key pedagogical works: Libellus apologeticus, Speculum naturale, Speculum doctrinale and De eruditione filiorum nobilium. El presente estudio analiza la aportación de los primeros dominicos a la educación medieval, a tra­vés de la obra pedagógica de Vicente de Beauvais. Sus trabajos pedagógicos, aunque son amplios y variados, se centraron en cuatro temas nucleares: la historia como método de conocimiento, el ideal de sabiduría, las figuras del maestro y del discípulo, y la educación para la salud. Temas que sirvieron para convertir la pedagogía en una ciencia, marcar la educación del siglo xiii y servir de puente entre la pedagogía clásica y la educación humanista. La investigación resume las tesis de sus cuatro obras pedagógicas clave: Libellus apologeticus, Speculum naturale, Speculum doctrinale y De eruditione filiorum nobilium.

Previous studies of the Neve Shalom/Wahat al‑Salam/Oasis of Peace Bilingual School have focused mainly on the socio‑cultural and political aspects of the school. The current study explores spelling accuracy of novel phonemes. Four tasks were created for the 2nd‑4th grades for the purpose of this study, all dealing with phonemic aspects and phoneme‑grapheme correspondences. Compared with the poor results of previous studies dealing with spelling accuracy among Hebrew L1 pupils in non‑bilingual settings, the results of the current study show significantly higher scores in all grades for all the tasks. It is assumed that the most significant factor affecting higher scores as of the second grade is the unique pedagogical setting implemented at Neve Shalom a few years ago. It advocates mutual learning of L1/L2 pupils mentored by L1 teachers without translation and without separate lessons for Hebrew and Arabic speakers, as had been previously accepted at Neve Shalom, and still is in other Arabic‑Hebrew settings in Israel. The results of the current study may also indicate that early exposure to Arabic in a bilingual setting also enhances linguistic knowledge. Les recherches antérieures menées à l’école élémentaire bilingue de Neve‑Shalom avaient comme principal objectif l’étude des aspects socio‑culturels et politiques de cette école. Cette recherche‑ci a examiné l’épellation de phonèmes arabes inconnus parmi des locuteurs natifs de l’hébreu. L’étude comprenait quatre tâches destinées aux élèves de CE1‑CM1, permettant d’examiner différents aspects du savoir phonémique et des relations graphème‑phonème. En comparaison de recherches semblables au sein de locuteurs natifs de l’hébreu dans des écoles unilingues, les résultats dans cette étude étaient meilleurs dans les quatre tâches. Nous formulons l’hypothèse que la raison principale de ces excellents résultats serait à attribuer à la pédagogie unique de l’école bilingue à cette époque. Les principes de cette pédagogie étaient : un enseignement commun par une enseignante arabophone et une autre hébréophone dans chaque classe, à chaque cours, sans traduction et sans cours de langue distincts (comme cela se pratique habituellement dans la plupart des écoles bilingues). Les résultats de l’étude semblent révéler l’importance de l’exposition précoce à l’arabe dans un environnement bilingue comme moyen de renforcement du savoir linguistique des élèves. מחקרים קודמים שנעשו בבית הספר הדו-לשוני נוה שלום התמקדו בהיבטים סוציו-תרבותיים ופוליטיים בעיקר. המחקר הנוכחי בדק את סוגיית האיות של פונמות בערבית לא מוכרות בקרב דוברי עברית. המחקר כלל ארבע מטלות שיועדו לתלמידי כיתות ב’-ד’, לבדיקת היבטים שונים של ידע פונמי וקשרי גרפמה-פונמה. לעומת מחקרים דומים בקרב דוברי עברית כשפת אם בבתי ספר שאינם דו-לשוניים, התוצאות במחקר זה היו גבוהות יותר באופן מובהק בכל המטלות. החוקרים משערים שהגורם המשמעותי ביותר שתרם להישגים גבוהים אלה היה הפדגוגיה הבית ספרית הייחודית שננקטה באותה עת בבית הספר. עיקרי התפיסה היו: הוראה משותפת של מורות דוברות עברית וערבית בכל כיתה, בכל שיעור, ללא תרגום, וללא שיעורי שפה נפרדים (כפי שמקובל במרבית בתי הספר הדו-לשוניים). ממצאי המחקר עשויים להצביע על חשיבות החשיפה המוקדמת לערבית בסביבה דו-לשונית כאמצעי לחיזוק הידע הלשוני של התלמידים.

Departing from the reading of theories that raise themes as translation, adaptation and parody, we see that there is an intertextual link between them, making possible here a theoretical articulation. The theoretical instrumental starts from names like Silviano Santiago, Linda Hutcheon, Gerard Genette, Umberto Eco, among other critical names, whose reflections we list here by domain of performance and approximation. After comparing the theoretical articulation of these domains, it can be noted that there is an intertextual bridge among them, not seeing here as a segregation, but a fruitful conjunction on the way in which these themes in the field of Letters and Arts dialog with the presence of intertexts, even because if we think of theories of translation, adaptation, parody and intertextuality, each statement is a reinterpretation, an intertextual presence (even if not explicit) of a previous theoretical proposition. Thus, within the scope of theory, this work here chooses to show separately how each of these themes dialogues with the theory of intertextuality.

EnglishThe reader of translations has gained increasing attention in Translation Studies in recent years, with more focused studies looking into the reception of translated works either through textual analysis of reviews (Zhao 2009, Bielsa 2013, D’Egidio 2015, Saldanha 2018) or the analysis of interviews and focus groups with real readers (Arnold 2016). The reception of works by anglophone readers, in particular, has raised interest among scholars who wish to understand the expectations and patterns of literary consumption by a hegemonic, central culture. This article explores how Galician writers Manuel Rivas and Domingo Villar’s work is perceived and re-constructed by an anglophone readership through an analysis of professional (press) reviews and semiprofessional (blog) reviews based on the homogenization- eterogenizationexoticismcontinuum posited by Saldanha (2018). galegoNos ultimos anos, os estudos de Traducion venen vendo un aumento no interese sobre o lectorado de traducions, presente en estudos centrados na recepcion de obras traducidas ben sexa a traves dunha analise textual de recensions (Zhao 2009, Bielsa 2013, D’Egidio 2015, Saldanha 2018) ou de estudos realizados a traves de entrevistas e grupos de lectura con lectores reais (Arnold 2016). En concreto, a recepcion de obra traducida no mundo anglofono ven xerando un interese particular entre academicos que buscan comprender as expectativas e os patrons de consumo literario no contexto dunha culturacentral e hexemonica. Este artigo explora a recepcion das obras de Manuel Rivas e Domingo Villar no mundo anglofono e estuda como as recensions tanto profesionais (en prensa) como semiprofesionais (blogs) re-construen a cultura galega segundo a nocion de continuo homoxenizacion-heteroxenizacion-exotismo formulada por Saldanha (2018).

British author Agatha Christie, who is one of the best-selling novelists in world literature, is the pioneering figure of detective fiction. Christie, the queen of mystery, wrote about eighty novels during her life. A great number of the author’s books were also adapted into movies. Viewed as one of Agatha Christie's most noteworthy accomplishments, the novel Murder on the Orient Express was released in 1934. It is highly believed that Agatha Christie wrote this novel during her long stays in Istanbul. The story is about a Belgian detective investigating a crime that occurred on the train. In Murder on the Orient Express many places and locations related to Turkey are mentioned. These are the Sainte Sophie (Hagia Sophia), the Orient Express, the Taurus Express, Nissibin, the Cilician Gates, Istanbul, Konya, The Bosporus, the Galata Bridge, The Tokatlian Hotel, Smyrna, Taurus and Hayda-passar. The novel starts with the completion of Hercule Poirot's investigation in Syria at the Aleppo train station. Poirot goes to Istanbul via the Taurus Express, where he wants to take the Orient Express to London. In fact, Poirot wants to make a few days’ holiday in Istanbul and visit Hagia Sophia.

The article describes various issues pertaining to the contemporary sites of remembrance. The author analyzes the symbolism of particular kinds of monuments and memorials in the context of an overarching theme of transition or a passage, sometimes represented as a gate or a fissure. The inspiration of creators of such memorials is being theorized by the author. He points out that these memorials are not merely symbols of the past. They constantly influence the collective imagination by gaining a landmark status. Not only do they preserve memories of events and people, but they also function as a bridge between the past and the present. Such sites of remembrance support civic education efforts and have the ability to form societal identity.

Media jako przestrzeń komunikacji wiary i kultury w nauczaniu Jana Pawła II. Szkic do problemu. Kultura jest rzeczywistością właściwą tylko człowiekowi. Środki społecznego przekazu, które w dużej mierze tworzą kulturę i ją przekazują, służą osobie ludzkiej i całemu społeczeństwu. Stanowią swoisty pomost między kulturą a wiarą; poszerzają i zgłębiają wiedzę religijną, inspirują, intrygują i służą jako narzędzie ewangelizacji. Jan Paweł II zwraca uwagę na to, jak ważne w kulturze są treści religijne, które oddają pełny obraz człowieka jako jedności psychofizycznej, jedności duszy i ciała, i jego powołania do miłości.

This article is an analysis of the linguistic means of figurative representation of the Milky Way in the prose works of Russian authors of the XIX — early XXI centuries. It is established that the basis for the creation of metaphorical models, in which the astroobject Milky Way is one of the components, are the similarity of external outlines, parametric indicators, the identity of light and structural characteristics, while the attraction of only perceptual signs significantly limits the possibilities for comparison. It is shown that the length of the stellar system determines its metaphorical representation as a water body, road, fabric or fiber, a bridge or its component part, an arc, a parabola, a fraction, a procession, a lane, a belt, a ski track, spilled milk, a tail. It is noted that the relative position of the celestial bodies that form the Milky Way leads to its assimilation to fog, cloud, smoke or dust; the luminosity of the stars entering the galaxy resembles the brilliance of silver and gold, and their large number is emphasized by the metaphor “Milky Way — many small objects or particles”. The author comes to the conclusion that the images that arise during the metaphorization of an astroobject differ in the frequency of use, while hydronymic, meteorological, artifact metaphors, as well as the metaphor of a path-road, are productive.

This paper seeks to explain the term “Jembatan Merah” in Indonesia from a humanities perspective. Researchers see that the term which has become one of Indonesia's local identities contains many implied meanings rather than simply being understood as a form of denotation of a red bridge. Even the interpretation of this term in keroncong music works has contributed a lot in popularizing this term. Starting from the popularity of the Gesang keroncong music which uses the name "Jembatan Merah" in one of his works, to the emergence of various forms of musical genres adapted from the popularity of the keroncong song "Jembatan Merah" indirectly gives the stigma of labeling the term which leads to a historical tourist location. which is in Surabaya. In fact, there is no statement that can be proven by Gesang regarding the historical labeling of "Jembatan Merah". By using the meaning of identity in the concept of "cultural circuit" belonging to Stuart Hall, this research will attempt to answer the meaning of the identity of "Jembatan Merah" which is considered normal for ordinary people but very important in proving an interesting cultural phenomenon to be studied today.

Automatic Music Transcription (AMT) is becoming more and more popular throughout the day, it has piqued the interest of many in addition to academic research. A successful AMT system would be able to bridge multiple ranges of interactions between people and music, including music education. The goal of this research is to transcribe an audio input to music notation. Research methods were conducted by training multiple neural networks architectures in different kinds of cases. The evaluation used two approaches, those were objective evaluation and subjective evaluation. The result of this research was an achievement of 74.80% F1 score and 73.3% out of 30 respondents claimed that Bidirectional Long Short-Term Memory (BiLSTM) has the best result. It could be concluded that BiLSTM is the best architecture suited for automatic music transcription.

The present research analyses the decisive role of music in Sherman Alexie’s Reservation Blues (1995). The study focuses on the role that music can play in the spiritual life of people in general and of the Native American people in specifics. Sherman Alexie’s novel, through presenting several examples and various characters, highlights and points out the cultural, social, psychological, and political functions of music in the Native American communities, especially in the reservations built allegedly to protect the identity of Native Americans across the United States. The research examines the tremendous role of music in preserving the Native American culture and identity through creating a collective mentality that will be a bridge between the old and the new generations

Intermediality can be defined as the phenomenon in which a work of art appropriates the linguistic resources of two or more media, resulting in something that is potentially new and initially difficult to classify. The understanding of this exchange can be useful to authors who seek to overcome the traditional limits of a particular language, art form or medium. This paper sought to investigate the bibliography on this subject to primarily understand how games present themselves as a complex form of media and then draw parallels that can initiate a bridge between the intermediality theory and the study of contemporary interactive media. For this purpose, the electronic game Final Fantasy VII (1997) and its spin-offs were analyzed and from them, examples of how intermediality is applied to the franchise. Through this brief analysis, it becomes clear how videogames have the ability to absorb other media, referencing, transposing and combining them to generate a vast framework of linguistic resources that the game developer can use to design new experiences.

This article is the second in a continuing series of biographical pieces on individuals who have made significant contributions to microwave science, technology and applications over the course of their careers. It is intended to bring to the reader, especially those new to the field, a portrait of an individual who serves as a role model for the community and a detailed description of their accomplishments. At the same time, it tries to bridge with commonality, the experiences of the subject with those of the scientists, engineers and technologists who are following in their footsteps or hope to establish a similar record of success. The articles are composed only after an extensive face-to-face interview with the subject and are helped immensely by additional input and editing by the subjects themselves. The focus of this article is Caltech Professor Carver A. Mead, perhaps best known for his ground breaking work on VLSI design techniques, but also for the first demonstration of the GaAs MESFET and the originator of Moore's Law. However, Professor Mead has contributed so much more, and to so many disciplines other than electrical engineering. From his own description of his interests and focus, he is a chameleon of knowledge, scrambling into, blending with, and then distinguishing himself in a new field every thirteen years or so, over a career spanning seven decades and still going. At age 86, his latest paper, on an intuitive approach to electromagnetically coupled single-electron quantum systems, was just published this summer. Although we cannot do justice to all his contributions, we hope the reader will see something of the polymath in Professor Mead as we focus just on his earliest work, where he single handedly conceived, constructed, and tested the world's first Schottky barrier gate transistor in his modest laboratory at Caltech.

Taking as its starting point the oration delivered in honor of Constantine in Trier by an anonymous orator in 313, this article examines the characterization of the divine and the way in which Constantine’s theology and his perception of the supreme deity is envisioned in the oration in relation to his Italian campaign and his defeat of Maxentius in 312. Constantine’s Christianity and his “conversion” are associated by the Christian sources (and in their wake by many modern scholars) with the intervention by the Christian god before the Battle of the Milvian Bridge. The panegyric of 313, however, does not refer to divine intervention before Constantine’s decisive battle against Maxentius. Christianity is in fact entirely absent from the oration. Examining textual, material, and numismatic sources, I argue that the most likely candidate for the supreme deity referred to in the oration is Sol Invictus and also that the speech expresses in hidden terms Constantine’s religious tolerance.

Punctuation marks are also used in news headlines, which play an important role in conveying news information to readers. There are some differences between the punctuation marks used in the headlines of Japanese news in the Chinese-Japanese translation section of People’s Daily’s Japanese edition and those used in Japanese news websites. “,” and “.” are rarely added to news headlines on Japanese news websites. Use “「」” or “()” to quote or explain. Compared with this, there are obviously more punctuation marks used in Japanese news headlines of the Chinese-Japanese translation section of People’s Daily’s Japanese edition, such as “,” and “?” And “!”, “,” etc. Section in the mutual translation of this paper is to People’s Daily online Japanese version the solstice on February 7, 2021 on April 2 until 30 news title language as the research object, based on the investigation to the Japanese punctuation usage, understanding the characteristics of the Japanese, grasp the translation of Japanese language features of news headlines, facilitate in the later translation more accurately using auxiliary expression of punctuation, To build a bridge of friendly communication between the Chinese and Japanese people.

This article reads the now-classic feminist anthology This Bridge Called My Back: Writings By Radical Women of Color (1981) in the context of the archival materials surrounding its production, reception, and post-publication circulation. The archived papers of the anthology’s editors and advisors, including Gloria Anzaldua and Audre Lorde, as well as the files of its original publisher, Persephone Press, reveal dimen- sions of the anthology beyond the published book: from the affective labor involved in its development and editing to its re-organizations and re-embodiments in staged perfor- mances. The anthology’s attempts to create freedom for movement and the ways in which an archival approach illuminates these attempts are epitomized by a script preserved both in the records of Persephone Press and in Anzaldua’s papers, which the essay considers in detail in its final section. Responding to calls for new narratives of feminist writing and history, this essay reads This Bridge Called My Back as a dynamic work, both the result of movement and an impetus to new forms of movement.

The discourse of this study is about the views of an orientalist, Karen Armstrong, in describing the figure of the Prophet Muhammad by looking at the texts and methods used by Armstrong, and the purpose of this study is to explore Armstrong's understanding of the figure of Muhammad who is actually a role model for Muslims. This study was conducted using a qualitative approach with the type of research in the form of Library Research, accompanied by documentation data collection techniques and methods using historical analytical-descriptive type as a bridge to explain Armstrong's thoughts about the Prophet Muhammad, accompanied by a sociological approach to knowledge and the theory used is effective intellectual heremeneutics. from Gadamer. The results of this paper are related to Armstrong's objective interpretation that Muhammad was an extraordinary figure who had a major influence on the change of the Arabs and Armstrong's text study uses a critical-historical method with an empathetic approach. Armstrong explained the figure of Muhammad, because according to him it is important to be done to improve the history of Islam and the middle east

The charitable allocation of a property or income to a foundation in the form of a trust dates to the first years of Islam. This foundation tradition influenced Islamic regimes intensely and continued in the Ottoman Empire, where it always retained a special place. In the 16th century (December 24–31, 1565), Sultan Suleiman established a foundation for water in the Ottoman Empire that was named after him. The charter for this organization, called a vakfiye or vakifnâme, is the main subject in this study. Words, expressions, descriptions and imagery, compliments, metaphors, etc., all of which pertain to water, are present in the vakfiye text. These can be taken as evidence of how water culture emerged and lived in social memory and of the direction in which it developed. The main purpose of this article is to describe how water imagery reflects both language and culture. Accordingly, numerous references to water in the subject matter of the study are examined, for example: ocean, sea, river, fountain, rain, April rain, spring water, pure water, rain drop, heavenly waters, River of Kagithane, water of life etc. Some relevant architectural terms are also considered; water arch, bridge, bath, haunch, public fountain, fountain, and pool.

En la película "El puente de los espías" (Spielberg, 2015), basada en hechos reales, se refleja la realidad de las relaciones internacionales entre bloques al comienzo de la guerra fría, cuando el espionaje era parte de la actividad habitual de defensa. A través del proceso de enjuiciamiento y posterior liberación del espía soviético Rudolph Abel podemos examinar cuestiones trascendentales como la universalidad del derecho de defensa, la vigencia de los derechos humanos y la búsqueda de la personalidad internacional por parte de los estados emergentes

 Abstract The story of Prophet Musa and Prophet Khidir is one of the stories that is quite representative of the stories contained in the Al-Qur'an. The narrative description in the Al-Qur'an is certainly interesting to study. In presenting the story, al-Qur'an often uses metaphorical language and analogy which is alleged to be able to bridge the limited human ratio with the language of the al-Qur'an which is completely unlimited. This article examined the moral message behind the story of Prophet Musa & Prophet Khidir according to Fakhruddin al-Razi in his Tafsir, Mafa> tih al-Ghayb. This research was included in the literature review which was presented using the maud {u> 'i interpretation method and Gadamer's philosophical hermeneutic approach. Based on the search, it was found that in interpreting this story, al-Razi considered a number of aspects such as internal relationships (aspects of munasabah) and the external context of the text (asbabun nuzul). In addition, based on Gadamer's theory of historical consciousness (awareness of historical influences), al-Razi was still influenced by his background as an ash'ariyyah. The reinterpretation of three important events in this story sequence shows the moral message of the story about the importance of tawa>d}u’(humility), so that humans are always able to guard their behaviuor from being arrogant (takabbur), be patient in facing all tests and are determined. Â

John of Salisbury’s Metalogicon is a defence of logic and its role as an instrument for philosophy, as well as a commented reading of Aristotle’s Organon. It presents, therefore, a didactic effort, learnt from masters, to help readers to understand the realities perceived by the senses and to obtain true, intellectual and scientific knowledge. Thus, the influence of William of Conches and Hugh of Saint Victor is revealed: John of Salisbury intends, as do they, to provide a method which will lead to the acquisition of knowledge and wisdom. For this method, memory plays a vital role, acting as a bridge between sensus and ratio, from sensory perception to rational knowledge.

The uniqueness of the rhytm pattern (gendhing) of the mortar in Magetan lies on the title of the gendhing-gendhing adopted from the name and behavior of the animal. This study focuses on the analysis of metaphorical aspects in the gendhing entitled Kupu Tarung. In this study, metaphor serves as a bridge that communicates certain messages contained in the gendhing Kupu Tarung. One of the results of this analysis is the name of gendhing Kupu Tarung originating from the moment of a mating butterfly, which is then captured in the image scheme, and represented by the creative power (fantasia power) of the community. The collision between the two types of butterfly genitals, which are the essence of the butterfly mating moment, is interpreted in the form of a link between pestles facing each other. Through this mortar gendhing, ancestors transmit the value of fertility (in terms of agriculture and also sexuality) to agrarian communities in the language of art.

The visit of George IV to Ireland in the summer of 1821 prompted an effusive display of royalist emotion. It left a visible and material legacy in Dublin in the form of Kingstown, the Round Room in the Mansion House, King's Bridge, and a variety of prints, paintings, commemorative coins and ephemera. The idea of constructing a palace to facilitate future royal visits was even floated. The visit was reported on extensively in the newspapers of the day and was the subject also of a range of poems, verses and songs. A royal visit made on a whim, together with vested interests and carefully managed propaganda, combined to produce mismatched expectations of what the visit would achieve. This article assesses the visit and argues that while the Dublin administration viewed it as a success, there was, in fact, little positive outcome.

The River Araxes In the Roman Poetry The Araxes flowing through the Armenian Highlands was one of the rivers mentioned quite often in Roman poetry from the Augustan Age up to the 5th century. In line with the traditional tendency of classical literature, the Araxes was usually shown as a pars pro toto of a country, in this case Armenia, which was one of the aims of the Roman eastern policy and the object of rivalry between the Empire and Parthia/Persia. The great majority of references to the Araxes was connected with the theme of Roman expansion in the East (especially with the campaign of Tiberius in 20 BC and later with the Roman-Parthian war 58–63 AD), which can be observed best in the recurrent motif of a bridge across this river, a clear-cut symbol of Roman domination over Armenia and – more generally – over all of the East.

Die Übersetzung, insbesondere die literarische, ist vor allem eine Art Kulturübertragung. Neben der Beherrschung der Sprachen setzt sie die Kenntnis des Allgemeinen und Besonderen des Landes wie Kultur, Tradition, Glauben, geschichtliche und gesellschaftliche Begebenheiten und auch soziale Strukturen voraus. Wenn die Sprachen und Kulturen tiefgreifend wahrgenommen werden, können die übersetzten Texte die Adressaten erreichen, d.h., dass die Ausgangssprache und -kultur für die Zielrezipienten verständlich sein können. So wird der Übersetzer als Kulturträger angenommen. Cornelius Bischoff ist beispielsweise ein wohlbekannter Name für den deutschen und türkischen Literaturkreis. Er ist vor allem bekannt als „der deutscheste Türke und der türkischste Deutsche“ sowie als eine Brücke zwischen Deutschland und der Türkei. Das Ziel der vorliegenden Arbeit ist es, Cornelius Bischoff, einen Kulturträger zwischen der deutschen und türkischen Übersetzung, zu behandeln. Als ein „Haymatloser“ fand er in der Türkei die Möglichkeit, die türkische Sprache und Kultur wesentlich kennenzulernen und viele türkische Werke ins Deutsche zu übersetzen. Als ein Übersetzer trug er zuallererst dazu bei, die türkische Literatur, die bedeutenden türkischen Schriftsteller, die türkische Kultur und Tradition sowie den türkischen Sprachgebrauch in Deutschland bekannt zu machen. In der vorliegenden Arbeit wird die Besonderheit Bischoffs in der Übersetzungswelt im Hinblick auf drei Aspekte diskutiert: zuerst im Hinblick auf den Zusammenhang seiner Wurzeln in der Türkei und im Türkischen -schon in seinen Wurzeln, besonders mütterlicherseits, wurde das Türkische verinnerlicht-, dann auf die in der Türkei verbrachten Jahre -die Jahre, in denen er „haymatlos“ genannt wurde- und zuletzt auf die Wahrnehmung und Aneignung der türkischen Sprache, Kultur und Gesellschaft – was auf ihn lebenslang einwirkte-. In diesem Kontext wird versucht, sein Leben, seine Werke und seine Wirkung im Rahmen der übersetzerischen Tätigkeit zu analysieren., The translation, especially the literary translation, is above all a kind of cultural transfer. In addition to knowing languages, it requires knowledge of the general and in the particular, of the languages, its culture, tradition, and belief, history and also social structure. Only then the translated text can reach the recipients, enable the source language and culture. So, it is understandable for the target language and culture, and by doing so, the translator can be accepted as a cultural carrier if both language and culture are deeply perceived. The German and Turkish literary circles know such a translator: Cornelius Bischoff. He is first of all famous as “the most German of the Turks and the most Turk of the Germans” and as a bridge between Germany and Turkey.The aim of the present work is to treat Cornelius Bischoff as culture-bearer between the German and Turkish translation. As a "haymatlos" in Turkey, he had the opportunity to get to know the Turkish language and culture substantially and then transfers so many important Turkish works to German. As a translator, he contributed to making Turkish literature, the important Turkish writers, Turkish culture and tradition as well as the Turkish usage known in Germany. In the present work, the speciality of Bischoff in the field of translation is discussed with regard to the following three aspects: first with the connection between his roots in Turkey and in Turkish - Turkish was already internalized in its roots, especially on his mother's side -, then with regard to years in Turkey - the years in which he was called "haymatlos" - and finally with regard to the perception of the Turkish language, culture and society - which lasted for a lifetime for him. In this context, an attempt is made to analyze his life, work and effect in the context of the field of translation.

This article explores the diverse materialities of texts created by three female luminaries that expand our understanding of translation and transformation in early modern Europe. Lady Anne Cooke Bacon’s translation of Bishop Jewel’s Apologia was praised as the official text of the Elizabethan Settlement and printed without change for the edification of both English readers and Continental sceptics. Yet despite its centrality in the vitriolic controversy between Jewel and Louvain Romanist Thomas Harding, within a generation Bacon’s name disappeared. Bilingual calligrapher and miniaturist Esther Inglis prepared and presented stunning manuscript gift books, often including self-portraits, to patrons on both sides of the Channel. Her artisanal expertise emulated and often outdid the typographic variety of the printed text. Scholarly and lionized participant in the Neo-Latin Republic of Letters, Anna Maria van Schurman, whose landmark Dissertatio was translated as The Learned Maid, scandalized her conservative Calvinist supporters by embracing Labadism and praising its simple ways in her autobiography Eukleria. These three early modern women, distinct in temperament, time, and social status, are the subject of this exploration, which seeks to understand the dynamics and fluctuations of cross-Channel transmission and the role played by the Channel divide or bridge in creating a brief notoriety soon to be followed by obscurity., Cet article examine les divers aspects matériels de textes composés par trois figures brillantes de l’écriture féminine et invite à une approche élargie des phénomènes de traduction et transformations dans l’Europe de la première modernité. La traduction de l’Apologia de Jewel par Lady Anne Cooke Bacon fut célébrée en son temps comme la version officielle du nouvel ordre religieux élisabéthain. Publiée sans modification aucune pour l’édification du lectorat anglais autant que des sceptiques de l’étranger, la traduction joue un rôle central dans la controverse acerbe opposant Jewel au théologien de Louvain Thomas Harding ; mais il suffit d’une génération pour que son auteure tombe dans l’oubli. La calligraphe et miniaturiste Esther Inglis fut célèbre à son tour pour les magnifiques manuscrits bilingues, souvent accompagnés d’autoportraits, composés à l’attention de divers mécènes de part et d’autre de la Manche. Par leur finesse technique, ses productions rivalisent avec le texte imprimé, l’emportant même parfois sur le plan de la variété typographique. Enfin, Anna Maria van Schurman, membre parmi les plus brillantes de la République des lettres néo-latine, auteure d’une Dissertatio qui fit date et circula en traduction sous le titre de The Learned Maid, scandalisa son entourage calviniste lorsqu’elle se convertit au labadisme et fit l’éloge de la simplicité de ses voies dans son autobiographie, Eukleria. On dresse ici le portrait de ces trois femmes de la première modernité, bien distinctes par leur tempérament, leur contexte et leur statut social; il s’agit d’étudier la dynamique et les fluctuations propres à leur trajectoire transnationale, et en particulier le rôle de barrière, ou au contraire, de vecteur, joué par la Manche dans la formation de ces fortunes aussi éclatantes que fugaces.

This research contains an intertextual study of poem “Di Jembatan Mirabeau” by Agus R. Sarjono and Le Pont Mirabeau by Guillaume Apollinaire. Both of these poems describe the same object, Mirabeau bridge. The purpose of this research is to determine the intertextuality between these two poems. The method and approach that used in this reserch are library method and intertextuality approach. The writer found several things that show the similarities and differences of these two poems. The similarities are found through the setting, structure of sentences, and point of view. While the differences are found through the language, time, final rhymes, and typography. The result showed that these poems have same meanings and expansion, conversion, modification, and exclution.

Bean is a composite character who plays a leading role in the counterstories that compose this essay. In the context of his "Annals," Bean, quite inadvertantly, both challenges his white teacher's efforts to cultivate and enact an anti-racist pedagogy and provides opportunities for her to try, fail, learn from failure, and try again. In these excerpts, Bean's teacher learns that she must begin to acknowledge and address her own anger, as well as Bean's, and to discern the difference between fear and discomfort as she engages with Bean's dual performances of whiteliness and (toxic) masculinity.

M. Yasnov’s book attempts to bridge the cultural gap between France and Russia. Showcasing Yasnov’s talents as a poet, writer of children’s books, translator, and commentator of French poetry collections and anthologies, the book continues the cycle of his works dedicated to French poetry and its Russian translations and interpretations. The bilingual edition of 16th–20th-cc. French poetry published in 2016 started the series and included the works of La Pléiade and La Fontaine, Baroque and Rococo poets, as well as poètes maudits and the poems of La Belle Époque. In addition to the collected poems, the book contains essays on the poets and Yasnov’s comments about the challenges of translation. In the new publication, Yasnov the translator lends a voice to French poems for children, many of which appear in press for the first time. Finally children’s literature originating in France will reveal its diversity to Russian readers.

Hoy, la tierra –sus bosques, subsuelos, etc.– ya no está en nosotros, sino solo en unos cuantos que la explotan hasta agotarla. Entonces nos acomete el deseo de sublevarnos, por ese común que nos ha sido arrebatado. Pero, ¿qué oculta este singular de “común”? A partir de imágenes concretas y en una línea que establece un puente desde la crítica estrictamente marxista hasta un planteamiento que se declara en la línea de Maurice Merleau-Ponty, Michel Foucault, Gilles Deleuze y de una “fenomenología de los cuerpos”, este artículo plantea una reflexión sobre la imaginación como nuestra facultad común. Y por añadidura, como “nuestra Comuna”, una palabra que debe ser pensada con una C mayúscula, algo así como nuestra primera facultad de sublevación, nuestra primera potencia “libre” de reorganizar el mundo de otra forma, de una forma más justa. La densidad del mundo debe entonces imaginarse. Esto nos llevará a hacer un pequeño recorrido por el rojo o más bien por el imaginar rojo como el tono de los deseos humanos, de las potencias que les atraviesan o les rodean, les movilizan o amenazan.

In the historical course of Turkish literature, besides poetic works, prosaic works were also written. It is known that the historical adventure of Turkish prose began with Kokturk Inscriptions (Orkhon Inscriptions) belonged to pre-Islamic period. 12th century which serves as a bridge between the prosaic works of the pre-Islamic period and the prosaic works of the Islamic period is like a transitional period. It is known that the first prosaic works belong to Islamic period is compiled in 13th century. When it comes to 16th century there is an increase of the number of the prosaic works. Our prose which has a quite wide content in terms of subject advances in three sections such as simple prose, normal prose and artistic prose. This article which is about the old Turkish literature prose between 12th and 16th century is tried to be enriched with the examples of the periods works.

A steel structure stands at the intersection of Fulton Street and Hank Aaron Drive in Atlanta’s Summerhill neighborhood. It consists of a tower and a bridge. The tower is scaffolded with stairs tha...

Music has the power to convey everything that is in human life. It deeply affects people's emotions and thoughts. This has enabled the use of music in different disciplines. One of these areas is politics. There has been a relationship between music and politics since ancient times. It served as a bridge between governing and managed. Music has been used in politics for purposes such as mutual emotions, showers and ideas. During the election periods, it aims to reach voters through songs and music. The messages that politicians want to convey are conveyed through music and songs. The aim of this study was to examine the songs written for leaders of political parties in Turkey and also in the examination reveals that this how it affects the image of the leader of the lyrics. The government and the main opposition party leaders’ songs were examined with the content analysis method after 2000 years in Turkey. As a result of the analysis, it was found, what the themes and lyrics in the songs mean. It determined to reveal how these songs affect the leader images.

In their narrative and their essayistic œuvre, Ernesto Sábato and Julio Cortázar display their concern for the solitude assailing modern subjectivities and, at the same time, grapple with the possibilities offered by art – in particular by literary art – to overcome said isolation In El túnel and Rayuela, both authors use the architectonic image of the bridge to illustrate the novel's expressive potential and how it can bridge the chasm between the alienated existences of the 20th century As a literary genre delving into human experience, the novel does not only narrate through the existential abyss, but also becomes a communicating bridge itself

Nordic Noir dramas have dominated the landscape of contemporary television, transforming the crime genre beyond the traditional English speaking productions whilst forging a path for female protagonists to dominate. This article seeks to analysis the relationship between the narrative, fashion and interiors through the main female protagonist Saga Noren (Sofia Helin) in Bron/ Broen (The Bridge, 2011-18), the Danish-Swedish production of the Nordic Noir drama.\ud \ud Saga has revitalized and challenges the traditional representation of women in small screen fiction. She is presented as a complex, layered individual for whom gender is not a boundary or a label with which she identifies. Through the lens of interior design this article explores the construct of public and private spaces of Saga and how this interweaves with her identity through her iconic look and symbolic car. In the approach the article offers a deeper appreciation of the complexities of how she tacitly navigates the portrayal of her professional and public self, and negotiates the parameters of people and space through the boundaries of the constructed interior.

Wayang Avenger is a bridge that connects traditional culture and contemporary culture. Harmonization of cultural fusion and open adaptation appears in the concept elements in the story and the puppet characters. The transformation of traditional wayang towards contemporary wayang implies a tendency towards cultural concept choices. Initially, traditional puppets were a medium for religious ceremonies and a medium for spreading religion. Traditional wayang provides both an overview and a guide to behaviour in life. Changes to contemporary wayang show the existence of changes in wayang tendencies which only describe contemporary phenomena of human life. This research seeks to see and explain the visualization of characters in the creation of the Wayang Avenger, especially the characters in the Doctor Strange character. The explanation leads to the visual elements of the character, with the support of the theory of transformation. The visual elements of Doctor Strange show that their creation takes into account the functions of elements that exist in traditional puppet performances. Character design in the Wayang Avenger which is a combination of two elements, namely elements of tradition and contemporary elements. The combination of the two elements shows that there is an aesthetic principle that contemporary aesthetic does not have to deny the values ​​in a traditional aesthetic.

The terms and expressions of the periscope of Romans 1:18-21 converge to a universality of a previous knowledge of divine revelation, that conceptually gathers the divine elements of revelation and wrath, capable of generating judgment. The syntactic-semantic constructions of these four verses themselves constitute a solid bridge between revelation and judgment. The juxtaposition between these two factors, in a biunivocal correspondence, which involves degree and depth, is the structural basis of this exegetical study, under the textual core of Romans 1:18-21. In this sense, it will be essential to detect the historical-theological characteristics of the relevant textual elements in Romans 1:18-21, which favor the qualification of the degree of knowledge of the gentiles. Presumably, God’s knowledge is shown in the text as evident and his attributes are clearly recognizable; his wrath is revealed as a reaction to the fact of them not glorifying God, even in face of this knowledge.

ScreenPlay is a unique interactive computer music system (ICMS) that draws upon various computational styles from within the field of human–computer interaction (HCI) in music, allowing it to transcend the socially contextual boundaries that separate different approaches to ICMS design and implementation, as well as the overarching spheres of experimental/academic and popular electronic musics. A key aspect of ScreenPlay’s design in achieving this is the novel inclusion of topic theory, which also enables ScreenPlay to bridge a gap spanning both time and genre between Classical/Romantic era music and contemporary electronic music; providing new and creative insights into the subject of topic theory and its potential for reappropriation within the sonic arts.

Ana Lily Amirpour’s 2017 film The Bad Batch is a nightmare of postmodern abjection. Set in a desert wasteland in Texas, the film depicts a quasi-futuristic society that starkly reveals the dark underside of contemporary society, here portrayed in two realms, both exhibiting the height of abjection: the cannibal town called the Bridge and the shanty town of Comfort, where a lone perverse patriarch impregnates all the women while doling out steady doses of LSD to contain the masses. Borrowing from Julia Kristeva’s description of the ‘deject’ in her work Powers of Horror, this analysis focuses on those characters who ultimately choose neither of these options. Having confronted and internalized the abject, these characters become eternal exiles, achieving a measure of liberation by assuming and embodying their partiality and by embracing ‘a weight of meaninglessness, about which there is nothing insignificant’ (Kristeva, J., 1982: 2).

Semsi Belli(1950-2000) is one of the best poets of the recent Turkish poetry. Seeing the poetry as evaluationand interpretation of the concepts produced by people with a superhuman effort;he adopts a poetic conception that is close to the Five Poet Of The Syllable /Bes Hececiler and Odd Movement / Garip Akımı (also named as The FirstReformists / 1. Yeniciler) with the poems he wrote with syllabic meter and thefree form without rhyme. The poet, who benefited from the elements of folklorein his poems, also reflects the people's sense, thinking and living style tohis poems. With his poem Anayasso, which hewrote with the local accent, he made it possible to build a bridge over thewater of Zap. He also wrote poems on the subjects of poverty, degeneration,women and love; representing the philosophy of ‘simplicity is beautiful’ andabout 11 of these poems were later composed.In thisarticle, the life of Semsi Belli, his literary personality, the subjects of hisworks and poems, the features and examples of using folklore in his poems areexamined and evaluated by using descriptive scanning model and documentanalysis method., Şemsi Belli son dönem (1950-2000) Türk şiirinin şairlerinden biridir. Şiiri insanların ürettiği kavramların insanüstü bir çaba ile değerlendirilmesi ve yorumlanması olarak gören şair; hece vezni ile yazdığı şiirler üzerinden Beş Hececiler’e, vezinsiz ve kafiyesiz serbest şekil ile yazdığı şiirleri ile de 1. Yeni de dediğimiz Garip akımına yakın bir şiir anlayışını benimser. Şiirlerinde folklor unsurlarından bolca yararlanan şair, halkın duyuş, düşünüş ve yaşayış tarzını da şiirlerine yansıtır. Güneydoğu ağzı ile yazdığı Anayasso adlı şiiri ile Zap suyunun üzerine köprü yapılmasını sağlayan şair, yoksulluk ve yozlaşma başta olmak üzere sosyal; kadın ve aşk konuları başta gelmek üzere de bireysel konularda, sadelik güzeldir felsefesini temsil eden şiirler kaleme almış, bu şiirlerin 11 kadarı bestelenmiştir.Betimsel tarama modeli ve belge çözümleme yöntemi ile şiirlerinin incelenip değerlendirildiği bu makalede Şemsi Belli’nin hayatı, edebî kişiliği, eserleri ve şiirlerinin konuları ile şiirlerinde halkbiliminden yararlanma özellikleri ve örnekleri üzerinde durulmuştur.

The present essay examines seven aspects of the Gospel of John’s distinctive literary style which readers encounter often: solemn speech, ambiguous language, misunderstanding, irony, bridge verses,...