Orality, Literacy and Social Approach of Language
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Interiors and Interiority in Vermeer: Empiricism, Subjectivity, Modernism
ARTICLE Received 20 Feb 2017 | Accepted 11 May 2017 | Published 12 Jul 2017 DOI: 10.1057/palcomms.2017.68 OPEN Interiors and interiority in Vermeer: empiricism, subjectivity, modernism Benjamin Binstock1 ABSTRACT Johannes Vermeer may well be the foremost painter of interiors and interiority in the history of art, yet we have not necessarily understood his achievement in either domain, or their relation within his complex development. This essay explains how Vermeer based his interiors on rooms in his house and used his family members as models, combining empiricism and subjectivity. Vermeer was exceptionally self-conscious and sophisticated about his artistic task, which we are still laboring to understand and articulate. He eschewed anecdotal narratives and presented his models as models in “studio” settings, in paintings about paintings, or art about art, a form of modernism. In contrast to the prevailing con- ception in scholarship of Dutch Golden Age paintings as providing didactic or moralizing messages for their pre-modern audiences, we glimpse in Vermeer’s paintings an anticipation of our own modern understanding of art. This article is published as part of a collection on interiorities. 1 School of History and Social Sciences, Cooper Union, New York, NY, USA Correspondence: (e-mail: [email protected]) PALGRAVE COMMUNICATIONS | 3:17068 | DOI: 10.1057/palcomms.2017.68 | www.palgrave-journals.com/palcomms 1 ARTICLE PALGRAVE COMMUNICATIONS | DOI: 10.1057/palcomms.2017.68 ‘All the beautifully furnished rooms, carefully designed within his complex development. This essay explains how interiors, everything so controlled; There wasn’t any room Vermeer based his interiors on rooms in his house and his for any real feelings between any of us’. -
Jørgen Meldgaard's Film Works and Books on Art from the Arctic
Document generated on 09/24/2021 8:37 p.m. Études/Inuit/Studies Jørgen Meldgaard’s film works and books on art from the Arctic Les films de Jørgen Meldgaard et ses livres sur l’art de l’Arctique Anne Mette Jørgensen Volume 37, Number 1, 2013 Article abstract Danish archaeologist Jørgen Meldgaard (1927-2007) was a dedicated URI: https://id.erudit.org/iderudit/1025258ar filmmaker, and today’s archaeologists may find inspiration in his engagements DOI: https://doi.org/10.7202/1025258ar with the medium of film. He produced three major pieces of film work during his career. Filmed in very different styles, each illustrates a significant trend in See table of contents the scientific representation of the Other during the last half of the 20th century. This article analyses the films with particular attention to Meldgaard’s changing ways of engaging with the Inuit as objects and subjects, respectively. Publisher(s) It also compares Meldgaard’s films with his two books on Inuit art, and discusses his films in the context of contemporary methodological Association Inuksiutiit Katimajiit Inc. developments in archaeology and anthropology. It concludes by Centre interuniversitaire d’études et de recherches autochtones (CIÉRA) recommending that future archaeologists follow Meldgaard’s example and engage in sharing knowledge, through audiovisual media, with people affected ISSN by archaeological excavations, instead of letting media professionals take over the representation of archaeological knowledge. 0701-1008 (print) 1708-5268 (digital) Explore this journal Cite this document Jørgensen, A. M. (2013). Jørgen Meldgaard’s film works and books on art from the Arctic. -
Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 1997 Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr. Christiane Hertel Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Hertel, Christiane. Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr. Renaissance Quarterly 50 (1997): 329-331, doi: 10.2307/3039381. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/2 For more information, please contact [email protected]. REVIEWS 329 Arthur K. Wheelock, Jr. Vermeer of paintlayers, x-rays, collaged infrared and the Art of Painting. New Ha- reflectograms,and lab reports - to ven and London: Yale University guide the readerthrough this process. Press, 1995. 143 pls. + x + 201 pp. The pedagogicand rhetorical power of $45. Wheelock's account lies in the eye- This book about Vermeer'stech- openingskill with which he makesthis nique of paintingdiffers from the au- processcome alivefor the reader.The thor'searlier work on the artistby tak- way he accomplishesthis has every- ing a new perspectiveboth on Vermeer thingto do with his convictionthat by as painterand on the readeras viewer. understandingVermeer's artistic prac- Wheelockinvestigates Vermeer's paint- tice we also come to know the artist. ing techniquesin orderto understand As the agentof this practiceVermeer is his artisticpractice and, ultimately, his alsothe grammaticalsubject of most of artisticmind. -
Agentive and Patientive Verb Bases in North Alaskan Inupiaq
AGENTTVE AND PATIENTIVE VERB BASES IN NORTH ALASKAN INUPIAQ A DISSERTATION Presented to the Faculty of the University of Alaska Fairbanks in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY By TadatakaNagai, B.Litt, M.Litt. Fairbanks, Alaska May 2006 © 2006 Tadataka Nagai Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3229741 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3229741 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. AGENTIVE AND PATIENTIYE VERB BASES IN NORTH ALASKAN INUPIAQ By TadatakaNagai ^ /Z / / RECOMMENDED: -4-/—/£ £ ■ / A l y f l A £ y f 1- -A ;cy/TrlHX ,-v /| /> ?AL C l *- Advisory Committee Chair Chair, Linguistics Program APPROVED: A a r// '7, 7-ooG Date Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. iii Abstract This dissertation is concerned with North Alaskan Inupiaq Eskimo. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en). -
Download the Original Language Map in PDF Format
Aleut Copper Island (Unangam Tunuu) Attuan Creole Aleut (Unangam Tunuu) Taz Itelmen Evenk Ulchi Even Nanai Orok (Uilta)Orochi Udege Nanai Sugpiaq (Alutiiq) Alyutor Nivkh Ulchi Central Alaskan Yupik Kerek Koryak Negidal Haida Deg Xinag Sirenik Naukan Yupik Chuvan Eyak Kuskokwim Evenk Ahtna Central Siberian Even Dena'ina Holikachuk Yupik Even Tsimshianic Tlingit Chukchi Kolyma Evenk Tsetsaut Tanacross Yukagir Nisga-Gitksan Tagish Tanana Koyukon Chukchi Tutchone Hän Iñupiaq Tundra Sakha Kaska Yukagir (Yakut) Gwich’in Evenk Even Sakha North Slavey (Yakut) South Slavey Inuvialuktun Evenk Tłıchǫ Evenk Chipewyan Inuinnaqtun Soyot Dolgan Ket Tofa Tuvan Evenk Nanai Kivallirmiutut Natsilingmiutut Nganasan Shor Chelkan Nenets Enets Telengit Aivilingmiutut Evenk Teleut Kumandin Qikiqtaaluk uannangani Selkup Chulym Tuba Inuktun Selkup Nenets Qikiqtaaluk nigiani Khanty Mansi Nunavimmiutitut Nenets Nunatsiavummiutut Izhma-Komi Kalaallisut Skolt Sámi Ter Sámi Komi Kildin Sámi Inari Sámi Akkala Sámi Iivermiisud Northern Sámi Kemi Sámi Lule Sámi Karelian Pite Sámi Veps Ume Sámi Altaic family Southern Sámi Na'Dene family Turkic branch Athabaskan branch Mongolic branch Eyak branch Tunguso-Manchurian branch Tlingit branch Paleo-Asian family Eskaleut family Paleo-Asian family Inuit group of Inuit-Yupik branch Language isolates Uralic family Yupik group of Inuit-Yupik branch Ket Finno-Ugric branch Aleut (Unangam Tunuu) branch Nivkh Samoyedic branch Not represented by Permanent Participants Tsimshianic Critically endangered or recently extinct Haida languages Dialects Yukagir languages. -
The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Paleo-Asian Family Na'dene Family Eskaleut Family Uralic Family Altaic
Aleut Copper Island (Unangam Tunuu) Attuan Creole Aleut (Unangam Tunuu) Taz Itelmen Evenk Ulchi Even Nanai Orok (Uilta)Orochi Udege Nanai Sugpiaq (Alutiiq) Alyutor Nivkh Ulchi Central Alaskan Yupik Kerek Koryak Negidal Haida Deg Xinag Sirenik Naukan Yupik Chuvan Eyak Kuskokwim Evenk Ahtna Central Siberian Even Dena'ina Holikachuk Yupik Even Tsimshianic Tlingit Chukchi Kolyma Evenk Tsetsaut Tanacross Yukagir Nisga-Gitksan Tagish Tanana Koyukon Chukchi Tutchone Hän Iñupiaq Tundra Sakha Kaska Yukagir (Yakut) Gwich’in Evenk Even Sakha North Slavey (Yakut) South Slavey Inuvialuktun Evenk Tłıchǫ Evenk Chipewyan Inuinnaqtun Soyot Dolgan Ket Tofa Tuvan Evenk Nanai Kivallirmiutut Natsilingmiutut Nganasan Shor Chelkan Nenets Enets Telengit Aivilingmiutut Evenk Teleut Kumandin Qikiqtaaluk uannangani Selkup Chulym Tuba Inuktun Selkup Nenets Qikiqtaaluk nigiani Khanty Mansi Nunavimmiutitut Nenets Nunatsiavummiutut Izhma-Komi Kalaallisut Skolt Sámi Ter Sámi Komi Kildin Sámi Inari Sámi Akkala Sámi Iivermiisud Northern Sámi Kemi Sámi Lule Sámi Karelian Pite Sámi Veps Ume Sámi Altaic family Southern Sámi Na'Dene family Turkic branch Athabaskan branch Mongolic branch Eyak branch Tunguso-Manchurian branch Tlingit branch Paleo-Asian family Eskaleut family Paleo-Asian family Inuit group of Inuit-Yupik branch Language isolates Uralic family Yupik group of Inuit-Yupik branch Ket Finno-Ugric branch Aleut (Unangam Tunuu) branch Nivkh Samoyedic branch Not represented by Permanent Participants Tsimshianic Critically endangered or recently extinct Haida languages Dialects Yukagir languages. -
Peter Freuchen's Beard
3/11/2016 Peter Freuchen’s beard | The Arctic Journal PRIVACY AND COOKIES RSS FEED ADVERTISING Search REGISTER TODAY to recieve updates THURSDAY and information NOVEMBER 3, 2016 CLICK HERE REGIONAL JOURNALISM, GLOBAL PERSPECTIVE. HOME BUSINESS POLITICS CLIMATE CULTURE OPINION OIL & MINERALS History Peter Freuchen’s beard Was Denmark’s most recognisable polar explorer a liar or just a good story- teller? Both, perhaps, and definitely a lot more August 18, 2016 5:32am By Iben Bjørnsson Share this At the Arktisk Institut/The Danish Arctic Institute we have an old black- article and-white photograph. A small one, in a little black wooden frame. On the back, it says: “Greenland. Back-up Jesus, 1910-1913. Thule”. Facebook Google And indeed, one of the men in the picture looks like what most of us Twitter probably imagine Jesus looked like: shoulder-length hair and an Mail inscrutable expression. The man in the picture is, in fact, Peter Freuchen. Another man, slightly behind him and to the right has his hands on Freuchen’s shoulders. His features are both Greenlandic and Danish. The man is Jens Fleischer, Knud Rasmussen’s uncle. But this picture isn’t all we’ve got. Our archives can boast a far more unusual artefact: a little white box trimmed with gold containing a grizzled, red-brownish beard. On the back of the box it says: “Grandfather’s beard, from the days of exile.” “Grandfather”, in this case, is Freuchen, and the grandchild was Navarana, who was named a菲er her grandmother. http://arcticjournal.com/culture/2517/peterfreuchensbeard 1/14 3/11/2016 Peter Freuchen’s beard | The Arctic Journal Jesus of Thule (Photo: Arktisk Institut) How does one earn the bizarre privilege of having one’s beard neatly stored in a little box in a Copenhagen attic? Somehow, Freuchen’s history and personality makes it all less bizarre. -
Catalogue of Place Names in Northern East Greenland
Catalogue of place names in northern East Greenland In this section all officially approved, and many Greenlandic names are spelt according to the unapproved, names are listed, together with explana- modern Greenland orthography (spelling reform tions where known. Approved names are listed in 1973), with cross-references from the old-style normal type or bold type, whereas unapproved spelling still to be found on many published maps. names are always given in italics. Names of ships are Prospectors place names used only in confidential given in small CAPITALS. Individual name entries are company reports are not found in this volume. In listed in Danish alphabetical order, such that names general, only selected unapproved names introduced beginning with the Danish letters Æ, Ø and Å come by scientific or climbing expeditions are included. after Z. This means that Danish names beginning Incomplete documentation of climbing activities with Å or Aa (e.g. Aage Bertelsen Gletscher, Aage de by expeditions claiming ‘first ascents’ on Milne Land Lemos Dal, Åkerblom Ø, Ålborg Fjord etc) are found and in nunatak regions such as Dronning Louise towards the end of this catalogue. Å replaced aa in Land, has led to a decision to exclude them. Many Danish spelling for most purposes in 1948, but aa is recent expeditions to Dronning Louise Land, and commonly retained in personal names, and is option- other nunatak areas, have gained access to their al in some Danish town names (e.g. Ålborg or Aalborg region of interest using Twin Otter aircraft, such that are both correct). However, Greenlandic names be - the remaining ‘climb’ to the summits of some peaks ginning with aa following the spelling reform dating may be as little as a few hundred metres; this raises from 1973 (a long vowel sound rather than short) are the question of what constitutes an ‘ascent’? treated as two consecutive ‘a’s. -
Reserve Number: E16 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of Semester Rosenberg, Jakob and Slive, Seymour
Reserve Number: E16 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of semester Rosenberg, Jakob and Slive, Seymour . The School of Delft: Jan Vermeer . Dutch Art and Architecture: 1600-1800 . Rosenberg, Jakob, Slive, S.and ter Kuile, E.H. p. 114-123 . Middlesex, England; Baltimore, MD . Penguin Books . 1966, 1972 . Call Number: . ISBN: . The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or electronic reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or electronic reproduction of copyrighted materials that is to be "used for...private study, scholarship, or research." You may download one copy of such material for your own personal, noncommercial use provided you do not alter or remove any copyright, author attribution, and/or other proprietary notice. Use of this material other than stated above may constitute copyright infringement. http://library.umbc.edu/reserves/staff/bibsheet.php?courseID=5869&reserveID=16585[8/18/2016 12:49:46 PM] ~ PART ONE: PAINTING I60o-1675 THE SCHOOL OF DELFT: JAN VERMEER also painted frequently; even the white horse which became Wouwerman's trademark 84) and Vermeer's Geographer (Frankfurt, Stadelschcs Kunstinstitut; Plate 85) em is found in Isaack's pictures. It is difficult to say if one of these two Haarlem artists, phasizes the basic differences between Rembrandt and Vermeer. Rembrandt stands out who were almost exact contemporaries (W ouwerman was only two years older than as an extreme individualist; Vermeer is more representative of the Dutch national Isaack), should be given credit for popularizing this theme or if it was the result of their character. -
Ideas, 11 | Printemps/Été 2018 Opera in the Arctic: Knud Rasmussen, Inside and Outside Modernity 2
IdeAs Idées d'Amériques 11 | Printemps/Été 2018 Modernités dans les Amériques : des avant-gardes à aujourd’hui Opera in the Arctic: Knud Rasmussen, Inside and Outside Modernity L’Opéra dans l’Arctique : Knud Rasmussen, traversées de la modernité Ópera en el Árctico: Knud Rasmussen, travesías de la modernidad Smaro Kamboureli Electronic version URL: http://journals.openedition.org/ideas/2553 DOI: 10.4000/ideas.2553 ISSN: 1950-5701 Publisher Institut des Amériques Electronic reference Smaro Kamboureli, « Opera in the Arctic: Knud Rasmussen, Inside and Outside Modernity », IdeAs [Online], 11 | Printemps/Été 2018, Online since 18 June 2018, connection on 21 April 2019. URL : http://journals.openedition.org/ideas/2553 ; DOI : 10.4000/ideas.2553 This text was automatically generated on 21 April 2019. IdeAs – Idées d’Amériques est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Opera in the Arctic: Knud Rasmussen, Inside and Outside Modernity 1 Opera in the Arctic: Knud Rasmussen, Inside and Outside Modernity L’Opéra dans l’Arctique : Knud Rasmussen, traversées de la modernité Ópera en el Árctico: Knud Rasmussen, travesías de la modernidad Smaro Kamboureli I. Early 1920s: under western eyes 1 When Greenlander / Danish ethnographer Knud Rasmussen approached a small Padlermiut camp in what is today the Kivalliq Region of Nunavut, Canada, he was surprised to hear “a powerful gramophone struck up, and Caruso’s mighty voice [ringing] out from his tent” (Rasmussen, K., 1927: 63). It was 1922, and the Inuktitut-speaking Rasmussen was after traditional Inuit knowledge, specifically spiritual and cultural practices.