DOCSLIB.ORG

Narrativa Verbal E Tarot Em O Castelo Dos Destinos Cruzados, De Italo Calvino

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Narrativa Verbal E Tarot Em O Castelo Dos Destinos Cruzados, De Italo Calvino UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ DEPARTAMENTO ACADÊMICO DE LINGUAGEM E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM LINGUAGEM E TECNOLOGIA MÉRIE ELLEN WEBER DE OLIVEIRA CAMINHOS INTERTEXTUAIS: NARRATIVA VERBAL E TAROT EM O CASTELO DOS DESTINOS CRUZADOS, DE ITALO CALVINO DISSERTAÇÃO CURITIBA 2021 MÉRIE ELLEN WEBER DE OLIVEIRA CAMINHOS INTERTEXTUAIS: NARRATIVA VERBAL E TAROT EM O CASTELO DOS DESTINOS CRUZADOS, DE ITALO CALVINO Intertextual Paths: Verbal Narrative and Tarot in The Castle of Crossed Destinies, by Italo Calvino Dissertação apresentada ao Programa de Pós-Graduação em Linguagem e Tecnologia (PPGEL), do Departamento Acadêmico de Linguagem e Comunicação (DALIC), da Universidade Tecnológica Federal do Paraná (UTFPR), como requisito parcial para obtenção do grau de Mestre em Estudos de Linguagens. Orientador: Prof. Dr. Rogério Caetano de Almeida CURITIBA 2021 Esta licença permite que outros remixem, adaptem e criem a partir do trabalho para fins não comerciais, desde que atribuam o devido crédito e que licenciem as novas 4.0 Internacional criações sob termos idênticos. Conteúdos elaborados por terceiros, citados e Atribuição – Uso não Comercial referenciados nesta obra não são cobertos pela licença. MÉRIE ELLEN WEBER DE OLIVEIRA CAMINHOS INTERTEXTUAIS: NARRATIVA VERBAL E TAROT EM O CASTELO DOS DESTINOS CRUZADOS, DE ITALO CALVINO Trabalho de pesquisa de mestrado apresentado como requisito para obtenção do título de Mestra em Estudos de Linguagens da Universidade Tecnológica Federal do Paraná (UTFPR). Área de concentração: Linguagem e Tecnologia. Data de aprovação: 23 de junho de 2021. Prof. Dr. Rogério Caetano de Almeida, Doutorado – Universidade Tecnológica Federal do Paraná (UTFPR) Profa. Dra. Luciane Alves Santos, Doutorado – Universidade Federal da Paraíba (UFPB) Profa. Dra. Ana Paula Pinheiro da Silveira, Doutorado – Universidade Tecnológica Federal do Paraná (UTFPR) Documento gerado pelo Sistema Acadêmico da UTFPR a partir dos dados da Ata de Defesa em 23/06/2021. Dedico este trabalho a todos aqueles que perseveram na carreira acadêmica no Brasil, a milha afilhada, Lara, e às milhares de vítimas de Covid-19. Espero que minha geração deixe para todas e todos um país com melhores oportunidades para estudar e viver. AGRADECIMENTOS Ainda que o mestrado seja, muitas vezes, um processo bastante solitário, agradeço: • meus pais, Rosemarie Weber de Oliveira e Luiz Carlos de Oliveira, pelo apoio e amor incondicionais desde antes do meu primeiro respiro. Sem vocês eu não teria chegado até aqui. Sou muito grata aos dois. Ich liebe dich. Je t’aime. • meu irmão, Christian Carlos Weber de Oliveira, por todas as conversas em que me disse para acreditar no quanto eu sou f*** e para não desistir. Por todas as vezes que, entendendo a fragilidade da minha situação, cuidou para que eu não me sentisse mal. Amo você. • meu namorido, Lucas Ricardo Andreatta, por todo o incentivo durante os períodos em que me deixei de lado, principalmente deixando de acreditar em mim. Obrigada por ser paciente e determinado, alguém que me ouve e me incentiva a ir em frente. Muito obrigada por não me deixar desistir e por me aguentar durante os meses de pandemia. Pitchão. • meu orientador, Prof. Dr. Rogério Caetano de Almeida, por ser uma das pessoas mais gentis com quem já tive a oportunidade de trabalhar. Obrigada por compreender minhas dificuldades e por me ajudar a lidar com elas. Inclusive vindo até mim para conversar em uma noite de muito choro. Obrigada por me ouvir e por compartilhar comigo o seu conhecimento, me ajudando a construir o meu próprio. (Um agradecimento extra para as meninas da sua vida, que se tornaram as meninas da minha vida também: Sara, Sofia e Cíntia). Vocês são muito importantes para mim. Amo vocês quatro. • minha banca de qualificação e defesa, as professoras, Dra. Luciane Santos (UFPB) e Dra. Ana Paula Silveira (UTFPR), pelas contribuições no momento da qualificação e pela disposição para me ajudar a elaborar uma análise ainda mais rica. Sem vocês esse trabalho não teria sido tão gostoso de escrever. • minha banca do TECLIS, professora Dra. Naira de Almeida Nascimento (UTFPR) pelas importantes considerações, sem as quais, provavelmente, eu não teria enveredado para o estudo intertextual e multimodal. • meus amigos e amigas, por me ajudarem, cada um à sua maneira. • ao grupo do PPGEL, desde os professores e professoras até os/as colegas da turma de 2019 por toda a parceria e apoio durante essa jornada. • a professora Fátima Caballero, que com seu carinho e experiência me incentivou e nos momentos de dúvida e incertezas torceu por mim. • a professora Dra. Patrícia Meyer, por me ensinar tanto sobre pesquisa científica. “Às vezes, basta-[lhe] uma partícula que se abre no meio de uma paisagem incongruente, um aflorar de luzes na neblina, o diálogo de dois passantes que se encontram no vaivém, para pensar que partindo dali [construiria] pedaço por pedaço a cidade perfeita, feita de fragmentos misturados com o resto, de instantes separados por intervalos, de sinais que alguém envia e não sabe quem capta. Se [diz] que a cidade para a qual tende a [sua] viagem é descontínua no espaço e no tempo, ora mais rala, ora mais densa, não deve crer que pode parar de procurá-la. Pode ser que enquanto [Kublai e Marco Polo se falam] ela esteja aflorando dispersa dentro dos confins do império […]” (CALVINO, 1991, p. 157, grifo meu). RESUMO OLIVEIRA, Mérie Ellen Weber de. Caminhos intertextuais: narrativa verbal e tarot em O castelo dos destinos cruzados, de Italo Calvino. 2021. 122 f. Dissertação ― (Programa de Pós-graduação em Estudos de Linguagens – PPGEL). Curitiba, 2021. Essa dissertação apresenta uma análise sobre a intertextualidade, uma das relações transtextuais trabalhadas por Gerard Genette e por Linda Hutcheon, e a multimodalidade presentes na obra O castelo dos destinos cruzados do italiano Italo Calvino. O objetivo dessa análise é identificar os intertextos presentes em quatro capítulos da obra: “Castelo”, “Taverna”, “O alquimista que vendeu a alma” e “Também tento contar a minha”. Além da identificação dos intertextos, objetiva-se com este estudo compreender as contribuições de cada linguagem para o desenrolar da narrativa, nominalmente, a linguagem verbal e a do Tarot, sendo esta considerada a partir da perspectiva da linguagem viso-cultural. Utilizando o intertexto e a multimodalidade como referenciais teórico-metodológicos, percorre-se cada um dos capítulos verificando citações, alusões, plágios, assim como arquitextos, paratextos, metatexto e hipotextos para elaborar esta análise. Como características da obra, nota-se que o Tarot é utilizado como espécie de substituto da comunicação oral, na história contada pelo narrador, e como objeto de ampliação ou de convergência para o leitor de Calvino. Ademais, o modo como as narrativas se cruzam entre si por meio de encaixes, assim como por meio do intertexto permite compreender essa obra de Calvino como uma espécie de enciclopédia literária. Palavras-Chave: Intertextualidade. Multimodalidade. Linguagem Verbal. Tarot. Italo Calvino. ABSTRACT OLIVEIRA, Mérie Ellen Weber de. Intertextual Paths: Verbal Narrative and Tarot in The Castle of Crossed Destinies, by Italo Calvino. 2021. 122 p. Dissertação ― (Programa de Pós- graduação em Estudos de Linguagens – PPGEL). Curitiba, 2021. This dissertation presents an analysis of the intertextuality, one of the transtextual relations presented by Gerard Genette and discussed by Linda Hutcheon, and the multimodality present in The castle of crossed destinies written by Italo Calvino. The aim of this analysis is to identify intertexts present in four chapters of the book: "The Castle", "The Tavern", "The Tale of Alchemist Who Sold His Soul" and "I Also Try to Tell My Tale". In addition to the intertexts identification, the objective of this study is to understand how each language contribute for the unfolding of the narrative, nominally, verbal language and tarot language, which is considered from the visual-cultural perspective. Using intertext and multimodality as theoretical- methodological references, each chapter was analyzed verifying citations, allusions, plagiarism, as well as archtexts, peritexts, metatexts and hypotexts to elaborate this examination. As characteristics of The castle of crossed destinies, it is noted that the Tarot is used as a substitute for oral communication for the narrator and his companions, and as an object that allows expansion or convergence for Calvino’s reader. Moreover, the way narratives intersect each other has, based on Tzvetan Todorov, a formula, because they move forward in a chronological order with one action following after another. Besides that, intertexts allow us to understand Calvino’s work as a literary encyclopedia. Keywords: Intertextuality. Multimodality. Verbal Language. Tarot. Italo Calvino. LISTA DE FIGURAS Figura 1. Hipótese pictórica sobre a elaboração de uma dissertação de mestrado baseada em imagens .................................................................................................................... 11 Figura 2. Reprodução parcial do layout de uma página esquerda de O castelo dos destinos cruzados ................................................................................................................... 22 Figura 3. Fotografia da disposição das cartas de Tarot sobre a “mesa” dos comensais do castelo .................................................................................................................................. 34 Figura 4. Relation: Aller
Load more

Recommended publications
  • May 2011 Volume 55 No
    Volume 55 No. 5 MAY 2011 VOLUME 55 NO. 5 MAY 2011 COVER: THE ASCENSION OF OUR LORD. Icon courtesy of Come and See Icons. 3 EDITORIAL by Rt. Rev. John Abdalah 5 NEW CREATION IN CHRIST: HOW JESUS CHANGED US AND OUR MARRIAGES by Very Rev. JOSIAH TRENHAM, Ph.D. 10 VISION FOR LIFE REACHES OUT TO A MILLION HOMES WITH PRO-LIFE MESSAGE by Chris Humphrey, Ph.D. 12 OVER-AND-ABOVE: The Most Reverend THE ORDER OF ST. IGNATIUS Metropolitan PHILIP, D.H.L., D.D. OF ANTIOCH Primate by Very Rev. Peter E. Gillquist The Right Reverend Bishop ANTOUN 16 ARCHDIOCESAN OFFICE The Right Reverend Bishop JOSEPH 17 THE DEPARTMENT OF The Right Reverend CHRISTIAN EDUCATION Bishop BASIL The Right Reverend 22 STRUCTURE & SYMBOLISM IN STONE: Bishop THOMAS THE ARCHITECTURE OF ANCIENT The Right Reverend CHRISTIAN SYRIA Bishop ALEXANDER Founded in Arabic as 28 OCCULT MAGIC Al Kalimat in 1905 by Saint Raphael (Hawaweeny) Founded in English as The WORD in 1957 by Metropolitan ANTONY (Bashir) Editor in Chief The Rt. Rev. John P. Abdalah, D.Min. Assistant Editor Christopher Humphrey, Ph.D. Editorial Board The Very Rev. Joseph J. Allen, Th.D. Anthony Bashir, Ph.D. The Very Rev. Antony Gabriel, Th.M. The Very Rev. Peter Gillquist Ronald Nicola Najib E. Saliba, Ph.D. Letters to the editor are welcome and should include the author’s full name and The Very Rev. Paul Schneirla, M.Div. parish. Submissions for “Communities in Action” must be approved by the local Design Director Donna Griffin Albert pastor.
    [Show full text]
  • Villa Wolkonsky Leonardo in Milan the Renzi Government Guttuso at the Estorick Baron Corvo in Venice
    Villa Wolkonsky Leonardo in Milan The Renzi Government Guttuso at the Estorick RIVISTA Baron Corvo in Venice 2015-2016 The Magazine of Dear readers o sooner had we consigned our first Rivista to the in their city. We hope that you too will make some printers, than it was time to start all over again. discoveries of your own as you make your way through the NStaring at a blank piece of paper, or more accurately pages that follow. an empty screen and wondering where the contributions We are most grateful for the positive feedback we received are going to come from is a daunting prospect. But slowly from readers last year and hope that this, our second issue, the magazine began to take shape; one or two chance will not disappoint. encounters produced interesting suggestions on subjects Buona lettura! we knew little or nothing about and ideas for other features developed from discussion between ourselves and British Linda Northern and Vanessa Hall-Smith Italian Society members. Thank you to all our contributors. And as the contributions began to arrive we found some unlikely connections – the Laocoon sculpture, the subject of an excellent talk which you can read about in the section dedicated to the BIS year, made a surprise appearance in a feature about translation. The Sicilian artist, Renato Guttoso, an exhibition of whose work is reviewed on page 21, was revealed as having painted Ian Greenlees, a former director of the British Institute of Florence, whose biography is considered at page 24. We also made some interesting discoveries, for example that Laura Bassi, an 18th century mathematician and physicist from Bologna, was highly regarded by no less a figure than Voltaire and that the Milanese delight in finding unusual nicknames for landmarks Vanessa Hall-Smith Linda Northern Cover photo: Bastoni in a Sicilian pack of cards.
    [Show full text]
  • Get the PDF Specimen
    ♠ ♥ A S T E L E U R B A S T E L E U R ♣ 1 ♦ ♠ ♥ B A S T E L E U R A B C D E F G H I J K L M N O P Q R S T U V W X Y Z ♣ U P P E R C A S E I ♦ ♠ ♥ B A S T E L E U R a b c d e f g h i j k l m n o p q r s t u v w x y z ♣ L O W E R C A S E II ♦ ♠ ♥ B A S T E L E U R A Á Ă Ǎ Â Ä À Ā Ą Å Ã Æ B C Ć Č Ç Ċ D Ð Ď Đ E É Ě Ê Ë Ė È Ē Ę F G Ğ Ģ Ġ H Ħ I Í Ǐ Î Ï İ Ì Ī Į J K Ķ L Ĺ Ľ Ļ Ł M N Ń Ň Ņ Ŋ Ñ O Ó Ǒ Ô Ö Ò Ő Ō Ø Õ Œ P Þ Q R Ŕ Ř Ŗ S Ś Š Ş Ș T Ŧ Ť Ţ Ț U Ú Ǔ Û Ü Ǘ Ǚ Ǜ Ǖ Ù Ű Ū Ų Ů V W Ẃ Ŵ Ẅ Ẁ X Y Ý Ŷ Ÿ Ỳ Z Ź Ž Ż a á ă ǎ â ä à ā ą å ã æ b c ć č ç ċ d ð ď đ e é ě ê ë ė è ē ę f g ğ ģ ġ h ħ i ı í ǐ î ï ì ī į j k ķ l ĺ ľ ļ ł m n ń ň ņ ŋ ñ o ó ǒ ô ö ò ő ō ø õ œ p þ q r ŕ ř ŗ s ś š ş ș ß t ŧ ť ţ ț u ú ǔ û ü ǘ ǚ ǜ ǖ ù ű ū ų ů v w ẃ ŵ ẅ ẁ x y ý ŷ ÿ ỳ z ź ž ż fi fl ª º 0 1 2 3 4 5 6 7 8 9 ¹ ² ³ ⁄ .
    [Show full text]
  • Playing Cards Made By: Naila Al-Zarqa’ Historical Basis: - Playing Cards Were Introduced to the Islamic Lands from China Sometime Before the 13Th Century
    Playing Cards Made by: Naila al-Zarqa’ Historical Basis: - Playing cards were introduced to the Islamic lands from China sometime before the 13th century. Chinese paper playing cards used designs based on their paper money: coins, strings of coins, myriads of strings, and tens of myriads. Given the visual similitude with the Islamic suits of coins, polo sticks, scimitars, and cups, it is likely (but unproven due to lack of evidence) that the Islamic suits evolved from the Chinese suits. Playing cards were made in Mamluk Egypt as early as the 12th century. Fragments believed to be from playing cards exist from the 13th century (the de Unger fragment is one of the most notable) but the only known complete deck is from the 15th century and is known as the Topkapi deck as it was found in the Topkapi palace although it is likely it was made in Mamluk Egypt. Although the deck is considered complete, the visual styles of the cards indicate that it contains replacement cards from at least 2 other decks. - Extant Islamic playing cards are much larger than modern playing cards, with dimensions of approximately 3.5” x 10”. - Cards were used in the game known as Ganjifa (Persia, India) or Kanjifah (Arabic). In Spain, “Moorish-styled” cards were used for a game called naips which derives from the word na’ib, the name of one of the court cards in the Islamic deck. - I chose to make 4 cards, 1 from each suit. - 4 of cups: based on the de Unger fragment which scholars speculate could be ½ of the 4 of cups or ¼ of the 7, 8, or 9 of cups.
    [Show full text]
  • Comprehension Exercise: Le Carte Da Gioco Italiane - Italian Playing Cards
    Lesson: 102 Unit 12 - Comprehension Exercise: Le carte da gioco italiane - Italian playing cards Trascrizione in taliano Ciao ragazzi, come va? Io sono Manu e questo è Italy Made Easy. E oggi ho un video particolare, per questa serie del vlog e vi vorrei parlare delle carte da gioco italiane. Come sempre in Italia ci sono tante varietà quanti ci sono paesi e quindi ci sono tantissime varietà di carte. Oggi mi faccio vedere due tipi di carte: le siciliane e le piacentine. Allora cominciamo con le piacentine perché io sono cresciuto usando le piacentine e quindi non conosco molto bene le altre… le altre carte. Allora, a differenza delle carte che forse voi conoscete, un mazzo di carte italiane contiene solo 40 carte, non 52. OK, ci sono quattro semi per queste carte. Uno dei semi è questo qui che si chiama denari. Denari. Ci sono 10 carte per i denari. Poi ci sono 10 carte per i bastoni. Questo seme si chiama bastoni. Il prossimo seme si chiama coppe. Vedete le coppe? Eh eh! Bastoni. E poi l'ultimo seme si chiama spade e ci sono delle spade, come vedete. Allora, ogni seme ha 10 carte. Cominciando dal’asso, vi faccio vedere i 4 assi, come sono particolari. Quindi spade, coppe, bastoni, denari. Questi qui sono gli assi. Poi abbiamo i due. Quindi il due di spade, il due di coppe, il due di bastoni e il due di denari. Poi ovviamente continuiamo e vado più veloce e abbiamo il 3 il 4 il 5 e il 6 e il 7 di denari.
    [Show full text]
  • Smithsonian Institution United States National Museum Report on the Progress And
    SMITHS ONIAN INSTIT UTION UNI T ED S TAT E S NAT IO NAL MUSEUM R E PORT ON TH E PR OGR E SS AN D CO N DITION O F TH E U . S . NATIONAL MU S EU M FO R TH E YEAR E DI E 0 1 N NG JUN 3 , 909 WA SHINGTON GOVERNM E NT P RINTING O FFIC E 1 909 UN I TE D S TATE S NATI ON AL MU S E U M N DE R I RE CTI ON O F TH E M I T S ON I AN I N S TI TU TI ON U D S H , in Was t n D . to er 20 1 909 . h o . 0 O c b g , , S I R : I have th e h on or t o sub mit he rewith a repo rt upon th e p res ent con dition of th e Unite d S tates Nation al Mu se um and upon th e wo rk accompli she d in its va riou s d epa rtments du ri ng th e fiscal ye ar e n n ne 3 0 1 909 . di g Ju , e es e V ry r p ctfully , I C ARD AT B N R H R H U , Assis tan t S ecre tar in Ch ar e o the Na tion al Museum . y , g f A WAL T Dr. RLE S . CO T C H D , i t S ecretar S mithson ian I n st tu io n .
    [Show full text]
  • {Dоwnlоаd/Rеаd PDF Bооk} Kings and Queens Cards Ebook
    KINGS AND QUEENS CARDS PDF, EPUB, EBOOK Struan Reid,Ian McNee | none | 28 Jan 2011 | Usborne Publishing Ltd | 9781409507475 | English | London, United Kingdom King (playing card) - Wikipedia All early cards of this type were single-headed, but around , the double-headed cards, universally used on modern decks, appeared. Corner indices were added around During the 19th century, the English pattern spread all over the world and is now used almost everywhere, even in countries where traditional patterns and other suits are popular. In America, the English pattern was copied onto wider cards. The fanciful design and manufacturer's logo commonly displayed on the ace of spades began under the reign of James I of England , who passed a law requiring an insignia on that card as proof of payment of a tax on local manufacture of cards. Until August 4, , decks of playing cards printed and sold in the United Kingdom were liable for taxable duty and the ace of spades carried an indication of the name of the printer and the fact that taxation had been paid on the cards. In the USA, standard playing cards are available in both "wide" and "narrow" sizes, referred to by one manufacturer as either 'poker' or 'bridge' sized; [5] nominal dimensions are summarized in the adjacent table. However, there is no formal requirement for precise adherence and minor variations are produced by various manufacturers in different countries. The slightly narrower cards are more suitable for games such as bridge and some types of poker, where a number of cards must be held or concealed in a player's hand.
    [Show full text]
  • Dame Fortune's Wheel Tarot
    1 Dame Fortune’s Wheel Tarot Paul Huson © Introduction Dame Fortune and her Wheel Throughout the Middle Ages the powerful Roman goddess Fortuna continued to be believed in, feared and propitiated, possibly even more than the divinity, on account of her well-known fickleness. Although she was dubbed “Dame Fortune” by the populace, the church fathers Lactantius, Aquinas and Augustine regarded her as little more than synonymous with the Devil himself. But by the dawn of the Renaissance she had devolved into a recurring poetic fiction, and as such she appeared as a character in the works of, among other writers, Dante, Boccaccio and Ariosto. In paintings and illustrations she was often depicted blindfolded to demonstrate just how capricious she was, frequently turning a great wheel to which all humanity clung, the poorest wretch at the bottom, the most powerful potentate at the top. The fact that her wheel revolved without stopping symbolized the flux and change of all things, especially the impermanence of wealth and status. She and her wheel featured in a variety of divination devices of the fifteenth century, and indeed she represents one of its central allegorical images of the trumps of the tarot deck. Tarot cards and their use in divination Inspired by imported decks of Middle Eastern playing cards, with suits of Polo Sticks, Scimitars, Cups and Coins, Europeans began manufacturing painted playing cards of their own for trick-taking games sometime during the fourteenth century. Although we cannot be sure which suit signs were first used, card play soon became popular in Europe, and by the early fifteenth century, northern Italy had evolved its own decks, with the puzzling Mamluk Polo Sticks now transformed into Batons, the Scimitars into Swords, while the Cups and Coins remained pretty much unchanged.
    [Show full text]
  • Politics Beyond Dominance: Subaltern Power and World Making
    Politics beyond Dominance: Subaltern Power and World Making A Dissertation SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Quỳnh Như Phạm IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Raymond D. Duvall August 2018 © Quỳnh Như Phạm 2018 i Acknowledgements I am indebted to my family for being the source of strength, sustenance, and inspiration for me to complete this PhD and pursue everything else in life. As they patiently waited for me to finish graduate study, their love and bottomless support kept me going through ups and downs. My mother was always ready to help in ways huge and small. Every time I talked to my father, he would, without fail, encourage a single- minded focus on my study, and support whatever I did even as he cautioned me about potential risks. My sister Quyên and my two nieces, Nhím and Chíp, have been the springs of joy and laughter throughout. Special thanks to dear Chíp for volunteering to aid me in countless ways. And thanks to dì Hiền for offering her assistance in the early days of my preliminary fieldwork. At a place as freezing cold as Moscow, it is the people who have made it as warm and loving as Hà Nội. It is hard to keep the acknowledgements succinct when so many wonderful people have made this journey not only possible but also enjoyable and fulfilling. I thank every member of my dissertation committee for strongly encouraging me, from the beginning, to pursue the research question and focus that I was passionate about.
    [Show full text]
  • A Rare and Unusual Set of Ganjifa Cards
    Ashtadikpala: A Rare and Unusual Set of Ganjifa Cards Arunima Pati1 1. Department of Archaeology, Deccan College Post‐graduate and Research Institute, Yerwada, Pune – 411006, Maharashtra, India (Email: [email protected]) Received: 30 August 2015; Accepted: 23 September 2015; Revised: 25 October 2015 Heritage: Journal of Multidisciplinary Studies in Archaeology 3 (2015): 709‐714 Abstract: The game and cards of Ganjifa are very rare by themselves. The playing of this game and the manufacturing of these cards are on the verge of extinction. Again, among the themes of painting these cards, only the most popular ones like the Dashavatara or the Ramayana are found in the playing centres. But the rarer themes which are many and varied like the Navagraha, the Rashi, and the Astadikpala ganjifas are neither made nor are seen much anywhere. One such set, the Ashtadikpalas, has been discussed specifically in this paper. Keywords: Ashtadikpala, Ganjifa Cards, Dashavatara, Ramayana, Navagraha, Rashi, Odisha Introduction Games and gaming objects have been evolving simultaneously with the process of development of other human activities. Some of these recreational activities still have their traces left as they evolved with changing times. But some did not leave much impact among the playing population and failed to keep up with the changing behavior of people and perished or are in the verge of disappearance. The game of Ganjifa is a clear example of this phenomenon of decreasing popularity. Though it is known that Ganjifa cards and game used to be very popular in many important parts of the world and in the whole of India, the antiquity and origin are still controversial.
    [Show full text]
  • Doctoral Dissertation Intercultural Lacunae in Hungarian-Vietnamese
    DOCTORAL DISSERTATION INTERCULTURAL LACUNAE IN HUNGARIAN-VIETNAMESE COMMUNICATION WITH EMPHASIS ON ENTREPRENEURIAL INTERACTIONS ISTVÁN LÉNÁRT 2016 Page 1 of 228 Eötvös Loránd University Faculty of Humanities DOCTORAL DISSERTATION ISTVÁN LÉNÁRT INTERCULTURAL LACUNAE IN HUNGARIAN-VIETNAMESE COMMUNICATION WITH EMPHASIS ON ENTREPRENEURIAL INTERACTIONS Doctoral School of Linguistics Head: Dr. Gábor Tolcsvai Nagy, PhD, DSc Intercultural Linguistics Doctoral Program Head: Dr. Tamás Gecső, PhD, Associate Professor Chairperson of the Committee: Dr. Mária Ladányi, PHD, DSc Opponents: Dr. Ágnes Huszár, PhD, Dr. habil. Dr. Irina Markovina, PhD, Associate Professor Members of the committee: Dr. Zsuzsa Vladár, PhD, Dr. habil., secretary of the committee Dr. Klára Falkné Bánó, PhD, Dr. habil. Dr. Gabriella Dóra Borbás, PhD, substitute member of the committee Dr. Ágnes Albert, PhD, substitute member of the committee Supervisor: Dr. Tamás Gecső, PhD, Associate Professor Budapest 2016 Page 2 of 228 Page 3 of 228 Motto: “In Vietnam, everything is possible if you know how to work in ways that are culturally appropriate. Your success depends on you – your way of working, your knowledge, your understanding, friendships that you establish with Vietnamese – not your nationality.”1 VIETNAMESE COMPANY PRESIDENT 1 In: Ashwill 2005, 160.p., unnamed company president Page 4 of 228 Table of Contents TABLE OF CONTENTS........................................................................................................................................ 5 ACKNOWLEDGEMENTS
    [Show full text]
  • Tarot of Marseille/Tarot De Marsella/Tarot De Marseille/Tarot De Marseille/Tarocchi Di Marsiglia Pdf
    FREE TAROT OF MARSEILLE/TAROT DE MARSELLA/TAROT DE MARSEILLE/TAROT DE MARSEILLE/TAROCCHI DI MARSIGLIA PDF Lo Scarabeo | none | 08 Mar 2007 | Lo Scarabeo | 9780738710266 | English | United States Le Mandala du Tarot : Tarot de Marseille - TIRAGES DE TAROT MÉTHODE PHILIPPE CAMOIN I don't like the name Marseille Tarot because the earliest development of the deck was elsewhere. The name was given in by Paul Marteau to a copy he made of an older deck created in Marseille, and published by the French card maker Grimaud, a company owned by Marteau. Let us compare one of the Grimaud cards with several decks belonging to the Marseille Tarot:. From left to right we have the following decks:. Tarot of Marseille/Tarot de Marsella/Tarot de Marseille/Tarot de Marseille/Tarocchi Di Marsiglia first three cards are pratically the same, with some very small differences, you almost need a magnifying glass to see them. This was common practice to emphasize the reversed position of the Hanged Man. Jaques Vievil Tarot of Marseille/Tarot de Marsella/Tarot de Marseille/Tarot de Marseille/Tarocchi Di Marsiglia this tradition. Many people did not understood the reason of spelling IIX. Nicolas Conver knew evidently the other decks made in Marseille. On the cards, the X stays in the center, the two I's move to the right. Until aroundlike in Tarot of Marseille/Tarot de Marsella/Tarot de Marseille/Tarot de Marseille/Tarocchi Di Marsiglia Roman scriptures, the capital U was written as a V and the capital J was written as an I. Marteau most closely follows Nicolas Conver.
    [Show full text]