The Sephardic Scholar
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Structuralism and "The Story of Asdiwal" Structuralism and "The Story of Asdiwal"
Structuralism and "The Story of Asdiwal" Structuralism and "The Story of Asdiwal" A Re-analysis of a Tsimshian Myth by Darcee L. McLaren A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University IC> copyright Darcee L. McLaren, September 1990 '11cMA5TER UNlVERSiTY LIB~ MASTER OF ARTS ( 1990) McMASTER UNIVERSITY (Religious Studies) Hamilton, Ontario TITLE: Structuralism and "The Story of Asdiwal'' AUTHOR: Darcee L. McLaren, B.A. Hons. (Queen's University) SUPERVISOR: Professor Ellen Badone NUMBER OF PAGES: vi, 85 ii Abstract This thesis shows that the criticisms of Levi-Strauss' analysis, entitled "The Story of Asdiwal", arise out of the careless application of structuralist principles on the part of Levi-Strauss. They are not due to problems inherent in structuralism itself. To further this point, the story of Asdiwal is re-analyzed using a rigourous application of structuralism which avoids the mistakes made by Levi-Strauss. That is, it takes all the versions into ac count, considers the ethnographic material in detail, and uses those ethnographic sources with attention to focus and method of collection. The result is an analysis which shows the theme of the story of Asdiwal to be rivalry while the basic binary opposition is between competition and cooperation and not between the matriline and the patriline as Levi-Strauss supposed. iii Acknowledgements I received the support and encouragement of many people in various ways before this thesis was completed. First, I would like to thank my supervisor, Ellen Badone, for her in sight, many contributions and, in particular, for her detailed attention. -
Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912)
Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Anthology of Music Traditions in Israel The Hebrew University of Jerusalem • The Jewish Music Research Centre 27 Anthology of Music Traditions in Israel • 27 Editor: Edwin Seroussi Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Study and commentaries: Rivka Havassy and Edwin Seroussi Research collaborators: Michael Aylward, Joel Bresler, Judith R. Cohen and Risto Pekka Pennanen Jerusalem, 2020 Jewish Music Research Centre, The Hebrew University of Jerusalem The Hebrew University of Jerusalem • Faculty of Humanities Jewish Music Research Centre In collaboration with the National Library of Israel With the support of Centre for Research and Study of the Sephardi and Oriental Jewish Heritage (Misgav Yerushalayim) at The Hebrew University of Jerusalem For additional materials related to this album, see www.jewish-music.huji.ac.il Academic Board of the Jewish Music Research Centre Chairperson: Shalom Sabar Steven Fassberg, Ruth HaCohen, Yossi Maurey, Elchanan Reiner, Eliyahu Schleifer, Assaf Shelleg, Rina Talgam Director: Edwin Seroussi Digital Transfers: SMART LAB, Hayes, Middlesex Digital Editing and Mastering: Avi Elbaz Graphic design: www.saybrand.co.il Cover photograph: Splendid Palace Hotel, Salonika, c. 1910, location of recordings © and P The Hebrew University of Jerusalem 2020 4 Preface In 2008 the Jewish Music Research Centre released a 4 CD package entitled An Early 20th-century Sephardi Troubadour: The Historic Recordings of Haim Effendi of Turkey. Catering to the increasing scholarly and general public interest in the role commercial recordings had on musical traditions from the early twentieth century, that production became a landmark in the revised appreciation of Sephardic music prior to the rapid chain of events leading to the dissolution of the traditional communities that maintained this music. -
Quick Guide to the Eurovision Song Contest 2018
The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV. -
Gender and Geopolitics in the Eurovision Song Contest Introduction
Gender and Geopolitics in the Eurovision Song Contest Introduction Catherine Baker Lecturer, University of Hull [email protected] http://www.suedosteuropa.uni-graz.at/cse/en/baker Contemporary Southeastern Europe, 2015, 2(1), 74-93 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org Introduction: Gender and Geopolitics in the Eurovision Song Contest Catherine Baker* Introduction From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per- year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state. -
Glossary Ahengu Shkodran Urban Genre/Repertoire from Shkodër
GLOSSARY Ahengu shkodran Urban genre/repertoire from Shkodër, Albania Aksak ‘Limping’ asymmetrical rhythm (in Ottoman theory, specifically 2+2+2+3) Amanedes Greek-language ‘oriental’ urban genre/repertory Arabesk Turkish vocal genre with Arabic influences Ashiki songs Albanian songs of Ottoman provenance Baïdouska Dance and dance song from Thrace Čalgiya Urban ensemble/repertory from the eastern Balkans, especially Macedonia Cântarea României Romanian National Song Festival: ‘Singing for Romania’ Chalga Bulgarian ethno-pop genre Çifteli Plucked two-string instrument from Albania and Kosovo Čoček Dance and musical genre associated espe- cially with Balkan Roma Copla Sephardic popular song similar to, but not identical with, the Spanish genre of the same name Daouli Large double-headed drum Doina Romanian traditional genre, highly orna- mented and in free rhythm Dromos Greek term for mode/makam (literally, ‘road’) Duge pjesme ‘Long songs’ associated especially with South Slav traditional music Dvojka Serbian neo-folk genre Dvojnica Double flute found in the Balkans Echos A mode within the 8-mode system of Byzan- tine music theory Entekhno laïko tragoudhi Popular art song developed in Greece in the 1960s, combining popular musical idioms and sophisticated poetry Fanfara Brass ensemble from the Balkans Fasil Suite in Ottoman classical music Floyera Traditional shepherd’s flute Gaida Bagpipes from the Balkan region 670 glossary Ganga Type of traditional singing from the Dinaric Alps Gazel Traditional vocal genre from Turkey Gusle One-string, -
Orpheus in the Netherworld in the Plateau of Western North America: the Voyage of Peni
1 Guy Lanoue Unversité de Montréal Orpheus in the Netherworld in The Plateau of Western North America: The Voyage of Peni GUY LANOUE UNIVERSITA' DI CHIETI "G. D'ANNUNZIO" 1991 2 Guy Lanoue Unversité de Montréal Orpheus in the Netherworld in The Plateau of Western North America: The Voyage of Peni Like all myths, the myth of Orpheus can be seen as a combination of several basic themes: the close relationship with the natural world (particularly birds, whose song Orpheus the lyre-player perhaps imitates), his death, in some early versions, at the hands of women (perhaps linked to his reputed introduction of homosexual practices, or, more romantically, his shunning of all women other than Eurydice; his body was dismembered, flung into the sea and his head was said to have come to rest at Lesbos), and especially the descent to the underworld to rescue Eurydice1 (the failure of which by virtue of Orpheus' looking backwards into the Land of Shades and away from his destination, the world of men, links the idea of the rebirth of the soul -- immortality -- with an escape from the domain of culture into nature, the 'natural' music of the Thracian [barbaric and hence uncultured] bird-tamer Orpheus2). Although the particular combination that we know as the drama of Orpheus in the underworld perhaps arose from various non-Hellenic strands of beliefs (and was popularized only in later Greek literature), several other partial combinations of similar mythic elements can be found in other societies. In this paper, I will explore several correspondences between the Greek Orpheus and the North American Indian version of the descent to the underworld, especially among those people who lived in the mountains and plateaus of western North America, whose myths and associated rituals about trips to a netherworld played a particularly important role in their religious and political lives. -
Dr. Roy Murphy
US THE WHO, WHAT & WHY OF MANKIND Dr. Roy Murphy Visit us online at arbium.com An Arbium Publishing Production Copyright © Dr. Roy Murphy 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without prior written permission of the copyright owner. Nor can it be circulated in any form of binding or cover other than that in which it is published and without similar condition including this condition being imposed on a subsequent purchaser. A catalogue record for this book is available from the British Library. Cover design created by Mike Peers Visit online at www.mikepeers.com First Edition – 2013 ISBN 978-0-9576845-0-8 eBook-Kindle ISBN 978-0-9576845-1-5 eBook-PDF Arbium Publishing The Coach House 7, The Manor Moreton Pinkney Northamptonshire NN11 3SJ United Kingdom Printed in the United Kingdom Vi Veri Veniversum Vivus Vici 863233150197864103023970580457627352658564321742494688920065350330360792390 084562153948658394270318956511426943949625100165706930700026073039838763165 193428338475410825583245389904994680203886845971940464531120110441936803512 987300644220801089521452145214347132059788963572089764615613235162105152978 885954490531552216832233086386968913700056669227507586411556656820982860701 449731015636154727292658469929507863512149404380292309794896331535736318924 980645663415740757239409987619164078746336039968042012469535859306751299283 295593697506027137110435364870426383781188694654021774469052574773074190283 -
The Gift Hau Books
THE GIFT Hau BOOKS Executive Editor Giovanni da Col Managing Editor Sean M. Dowdy Editorial Board Anne-Christine Taylor Carlos Fausto Danilyn Rutherford Ilana Gershon Jason Throop Joel Robbins Jonathan Parry Michael Lempert Stephan Palmié www.haubooks.com THE GIFT EXPANDED EditION Marcel Mauss Selected, Annotated, and Translated by Jane I. Guyer Foreword by Bill Maurer Hau Books Chicago © 2016 Hau Books and Jane I. Guyer © 1925 Marcel Mauss, L’Année Sociologique, 1923/24 (Parts I, II, and III) Cover and layout design: Sheehan Moore Cover Photograph Courtesy of the Peabody Museum of Archaeology and Ethnology, Harvard University, PM# 2004.29.3440 (digital file# 174010013) Typesetting: Prepress Plus (www.prepressplus.in) ISBN: 978-0-9905050-0-6 LCCN: 2015952084 Hau Books Chicago Distribution Center 11030 S. Langley Chicago, IL 60628 www.haubooks.com Hau Books is marketed and distributed by The University of Chicago Press. www.press.uchicago.edu Printed in the United States of America on acid-free paper. Table of Contents foreword “Puzzles and Pathways” by Bill Maurer ix translator’s introduction “The Gift that Keeps on Giving” by Jane I. Guyer 1 PART I: IN MEMORIAM In Memoriam: The Unpublished Work of Durkheim and His Collaborators 29 I.) Émile Durkheim 31 a. Scientific Courses 33 b. Course on the History of Doctrines 37 c. Course in Pedagogy 39 II.) The Collaborators 42 PART II: ESSAY ON THE GIFT: THE FORM AND SENSE OF EXCHANGE IN ARCHAIC SOCIETIES vi THE GIFT Introduction Of the Gift and in Particular of the Obligation to Return Presents -
P O S L O V N I P L a N P O S L O V N I P L
april 2012.godine P O S L O V N I P L A N U skladu sa odredbom iz člana 10 stav 2, tačka e) Zakona o kolektivnom ostvarivanju autorskog i srodnih prava Bosne i Hercegovine U izradi ekonomskih projekcija korišteni su službeni ekonomski podaci i statistike za Bosnu i Hercegovinu i region Jugoisto čne Evrope za 2010. objavljeni u Tranzicijskom izvještaju EBRD-a i Almanahu CIA – The World Fact Book, te relevantnim podacima dokumenata Svjetske organizacije za intelektualno vlasništvo WIPO i Svjetskog udruženja autora CISAC Autor Mirza Hajrić 1 O AMUSU AMUS je Udruženje „Asocijacija kompozitora-muzi čkih stvaralaca“ osnovano još 1946.godine. U decenijama postojanja kroz evidenciju je prošlo više hiljada članova. U postratnom periodu Udruženje je nastavilo svoj rad te je upisano u registar udruženja Ministarstva pravde Bosne i Hercegovine. Izmjene i dopune Statuta AMUS-a i uskladjivanje sa odredbama novog Zakona o kolektivnom ostvarivanju autorskog i srodnih prava i Zakona o udruženjima i fondacijama su registrovane Rješenjem Ministarstva 01/6-67-RS/02 od 12.01.2012.godine. Predsjednik Skupštine AMUS-a je Edin Dervišhalidović - Dino Merlin a potpredsjednici su Hajrudin Varešanovi ć i Ismet Nuno Arnautali ć. Članovi Upravnog odbora su : • Vlado Podany, predsjednik • Nedim Babovi ć, • Nedžad Imamovi ć • Ibro Mangafi ć, • Igor Ražnatovi ć, • Igor Vukojevi ć, i • Amir Šehi ć. Izmedju ostalih, članovi su Goran Bregovi ć, Kemal Monteno, Fahrudin Pecikoza, Mladen Voji čić – Tifa, Davor Su čić Sula, Elvir Lakovi ć Laka, Armin Šakovi ć, Dino Muharemovi ć, Maja Milinkovi ć, Nazif Gljiva, Mili ć Vukašinovi ć, Prof. Džemaludin Lati ć, Dino i Adnan Šaran, Dona Ares, Asim Horozi ć, Samir Mujagi ć SMS, Eldin Huseinbegovi ć, Zijo Valentino, Dino Šukalo, autorski tim Dubioza Kolektiv, Frenkie, Almir Ajanovi ć, Dado Čauševi ć, Maja Sar, Mahir Sarihodži ć, Esad Puri ć i više od dvije stotine drugih autora. -
Refiguring the Rebetika As Literature
Macalester College DigitalCommons@Macalester College English Honors Projects English Department 4-2020 Bodies in the Margins: Refiguring the Rebetika as Literature Sophia Schlesinger Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/english_honors Part of the English Language and Literature Commons, Ethnomusicology Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Schlesinger, Sophia, "Bodies in the Margins: Refiguring the Rebetika as Literature" (2020). English Honors Projects. 44. https://digitalcommons.macalester.edu/english_honors/44 This Honors Project - Open Access is brought to you for free and open access by the English Department at DigitalCommons@Macalester College. It has been accepted for inclusion in English Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. BODIES IN THE MARGINS Refiguring the Rebetika as Literature Sophia Schlesinger Faculty Advisor: Andrea Kaston-Tange Macalester English Department Submitted April 25th, 2020 Abstract This thesis engages a literary analysis of a corpus of songs and recordings known as the rebetika (sing. rebetiko), which prospered in the port districts of major cities throughout the Aegean in the early 20th century. Engaging the rebetika as literary texts, I argue, helps us understand how they have functioned as a kind of pressure point on the borders between nation and Other. Without making unproveable biographical claims about the motives of the music progenitors, I examine why so many have reached for the rebetika as texts with which to articulate various political and cultural desires. Using a multidisciplinary theoretical framework that includes Elaine Scarry, Stuart Hall, Edward Said, Mark C. -
Cocoricovision46
le magazine d’eurofans club des fans de l’eurovision cocoricovision46 S.TELLIER 46 french sexuality mai# 2008 édito La langue est-elle un élément nécessaire à la caractérisation d’une culture nationale ? Et dans un monde de plus en plus globalisé, est-ce que l’idée même de culture nationale fait encore sens ? Est-ce que la voix et les mots peuvent-être considérés comme un simple matériau ? Est-ce que la danse où les arts plastiques, parce qu’ils font fi de la parole, ne disent rien des pays dont sont originaires leurs artistes ? Mais surtout, est-ce que l’eurovision est un outil efficace de diffusion ou de prosélytisme culturel et linguistique ? Est-ce qu’écouter Wer liebe lebt permet de découvrir la culture allemande ? Sans que l’un n’empêche l’autre, il est en tout cas plus important de voir les pièces de Pollesch, de lire Goethe ou de visiter Berlin. D’ailleurs, la victoire en serbe de la représentante d’une chaîne de télévision serbe au concours eurovision de la chanson de 2007, SOMMAIRE a-t-elle quelque part dans le monde déclenché des le billet du Président. 02 vocations ou un intérêt Beograd - Serbie . 06 quelconque pour la cette langue ? Belgrade 2008 . 10 53ème concours eurovision de la chanson Chacun trouvera ses réponses, affinera ses demi-finale 1 - 20 mai 2008 . 13 arguments, tout ca ne nous demi-finale 2 - 22 mai 2008 . 32 empêchera pas de nous trémousser sur certains titres finale - 24 mai 2008 . 51 de cette édition 2008, d’être era vincitore - les previews . -
Native Legends of Oregon and Washington Collected By
Northwest Anthropological Research Notes, 33 (1):85-104 (1999) NATIVE LEGENDS OF OREGON AND WASHINGTON COLLECTED BY FRANZ BOAS Introduction and Notes ANN G. SIMONDS University of Oregon Translation RICHARD L. BLAND Heritage Research Associates ABSTRACT The oral narratives translated here were published by Franz Boas in 1893. They were recorded in 1890 and 1891 on summer trips to Oregon and Washington. Out of the number he collected at this time these were chosen for publication in order to not only present some of the cultural variability found in the North Pacific culture area, but also to demonstrate the spread of certain northern mythological elements, e.g. characters and plots, into the southern portion of the area. The diffusion of this content supported certain of Boas' s conceptions of the area: its southern extent, its nature and degree of cultural uniformity and the direction of its culture change. INTRODUCTION The oral narratives presented here were recorded by Franz Boas in Oregon and Washington during the summers of I 890 and 189 I and published in German in 1893 (Boas 1893c). This work was an outgrowth of his continuing research in British Columbia for the British Association for the Advancement of Science, which he began in I 888 (Reprint NARN Vol. 8). The Association employed him to conduct a general survey of the native peoples of the Province; one of the major foci was the languages, particularly their interrelationships and distribution. This focus led him to a consideration of the Salishan languages, representatives of which lived in the United States. Thus toward the end of 1888, Boas wrote John Wesley Powell of the Bureau of American Ethnology, asking him if the Bureau would support work in Oregon and Washington on the Salishan languages (Boas 1972:Franz Boas [FB] to John W.