Topic-Specific Link Analysis Using Independent Components for Information Retrieval
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The Zodiac: Comparison of the Ancient Greek Mythology and the Popular Romanian Beliefs
THE ZODIAC: COMPARISON OF THE ANCIENT GREEK MYTHOLOGY AND THE POPULAR ROMANIAN BELIEFS DOINA IONESCU *, FLORA ROVITHIS ** , ELENI ROVITHIS-LIVANIOU *** Abstract : This paper intends to draw a comparison between the ancient Greek Mythology and the Romanian folk beliefs for the Zodiac. So, after giving general information for the Zodiac, each one of the 12 zodiac signs is described. Besides, information is given for a few astronomical subjects of special interest, together with Romanian people believe and the description of Greek myths concerning them. Thus, after a thorough examination it is realized that: a) The Greek mythology offers an explanation for the consecration of each Zodiac sign, and even if this seems hyperbolic in almost most of the cases it was a solution for things not easily understood at that time; b) All these passed to the Romanians and influenced them a lot firstly by the ancient Greeks who had built colonies in the present Romania coasts as well as via commerce, and later via the Romans, and c) The Romanian beliefs for the Zodiac is also connected to their deep Orthodox religious character, with some references also to their history. Finally, a general discussion is made and some agricultural and navigator suggestions connected to Pleiades and Hyades are referred, too. Keywords : Zodiac, Greek, mythology, tradition, religion. PROLOGUE One of their first thoughts, or questions asked, by the primitive people had possibly to do with sky and stars because, when during the night it was very dark, all these lights above had certainly arose their interest. So, many ancient civilizations observed the stars as well as their movements in the sky. -
3-On-3 Restrictions and PCC Typology Syntax
November 28, 2020 3-on-3 restrictions and PCC typology: a reply to Pancheva and Zubizaretta (2018)∗ Amy Rose Deal UC Berkeley Abstract Restrictions on clitic combinations are generally in place when a ditransitive is expressed with both direct object and indirect object clitics. The best-studied such restrictions involve local per- sons, as in classic person-case constraint (PCC) effects—e.g., in French, banning combinations of local person DO clitics with IO clitics (strong PCC). Many languages also impose restrictions on combinations of 3rd person clitics (*3-on-3). Spanish, for instance, bans combinations of 3rd dative + 3rd accusative, requiring the dative to be replaced by the so-called “spurious se” (Perlmut- ter 1971). These two types of restrictions have typically been attributed to separate grammatical rules, if not entirely separate components of the grammar. However, in recent work, Pancheva and Zubizarreta (2018) have proposed a partial unification of *3-on-3 and classic PCC, treating both as grounded in syntactic licensing principles. This theory predicts a typological interaction: 3-on- 3 restrictions will be found only in certain languages that also constrain combinations including local persons. In this paper, I argue that this prediction is false. In Ubykh (NW Caucasian), no re- striction is imposed on clitic combinations involving local persons—there is no PCC effect of any type—but 3-on-3 combinations show clitic opacity effects reminiscent of spurious se. Capturing this pattern requires grammatical rules for the 3-on-3 context that are not grounded in PCC syntax, thus making a case for the independence of the two types of ditransitive person restrictions more generally. -
Universals in Phonology This Article A
UC Berkeley Phonology Lab Annual Report (2007) (Commissioned for special issue of The Linguistic Review, 2008, Harry van der Hulst, ed.) Universals in Phonology ABSTRACT This article asks what is universal about phonological systems. Beginning with universals of segment inventories, a distinction is drawn between descriptive universals (where the effect of different theoretical frameworks is minimized) vs. analytic universals (which are specific-theory- dependent). Since there are few absolute universals such as “all languages have stops” and “all languages have at least two degrees of vowel height”, theory-driven or “architectural” universals concerning distinctive features and syllable structure are also considered. Although several near- universals are also mentioned, the existence of conflicting “universal tendencies” and contradictory resolutions naturally leads into questions concerning the status of markedness and synchronic explanation in phonology. While diachrony is best at accounting for typologically unusual and language-specific phonological properties, the absolute universals discussed in this study are clearly grounded in synchrony. 1. Introduction My colleague John Ohala likes to tell the following mythical story about a lecture that the legendary Roman Jakobson gives upon arrival at Harvard University some time in the 1940s. The topic is child language and phonological universals, a subject which Prof. Jakobson addresses in his Kindersprache, Aphasie und allgemeine Lautgesetze (1941). In his also legendary strong Russian accent, Jakobson makes the pronouncement, “In all languages, first utterance of child, [pa]!” 1 He goes on to explain that it is a matter of maximal opposition: “[p] is the consonant most consonant, and [a] is the vowel most vowel.” As the joke continues, a very concerned person in the audience raises his hand and is called on: “But, professor, my child’s first utterance was [tSik].” Prof. -
UDC 786.2/781.68 Aisi the FIFTH PIANO CONCERTO by PROKOFIEV: COMPOSITINAL and PERFORMING INNOVATIONS
UDC 786.2/781.68 Aisi THE FIFTH PIANO CONCERTO BY PROKOFIEV: COMPOSITINAL AND PERFORMING INNOVATIONS The article is dedicated to considering compositional and performing innovations in the piano works of S. Prokofiev on the example of the fifth piano concerto. The phenomenon of the "new piano" in the context of piano instrumentalism, technique and technology of composition. It identifies the aspects of rethinking the romantic interpretation of the piano in favor of the natural-percussive. Keywords: piano concerto, instrumentalism, percussive nature of the piano, performing style. Prokofiev is one of the most outstanding composers-pianists of the XX century who boldly "exploded" both the canons of the composer’s and pianistic mastery of his time but managed to create his own coherent system of expressive means in both these areas of music. The five piano concertos by Prokofiev (created at the beginning and the middle of his career – 1912-1932) clearly reflect the most recognizable and the key for the composer's creativity artistic features of the author’s personality. Having dissociated himself in the strongest terms from the romantic tradition of the concert genre, Prokofiev created his new style – in terms of piano instrumentalism, technique and technology composition. All the five piano concertos "fit" just in the 20 years of Prokofiev’s life (after 1932 the composer did not write pianos, not counting begun in 1952 and unfinished double concert with the alleged dedication to S. Richter and A. Vedernikov). The first concert (1911-1912) – the most compact, light, known as "football" for expressed clarity of rhythm and percussion of the piano sound. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
HYADES Star and Rain Nymphs | Greek Mythology
Google Search HYADES Web Theoi Greek Name Transliteration Latin Name Translation Ὑας Hyas Sucula Rainy Ones Ὑαδες Hyades Suculae (hyô, hyetos) THE HYADES were the nymphs of the five stars of the constellation Hyades. They were daughters of the Titan Atlas who bore the starry dome of heaven upon his shoulders. After their brother Hyas was killed by a lion, the tear-soaked sisters were placed amongst the stars as the constellation Hyades. Hyas himself was transformed into the constellation Aquarius. The heliacal setting of their constellation in November marked the start of the rainy season in Greece, hence the star nymphs were known as "the Rainy Ones." According to Nonnus the Hyades were the same as the Lamides nurses of the god Dionysos. The Hyades were also closely identified with the Nysiades and Nymphai Naxiai, the other reputed nurses of the god. The Hyades were also connected with the Naiades Mysiai, in which their brother Hyas is apparently substituted for a lover, Hylas. PARENTS [1.1] ATLAS & PLEIONE (Hyginus Fabulae 192) [1.2] ATLAS & AITHRA (Musaeus Frag, Hyginus Astronomica 2.21, Ovid Fasti 5.164) [2.1] HYAS & BOIOTIA (Hyginus Astronomica 2.21) NAMES [1.1] PHAISYLE, KORONIS, KLEEIA, PHAIO, EUDORE (Hesiod Astronomy 2) [1.2] PHAESYLA, KORONIS, AMBROSIA, POLYXO, EUDORA (Hyginus Fabulae 192) [1.3] AMBROSIA, EUDORA, AESYLE (Eustathius on Homer's Iliad 1156) ENCYCLOPEDIA HY′ADES (Huades), that is, the rainy, the name of a class of nymphs, whose number, names, and descent, are described in various ways by the ancients. Their parents were Atlas and Aethra ( Ov. -
A New History of the Carillon
A New History of the Carillon TIFFANY K. NG Rombouts, Luc. Singing Bronze: A History of Carillon Music. Translated by Com- municationwise. Leuven: Leuven University Press, 2014, 368 pp. HE CARILLON IS HIDDEN IN plain sight: the instrument and its players cannot be found performing in concert halls, yet while carillonneurs and Tkeyboards are invisible, their towers provide a musical soundscape and focal point for over six hundred cities, neighborhoods, campuses, and parks in Europe, North America, and beyond. The carillon, a keyboard instrument of at least two octaves of precisely tuned bronze bells, played from a mechanical- action keyboard and pedalboard, and usually concealed in a tower, has not received a comprehensive historical treatment since André Lehr’s The Art of the Carillon in the Low Countries (1991). A Dutch bellfounder and campanologist, Lehr contributed a positivist history that was far-ranging and thorough. In 1998, Alain Corbin’s important study Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (translated from the 1994 French original) approached the broader field of campanology as a history of the senses.1 Belgian carillonneur and musicologist Luc Rombouts has now compiled his extensive knowledge of carillon history in the Netherlands, Belgium, and the United States, as well as of less visible carillon cultures from Curaçao to Japan, into Singing Bronze: A History of Carillon Music, the most valuable scholarly account of the instrument to date. Rombouts’s original Dutch book, Zingend Brons (Leuven: Davidsfonds, 2010), is the more comprehensive version of the two, directed at a general readership in the Low Countries familiar with carillon music, and at carillonneurs and music scholars. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Psamathe – Alternatives Konzept Der Entsanderspülung
WASSERBAU Giovanni De Cesare, Cécile Münch-Aligné, Milad Daneshvari, Sebastian Schwindt und Fernando Biaggi Psamathe – Alternatives Konzept der Entsanderspülung Die vollständige Spülung von Dufour-Sandfängen geht einher mit erheblichen Verlusten des Triebwassers, wodurch der Anlagenertrag geschmälert wird. Die Effizienz eines neuarti- gen Spülsystems wird durch numerische Simulationen anhand einer Fallstudie eines Dufour- Sandfangs bewiesen. Das System ermöglicht gleichmäßige Geschwindigkeitsverteilungen entlang des Spülkanals im Bereich einer ausreichenden Sedimenttransportkapazität, im Ge- gensatz zu bestehenden Systemen, die erst im letzten Drittel des Spülkanals ausreichende Fließgeschwindigkeiten erreichen. 1 Einleitung Projektverantwortlichen die vorliegende setzverhalten zu fördern. Bei größeren Studie einer alternativen Entsanderspü- Durchflüssen werden mehrere Becken pa- Bereits die antiken Griechen wussten um lung ebenfalls nach Psamathe zu benen- rallel angeordnet, um ein gleichmäßiges die Bedeutsamkeit des Sandes und schrie- nen. Von größerer Relevanz als die der ter- Durchströmen zu ermöglichen [12]. Die ben dem Material mit Psamathe eine Göt- minologischen Historie dieser Studie sind abgelagerten Feststoffe müssen regelmä- tin zu. Sie ist eine der etwa 50 Nereiden, ihre technischen Aspekte, da Sand im ßig aus dem Absetzraum gespült werden. den Töchtern des Nereus und der Doris. Triebwasser für Wasserkraftbetreiber ei- Obwohl es langjährig bewährte Systeme Der Ursprung ihres Namens liegt in den nen kritischen Aspekt darstellt. -
Pythios and Pythion: the Spread of a Cult Title J.K
Mediterranean Historical Review Vol. 22, No. 1, June 2007, pp. 57–69 Pythios and Pythion: The Spread of a Cult Title J.K. Davies The epithet Pythios/Pythion, unequivocally denoting the cult of Apollo of Delphi, came to have a very widespread distribution throughout the Greek world, comparable only to that of Zeus Olympios. Pre-Hellenistic attestations are summarily reported, showing concentrations (e.g., Attika, Argolis, Thessaly, Aegean islands, Krete), significant vacua (e.g., Boiotia, north-western Greece), and overlaps with the epithets Delphinios and Pythaieus. Likely periods and mechanisms of its spread are sketched, as are possible explanations (colonization, oracles, purification), though without overt preference for any one model of network-formation. Keywords: Apollo; Cult; Oracle; Purification; Distribution It is a cliche´ of scholarship that the terms Pythios and Pythion derive from Pytho, the earliest attested name for the cultic area later known as Delphoi,1 and that they came to refer unequivocally to Apollo as the principal god of the upper sanctuary there. They therefore belong among the ‘locational’ epithets of the god, parallel to Klarios or Didymeus, not among those derived from function or from association or identification with animals.2 As such, they pose a problem, for it was unusual for locational epithets to spread far beyond their primary sanctuary, still less to show such widespread attestation throughout much of the Greek-speaking world: Zeus Olympios provides perhaps the only true comparison, with even Eleusinian Demeter well behind. Their distribution therefore needs an explanation, and one which is couched not just in terms of geography or of the ‘profile’ of the god but also, and primarily, in terms of human needs and of the ways in which a specific cult could be transferred, or replicated/cloned, elsewhere. -
Segmental Phonology Darin Howe University of Calgary
SEGMENTAL PHONOLOGY DARIN HOWE HOWED UCALGARY.CA UNIVERSITY OF CALGARY DARIN HOWE, 2003 ii Table of contents ACKNOWLEDGMENTS .............................................................................................................................................IV INTERNATIONAL PHONETIC ALPHABET CHART.................................................................................................. V 1. INTRODUCTION ...............................................................................................................................................1 2. INTRASEGMENTAL PHONOLOGY ..................................................................................................................4 2.1. PHONEME INVENTORIES AND FEATURES.......................................................................................................... 4 2.2. ARTICULATOR-FREE FEATURES .....................................................................................................................12 2.2.1. Major class features .................................................................................................................................................12 2.2.1.1. [±consonantal]...........................................................................................................................................12 2.2.1.2. [±sonorant].................................................................................................................................................22 2.2.2. Other articulator-free features..............................................................................................................................27 -
Insect Egg Size and Shape Evolve with Ecology but Not Developmental Rate Samuel H
ARTICLE https://doi.org/10.1038/s41586-019-1302-4 Insect egg size and shape evolve with ecology but not developmental rate Samuel H. Church1,4*, Seth Donoughe1,3,4, Bruno A. S. de Medeiros1 & Cassandra G. Extavour1,2* Over the course of evolution, organism size has diversified markedly. Changes in size are thought to have occurred because of developmental, morphological and/or ecological pressures. To perform phylogenetic tests of the potential effects of these pressures, here we generated a dataset of more than ten thousand descriptions of insect eggs, and combined these with genetic and life-history datasets. We show that, across eight orders of magnitude of variation in egg volume, the relationship between size and shape itself evolves, such that previously predicted global patterns of scaling do not adequately explain the diversity in egg shapes. We show that egg size is not correlated with developmental rate and that, for many insects, egg size is not correlated with adult body size. Instead, we find that the evolution of parasitoidism and aquatic oviposition help to explain the diversification in the size and shape of insect eggs. Our study suggests that where eggs are laid, rather than universal allometric constants, underlies the evolution of insect egg size and shape. Size is a fundamental factor in many biological processes. The size of an 526 families and every currently described extant hexapod order24 organism may affect interactions both with other organisms and with (Fig. 1a and Supplementary Fig. 1). We combined this dataset with the environment1,2, it scales with features of morphology and physi- backbone hexapod phylogenies25,26 that we enriched to include taxa ology3, and larger animals often have higher fitness4.