A SCHOLARLY BOOK REPOSITORY13 start with E start with E
The book is divided into two parts, with part one covering a range of materials through an introduction and three chapters and part two consisting of a diplomatic edition of the transcribed Ottoman text. The introduction offers an orientation to the scope of the book, surveys previous scholarship conducted on the subject, and provides a historical examination of the late Byzantine Peloponnese and its conquest by the Ottomans. Accompanied by topographic and linguistic notes, Liakopoulos presents the historical geography of the Peloponnese, listing all the place-names mentioned in the sequence they appear in the TT10-1/14662 register. This is followed by a set of thirty-eight digital maps of the early Ottoman Peloponnese using GIS (Geographical Information Systems). This is followed by a discussion of the demography of the Peloponnese, including the settlement patterns, the density of population and its categorisation—urban and rural, sedentary and nomadic—concentrating on the influx and settlement of the second largest ethnic group in the peninsula: the Albanians. Liakopoulos explores the administrative and economic structures of the Peloponnese, and provides a detailed presentation their of agricultural production, fully illustrated with tables and charts.
Gullì first reviews approaches to sovereignty by philosophers as varied as Gottfried Leibniz and Georges Bataille, and then looks at concrete examples where the alliance of sovereignty and capital cracks under the potency of living labor. He examines contingent academic labor as an example of the super-exploitation of labor, which has become a global phenomenon, and as such, a clear threat to the sovereign logic of capital. Gullì also looks at disability to assert that a new measure of humanity can only be found outside the schemes of sovereignty, productivity, efficiency, and independence, through care and caring for others, in solidarity and interdependence.
In Echoing Hylas, Mark Heerink argues that the story of Hylas—a famous episode of the Argonauts' voyage—was used by poets throughout classical antiquity to reflect symbolically on the position of their poetry in the literary tradition. Certain elements of the story, including the characters of Hylas and Hercules themselves, functioned as metaphors of the art of poetry. In the Hellenistic age, for example, the poet Theocritus employed Hylas as an emblem of his innovative
bucolic verse, contrasting the boy with Hercules, who symbolized an older, heroic-epic tradition. The Roman poet Propertius further developed and transformed Theocritus's metapoetical allegory by turning Heracles into an elegiac lover in pursuit of an unattainable object of affection. In this way, the myth of Hylas became the subject of a dialogue among poets across time, from the Hellenistic age to the Flavian era. Each poet, Heerink demonstrates, used elements of the myth to claim his own place in a developing literary tradition.
With this innovative diachronic approach, Heerink opens a new dimension of ancient metapoetics and offers many insights into the works of Apollonius of Rhodes, Theocritus, Virgil, Ovid, Valerius Flaccus, and Statius.
No matter where we are--in academic institutions, in cultural agencies, at home, or in a casual conversation--these are words we use when we talk about creative expression in its cultural contexts. Eight Words for the Study of Expressive Culture is a thoughtful, interdisciplinary examination of the keywords that are integral to the formulation of ideas about the diversity of human creativity, presented as a set of essays by leading folklorists.
Many of us use these eight words every day. We think with them. We teach with them. Much of contemporary scholarship rests on their meanings and implications. They form a significant part of a set of conversations extending through centuries of thought about creativity, meaning, beauty, local knowledge, values, and community. Their natural habitats range across scholarly disciplines from anthropology and folklore to literary and cultural studies and provide the framework for other fields of practice and performance as well.
Eight Words for the Study of Expressive Culture is a much-needed study of keywords that are frequently used but not easily explained. Anchored by Burt Feintuch’s cogent introduction, the book features essays by Dorothy Noyes, Gerald L. Pocius, Jeff Todd Titon, Trudier Harris, Deborah A. Kapchan, Mary Hufford, Henry Glassie, and Roger D. Abrahams.
Over the past thirty years, oral history has found increasing favor among social scientists and humanists, with scholars “rediscovering” the oral interview as a valuable method for obtaining information about the daily realities and historical consciousness of people, their histories, and their culture. One primary issue is the question of how the communicative performances of the interviewer and narrator jointly influence the interview. Using methods of conversation/discourse analysis, the author describes the collaborative processes that enable interviewers and narrators to interact successfully in the interview context.
The problem this book is concerned with is the compulsory apprenticeship of seven years required by the Statute of Artificers of 1563 for entry to existing crafts and retail trades. This statute was the most comprehensive expression of the internal policy of English mercantilism, and it initiated national regulation of apprenticeship that was uniform for town and country.
As a result of her penetrating study, Margaret Gay Davies establishes the predominance of private agencies and interests over public ones in enforcement, especially in the case of the common informer—accepted during the Elizabethan and Stuart periods as a normal and necessary instrument. Davies shows the consistent inattention of county authorities and of the central government to the apprenticeship requirements of the Act of 1563, central though these were to internal regulation of economic life.
To combat this, indigenous and scholarly communities around the world have undertaken various efforts, from archiving and lexicography to the creation of educational and cultural programs. What works in one community, however, may not work in another. Indeed, while the causes of language endangerment may be familiar, the responses to it depend on “highly specific local conditions and opportunities.” In keeping with this premise, the editors of this volume insist that to understand language endangerment, “researchers and communities must come to understand what is happening to the speakers, not just what is happening to the language.” The eleven case studies assembled here strive to fill a gap in the study of endangered languages by providing much-needed sociohistorical and ethnographic context and thus connecting specific language phenomena to larger national and international issues.
The goal is to provide theoretical and methodological tools for researchers and organizers to best address the specific needs of communities facing language endangerment. The case studies here span regions as diverse as Kenya, Siberia, Papua New Guinea, Mexico, Venezuela, the United States, and Germany. The volume includes a foreword by linguistic anthropologist Jane Hill and an afterword by poet and linguist Ofelia Zepeda.
The evolution of Shakespeare's comedy, in Larry Champion's view, is apparent in the expansion of his comic vision to include a complete reflection of human life while maintaining a comic detachment for the audience. Like the other popular dramatists of Elizabethan England, Shakespeare used the diverse comic motifs and devices which time and custom had proved effective. He went further, however, and created progressively deeper levels of characterization and plot interaction, thereby forming characters who were not merely devices subordinated to the needs of the plot.
Shakespeare's development as a comic playwright, suggests Champion, was “consistently in the direction of complexity or depth of characterization.” His earliest works, like those of his contemporaries, are essentially situation comedies: the humor arises from action rather than character. There is no significant development of the main characters; instead, they are manipulated into situations which are humorous as a result, for example, of mistaken identity or slapstick confusion. The ensuing phase of Shakespeare's comedy sets forth plots in which the emphasis is on identity rather than physical action, a revelation of character which occurs in one of two forms: either a hypocrite is exposed for what he actually is or a character who has assumed an unnatural or abnormal pose is forced to realize and admit the ridiculousness of his position. In the final comedies involving sin and sacrificial forgiveness, however, character development is concerned with a “transformation of values.”
Although each of the comedies is discussed, Champion concentrates on nine, dividing them according to the complexity of characterization. He pursues as well the playwright's efforts to achieve for the spectator the detached stance so vital to comedy. Shakespeare obtained this perspective, Champion observes, through experimentation with the use of material mirroring the main action—mockery, parody, or caricature—and through the use of a “comic pointer” who is himself involved in the action but is sufficiently independent of the other characters to provide the audience with an omniscient view.
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