Towards a grammar of the senses: perception in Lushese (Olussese)

The thesis presents the grammar of the Eastern African Bantu language Lushese (Olussese), spoken in Uganda, and gives information on the historical background that caused the today´s highly endangered status of the language (chapters 1 & 2). Focussing on the semantics of the verbs of perception, the thesis presents the use and meaning of various linguistic means for expressing perception in general and further for the expression of physical, sensory, emotional and cognitive experience in Lushese (chapters 3-5). The findings in Lushese provide insights of the use of language in the light of social interaction and include information on the ways cultural and social values impact the choice of linguistic means (chapter 6). With respect to the theoretical issues concerning the language of perception the data in Lushese show that the way people speak about the environment and use language to express categories of perception are rather a matter of innate cultural interpretation regarding the human body and the environment than a matter of the human body and the environment as given by biological and/or physical conditions.

Nego veio é um sofrer : uma etnografia da subalternidade e do subalterno numa irmandade do Rosário

The object of this work is a fellowship of São Sebastião e Nossa Senhora do Rosário in the city of Jardim do Seridó (RN), that is, a black catholic fellowship on the sertão potiguar. The devotion to Nossa Senhora do Rosário, in colonial Brazil, organizes itself through black catholic men as fellowships. They blossomed in Brazil until the abolition, getting support from the Catholic church, from owners of slaves and from the population in general − unlike others afro-Brazilian religious expression. Today, these fellowships remain active, against the sentimental pessimism of the folklore studies, and they also have a highlight position in the calendar of many cities in Brazil, and in particular in Seridó. The research s foothold is the apparent valorization of the fellowship by the local elite, attitude that hides asymmetric relationships between the group of negros do Rosário and the local authorities, having as its consequence that the members occupy a subaltern position inside their own fellowship. This subalternity take place, mainly, in the public area, where the negros do Rosário cannot represent themselves neither political nor discursively. To discuss this idea, it s done a brief historical of these catholic institutions as well as a description of the relationship between the negros do Rosário and the elites of the city. Then, the phenomenon is analyzed as folklore and/or religion , under the perspective of many agents that participate in this process. In other moment, it is going to be presented how the group formulates their own representation of the history, of the devotional forms and of their own political-religious experiences. In this sense, an ethnography of the subalternity is understood as an analysis of the process that leads the negros do Rosário to become a subaltern group. It s also outlined the perception that the group has of its own position, through an ethnography essay of the subaltern subject. The research, focused in the group of Rosário, was done between August 2010 and January 2012 and includes other agents (like treasurers, priests and intellectuals). Besides that, as a methodological complement, there are documental research, photography, as well as shoots of the party days and public presentation

SPINNING NARRATIVES ACROSS POLITICAL DIVIDES: HARNESSING THE CULTURAL POWER OF A STORY WELL-TOLD

This dissertation explores how two American storytellers, considered by many in their to be exemplary in their craft, rely on narrative strategies to communicate to their audiences on divisive political topics in a way that both invokes feelings of pleasure and connection and transcends party identification and ideological divides. Anna Quindlen, through her political columns and op-eds, and Aaron Sorkin, through his television show The West Wing, have won over a politically diverse fan base in spite of the fact that their writing espouses liberal political viewpoints. By telling stories that entertain, first and foremost, Quindlen and Sorkin are able to have a material impact on their audiences on both dry and controversial topics, accomplishing that which 19th Century writer and activist Harriet Farley made her practice: writing in such a way to gain the access necessary to “do good by stealth.” This dissertation will argue that it is their skilled use of storytelling elements, which capitalize on the cultural relationship humans have with storytelling, that enables Quindlen and Sorkin to achieve this. The dissertation asks: How do stories shape the beliefs, perspectives, and cognitive functions of humans? How do stories construct culture and interact with cultural values? What is the media’s role in shaping society? What gives stories their power to unite as a medium? What is the significance of the experience of reading or hearing a well-told story, of how it feels? What are the effects of Quindlen’s and Sorkin’s writing on audience members and the political world at large? What is lost when a simplistic narrative structure is followed? Who is left out and what is overlooked? The literature that informs the answers to these questions will cross over and through several academic disciplines: American Studies, British Cultural Studies, Communication, Folklore, Journalism, Literature, Media Studies, Popular Culture, and Social Psychology. The chapters will also explore scholarship on the subjects of narratology and schema theory.

Dealing with the devil: a critical and creative look at the diabolical pact

This thesis is comprised of three parts: a critical dissertation, a creative work of fiction and a bridge piece that connects the two. The critical work is an examination of the Devil as a satirist in Faustian bargains. Through the usage of the Devil as a literary figure, his character has become a more secular being: a trickster rather than evil incarnate—a facilitator of sin rather than its originator. In the tragicomedy of pacts with the Devil, he acts as a mirror, reflecting mankind’s foibles and vanity, while elevating the reader in the process. The thesis considers the language, tone, purpose and conceits of several versions of the story. While the focus is primarily on American Literature, the influence of English, Scottish, French and German folklore and fiction are recognized as an essential component of the theme’s evolution. In the bridge piece, the pact with the Devil is literalized in a modern context; a corporate business of reaping souls is theorized in which techniques of persuasion are streamlined into an effective formula. Whether immersive or expository in approach, the portrayal of the supernatural depends on the literary principles of science fiction and fantasy in order to manipulate the reader and allow irrational concepts to obey rational laws. Such theories are cited to support how the Devil functions as a believable character. The novel, Could Be Much Worse, relates the story of an egocentric boss and his dependable employee, a scout who disguises himself as a taxi driver and seeks candidates who may succumb to temptation. Passengers’ monologues of desperation and pathos are interspersed throughout the protagonist’s day-to-day narrative. At times, the work is experimental, utilizing irregular storytelling techniques, alternative forms and conceits. Light-hearted, but nonetheless poignant, the story serves as a cautionary tale, illustrating the tedium of a bureaucratic job in a transmundane existence.

Classificação como Conjunto de Interesse Público (CIP) dos Vestígios Arqueológicos de Lourosa

O presente projeto tem como principal objetivo a Classificação como Conjunto de Interesse Público (CIP) dos Vestígios Arqueológicos de Lourosa, associando ao estudo o potencial turístico que advém da ligação aos recursos patrimoniais. Outros objetivos: A Criação de um Centro Interpretativo da Cultura Judaica e o Reconhecimento e Notoriedade Internacional. O Turismo Cultural e Religioso, considerado como um produto emergente e inovador e uma das apostas do Plano Estratégico Nacional do Turismo (PENT) 2013/2015 continua a ser um recurso turístico do projeto Turismo 2020. A presença judaica em Portugal é tida pela comunidade científica como muito significativa e o seu valor patrimonial muito relevante. Constituem aspetos deste património histórico-cultural: as comunas e as judiarias, as sinagogas e os armários sagrados, as inscrições e as marcas de simbologia judaica e cristã-nova, as tradições e os costumes. A confluência entre a cultura, a religião e o turismo dá origem ao denominado Turismo Cultural e Religioso. A Organização Mundial do Turismo, identifica o turismo cultural como sendo: O movimento de pessoas essencialmente por motivos culturais, incluindo visitas de grupo, visitas culturais, viagens a festivais, visitas a sítios históricos e monumentos, folclore e peregrinação (OMT, 1985, citado por McKercher e du Cros, 2002). O turismo cultural tem sido considerado a área de maior crescimento no turismo global. O turismo religioso tem igualmente uma relação forte com o património existente sendo que, o principal objetivo é a participação em rituais de culto. Assim sendo, o turismo é uma atividade multifacetada que apresenta uma forte ligação com o património material e imaterial existente contribuindo desta forma, para o desenvolvimento económico e social de uma determinada região.

Iniciativas Museísticas y culturales para fomentar el desarrollo sostenible en el medio rural.

La Asociación Cultural “El Corralón” de Otones de Benjumea (Segovia), creada a mediados de los años setenta del pasado siglo, ha tenido como finalidad, en su ya larga trayectoria histórica, promover y difundir la educación y la cultura en el medio rural como ámbitos de desarrollo personal y colectivo. En la actualidad, cuenta con más de 350 socios y está ubicada en una pequeña y representativa localidad castellanoleonesa con una población inferior a los 100 habitantes. Entre las múltiples actividades desarrolladas, pueden destacarse: La organización y mantenimiento de exposiciones e iniciativas museísticas para rescatar y poner en valor su patrimonio cultural; el impulso del teatro infantil (representaciones propias); el fomento y la animación a la lectura; la recuperación del folklore tradicional (canciones del lugar, creación de una coral); la preservación y rehabilitación de la arquitectura popular; las actuaciones en el medio ambiente (recuperación de zonas degradadas, plantación y apadrinamiento de árboles); el acondicionamiento de espacios deportivos y lugares de esparcimiento para uso comunitario; la revitalización del senderismo, de deportes y juegos populares; la recuperación de tradiciones gastronómicas, festivas (carnavales) y de trabajo colectivo (hacenderas); el ofrecimiento de espectáculos y actuaciones de calidad e interés; el establecimiento de cauces para la información, la participación y la formación (conferencias, talleres diversos), y la publicación y difusión de las iniciativas llevadas a cabo. Este conjunto de actividades tratan de integrar los procesos de difusión cultural con la perspectiva de la innovación y creación culturales. Esta segunda orientación está presente en las iniciativas museísticas llevadas a cabo, como El Museo Pedagógico "La última escuela de Otones de Benjumea" o El Museo Etnográfico, entre otras. Propuestas, caracterizadas por la preservación y valorización del patrimonio cultural propio como instrumento de desarrollo rural, que han tenido una gran aceptación no sólo en los ámbitos provinciales y regionales, sino también en los nacionales. Este reconocimiento se ha concretado en la obtención de varios premios y distinciones.

Bande dessinée on the periphery

This thesis examines how Brittany and Corsica are represented in the medium of bande dessinée. Both are peripheral French regions with cultural identities markedly different from that of the overarching French norm, and both have been historically subject to ridicule from the political and cultural centre. By comparing a fair selection of bandes dessinées which are either set in Brittany or Corsica or feature characters from the relevant regions, this thesis sets out to discover whether representations of Brittany and Corsica differ according to the origin of the creators of the bandes dessinées and, if so, how. To facilitate this analysis, the bandes dessinées included for study have been classified as either external representations (published by mainstream bande dessinée publishers and/or the work of creators originating from outside the two regions) or internal representations (published by local Breton or Corsican companies and/or the work of local creators). It transpires that there are clear differences between mainstream and local bande dessinée authors and illustrators with regard to their portrayal of the local culture of both ‘outlying’ regions. External representations rely on broad stereotypes and received ideas, while internal representations draw on local folklore, regional history and regional identity to create works with more local relevance. In some cases internal representations are or were clearly aimed at a local market, while others aim both at local readers and at the wider bande dessinée market. Those aimed at a wider readership have an additional function, namely that of promoting their regional cultures in French culture generally and offering an alternative to the stereotypical representations presented by larger publishers of bandes dessinées. Brittany and Corsica are examined separately, each taking up roughly half of the thesis. Each half has the same general structure, beginning with discussion of how historical events have shaped perceptions of Brittany and Corsica in French popular consciousness, followed by analysis of the respective external representations and lastly internal representations. There are also two case studies of representations of Corsica in wider visual culture. Owing to its widespread appeal, its adaptability and its capacity to reflect popular opinion in different sectors of society, the medium of bande dessinée offers a potentially rich field for the investigation of social and cultural attitudes and prejudices. It is hoped that this thesis points the way to further research on the topic.

Nego veio é um sofrer : uma etnografia da subalternidade e do subalterno numa irmandade do Rosário

The object of this work is a fellowship of São Sebastião e Nossa Senhora do Rosário in the city of Jardim do Seridó (RN), that is, a black catholic fellowship on the sertão potiguar. The devotion to Nossa Senhora do Rosário, in colonial Brazil, organizes itself through black catholic men as fellowships. They blossomed in Brazil until the abolition, getting support from the Catholic church, from owners of slaves and from the population in general − unlike others afro-Brazilian religious expression. Today, these fellowships remain active, against the sentimental pessimism of the folklore studies, and they also have a highlight position in the calendar of many cities in Brazil, and in particular in Seridó. The research s foothold is the apparent valorization of the fellowship by the local elite, attitude that hides asymmetric relationships between the group of negros do Rosário and the local authorities, having as its consequence that the members occupy a subaltern position inside their own fellowship. This subalternity take place, mainly, in the public area, where the negros do Rosário cannot represent themselves neither political nor discursively. To discuss this idea, it s done a brief historical of these catholic institutions as well as a description of the relationship between the negros do Rosário and the elites of the city. Then, the phenomenon is analyzed as folklore and/or religion , under the perspective of many agents that participate in this process. In other moment, it is going to be presented how the group formulates their own representation of the history, of the devotional forms and of their own political-religious experiences. In this sense, an ethnography of the subalternity is understood as an analysis of the process that leads the negros do Rosário to become a subaltern group. It s also outlined the perception that the group has of its own position, through an ethnography essay of the subaltern subject. The research, focused in the group of Rosário, was done between August 2010 and January 2012 and includes other agents (like treasurers, priests and intellectuals). Besides that, as a methodological complement, there are documental research, photography, as well as shoots of the party days and public presentation

Design of a project for a film festival

[ES] Shoot&Soul Festival es un festival de cine y música para Bilbao. El proyecto pretende convertir la ciudad en un punto de encuentro multicultural con el uso del inglés como lengua principal; a la vez que promover la cultura y costumbres locales como la gastronomía, el folclore, etc.

La traducción del verso incerto en prosa: dos casos

Se describen los resultados de la aplicación del denominado "tratamiento completo", en la traducción de dos fragmentos poéticos insertos en prosa no literaria. Se examina la deconstrucción del texto original, sugerida como resultado de un análisis teórico que destaca la importancia del componente cultural y la función apelativa inherente como la base de las soluciones traductológicas.A description is provided of the resulting application of the so-called complete treatment for the translation of two poetic fragments inserted in nonliterary prose. The suggested deconstruction of the source text, resulting from a theoretical analysis, is examined: thus the emphasis on the importance of both the cultural component and the inherent appellative function as a basis for different solutions for translation problems.

Phytopharmacological and ethnomedicinal uses of the Genus Berberis (Berberidaceae): A review

Plants belonging to Berberis are reported in several folklore medicinal pharmacopeias and are used in traditional medicines in Asia and European countries. The plants have been used in the preparation of various traditional and synthetic medicines since pre-historic times for wound healing, fever, eye disease, jaundice, vomiting during pregnancy, rheumatism, kidney and gall balder stones, and several other illnesses. Their healing properties are appear to be due to the presence of secondary metabolites and important alkaloids with different pharmacological activities. Their antibacterial, antifungal, antiviral, anti-diabetic, and anti-tumor activities as well as positive effects on the cardiovascular and body immune systems have been reported. Root extracts of some species of the plant genus contain quinine which acts as a powerful anti-malarial agent. The main chemical constituents of Berberis plants are alkaloids, steroids, glycosides, flavonoids, saponins, terpenoids and reducing sugars. Of these alkaloids, berberine is the most important. The present review focuses on recent advances in phytopharmacological and ethnomedicinal uses of plants belonging to Berberis genus.

A study of culture specific items and translation strategies in Bahram Beyza'i’s play “Marionettes”

L'objectif de cette recherche est de fournir une analyse de la pièce de théâtre perse ''Marionettes'' de Bahrām Beyzā'ī (1963) ainsi que de sa traduction anglaise (1989) afin de comparer et de mettre en contraste les traits propres à la culture «Culture-specific items» (CSI) et des stratégies de traduction. Les formes problématiques pertinentes des différences culturelles seront étudiées et les procédés suggérés par Newmark (1988) seront examinés afin de déterminer dans quelle mesure ils sont pertinents dans la traduction des différences culturelles du perse à l'anglais. La pièce a été traduite par une équipe de traducteurs: Sujata G.Bhatt, Jacquelin Hoats, Imran A. Nyazee et Kamiar K. Oskouee. (Parvin Loloi et Glyn Pursglove 2002:66). Les oeuvres théâtrales de Beyzā'ī sont basées sur les traditions ainsi que sur le folklore iranien. L'auteur aborde la réalité sous une perspective philosophique. « (Un point de vue) enveloppé dans une cape de comparaisons complexes à tel point que nombre des personnages de son oeuvre errent entre des symboles de la mythologie et de l’histoire, ou sociaux» (M.R. Ghanoonparvar, John Green 1989, p.xxii notre traduction). La classification des éléments culturels de Newmark (1988) va comme suit: «Écologie, culture matérielle, culture sociale, organisations, coutumes / moeurs, gestes et habitudes» (Newmark 1988:95). La recherche mettra l’accent sur les procédés suggérés pour traduire les CSI ainsi que sur les stratégies de traduction selon Newmark. Ces procédés comprennent : «traduction littérale, transfert, équivalent culturel, neutralisation, équivalent fonctionnel, équivalent descriptif, synonymie, par le biais de la traduction, transposition, modulation, traduction reconnue, étiquette de traduction, compensation, analyse componentielle, réduction et expansion, paraphraser, distique, notes, additions, gloses» (Newmark 1988:81-93). L'objectif ici est de déterminer si les procédés suggérés sont applicables à la traduction des CSIs du perse à l'anglais, et quels sont les procédés les plus fréquemment utilisés par les traducteurs.

The Amplifier - v. 15, no. 2

In this issue...Geophysics, Bob Hutt, Oregon State, Antarctica, Tech Dances, Frontier Conference, Montana Folklore, Montana Board of Regents

Lucumí (Yoruba) Culture in Cuba: A Reevaluation (1830S -1940s)

The status, roles, and interactions of three dominant African ethnic groups and their descendants in Cuba significantly influenced the island’s cubanidad (national identity): the Lucumís (Yoruba), the Congos (Bantú speakers from Central West Africa), and the Carabalís (from the region of Calabar). These three groups, enslaved on the island, coexisted, each group confronting obstacles that threatened their way of life and cultural identities. Through covert resistance, cultural appropriation, and accommodation, all three, but especially the Lucumís, laid deep roots in the nineteenth century that came to fruition in the twentieth. During the early 1900s, Cuba confronted numerous pressures, internal and external. Under the pretense of a quest for national identity and modernity, Afro-Cubans and African cultures and religion came under political, social, and intellectual attack. Race was an undeniable element in these conflicts. While all three groups were oppressed equally, only the Lucumís fought back, contesting accusations of backwardness, human sacrifice, cannibalism, and brujería (witchcraft), exaggerated by the sensationalistic media, often with the police’s and legal system’s complicity. Unlike the covert character of earlier epochs’ responses to oppression, in the twentieth century Lucumí resistance was overt and outspoken, publically refuting the accusations levied against African religions. Although these struggles had unintended consequences for the Lucumís, they gave birth to cubanidad’s African component. With the help of Fernando Ortiz, the Lucumí were situated at the pinnacle of a hierarchical pyramid, stratifying African religious complexes based on civilizational advancement, but at a costly price. Social ascent denigrated Lucumí religion to the status of folklore, depriving it of its status as a bona fide religious complex. To the present, Lucumí religious descendants, in Cuba and, after 1959, in many other areas of the world, are still contesting this contradiction in terms: an elevated downgrade.

A study of culture specific items and translation strategies in Bahram Beyza'i’s play “Marionettes”

L'objectif de cette recherche est de fournir une analyse de la pièce de théâtre perse ''Marionettes'' de Bahrām Beyzā'ī (1963) ainsi que de sa traduction anglaise (1989) afin de comparer et de mettre en contraste les traits propres à la culture «Culture-specific items» (CSI) et des stratégies de traduction. Les formes problématiques pertinentes des différences culturelles seront étudiées et les procédés suggérés par Newmark (1988) seront examinés afin de déterminer dans quelle mesure ils sont pertinents dans la traduction des différences culturelles du perse à l'anglais. La pièce a été traduite par une équipe de traducteurs: Sujata G.Bhatt, Jacquelin Hoats, Imran A. Nyazee et Kamiar K. Oskouee. (Parvin Loloi et Glyn Pursglove 2002:66). Les oeuvres théâtrales de Beyzā'ī sont basées sur les traditions ainsi que sur le folklore iranien. L'auteur aborde la réalité sous une perspective philosophique. « (Un point de vue) enveloppé dans une cape de comparaisons complexes à tel point que nombre des personnages de son oeuvre errent entre des symboles de la mythologie et de l’histoire, ou sociaux» (M.R. Ghanoonparvar, John Green 1989, p.xxii notre traduction). La classification des éléments culturels de Newmark (1988) va comme suit: «Écologie, culture matérielle, culture sociale, organisations, coutumes / moeurs, gestes et habitudes» (Newmark 1988:95). La recherche mettra l’accent sur les procédés suggérés pour traduire les CSI ainsi que sur les stratégies de traduction selon Newmark. Ces procédés comprennent : «traduction littérale, transfert, équivalent culturel, neutralisation, équivalent fonctionnel, équivalent descriptif, synonymie, par le biais de la traduction, transposition, modulation, traduction reconnue, étiquette de traduction, compensation, analyse componentielle, réduction et expansion, paraphraser, distique, notes, additions, gloses» (Newmark 1988:81-93). L'objectif ici est de déterminer si les procédés suggérés sont applicables à la traduction des CSIs du perse à l'anglais, et quels sont les procédés les plus fréquemment utilisés par les traducteurs.