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A chameleon abroad: English -ish and ish used in Norwegian
Get PDFNorwegian has borrowed both the suffix or clitic -ish and the free word ish from English. The oldest attested use in Norwegian is from 1996. Building primarily on a collection of 240 examples of use, the article describes and analyses the grammar and meanings of Norwegian (-)ish. The findings are compared to English, and while most kinds of (-)ish use are found to be borrowed, there is also at least one apparently non-English innovation. The use of (-)ish in Norwegian is frowned upon and condemned by some language users, but it seems to have become firmly established in the language
Does you mean I?
Get PDFIn Swedish today, du (‘you’) is sometimes used with generic reference. This use of generic du is often claimed to be a new invention, triggered by English influence in the late 20th century. However, in this article an analysis of occurrences of du from the period 1225–2013 is presented that demonstrates that generic du was used even as early as the Old Swedish period (1225–1526), i.e. long before the English influence on Swedish began. Nevertheless, the analysis also reveals that the use of generic du has increased in newspapers during the 20th and the beginning of the 21st century, and that examples of generic du from before and after the middle of the 20th century differ in several important aspects, the most important being that du in Swedish today often refers to the speaker him/herself. In this article it is argued that this development is best understood as a case of informalization (e.g. Fairclough 1995) and subjectification (e.g. Traugott 2010)
Musikk
Get PDFMusikk har spilt en vesentlig rolle i de fleste religiøse tradisjoner opp gjennom historien. At lyd, eller musikk, blir tilskrevet metafysiske egenskaper og evnen til å påvirke mennesket er en oppfatning med røtter helt tilbake til Pythagoras. I gresk tenkning ble det utviklet musikkteori hvor man blant annet tilla bestemte harmonier, intervaller og melodiske vendinger evnen til å virke direkte inn på verden, eller på menneskers moralske karakter og helse. I Platons Republikken hevdes det for eksempel at bestemte skalatyper kunne gjøre menn til feiginger, og gjøre kvinner ufruktbare, mens andre skalaer kunne inspirere til mot eller til fromhet (Werner 2005:6303). Forståelsen av lydens funksjon i det religiøse livet, og forholdet mellom tekst og lyd (eller musikk) varierer ganske mye i ulike kulturelle kontekster. I indisk tradisjon for eksempel forstås lyden av et mantra som bærer og formidler av en hellig kraft, mens den semantiske betydningen av ordene som fremsies er av mindre betydning (Beck 2006:113; Jacobsen 2003:50ff.). I andre tradisjoner, som for eksempel i reformerte kristne kirker, står gjengivelsen av det semantiske innholdet i sentrum. Musikk var derfor noe som ble sterkt begrenset og sett på med en viss skepsis. For Luther derimot tjente sang og musikk en helt sentral funksjon i gudstjenesten (Irwin 1983:2011)
Divine Vengeance and Human Justice in The Wendish Crusade of 1147
Get PDF“Crusading as an act of vengeance” is a new paradigm proposed by Susanna A. Throop. In this study I will focus on the question of whether the Wendish Crusade supports an “act of vengeance” paradigm. The study shows us a new understanding of how crusading was conceived as an act of vengeance in the context of the twelfth century. Through textual analysis of medieval sources it has been possible to clarify the course of the concept of divine vengeance, which often used human agents in its execution, as well as the idea of crusading as an act of vengeance. In primary sources which emphasize the necessity of a Holy War against the Wends, the concept of vengeance was intimately connected with the ideas of human justice and divine punishment. Most of these sources are clerical writings which contain biblical allusions in order to justify their aims. This paper shows how the concept of divine vengeance was perceived as an expression of both secular and religious authority, embedded in a series of commonly understood emotional responses in medieval society, and also as a value system compatible with Christianity
Forord
Get PDFI 1965 overtok Reidar Sevåg stafettpinnen etter Ole Mørk Sandvik og vart den andre leiaren i Norsk folkemusikklag si historie. Dette var eit verv han hadde heilt fram til Tellef Kvifte overtok i 1980. Sevåg vart seinare utnemnd til heidersmedlem i laget for innsatsen sin, og me vil med dette minnast denne sentrale folkemusikkforskaren som gjekk bort i november. Fire tidlegare kollegaer av Sevåg har bidratt med eit minneord til skriftet.Utgjevinga av Musikk og tradisjon er den viktigaste oppgåva til Norsk folkemusikklag, ved sida av det årlege seminaret. Tidsskriftet presenterer gjerne innlegg frå seminaret, men denne utgåva av skriftet er ei samling frie artiklar med brei tematisk variasjon
«Bare kall meg Lucifer»: fra Baudelaire og Bulgakov til «Sympati for djevelen»
Get PDFSangen «Sympathy for the Devil», skrevet av Mick Jagger i 1968, spiller en viktig rolle i rockens kanon. Den markerte at djevelen nå for alvor hadde gjort sin inntreden i rocken og i 60-tallets ungdomskultur. Ifølge Jagger var sangen inspirert av hans lesning av Charles Baudelaire, og ifølge Jaggers kjæreste, Marianne Faithfull, var den influert av Mikhail Bulgakovs roman Mesteren og Margarita. Verkene til Charles Baudelaire og Mesteren og Margarita utgjør derfor den litterære konteksten når jeg hører Jagger framføre sin tekst. Noe som er felles for Baudelaire og Bulgakov er at begge utforsket ondskapens problem. På hvilke måter reflekterer «Sympathy for the Devil» innflytelsen fra Baudelaire og Bulgakov? Hva sier teksten om ondskapens opprinnelse? Og hva er identiteten til tekstens jeg-person
Stadsmusikanter og musikkforpaktere i Bratsberg amt på 1700-tallet
Get PDFThe article deals with town musicians in the town of Skien and subcontractor musicians or holders in the county of Bratsberg (Telemark) in the 18th century. Town musicians or musicus instrumentalis received a royal commission, granting them the exclusive right to perform music within a specified area. In Norway, the institution of town musician was established at the beginning of the 17th century. Initially the music monopoly was restricted to the towns. Gradually, the districts with such privileges expanded to encompass geographically extensive areas. In 1724, the whole county of Bratsberg became the privileged district of the town musician in Skien. In the countryside, rivalries between privileged and non-privileged musicians arose, especially during wedding celebrations, as the farming population preferred their own fiddlers. In order to counter allegedly illegal playing, two strategies were available. Exclusion by legal prosecution, or co-option. In a strategy of alliance, the privileged musician turned some of his rivals into holders, granting them authorisation for a smaller district against an annual rent. Several holders, while unknown in the folk music tradition, are well documented, emphasising the social background and skills of these musicians, and their important role in the institution of town musician
Hans Henrik Lohfert Jørgensen, Henning Laugerud & Laura Katrine Skinnebach (eds.): The Saturated Sensorium: Principles of Perception and Mediation in the Middle Ages
Get PDFOpening with a highly pertinent cover illustration which shows the kneeling St. Bernard of Clairvaux receiving milk from the Virgin’s naked breast, the anthology The Saturated Sensorium seeks to demonstrate the central, yet paradoxical role assigned to the physical senses and material media in the quest for experience and knowledge of the spiritual and transcendent God in the Middle Ages. At a seminar in 2009, a group of Scandinavian scholars from various disciplines such as art history, archaeology, philology, church history, literature and media studies convened to discuss sense relations and media in the Middle Ages. The result is the present book containing an introductory chapter followed by ten essays
Romerske mirakler og kronede madonnabilder
Get PDFIn 1792 the engraver P.L.Bombelli published a large collection of pictures and narratives about Roman madonnas that had been adorned with a golden crown. Since the early seventeenth century, such crowns had been distributed annually to images of the Madonna that enjoyed great popularity and were reputed to have worked miracles. The stories were not new when Bombelli published them. His main sources were other books, written for theological and / or antiquarian purposes and many of them in the period of the counter-Reformation.The article investigates the miracle narratives. What kinds of miracles do the images work, and how are they presented? Particular attention is given to the way everyday detail is used in building up narratives about sudden and extraordinary events breaking with the laws of nature as well as with a normal experience of the world. The argument is that the information about specific Roman topography, social structure and cultural patterns is vital to make the stories credible, as well as to emphasize the exceptional character of the events. The Bakhtinian notion of the chronotope is employed to investigate how the narratives fuse the spatial and the temporal dimension. History – the Roman experience of living in a very ancient city – is a resource in this specific chronotope, endowing Roman landscape and everyday life with a temporal dimension that makes miracles possible