143 research outputs found
La violence ludique du jeune Cyrus chez Hérodote
No full textInternational audienceIn Book~I of his History, Herodotus presents a legendary version of Cyrus’ childhood, in which the young prince is abandoned, collected and brought up by a herdsman, and finally recognised by his grandfather, the Medan king Astyagus, when he reaches his tenth year, following his violent but revealing behaviour in a game of basilinda (an imitation game, also called “the king’s game”). If, from the point of view of the social and hierarchical codes of the Medan society, Cyrus’ attitude during the game can be seen as a transgression (a point of view that is developed by the father of the child Cyrus had whipped), another logic is at work in the narrative: that of “play” –~in the global sense put forward by the anthropologist of play, Roberte Hamayon. According to Hamayon, Cyrus’ violent attitude is justified by the attitude of Artembares’ son –~expected by the game or freely chosen by its author~– and the game ends with a breach of the ludic contract, which contributes to the recognition of Cyrus’ true identity. More than a simple prophecy, among others, of an inevitable destiny, the “king’s game” gives Cyrus a certain agency over his destiny, which he prepares, in the sense that the “game” aims at influencing what has not yet happened.Dans le livre I de son Enquête, Hérodote présente une version légendaire de l’enfance de Cyrus, au cours de laquelle le jeune prince est exposé, recueilli et élevé par un bouvier et, finalement, reconnu par son grand-père, le roi mède Astyage, alors qu’il atteint sa dixième année, suite à sa conduite violente, mais révélatrice de sa nature royale, au cours d’un jeu de basilinda (un jeu d’imitation, appelé aussi «~jeu du roi~»). Si, du point de vue des codes sociaux et hiérarchiques de la société mède, l’attitude de Cyrus au cours du jeu peut apparaître comme une transgression (point de vue qui est développé par le père de l’enfant que Cyrus a fait fouetter), une autre logique est à l’œuvre dans le récit~: celle du «~jouer~» –~dans le sens global mis en avant par l’anthropologue du jeu, Roberte Hamayon. Selon celle-ci, l’attitude violente de Cyrus est justifiée par celle –~attendue par le jeu ou choisie librement par son auteur~– du fils d’Artembarès, et le jeu prend fin par une rupture du contrat ludique, laquelle contribue à la reconnaissance de la véritable identité de Cyrus. Plus qu’une simple prophétie, parmi d’autres, d’un destin inévitable, le «~jeu du roi~» donne à Cyrus une certaine agentivité sur sa destinée, qu’il prépare, en ce sens que le «~jouer~» vise à influer sur ce qui n’est pas encore advenu
La violence ludique du jeune Cyrus chez Hérodote
No full textDans le livre I de son Enquête, Hérodote présente une version légendaire de l’enfance de Cyrus, au cours de laquelle le jeune prince est exposé, recueilli et élevé par un bouvier et, finalement, reconnu par son grand-père, le roi mède Astyage, alors qu’il atteint sa dixième année, suite à sa conduite violente, mais révélatrice de sa nature royale, au cours d’un jeu de basilinda (un jeu d’imitation, appelé aussi « jeu du roi »). Si, du point de vue des codes sociaux et hiérarchiques de la société mède, l’attitude de Cyrus au cours du jeu peut apparaître comme une transgression (point de vue qui est développé par le père de l’enfant que Cyrus a fait fouetter), une autre logique est à l’œuvre dans le récit : celle du « jouer » – dans le sens global mis en avant par l’anthropologue du jeu, Roberte Hamayon. Selon celle-ci, l’attitude violente de Cyrus est justifiée par celle – attendue par le jeu ou choisie librement par son auteur – du fils d’Artembarès, et le jeu prend fin par une rupture du contrat ludique, laquelle contribue à la reconnaissance de la véritable identité de Cyrus. Plus qu’une simple prophétie, parmi d’autres, d’un destin inévitable, le « jeu du roi » donne à Cyrus une certaine agentivité sur sa destinée, qu’il prépare, en ce sens que le « jouer » vise à influer sur ce qui n’est pas encore advenu.In Book I of his History, Herodotus presents a legendary version of Cyrus’ childhood, in which the young prince is abandoned, collected and brought up by a herdsman, and finally recognised by his grandfather, the Medan king Astyagus, when he reaches his tenth year, following his violent but revealing behaviour in a game of basilinda (an imitation game, also called “the king’s game”). If, from the point of view of the social and hierarchical codes of the Medan society, Cyrus’ attitude during the game can be seen as a transgression (a point of view that is developed by the father of the child Cyrus had whipped), another logic is at work in the narrative: that of “play” – in the global sense put forward by the anthropologist of play, Roberte Hamayon. According to Hamayon, Cyrus’ violent attitude is justified by the attitude of Artembares’ son – expected by the game or freely chosen by its author – and the game ends with a breach of the ludic contract, which contributes to the recognition of Cyrus’ true identity. More than a simple prophecy, among others, of an inevitable destiny, the “king’s game” gives Cyrus a certain agency over his destiny, which he prepares, in the sense that the “game” aims at influencing what has not yet happened
The voice of the cypresses: Cyrus Cassells and the poetry of Salvador Espriu
Full text linkAutor/s
Dídac Llorens CubedoUniversidad Nacional de Educación a Distancia (UNED), Spain
ABSTRACT
“To the cypress again and again” is Cyrus Cassells’s poetic response to the work of Salvador Espriu, a poet whose reception has been limited by his belonging to a minority culture and his commitment to the Catalan language. In its first eight sections, the poem reads as a dramatic monologue: its author adopts Espriu’s voice, successfully evoking his poetic world. In what could be considered the second part of the poem, a different poetic speaker identifiable with Cassells shares personal memories of Espriu: the man, his nation and his culture. At the end of the poem, the emblematic cypresses are identified with the Catalan people and their voice is heard. The poem is an example of epistolary elegy, a mode that allows Cassells to enter into dialogue with deceased personalities who have had artistic or historical relevance. In so doing, the American poet shows, like Espriu did, an acute sense of cultural tradition.Author/s
Dídac Llorens CubedoUniversidad Nacional de Educación a Distancia (UNED), Spain
ABSTRACT
“To the cypress again and again” is Cyrus Cassells’s poetic response to the work of Salvador Espriu, a poet whose reception has been limited by his belonging to a minority culture and his commitment to the Catalan language. In its first eight sections, the poem reads as a dramatic monologue: its author adopts Espriu’s voice, successfully evoking his poetic world. In what could be considered the second part of the poem, a different poetic speaker identifiable with Cassells shares personal memories of Espriu: the man, his nation and his culture. At the end of the poem, the emblematic cypresses are identified with the Catalan people and their voice is heard. The poem is an example of epistolary elegy, a mode that allows Cassells to enter into dialogue with deceased personalities who have had artistic or historical relevance. In so doing, the American poet shows, like Espriu did, an acute sense of cultural tradition.Autor/es
Dídac Llorens CubedoUniversidad Nacional de Educación a Distancia (UNED), Spain
ABSTRACT
“To the cypress again and again” is Cyrus Cassells’s poetic response to the work of Salvador Espriu, a poet whose reception has been limited by his belonging to a minority culture and his commitment to the Catalan language. In its first eight sections, the poem reads as a dramatic monologue: its author adopts Espriu’s voice, successfully evoking his poetic world. In what could be considered the second part of the poem, a different poetic speaker identifiable with Cassells shares personal memories of Espriu: the man, his nation and his culture. At the end of the poem, the emblematic cypresses are identified with the Catalan people and their voice is heard. The poem is an example of epistolary elegy, a mode that allows Cassells to enter into dialogue with deceased personalities who have had artistic or historical relevance. In so doing, the American poet shows, like Espriu did, an acute sense of cultural tradition
The voice of the cypresses. Cyrus Cassells and the poetry of Salvador Espriu
Full text link“To the cypress again and again” is Cyrus Cassells’s poetic response to the work of Salvador Espriu, a poet whose reception has been limited by his belonging to a minority culture and his commitment to the Catalan language. In its first eight sections, the poem reads as a dramatic monologue: its author adopts Espriu’s voice, successfully evoking his poetic world. In what could be considered the second part of the poem, a different poetic speaker identifiable with Cassells shares personal memories of Espriu: the man, his nation and his culture. At the end of the poem, the emblematic cypresses are identified with the Catalan people and their voice is heard. The poem is an example of epistolary elegy, a mode that allows Cassells to enter into dialogue with deceased personalities who have had artistic or historical relevance. In so doing, the American poet shows, like Espriu did, an acute sense of cultural tradition
Xenophontic Narrative of the Socratic Political Philosophy: A Commentary on The Education of Cyrus
No full textThe Education of Cyrus is Xenophon’s magnum opus in political philosophy. If Memorabilia is in the center of his Socratic writings, then The Education of Cyrus is the main work in his portrayal of Cyrus. The Education of Cyrus, as Plato’s Republic, is an educational work in the Socratic sense of the word and hence an original text in the tradition of the Socratic political philosophy. The biographical form of this writing originates from the educational intention of his writer who, by concentrating on the Cyrus’s deeds, encourages the reader to take notice of this question: “what is the best way of life for human beings?” If we confirm that Memorabilia has a biographical form, then we would be able to compare it to The Education of Cyrus. The author attempts to show that Xenophon’s The Education of Cyrus contains a comparison between the Socratic way of life and the Cyrus’ way of life. In spite of showing his admiration for Cyrus nearly in the entire of that work, Xenophon ultimately defends the superiority of the Socratic (or philosophical) way of life as compared to Cyrus the Great’s (or political) way of life. This is the deepest educational layer in Xenophon’s political philosophy hidden behind the disguise of political education in his work on Cyrus. In order to better understand, we should take a distinct stance on the text itself as a totality whose every part serves the whole. By whole, we mean the intention of the writer; and this is the well known approach innovated and applied by Leo Strauss who is the most eminent commentator of Xenophon’s work. Nevertheless, we should avoid the modern dogmatism in Xenophon’s scholarship which tends to depict him as a marginal or second-rate writer. As mentioned by Strauss, Xenophon “had the courage to clothe himself as an idiot and go through millennia that way— he’s the greatest con man I know.” According to Strauss, and his commentaries in Xenophon scholarship in recent decades, there is no reliable way to understand Xenophon’s intention in the Education of Cyrus, unless we use Strauss’s method of interpretation of Xenophon as a first-rank political philosopher. The Education of Cyrus might be read as a logographic text given that every part of the work “must be necessary for the whole; the place where each part occurs is the place where it is necessary that it should occur.” Using this method, the author has tried to show that—in spite of its pessimistic tone toward the political way of life—the concluding part of The Education of Cyrus is consistent with the great admiration of Cyrus as expressed by Xenophon in the most other parts of this work. We examine whether Xenophon’s intention in The Education of Cyrus is to expose the education which Cyrus received or the one he did not. Thus, he emphasizes the contradiction in The Education of Cyrus as a whole, and simultaneously in the other Xenophon’s writing, especially his Memorabilia. To understand the two main Xenophontic scholarly work, and their positions in the hierarchy of Xenophon’s philosophical thought, it is necessary to compare the similarities, differences and particularly as they relate to the limitations in the Socratic and Cyrus’ ways of life, and to analyze how each has affected the other. The aim here was to show the true intention of Xenophon as one of the most authoritative Socratic political philosophers. In doing so, we understand Xenophon’s preferences for philosophical or political ways of life
‘The voice of the cypresses’. Cyrus Cassells y la poesía de Salvador Espriu
No full text“To the cypress again and again” és la resposta poètica de Cyrus Cassells a l’obra de Salvador Espriu, un poeta de recepció limitada per la seua pertinença a una cultura minoritària i pel seu compromís amb la llengua catalana. Les primeres vuit seqüències del poema segueixen la tècnica del monòleg dramàtic: l’autor adopta la veu d’Espriu i reix a evocar el seu món poètic. La veu de les seqüències que segueixen és la d’un parlant líric diferent que podem identificar amb Cassells i que comparteix amb nosaltres el seu record d’Espriu, la seua nació i la seua cultura. Cap al final del poema, escoltem els emblemàtics xiprers, que han esdevingut imatge del poble català. El poema és un exemple d’elegia epistolar, un gènere que permet Cassells de dialogar amb personalitats traspassades, figures preeminants de la història i l’art. Així demostra el poeta americà que té, com tingué Espriu, un profund sentit de la tradició cultural.“To the cypress again and again” is Cyrus Cassells’s poetic response to the work of Salvador Espriu, a poet whose reception has been limited by his belonging to a minority culture and his commitment to the Catalan language. In its first eight sections, the poem reads as a dramatic monologue: its author adopts Espriu’s voice, successfully evoking his poetic world. In what could be considered the second part of the poem, a different poetic speaker ¾ identifiable with Cassells ¾ shares personal memories of Espriu: the man, his nation and his culture. At the end of the poem, the emblematic cypresses are identified with the Catalan people and their voice is heard. The poem is an example of epistolary elegy, a mode that allows Cassells to enter into dialogue with deceased personalities who have had artistic or historical relevance. In so doing, the American poet shows, like Espriu did, an acute sense of cultural tradition.“To the cypress again and again” es la respuesta poética de Cyrus Cassells a la obra de Salvador Espriu, un poeta de recepción limitada por su pertenencia a una minoría cultural y su compromiso con la lengua catalana. En las ocho primeras secuencias del poema, se sigue la técnica del monólogo dramático: el autor adopta la voz de Espriu, evocando con brillantez su mundo poético. En lo que podría considerarse la segunda parte del poema, un hablante lírico diferente ¾ en el que reconocemos a Cassells ¾ comparte con el lector sus recuerdos de Espriu, su nación y su cultura. Al final del poema, los emblemáticos cipreses se identifican con el pueblo catalán y el lector escucha su voz. El poema es un ejemplo de elegía epistolar, un género que permite a Cassells dialogar con personalidades fallecidas que tuvieron relevancia histórica o artística. Al hacer esto, el poeta americano demuestra tener, como tuvo Espriu, un profundo sentido de la tradición cultural
The History and Literature of the Palestinian Jews from Cyrus to Herod 550 BC to 4 BC
No full textThis book examines Jewish history against the background of the successive kingdoms which controlled Judea. The author discusses the political situation in Judea and the social and economic conditions in so far as we can know then, and the early literary and religious developments.Cover -- PREFACE -- ABBREVIATIONS -- MAPS -- PART ONE The Late Babylonian and Persian Periods -- I Judah circa 550 BC -- The political scene in western Asia -- The internal life of Judah -- The Babylonian exiles -- II From Cyrus to Malachi -- The Persian empire, 559-330 BC -- Conditions in Judah in the late sixth and early fifth centuries -- The rebuilding of the temple -- Prophetic voices -- III The Age of Nehemiah and Ezra -- The last century of Achaemenid Persia -- Troubles in Judah prior to Nehemiah's time -- Nehemiah -- Ezra -- IV The Fourth Century to 330 BC -- General history -- Literary and cultic developments -- The Samaritans: Part I -- PART TWO The Hellenistic Age and the Beginning of Roman Rule -- V The Beginnings of the Hellenistic Age: From Alexander the Great to 200 BC -- The history of the Near East as it relates to Palestine -- The history of Judea from Alexander to 200 BC -- Literary and religious developments -- The Samaritans: Part II -- VI Palestine under the Seleucids, 200-143 BC -- Some aspects of Seleucid history, 223-129 BC -- Judea, 200-143 BC -- VII Judea's Independence, 143/142-63 BC -- Simon, 143-134 BC -- John Hyrcanus, 134-104 BC -- Aristobulus, 104-103 BC -- Alexander Jannaeus (Jannai), 103-76 BC -- Queen Alexandra, 76-67 BC -- Aristobulus II, 67-63 BC -- The consequences of Pompey's intervention -- VIII Judea under the Romans, 63-4 BC -- From 63 BC to the coming of the Parthians -- The Parthian interlude and the emergence of Herod as king -- Herod, king of the Jews, 37-4 BC -- Epilogue -- PART THREE Literature, 200-4 BC -- IX The Scholarly and Pietistic Literary Traditions and Early Scriptural Exposition -- The scholarly tradition -- The pietistic tradition -- Early scriptural exposition (excluding the Dead Sea Scrolls) -- X Apocalyptic and historical writings -- Apocalyptic writings -- Historical writingsXI The Dead Sea Scrolls and the Completion of the Canon -- The Dead Sea Scrolls -- The completion of the canon of Israel's Scriptures -- NOTES -- BIBLIOGRAPHY -- INDEXThis book examines Jewish history against the background of the successive kingdoms which controlled Judea. The author discusses the political situation in Judea and the social and economic conditions in so far as we can know then, and the early literary and religious developments.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Socially responsible investment, portfolio management, institutional characteristics and performance of mutual funds in Kenya
No full textThis study aimed at establishing the relationship among Socially Responsible Investments (SRI),
portfolio management, institutional characteristics and performance of mutual funds in Kenya so as to
address the four main gaps identified in literature namely: lack of consensus on why SRI occurs
especially in a developing economy like Kenya even when empirical evidence on the impact of SRI
on performance is inconclusive; the use of traditional financial analysis methods that have been
formulated to measure financial risk and return but which are unable to asses non-financial risk and
return created by social, ethical, governance, moral and environmental issues; lack of control for any
intervening or moderating variable when analyzing the relationship between SRI and performance;
and lastly limited studies on the combined effects of SRI, institutional characteristics and portfolio
management on performance.
In order to address these gaps six hypotheses were formulated and tested on a population of one
hundred and fourteen (114) mutual funds in Kenya that were either licensed by CMA or were
members of Aspen Network of Development Entrepreneurs. A positivistic research philosophy and
correlation descriptive research designs were adopted in the study. Preliminary statistical tests were
undertaken. These included Cronbatch alpha; descriptive statistics such as the mean, standard
deviation, coefficient of variation, kurtosis and skewness; Sharpe ratio, ethical coefficient and DEA
technical efficiency coefficient; and correlation analysis. Hierarchical multiple regression analysis
was then used to test the hypotheses. The response rate was 60.5%.
The findings are as follows: there is a statistically significant relationship between SRI and
performance (Adjusted R2 = 0.694, F= 52.528, p< 0.05); there is a statistically significant relationship
between SRI and portfolio management (Adjusted R2 = 0.092, F = 7.873, p< 0.05); there is a
significant relationship between portfolio management and performance (Adjusted R2 = 0.190, F =
4.341, p< 0.05); the relationship between SRI and portfolio management is not moderated by
institutional characteristics (∆R2 = 0.026, p > 0.05); portfolio management has an intervening effect
on the relationship between SRI and performance (Adjusted R2 = 0.469, F = 30.975, p< 0.05); and
there is a statistically significant combined effect of SRI, institutional characteristics and portfolio
management on performance of mutual funds in Kenya (Adjusted R2 = 0.826, F = 25.604, p< 0.05).
The results of this study add to existing knowledge in the area of SRI, portfolio management,
institutional characteristics and performance by showing that the relationship between SRI and
performance of mutual funds is not direct but rather is intervened by portfolio management. This has
helped in reduction of the controversy existing in literature. Since the findings of this study indicate
that there is a positive relationship between SRI and performance, fund managers can justify
including SRI in their portfolio. This study helps corporate managers to understand the impact of
their corporate social responsibility on the value of the firm which is important because many
companies spend part of the shareholders’ wealth on social responsibility with the hope of creating
social value and attracting socially responsible investors to the firm. The government and investment
regulators in the country such as the Capital Market Authority (CMA) and the Retirement Benefit
Authority (RBA) can use the findings in guiding the regulation process especially when setting limits
on the type of investments fund managers can include in their portfolio and thereby establishing the
fund managers’ fiduciary responsibility towards their client
Towards A Philosophy of African Liberation: With Special Reference to Frantz Fanon and Nelson Mandela
No full textToday, Africa is a continent of fifty-five independent countries populated by one
billion people. It is a continent full of paradoxes, contradictions, and enigmas.
Among the paradoxes, is that ofliberation, where on the one hand, there is claim of
having been liberated and on the other, there is a cry for the very liberation. The
same people who claimed to have been liberated are the same people calling for
liberation today. The explanation to this paradox is either there was no liberation in
the first place or the concept ofliberation itself was flawed.
Contemporary Africa is characterised by more instability than stability. This
scenario presents before us an opportunity to raise some fundamental questions. It
requires us to urgently, reflect and evaluate the meaning of liberation for the
continent of Africa. It is a challenge as well as an invitation. It is a challenge to
overcome the present predicament and an invitation to think of an alternative for
dealing with the issues.
It is in this context that I have chosen the topic 'Towards a Philosophy of Africa
Liberation with special reference to Frantz Fanon and Nelson Mandela." This
is in an attempt to respond to the above mentioned challenge and invitation. The
two men i.e. Fanon and Mandela have played a key role in leading the people of
Africa from bondage to fi-eedom using different approaches.
According to Frantz Fanon National Liberation, National Renaissance the
restoration of Nationhood to the people, commonwealth: whatever may be the
heading, the new formulas introduced, decolonization is always a violent
phenomenon 1. Fanon advocated for violence as the means to attainment of
liberation;
Nelson Mandela on the other hand was in favour of non violence as the method
emancipation. Drawing inspiration from Mahatma Gandhi concept of ahimsa2 and
Martin Luther King Junior, Mandela stood for truth, peace and reconciliation as the path that leads to liberation. Mandela presents his philosophy for Contemporary
Africa through his concept of 'rainbow nation' guided by truth and reconciliation
The top 20 authors’ collaboration and coupling networks on <i>P</i>. <i>shigelloides</i> studies.
No full textA. Top 20 authors’ collaboration networks on P. shigelloides studies. Each node in the network represents a different author’ collaboration with other authors. Connecting lines represent collaboration pathways between authors. The number of lines from a node corresponds to a number of co-authorship. B. Top 20 authors’ coupling networks on P. shigelloides studies. Each node in the network represents a different author coupling with other authors. Connecting lines represent coupling pathways between authors. The number of lines from a node corresponds to the number of articles that co-listed the author in their reference list.</p
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