27 research outputs found
A dictionary of Sango
No full textCreated by Charles R. Taber (author) & W. J. Samarin (project director: field work collection and preparation of data).This dictionary is intended to be a companion volume to the one entitled A Grammar of Sango,* which was written in 1963 by William J. Samarin. Since the Sango language and its use are described at some length in the Grammar (i-iii), nothing further will be said in this volume
Isola, Mr. Akin, Sango (Lagos, Nigeria)
No full textDr. Henry Mitchell introduces Dr. Shuma who gives a presentation on the African god Sango. In the presentation Dr. Shuma gives the origin of Sango, how Sango is worshipped, the level of worship, and plays a recording of Sango chants.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the National Endowment for Humanities - Humanities Collections and Reference Resources Implementation Project Grant in supporting the processing and digitization of a number of its major archival collections as part of the project: Spreading the Word: Expanding Access to African American Religious Archival Collections at the Atlanta University Center Robert W. Woodruff Library.</em
An incipient ethnic model for urban Sango
No full textIn a study to determine whether speakers of Sango could distinguish between urban and rural varieties of the language, 171 inhabitants of Bangui, capital of the Central African Republic, were asked to identify the relative age, gender, ethnicity, and provenience (urban vs. rural) of persons speaking Sango, based on tape-recorded samples. Analysis reveals that judgments were poorer than expected for age and gender, largely random for ethnicity, and interestingly suggestive for provenience. Moreover, speakers who were identified as Yakoma (or Riverine) were also associated with urbanity, a fact that implies a certain "ideal" or norm of urban Sango. This finding is linked with conclusions from other studies by the author
An incipient ethnic model for urban Sango
No full textIn a study to determine whether speakers of Sango could distinguish between urban and rural varieties of the language, 171 inhabitants of Bangui, capital of the Central African Republic, were asked to identify the relative age, gender, ethnicity, and provenience (urban vs. rural) of persons speaking Sango, based on tape-recorded samples. Analysis reveals that judgments were poorer than expected for age and gender, largely random for ethnicity, and interestingly suggestive for provenience. Moreover, speakers who were identified as Yakoma (or Riverine) were also associated with urbanity, a fact that implies a certain "ideal" or norm of urban Sango. This finding is linked with conclusions from other studies by the author
Thoughts on the Sango-kai
No full textRecent years have seen a reconsideration and re-evaluation of the state of Nihonga during the Taishô period. There is, however, a tendency in these studies to focus on the relatively larger groups of the period, and thus there has yet to be a full study of smaller groups with their own specialized activities. The Sango-kai, discussed in this essay, is an example of these smaller groups. The Sangokai was formed in Taishô 4 and held a total of ten exhibitions, the last being in Taishô 13, and thus can be seen as a small group active through the very heart of the Taishô period. There has yet to be a straightforward examination or consideration of their activities or thus it has been hard to express the actual nature of their activities. This article focuses particularly on the activities of the Sango-kai, and reexamines their position within the history of modern art.
The Sango-kai was founded by eight members, Ikeda Eiji, Ogawa Usen, Ogawa Senyô, Kawabata Ryûshi, Tsuruta Gorô, Natori Shunsen, Yamamura Kôka, and Hirafuku Hyakusui. From the group's second exhibition onward, this initial group of eight was joined by Morita Tsunetomo, and from the fourth exhibition, by Kondô Kôichiro, and Ishizuka Kan. Sakai Sanryo joined from the 8th exhibition, while Okamoto Ippei joined during the 9th exhibition, bringing the number of participants over time to 13 members.
After first considering the background of the group's formation, this article then refers to notations found in newspapers and magazines of the period regarding the works displayed in their exhibitions and the detailed contents of their exhibitions. This essay is arranged around the chronological examination of their successive exhibitions. Then, based on this organized information about the works exhibited, the author examines the special characteristics of the Sango-kai.
These special characteristics are, a tendency towards decorative paintings, a tendency towards manga-esque work, and a relationship between the paintings and the literary arts, particularly in the form of haiga. The first of these characteristics, the decorative tendency, can be seen in the development of a full-color, richly ornate painting style in which the subjects are either Asian or southern in nature. In terms of the formative aspect of these works, we can note the particularly strong use of gold pigment in their palettes. Next, their manga-esque or comic tendency can be seen in the works of each of the artists who entered paintings in the Sango-kai exhibitions and their relationship to the manga comics or illustrations which were published in various types of newspapers or magazines. The author examines the manga quality seen in the Sangokai works, the critiques such works received, and the stance of each of the painters towards this manga-esque expression. Finally, the author will consider the relationship with the literary arts, particularly haiga. The author touches on the relationship between each of the Sangokai members and their tanka and haiku poetry, noting the state of their literary tendencies. Particular note is made of the relationship between these artists and the haiku magazines of the early Taishô period, such as Sôun and Unmo.
Finally, the author will discuss the relationship between the special characteristics of the Sango-kai artists and the new literati painting style that appeared in Japanese painting at the end of the Meiji and beginning of the Taishô periods. This will emphasize manga-esque and haiga-esque elements in the formative and image aspects of the new literati paintings of the period.
The Sango-kai was a gathering of like-minded men from amongst the astute young and middle-aged painters of the day. The content of their works surpassed that of a simple like-minded gathering, and their shared painting tendencies and the direction of their activities shows a firm grasp of the new movements of the Taishô period. Their use of subject matter also deserves firm mention in the history of modern Japanese art.journal articl
Questions and orthography in Sango
No full textTo read the Version of Record please visit http://tbt.sagepub.com/content/14/1/30.full.pdf+htmlSango is a creole language (derived from Ngbandi) spoken in the Central African Republic and adjoining parts of the Congo (Leopoldville, Chad, and Cameroon) by over one million people. The author discusses problems met with
in the course of the current translation of the OT and revision of the NT
Questions and orthography in Sango
No full textTo read the Version of Record please visit http://tbt.sagepub.com/content/14/1/30.full.pdf+htmlSango is a creole language (derived from Ngbandi) spoken in the Central African Republic and adjoining parts of the Congo (Leopoldville, Chad, and Cameroon) by over one million people. The author discusses problems met with
in the course of the current translation of the OT and revision of the NT
Notice of Retraction Cuckoo search algorithm approach for optimal placement and sizing of distribution generation in radial distribution networks
No full textNotice of Retraction-----------------------------------------------------------------------After careful and considered review of the content of this paper by a duly constituted expert committee, this paper has been found to be in violation of IAES's Publication Principles.We hereby retract the content of this paper. Reasonable effort should be made to remove all past references to this paper.The presenting author of this paper has the option to appeal this decision by contacting ijece@iaesjournal.com.-----------------------------------------------------------------------Radial distribution networks (RDNs) often experience power loss due to improper distribution generation (DG) allocation. Strategic DG placement can reduce power loss, minimize costs, and improve voltage profiles and stability. This research optimizes DG placement and sizing in RDNs using the cuckoo search algorithm (CSA). The objective function considers losses across all network branches, and CSA identifies optimal DG locations and sizes. Tested on IEEE 33-bus, IEEE 69-bus, and Nigeria's Imalefalafia 32-bus RDN, the Cuckoo Search technique results in optimal DG locations at buses 6, 50, and 18 with corresponding sizes of 2.4576, 1.852, and 2.718 MW, respectively. Voltage improvements are 0.9509, 0.9817, and 0.9821 p.u, while total active and reactive power losses for IEEE 33-bus are reduced by 49.03% and 45.00%, and for IEEE 69-bus by 63.67% and 61.14%. The CSA approach significantly enhances voltage profiles and reduces power losses in these networks
Nigerian creative writing in French: Challenges and prospects
No full textNigerian creative writing in French is a recent phenomenon compared to Francophone or Lusophone literature. Since the publication of Ola Balogun's Sango suivi de le Roi elephant (1968), Nigerians have shown their creative abilities in a language, which is their second foreign language after English. This paper, seeks to showcase some of the Nigerian creative works in French, explore some of their themes, comment on the linguistic output and acceptability of such creative works, the challenges Nigerian authors of French expression face in an Anglophone environment as regards production, publishing and marketing as well as suggest ways of coping with these challenges. A written interview accorded the author of this paper by a prominent Nigerian author, Femi Ojo-Ade, author of Les Paradis Terrestres (2003), provides useful information on this recent development in the literary arena.Global Journal of Humanities Vol. 5 (1&2) 2006: pp. 5-1
Convergence of a sequence of solutions of the stochastic two-dimensional equations of second grade fluids
No full textWe study the limit of the stochastic model for two dimensional second grade fluids subjected to the periodic boundary conditions as the stress modulus tends to zero. We show that under suitable conditions on the data the whole sequence of strong
probabilistic solutions (u®) of the stochastic second grade fluid converges to the unique strong probabilistic solution of the stochastic Navier-Stokes equations.The research of the authors is supported by the University of Pretoria and the National Research Foundation South Africa. The first author is also very grateful to the support he received from The Abdus Salam International Center for Theoretical Physics.http://www.iospress.nl/hb2016Mathematics and Applied Mathematic
