Agreement” as a perspectivizing device in discourse: The view from FrenchAcademic Article • July 23rd, 2023
Francis Cornish. ”Agreement” as a perspectivizing device in discourse: The view from French. María de los Ángeles Gómez González, Francisco José Ruiz de Mendoza Ibáñez, Francisco Gonzálvez- García. Theory and Practice in Functional-Cognitive Space, John Benjamins, pp.177-202, 2014, 9789027215789. 10.1075/sfsl.68.08cor . hal-01921989
Amos 5:21-22 — a Tightly Wrapped PackageAcademic Article • November 16th, 2022
There is general agreement that Amos 5:21-22 constitutes a single strophe.1 There is less agreement about whether תולע יל־ולעת־םא יכ, “even though you offer me burnt-offerings” (5:22aα), was originally a part of this strophe. In his article in the Festschrift for Jacob Milgrom, Meir Weiss set forth a careful structural and rhetorical argument for retaining the phrase,2 and his article has been cited as support for the phrase’s retention.3 I would argue, however, that if 5:22aα is omitted, the structure that emerges is a much tighter one, and one that reinforces the content of these verses.
Closest Conjunct Agreement in Head-Final LanguagesAcademic Article • December 16th, 2023
This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of-use#OAP
Intersubjectivity, Understanding, and Agreement in the Epoch of the New Media and GlobalizationAcademic Article • June 20th, 2016
Artykuł dotyczy współczesnych problemów intersubiektywności. W intersubiektywności rodzi się rozumienie i porozumienie. Nowe media i procesy globalizacji sprawiają, że racjonalność, kultura i wiedza nie mogą stanowić jedynego fundamentu dla rozumienia i porozumienia – nie ma już bowiem wspólnej racjonalności, kultury i wiedzy, które dotychczas stanowiły ich podstawę.
Closest Conjunct Agreement in Head-Final LanguagesAcademic Article • November 8th, 2024
This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of-use#OAP
SIMUL IUSTUS ET PECCATORAcademic Article • August 15th, 2021
Abstract: The mutual agreement on the Joint Declaration between the Roman Catholic Church and the Lutheran World Federation on the doctrine of justification was rejected in the official response of the Roman Catholic Church in 1998 over objections to the Lutheran notion of simul iustus et peccator (Christians as righteous and sinners at the same time). What does Paul have to say in connection with this ecumenical dead end? In this article, the validity of simul iustus et peccator is demonstrated from Romans 7:14–25 in conjunction with its larger context and other passages of Scripture. The interpretation of Rom 7:14–25 as a de- scription of Paul himself (or any Christian) has wide-ranging effects on the understanding of Pauline theology. Interestingly, Ernst Käsemann once wrote that the reading of verses 14–25 from that perspective would undermine his whole exegesis, not just his analysis of the context, but in truth also all that “Paul says about baptism, law, and the justification of
Nāṭyaśāstra and RāgamālāAcademic Article • August 14th, 2013
To the memory of Godard Schokker (1929–2009), who introduced me to Prākrit and Apabhraṃśa literature and thus gave me the key to understanding Caṅkam poetry
Between Phanar and the Ottoman Court: Greek Composers in Constantinople in 18th CenturyAcademic Article • June 27th, 2023
Abstract: With the taking of Constantinople on 29 May 1453, a new capital made its appearance on the scene of the main cultural and artistic centres of the Islamic world. In this new context, Constantinople, although already having a millennial past, suffered from a certain cultural backwardness. Nevertheless, in just a few decades, forms and genres developed that would be typically and exclusively ‘Ottoman’. The birth of a new Ottoman art music (maqām) came about thanks to some particular characteristics that were rather rare in the Islamic world that the article takes into exam. Moreover, the ‘new’ Ottoman Art music was heavily influenced by the aesthetic of the earlier Byzantine tradition and by the presence of many Greek composers coming from the milieu of Phanar. The most renowned are certainly Zaharya Efendi (1680?–1740?) and his student Petros the Peloponnesian, Lambadarios of the Great Church (1735? 1740?-1778). Their life and works conclude, condense and significantly exemplif
