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The Faculty of Arts is home to one of the most multidisciplinary academic communities on campus. From neuroscience, through ancient languages to choreography and music and drama composition, our researchers and students lead critical and creative research inquiry that engages communities and fosters innovation, leadership and creative practice. Composed of 12 departments and two schools, our faculty fosters a culture of critical and creative inquiry, debate, imagination, discovery and entrepreneurial thinking. Our vision for energizing arts is to engage, inspire, discover. Continue reading to find out more about research in the Faculty of Arts.
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Browsing Arts by Department "School of Languages, Linguistics, Literatures and Cultures"
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Item Open Access The black vernacular versus a cracker's knack for verses(McFarland Books, 2014-10-24) Flynn, DarinThis chapter focuses initially on the fact that rap is deeply rooted in black English, relating this to Eminem in the context of much information on the language of (Detroit) blacks. This linguistic excursion helps to understand how Eminem and hip hop managed to adopt each other. The second part of the chapter focuses on Eminem's craft. Much like Eminem consciously primes our subconscious brains with his lyrics, this chapter aims to make explicit a selection of what his fans already know implicitly. Specifically, by documenting some of the sociolinguistics and psycholinguistics in his music, the chapter contributes to an appreciation of Eminem, "the first poet laureate of the white working class."Item Open Access Doomed Hybrids: Three Cases of Fatal Mixing in the War Comics of Tezuka Osamu(International Journal of Comic Art, 2014-06) Whaley, BenItem Open Access Harmonic scales as faithfulness(Canadian Journal of Linguistics, 2004-03) Howe, Darin M.; Pulleyblank, DouglasOptimality Theory predicts that harmonic scales (⟦α ≻ β⟧) can be encoded in grammar as markedness hierarchies (⟦*β ≫ *α⟧) or else as faithfulness hierarchies (⟦Faith(β) ≫ Faith(α)⟧ or ⟦Faith(α) ≫ Faith(β)⟧). Most research assumes that harmony is encoded as markedness (e.g., ⟦Cor ≻ Lab⟧ ∴ ⟦*Lab ≫ *Cor⟧), though many investigators have argued that some harmonic relations are better captured as faithfulness hierarchies which forestall deletion/insertion of less harmonic elements (e.g., ⟦Cor ≻ Lab⟧ ∴ ⟦Faith(Lab) ≫ Faith(Cor)⟧). We demonstrate in this paper that at least two perceptually-motivated harmonic scales — one concerning vowel quality, the other concerning glottalisation on consonants — need to be grammatically encoded as faithfulness hierarchies which ensure that more harmonic elements which are also more perceptible are more faithfully adhered to (⟦α ≻ β⟧, where |α| > |β| ∴ ⟦Faith(α) ≫ Faith(β)⟧).Item Open Access La perspectiva figural: La relación entre personaje y perspectiva narrativa según el modelo de Wolf Schmid(2022-03) Prado, DanteSi bien el interés de la narratología en los personajes literarios ha sido, históricamente, acotado y funcional, siempre tuvo el personaje una posición más relevante en los estudios sobre perspectiva narrativa. Esto lo podemos ver en la obra Gérard Genette y su distinción entre punto de vista y voz, cuya influencia, divulgación y aplicación en diversos autores y disciplinas, como en los estudios de cine o novelas gráficas, fue y es significativa. Sin embargo, la concepción de Genette de la perspectiva es restrictiva en el análisis concreto de textos literarios: su modelo es incapaz de capturar matices importantes en la construcción de la perspectiva y de distinguir correctamente el papel del personaje literario en dicha construcción. Atendiendo a estas limitaciones, en lo que sigue, propongo y discuto el modelo narratológico de Wolf Schmid, compuesto de múltiples parámetros que lo vuelven más preciso y efectivo en términos descriptivos y analíticos. Se presentará el modelo de perspectiva de Schmid a través del análisis de pasajes de: Los años de aprendizaje de Wilhelm Meister (Wilhelm Meisters Lehrjahre, 1795/96), de Johann Wolfgang von Goethe; Enrique el verde (Der grüne Heinrich, 1879-1880), de Gottfried Keller; y, “El fin” (1953), de Jorge Luis Borges.Item Open Access Los años de formación de Wilhelm Meister: Tiempo, narración y Bildung(Inter Litteras, 2020-01) Prado, Dante S.Es un error no considerar la relación que tiene el Bildungsroman con el tiempo, en tanto que este presenta, en su estructura narrativa-temporal, una representación del tiempo distintiva, específica a este subgénero novelístico. Las elipsis temporales y la dimensión del olvido; el acto de enfatizar, de volver visible, cierto tiempo presente e ideal; y la figura del joven como individuo temporal, sujeto a un determinado período vital; son variables que expresan la especificidad y autoconciencia de la representación temporal del Bildungsroman, como se ve en Los años de aprendizaje de Wilhelm Meister de J. W. Goethe, novela que pone en contacto, de un modo paradigmático, la dimensión temporal y la formativa. A su vez, la temporalidad permite reflexionar acerca de la variación histórica del subgénero, en una línea que llega a su punto culminante en el siglo XX, con Thomas Mann y La montaña mágica.Item Open Access Navigating and Owning Obedience: Reassessing Friedrich Halm's Griseldis(Johns Hopkins University Press, 2020-05) Wagner, MartinThis article critically reappraises the drama Griseldis (1835), the successful first play of the today largely forgotten Viennese playwright Friedrich Halm. I argue that the comparison between this play and its possible main source, Petrarch’s A Fable of Wifely Obedience and Devotion, offers insights into the reconceptualization of obedience in the nineteenth century. Concretely, I suggest that the most significant changes in Halm’s version serve to make obedience visible as an expression of individual agency, and thus to justify obedience’s role within a liberal ideology. This reading departs from the older scholarly opinion that saw in Halm’s play simply a critique—rather than a complex reinterpretation—of obedience.Item Open Access On Blackfoot syllabics and the Law of Finals(2005-10-22) Ermineskin, Rachel; Howe, Darin M.A Roman orthography is now standard for Blackfoot, but a syllabary was previously in use. Following a discussion of the remarkable design of this writing scheme, we examine its vernacular usage in some personal diaries of one of the presenters’ relatives. Based on these writings, we describe the Law of Finals for Blackfoot and other syllabaries, and we suggest a few small revisions to the Blackfoot syllabary.Item Open Access Patterns and timing of glottalisation(2001-01-08) Howe, Darin M.; Pulleyblank, Douglas GeorgeThrough an investigation of glottalisation in several languages of North America, this article examines the role of perception in the grammatical distribution of segments. Specifically, we consider the hypothesis that perceptual factors on the timing of glottalisation in consonants determine the arrangement of such consonants phonologically. Our conclusion is in the negative. In the cases we study, the distribution of glottalisation appears to be governed by syllable structure, not by glottal timing. We interpret the patterns presented as evidence for a modular theory of phonetics and phonology rather than a theory where properties of articulator timing are directly referenced by phonological constraints. Patterns of glottalisation result from the interaction of phonological submodules that are largely independent of each other, though properties of particular modules may be influenced by phonetic factors.Item Open Access Vocalic dorsality in Articulator Theory(2012-01-01) Flynn, DarinOn the strength of Halle’s (1995) demonstration that assimilation processes spread only terminal elements, Halle et al. (2000) propose to revise the Articulator Theory of feature geometry (Sagey 1986 et seq.) by treating designated articulators not as nodes but as features (viz. [coronal], [labial], [dorsal]) since indeed they participate in assimilation. Halle (2005) goes on to conclude that all features are terminal (since all may spread) and that we should dispense with subsegmental nodes altogether. Aside from these revisions, Halle (like Padgett and Yip) retains the feature-geometric conception of (local) assimilation as spreading. Revised Articulator Theory also preserves a long tradition in taking the tongue body to be the designated articulator of vowels (Halle 2003; Levi 2008), a view that is anathematic to the now dominant school of feature geometry known as Vowel-Place Theory (Clements 1989 et seq.). Thus current Articulator Theory uniquely generates the strong hypothesis that vowels are specified for an articulator feature [dorsal] which can spread individually because it is terminal in the segment. On the further (also traditional) assumption that phonotactics intensify within syllable rhymes, a more precise prediction can be made: [dorsal] may spread from any vowel to any adjacent segment, and coda consonants are favored targets. This specific prediction of current Articulator Theory is borne out in a variety of velarization patterns across languages. Revising and extending an original proposal by Paradis and Prunet (1993), I show that vowels can spread [dorsal] to a following tautosyllabic consonant, be it nasal, obstruent, or liquid. I also argue that extant alternative analyses fail. My conclusion is that the frequency and range of velarization effects argue strongly in favor of the Articulator Theory view of vowels (Halle 2003; Levi 2008): they are [dorsal], and this is a terminal feature.Item Open Access Wer war Friedrich Halm? Zum Pseudonym von Eligius von Münch-Bellinghausen(2020-06-19) Wagner, Martin; Slipp, RichardWie in diesem Beitrag erstmals gezeigt wird, bezog sich der erfolgreiche Burgtheaterautor Eligius von Münch-Bellinghausen (1806-1871) bei der Wahl seines Pseudonyms Friedrich Halm sehr wahrscheinlich auf Karl Holds Roman „Anton Halm und sein Schützling“ (1826). Mit der Beschreibung dieser Quelle wird ein Beitrag zu unserer Kenntnis zweier vernachlässigter Autoren des neunzehnten Jahrhunderts geleistet.Item Open Access When Anne Frank Met Astro Boy: Drawing the Holocaust through Manga(Duke University Press, 2020-11-01) Whaley, BenThis article examines the evolution and impact of Anne Frank’s The Diary of a Young Girl on postwar manga (print comics) and Japanese visual culture. The author argues that Anne’s enduring legacy in Japan, dating back to 1952, owes much to the ways in which the content of her Diary capitalizes on certain hallmarks of shōjo (girls’) manga culture, such as affective storytelling and character interiority. Moreover, as shown through a primary analysis of two emonogatari (illustrated story) versions of the Diary from 1964 and two manga versions from 1967, among others referenced, Anne Frank’s life and legacy inspires a hybridized narrative and visual style in manga that blends the emotionality and interiority of shōjo with the more graphic depictions of violence common to shōnen manga for young boys. In so doing, it encourages a reevaluation of the shōjo mode and its ability to bear witness to the physical violence and psychological trauma of the Holocaust.Item Open Access Zur Gehorsamskritik im Burgtheater des Vormärz. Friedrich Halm, Eduard von Bauernfeld und der österreichische Liberalismus um 1848(Wiley, 2020-08-15) Wagner, MartinDieser Aufsatz widmet sich der Gehorsamskritik in den Komödien zweier der populärsten Burgtheaterautoren des neunzehnten Jahrhunderts, Friedrich Halm und Eduard von Bauernfeld. Dabei wird gezeigt, dass sowohl in Halms Verbot und Befehl (1848) als auch in Bauernfelds Großjährig (1846) ein älterer, auf direkte Unterwerfung ausgelegter Gehorsamsbegriff mit einem neuartigen ersetzt wird, in dem gehorsames und freigewähltes Verhalten tendenziell zusammenfallen. Während bei Halm diese Wandlung des Gehorsamsbegriffs als liberale Errungenschaft insgesamt positiv gewertet wird, wird sie bei Bauernfeld als Perpetuierung der bestehenden Machtverhältnisse stärker in Frage gestellt. Mit dieser Parallellektüre der impliziten politischen Theorie zweier heute kaum je im Detail besprochener Stücke aus der Zeit des Vormärz wird neues Licht auf den Beitrag des Burgtheaters zum liberalen Diskurs im neunzehnten Jahrhundert geworfen.