The respectably legitimate offspring of an age-old affair between writing and picture-making, the calligramme — that is, “a poem in which the typographical layout creates a picture, generally related to the ‘subject’ of the text” (Dictionnaire des littératures, Larousse) — is often seen as an esoteric minority art of dubious reputation. Starting from an exclusively Western approach to the history of the calligramme, my aim is to demonstrate that this artform may in fact represent something more than simply (here I deliberately use a metaphor from the far east, as a counterargument to my theme) the “Kyogen of the No theatre” — i.e., more than a lightweight interlude between more literary, aesthetic, even metaphysical preoccupations — more elevated, more serious, or, in general terms, more extended. Apart from the play and the pleasure of an approach that is creative in terms of letters and language, it contains serious elements related to the actual exercise of writing in our media civilization.

Our age is trying in many ways to deal with the problem of the survival of ethnic minorities. Being confronted with a centralized political power which destroys cultural differences, many of these minorities have become conscious of their originality (which is often hidden away in folklore) and are in search of a new balance with the dominant culture. They try to achieve this new balance by bringing their basic characteristics up to date or even deliberately entering a phase of counter acculturation and adopting an attitude of political liberation much like that of the formerly colonized peoples.

About a hundred years ago a student of the University of Berlin would have been able to hear Boeckh lecturing on Enzyklopädie und Methodologie der philologischen Wissenschaften and Droysen lecturing on Enzyklopädie und Methodologie der Geschichte (Historik). He could also hear Ranke, whose Epochen der neueren Geschichte were delivered, not however in Berlin, in 1854·

Given the predominance of multilingualism in many countries there is great need for a new, interdisciplinary approach to the problem. Sociolinguistics—or the sociology of language—provides such an approach and can help to shed new light on a phenomenon which is often discussed in terms that tend to create more problems than they solve. In order to demonstrate how sociolinguistic theory and practice can contribute to the study of multilingualism this paper will attempt to outline briefly some of the basic premises of sociolinguistic theory which appear relevant to the understanding of the phenomenon of multilingualism and also to define multilingualism as a social behaviour in response to a contact situation.

Born in 1799 in Moscow, Alexander Sergeyevich Pushkin - who has been called the “founder of poetic and literary language in Russian” (Belinski, Turgenev), “the first of the Russians” (Dos-toyevski), “the first Russian artist-poet” (Belinski), “the original model for Russian identity” (Grigoriev), “an extremely rare and perhaps unique phenomenon of the Russian spirit” (Gogol), “the sun of the Russian intellectual conception of the world” (Dostoyevsky) - could trace his roots back to African ancestors. His mother, Nadine Hanibal, was the granddaughter of “The Negro of Peter the Great,” Abraham Petrovich Hanibal, who at the beginning of the eighteenth century fell victim to the black slave trade with the Ottoman Empire.

This inquiry will be limited to an analysis of Turkic borrowings that have been attested in inscriptions found in Mongolia and southern Siberia in the period beginning around the year 700 A.D., as well as in Turkic-Uighur manuscripts, beginning around the year 900 A.D., conserved in northern Tarim (especially in the Turfan region) and in Dunhuang, which is a Chinese outpost on the main road of the silk trade. We will look only at borrowings that predate Islamization, a process that developed rapidly during the eleventh century and of which some borrowings are still part of the language of the Islamic Turkish world. Although most of our study will concentrate on pre-Islamic borrowings that were fully assimilated into written words, we will will also investigate some transcriptions of foreign terms that are mentioned in various manuscripts of a theological bent (most notably of Indian, Iranian, Chinese, and Syriac origin and found in Buddhist, Manichaean, and Nestorian Christian texts) as well as words of a very technical nature. We will also look at more contemporary terms that are derived from several major semantic fields.

Holy Wednesday, 1953, was a great day for Santiago, a village of the Highland Maya Indians in the Central American Republic of Guatemala. On the church porch, strung up on a post decorated with lush tropical leaves, hung a four-foot puppet clothed in Indian costume with a large sombrero and a wooden mask, into whose mouth a long cigar had been planted by his worshipers. This, I had learned, was Judas Iscariot—but a strange Judas it was, for, instead of being burned, stoned, or otherwise reviled and derided as is usually the case with village Judas figures, it was cared for by Indian priests constantly on guard, presented with gifts of fruit, candles, and incense, and altogether made far more fuss of than the saint whose fiesta this bright Eastern week should have been: Jesucristo, the Mayanized Christ. The thousand bananas and hundreds of cocoa beans and other tropical fruit, for instance, which the young Indian municipal officials had gathered in a three-day trek toward the Pacific coast, had been presented to the puppet before being hung up among the gilded wooden columns of the main altar inside the church.

Culture is determined by a historical, that is, a temporal perspective, and by another that is atemporal, the transcendental scale of values. Diversity, within the limits of a certain harmony that embraces the whole, is an enriching factor far more than one tending to dispersal or division. The ancient Egyptian and Coptic, Muslim and modern heritage in Egypt and black Africa, as well as the Assyrians’, Phoenicians’, Berbers’, and then the legacy from black Africa coming from Mesopotamia, the Levant, North Africa, Sudan and Somalia respectively, are contributing to the emergence of a new though historical humanism. The author takes the view that the Arab mentality, contrary to a common and widely held belief, is nourished by a pluralism that is both surprising and stimulating.

Like any construction of the human mind, ideologies and utopias are products of reason and social imagination. The human interactions they feed off are nowadays being intensified by processes of globalization. Utopian projects, which are by nature ambitious, consist of dreams of freedom and equality but the voluntarist character of their implementation very often takes them far from their declared objectives. Thus utopia frequently tips over into ideology. In order to survive, utopia has to go through a process of ‘universalization’ that allows ideas from different cultures to develop and mature in contact with one another. By forging bonds between individuals and cultures, this process could define the outlines of a constantly evolving global civil society. Universalization of conceptualizations that transform and motivate us, such as the global inclusivity of human rights, freedom and justice, builds an ethic of peace for the emergence, beyond frontiers, of an extended society such as that envisioned by the American philosopher John Dewey.

For the most part, American sociology has accepted the appealing formula of neutrality with regard to political and ideological values, a formula especially put forward by the functionalist school. It has the golden merit of posing issues in a seemingly natural science manner. The sociologist can adopt the physicist's pose toward his work. We provide society with carefully sifted information, comparative analysis of social structures, and at the upper range, the likely consequences of performing or not performing an action in terms of the given diagnosis. The social scientist using a functionalist philosophy can feel free of responsibility at a decision making level. Whether society decides to employ or ignore the provided data is held to be a matter of indifference, a situation requiring moral wisdom rather than social theory. Without minimizing the sound contributions of the function-Structure approach, particularly in overcoming the provincialism and conceit of the pre-functionalist schools of anthropology, there is a sure moral undercurrent in a method which sees the social scientist as diagnostician and society as a patient. It has the appearance of satisfying the historic identification of social theory to social welfare, and no less an emotional identification with a neutral-objective image culled from physics. Social history becomes a variable in the preparation of trend reports and thereby trivialized into a moment in the functionalist scheme.

Among the tricky questions posed by artistic creation, some relate in particular to the capacity of human beings to reproduce things and to the right they have (or grant themselves) to act in this way. This activity, when aimed for example at identical reproduction, is called “copy” by art critics, historians, and those who take an interest in the aesthetics of objects. I will not attempt to discuss the subtleties involved in the use of different terms to describe the activity of the reproduction of works of art; when an artist “imitates,” is that copying? To what extent is the new work admissible? To what category do users and connoisseurs assign it? These and other questions will be answered in the wider context of my examination of the relationship between the unique and the multiple in African societies. The problems of an original's copy or replica are not viewed in the same light in all parts of the world, not only because of the dictum “truth on our side of the border, error on theirs” but above all because the status of the plastic work is not the same and its existence and validity are not governed by the same laws and customs. However, in all societies that create, the “copy” poses problems which Africa cannot elude and which arise there in a manner at once similar and different from that of contemporary Western societies.

Mesopotamian works are usually anonymous; at best the names of some copyists are known. Some significant exceptions, such as Saggil-kênam-ubbib, the author of Théodicée babylonienne, Kabti-ilî-Marduk, author of the ‘myth of Erra’, and Shamash-muballit, the son of Warad-Sîn, who may have been the author of a hymn to the goddess Inanna, do not make up for this lacuna.

Art-historians of our time have concerned themselves mainly with research into the literary and philosophic sources of Renaissance works; this leads to a detailed philological commentary on its broader themes. However, it may be noted that neither iconology nor semiotics have yet observed the existence of various types of figuration in the plastic arts of that period.

In this article, the city and the urban space shall be understood as a political platform, where identities and powers are bargained, and as a screen on which they are projected. In this context, I will reflect on the strategies of identity management ‘from below’ employed by Tatar young people in Kazan and on their attempt to build a ‘Tatar urban youth culture’. These identity strategies are mainly oriented against the ‘Russian other’, a decadent consumerist West and an ignorant rural Tatar culture and their main issue is the ‘repossessing’ of Kazan and the Tatarisation of the city. Such strategies namely include the use of the Tatar language in predominantly Russophone public spheres, the introduction of Tatar folkloristic elements in music and fashion as well as the appeal to a (lost) Tatar urban culture associated with an enlightened approach to Islam and to the pre-revolutionary Tatar intelligentsia. Tatar youth scenes thus use ethnicity as a resource in the linguistic, religious, historic and cultural (re)appropriation of the urban space, which in turn has to be understood as a symbolic political act in a specific historical as well as ‘glocal’ context. Thus, this article can be seen as a contribution to a critical approach towards cosmopolitanism introducing alternative concepts to reflect relationships, norms and values in urban life.

This paper is about the reference or denotation of the concepts and descriptions of modern physics in contrast to Galilean-Newtonian physics and some reflections therein of some widely influential misunderstandings of Einstein's empiricism.