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Journal articles on the topic 'Drum language'
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Wojtylak, Katarzyna I. "Traversing language barriers." International Journal of Language and Culture 6, no. 1 (February 1, 2019): 195–216. http://dx.doi.org/10.1075/ijolc.00022.woj.
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Abstract The ‘Witoto’ people from Northwest Amazonia practised long distance drum communication, used for relaying messages among their villages. The messages were encoded on a pair of hollowed-out wooden drums, and appear to have been ‘drummed codes’, with only some iconic relation to the sound structure of the spoken language. The practice of drum communication appears to be easily diffusible in contact situations. The Caquetá-Putumayo (C-P) cultural area is a case in point, as the Witoto drums were shared with other C-P groups including the Ocaina, Nonuya, Bora, Muinane, Resígaro, and Andoque. Today, the practice of long distance drum communication among the Witoto has been long gone, with just a handful of elders who are still able to recall some of the (once extensive) drummed signal repertoire.
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Oludare, Olupemi. "Street language in Dùndún Drum Language." African Music : Journal of the International Library of African Music 11, no. 3 (February 28, 2022): 33–54. http://dx.doi.org/10.21504/amj.v12i1.2429.
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Dùndún drum language is a practice of speech surrogacy employed by dùndún drummers in Yoruba culture. The dùndún drummers play sequences of melo-rhythmic patterns; a form of communication that employs musical and linguistic elements, comprehensible to listeners knowledgeable in the Yoruba language. Although these sequenced patterns are sourced from Yoruba everyday sentences and oral genres (proverbs, poetry, praise-chants, and idiomatic phrases), the drummers also embrace other social narratives. These include the popular linguistic expressions in public spaces referred to as “street language.” This is because the streets serve as spaces for social life, musical and cultural imaginaries, musical and language expressions, and identity. This street language, referred to as “ohùn ìgboro” in Yoruba, include slang (saje), slurs (òtè), neologies (ènà), satire (èfè), dance-drum patterns (àlùjó), and socio-political slogans (àtúnlò-èdè). This article explores the influence of street language on dùndún music. This article follows an ethnographic model, with an analysis of the content of the dùndún music and its associated texts. The article’s findings include the extent to which the two cultures have overlapped, and the various socio-cultural benefits of adopting the language of each other’s cultural practices. In the process, the article contributes to the debate on authenticity and social structure in Yoruba culture. The article emphasises the need for an integrated research approach of music and language and their interrelationship to street cultures in Nigeria.
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Bokor, Michael J. K. "When the Drum Speaks." Rhetorica 32, no. 2 (2014): 165–94. http://dx.doi.org/10.1525/rh.2014.32.2.165.
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This article explores the instrumentality of traditional African drums in influencing human behavior, and debunks view-points held by some critics that these drums are mere instruments for entertainment, voodoo, or rituals. It argues that as cultural artifacts, the drums are a primal symbol (a speech surrogate form qualified as drum language) used for rhetorical purposes to influence social behavior, to generate awareness, and to prompt responses for the realization of personhood and the formation of group identity. This ascription of rhetorical functionality to the African drum-dance culture provides interesting insights into the nature of rhetorical performance in the non-Western world.
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Inusah, Abdul-Razak. "Lundaa as speech surrogate of Dagbamba." Asεmka: A Bilingual Literary Journal of University of Cape Coast, no. 11 (June 1, 2021): 94–122. http://dx.doi.org/10.47963/asmka.vi11.437.
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The paper examines surrogate language in Dagbani, a Mabia language spoken in Northern Region of Ghana. The objectives of the paper are in two folds: it pays attention to its functions and its transformation from traditional to the contemporary sociocultural issues. Premised on participant-observation, the paper supports the multi-toned language represented on a pressure drum capable of many pitches. It attests that the lundaa „pressure drum‟ is a speech surrogate used among Dagbani speakers. The lundaa has a wide distribution of functions but this paper is focused on the core functions of drum language that include molo „announcement‟, salima „Panegyric‟, ց iŋցaani „invocation‟ and ŋaha „proverbs‟ as examples of drum literature and transformation. The paper suggests that the communication potential of the lundaa rhythms and its interpretation leads to an understanding of the sociocultural life of the people.
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Fámúlẹ̀, Oláwọlé. "Èdè Àyàn: The Language of Àyàn in Yorùbá Art and Ritual of Egúngún." Yoruba Studies Review 2, no. 2 (December 21, 2021): 1–50. http://dx.doi.org/10.32473/ysr.v2i2.129886.
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Kò séní m’èdè Àyàn
Bí ení mú kò ̣ ̣ǹgó ̣ è ̣ lówọ́
No one understands the language of Àyàn Better than the drummer who holds the gong in his hand Yorùbá maxim
From the Yorùbá oral historical, mythological, and ontological, abstract lines of reasoning, Àyàn is believed to be the first Yorùbá drum maker and drummer, who, after his death, was deified as the god of Drumming (Òrìsà ̣ Àyàn, or simply Àyàn). Hence, when an experienced Yorùbá drummer plays his drum masterfully, the elders with the drum speech discernable ears (òmò ̣ ràn) that hear the drumming, even from afar commend, “may Àyàn, ̣ the god of drumming prosper/ protect you!” (Àyàn ó gbè ó!). As among other Yorùbá deities (òrìsạ̀) that live in the spiritual realm in certain but uncommon natural environments (forests, trees, rivers, streams, and mountains, among others), Òrìsà Àyàn is thought to reside in wood (Vil ̣ - lepastour 2015, 3). For this reason, Òrìsà Àyàn is emblematized by the wood ̣ with which the body of the drum (ìlù) is carved. Similarly, this deity is eulogized as “the spirit who speaks out from inside his wooded abode” (Òrìsà ̣ gbé’nú igi fohùn), in reference to the log of wood with which the drums (ìlù) are carved. It is said that Òrìsà Àyàn particularly prefers that ìlù be carved ̣ with Cordia millenii (igi òmò ̣ ), a belief that gave birth to the Yorùbá saying, ̣ “out of the entire wood species of the forests is the preferred Cordia millenii, with which gbèdụ drum is carved” (Igi gbogbo ní ńbe ̣ ní’gbó, k’átó fi’gi òmò ̣ ̣ gbé ̣ gbèdụ). Because of his position as the patron deity of drumming, which 2 Oláwọlé Fámúlẹ̀ by extension is used to accompanying sacred rites in honor of virtually all the Yorùbá òrìsạ̀, Òrìsà Àyàn is thought to be their mouthpiece, as they all speak ̣ through the drums that he emblematizes. Another emblem of Òrìsà Àyàn that ̣ is even worshipped is a shallow hemispherical drum with a single fixed head, which is worn on the chest with a strap around the neck and beaten with leather straps held in each hand (gúdúgúdú ) (Bascom 1952, 4). The gúdúgúdú symbol of Òrìsà Àyàn also goes by the praise name (oríkì) “gúdúgúdú with its distinctive uneven and undulated back shape” (Gúdúgúdú, ab’è yìn jákan- ̣ jàkan). The component parts that formed this uneven and surged-back shape [of gúdúgúdú] include kúseré and apìràn. Kúseré is a circular metal object affixed onto the drum’s wooded base, and apìràn is an array of wooden pegs that hold the kúseré securely onto the base of the instrument. At the exoteric and practical level, Àyàn also refers to any Yorùbá traditional and professional drummer, who plays the drum (ìlù), often with the use of a gong (kòṇ̀ gó).̣ The Yorùbá professional drummers share the name àyàn with Òrìsà Àyàn since they are the human agents who play the drums (ìlù), ̣ emblem of Òrìsà Àyàn, and through which the deity speaks. The ̣ Yorùbá incantation “the day that the drummer drums with his gong/drumstick is the very moment that the Àyàn god of drumming speaks out that which is in his mouth” (Òòjó ̣ tí kòṇ̀ gó ̣ Àyàn bá f’ojú ba ìlù ni Òrìsà Àyàn ̣ ńpo ̣ t’enu rè ̣ ̣ sí’lè) ̣ best illustrates the interconnection of the drummers (àyàn) with god of drumming, Òrìsà Àyàn. As succinctly corroborated by Amanda Villepastour, “the ̣ drummer in action becomes Àyàn.” Another Yorùbá term for a drummer (àyàn) is onílù. 1 With their drumming (or drum music) that mimic the human speech, the Àyàn or Onílù verbalize words/speeches (òrọ̀ ) that is or are intelligible to the ears of their ̣ patrons, often the dance performers (oníjó). For that reason, ìlù, to the Yorùbá, is an instrument that acts as a speech surrogate (i.e., substitute). That the Yorùbá refer to ìlù as “the talking drum” underscores this assertion. In fact, they strongly believed that if handled by a skillful drummer (àyàn/onílù), ìlù, just like humans, can speak words or communicate effectively to those who understand the language of the drum. The Yorùbá phrase “a lifeless goat that speaks just like a human” (òkú-ewúré tíí fo ̣ ’hùn bí ènìyàn ̣ ), a euphemism for the goatskin fixed single- or double-headed hourglass drums that mimic human speech when drummed, is a testimony to ìlù as a true “talking drum.” Another Yorùbá saying that illustrates that ìlù is an instrument of language substitution is “that the gángan drum could speak in a human nasal tone of 1 Onílù is formed from two Yorùbá words oní and ìlù (literally, “owner of the drum” or “one who plays the drum”), a euphemism for the drummer. Thus, anybody that plays drum is an onílù. But those Yorùbá traditional professional onílù, like the dùndún and bàtá drummers, are specifically referred to as àyàn. Èdè Àyàn: The Language of Àyàn in Yorùbá Art and Ritual of Egúngún 3 voice is not without the help of the drummer’s own tip of the fingernails” (àti rán’mú gángan kò s’ẹ̀ yìn èékáná ̣ ). In Yorùbá traditional festivals, ritual performances, and religious practices in general, the role of àyàn whose drumming or drum music imitate and code the natural language (Yorùbá), cannot be overemphasized. The Yorùbá aphorism “without drum music, there is no way to celebrate” (láì sí’lù, taní jé ̣ s’eré òkúrùgbe!̣) is a testimony to the indispensable role of ìlù in the context of traditional Yorùbá visual and performance arts. A clear example is the Yorùbá art and ritual of Egúngún, the theme of this study. Paradoxically, many Yorùbá art scholars often make very little or no effort to explore the relevance of ìlù in their studies on Yorùbá visual culture, such as Egúngún. This has continued to make it become virtually impossible for a deeper understanding of Yorùbá art in particular and African art as a whole. Ironically, the same scholars prefer to invest their energy, searching outside of the art’s cultural origin to fulfil their primary goal of “appreciating” the African art, rather than searching within African culture, language and values, the very driving forces that gave rise to this art, and thus a catalyst to understanding it.2 It is on that note that I believe the question that scholars of African art should begin to ask themselves is: when will African art scholarship––unlike Western art studies that often demand intellectual rigor and professional thoroughness––rise above its present art “appreciating” status vis-à-vis African art? In my opinion, as this present study is aimed at confirming, the understanding of African art critically requires that scholars be fluent or at least confident in the reading, writing, and speaking of the language of the people whose art they study. Also heightening the problem of the lack of “understanding” of Yorùbá art is the very unique nature of it (as with other African art), in which an isolated work of art in context is a rarity. Thus, the present study examines the very indispensable roles of Àyàn drummers in the performance context of the annual Egúngún festival (odún Egúngún) in a Yorùbá community in Òkèigbó in Nigeria’s Ondo State. As a native speaker with access to Yorùbá philosophy, values and history, and who is fully aware of the fundamental importance of language in African art studies, I aim in this study to examine the mutual relationship existing between the Àyàn and Egúngún from the vantage point of the Yorùbá language, the medium through which the said Yorùbá philosophy, values and history are stored and expressed. It delves into the very root of Egúngún within the Yorùbá cultural context, where traditions and history are preserved and recorded not in the western-type of writing, but rather in the Yorùbá language, ritual performance and ceremonies. It is hoped that this study will facilitate a deeper understanding of Egúngún along with the 2 Personal communication with Professor Rowland Abíodún on April 2, 2017. 4 Oláwọlé Fámúlẹ̀ àyàn within the art and ritual performance context of the Odún Egúngún. The study illustrates the interconnection of the àyàn and Egúngún by first providing an overview of Yorùbá drums and their ritual contexts. This is followed by a close study of the Yorùbá ontological concept of Egúngún, one of the most valued patrons of Àyàn (the drummers), as an important form of Yorùbá religious beliefs and practices. Using the Egbé ̣ ̣ Òjẹ̀ ̣ (Cult of Egúngún) of the ancient Yorùbá town of Òkèigbó as a case study, the study concludes with an in-depth analysis of the role of Àyàn (Drummers) in Yorùbá art and ritual of Egúngún.
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Chanta-Martin, Natasa. "Dance perspectives on drum language: A Yoruba example." Acta Ethnographica Hungarica 60, no. 1 (June 2015): 9–15. http://dx.doi.org/10.1556/022.2015.60.1.2.
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Winter, Yoad. "On the grammar of a Senegalese drum language." Language 90, no. 3 (2014): 644–68. http://dx.doi.org/10.1353/lan.2014.0061.
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Seifart, Frank, Julien Meyer, Sven Grawunder, and Laure Dentel. "Reducing language to rhythm: Amazonian Bora drummed language exploits speech rhythm for long-distance communication." Royal Society Open Science 5, no. 4 (April 2018): 170354. http://dx.doi.org/10.1098/rsos.170354.
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Many drum communication systems around the world transmit information by emulating tonal and rhythmic patterns of spoken languages in sequences of drumbeats. Their rhythmic characteristics, in particular, have not been systematically studied so far, although understanding them represents a rare occasion for providing an original insight into the basic units of speech rhythm as selected by natural speech practices directly based on beats. Here, we analyse a corpus of Bora drum communication from the northwest Amazon, which is nowadays endangered with extinction. We show that four rhythmic units are encoded in the length of pauses between beats. We argue that these units correspond to vowel-to-vowel intervals with different numbers of consonants and vowel lengths. By contrast, aligning beats with syllables, mora or only vowel length yields inconsistent results. Moreover, we also show that Bora drummed messages conventionally select rhythmically distinct markers to further distinguish words. The two phonological tones represented in drummed speech encode only few lexical contrasts. Rhythm thus appears to crucially contribute to the intelligibility of drummed Bora. Our study provides novel evidence for the role of rhythmic structures composed of vowel-to-vowel intervals in the complex puzzle concerning the redundancy and distinctiveness of acoustic features embedded in speech.
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Guo, Yong Cun, Zhu Fen Wang, Kun Hu, and Gang Cheng. "Heavy Driving Drum Parametric Modeling Analysis System Development." Applied Mechanics and Materials 130-134 (October 2011): 641–45. http://dx.doi.org/10.4028/www.scientific.net/amm.130-134.641.
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Using the APDL (ANSYS Parametric Design Language) and combining the object-oriented visual design interface of VB, the parametric analysis and modeling system of belt conveyor driving drum is established. With the system, the designers only need to enter the right design parameters to generate the driving drum model and the corresponding post-processing results instead of the repetitive work. It improves efficiency and provides a basis for designing the suitable driving drum. The correctness and feasibility of the system was verified by analyzing examples.
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Erasmus, Aidan, and Valmont Layne. "Oral/Aural: Pastness and Sound as Medium and Method." Kronos 49, no. 1 (November 8, 2023): 1–14. http://dx.doi.org/10.17159/2309-9585/2023/v49a1.
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In archival footage uploaded online of a concert at the University of the Western Cape in 1988 musician Robbie Jansen declared that the next composition to be performed was named 'Freedom Where Have You Been'.1 Before counting the band in, Jansen offered a short discourse on the meaning of the phrase hoya chibongo. Hearing the Afrikaans hoorie (meaning listen here) in the expression hoya, Jansen proceeded to split up the word chibongo to accentuate chi- as aurally reminiscent of the suffix -tjie that is used in Afrikaans to mark the diminutive. bongo, in this context as Jansen remarked, is the drum, leading Jansen to exclaim that the phrase hoya chibongo means to 'listen to the (small) drum', the drum that is, according to Jansen, 'the truth'. In Jansen's exact words, 'the drum speaks the truth and the drum has always been our language before these funny words that we are speaking now'. Jansen's translation was markedly oral, not only in its expression of speech and languaging but also in its invocation of a historicity through the oral; an oral tradition, for all intents and purposes. In its locatedness in a musically expressive and performative moment, Jansen expressed a duality of sound that exceeds the oral itself: calling attention to how language might be a conduit for the instrument, and how in some sense the drum might speak across time and space. It usefully deepens the often cliché proclamation rehearsed in and out of music studies in particular that music is universal, or that sound might be thought of as a kind of connective tissue that allows a specific sense-making of the social.2 In Jansens invocation of 'before' in his statement about the drum as language, and in debates around the meaning of sound to the social, it is history - or, a representation of pastness - that is called upon to bring about a set of futures where sound mediates the experience of a temporal matrix where truth, or freedom, might be found. What Jansen does/did was not necessarily an act of translation into a local vernacular as it is the blurring of the oral and the aural in a moment that might express the relation between sound, its interpretation, and its social life, obliquely. The truth for Jansen was what the drum expressed; but it was also the drum itself. The oral is aural, as the aural is oral.
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Ishizuka, Ryoto, Ryo Nishikimi, and Kazuyoshi Yoshii. "Global Structure-Aware Drum Transcription Based on Self-Attention Mechanisms." Signals 2, no. 3 (August 13, 2021): 508–26. http://dx.doi.org/10.3390/signals2030031.
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This paper describes an automatic drum transcription (ADT) method that directly estimates a tatum-level drum score from a music signal in contrast to most conventional ADT methods that estimate the frame-level onset probabilities of drums. To estimate a tatum-level score, we propose a deep transcription model that consists of a frame-level encoder for extracting the latent features from a music signal and a tatum-level decoder for estimating a drum score from the latent features pooled at the tatum level. To capture the global repetitive structure of drum scores, which is difficult to learn with a recurrent neural network (RNN), we introduce a self-attention mechanism with tatum-synchronous positional encoding into the decoder. To mitigate the difficulty of training the self-attention-based model from an insufficient amount of paired data and to improve the musical naturalness of the estimated scores, we propose a regularized training method that uses a global structure-aware masked language (score) model with a self-attention mechanism pretrained from an extensive collection of drum scores. The experimental results showed that the proposed regularized model outperformed the conventional RNN-based model in terms of the tatum-level error rate and the frame-level F-measure, even when only a limited amount of paired data was available so that the non-regularized model underperformed the RNN-based model.
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Xing, Jie Fang, Xiao Yu Ni, Jie Zhang, and Du Juan Chen. "Optimization Design of CTP Imaging Drum Based on ANSYS." Advanced Materials Research 217-218 (March 2011): 1781–88. http://dx.doi.org/10.4028/www.scientific.net/amr.217-218.1781.
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In the imaging process, the deformation of the plate caused by the structure of the drum, finally affecting the quality of the plate, we analyze and optimize the structure of the drum using the finite element method. Selecting the larger three factors affecting the plate deformation as the design variables, and taking minimizing the maximum deformation of the plate as the objective function, we establish the optimization model of the structure of the drum. We use the APDL parametrization language to create the geometric model and finite element model of the drum, and select the contact element to simulate the relationship between the plate and the surface of the drum, and use ANSYS software to optimize the optimization model. It is shown form the result that: the minimum of the maximum deformation of the drum getting from the 8th iteration is 0.0021535mm, significantly reduced compared with the initial value 0.002864mm. At this point, the internal diameter D2 of the drum is 300.04mm, the groove width L2 is 14.323mm, the external diameter of groove height D3 is 338.44mm. It indicates that that the smaller the internal diameter of the drum and the narrower the guide groove on the drum surface are, the smaller the maximum deformation of the plate is, and the guide groove height has little influence on the deformation. The results can be provided as theoretical reference for the design of CTP imaging drum, which has popularization and application value.
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Brauer-Benke, József. "Afrikai beszélő dobok." Afrika Tanulmányok / Hungarian Journal of African Studies 14, no. 1-2. (June 24, 2020): 85–98. http://dx.doi.org/10.15170/at.2020.14.1-2.5.
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An overview of the available historical data regarding the so-called “talking drums” leads to the general conclusion that their most prominent shared feature is their original use for communication. On the grounds of the migrations of various ethnic groups and the comparison of the different types of drums, a likely explanation for the distribution over West Africa of these drums must be sought in the phenomenon of the so-called stimulus diffusion, and the basic idea behind such instruments must originate in the region north of the Sahara; it is also possible that the origin of such instruments can be traced back to an Indian drum type. A comparison of the relevant data with the slitdrums, which also serve for communicative purposes, allows one to conclude that the membranophonic talking drums of West Africa mimicked the sounds of spoken language, while the idiophonic slitdrums of East and Central Africa must have originally been used for a concept-based coding of messages. It is the interaction of the two systems of communication that must have led to the diffusion of drum languages imitating the spoken languages among the ethnic groups using slitdrums. Unlike slitdrums, the various types of talking drums have proven quite resilient. Their survival is due to the tendency of the authentic musical traditions of the West African region to be transformed into popular music styles and thereby perpetuate themselves not only within the region but also at musical events and the music industry of the West, where they find an appreciative audience. Having lost their communicative function and acquired a new role as musical accompaniment, they survive in their natural environment as well as in the role of exotic instruments at various world music festivals.
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Gaines, Joseph H. "The Literate Voice of the Drum: A Language Surrogate for the Ages." International Journal of Learning: Annual Review 12, no. 5 (2006): 103–12. http://dx.doi.org/10.18848/1447-9494/cgp/v12i05/47494.
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Sinaga, Wismar, and Agung Dwi Putra. "Esensi Single Stroke Pada Awal Pembelajaran Drum." Jurnal Sendratasik 10, no. 3 (September 30, 2021): 23. http://dx.doi.org/10.24036/js.v10i3.114473.
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Research on this writing to find out that how the technique of single stroke can be said as a basic technique in drumming. the purpose of this study is to see how important rudiment single stroke is too early learning drums. This research is qualitative descriptive research that reveals the current phenomenon. Single stroke technique as a researched object. The location of the research conducted is in the lecture environment of major drum Sendratasik Faculty of Language and Arts, Padang and Drum United Padang Community. Supported by research instruments that are researchers themselves. Techniques in data collection using observation techniques, interview techniques, and documentation techniques. The results of the study were found based on data from pre-field findings obtained through researcher assumptions and field finding data obtained through interview results to informants who are considered to know about single stroke. So the result of this research is rudiment single stroke technique is the basis at the beginning of drum learning because the technique is an easy technique to do than other rudiment techniques. It is also reinforced by the theory of dualism that is the technique of single stroke 2 substances are interrelated, this is about single stroke as the basis of practicing the balance of the left and right hands.
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Inoue, Haruo. "The Voice in the Drum: Music, Language, and Emotion in Islamicate South Asia." Ethnomusicology 65, no. 3 (October 1, 2021): 627–29. http://dx.doi.org/10.5406/ethnomusicology.65.3.0627.
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Slawek, Stephen. "The voice in the drum: music, language, and emotion in Islamicate South Asia." Ethnomusicology Forum 27, no. 2 (May 4, 2018): 249–51. http://dx.doi.org/10.1080/17411912.2018.1521294.
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Zhang, Junyao, and Dan Liu. "Resource Transformation and Promotion of Non-Foreign Heritage Flower Drum Lantern in Bengbu Public Art." Highlights in Art and Design 2, no. 3 (May 3, 2023): 64–66. http://dx.doi.org/10.54097/hiaad.v2i3.8000.
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At present, the current status of the dissemination and promotion of flower-drum lanterns is not optimistic, and the public is not sufficiently aware of the culture of flower-drum lanterns. Based on the concept of inheritance and development of the non-heritage Hua Gu Lantern culture, this study proposes a new art form for the field of public art by studying the application of symbolic design elements of the Hua Gu Lantern in urban public art. This project aims to explore how to protect the non-heritage Hua Gu Dang culture through the design of public art form language, so as to improve the quality of urban public space in Bengbu. It will not only show the culture of the non-heritage flower-drum lantern, but also promote and inherit the profound regional traditional culture of the Huaihe River region.
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Hudu, Fusheini. "The narrative discourse of a bilingual talking drum: The case of the Dagomba timpani." Legon Journal of the Humanities 34, no. 2 (December 11, 2023): 58–79. http://dx.doi.org/10.4314/ljh.v34i2.3.
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This paper analyses the discourse structure of the language of the timpani (a single-membrane goblet-shaped drum) of the Dagomba. Using data from video recordings of predawn performances and interviews with the drummers, it shows that the timpani performance is an elaborate and structured narrative discourse that blends panegyrics, prayers and exhortations directed at chiefs, citizens, spiritual and historical beings. The use of the timpani is a borrowed tradition from the Asante in the 1700s, along with many aspects of Asante cultural communication, including Akan as a dominant language of encoding. During its centuries of adaptation, it has incorporated aspects of the culture of the Dagomba, including the production of speech in Dagbani during lengthy performances, making it a unique bilingual talking drum. The paper shows that this instrumentally encoded bilingual narrative exhibits the discourse properties of oral or written text and can be subjected to the same formal discourse analysis.
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Janowska, Aleksandra. "Z historii komunikacji społecznej. Funkcje sygnalizacyjne dzwonu, trąby i bębna w świetle leksyki dawnej polszczyzny." Poradnik Językowy, no. 3/2023(802) (March 31, 2023): 37–51. http://dx.doi.org/10.33896/porj.2023.3.3.
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This ar ticle is dedicated to sound signalling in the history as one of the ways of non-verbal communication of a community. Due to the extensiveness of the subject matter, the author significantly narrowed down the analysis. She based her description on word formation issues rather than phraseological units, metaphorisations. She endeavoured to demonstrate that the point of view is also important in descriptions of phenomena bordering on language and culture. Her interests include word-formation nests of three instrument names: a bell, a trumpet, and a drum. The analysis concentrated on three fundamental functions of the enumerated instruments, functions displayed by word-formation devices: announcing, publicising information; summoning, gathering, calling people; excluding from the community. The material was collected from old and historical dictionaries, their corpora and fi les. Keywords: word-formation – social communication – sound signalling – history of language – historical lexis.
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Preece, Julian, and Peter O. Arnds. "Representation, Subversion, and Eugenics in Günter Grass's 'The Tin Drum'." Modern Language Review 101, no. 2 (April 1, 2006): 594. http://dx.doi.org/10.2307/20466875.
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Brunssen, Frank. "Approaches to Teaching Grass's 'The Tin Drum' by Monika Shafi." Modern Language Review 104, no. 4 (2009): 1184–85. http://dx.doi.org/10.1353/mlr.2009.0106.
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Fu, Chun Hua. "Parameterized Drawing Design of Drum Used in a Transformer Elevated Seat." Advanced Materials Research 945-949 (June 2014): 7–10. http://dx.doi.org/10.4028/www.scientific.net/amr.945-949.7.
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Using LISP language embed in AutoCAD, the parametric drawing design for expanded view of the transformer elevated seat is discussed. The mathematical model is constructed and gotten solution with parameters comes from dialog built by OpenDCL. Weld is put to the position not easy to see. It is to increase the efficiency of design the expanded view of the transformer elevated seat. This method is worth widely spreading.
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Fürniss, Susanne. "Hornbostel and me. Expectations towards historical recordings of the Ewondo drum language (South Cameroon)." International Forum on Audio-Visual Research - Jahrbuch des Phonogrammarchivs 6 (2016): 74–99. http://dx.doi.org/10.1553/jpa6s74.
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Yizhuo, Guo, and Ji Lingzhu. "C-E Translation Process Analysis of Chapter VI in the Book on Chinese Drum Culture in CEA Framework." Middle East Research Journal of Humanities and Social Sciences 4, no. 03 (June 15, 2024): 105–15. http://dx.doi.org/10.36348/merjhss.2024.v04i03.008.
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Translation is a process of conveying information, promoting the dissemination of an author’s thoughts in other countries. Chinese drums play an important role in Chinese culture. It has been widely used in various traditional and religious celebration and also in warfare to command armies. The translation of Chapter VI from the book On Chinese Drum Culture facilitates the target readers’ understanding of the significant role of drums in ancient Chinese military affairs. Based on the translation practice, the student translator utilizes the framework of “Comprehension, Expression and Adaptation” proposed by Professor Li Changshuan from Beijing Foreign Studies University to discuss the challenges the translator encountered in comprehending the source text, conveying its meaning and adapting the language, along with corresponding solutions.
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Lee, Chin-Chuan, Zhongdang Pan, Joseph Man Chan, and Clement Y. K. So. "Through the Eyes of U.S. Media: Banging the Democracy Drum in Hong Kong." Journal of Communication 51, no. 2 (June 1, 2001): 345–65. http://dx.doi.org/10.1111/j.1460-2466.2001.tb02884.x.
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Bokor, Michael J. K. "When the Drum Speaks: The Rhetoric of Motion, Emotion, and Action in African Societies." Rhetorica 32, no. 2 (March 2014): 165–94. http://dx.doi.org/10.1353/rht.2014.0010.
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Braun, Rebecca, Siegfried Mews, and Wolfgang Beutin. "Günter Grass and his Critics: From 'The Tin Drum' to 'Crabwalk'." Modern Language Review 104, no. 1 (January 1, 2009): 276. http://dx.doi.org/10.2307/20468231.
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Kwami, Robert. "Towards a comprehensive catalogue of Eve drum mnemonics∗." Journal of African Cultural Studies 11, no. 1 (June 1998): 27–38. http://dx.doi.org/10.1080/13696819808717824.
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Afọlabi Ọlabimtan (deceased). "Language and Style in Ọbasa’s Poetry." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–22. http://dx.doi.org/10.32473/ysr.v5i1.130073.
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Denrele Adetimkan Obasa (1878-1948) was a great Yoruba poet in his own ́ right. It was he who provided ‘the link between traditional beliefs and writing in the modern vein.’2 The three volumes of Yorùbá poetry produced by him between 1927 and 1945 had a great impact not only on the adults who were impressed by the wealth of traditional sayings in his poems, but also on the school children who were made to learn some of the poems by heart.3 In this paper I intend to answer the question: In what does Obasa’s greatness as ̣ a poet consist? In the Ìjúbà (prologue) to Iwe ̀ ́ Kinni ́ ́ Awo ̀ n Ake ̣ wi, he writes: ̀
O di odụ ́n mó ̣kànléló ̣gbò ̣n nísisiyi (AD 1896) ti mo ti be ́ ̀ ̣re si ̀ ś aạ ́yan kíko -̣́ jo ̣ àwon o ̣ ̀ ̣rò ̣ ogbo ̣ ́ ̣n àtaiyebáyé ti àwon baba n ̣ ́là wa, tí i máa hán jade nínú orin, ègè, rárà, ìjálà, ìpesạ ̀, àròfò ̣, oríkì, ìlù, fèrè àti àgbékà ò ̣ro ̣̀ won…̣ (Obasa 1927: i)
(For the past thirtyone years (1896-1927) I have been assembling Yorùbá traditional sayings which embody the wisdom of our fore-fathers. Tese sayings are found in songs and in various forms of Yorùbá poetry; egè, ̀ rará , i ̀ ̀jála, i ́ pè sạ , à rò ̀fo, ori ̣̀ ́ki, and in the language of the drum and the ̀ fute.)
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Kartomi, Margaret. "The development of the Acehnese sitting song-dances and frame-drum genres as part of religious conversion and continuing piety." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 166, no. 1 (2010): 83–106. http://dx.doi.org/10.1163/22134379-90003626.
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Gohn, Daniel Marcondes. "‘Feeling Brazilian’: The search for authenticity in drum kit playing." Journal of Popular Music Education 5, no. 2 (July 1, 2021): 211–26. http://dx.doi.org/10.1386/jpme_00058_1.
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The influence of Brazilian rhythms is pervasive in modern drum kit practices. Information about them can be accessed through drumming books or online searches, with ostinatos for the feet and sticking combinations for the hands, which usually are adaptations from patterns traditionally played with hand percussion instruments. Those patterns instruct drummers on what to play; however, the discussion on how to play them to sound authentic is scarce. This article explores this topic and suggests that timing nuances and performance gestures are fundamental for its comprehension. In that sense, an exclusively analytical approach to the rhythmic nuances, in which grooves are described in terms of milliseconds, is not considered sufficient. In order to fully grasp the ‘Brazilian feel’, it is suggested that a broader spectrum of elements of expression should be observed, as dancing, religion, spoken language and other aspects of everyday life might have effects on musical outcomes.
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Eren, Recep, Ozge Celik, Fatih Suvari, and Seyit Ali Koksal. "Measurement and analysis of winding thickness variations in sectional warping process." International Journal of Clothing Science and Technology 30, no. 6 (November 5, 2018): 772–83. http://dx.doi.org/10.1108/ijcst-02-2018-0020.
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Purpose Sectional warping is the most widely used warp preparation process in weaving. Winding all warp sections with the same length and same tension is a key factor for a good quality warp preparation. It is required that winding thickness (increase in radius due to warp winding) remains the same within and between warp sections. The purpose of this paper is to investigate winding thickness variations within and between warp sections, which can lead to quality problems in woven fabrics. Design/methodology/approach A measurement system is developed and then an experimental investigation into winding thickness variations is carried out. Winding thickness is measured with respect to number of drum revolutions using a laser sensor with 20 microns resolution. The number of drum revolutions and drum angular position are measured by an incremental encoder. Both sensors are mounted on an industrial sectional warping machine. A real-time software written in C programming language collects and records the data for all sections of warp with respect to drum number of revolutions and then results are evaluated to determine winding thickness variations. Findings Results show that warp sheet thickness starts with a higher value and it decreases up to around 30 drum revolutions and then it remains constant or decreases very slightly which can be considered as insignificant from practical point of view. Warp sheet thickness (i.e. thickness of one warp layer) fluctuates within each section up to 10 percent CV with five drum revolutions average warp sheet thickness. There are also warp sheet thickness variations between warp sections up to 3 mm. Originality/value Considering the short of practical research results on winding thickness variations in the literature, results of this study will be an original contribution to understanding winding thickness variation level. Also, results presented in this paper can be used to develop control algorithms for thickness control in sectional warping machines.
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Huynh, Chuong Dinh, Dan Tieu Luu, Nguyen Hoang Vo, Thanh Thien Tran, and Tao Nhat Chau. "An analytical calculation model of the full energy peak efficiency for cylindrical detectors used in assays of radioactive waste drums." Science and Technology Development Journal 19, no. 2 (June 30, 2016): 71–80. http://dx.doi.org/10.32508/stdj.v19i2.805.
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In this paper, we present an analytical calculation model of full energy peak efficiency for cylindrical detectors without collimator based on efficiency transfer method. A calculation program by Mathematica language is developed to apply to this model. The validity of the calculation model was checked by comparison with MCNP5 simulated efficiency values for measurements of point source in the waste drum containing matrix of rubber or concrete. The discrepancy between MCNP5 simulated and calculated efficiencies is smaller 11 %. This shows that the calculation model is reliable and can be applied to calculate the full energy peak efficiency for assays of radioactive waste drums. Besides, the calculated time by the this program is much faster than the simulation using MCNP5 program.
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Wu, Chih-Wei, Christian Dittmar, Carl Southall, Richard Vogl, Gerhard Widmer, Jason Hockman, Meinard Muller, and Alexander Lerch. "A Review of Automatic Drum Transcription." IEEE/ACM Transactions on Audio, Speech, and Language Processing 26, no. 9 (September 2018): 1457–83. http://dx.doi.org/10.1109/taslp.2018.2830113.
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Smetonienė, Anželika. "Analysis of a few verbs (based on the 16–17th century texts of the Grand Duchy of Lithuania)." Lietuvių kalba, no. 8 (December 22, 2014): 1–20. http://dx.doi.org/10.15388/lk.2014.22647.
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This article analyses a few borrowed verbs found in the ancient Lithuanian writings of the 16–17th century Grand Duchy of Lithuania. They are: bū̃bnyti, -ija, -ijo ‘to beat a drum, to beat or knock with something; fig. to speak widely', sū̃dyti, -ija, -ijo ‘to investigate a case in court, to judge; to condemn; to solve, consider; to advise', triū̃byti, -ija, -ijo ‘ to blow a trumpet, to tootle; to cry, to shout loudly; to gulp, to guzzle, to slurp. Their cognates bū̃bnas ‘a drum; fig. a bleak place with no grass, a shore, a bank; the colour of (playing) cards, sū̃das ‘a public, state body to consider court cases, a court; court premises; court proceedings; court decision, verdict, punishment; judge; expression of opinion, assessment, triūbà ‘a wooden or metal pipe-shaped wind instrument, a pipe (musical instrument), a horn, trumpet; a pipe; a curb; a chimney pipe; binoculars'. Some Lithuanian suffixes (e.g., -avo-) are more common only in verbs of a foreign origin, whereas -y-/-i- are equally frequent in the composition of Lithuanian derivatives formed from non-borrowed nouns. On the basis of the principles of word formation in Lithuanian and by means a comparison with the Slavic language data, the present article is an attempt to show how such verbs formed from borrowed root segments and the suffixes -y-/-i- can be interpreted. The Slavic language data were obtained from the etymological and historical dictionaries of Old Belarussian, Old Ukrainian, Old Polish, Old Russian and the dictionaries of Belorussian, Ukrainian, Polish, Russian dialects and the Slavic proto-language.
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Preece, Julian. "Representation, Subversion, and Eugenics in Günter Grass’s ‘The Tin Drum’ by Peter O. Arnds." Modern Language Review 101, no. 2 (2006): 594–95. http://dx.doi.org/10.1353/mlr.2006.0274.
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Dalzell, Victoria M. "The Voice in the Drum: Music, Language, and Emotion in Islamicate South Asia by Richard K. Wolf." Notes 73, no. 2 (2016): 276–79. http://dx.doi.org/10.1353/not.2016.0122.
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Burns, James. "'Doing it with style': an ethnopoetics study of improvisation and variation in Southern Ewe drum language conversations." African Music: Journal of the International Library of African Music 9, no. 1 (2011): 154–205. http://dx.doi.org/10.21504/amj.v9i1.1762.
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Aveni, Katharine, Juweiriya Ahmed, Arielle Borovsky, Ken McRae, Mary E. Jenkins, Katherine Sprengel, J. Alexander Fraser, Joseph B. Orange, Thea Knowles, and Angela C. Roberts. "Predictive language comprehension in Parkinson’s disease." PLOS ONE 18, no. 2 (February 8, 2023): e0262504. http://dx.doi.org/10.1371/journal.pone.0262504.
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Verb and action knowledge deficits are reported in persons with Parkinson’s disease (PD), even in the absence of dementia or mild cognitive impairment. However, the impact of these deficits on combinatorial semantic processing is less well understood. Following on previous verb and action knowledge findings, we tested the hypothesis that PD impairs the ability to integrate event-based thematic fit information during online sentence processing. Specifically, we anticipated persons with PD with age-typical cognitive abilities would perform more poorly than healthy controls during a visual world paradigm task requiring participants to predict a target object constrained by the thematic fit of the agent-verb combination. Twenty-four PD and 24 healthy age-matched participants completed comprehensive neuropsychological assessments. We recorded participants’ eye movements as they heard predictive sentences (The fisherman rocks the boat) alongside target, agent-related, verb-related, and unrelated images. We tested effects of group (PD/control) on gaze using growth curve models. There were no significant differences between PD and control participants, suggesting that PD participants successfully and rapidly use combinatory thematic fit information to predict upcoming language. Baseline sentences with no predictive information (e.g., Look at the drum) confirmed that groups showed equivalent sentence processing and eye movement patterns. Additionally, we conducted an exploratory analysis contrasting PD and controls’ performance on low-motion-content versus high-motion-content verbs. This analysis revealed fewer predictive fixations in high-motion sentences only for healthy older adults. PD participants may adapt to their disease by relying on spared, non-action-simulation-based language processing mechanisms, although this conclusion is speculative, as the analyses of high- vs. low-motion items was highly limited by the study design. These findings provide novel evidence that individuals with PD match healthy adults in their ability to use verb meaning to predict upcoming nouns despite previous findings of verb semantic impairment in PD across a variety of tasks.
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M, Sudhakar, and Kathiresan Pon. "Communication in Purananuru." International Research Journal of Tamil 4, S-18 (December 8, 2022): 250–54. http://dx.doi.org/10.34256/irjt224s1833.
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Communication through literature has been growing from time to time. Communication developed among people by sharing information. Communication is a flexible form of imparting or exchanging an information. It is the process of exchanging ideas between both sender and receiver. These kinds of exchanging or sharing an information is very famous in Purananuru. Through Purananuru we can notice that messages, thoughts, emotions and skills of a person can be known through symbols, speech, writings, images, numbers, maps, and messengers. Since prehistoric times, man has been living a communal life by exchanging messages through various types of communication tools. Before language appeared, man communicated through body movements and signs. Man expressed his views verbally. He learned the concepts through symbols. In particular, he conveyed the message through symbols such as trumpets, fire, smoke and arrows. Among the 10 musical organs, there was a musical instrument called drum in the Sangam period. Ancient Tamils used to convey good news through musical instruments such as in festivals, weddings and in battlefield invasions. The king announces the news to the people by using a musical instrumental called Drum. King exchanges the news from one country to another through messengers, spies and sages. Ottadal is the 59th chapter in Thirukkural and in this chapter Thiruvalluvar clearly shows up the excellence of Spies. Ancient Tamil people used nearby objects as communication devices to know various messages from kings and poets. They lived by receiving and giving opinions through various languages. Therefore, the communication ideas are specified, classified and explained in Purananuru.
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Simonton, Matthew. "TWO NOTES ON THE NEW CROESUS EPIGRAM FROM THEBES." Classical Quarterly 70, no. 1 (May 2020): 10–15. http://dx.doi.org/10.1017/s0009838820000427.
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In March 2005 a rescue excavation uncovered a spectacular new epigraphic find from Thebes. Now on display in the Archaeological Museum of Thebes, a column drum 0.41 m in height has inscribed on it two identical epigrams, one (the older one) written vertically in Boeotian script and a second (later) Ionian copy written horizontally on the other side. Nikolaos Papazarkadas published the editio princeps of the epigram in 2014, using both inscriptions to create a composite text. As Papazarkadas realized, the column drum, which has a chi-shaped orifice at one end meant to hold a stationary object, at one point displayed a ‘shining shield’ (φαεννὰν | [ἀσπ]ίδα, lines 3–4) that Herodotus had seen in the temple of Apollo Ismenius in Thebes. Moreover, this shield was interpreted by Herodotus (relying on the language of the inscription and likely on the commentary of temple staff) as having been dedicated by the Lydian king Croesus to the hero Amphiaraus, when he was ‘testing’ the various oracles in Greece in order to decide on a course of action against his rival Cyrus of Persia.
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Rossi, Paola Maria. "Áhir budhníyaḥ and bhūmidundubhiḥ: The serpent of the deep and the earth-drum. A hypothesis of etymological and/or cultural connections." Lingua Posnaniensis 61, no. 2 (December 1, 2019): 107–31. http://dx.doi.org/10.2478/linpo-2019-0017.
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Abstract This article highlights how the process of semantic extension applied to the OIA onomatopoeic noun dundubhí, usually meant as “drum”, is the token of significant cultural changes: especially within ritual performances, such as the mahāvrata rite, gradually canonised in the Brahmanical ritualism, it turns out to be a device to promote a new model of sovereignty, related to the establishment of the so-called Kuru-Pañcāla realm. Such a cultural transformation, carried out in the Middle and Late Vedic period in northern India, entailed that ancient Indo-European tribal cultural traits were intermingled with cultural substrate/adstrate elements: the term dundubhí is “etymologically” connected to the Proto-Muṇ ḍa *ḍub-/*dum- “to be swollen, roundish”, the PAA *duby-/*dub- “tail, buttock, animal limbs”, and Middle Iranian isoglosses meaning “tail, extremities, fat-tailed animals”. Moreover, as bhūmidundubhi “earth-drum” beaten on the border of the ritual area in the mahāvrata rite, representing earthly sonority and the “mighty bellowing” of cattle, it is associated with the IIr myth of valá/vará, the “enclosure”, in which the treasure/cattle “endowed with rock as foundation” (ádri-budhna, ṚV 10.108.7ab), is hidden. The related lexicon and imagery recall mythical archetypes, such as the Serpent of the Bottom (OIA áhir budhníyaḥ, Gr Pythô ophis) or primordial Monster of the Deep (Gr Typhôn/Typhôeus), and BMAC interferences are also embedded. However, although linguistic evidence confirms the etymological relationship between the OIA budh-ná and the Greek pythmên, the case of the Greek Typhôn/Typhôeus seems more uncertain: the IE reconstruction *dhubh-/*dhub “depths” is considered a secondary outcome, and cannot be convincingly applied to the term dundubhí, because of its onomatopoeic nature. Nonetheless, as an outcome of linguistic and cultural interferences, “Sanskritised” within the ritualism, which supported the paradigm of the Kuru-Pañcāla sovereignty, the term dundubhí conveys the double “redundant” value of deep/high sonority and swollen/roundish abundant prosperity, to which the figure of Bṛhaspati is correspondent: in ṚV 10.64.4 he is defined as the kaví tuvīrávān “poet endowed with powerful bellowing”, which announces prosperity, spreading it loftily, throughout the cosmos.
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Singh Romana, Amrinder. "Sound Drawing and Dhol Notation: A Methodological Approach to Visualising Drum Sounds." INSAM Journal of Contemporary Music, Art and Technology, no. 11 (December 15, 2023): 39–64. http://dx.doi.org/10.51191/issn.2637-1898.2023.6.11.39.
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The research introduces ‘Sound Drawing’ as an engaging instructional activity to develop a visual dhol notation system. In contrast to the conventional reliance on spoken language for dhol instruction, this research involves developing a visual notation system that effectively bridges the auditory intricacies of the dhol drum with corresponding visual representations. Through a methodical examination of sound drawings collaboratively generated by participants, this study critically assesses the effectiveness of sound drawing as an active and inclusive pedagogical instrument within the domain of dhol learning. The outcomes demonstrate how participants’ visual interpretations of dhol sounds led to creating a notation system. This system reflects a diverse range of auditory perceptions and offers a new avenue for cultural engagement and learning in music education. By introducing sound drawing as an immersive instructional activity, this research aspires to advance dhol pedagogy, rendering it more accessible to diverse cultures and communities, thus transcending linguistic barriers. This study pioneers the incorporation of sound drawing as an innovative pedagogical activity for the collective development of a visual dhol notation system, thereby instigating a transformation in pedagogical paradigms and fostering cross-cultural engagement within the rich musical tradition of the dhol.
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McGill, Stuart. "Cicipu." Journal of the International Phonetic Association 44, no. 3 (November 25, 2014): 303–18. http://dx.doi.org/10.1017/s002510031400022x.
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Cicipu ([tʃìtʃípù], ISO 639–3 code awc) is spoken by approximately 20,000 people in northwest Nigeria, with the main language area straddling the boundary between Kebbi and Niger states. The language belongs to the Kambari subgroup (not Kamuku as stated by Lewis, Simons & Fennig 2013) of Kainji (Benue-Congo), although it is heavily influenced by the lingua franca Hausa, in which almost all speakers are fluent. There are several identifiable dialects, with native speakers of Cicipu generally listing seven. Of these, Tirisino is the most prestigious and least endangered dialect, and this is the one presented here. Tikumbasi is the most divergent of the dialects, with the /o/ vowel in the other dialects consistently corresponding to /e/ in Tikumbasi (for example /póːpò/ ‘hello’ ~ /péːpè/, /tʃìkóːtò/ ‘drum’ ~ /tʃìkʷéːtè/). The distinction between /o/ and /ɔ/ has been lost in Tikumbasi.
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Zhang, Xiao Rui. "Cultural Continuity of the Traditional Elements in Architecture." Advanced Materials Research 368-373 (October 2011): 2993–96. http://dx.doi.org/10.4028/www.scientific.net/amr.368-373.2993.
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The way of “building high hathpaces” occupies a unique position in traditional Chinese architecture. According to the research, the ancient hathpace can not only increase the volume, raise the building height, make the buildings look more magnificent, but also help ascend for look far and widen your horizon, meanwhile, be beneficial to damp-proofing and ventilation for the hathpace itself. This is the thousands of years’ intelligence gathering of Chinese traditional architecture. In the design of “Hathpace of Stone Drum Pavilion in Baoji”, the designers take “inheriting Chinese architectural and cultural heritage” as its aim, use modern aesthetic view to elaborate the measurement and proportion, consequently, surpass the boundary of age and style, and refine the historical and cultural quintessence by innovating and developing which is wrapped up in traditional architecture. Meanwhile, material is the basic quality of architecture. The culture differences in the building of various nationalities and times came on materials. So, the using of stone can increase historical culture and feature of urban texture for “building high hathpaces”. A new approach to formal language, contemporary materials, and building technology will make “Hathpace of Stone Drum Pavilion in Baoji” become information carrier of traditional culture, communication platform between traditional building Stone Drum Pavilion and modern city, and unique building cultural phenomenon for the city of Baoji who will retain its graceful bearing and display the culture in Chou-Qin Dynasties, moreover, provide a new way of thinking for how to inherit the culture of traditional architecture.
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Birns, Nicholas. "At Peace Finally? Gene Oishi’s Fox Drum Bebop and the Last Memories of Japanese American Internment Camps." Anglica. An International Journal of English Studies, no. 30/3 (September 1, 2021): 89–105. http://dx.doi.org/10.7311/0860-5734.30.3.06.
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Gene Oishi’s autobiographical and episodic novel Fox Drum Bebop (2014) will likely be one of the final novels published by someone who was an internee in the detention camps in which the US government imprisoned Japanese Americans during the Second World War. As such, it presents complicated questions about temporality, rep- resentation, and the processes of trauma. Through focusing on the protagonist Hiroshi Kono (largely, though not restrictively, based on Oishi’s own life experience) and his siblings who have distinct ideological reactions to their ethnic identity and their wartime experience, Oishi explores how internment at once lasted for a determinate period but continues to extend in space and dilate in time for as long as the memories of it endure. The novel uses the musical aesthetics of jazz as a correlate for this discontinuous process- ing of experience. Oishi’s narrative asks if those who suffer oppression and trauma can ever find peace, and how, if at all, having a long life and reflecting upon the past can alter one’s sense of what happened.
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Battaner Moro, Elena. "A 19th-century speaking machine." Historiographia Linguistica 34, no. 1 (June 18, 2007): 19–36. http://dx.doi.org/10.1075/hl.34.1.03bat.
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Summary The Tecnefón is a speaking machine developed in Spain in the 1860s by Severino Pérez y Vázquez. Pérez’s main book on the Tecnefón was published in 1868. Within the context of speaking machines designed from the 18th century onwards, the Tecnefón is built on an acoustical basis; hence it is different from W. von Kempelen’s device, which tried to ‘replicate’ the phonatory system. The Tecnefón has three main parts: a drum that generates sound (the source), an air chamber to hold such sound, and a set of tubes, chambers, and other artefacts propelled by a keyboard. Pérez created a prototype of a speaking machine that performed five vowels and six consonants, so it could ‘speak’ many sentences in Spanish. To this he added accent and intonation with a lever. However, the Tecnefón was never finished due to institutional circumstances that prevented Pérez from pursuing his research.
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Zobenica, Nikolina. "THE IDENTITY CRISIS OF AN OUTSIDER: EXCEPTION AND RULE IN GÜNTER GRASS´ DANZIG TRILOGY." Folia linguistica et litteraria XIII, no. 41 (2022): 31–50. http://dx.doi.org/10.31902/fll.41.2022.2.
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Günter Grass (1926–2015), in his Danzig Trilogy (The Tin Drum – Cat and Mouse – Dog Years), depicted exceptional existences, who are not like most of the Germans before, during and after World War II, resulting in their isolation and the absence of guidance and support from the adults around them. The small-statured Oskar Matzerath critically observes and challenges the world from a frog’s perspective and uses his tin drum as a means of provoking the people around him. Joachim Mahlke, tortured by an inferiority complex, is not able to stand the pressure of social isolation. The half-Jew Eduard Amsel establishes his own underground world, in order to flee the dangers of the aggressive real world. They all experience a deep identity crisis and struggle to strike the right path in their lives, with a greater or lesser degree of success. The subjects of the analysis in this paper are these main figures, their common features and differences, their identity crises and their struggle to deal with these crises. The concept of an identity crisis is discussed here from two aspects: as identity deficit and identity conflict. An identity deficit (crisis of motivation) is the lack of a guiding commitment and struggle to establish personal goals and values. When going through an identity conflict (legitimation crisis), a person has several commitments, and in some situations at least one of them has to be betrayed. The examples of Oskar and Eduard show that art is and remains the only successful means to overcome the discord between the agreement with oneself and with society, and to overcome the identity crisis, which is the result of loss and/or inadequate choice of guiding commitments and values. However, Grass was of the opinion that it is the duty of artists to use their creative potential and talent with a responsibility towards society, to bring enlightenment with their criticism, and therefore help the people to become aware of the reality as it is.
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Zhu, Guo Qing, Li Yang, and Gang Cheng. "Dynamic Optimization of Ship Boiler Startup Based on Modelica and JModelica.org." Applied Mechanics and Materials 662 (October 2014): 191–95. http://dx.doi.org/10.4028/www.scientific.net/amm.662.191.
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Apply optimization method to reduce the startup time can improve the maneuverability of vessel and reduce the operation cost of the unit. In this paper, a boiler system model was developed to capture system dynamic and the variety of stress based on the multi-domain modeling language Modelica, then the optimization model was built taking minimize the start-up time as optimization targets, constrained on the thermal and mechanical stress. The optimization process was performed on the platform of JModelica.org, exploiting the direct collocation method. Fuel quantity curve of the start up phase was optimized. Using the optimized fuel quantity curve, the boiler startup time could be reduced without reducing the drum boiler life.