Journal articles: 'Parrots in art'

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Martin, Steve. "The Art of Training Parrots." Journal of Exotic Pet Medicine 16, no. 1 (2007): 11–18. http://dx.doi.org/10.1053/j.jepm.2006.11.004.

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Kaplan, Gisela. "Animals and music: Between cultural definitions and sensory evidence." Sign Systems Studies 37, no. 3/4 (2009): 423–53. http://dx.doi.org/10.12697/sss.2009.37.3-4.03.

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It was once thought that solely humans were capable of complex cognition but research has produced substantial evidence to the contrary. Art and music, however, are largely seen as unique to humans and the evidence seems to be overwhelming, or is it? Art indicates the creation of something novel, not naturally occurring in the environment. To prove its presence or absence in animals is difficult. Moreover, connections between music and language at a neuroscientific as well as a behavioural level are not fully explored to date. Even more problematic is the notion of an aesthetic sense. Music, so it is said, can be mimetic, whereas birdsong is not commonly thought of as being mimetic but as either imitation or mimicry and, in the latter case, as a ‘mindless’ act (parrots parroting). This paper will present a number of examples in which animals show signs of responsiveness to music and even engage in musical activity and this will be discussed from an ethological perspective. A growing body of research now reports that auditory memory and auditory mechanisms in animals are not as simplistic as once thought and evidence suggests, in some cases, the presence of musical abilities in animals.

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Wilke, Sabine. "Performing States-Of-In-Between: Dogs, Parrots, and Other Humans in Recent Austrian Performances." Literatur für Leser 40, no. 3 (2017): 295–310. http://dx.doi.org/10.3726/lfl032017k_295.

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Every late spring since 1951, the Wiener Festwochen bring performers from around the world to Vienna for an opportunity to share recent developments in performance styles and present them to a Viennese public that seems to be increasingly open to experimentation. These festival weeks solidify a specific form of Viennese self-understanding and self-representation as a culture that is rooted in performance. This essay seeks to link two recent Austrian performances—one of them was part of the Wiener Festwochen in 2016, the other was staged in downtown Linz during the past few years—to this Austrian and specifically Viennese culture of performance by reading them as contemporary articulations of a tradition of radical performance art that can be traced back to the Viennese Actionism of the sixties and later feminist articulations in the seventies and eighties. They play on the dramatic effect of these actions, specifically their joy in cruelty, chaos, and orgiastic intoxication, by staging regressions and thus making visible what has been dammed up and repressed in contemporary society.1 Just as their historical models, these two performances merge the performing and the fine arts and they highlight provocative, controversial, and, at times, violent content. But they do it in an interspecies context that adds an entire layer of complexity to the project of societal and cultural critique.

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Pandey, Anjali. "WOOD CRAFT OF BIHAR AND UTTAR PRADESH –A SURVEY." International Journal of Research -GRANTHAALAYAH 4, no. 2 (2016): 239–42. http://dx.doi.org/10.29121/granthaalayah.v4.i2.2016.2834.

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The tradition of wood carving is old. Wood craft is quite popular in Bihar and Uttar Pradesh. Craftsmen of these states are using their skill for making the designs in traditional and innovative way. A unique engraving creativity of ‘Nakkashi work’ appears with floral and figures etched out by the craftsmen. Lacquer work is obviously one of the major handicrafts of these regions. Various motifs of birds, peacock, fish, carved on the wood, appeals the viewers. The items made out of bamboo and wood are crafted in the shapes of birds, human figures and animals. Figures of Gods and Goddesses, animals and many mythological figures are crafted by the local craftsmen. The dolls, peacocks, parrots, elephants, horses, goats, bulls and cows are the repertoire of rural children. Uttar Pradesh is world known for its carved and brass inlayed or tarkashi wooden handicrafts. The craftsmen of Saharanpur are excelled in the art of inlayed wood work it is now widely used to decorate the centre-table, ash-trays, fruit-basket, service tray and other furniture articles etc. Varanasi and Amroha are particularly well known for lacquered woodcraft of UP. Numbers of lacquered toys, miniature kitchen utensils for children are made in this state.

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Saputra, Mochammad Septa Satria. "PELATIHAN KESENIAN REBANA GRUP AL-MAGHFIROH DI CIKAMBUY DESA SANGKANHURIP KECAMATAN KATAPANG KABUPATEN BANDUNG." DESKOVI : Art and Design Journal 3, no. 1 (2020): 49. http://dx.doi.org/10.51804/deskovi.v3i1.727.

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Penelitian ini berjudul “pelatihan kesenian rebana grup Al-Maghfiroh di Cikambuy Desa Sangkanhurip Kecamatan Katapang Kabupaten Bandung”. Penelitian ini didasari oleh alasan dari grup kesenian rebana yang aktif di Cikambuy Kabupaten Bandung. Grup Al-Maghfiroh berbeda dengan grup kesenian rebana lainnya, grup ini digerakan oleh Pak Toni dan oleh murid-muridnya dan sering mengikuti kegiatan-kegiatan yang bernuansa Islami khususnya didaerah Cikambuy dan sekitarnya. Dengan bimbingan pelatih, murid mampu memainkan alat musik kesenian rebana secara bersama-sama, bergembira, serta mempunyai daya tarik tersendiri. Pada kegiatan latihan kesenian rebana, murid mendapat motivasi dari pelatih dan mendapat dukungan dari orang tua murid. Berdasarkan observasi kebeberapa tempat didaerah Cikambuy, Grup Al-Maghfiroh ini lebih cenderung menarik sehingga proses latihannya dilakukan dengan jadwal yang telah ditentukan tiap minggunya. Ini yang menjadi kajian penelitian saya, melihat dan mengamati proses pelatihan untuk diteliti dikediaman Pak Toni. Pelatihan kesenian rebana grup Al-Maghfiroh Kecamatan Katapang Kabupaten Bandung, dengan tujuan untuk memberikan gambaran tentang proses pelatihan kesenian rebana yang dilakukan di Cikambuy Kabupaten Bandung secara sistematis, faktual, serta aktual mengenai objek yang akan dikaji. Sedangkan teknik pengumpulan data yaitu melalui observasi, wawancara, dokumentasi, serta studi literarul. Berdasarkan hasil penelitian menunjukan bahwa murid dapat lebih terampil dalam memainkan alat musik kesenian rabana, cara pelatihan yang dipakai oleh Pak Toni yaitu dengan cara di beo sangat membantu dalam hal menyampaikan materi kepada murid, dan adanya ketergantungan yang timbul dari murid dalam proses pelatihan sehingga terjadinya ketidak seriusan dalam pelatihan kesenian rebana. This research entitled “training of art of tambourine group Al-Maghfiroh in Cikambuy Village Sangkanhurip District Katapang District Bandung”. This research is based on the reason of grup of tambourine art that active in Cikambuy Regency Bandung. Group Al-Maghfiroh is different from other groups of tambourine art, this groups is driven by Mr.Toni and by his students and often follow the activities of Islamic nuance especially in Cikambuy and surrounding areas. With the coach’s guidance, students are able to play the tambourine art instrumen together, have fun, and have their own charms. In the rehearsal art training activities, students get motivation from the trainer and get support from the parents of the students. Based on observations to some places in Cikambuy area, this Al-Maghfiroh Group is more likely to attract so that the training process is done with the coach and his peers. This is the study of my research, looking at and observing the training process to be studied in Mr. Toni’s residence. Training of tambourine art group Al-Maghfiroh District Katapang Bandung Regency, with the aim to provide an overview of the art training process conducted Cikambuy Bandung regency as well as about the object to be studied. While the technique of data collection is through observation, interview, documentation, and literatur study. Based on the result of research shows that students can be more skilled in playing musical instruments rebana, the way of training used by Mr. Toni is by way of parrots very helpful in terms of delivering material to students, and the dependence arising from students in the training process so that the occurrence art training.

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6

Creel, Darrell, and Charmion McKusick. "Prehistoric Macaws and Parrots in the Mimbres Area, New Mexico." American Antiquity 59, no. 3 (1994): 510–24. http://dx.doi.org/10.2307/282463.

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Macaws and parrots were important birds in prehistoric Mimbres-area communities by A.D. 1000. Scarlet macaws (Ara macao) apparently were imported into the area from the tropical lowlands in Mexico, but one other species each of macaw (Ara militaris) and parrot (Rhynchopsitta pachyrhyncha) probably could have been obtained from much closer natural ranges. Macaws in particular evidently were of special, perhaps ceremonial, importance as indicated by consistent age at death, probably reflecting sacrifice in the spring, and by deliberate intramural burial, often in special rooms in the community. The sacrificing of macaws and the season in which it occurred were consistent in Mimbres and contemporaneous sites and began a pattern that continued in the Southwest perhaps until historic times.

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7

Johnson, Joel. "A Novel Twist to Tocqueville: Competing Visions of Democracy in Parrot and Olivier in America." Review of Politics 79, no. 2 (2017): 263–85. http://dx.doi.org/10.1017/s0034670516001066.

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AbstractPeter Carey's Parrot and Olivier in America is a fictionalized version of Tocqueville's travels through the young United States. Unlike Tocqueville, Olivier de Garmont is accompanied by Parrot Larrit, an English servant who offers a bold egalitarian counterpoint to Olivier's aristocratic liberalism. This article compares Carey's work with Tocqueville's on the consequences of democracy for political institutions, education, and art; discusses Carey's technique of using alternating narration between Olivier and Parrot to capture the complexities of American democracy; and concludes with thoughts about being a friendly critic of democracy in the twenty-first century. Although Parrot and Olivier is no substitute for Democracy in America, it addresses Tocqueville's concerns in a creative and subtle manner, prompting reflection on whether—to use Olivier's terms—democracy has “ripened well.”

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8

Robischon, Marcel. "The Parrot & the Palimpsest." American Biology Teacher 80, no. 7 (2018): 475. http://dx.doi.org/10.1525/abt.2018.80.7.475.

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9

James, Paula. "How Classical is Ariadne's Parrot? Southall's Painting and Its Literary Registers." Ramus 39, no. 1 (2010): 53–72. http://dx.doi.org/10.1017/s0048671x00000539.

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In this article I suggest ways in which a gorgeously crafted, colourful, compelling 20th century painting of an abandoned Ariadne highlights both her tragic and comic presence in classical literary representations. Joseph South-all's 1925-6 work Ariadne in Naxos (tempera on linen, 83.5 × 101.6 cm), reproduced below, can be viewed in all its glory in the Birmingham City Art Gallery (bequeathed by the artist's widow, Anne Elizabeth, in 1948) but it was featured to fine effect in the 2007 exhibition The Parrot in Art: From Dürer to Elizabeth Butterworth, Barber Institute of Fine Arts, University of Birmingham. It was in this psittacine (psittaceous?) context that I first encountered Ariadne's parrot so the bird perhaps loomed larger in the painting than it might as a stand-alone Southall on its home ground in the Gallery.

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Moore McAllen, Katherine. "Jesuit Winemaking and Art Production in Northern New Spain." Journal of Jesuit Studies 6, no. 2 (2019): 294–314. http://dx.doi.org/10.1163/22141332-00602006.

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This article presents new research on Jesuit visual culture in northern New Spain, situating Santa María de las Parras (founded 1598) as an important site where the Jesuits and secular landowners became involved in the lucrative business of winemaking. Viticulture in Parras helped transform this mission settlement into a thriving center of consumption. The Jesuits fostered alliances with Spanish and Tlaxcalan Indians to serve their religious and temporal interests, as these patrons donated funds to decorate chapels in the Jesuit church of San Ignacio. This financial support allowed the Society to purchase paintings by prominent artists in Mexico City and import them to Parras. The Jesuits arranged their chapels in a carefully ordered sequencing of images that promoted Ignatian spirituality and echoed iconographic decoration programs in Mexico City and Rome.

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11

Bradbury, Jack. "Vocal communication of wild parrots." Journal of the Acoustical Society of America 115, no. 5 (2004): 2373. http://dx.doi.org/10.1121/1.4780035.

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12

Wilson, Sarah Kate. "Insight: Week 8, Aimée Parrott." Journal of Contemporary Painting 6, no. 1-2 (2020): 180–87. http://dx.doi.org/10.1386/jcp_00022_7.

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13

Gardner, Richard D. "Teaching Biology with Extended Analogies." American Biology Teacher 78, no. 6 (2016): 512–14. http://dx.doi.org/10.1525/abt.2016.78.6.512.

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All teachers hope that students learn to apply and analyze, rather than simply memorize or parrot back, the teacher's words. One method of encouraging the development of students’ higher-level thinking skills is to give learners practice in identifying appropriate analogies for biological concepts, and in forming their own. Analogies focus on the larger concepts we are trying to teach, rather than specific biological details or actual biological examples. They are fun to practice in class, and this practice prepares students for similar test questions.

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14

Nettelbeck, Colin. "The Bird and the Word: France's literary parrots." Journal of European Studies 30, no. 118 (2000): 205–28. http://dx.doi.org/10.1177/004724410003011804.

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15

Lieberman, Laurence. "Embracing the Sisserou Parrot." Hudson Review 49, no. 3 (1996): 435. http://dx.doi.org/10.2307/3852516.

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Luty, Jason. "Nicotine addiction and smoking cessation treatments." Advances in Psychiatric Treatment 8, no. 1 (2002): 42–48. http://dx.doi.org/10.1192/apt.8.1.42.

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It is estimated that 29% of adults in the UK smoke (Office for National Statistics, 2000). Each year smoking kills 120 000 people (13 deaths per hour), making it the single most common preventable cause of death in Britain (Callum, 1998). Around half of all smokers will die prematurely because of their addiction (Peto et al, 1994). Their overall life expectancy is, on average, 8 years less than for non-smokers (Callum, 1998). Smoking also costs the National Health Service (NHS) £1500 million, with around 1000 admissions every day for smoking-related illnesses (Parrott et al, 1998). (However, the UK treasury earns £8 billion in tax on tobacco sold in the UK alone, in addition to the enormous revenue from overseas markets.)

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Munson, Marit K. "Sex, Gender, and Status: Human Images from the Classic Mimbres." American Antiquity 65, no. 1 (2000): 127–43. http://dx.doi.org/10.2307/2694811.

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AbstractPrehistoric imagery is a valuable source of information on relations between people of different social identities. Analysis of a large sample of human figures depicted on Classic period Mimbres ceramics illustrates facets of that society's gender system, including the traits individuals used to indicate their gender and the possible presence of third or fourth genders. The imagery indicates that hunting large game and participating in ceremonies were considered men's activities. Men also are portrayed in a wide range of activities and in active postures. This suggests that men had the potential for achieving high status through their activities. Images of women are more static and show fewer activities than men. Women are associated with activities that are low in prestige cross-culturally: child care and carrying burdens. At the same time, women are depicted more often with valuables, such as jewelry, and constitute the majority of people handling parrots, which were used in ritual. This, combined with other evidence, suggests that some women may have achieved relatively high status through their membership in certain families, their association with ritually important parrots, and their possession of esoteric knowledge.

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18

Cao, Maggie M. "Playing Parrot: American Trompe L’oeil and Empire." Art Bulletin 103, no. 3 (2021): 97–124. http://dx.doi.org/10.1080/00043079.2021.1882798.

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Carlson, Marvin. "“I Am Not an Animal”: Jan Fabre's Parrots and Guinea Pigs." TDR/The Drama Review 51, no. 1 (2007): 166–69. http://dx.doi.org/10.1162/dram.2007.51.1.166.

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Animal presence unsettles practices of spectatorship and reframes assumptions about embodiment and affect in four differently exemplary animal performances, including one dating back to the 18th century. In all of them, the ethics of watching other animals, human or nonhuman, and the call for evaluation and judgment is complicated by recognition of the multiplicitous and mysterious nature of pain and pleasure.

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McGregor, Russell. "Alec Chisholm and the extinction of the Paradise Parrot." Historical Records of Australian Science 32, no. 2 (2021): 156. http://dx.doi.org/10.1071/hr20019.

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Rediscovered in 1921 after several decades of feared extinction, the resurrection of the Paradise Parrot was brief. Within a few decades more, the parrot was actually extinct, making it the only mainland Australian bird species known to have suffered that fate since colonisation. This article explores the reasons for the paucity and ineffectuality of attempts to preserve the species in the interwar years. By examining the contemporary state of ornithological knowledge on endangered species and the limited repertoire of conservationist strategies then available, the article extends our understanding of early twentieth-century discourses on avian extinction in Australia. It also offers an assessment of the conservationist efforts of Alec Chisholm, an amateur ornithologist who had a major role in the rediscovery of the Paradise Parrot and in subsequently publicising its plight.

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Barnett, Adrian A., Sarah A. Boyle, Liliam P. Pinto, et al. "Primary seed dispersal by three Neotropical seed-predating primates (Cacajao melanocephalus ouakary, Chiropotes chiropotes and Chiropotes albinasus)." Journal of Tropical Ecology 28, no. 6 (2012): 543–55. http://dx.doi.org/10.1017/s0266467412000600.

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Abstract:The Neotropics house two guilds of large arboreal vertebrate seed predators: parrots and the pitheciin primates. Both have diets dominated by immature fruits. The possibility of members of the Pitheciinae (genera Cacajao, Chiropotes and Pithecia) acting as occasional seed dispersers has been mooted, but not experimentally shown. We combined primate behavioural data and seed germination data from three separate field studies in the Brazilian states of Amazonas and Pará to analyse patterns of post-consumption seed survivorship for seeds discarded by three pitheciin species (Cacajao melanocephalus ouakary, Chiropotes chiropotes and Chiropotes albinasus). We then calculated the frequency of dispersal events for four species eaten by C. m. ouakary. All three primate species dropped intact seeds while feeding, and 30.7% of 674 dropped seeds germinated ex situ. Undamaged seeds from unripe and ripe samples germinated (29.3% and 42.7%, respectively), and all three primate species carried some fruits up to 20 m from the parent tree before consuming them. Potential seed-dispersal events varied from 1 (Macrolobium acaciifolium) per fruiting cycle to more than 6500 (Duroia velutina), suggesting that there are differences in dispersal potential. In summary, although they are highly specialized seed predators, these primates may also act as important dispersers for some plant species, and effective dispersal is not restricted to ripe fruits, as immature fruits removed from a tree may continue to mature and the seeds later germinate, a much-neglected aspect of dispersal ecology. The possibility that similar events occur in parrots should be experimentally investigated.

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Griffin, Susan M. "Understudies: Miming the Human." PMLA/Publications of the Modern Language Association of America 124, no. 2 (2009): 511–19. http://dx.doi.org/10.1632/pmla.2009.124.2.511.

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The title of understudies, Mary Wilkins Freeman's 1901 short story collection, situates us in the realm of theater, of performance—the space where actors and their seconds together learn the grammars of verbal and visual representation.1 On the cover of Understudies, cameo portraits linked by garlands mimic the arrangement of actors' head shots on a playbill (fig. 1). But the profiles are those of a horse, a dog, a parrot, a monkey, a squirrel, and a cat. Freeman's book displays on its face the art of representing animals and humans—and animals as humans. And her title articulates a distinctly turn-of-the-century (if still unresolved) question: who are the understudies and who are the leads—animals or humans?

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Schwing, Raoul, Ximena J. Nelson, and Stuart Parsons. "Audiogram of the kea parrot,Nestor notabilis." Journal of the Acoustical Society of America 140, no. 5 (2016): 3739–44. http://dx.doi.org/10.1121/1.4967757.

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24

Dawber, Stephen. "Martin Parr's Suburban Vision." Third Text 18, no. 3 (2004): 251–62. http://dx.doi.org/10.1080/0952882042000227955.

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Alant, J. "The man with the phrase book in his head: On the literariness of the illiterate Homer." Literator 23, no. 1 (2002): 53–72. http://dx.doi.org/10.4102/lit.v23i1.320.

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In the early 1930s Milman Parry’s theoretical substantiation of the oral composition of the Iliad and the Odyssey was widely interpreted as a major breakthrough in the field of oral traditional research, even as the founding act of a new discipline – Oral Theory. The “oral-formulaic” theory which underscored this breakthrough has, however, been increasingly criticized in recent times. While acknowledging the fundamental importance of Parry’s work in the field of Oral Theory, the present article seeks to reinterpret the essential orality of the Homeric poems in the light of its broader implications for the recognition of an oral aesthetics/oral literature. Parry’s work on the Iliad and Odyssey has generally been appreciated for its postulation of a characteristically oral textual economy. This article sets out, by contrast, to look more closely at the possibility Parry opens up for the orally composed text to be considered “literature” in its fullest aesthetic sense. Crucial to this is the creative role of the reader/audience in terms of the text’s “horizons of expectations”, that also serve to contradict the famous characterisation by Walter Ong alluded to in the title of this article.

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Debus, Stephen Debus, Jerry Olsen, Susan Trost, and David Judge. "Diet of the Australian Hobby Falco longipennis breeding in Canberra, Australian Capital Territory, in 2002–2004 and 2005–2008." Australian Field Ornithology 37 (2020): 174–83. http://dx.doi.org/10.20938/afo37174183.

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The diet of the Australian Hobby Falco longipennis was studied in Canberra (ACT), in the summers of 2002–2003 to 2004–2005 and 2005–2006 to 2008–2009 by analysis of prey remains and pellets (28 and 40 collections for a total of 229 and 132 prey items from six and four nests, respectively). The Hobbies’ breeding diet in the first period consisted of 73% birds, 1% microbats and 26% insects by number, and 98% birds, <1% microbats and 1% insects by biomass, mainly parrots (Psittaculidae), Common Starlings Sturnus vulgaris and sparrows Passer sp. In the second period, it consisted of 94% birds, 3% mammals (mostly microbats), 2% lizards and <1% insects by number, and was more dominated by Starlings and other introduced birds, with the change perhaps reflecting a recent decline in local insect abundance. The Hobby’s dietary metrics correspondingly shifted to a greater Geometric Mean Prey Weight and narrower food niche. The Hobby’s diet overlapped moderately (42%) with that of the similarly sized Collared Sparrowhawk Accipiter cirrocephalus in the ACT over the same timeframe, although the two are separated by foraging habitats and methods.

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Gabriel, Theodore. "Parrot Song - Tuncatteruttaccan and the Hindu Epics." South Asia Research 13, no. 1 (1993): 56–65. http://dx.doi.org/10.1177/026272809301300104.

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Rodriguez-Guridi, Elena. ""Materia combustible": hacia una poética del amor." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 30 (July 9, 2018): 181–87. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018302253.

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Este ensayo está dedicado al poemario Materia combustible de Josefa Parra, el cual explora el proceso amoroso a través de la dialéctica entre vida y muerte. La hermenéutica que Parra lleva a cabo inscribe el encuentro trascendental con el otro en la temporalidad trágica del ser mortal. Este estudio se propone demostrar cómo, en esta exégesis, Parra revela un optimismo vital que concibe la memoria y la palabra como los medios para exorcizar la transitoriedad y el desengaño del amor. El acto recursivo de la lectura, asociado para la poeta con un renacimiento, resucita la posibilidad de lo trascendental que se pierde en la existencia mortal.  This essay is devoted to the poet Josefa Parra’s collection Combustible Matter, which explores the process of love through the dialectic between life and death. Parra’s hermeneutics inscribes the transcendent encounter with the other within the tragic temporality of mortal being. This study aims to demonstrate how, in Parra’s exegesis, she reveals a vital optimism that conceives memory and the word as the means of exorcising the transient nature and disappointment of love. The recursive act of reading, for the poet linked with rebirth, reawakens the possibility of the transcendent that is lost in mortal existence.

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Torres, Jada Benn. "A Parrot among John Crows: Diversity as Risk and Reward." American Anthropologist 121, no. 2 (2019): 474–76. http://dx.doi.org/10.1111/aman.13217.

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White, Micheline. "Katherine Parr, Translation, and the Dissemination of Erasmus’s Views on War and Peace." Renaissance and Reformation 43, no. 2 (2020): 67–91. http://dx.doi.org/10.33137/rr.v43i2.34741.

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This article offers new evidence of Katherine Parr’s activities as a translator by demonstrating that she translated two prayers from Erasmus’s Precationes aliquot novæ in 1544. The first, “A Prayer for Men to Say Entering into Battle,” appeared in all the editions of Parr’s Psalms or Prayers; the second, “A Prayer for Forgiveness of Sins,” was included only in sextodecimo editions. These newly recovered translations have important implications for our understanding of Parr’s involvement in Henry VIII’s war effort and for the history of the dissemination of Erasmus’s ideas in England. This study argues that Parr’s translations provide new evidence that she collaborated with Thomas Cranmer and Henry VIII in producing wartime propaganda but also that Parr reframed, edited, and distorted Erasmus’s prayers to promote Henry’s wartime needs. This data has additional repercussions because Parr was also the sponsor of the translation of Erasmus’s Paraphrases on the New Testament, a text that exhorted Henry and other princes to avoid war and embrace peace. Parr, then, was at the heart of two translation projects that were fundamentally at odds with one another, and her translations can be described as important interventions into Erasmus’s legacy in England.

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PARRATT, JOHN. "Saroj Nalini Arambam Parratt (1933–2008)." Journal of the Royal Asiatic Society 19, no. 3 (2009): 383–84. http://dx.doi.org/10.1017/s1356186309009882.

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Arambam Saroj Nalini was born in Imphal, in the then princely state of Manipur, on June 2nd 1933. Her father was a well-known and respected educationalist and government officer. During the war years he was posted to Jiribam, where she received her first education, and later transferred to a convent school in Haflong. She proceeded to Calcutta University, where she became the first Meetei woman to obtain BA and MA degrees, majoring in Philosophy. While in Calcutta she enjoyed close friendship with Christian Naga students, and converted to Christianity. She was baptised at the Lower Circular Road Baptist church, whose minister, Walter Corlett had himself served in Imphal during the war years. The Christian faith was to become a dominant influence on her future life. She came to Britain in the late 1950s to study theology, and obtained a Bachelor of Divinity degree from London University in 1961. Shortly after she married John Parratt. When their desire to work in India was frustrated they decided to work elsewhere in the developing world, initially in Nigeria, where Saroj became a tutor in philosophy at the University of Ile-Ife. When her husband was offered a research fellowship by the Australian National University she enrolled for a PhD in the Department of Asian Studies there, under the supervision of the eminent indologist A.L.Basham. Despite the frequent absences of her husband on field work in Papua-New Guinea and having to care for three young children, the bulk of the thesis was completed before she returned to Manipur for further extended field work in 1972. The doctorate was awarded three years later, one of her examiners being Professor Suniti Kumar Chatterji, who (unusually for the time) himself had a deep interest in India's north-eastern region. Her thesis was published in 1980 (Firma KLM, Calcutta) as The Religion of Manipur. It marked the beginning of a new phase in writing on Manipur by its rigorous application of critical methodology both in the collection and in the analysis of field data, and had considerable influence on younger Meetei scholars.

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Bitrus, I., I. Shittu, C. A. Meseko, and T. M. Joannis. "Occurrence and molecular detection of avian coronavirus in selected live bird markets, northwestern, Nigeria." Sokoto Journal of Veterinary Sciences 18, no. 4 (2021): 226–29. http://dx.doi.org/10.4314/sokjvs.v18i4.7.

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Infectious bronchitis (IB) is one of the most common highly infectious viral respiratory diseases of poultry having wide geographical distribution. Yet, little is known about the infection in the northwestern states of Nigeria. In this study, a total of 263 pooled cloacal and tracheal swab samples were collected from apparently healthy avian species (duck, dove, geese, guinea fowl, local chicken, ostrich, parrot, pigeon, peacock, and turkey). The samples were from nine live bird markets in three states (Kaduna, Kano and Jigawa) of northwestern, Nigeria collected from September through November 2017. Total RNAs were extracted directly from the swab samples and screened for infectious bronchitis virus (IBV) using real-time reverse transcription-polymerase chain reaction. An overall prevalence of 38.0% (100/263)was recorded. IB was detected in 70 % (7/10) of the avian species with prevalence of 100 % in dove, local chicken 45.9 %, duck 42.3 %, geese 26.6 %, pigeon 23.5 %, turkey 20.0 % and guinea fowl 6.2 %. Conversely, no detection was made from ostrich, parrot, and peacock. Widespread distribution of IBV was observed and evidence of subclinical infection in seven out of ten (70 %) of the avian species sampled. These avian species harbouring IBV may act as reservoirs with an influence on the ecology and epidemiology of the disease. Continuous surveillance and characterization of the different serotypes in avian species are recommended to inform the adoption of suitable vaccination strategy and control measures for the disease in Nigeria. Keywords: Infectious bronchitis virus, Live bird markets (LBMs), Molecular detection, Nigeria, Poultry

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Cammaerts, Marie-Claire, and Roger Cammaerts. "Learning a Behavioral Sequence: An Accessible Challenge for Myrmica sabuleti Workers?" International Journal of Biology 10, no. 2 (2017): 1. http://dx.doi.org/10.5539/ijb.v10n2p1.

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We aimed to investigate on the ability of the ant Myrmica sabuleti in learning a behavioral sequence. We created two sequences consisting in navigating through five successive elements on the way to the nest, and tried to learn them to foragers. They could progressively learn a sequence for which the different steps were presented in a backward order. Doing so, each exhibited step leaded to an already known step and thus to the reward consisting in finally entering the nest. The ants were unable to learn a behavioral sequence for which the different steps were presented in a forward order. With the latter kind of presentation, each exhibited step leaded to an unknown step and thus not to the reward. Myrmica sabuleti ants learned thus a behavioral sequence when going through operant conditioning and not by using the response to a step as a motivation for responding to the next step. On the contrary, highly evolved mammals (monkey, humans) and birds (parrots) can learn a behavioral sequence according to a backward or a forward chaining, or by being presented with the entire sequence and memorizing, then imitating the different steps.

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Sánchez, Joseph P. "The Jumanos: Hunters and Traders of the South Plains. Nancy Parrott Hickerson." Journal of Anthropological Research 51, no. 3 (1995): 279–80. http://dx.doi.org/10.1086/jar.51.3.3630362.

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Giret, Nicolas, Pierre Roy, Aurélie Albert, François Pachet, Michel Kreutzer, and Dalila Bovet. "Finding good acoustic features for parrot vocalizations: The feature generation approach." Journal of the Acoustical Society of America 129, no. 2 (2011): 1089–99. http://dx.doi.org/10.1121/1.3531953.

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Scheer, Edward. "The Performance of Disappearance: Mike Parr's Amerika." TDR/The Drama Review 52, no. 3 (2008): 195–201. http://dx.doi.org/10.1162/dram.2008.52.3.195.

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Claudia Orenstein reconsiders the notion of “entertainment for the whole family” via a puppetry-centered program that, by drawing on the power of performing objects, delves into the uncanny and fantastical to appeal to young minds, inventive artists, and adventurous adult spectators alike. Edward Scheer considers the aesthetics of disappearance within Australian performance artist Mike Parr's most recent series of actions, Amerika, which involve extreme physical demands even as they posit the body as subject simultaneously to its own presence and absence.

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Jernejšek, Jasna, and Martin Parr. "Photography Is the Only Art Form That We All Do: Interview with Martin Parr." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 24–29. http://dx.doi.org/10.47659/m5.024.int.

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Martin Parr (1952) is considered to be one of the most iconic and influential photographers of his generation. Parr, whom obtained a photography degree at Manchester Polytechnic (1970–1973), joined the classics of British documentary photography with a series of black and white photographs of the disappearing folk customs of Northern England. In the 80s he managed to make his breakthrough to the global photography scene (and market). At that time, impressed by American colour photography, he took on photographing on colour film himself. He made The Last Resort (1983–1985), a series of British working class while spending holidays in a coastal resort in New Brighton, which remains one of his most recognizable work to this day. After its first presentation in the Serpentine Gallery in London in 1986, the project triggered turbulence and division of opinions of both professionals and general public. Polarization of opinions became a constant in Parr’s photography career. The polemics he caused by first becoming a member (1994) and then the president of Magnum Photos (2013–2017) are well known. The critics castigated Parr for being cruel and voyeuristic, and that he claimed to only be photographing what he sees, while he benefited from making a mockery of others. His unconventional use of the medium, smooth traversing through different contexts of photography and flirting with obvious commercial interests was deemed controversial and questionable by many (until today). Keywords: Martin Parr, photobook, photographic backdrop, portrait, studio photography

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Childers, Mary M. "“The Parrot or the Pit Bull”: Trying to Explain Working‐Class Life." Signs: Journal of Women in Culture and Society 28, no. 1 (2002): 201–20. http://dx.doi.org/10.1086/340919.

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Paschalis, Michael. "The Abduction of Helen: A Reappraisal." Ramus 37, no. 1-2 (2008): 136–50. http://dx.doi.org/10.1017/s0048671x0000494x.

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‘Bad poetry is written daily, and married women seduced; but it is seldom that a seduction becomes as famous as Helen's, or that a poem as bad as Colluthus’ survives for fourteen centuries to be re-edited with all the apparatus of scholarship and equipped with commentary at the rate of a page for every two lines of verse. γᾷ δ' ἐπισκήπτων πιϕαύσκω: Colluthus is one of the very worst ancient poets to have come down to us. His only notion of the art is to arrange in hexameters phrases borrowed from his predecessors, with little sense of their appropriateness or of narrative coherence. It is as if a parrot had learnt to fit his pseudo-speech to the metre of Shakespeare. Colluthus can give delight, but only to a connoisseur of the ludicrous.’ The opening paragraph of Martin West's review of Enrico Livrea's annotated edition of Colluthus may be the most devastating appreciation of The Abduction of Helen ever written. At the other end stands Giuseppe Giangrande's review of the same edition: ‘Colluthus was a poète savant, who delighted in skillfully borrowing, often with felicitous “humour” and “malice”, from his epic models, and who dexterously applied oppositio in imitando within the framework of arte allusiva.’

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Fu, Yongchun. "From ‘parrot’ to ‘butterfly’: China's hybridization of Hollywood in distribution systems in the 1920s and 1930s." Journal of Chinese Cinemas 8, no. 1 (2014): 1–16. http://dx.doi.org/10.1080/17508061.2013.875725.

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Tartsinis, Ann Marguerite. "The Magic in the Dye Pot: Mable Morrow, Alice Kagawa Parrott, and Sites of Exchange in Modern Weaving." Journal of Modern Craft 11, no. 1 (2018): 39–53. http://dx.doi.org/10.1080/17496772.2018.1440810.

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Ooghe, Bart. "The Rediscovery of Babylonia: European Travellers and the Development of Knowledge on Lower Mesopotamia, Sixteenth to Early Nineteenth Century." Journal of the Royal Asiatic Society 17, no. 3 (2007): 231–52. http://dx.doi.org/10.1017/s1356186307007237.

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Since the creation of its first disciplinary histories in the late nineteenth century, Near Eastern archaeology has perceived its origins largely in terms of individual breakthroughs, following the common precepts of a pre-Annales historiography. The founding figures mentioned in the works of Rogers, Hilprecht, Budge or Parrot were either great explorers, great scholars or, most importantly, great excavators. From Della Valle's first tentative explorations at Babylon in 1616 to the major excavations at Nineveh and Babylon three centuries later, Near Eastern archaeology saw itself as the fruit of individual discovery. ‘Real’ archaeology was furthermore perceived as a natural rather than a human science and subsequently taken to have originated in nineteenth-century positivism; earlier accounts were hinted at in only the briefest fashion.

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Kay, Sarah. "The Monolingualism of the Parrot, or the Prosthesis of Origins, in Las Novas del papagay." Romanic Review 101, no. 1-2 (2010): 23–35. http://dx.doi.org/10.1215/26885220-101.1-2.23.

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Flueckiger, Joyce Burkhalter. "Land of Wealth, Land of Famine: The Sua Nac (Parrot Dance) of Central India." Journal of American Folklore 100, no. 395 (1987): 39. http://dx.doi.org/10.2307/539988.

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Batsleer, Janet. "Three Spirits: Breakdowns Present, Past and Yet to Come." Journal of Working-Class Studies 4, no. 2 (2019): 102–10. http://dx.doi.org/10.13001/jwcs.v4i2.6233.

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This paper is a meditation on processes of social abjection within working-class life, on how they have changed and yet how they remain haunted by the possibility of an otherwise, especially in relation to bodily and mental and emotional pain and distress, anguish and torment, otherwise classified as depression, or nymphomania, or hypersexualisation, or anxiety, or paranoia and so on. Social abjection is a process of rendering certain lives and life experiences as unreadable except as social detritus. Working-class pain is abject, individualised and still often shamed. And the process of abjection is itself painful and not without the marks of struggle. Usually the role of women is to offer comfort and strength, often through classed practices of care and mothering (Crean,2018). But what happens when it is the women whose pain is abject? The haunting I am writing about here therefore is the haunting possibility of a return to a more collective approach to such distress, a return to a sense of future possibility as yet unfulfilled. In order to bring this possibility more fully to mind, I consider Martin Parr’s photographs recently in an exhibition at Manchester Art Gallery and Alisha’s poetry which was posted as part of her work with The Agency, (a creative project with young people). These rather different art works open up the question of how ‘mental health’ emerges as a threshold at which both capital-based violences and a resistant working-class affect can be found.

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Patterson, D. K., and I. M. Pepperberg. "A comparative study of human and parrot phonation: Acoustic and articulatory correlates of vowels." Journal of the Acoustical Society of America 96, no. 2 (1994): 634–48. http://dx.doi.org/10.1121/1.410303.

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Stoddard, Christine. "The Infinity Machine: Mike Parr's Performance Art, 1971–2005. By Edward Scheer. Melbourne: Schwartz City, 2009; 200 pp.; illustrations. $49.95 paper." TDR/The Drama Review 55, no. 3 (2011): 189–91. http://dx.doi.org/10.1162/dram_r_00113.

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Orenstein, Claudia. "The New Victory Danish Festival: A New Perspective on Puppetry and Family Entertainment." TDR/The Drama Review 52, no. 3 (2008): 187–95. http://dx.doi.org/10.1162/dram.2008.52.3.187.

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Claudia Orenstein reconsiders the notion of “entertainment for the whole family” via a puppetry-centered program that, by drawing on the power of performing objects, delves into the uncanny and fantastical to appeal to young minds, inventive artists, and adventurous adult spectators alike. Edward Scheer considers the aesthetics of disappearance within Australian performance artist Mike Parr's most recent series of actions, Amerika, which involve extreme physical demands even as they posit the body as subject simultaneously to its own presence and absence.

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Scott, Michael W. "To be Makiran is to see like Mr Parrot: the anthropology of wonder in Solomon Islands." Journal of the Royal Anthropological Institute 22, no. 3 (2016): 474–95. http://dx.doi.org/10.1111/1467-9655.12442.

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50

Long, A. A. "Epictetus as Socratic mentor." Proceedings of the Cambridge Philological Society 46 (2001): 79–98. http://dx.doi.org/10.1017/s0068673500002455.

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In Tom Wolfe's most recent novel, A Man In Full, a young Californian, down on his luck, converts a macho sixty-year old tycoon, facing financial ruin, to Stoicism. The young man, Conrad, has miraculously escaped from the Santa Rita gaol as a result of an earthquake. Shortly before, he had discovered Epictetus in a book called The Stoics, a book he had been sent mistakenly in place of a riveting thriller by his favourite author with the title, The Stoics' Game. He rapidly comes across this passage: ‘I [Zeus] gave you a portion of our divinity, a spark from our own fire, the power to act and not to act, the will to get and the will to avoid. If you pay heed to this, you will not groan, you will blame no man, you will flatter none’ (p. 398). Conrad is hooked. An innocent among a bunch of hideous felons, he asks himself: ‘What would Epictetus have done with this bunch? What could he have done? How could you apply his lessons two thousand years later, in this grimy gray pod, this pigsty full of beasts who grunted about mother-fuckin this and mother-fuckin that?’ (p. 410). Conrad memorises chunks of Epictetus. He refers a series of challenges to Zeus, overcomes a thug twice his size, and radiates Stoic strength. At the end, hired as a male nurse in Atlanta for the massive but now ailing Croker, the about-to-be ruined tycoon, Conrad tells Croker about the Stoic Zeus and Epictetus. Croker was on the point of clinching a deal that would have saved him from bankruptcy at the cost of compromising his Georgian sense of honour. Instead, he gives a press conference, disavows all interest in wealth, parrots Epictetus to the bemused Atlanta elite, and walks away from everything that had previously defined his life. At the end we learn that he has become a highly successful televangelist, with a programme called ‘The Stoic's Hour’.

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Journal articles on the topic 'Parrots in art'

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