Journal articles on the topic 'Spanish encyclopedia'

AbstractIn the early twentieth century, encyclopedias addressed to children and youths became special reference works concerning science and technology education. In search of greater comprehension of this historical process, I analyse The Children's Encyclopedia’s representation of science and technology, and how it was re-edited by the North American publishing company that bought its copyrights and promoted its circulation in several countries. Furthermore, I examine how its contents were appropriated in its translations into Portuguese and Spanish, which circulated in Latin America in the first half of the twentieth century. The comparison between the different versions reveals that the writings of science and technology are practically the same, with significant changes only in literature and in the approach of historical and geographical themes. I then argue that, even keeping the scientific contents virtually unchanged, these versions of the encyclopedia gave it a new meaning, because of the contexts in which they circulated. Finally, I show how the appropriations of the encyclopedia contributed to the promotion of scientific values and technological innovation as the core development and as a model of civilization for South American nations.

Although a small, fractured kingdom during the fifteenth century, Spain’s interest in exploration and expanding resources led to a more unified kingdom and later the largest Empire in the world. This early history has shaped the world significantly. The exchange of foods, animals, and natural resources throughout the world, the introduction of diseases to new territories, and the blending of indigenous and European cultures continues to shape our world in unique ways.

Kenny is an assistant professor of anthropology at Missouri State University with research experience in East and West Africa. Nichols is a professor of Spanish at Drury University with her research specializing in cultures of Latin America. Nichols has also co-written Pop Culture in Latin American and the Caribbean (ABC-CLIO, 2015) and authored a chapter on beauty in Venezuela for the book The Body Beautiful? Identity, Performance, Fashion and the Contemporary Female Body (Inter-Disciplinary Press, 2015). Both authors have taught extensively on the topic of beauty and bodies (xi).

This article is focused on the identities of peoples, a matter of current relevance, among other reasons because it is linked to the issue of nationalisms. We adopt a uniform and essentialist conception of the being of each people, particularly in dictatorial regimes. This way of conceiving identity is characterized by its consideration of history, ethnic heritage, language, values - considered to be eternal - , together with heroes and their symbols, as the pillars that support it; this is what is called an essentialist identity. We use the three volumes of the Álvarez Encyclopedia as documentary sources. The qualitative methodology used is of a hermeneutical nature, taking into account the contributions of the historical method. The main objective of this research is to reveal what was considered the essence of being Spanish in the Álvarez Encyclopedia, which was the most widely used textbook in the primary schools under the Francoist regime. The textbooks analyzed served as instruments for shaping and conforming children in the ideals of the moment, that is, in national-Catholicism.

This paper aims to explore the incidence of didactic strategies on the usage of anaphoric resources, in written expository texts, produced by Spanish speaking children, from Córdoba, Argentina. In order to identify and analyze the anaphoric resources used by children, we designed and implemented a sequence of didactic activities, based on gender textual characteristics. The genre to teach was the “encyclopedia entry”. We analyzed the children production obstacles and difficulties and compared the productions before and after the didactic intervention, in order to assess the impact of teaching in the development of the cohesion devices. Eighty Spanish speaking children, of 3rd grade who attended two schools from Córdoba, Argentina, participated in this study. The results showed consistent changes after the didactic intervention that mainly consisted in an increase of the diversity of resources and the adequacy score in final productions; a higher presence of lexical resources, a higher precision and a decrease of ambiguous ellipsis.

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

Digital transformation of the society makes digital technologies introduction greatly significant. An electronic dictionary is a type of digital resources that can be used not only as a dictionary but also as an encyclopedia and as an explanatory dictionary. Therefore, such a dictionary is highly efficient for educational as well as scientific research purposes. It greatly contributes to students-philologists language competence development. Moreover, it facilitates the development of students-programmers professional and research competencies. Electronic dictionaries use for educational purposes has been significantly investigated by many outstanding scholars. However, high-quality electronic dictionaries design requires a thorough study and analysis. Therefore, the aim of the article is to consider the foreign experience in electronic multilingual dictionaries design, which will contribute to a quality electronic dictionary compilation. The research highlights numerous approaches to creating electronic dictionaries model and design. Unquestionably, there is no single approach to electronic and explanatory dictionaries design. Nonetheless, there are several approaches proposed by the leading authorities. The article highlights the basics of electronic dictionary development, various dictionaries models (the model of systematic educational design, electronic dictionary functional modules, the system of Chinese dictionary design, the educational model structural scheme for word identification, the structural scheme for label learning system, the configuration for electronic dictionary automatic design, functional dictionary model, relationships model for English-Spanish explanatory dictionary). It presents the algorithms for their creation, outlines their functional features and analyzes existing electronic dictionaries. The prospects for further research lie in the analysis of explanatory dictionary characteristic features and the development of the algorithm for its design.
 Keywords: dictionary, electronic dictionary, electronic explanatory dictionary, multilingual dictionary, design, development, model development, foreign experience.

The article analyzes the economic entries of the main Spanish general encyclopedias of the late nineteenth and early twentieth centuries: Diccionario enciclopédico (1887–1898) and Enciclopedia universal (1908–1930). Both works include the contributions of prestigious Spanish and Latin American intellectuals, and were designed for distribution in Spain and Latin American markets. Diccionario enciclopédico was the first to introduce the “social question” in its economic entries, which were drafted by the most outstanding Spanish economists at the time. These entries were characterized by the absence of any significant mention of historicism and marginalism, which illustrates the isolationism of Spanish economists during the late nineteenth century. Enciclopedia universal, on the other hand, was not entirely drafted by academic economists. Nevertheless, its economic entries account for a complete outline of marginalism, Marxism, and historicism. Apart from the traditional goals of compiling the intellectual advances made in any area of human knowledge for educational purposes, the economic entries of both encyclopedias aimed at popularizing some kind of economic knowledge in order to prepare minds for the reception of specific doctrines and agendas: the secular social doctrine of Spanish Krausism and the religious Social Catholicism, respectively.

The Spanish black cinema: from the Spanish noir to the present police one. It proposes a trip from the background of the Spanish black cinema - 1940s - to the present. The play, broken into 6 chapters - actually 8, although the last two are considered annexes with encyclopedic functions - goes chronologically through the evolution of the gender, making notes about his most relevant feature films and directors. The author guides us through comments and personal opinions, that are based in both critics from professionals of the time - Méndez Leite or Fernandez Santos - and declarations from the filmmakers themselves - from Rovira Beleta to Enrique Urbizu.

Summary This article studies Ramón Joaquín Domínguez’s (1811–1848) Diccionario Nacional ó gran diccionario clásico de la lengua española (1846–1847), the first encyclopedic work written in Spain. Firstly, a historical account of the context in which this lexicographic work emerged is provided. Secondly, Domínguez’s life, work and political ideas are examined. Finally, the disapproval of the Royal Spanish Academy in the Diccionario Nacional is analyzed. I argue that, in keeping with the French encyclopedic tradition, Domínguez displayed an openly political standpoint in his dictionary and criticized both political ideas and institutions of power that he considered a hindrance to progress and liberalism.

The aim of this paper was to investigate anaphoric processing of the null pronoun in Brazilian Portuguese and determine whether the perception of morphological gender features has a disambiguating effect during the process of reading. This feature enables the anaphoric null pronoun to be interpreted as referring to either the subject or object. We assume the proposal put forth by Carminati (2005) regarding the resolution of the null subject pronoun, which is based on the investigation of the processing of full and null pronouns in Italian. The sample of the present study was composed of 32 speakers of university-level Brazilian Portuguese. The stimuli were temporal adverbial subordinate clauses with the manipulation of the gender feature in the participle as disambiguating information. The authors used the self-paced reading experimental paradigm with a control response. The results were in line with that predicted by the Feature Strength Hypothesis and Antecedent Position Hypothesis put forth by Carminati (2005).
 References
 
 Ariel, M. (1991). The function of accessibility in a theory of grammar. Journal of Pragmatics, 16(5), 443-463. doi: 10.1016/0378-2166(91)90136-L
 Carminati, M. N. (2002). The processing of Italian subject pronouns. Dissertação de doutoramento, University of Massachusetts at Amherst, Amherst, MA: GLSA Publications.
 Carminati, M. N. (2005). Processing reflexes of the Feature Hierarchy (Person > Number > Gender) and implications for linguistic theory. Lingua, 115, 259–285. doi: 10.1016/j.lingua.2003.10.006
 Lasnik, H. & Lohndal, T. (2017). Noam Chomsky. In Oxford Research Encyclopedia of Linguistics. doi: 10.1093/acrefore/9780199384655.013.356
 Duarte, M. E. L. (2015) A perda do princípio “Evite Pronome” no Português Brasileiro. Campinas, SP: EDUNICAMP.
 Filiacia, F. Soracea, A., Carreiras M. (2013) Anaphoric biases of null and overt subjects in Italian and Spanish: a cross-linguistic comparison. Language, Cognition and Neuroscience, doi: 10.1080/01690965.2013.801502
 Gelormini-Lezama, C., Almor, A. (2011). Repeated names, overt pronouns, and null pronouns in Spanish, Language and Cognitive Processes, 26(3), 437-454. doi: 10.1080/01690965.2010.495234
 Gonçalves, A. V. G., Sousa, M. L. (2012). Ciências Da Linguagem: O Fazer Cientifico?. (1. Ed.). São Paulo, SP. Editora Mercado de letras.
 Grosjean, F. (1996). Living with Two Languages and Two Cultures. In I. Parasnis, Ed. Cultural and language diversity and the deaf experience. (pp. 20-37). Cambridge: Cambridge University Press.
 Kaiser, E., Fedele, E. (2019). Reference resolution: a psycholinguistic perspective. J. Gundel & B. Abbott, (Eds.). The Oxford Handbook of Reference. doi: 10.1093/oxfordhb/9780199687305.013.15
 Lapertua, M. (2004) Sujeito nulo na aquisição: um parâmetro em mudança – sujeito preenchido na aprendizagem: a eterna tentativa de mudança. Revista do Gelne, 6(1), 141.
 Limberger, B., Buchweitz, A. (2012). Estudos sobre a relação entre bilinguismo e cognição: o controle inibitório e a memória de trabalho. Letrônica, 5(3), 67-87,
 Lucchesi, D. (2009). A realização do sujeito pronominal. In D. Lucchesi, A. Baxter, & I. Ribeiro, (Eds.). O português afro-brasileiro (pp. 165-183). Salvador, BA: EDUFBA.
 Presuss, E. O., Finger, I. F. (2018). A dinâmica do Processamento Bilíngue. Campinas, SP. Pontes Editoras.
 Veríssimo, V. (2017). A evolução do conceito de parâmetro do sujeito nulo. Entrepalavras, Fortaleza, 7, 76-90.
 Xavier, G. R. (2006). Português Brasileiro como Segunda Língua: Um Estudo sobre o Sujeito Nulo. Campinas, SP: EDUNICAMP.

In the genre designated "travel literature", which reflects the impressions that our country and its people raised in foreign visitors, the book by French naturalist Pierre Marie Arthur Morelet, Voyage dans L'Amerique Centrale, L'ile de Cuba et le Yucatan (Paris, 1857), certainly occupies a place of honor given the quality of his landscape descriptions, the sharpness of his observations on the socioeconomic situation of Southern Mexico, his significant reflections on culture (rooted in his encyclopedic training) and the excellence of his pen. This article is an invitation to read his work, in the light of its recent full publication in Spanish.

Afro-Atlantic Dialogues: Anthropology in the Diaspora, edited by Kevin A. Yelvington (reviewed by Aisha Khan)Central Africans, Atlantic Creoles, and the Foundation of the Americas, 1585-1660, by Linda M. Heywood & John K. Thornton (reviewed by James H. Sweet)An Eye for the Tropics: Tourism, Photography, and Framing the Caribbean Picturesque, by Krista A. Thompson (reviewed by Carl Thompson)Taíno Indian Myth and Practice: The Arrival of the Stranger King, by William F. Keegan (reviewed by Frederick H. Smith) Historic Cities of the Americas: An Illustrated Encyclopedia, by David F. Marley (reviewed by Richard L. Kagan) Arming Slaves: From Classical Times to the Modern Age, edited by Christopher Leslie Brown & Philip D. Morgan (reviewed by James Sidbury)Sweet Negotiations: Sugar, Slavery, and Plantation Agriculture in Early Barbados, by Russell R. Menard (reviewed by Kenneth Morgan)Jamaica in 1850 or, The Effects of Sixteen Years of Freedom on a Slave Colony, by John Bigelow (reviewed by Jean Besson) Moral Capital: Foundations of British Abolitionism, by Christopher Leslie Brown (reviewed by Cassandra Pybus) Caribbean Journeys: An Ethnography of Migration and Home in Three Family Networks, by Karen Fog Olwig (reviewed by George Gmelch) Afro-Caribbean Immigrants and the Politics of Incorporation: Ethnicity, Exception, or Exit, by Reuel R. Rogers (reviewed by Kevin Birth) Puerto Rican Arrival in New York: Narratives of the Migration, 1920-1950, edited by Juan Flores (reviewed by Wilson A. Valentín-Escobar)The Conquest of History: Spanish Colonialism and National Histories in the Nineteenth Century, by Christopher Schmidt-Nowara (reviewed by Aline Helg)Gender and Slave Emancipation in the Atlantic World, edited by Pamela Scully & Diana Paton (reviewed by Bernard Moitt) Gender and Democracy in Cuba, by Ilja A. Luciak (reviewed by Florence E. Babb) The “New Man” in Cuba: Culture and Identity in the Revolution, by Ana Serra (reviewed by Jorge Duany) Lydia Cabrera and the Construction of an Afro-Cuban Cultural Identity, by Edna M. Rodríguez-Mangual (reviewed by Brian Brazeal) Worldview, the Orichas, and Santeria: Africa to Cuba and Beyond, by Mercedes Cros Sandoval (reviewed by Elizabeth Pérez)The 1812 Aponte Rebellion in Cuba and the Struggle against Atlantic Slavery, by Matt D. Childs (reviewed by Manuel Barcia) Caliban and the Yankees: Trinidad and the United States Occupation, by Harvey R. Neptune (reviewed by Selwyn Ryan) Claims to Memory: Beyond Slavery and Emancipation in the French Caribbean, by Catherine A. Reinhardt (reviewed by Dominique Taffin) The Grand Slave Emporium, Cape Coast Castle and the British Slave Trade, by William St. Clair (reviewed by Ray A. Kea) History of the Caribbean, by Frank Moya Pons (reviewed by Olwyn M. Blouet) Out of the Crowded Vagueness: A History of the Islands of St Kitts, Nevis & Anguilla, by Brian Dyde (reviewed by Karen Fog Olwig) Scoping the Amazon: Image, Icon, Ethnography, by Stephen Nugent (reviewed by Neil L. Whitehead)

The following bibliography continues, in an expanded and updated version, the one with the same title published earlier in these pages. The purpose remains the same: to give the non-Scandinavian language speaker an opportunity to follow the legal developments within the last decade in Denmark, Finland, Iceland, Norway, and Sweden. The work primarily includes books, essays, reports and articles published between 1989 and 1998, but it also wants to point the reader to general works such as comparative treatises, encyclopedias and looseleaf works, where legal information about the Nordic countries also can be found. The bibliography reflects what has been received at the Swiss Institute of Comparative Law during this period, and makes no claim to be comprehensive.

This work is devoted to the study of one of the means of actualization of the precedent situation in the Spanish language on the materials of journalism. It examines the verbs formed from the names with the productive causative suffix values -izar, and also their derivatives – a gerund, indicating the action, and nouns with the suffix -ción, expressing the action and result of action – value motivational framework.These means are derived from the names of countries and regions, where in certain periods of their history there have occurred certain events, which served as the basis for the emergence of new words denoting phenomena and processes, characteristic not only of these countries, but also in other regions of the world.In contrast to the dictionary definitions of the nuclear meaning of these derivatives, their meaning when used as actualizers of the precedent situation is derived from the background, encyclopedic knowledge of the recipient or explicated in the context.Similar processes taking place in different countries may determine the synonymous nature of the respective derivatives. For example, the verbs panamizar and gibraltarizar bear the differential features of the precedent situation «colonization» in the economic and cultural spheres; derivatives vietnamizar, somalización, balcanizar, libanizar in their key value actualize a situation of «hostilities»; balcanizar and polonizar carry the meaning of «fragmentation of the state» and «termination of the existence of the subject».The results of this study can be used in courses on intercultural communication and cultural linguistics.

Durante los siglos xvi y xvii prolifera la edición de obras de carácter enciclopédico que tratan de ordenar con diversos criterios los conocimientos provenientes de la Antigüedad grecolatina. Han sido estudiadas parcialmente las denominadas polianteas (del griego «muchas flores») y la influencia que ejercieron en diversos autores del Siglo de Oro español. Tras un preliminar histórico y crítico, en este artículo se analizan algunas de las obras más importantes de estas características y se pone de relieve el creciente cuidado con que se ordenaron sus contenidos y, en consecuencia, su perfeccionamiento como obras de consulta.In the 16th and 17th centuries, editing of encyclopedic works that deals with ordering the knowledge of Greco-Roman antiquity with diverse criterias was widespread. The so-called poliantheas (from the Greek words ‘many flowers’) and the influence exerted on various writers of the Spanish Golden age have been partially studied. After a historical and critical preliminary, this article examines some of the most important features of these works and highlights the care with which its contents were ordered and, consequently, its further development as reference works.

ResumenJulián Marías es un autor español sumamente desconocido. Fue uno de los discípulos señeros de José Ortega y Gasset. Su libertad de pensamiento y su capacidad crítica, aderezadas de conocimientos enciclopédicos, lo ocultaron siempre de los reflectores populares y de las veleidades políticas. Por este motivo, para vergüenza nacional, nunca ocupó cátedra alguna de magisterio público.En este artículo se intentan bosquejar las líneas maestras de su pensamiento propio. Sobre bases orteguianas, Marías fue capaz de generar su propia filosofía. La base de ella es la noción de persona y su descripción como centro de la realidad. AbstractJulián Marías is an extremely unknown Spanish author. He was one of the main disciples of José Ortega y Gasset. His liberty of thought and his critical capability, adorned with encyclopedic knowledge, hid him from popular spotlights and political whims. For this reason, as national shame, he never took any charge regarding public teaching.This article attempts to sketch the main lines of his thoughts. On orteguian fundaments, Marías was capable of creating his own philosophy. The base of it is the notion of person and its description as the center of reality.

J. Lennart Berggren and Alexander Jones, Ptolemy's Geography: An Annotated Translation of the Theoretical Chapters. By Karin Tybjerg 194Natalia Lozovsky, ‘The Earth is Our Book’: Geographical Knowledge in the Latin West ca. 400–1000. By Evelyn Edson 196David Cantor (ed.), Reinventing Hippocrates. By Daniel Brownstein 197Peter Dear, Revolutionizing the Sciences: European Knowledge and Its Ambitions, 1500–1700. By John Henry 199Paolo Rossi, Logic and the Art of Memory: The Quest for a Universal Language. By John Henry 200Marie Boas Hall, Henry Oldenburg: Shaping the Royal Society. By Christoph Lüthy 201Richard L. Hills, James Watt, Volume 1: His Time in Scotland, 1736–1774. By David Philip Miller 203René Sigrist (ed.), H.-B. de Saussure (1740–1799): Un Regard sur la terre, Albert V. Carozzi and John K. Newman (eds.), Lectures on Physical Geography given in 1775 by Horace-Bénédict de Saussure at the Academy of Geneva/Cours de géographie physique donné en 1775 par Horace-Bénédict de Saussure à l'Académie de Genève and Horace-Bénédict de Saussure, Voyages dans les Alpes: Augmentés des Voyages en Valais, au Mont Cervin et autour du Mont Rose. By Martin Rudwick 206Anke te Heesen, The World in a Box: The Story of an Eighteenth-Century Picture Encyclopedia. By Richard Yeo 208David Boyd Haycock, William Stukeley: Science, Religion and Archaeology in Eighteenth-Century England. By Geoffrey Cantor 209Jessica Riskin, Science in the Age of Sensibility: The Sentimental Empiricists of the French Enlightenment. By Dorinda Outram 210Michel Chaouli, The Laboratory of Poetry: Chemistry and Poetics in the Work of Friedrich Schlegel. By David Knight 211George Levine, Dying to Know: Scientific Epistemology and Narrative in Victorian England. By Michael H. Whitworth 212Agustí Nieto-Galan, Colouring Textiles: A History of Natural Dyestuffs in Industrial Europe. By Ursula Klein 214Stuart McCook, States of Nature: Science, Agriculture, and Environment in the Spanish Caribbean, 1760–1940. By Piers J. Hale 215Paola Govoni, Un pubblico per la scienza: La divulgazione scientifica nell'Italia in formazione. By Pietro Corsi 216R. W. Home, A. M. Lucas, Sara Maroske, D. M. Sinkora and J. H. Voigt (eds.), Regardfully Yours: Selected Correspondence of Ferdinand von Mueller. Volume II: 1860–1875. By Jim Endersby 217Douglas R. Weiner, Models of Nature: Ecology, Conservation and Cultural Revolution in Soviet Russia. With a New Afterword. By Piers J. Hale 219Helge Kragh, Quantum Generations: A History of Physics in the Twentieth Century. By Steven French 220Antony Kamm and Malcolm Baird, John Logie Baird: A Life. By Sean Johnston 221Robin L. Chazdon and T. C. Whitmore (eds.), Foundations of Tropical Forest Biology: Classic Papers with Commentaries. By Joel B. Hagen 223Stephen Jay Gould, I Have Landed: Splashes and Reflections in Natural History. By Peter J. Bowler 223Henry Harris, Things Come to Life: Spontaneous Generation Revisited. By Rainer Brömer 224Hélène Gispert (ed.), ‘Par la Science, pour la patrie’: L'Association française pour l'avancement des sciences (1872–1914), un projet politique pour une société savante. By Cristina Chimisso 225Henry Le Chatelier, Science et industrie: Les Débuts du taylorisme en France. By Robert Fox 227Margit Szöllösi-Janze (ed.), Science in the Third Reich. By Jonathan Harwood 227Vadim J. Birstein, The Perversion of Knowledge; The true Story of Soviet Science. By C. A. J. Chilvers 229Guy Hartcup, The Effect of Science on the Second World War. By David Edgerton 230Lillian Hoddeson and Vicki Daitch, True Genius: The Life and Science of John Bardeen, the Only Winner of Two Nobel Prizes in Physics. By Arne Hessenbruch 230Stephen B. Johnson, The Secret of Apollo: Systems Management in American and European Space Programs, John M. Logsdon (ed.), Exploring the Unknown: Selected Documents in the History of the U.S. Civil Space Program. Volume V: Exploring the Cosmos and Douglas J. Mudgway, Uplink-Downlink: A History of the Deep Space Network 1957–1997. By Jon Agar 231Helen Ross and Cornelis Plug, The Mystery of the Moon Illusion: Exploring Size Perception. By Klaus Hentschel 233Matthew R. Edwards (ed.), Pushing Gravity: New Perspectives on Le Sage's Theory of Gravitation. By Friedrich Steinle 234Ernest B. Hook (ed.), Prematurity in Scientific Discovery: On Resistance and Neglect. By Alex Dolby 235John Waller, Fabulous Science: Fact and Fiction in the History of Scientific Discovery. By Alex Dolby 236Rosalind Williams, Retooling: A Historian Confronts Technological Change. By Keith Vernon 237Colin Divall and Andrew Scott, Making Histories in Transport Museums. By Anthony Coulls 238

During the last part of the fifteenth and the first decades of the sixteenth centuries, the dissemination of Petrarch’s Trionfi – the so-called ‘second wave’ of Petrarchism – was characterized by the extraordinary editorial success, in Italy as well as in the rest of Western Europe, of Bernardo Ilicino’s Commento on the Trionfi. By promoting an erudite, encyclopedic, and moralizing reading of Petrarch’s poem, Ilicino’s commentary effectively became a lens through which generations of European readers approached the text. Nonetheless, the dissemination of the commentary proved not to be immune from the influence of sixteenth-century lyrical Petrarchism, which started developing almost at the same time but would not reach peak until few years later. A comparative study of the three known translations of Ilicino’s Commento in Catalan, French and Spanish – even more so, vis à vis the translation of the poem without the commentary – allows us to identify similarities among these translations, as well as important differences. Some of these differences reveal that while the commentary was still sought after by early sixteenth-century readers of Petrarch’s poem, the general approach towards the poem was already starting to shift in the direction of Petrarchism. The three European translations of Ilicino’s Commentary, when organized chronologically, help shed light on how much the reception of the Triumphs was influenced at the time by the parallel development of European Petrarchism, which promoted a more direct, literary approach towards the poem.

The article is devoted to analyzing the role of the French language in the European society of the XVI century, when la langue francoyse becomes the common language of the communication to both in the field of the official correspondence and in the literature. The research is conducted in the diachronic aspect, concerning different extralinguistic factors (political, ideological, historical and cultural). The origins of this phenomenon are considered: for example, since the XI century, French language was the official language of the court of England and the aristocracy, and then became the working language of the court (le français du loi) and Parliament (the so-called Norman French). Gradually, the tendency to use French as a means of communication between the king and his entourage became the norm of court etiquette in Europe. The XVI century is not only the period of active formation of the French language as the national literary language of France, but also the time of its distribution in Europe as the language of diplomacy, international business and cultural communication of the European elite. The work shows how, due to the compositions of encyclopedic scientists, the work of Francophone teachers outside of France, and the popularization of the French language by translators-humanists (who served at the court of the king François I and his descendants), la langue francoyse consolidated its position in the international arena in the XVI century. At the same time, with the spread of translations into French from the ancient languages (Latin, ancient Greek) the interest of the secular elite of France increases to the past of Europe. And the translations into French from the “living” languages (Italian and Spanish) contributed to the interest to the current problems of modern European literature, as well as history, politics and culture, which was typical for the Renaissance. The article deals with the special attitude of the Renaissance to the French language through the prism of the language worldview of that epoch.

Balzac’s realistic technique relies mainly on the verisimilitude of a huge variety of elements (characters, descriptions, encyclopedic knowledge, etc.), among which language stands out as one of the mainstays of La Comedie humaine in general and Illusions perdues — the key novel — in particular. This paper highlights first the crucial role of Balzac’s singular vocabulary (technical terms, slang words, etc.) for the success of his ambitious realist project, the variety and complexity of his language being a reflection of the variety and complexity of the new society he aims to describe. Then, through a comparative study of a group of English and Spanish translations of Illusions perdues, the paper insists on the importance of consciously maintaining Balzac’s complex lexical singularities in the target languages, this being the only way to offer the reader a text faithful to the realistic intentions of his author instead of a modern “dubbed” easier-tounderstand version. Résumé Le realisme de Balzac etant fonde dans une grande mesure sur la vraisemblance d’un ensemble d’elements divers (personnages, descriptions, encyclopedisme, etc.), la creation d’une ecriture de nature a reveler et dessiner avec exactitude et finesse cette vraisemblance generale, deviennent les objectifs primordiaux du romancier dans La Comedie humaine et plus particulierement dans Illusions perdues, le roman capital. Cet article souligne d’une part, la fonction decisive du lexique singulier (termes techniques, argot propre aux divers tissus sociaux, etc.) necessaire au succes du projet realiste de Balzac, puisque la variete du vocabulaire et la complexite de la plume balzacienne repondent parfaitement a la variete et a la complexite de la nouvelle societe qu’il depeint. D’autre part, l’analyse contrastive de diverses traductions d’Illusions perdues en anglais et en espagnol nous permet de comprendre et de souligner l’importance de transposer consciemment dans les langues d’arrivee les singularites lexicales balzaciennes et leur opacite originale si l’on veut offrir au lecteur etranger non pas un texte ≪ double ≫ dans une langue contemporaine plus comprehensible, mais un texte vraisemblable et donc fidele a l’ambitieuse volonte de Balzac de portraiter avec realisme la societe de son epoque.

The purpose of this study was to find out the information whether the whole language approach can improve the speaking ability for third-grade students’ elementary school. The subjects of this study were 22 of the third-grade students of elementary school Rawamangun, East Jakarta. The method of the study was action research conducting using model of Kemmis and Taggart. Data collection and analysis using data triangulation techniques. The results of the study show that speaking ability is one of the important skills used to communicate so it needs to be developed for grade 3 elementary school students. The result showed that the whole language approach can be applied as a method in improving students' speaking ability for third-grade elementary school. Therefore, teachers need to develop a whole language approach to language learning. So that it, can improve students' speaking ability.
 Keywords: Elementary student 1stgrade, Speaking ability, Whole language approach
 References
 Abu-Snoubar, T. K. (2017). On The Relationship between Listening and Speaking Grades of AL-Balqa Applied University English as a Foreign Language Students. International Education Studies, 10(12), 130. https://doi.org/10.5539/ies.v10n12p130
 Bayat, S. (2016). The effectiveness of the creative writing instruction program based on speaking activities (CWIPSA). International Electronic Journal of Elementary Education, 8(4), 617–628.
 Buckingham, L., & Alpaslan, R. S. (2017). Promoting speaking proficiency and willingness to communicate in Turkish young learners of English through asynchronous computer-mediated practice. System, 65, 25–37. https://doi.org/10.1016/j.system.2016.12.016
 Chen, L., Cheng, J., & Chou, M. (2016). Literacy Development in Preschool Children: a Whole Language Curriculum. European Journal of Language Studies, 3(1), 24–49.
 Goodman, K. (1986). What‟s whole in whole language. Portsmouth: NH: Heinemann.
 Goodman, K. (2014). What’s Whole in Language in The 21 st Century? New York: Garn Press.
 Harmer, J. (1991). The Practice of English Language Teaching. The 3th Edition. London and New York: Longman Inc.
 Herbein, E., Golle, J., Tibus, M., Schiefer, J., Trautwein, U., & Zettler, I. (2018). Fostering elementary school children’s public speaking skills: A randomized controlled trial. Learning and Instruction, 55(October), 158–168. https://doi.org/10.1016/j.learninstruc.2017.10.008
 Kemmis, S., & McTaggart, R. (1988). The action research planner (3rd ed.). Geelong, Australia: Deakin University Press.
 Khodadady, E., & Shamsaee, S. (2012). Formulaic sequences and their relationship with speaking and listening abilities. English Language Teaching, 5(2), 39–49. https://doi.org/10.5539/elt.v5n2p39
 Leong, L., & Ahmadi, S. M. (2017). An Analysis of Factors Influencing Learners ’ English Speaking Skill. International Journal of Research in English Education, 2(1), 34–41. https://doi.org/10.18869/acadpub.ijree.2.1.34
 Macintyre, P. D., Clément, R., Dörnyei, Z., & Noels, K. A. (2011). Conceptualizing Willingness to Communicate in a L2: A Situational Model of L2 Confidence and Affiliation. The Modern Language Journal, 82(4), 545–562. https://doi.org/10.1111/j.1540-4781.1998.tb05543.x
 Marzuki, M., Prayogo, J. A., & Wahyudi, A. (2016). Improving the EFL Learners’ Speaking Ability through Interactive Storytelling. Dinamika Ilmu, 16(1), 15. https://doi.org/10.21093/di.v16i1.307
 Moghadam, J. N., & Adel, S. M. R. (2011). The Importance of Whole Language Approach in Teaching English to Intermediate Iranian EFL Learners. Theory and Practice in Language Studies, 1(11), 1643–1654. https://doi.org/10.4304/tpls.1.11.1643-1654
 Ngalimun, & Alfulaila. (2014). Pembelajaran Keterampilan Berbahasa Indonesia. Yogyakarta: Aswaja Pressindo.
 Nunan, D. (2018). Teaching Speaking to Young Learners. In The TESOL Encyclopedia of English Language Teaching (First Edit). John Wiley & Sons, Inc. https://doi.org/10.1002/9781118784235.eelt0715
 Park, Hyesook & Lee, A. R. (2014). L2 learners’ anxiety. Comp. Educ., 50(1), 45–57. https://doi.org/10.1080/03050068.2013.871832
 Phadung, M., Suksakulchai, S., & Kaewprapan, W. (2016). Interactive whole language e-story for early literacy development in ethnic minority children. Education and Information Technologies, 21(2), 249–263. https://doi.org/10.1007/s10639-014-9318-8
 Saepudin, E., Sukaesih, S., & Rusmana, A. (2018). Peran Taman Bacaan Masyarakat (Tbm) Bagi Anak-Anak Usia Dini. Jurnal Kajian Informasi Dan Perpustakaan, 5(1), 1. https://doi.org/10.24198/jkip.v5i1.10821
 Schwarzer, D. (2001). Whole language in a foreign language class: From theory to practice. Foreign Language Annals, 34(1), 52–59. https://doi.org/10.1111/j.1944-9720.2001.tb02802.x
 Seong, Y. (2017). Assessing L2 Academic Speaking Ability: The Need for a Scenario-Based Assessment Approach. Working Papers in Applied Linguistics & TESOL, 17(2), 36–40.
 Stark, H. L., Snow, P. C., Eadie, P. A., & Goldfeld, S. R. (2016). Language and reading instruction in early years’ classrooms: the knowledge and self-rated ability of Australian teachers. Annals of Dyslexia, 66(1), 28–54. https://doi.org/10.1007/s11881-015-0112-0
 Tarigan, & Guntur, H. (1981). Berbicara Sebagai Suatu Keterampilan Berbahasa. Bandung: Angkasa.
 Tuan, N. H., & Mai, T. N. (2015). Factors Affecting Students’ Speaking Performance at Le Thanh Hien High SchoolTuan, N. H., & Mai, T. N. (2015). Factors Affecting Students’ Speaking Performance at Le Thanh Hien High School. Asian Journal of Educaitonal Research, 3(2), 8–23. Asian Journal of Educaitonal Research, 3(2), 8–23.
 Ur, P. (1996). A course in Language Teaching. Practice and Theory. Cambridge: Cambridge. University Press.
 Walter, C. (2010). Teaching ESL/EFL Listening and Speaking,. System, 38(1), 144–146. https://doi.org/10.1016/j.system.2009.11.002
 Weaver, C. (1990). Understanding Whole Language from Principles to Practice. Toronto: Irwin Publishing.
 Wood, C., Fitton, L., Petscher, Y., Rodriguez, E., Sunderman, G., & Lim, T. (2018). The Effect of e-Book Vocabulary Instruction on Spanish–English Speaking Children. Journal of Speech, Language, and Hearing Research, 61(8), 1945–1969. https://doi.org/10.1044/2018_jslhr-l-17-0368
 Yegani, H. (2017). The Effect of Task-based and Topic-based Speaking Activities on Speaking Ability of Iranian EFL Learners, 85–93.

This research paper examines the aspects of the importance of tahfeez study in Malaysia which is the choice of parents and the integration of the Andalusian (Spanish) Islamic education corpus in the tahfeez education system in Malaysia. Besides, research in this paper begins with a brief history of the educational progress Quran in the Malay and of religious institutions in Malaysia. Then, the awareness and choice of parents on tahfeez education as well as a brief description of the application of Islamic education Andalusia (Spain) in the tahfeez education system in Malaysia. Finally, the strengthening of the tahfeez institution in nurturing the generation and legacy of quality human beings. This study used the methodology of the library approach. Using documentary methods with scientific writing such as books, journals, proceedings, encyclopedias, which is called document analysis that can help to finish this study. The whole study found that there are elements that contribute to the selection of parents on tahfeez education and aspects of Andalusian Islamic education that can be implemented in the tahfeez education system in Malaysia. It is hoped that this research paper can be a key indicator of the country's tahfeez education policy so that its quality and dignity continue to be improved from time to time. 
 Keywords: Tahfeez Education System, Parental Choice, Islamic Education, Andalus
 
 Abstrak: Kertas kajian ini mengkaji mengenai aspek-aspek kepentingan pengajian tahfiz di Malaysia yang menjadi pilihan ibu bapa dan pengintegrasian korpus pendidikan Islam Andalusia (Sepanyol) dalam sistem pendidikan tahfiz di Malaysia. Rentetan itu, penelitian dalam kertas kajian ini dimulai dengan sejarah ringkas kemajuan pendidikan Al-Qurandi tanah Melayu dan institusi tahfiz di Malaysia. Kemudian kesedaran dan pilihan ibu bapa terhadap pendidikan tahfiz serta penghuraian serba sedikit tentang penerapan pendidikan Islam Andalusia (Sepanyol) dalam sistem pendidikan tahfiz di Malaysia. Akhir sekali, pemantapan institusi tahfiz dalam menatijahkan generasi dan legasi insan yang berkualiti. Kajian ini merupakan kajian kepustakaan. Pengumpulan data dilakukan dengan menggunakan metode dokumentasi, iaitu melalui penulisan ilmiah seperti buku, jurnal, kertas persidangan, ensiklopedia dan lain-lain lagi yang dipanggil sebagai analisis dokumen bagi membantu menyiapkan kajian. Keseluruhan kajian ini mendapati bahawa, terdapat unsur-unsur yang menyumbang kepada pemilihan ibu bapa terhadap pendidikan tahfiz dan aspek-aspek pendidikan Islam Andalusia yang boleh diimplementasikan dalam sistem pendidikan tahfiz di Malaysia. Diharapkan kertas kajian ini mampu menjadi indikator utama terhadap dasar pendidikan tahfiz negara agar kualiti dan martabatnya terus dipertingkatkan dari semasa ke semasa. 
 Kata kunci: Sistem pendidikan tahfiz, pilihan ibu bapa, pendidikan islam, Andalus

The study of indirect translations (IT) into Ukrainian, viewed from a psycholinguistic perspective, will contribute to a better understanding of Soviet national policies and the post-Soviet linguistic and cultural condition. The paper pioneers a discussion of the strategies and types of IT via Russian in the domains of literature and religion. In many cases the corresponding Russian translation, which serves as a source text for the Ukrainian one, cannot be established with confidence, and the “sticking-out ears” of Russian mediation may only be monitored at the level of sentence structure, when Russian wording underlies the Ukrainian text and distorts its natural fluency. The discussion substantiates the strategies and singles out the types of IT, in particular, (1) Soviet lower-quality retranslations of the recent, and mostly high-quality, translations of literary classics, which deliberately imitated lexical, grammatical, and stylistic patterns of the Russian language (became massive in scope in the mid1930s); (2) the translation-from-crib type, or translations via the Russian interlinear version, which have been especially common in poetry after WWII, from the languages of the USSR nationalities and the socialist camp countries; (3) overt relayed translations, based on the published and intended for the audience Russian translations that can be clearly defined as the source texts for the IT into Ukrainian; this phenomenon may be best illustrated with Patriarch Filaret Version of the Holy Scripture, translated from the Russian Synodal Bible (the translation started in the early 1970s); and, finally, (4) later Soviet (from the mid1950s) and post-Soviet (during Independence period) hidden relayed translations of literary works, which have been declared as direct ones but in fact appeared in print shortly after the publication of the respective works in Russian translation and mirrored Russian lexical and stylistic patterns.
 References
 
 Белецкий, А. Переводная литература на Украине // Красное слово. 1929. № 2. С. 87-96. Цит за вид.: Кальниченко О. А., Полякова Ю. Ю. Українська перекладознавча думка 1920-х – початку 1930-х років: Хрестоматія вибраних праць з перекладознавства до курсу «Історія перекладу» / Укладачі Леонід Чернований і Вячеслав Карабан. Вінниця: Нова Книга, 2011. С. 376-391.
 Бурґгардт, Осв. Большевицька спадщина // Вістник. 1939. № 1, Кн. 2. С. 94-99.
 Dollerup, C. (2014). Relay in Translation. Cross-linguistic Interaction: Translation, Contrastive and Cognitive Studies. Liber Amicorum in Honour of Prof. Bistra Alexieva published on the occasion of her eightieth birthday, Diana Yankova, (Ed.). (pp. 21-32). St. Kliminent Ohridski University Press. Retrieved from https://cms13659.hstatic.dk/upload_dir/docs/Publications/232-Relay-in-translation-(1).pdf
 Dong, Xi (2012). A Probe into Translation Strategies from Relevance Perspective—Direct Translation and Indirect Translation. Canadian Social Science, 8(6), 39-44. Retrieved from http://www.cscanada.org/index.php/css/article/viewFile/j.css.1923669720120806.9252/3281
 Дзера, О.. Історія українських перекладів Святого Письма // Іноземна філологія. 2014. Вип. 127, Ч. 2. С. 214–222.
 Філарет, Патріарх Київський та всієї Руси-України, Василь Шкляр, Микола Вересень, В’ячеслав Кириленко. Розмова В’ячеслава Кириленка із Патріархом Київським та всієї Руси-України Філаретом. Віра. У кн.: Три розмови про Україну. Упорядник та радактор В. Кириленко. Х.: Книжковий Клуб «Клуб Сімейного Дозвілля», 2018. С. 9-92.
 Flynn, P. (2013). Author and Translator. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4, (pp. 12-19). Amsterdam / Philadelphia: John Benjamins Publishing Company.
 Gutt, E.-A. (1990). A theoretical account of translation – without a translation theory. Retrieved from http://cogprints.org/2597/1/THEORACC.htm
 Коломієць Л. В. Український художній переклад та перекладачі 1920-30-х років: матеріали до курсу «Історія перекладу». Вінниця: «Нова книга», 2015.
 Іларіон, митр. Біблія – найперше джерело для вивчення своєї літературної мови / Митр. Іларіон // Віра і культура. 1958. Ч. 6 (66). С. 13–17.
 Іларіон, митр. Біблія, або Книги Святого Письма Старого и Нового Заповіту. Із мови давньоєврейської й грецької на українську дослівно наново перекладена. United Bible Societies, 1962.
 Jinyu L. (2012). Habitus of Translators as Socialized Individuals: Bourdieu’s Account. Theory and Practice in Language Studies, 2(6), 1168-1173.
 Leighton, L. (1991). Two Worlds, One Art. Literary Translation in Russia and America. DeKalb, Ill.: Northwestern Illinois UP.
 Лукаш М. Прогресивна західноєвропейська література в перекладах на українську мову // Протей [редкол. О. Кальниченко (голова) та ін.]. Вип. 2. X.: Вид-во НУА, 2009. С. 560–605.
 Майфет, Г. [Рецензія] // Червоний шлях. 1930. № 2. С. 252-258. Рец. на кн.: Боккаччо Дж. Декамерон / пер. Л. Пахаревського та П. Майорського; ред. С. Родзевича та П. Мохора; вступ. ст. В. Державіна. [Харків]; ДВУ, 1929. Ч. 1. XXXI, 408 с.; Ч. 2. Цит за вид.: Кальниченко О. А., Полякова Ю. Ю. Українська перекладознавча думка 1920-х – початку 1930-х років: Хрестоматія вибраних праць з перекладознавства до курсу «Історія перекладу» / Укладачі Леонід Чернований і Вячеслав Карабан. Вінниця: Нова Книга, 2011. С. 344-356.
 Munday, J. (2010). Introducing Translation Studies: Theories and Applications. 2nd Ed. London & New York: Routledge.
 Pauly, M. D. (2014). Breaking the Tongue: Language, Education, and Power in Soviet Ukraine. Toronto Buffalo London: University of Toronto Press.
 Pieta, H. & Rosa, A. A. (2013). Panel 7: Indirect translation: exploratory panel on the state-of-the-art and future research avenues. 7th EST Congress – Germersheim, 29 August – 1 September 2013. Retrieved from http://www.fb06.uni-mainz.de/est/51.php
 Плющ, Б. O. Прямий та неопрямий переклад української художньої прози англійською, німецькою, іспанською та російською мовами. Дис. …канд. філол. наук., Київ: КНУ імені Тараса Шевченка, 2016.
 Ringmar, M. (2012). Relay translation. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4 (pp. 141-144). Amsterdam / Philadelphia: John Benjamins Publishing Company.
 Simeoni, D. (1998). The pivotal status of the translator’s habitus. Target, 10(1), 1-39.
 Солодовнікова, М. І. Відтворення стилістичних особливостей роману Марка Твена «Пригоди Тома Сойера» в українських перекладах: квантитативний аспект // Перспективи розвитку філологічних наук: Матеріали ІІІ Міжнародної науково-практичної конференції (Хмельницький, 24-25 березня). Херсон: вид-во «Гельветика», 2017. С. 99-103.
 Sommer, D, ed. (2006). Cultural Agency in the Americas. [Synopsis]. Durham, NC: Duke University Press.
 Špirk, J. (2014). Censorship, Indirect Translations and Non-translation: The (Fateful) Adventures of Czech Literature in 20th-century Portugal. Newcastle upon Tyne: Cambridge Scholars Publishing.
 Venuti, L. (2001). Strategies of Translation. In M. Baker (ed.). Routledge Encyclopedia of Translation Studies, (pp. 240-244). London & New York: Routledge.
 
 References (translated and transliterated)
 
 Beletskii, A. (1929). Perevodnaia literatura na Ukraine [Translated literature in Ukraine]. Krasnoe Slovo [Red Word], 2, 87-96. Reprint in: Kalnychenko, O. A. and Poliakova, Yu. (2011). In Leonid Chernovatyi and Viacheslav Karaban (Eds.). Ukraiins’ka perekladoznavcha dumka 1920-kh – pochatku 1930-kh rokiv: Khrestomatiia vybranykh prats z perekladosnavstva do kursu “Istoriia perekladu” [Ukrainian translation studies of the 1920s – early 1930s: A textbook of selected works in translation studies for a course on the “History of Translation”]. (pp. 376-391). Vinnytsia: Nova Knyha,
 Burghardt, O. (1939). Bolshevytska spadschyna [The Bolsheviks’ heritage]. Vistnyk [The Herald], Vol. 1, Book 2, 94-99.
 Dollerup, C. (2014). Relay in Translation. Cross-linguistic Interaction: Translation, Contrastive and Cognitive Studies. Liber Amicorum in Honour of Prof. Bistra Alexieva published on the occasion of her eightieth birthday, Diana Yankova, (Ed.). (pp. 21-32). St. Kliminent Ohridski University Press. Retrieved from https://cms13659.hstatic.dk/upload_dir/docs/Publications/232-Relay-in-translation-(1).pdf
 Dong, Xi (2012). A Probe into Translation Strategies from Relevance Perspective—Direct Translation and Indirect Translation. Canadian Social Science, 8(6), 39-44. Retrieved from http://www.cscanada.org/index.php/css/article/viewFile/j.css.1923669720120806.9252/3281
 Dzera, O. (2014). Istoriia ukraiinskykh perekladiv Sviatoho Pysma [History of Ukrainian translations of the Holy Scripture]. Inozemna Filologiia, 127, Part 2, 214-222.
 Filaret, Patriarch of Kyiv and all Rus-Ukraine et al. (2018). Rozmova Viacheslava Kyrylenka iz Patriarkhom Kyivskym ta vsiiei Rusy-Ukrainy Filaretom. Vira [A Conversation of Viacheslav Kyrylenko with Patriarch of Kyiv and all Rus-Ukraine Filaret. Faith]. In: Try rozmovy pro Ukrainu [Three Conversations about Ukraine], compiled and edited by V. Kyrylenko. Kharkiv: Family Leisure Club, 9-92.
 Flynn, P. (2013). Author and Translator. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4, (pp. 12-19). Amsterdam / Philadelphia: John Benjamins Publishing Company.
 Gutt, E.-A. (1990). A theoretical account of translation – without a translation theory. Retrieved from http://cogprints.org/2597/1/THEORACC.htm
 Kolomiyets, L. (2015). Ukraiinskyi khudozhniy pereklad ta perekladachi 1920-30-kh rokiv: Materialy do kursu “Istoriia perekladu” [Ukrainian Literary Translation and Translators in the 1920s-30s: “History of translation” course materials]. Vinnytsia: Nova Knyha.
 Ilarion, Metropolitan (1958). Bibliia – naipershe dzherelo dlia vyvchennia svoiei literaturnoi movy [The Bible is the first source for studying our literary language]. Vira i kultura [Faith and Culture], No. 6 (66), 13–17.
 Ilarion, Metropolitan. 1962. Bibliia abo Knyhy Sviatoho Pusma Staroho i Novoho Zapovitu. Iz movy davnioievreiskoi i hretskoi na ukrainsku doslivno nanovo perekladena. Commissioned by United Bible Societies.
 Jinyu L. (2012). Habitus of Translators as Socialized Individuals: Bourdieu’s Account. Theory and Practice in Language Studies, 2(6), 1168-1173.
 Leighton, L. (1991). Two Worlds, One Art. Literary Translation in Russia and America. DeKalb, Ill.: Northwestern Illinois UP.
 Lukash, M. (2009). Prohresyvna zakhidnoievropeiska literatura v perekladakh na ukraiinsku movu [Progressive West European Literature in Ukrainian]. Protei. Vol. 2. Edited by O. Kalnychenko. Kharkiv: Vydavnytstvo NUA, 560-605.
 Maifet, H. (1930). [Review]. Chervonyi Shliakh [Red Path], 2, 252-258. Review of the book: Boccaccio G. Decameron. Tr. by L. Pakharevskyi and P. Maiorskyi; S. Rodzevych and P. Mokhor (Eds.).; introduction by V. Derzhavyn. Kharkiv: DVU, 1929. Part 1. XXXI; Part 2. Reprint in: Kalnychenko, O. and Poliakova, Yu. (2011). In Leonid Chernovatyi and Viacheslav Karaban (Eds). Ukraiins’ka perekladoznavcha dumka 1920-kh – pochatku 1930-kh rokiv: Khrestomatiia vybranykh prats z perekladosnavstva do kursu “Istoriia perekladu” [Ukrainian translation studies of the 1920s – early 1930s: A textbook of selected works in translation studies for a course on the “History of Translation”]. (pp. 344-356). Vinnytsia: Nova Knyha.
 Munday, J. (2010). Introducing Translation Studies: Theories and applications. 2nd Ed. London & New York: Routledge.
 Pauly, M. D. (2014). Breaking the Tongue: Language, Education, and Power in Soviet Ukraine. Toronto Buffalo London: University of Toronto Press.
 Pieta, H. & Rosa, A. A. (2013). Panel 7: Indirect translation: exploratory panel on the state-of-the-art and future research avenues. 7th EST Congress – Germersheim, 29 August – 1 September 2013. Retrieved from http://www.fb06.uni-mainz.de/est/51.php
 Pliushch, B. (2016). Direct and Indirect Translations of Ukrainian Literary Prose into English, German, Spanish and Russian. PhD thesis. Manuscript copyright. Kyiv: Taras Shevchenko National University of Kyiv.
 Ringmar, M. (2012). Relay translation. In Yves Gambier, Luc van Doorslaer (Eds.), Handbook of Translation Studies, 4 (pp. 141-144). Amsterdam / Philadelphia: John Benjamins Publishing Company.
 Simeoni, D. (1998). The pivotal status of the translator’s habitus. Target, 10(1), 1-39.
 Solodovnikova. M. I. (2017) Vidtvorennia stylistychnykh osoblyvostei romanu Marka Tvena “Pryhody Toma Soiera” v ukrainskykh perekladakh: kvantytatyvnyi aspekt. Perspektyvy rozvytku filolohichnykh nauk: Book of abstracts of III International Scientific Conference (Khmelnytskyi, 24-25 March). Kherson: Helvetyka Publishing House. (99-103).
 Sommer, D., Ed. (2006). Cultural Agency in the Americas. [Synopsis]. Durham, NC: Duke University Press. 
 Špirk, J. (2014). Censorship, Indirect Translations and Non-translation: The (Fateful) Adventures of Czech Literature in 20th-century Portugal. Newcastle upon Tyne: Cambridge Scholars Publishing.
 Venuti, L. (2001). Strategies of Translation. In Routledge Encyclopedia of Translation Studies, (pp. 240-244). M. Baker (ed.). London & New York: Routledge.

This paper analyzes the formation of authors' pseudonyms in the English, German, French, Italian and Spanish versions of the Internet encyclopedia Wikipedia. 694 semi-randomly collected Wikipedia usernames ("nicknames") are checked against traditional classifications of pseudonyms and compared to a semi-randomly collected corpus of 607 pseudonyms of English, German, French, Italian and Spanish writers of the 18th and 19th centuries (who published, at least in part, non-fictional works). The main results of the diachronic comparison are the following: (1) Qualitatively, typical modern phenomena are the replacement of letters by similar-looking special characters (called leetspeak, e. g. Serg!o for Sergio), the use of abstract nouns, the use of non-standard forms, deacronymization (e. g. when a Spanish Wikipedian's initials FG become Efegé), and the formation of nicknames from Wikipedia pseudonyms on users' discussion pages ("nick-nicknames"). (2) Qualitatively, typical historical phenomena are the use of symbols not easily representable on modern (Latin) keyboards (e. g. musical notes and Greek letters). (3) Quantitatively, there is a clear decrease in the use of Latin elements in pseudonyms. A cross-linguistic comparison of Wikipedia nicknames leads to the following characteristic features of the different Wikipedia communities: (a) English Wikipedia nicknames show the highest amount of non-onymic elements and numbers and the lowest amount of nicknames with foreign elements. (b) French-speaking Wikipedians use the lowest amount of numbers in their nicknames and are the least informative as regards telling the motivation behind their usernames. (c) Italian-speaking Wikipedians are the most open to tell about the motivation behind their usernames, use relatively few non-onymic elements in their nicknames, but are very productive as to forming nicknicknames. (d) Spanish-speaking Wikipedians use relatively few appellative lexemes, are the most reserved as to using foreign elements, but use clippings relatively often and are very productive as to forming nicknicknames. (e) German-speaking Wikipedians are most open to using foreign elements.

Frank Young was born in the London Borough of Clerkenwell at 2 Bond Street, Holford Square, an area of fine Georgian Houses destroyed in the 1939-45 war. His parents were Frank Edgar Young and Jessie Eleanor Young (formerly Pinkney). His father was a solicitor’s clerk and a fastidious and somewhat severe man. Frank had a younger brother Eric, born in 1912, and a sister Margaret, born in 1925. Eric was educated at Jesus College, Oxford, made a career in the Diplomatic Service and as a recreation studied and published on art and history becoming an authority on Spanish painting. In 1912 the family moved to Dulwich where Frank and Eric were educated at Alleyn’s School. As a schoolboy Frank became interested in chemistry through reading about the subject in the Encyclopaedia Brittanica . He comments that at this stage his interest owed more to fascination than to understanding. He extended his knowledge by reading the standard Victorian textbooks, given to him by neighbours who had been school science teachers. He also became interested in archaeology and Egyptology through articles in the encyclopedia and elsewhere; and later through a friend in Dulwich (Gerald Lankester Harding) who had been appointed to assist Flinders Petrie in his archaeological researches in Egypt. Frank was to retain this interest as an undergraduate at University College because Flinders Petrie and Lankester Harding were based there when in England.

Abstract The systematization of knowledge for educational practice entered a new era in the wake of Ramism. Innovative encyclopedic approaches and textbooks also surfaced in the field of Kabbalah. This article discusses Moses Zacuto’s approach to the kabbalistic genre of reference books and the impact of Lurianic Kabbalah. Against the backdrop of the reception of Ramist ideas and building upon the interaction between Kabbalah and logic in Abraham Cohen de Herrera’s Spanish books, two works in particular, which Zacuto left in an apparently unfinished state in manuscript form, are analyzed in this context: Em la-Binah and Remez ha-Romez. Both works differ from traditional reference books, and Em la-Binah in particular will be examined in order to answer the question of how Zacuto’s strategy for commonplace learning worked in a Lurianic textbook in progress.

IntroductionIn 1802 George Howe (1769-1821), the recently appointed Government Printer, published Australia’s first book. The following year he established Australia’s first newspaper; an enterprise that ran counter to all the environmental factors of the day, including: 1) issues of logistics and a lack of appropriate equipment and basic materials to produce a regularly issued newspaper; 2) issues resulting from the very close supervision of production and the routine censorship by the Governor; and 3) issues associated with the colony’s primary purposes as a military outpost and as a penal settlement, creating conflicts between very different readerships. The Sydney Gazette was, critically for Howe, the only newspaper in the infant city for over two decades. Alternative voices would not enter the field of printed media until the 1820s and 1830s. This article briefly explores the birth of an Australian industry and looks at how a very modest newspaper overcame a range of serious challenges to ignite imaginations and lay a foundation for media empires.Government Printer The first book published in Australia was the New South Wales General Standing Orders and General Orders (1802), authorised by Governor Philip Gidley King for the purposes of providing a convenient, single-volume compilation of all Government Orders, issued in New South Wales, between 1791 and 1802. (As the Australian character has been described as “egalitarian, anti-authoritarian and irreverent” [D. Jones 690], it is fascinating that the nation’s first published book was a set of rules.) Prescribing law, order and regulation for the colony the index reveals the desires of those charged with the colony’s care and development, to contain various types of activities. The rules for convicts were, predictably, many. There were also multiple orders surrounding administration, animal husbandry as well as food stuffs and other stores. Some of the most striking headings in the index relate to crime. For example, in addition to headings pertaining to courts there are also headings for a broad range of offences from: “BAD Characters” to “OFFENSIVE Weapons – Again[s]t concealing” (i-xii). The young colony, still in its teenage years, was, for the short-term, very much working on survival and for the long-term developing ambitious plans for expansion and trade. It was clear though, through this volume, that there was no forgetting the colony of New South Wales was first, and foremost, a penal settlement which also served as a military outpost. Clear, too, was the fact that not all of those who were shipped out to the new colony were prepared to abandon their criminal careers which “did not necessarily stop with transportation” (Foyster 10). Containment and recidivism were matters of constant concern for the colony’s authorities. Colonial priorities could be seen in the fact that, when “Governor Arthur Phillip brought the first convicts (548 males and 188 females) to Port Jackson on 26 January 1788, he also brought a small press for printing orders, rules, and regulations” (Goff 103). The device lay dormant on arrival, a result of more immediate concerns to feed and house all those who made up the First Fleet. It would be several years before the press was pushed into sporadic service by the convict George Hughes for printing miscellaneous items including broadsides and playbills as well as for Government Orders (“Hughes, George” online). It was another convict (another man named George), convicted at the Warwick Assizes on March 1799 (Ferguson vi) then imprisoned and ultimately transported for shoplifting (Robb 15), who would transform the small hand press into an industry. Once under the hand of George Howe, who had served as a printer with several London newspapers including The Times (Sydney Gazette, “Never” 2) – the printing press was put to much more regular use. In these very humble circumstances, Australia’s great media tradition was born. Howe, as the Government Printer, transformed the press from a device dedicated to ephemera as well as various administrative matters into a crucial piece of equipment that produced the new colony’s first newspaper. Logistical Challenges Governor King, in the year following the appearance of the Standing Orders, authorised the publishing of Australia’s first newspaper, The Sydney Gazette and New South Wales Advertiser. The publication history of The Sydney Gazette, in a reflection of some of the challenges faced by the printer, is erratic. First published on a Saturday from 5 March 1803, it quickly changed to a Sunday paper from 10 April 1803. Interestingly, Sunday “was not an approved day for the publication of newspapers, and although some English publishers had been doing so since about 1789, Sunday papers were generally frowned upon” (Robb 58). Yet, as argued by Howe a Sunday print run allowed for the inclusion of “the whole of the Ship News, and other Incidental Matter, for the preceeding week” (Sydney Gazette, “To the Public” 1).The Sydney Gazette and New South Wales Advertiser Vol. 1, No. 1, 5 March 1803 (Front Page)Call Number DL F8/50, Digital ID a345001, State Library of New South WalesPublished weekly until 1825, then bi-weekly until 1827 before coming out tri-weekly until 20 October 1842 (Holden 14) there were some notable pauses in production. These included one in 1807 (Issue 214, 19 April-Issue 215, 7 June) and one in 1808-1809 (Issue 227, 30 August-Issue 228, 15 May) due to a lack of paper, with the latter pause coinciding with the Rum Rebellion and the end of William Bligh’s term as Governor of New South Wales (see: Karskens 186-88; Mundle 323-37). There was, too, a brief attempt at publishing as a daily from 1 January 1827 which lasted only until 10 February of that year when the title began to appear tri-weekly (Kirkpatrick online; Holden 14). There would be other pauses, including one of two weeks, shortly before the final issue was produced on 20 October 1842. There were many problems that beset The Sydney Gazette with paper shortages being especially challenging. Howe regularly advertised for: “any quantity” of Spanish paper (e.g.: Sydney Gazette, “Wanted to Purchase” 4) and needing to be satisfied “with a variety of size and colour” (P.M. Jones 39). In addition, the procurement of ink was so difficult in the colony, that Howe often resorted to making his own out of “charcoal, gum and shark oil” (P.M. Jones 39).The work itself was physically demanding and papers printed during this period, by hand, required a great deal of effort with approximately “250 sheets per hour … [the maximum] produced by a printer and his assistant” (Robb 8). The printing press itself was inadequate and the subject of occasional repairs (Sydney Gazette, “We Have” 2). Type was also a difficulty. As Gwenda Robb explains, traditionally six sets of an alphabet were supplied to a printer with extras for ‘a’, ‘e’, ‘r’ and ‘t’ as well as ‘s’. Without ample type Howe was required to improvise as can be seen in using a double ‘v’ to create a ‘w’ and an inverted ‘V’ to represent a capital ‘A’ (50, 106). These quirky work arounds, combined with the use of the long-form ‘s’ (‘∫’) for almost a full decade, can make The Sydney Gazette a difficult publication for modern readers to consume. Howe also “carried the financial burden” of the paper, dependent, as were London papers of the late eighteenth century, on advertising (Robb 68, 8). Howe also relied upon subscriptions for survival, with the collection of payments often difficult as seen in some subscribers being two years, or more, in arrears (e.g.: Sydney Gazette, “Sydney Gazette” 1; Ferguson viii; P.M. Jones 38). Governor Lachlan Macquarie granted Howe an annual salary, in 1811, of £60 (Byrnes 557-559) offering some relief, and stability, for the beleaguered printer.Gubernatorial Supervision Governor King wrote to Lord Hobart (then Secretary of State for War and the Colonies), on 9 May 1803: it being desirable that the settlers and inhabitants at large should be benefitted by useful information being dispersed among them, I considered that a weekly publication would greatly facilitate that design, for which purpose I gave permission to an ingenious man, who manages the Government printing press, to collect materials weekly, which, being inspected by an officer, is published in the form of a weekly newspaper, copies of which, as far as they have been published, I have the honor to enclose. (85)In the same letter, King wrote: “to the list of wants I have added a new fount of letters which may be procured for eight or ten pounds, sufficient for our purpose, if approved of” (85). King’s motivations were not purely altruistic. The population of the colony was growing in Sydney Cove and in the outlying districts, thus: “there was an increasing administrative need for information to be disseminated in a more accessible form than the printed handbills of government orders” (Robb 49). There was, however, a need for the administration to maintain control and the words “Published By Authority”, appearing on the paper’s masthead, were a constant reminder to the printer that The Sydney Gazette was “under the censorship of the Secretary to the Governor, who examined all proofs” (Ferguson viii). The high level of supervision, worked in concert with the logistical difficulties described above, ensured the newspaper was a source of great strain and stress. All for the meagre reward of “6d per copy” (Ferguson viii). This does not diminish Howe’s achievement in establishing a newspaper, an accomplishment outlined, with some pride, in an address printed on the first page of the first issue:innumerable as the Obstacles were which threatened to oppose our Undertaking, yet we are happy to affirm that they were not insurmountable, however difficult the task before us.The utility of a PAPER in the COLONY, as it must open a source of solid information, will, we hope, be universally felt and acknowledged. (Sydney Gazette, “Address” 1)Howe carefully kept his word and he “wrote nothing like a signature editorial column, nor did he venture his personal opinions, conscious always of the powers of colonial officials” (Robb 72). An approach to reportage he passed to his eldest son and long-term assistant, Robert (1795-1829), who later claimed The Sydney Gazette “reconciled in one sheet the merits of the London Gazette in upholding the Government and the London Times in defending the people” (Walker 10). The censorship imposed on The Sydney Gazette, by the Governor, was lifted in 1824 (P.M. Jones 40), when the Australian was first published without permission: Governor Thomas Brisbane did not intervene in the new enterprise. The appearance of unauthorised competition allowed Robert Howe to lobby for the removal of all censorship restrictions on The Sydney Gazette, though he was careful to cite “greater dispatch and earlier publication, not greater freedom of expression, as the expected benefit” (Walker 6). The sudden freedom was celebrated, and still appreciated many years after it was given:the Freedom of the Press has now been in existence amongst us on the verge of four years. In October 1824, we addressed a letter to the Colonial Government, fervently entreating that those shackles, under which the Press had long laboured, might be removed. Our prayer was attended to, and the Sydney Gazette, feeling itself suddenly introduced to a new state of existence, demonstrated to the Colonists the capabilities that ever must flow from the spontaneous exertions of Constitutional Liberty. (Sydney Gazette, “Freedom” 2)Early Readerships From the outset, George Howe presented a professional publication. The Sydney Gazette was formatted into three columns with the front page displaying a formal masthead featuring a scene of Sydney and the motto “Thus We Hope to Prosper”. Gwenda Robb argues the woodcut, the first produced in the colony, was carved by John W. Lewin who “had plenty of engraving skills” and had “returned to Sydney [from a voyage to Tahiti] in December 1802” (51) while Roger Butler has suggested that “circumstances point to John Austin who arrived in Sydney in 1800” as being the engraver (91). The printed text was as vital as the visual supports and every effort was made to present full accounts of colonial activities. “As well as shipping and court news, there were agricultural reports, religious homilies, literary extracts and even original poetry written by Howe himself” (Blair 450). These items, of course, sitting alongside key Government communications including General Orders and Proclamations.Howe’s language has been referred to as “florid” (Robb 52), “authoritative and yet filled with deference for all authority, pompous in a stiff, affected eighteenth century fashion” (Green 10) and so “some of Howe’s readers found the Sydney Gazette rather dull” (Blair 450). Regardless of any feelings towards authorial style, circulation – without an alternative – steadily increased with the first print run in 1802 being around 100 copies but by “the early 1820s, the newspaper’s production had grown to 300 or 400 copies” (Blair 450).In a reflection of the increasing sophistication of the Sydney-based reader, George Howe, and Robert Howe, would also publish some significant, stand-alone, texts. These included several firsts: the first natural history book printed in the colony, Birds of New South Wales with their Natural History (1813) by John W. Lewin (praised as a text “printed with an elegant and classical simplicity which makes it the highest typographical achievement of George Howe” [Wantrup 278]); the first collection of poetry published in the colony First Fruits of Australian Poetry (1819) by Barron Field; the first collection of poetry written by a Australian-born author, Wild Notes from the Lyre of a Native Minstrel (1826) by Charles Tompson; and the first children’s book A Mother’s Offering to Her Children: By a Lady, Long Resident in New South Wales (1841) by Charlotte Barton. The small concern also published mundane items such as almanacs and receipt books for the Bank of New South Wales (Robb 63, 72). All against the backdrop of printing a newspaper.New Voices The Sydney Gazette was Australia’s first newspaper and, critically for Howe, the only newspaper for over two decades. (A second paper appeared in 1810 but the Derwent Star and Van Diemen’s Land Intelligencer, which only managed twelve issues, presented no threat to The Sydney Gazette.) No genuine, local rival entered the field until 1824, when the Australian was founded by barristers William Charles Wentworth and Robert Wardell. The Monitor debuted in 1826, followed the Sydney Herald in 1831 and the Colonist in 1835 (P.M. Jones 38). It was the second title, the Australian, with a policy that asserted articles to be: “Independent, yet consistent – free, yet not licentious – equally unmoved by favours and by fear” (Walker 6), radically changed the newspaper landscape. The new paper made “a strong point of its independence from government control” triggering a period in which colonial newspapers “became enmeshed with local politics” (Blair 451). This new age of opinion reflected how fast the colony was evolving from an antipodean gaol into a complex society. Also, two papers, without censorship restrictions, without registration, stamp duties or advertisement duties meant, as pointed out by R.B. Walker, that “in point of law the Press in the remote gaol of exile was now freer than in the country of origin” (6). An outcome George Howe could not have predicted as he made the long journey, as a convict, to New South Wales. Of the early competitors, the only one that survives is the Sydney Herald (The Sydney Morning Herald from 1842), which – founded by immigrants Alfred Stephens, Frederick Stokes and William McGarvie – claims the title of Australia’s oldest continuously published newspaper (Isaacs and Kirkpatrick 4-5). That such a small population, with so many pressing issues, factions and political machinations, could support a first newspaper, then competitors, is a testament to the high regard, with which newspaper reportage was held. Another intruder would be The Government Gazette. Containing only orders and notices in the style of the London Gazette (McLeay 1), lacking any news items or private advertisements (Walker 19), it was first issued on 7 March 1832 (and continues, in an online format, today). Of course, Government orders and other notices had news value and newspaper proprietors could bid for exclusive rights to produce these notices until a new Government Printer was appointed in 1841 (Walker 20).Conclusion George Howe, an advocate of “reason and common sense” died in 1821 placing The Sydney Gazette in the hands of his son who “fostered religion” (Byrnes 557-559). Robert Howe, served as editor, experiencing firsthand the perils and stresses of publishing, until he drowned in a boating accident in Sydney Harbour, in 1829 leaving the paper to his widow Ann Howe (Blair 450-51). The newspaper would become increasingly political leading to controversy and financial instability; after more changes in ownership and in editorial responsibility, The Sydney Gazette, after almost four decades of delivering the news – as a sole voice and then as one of several alternative voices – ceased publication in 1842. During a life littered with personal tragedy, George Howe laid the foundation stone for Australia’s media empires. His efforts, in extraordinary circumstances and against all environmental indicators, serve as inspiration to newspapers editors, proprietors and readers across the country. He established the Australian press, an institution that has been described asa profession, an art, a craft, a business, a quasi-public, privately owned institution. It is full of grandeurs and faults, sublimities and pettinesses. It is courageous and timid. It is fallible. It is indispensable to the successful on-going of a free people. (Holden 15)George Howe also created an artefact of great beauty. The attributes of The Sydney Gazette are listed, in a perfunctory manner, in most discussions of the newspaper’s history. The size of the paper. The number of columns. The masthead. The changes seen across 4,503 issues. Yet, consistently overlooked, is how, as an object, the newspaper is an exquisite example of the printed word. There is a physicality to the paper that is in sharp contrast to contemporary examples of broadsides, tabloids and online publications. Concurrently fragile and robust: its translucent sheets and mottled print revealing, starkly, the problems with paper and ink; yet it survives, in several collections, over two centuries since the first issue was produced. The elegant layout, the glow of the paper, the subtle crackling sound as the pages are turned. The Sydney Gazette and New South Wales Advertiser is an astonishing example of innovation and perseverance. It provides essential insights into Australia’s colonial era. It is a metonym for making words matter. AcknowledgementsThe author offers her sincere thanks to Geoff Barker, Simon Dwyer and Peter Kirkpatrick for their comments on an early draft of this paper. The author is also grateful to Bridget Griffen-Foley for engaging in many conversations about Australian newspapers. ReferencesBlair, S.J. “Sydney Gazette and New South Wales Advertiser.” A Companion to the Australian Media. Ed. Bridget Griffen-Foley. North Melbourne: Australian Scholarly Publishing, 2014.Butler, Roger. Printed Images in Colonial Australia 1801-1901. Canberra: National Gallery of Australia, 2007.Byrnes, J.V. “Howe, George (1769–1821).” Australian Dictionary of Biography, National Centre of Biography: 1788–1850, A–H. Canberra: Australian National University, 1966. 557-559. Ferguson, J.A. “Introduction.” The Sydney Gazette and New South Wales Advertiser: A Facsimile Reproduction of Volume One, March 5, 1803 to February 26, 1804. Sydney: The Trustees of the Public Library of New South Wales in Association with Angus & Robertson, 1963. v-x. Foyster, Elizabeth. “Introduction: Newspaper Reporting of Crime and Justice.” Continuity and Change 22.1 (2007): 9-12.Goff, Victoria. “Convicts and Clerics: Their Roles in the Infancy of the Press in Sydney, 1803-1840.” Media History 4.2 (1998): 101-120.Green, H.M. “Australia’s First Newspaper.” Sydney Morning Herald, 11 Apr. 1935: 10.Holden, W. Sprague. Australia Goes to Press. Detroit: Wayne State UP, 1961. “Hughes, George (?–?).” Australian Dictionary of Biography, National Centre of Biography: 1788–1850, A–H. Canberra: Australian National University, 1966. 562. Isaacs, Victor, and Rod Kirkpatrick. Two Hundred Years of Sydney Newspapers. Richmond: Rural Press, 2003. Jones, Dorothy. “Humour and Satire (Australia).” Encyclopedia of Post-Colonial Literatures in English. 2nd ed. Eds. Eugene Benson and L.W. Conolly. London: Routledge, 2005. 690-692.Jones, Phyllis Mander. “Australia’s First Newspaper.” Meanjin 12.1 (1953): 35-46. Karskens, Grace. The Colony: A History of Early Sydney. Crows Nest: Allen & Unwin, 2010. King, Philip Gidley. “Letter to Lord Hobart, 9 May 1803.” Historical Records of Australia, Series 1, Governors’ Despatches to and from England, Volume IV, 1803-1804. Ed. Frederick Watson. Sydney: Library Committee of the Commonwealth Parliament, 1915.Kirkpatrick, Rod. Press Timeline: 1802 – 1850. Canberra: National Library of Australia, 2011. 6 Jan. 2017 <https://www.nla.gov.au/content/press-timeline-1802-1850>. McLeay, Alexander. “Government Notice.” The New South Wales Government Gazette 1 (1832): 1. Mundle, R. Bligh: Master Mariner. Sydney: Hachette, 2016.New South Wales General Standing Orders and General Orders: Selected from the General Orders Issued by Former Governors, from the 16th of February, 1791, to the 6th of September, 1800. Also, General Orders Issued by Governor King, from the 28th of September, 1800, to the 30th of September, 1802. Sydney: Government Press, 1802. Robb, Gwenda. George Howe: Australia’s First Publisher. Kew: Australian Scholarly Publishing, 2003.Spalding, D.A. Collecting Australian Books: Notes for Beginners. 1981. Mawson: D.A. Spalding, 1982. The Sydney Gazette and New South Wales Advertiser. “Address.” 5 Mar. 1803: 1.———. “To the Public.” 2 Apr. 1803: 1.———. “Wanted to Purchase.” 26 June 1803: 4.———. “We Have the Satisfaction to Inform Our Readers.” 3 Nov. 1810: 2. ———. “Sydney Gazette.” 25 Dec. 1819: 1. ———. “The Freedom of the Press.” 29 Feb. 1828: 2.———. “Never Did a More Painful Task Devolve upon a Public Writer.” 3 Feb. 1829: 2. Walker, R.B. The Newspaper Press in New South Wales, 1803-1920. Sydney: Sydney UP, 1976.Wantrup, Johnathan. Australian Rare Books: 1788-1900. Sydney: Hordern House, 1987.

Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each sharing “common aesthetic values and standards of tastes” (8). However, this article is not concerned with these categorisations, or macro analysis. Rather, it is a reflection piece that inquires if opera, which is usually considered high culture, has become more equal to popular culture, and why some directors change the time and place of opera plots, whereas others will stay true to the original setting of the story. I do not consider these productions “adaptations,” but “post-modern morphologies,” and I will refer to this later in the paper. In other words, the paper is seeking to explain a social phenomenon and explore the underlying motives by quoting interviews with directors. The word ‘opera’ is defined in Elson’s Music Dictionary as: “a form of musical composition evolved shortly before 1600, by some enthusiastic Florentine amateurs who sought to bring back the Greek plays to the modern stage” (189). Hence, it was an experimentation to revive Greek music and drama believed to be the ideal way to express emotions (Grout 186). It is difficult to pinpoint the exact moment when stage directors started changing the time and place of the original settings of operas. The practice became more common after World War II, and Peter Brook’s Covent Garden productions of Boris Godunov (1948) and Salome (1949) are considered the prototypes of this practice (Sutcliffe 19-20). Richard Wagner’s grandsons, the brothers Wieland and Wolfgang Wagner are cited in the music literature as using technology and modern innovations in staging and design beginning in the early 1950s. Brief Background into the History of Opera Grout contends that opera began as an attempt to heighten the dramatic expression of language by intensifying the natural accents of speech through melody supported by simple harmony. In the late 1590s, the Italian composer Jacopo Peri wrote what is considered to be the first opera, but most of it has been lost. The first surviving complete opera is Euridice, a version of the Orpheus myth that Peri and Giulio Caccini jointly set to music in 1600. The first composer to understand the possibilities inherent in this new musical form was Claudio Monteverdi, who in 1607 wrote Orfeo. Although it was based on the same story as Euridice, it was expanded to a full five acts. Early opera was meant for small, private audiences, usually at court; hence it began as an elitist genre. After thirty years of being private, in 1637, opera went public with the opening of the first public opera house, Teatro di San Cassiano, in Venice, and the genre quickly became popular. Indeed, Monteverdi wrote his last two operas, Il ritorno d’Ulisse in patria and L’incoronazione di Poppea for the Venetian public, thereby leading the transition from the Italian courts to the ‘public’. Both operas are still performed today. Poppea was the first opera to be based on a historical rather than a mythological or allegorical subject. Sutcliffe argues that opera became popular because it was a new mixture of means: new words, new music, new methods of performance. He states, “operatic fashion through history may be a desire for novelty, new formulas displacing old” (65). By the end of the 17th century, Venice alone had ten opera houses that had produced more than 350 operas. Wealthy families purchased season boxes, but inexpensive tickets made the genre available to persons of lesser means. The genre spread quickly, and various styles of opera developed. In Naples, for example, music rather than the libretto dominated opera. The genre spread to Germany and France, each developing the genre to suit the demands of its audiences. For example, ballet became an essential component of French opera. Eventually, “opera became the profligate art as large casts and lavish settings made it the most expensive public entertainment. It was the only art that without embarrassment called itself ‘grand’” (Boorstin 467). Contemporary Opera Productions Opera continues to be popular. According to a 2002 report released by the National Endowment for the Arts, 6.6 million adults attended at least one live opera performance in 2002, and 37.6 million experienced opera on television, video, radio, audio recording or via the Internet. Some think that it is a dying art form, while others think to the contrary, that it is a living art form because of its complexity and “ability to probe deeper into the human experience than any other art form” (Berger 3). Some directors change the setting of operas with perhaps the most famous contemporary proponent of this approach being Peter Sellars, who made drastic changes to three of Mozart’s most famous operas. Le Nozze di Figaro, originally set in 18th-century Seville, was set by Sellars in a luxury apartment in the Trump Tower in New York City; Sellars set Don Giovanni in contemporary Spanish Harlem rather than 17th century Seville; and for Cosi Fan Tutte, Sellars chose a diner on Cape Cod rather than 18th century Naples. As one of the more than six million Americans who attend live opera each year, I have experienced several updated productions, which made me reflect on the convergence or cross-over between high culture and popular culture. In 2000, I attended a production of Don Giovanni at the Estates Theatre in Prague, the very theatre where Mozart conducted the world premiere in 1787. In this production, Don Giovanni was a fashion designer known as “Don G” and drove a BMW. During the 1999-2000 season, Los Angeles Opera engaged film director Bruce Beresford to direct Verdi’s Rigoletto. Beresford updated the original setting of 16th century Mantua to 20th century Hollywood. The lead tenor, rather than being the Duke of Mantua, was a Hollywood agent known as “Duke Mantua.” In the first act, just before Marullo announces to the Duke’s guests that the jester Rigoletto has taken a mistress, he gets the news via his cell phone. Director Ian Judge set the 2004 production of Le Nozze di Figaro in the 1950s. In one of the opening productions of the 2006-07 LA opera season, Vincent Patterson also chose the 1950s for Massenet’s Manon rather than France in the 1720s. This allowed the title character to appear in the fourth act dressed as Marilyn Monroe. Excerpts from the dress rehearsal can be seen on YouTube. Most recently, I attended a production of Ariane et Barbe-Bleu at the Paris Opera. The original setting of the Maeterlinck play is in Duke Bluebeard’s castle, but the time period is unclear. However, it is doubtful that the 1907 opera based on an 1899 play was meant to be set in what appeared to be a mental institution equipped with surveillance cameras whose screens were visible to the audience. The critical and audience consensus seemed to be that the opera was a musical success but a failure as a production. James Shore summed up the audience reaction: “the production team was vociferously booed and jeered by much of the house, and the enthusiastic applause that had greeted the singers and conductor, immediately went nearly silent when they came on stage”. It seems to me that a new class-related taste has emerged; the opera genre has shot out a subdivision which I shall call “post-modern morphologies,” that may appeal to a larger pool of people. Hence, class, age, gender, and race are becoming more important factors in conceptualising opera productions today than in the past. I do not consider these productions as new adaptations because the libretto and the music are originals. What changes is the fact that both text and sound are taken to a higher dimension by adding iconographic images that stimulate people’s brains. When asked in an interview why he often changes the setting of an opera, Ian Judge commented, “I try to find the best world for the story and characters to operate in, and I think you have to find a balance between the period the author set it in, the period he conceived it in and the nature of theatre and audiences at that time, and the world we live in.” Hence, the world today is complex, interconnected, borderless and timeless because of advanced technologies, and updated opera productions play with symbols that offer multiple meanings that reflect the world we live in. It may be that television and film have influenced opera production. Character tenor Graham Clark recently observed in an interview, “Now the situation has changed enormously. Television and film have made a lot of things totally accessible which they were not before and in an entirely different perception.” Director Ian Judge believes that television and film have affected audience expectations in opera. “I think audiences who are brought up on television, which is bad acting, and movies, which is not that good acting, perhaps require more of opera than stand and deliver, and I have never really been happy with someone who just stands and sings.” Sociologist Wendy Griswold states that culture reflects social reality and the meaning of a particular cultural object (such as opera), originates “in the social structures and social patterns it reflects” (22). Screens of various technologies are embedded in our lives and normalised as extensions of our bodies. In those opera productions in which directors change the time and place of opera plots, use technology, and are less concerned with what the composer or librettist intended (which we can only guess), the iconographic images create multi valances, textuality similar to Mikhail Bakhtin’s notion of multiplicity of voices. Hence, a plurality of meanings. Plàcido Domingo, the Eli and Edyth Broad General Director of Los Angeles Opera, seeks to take advantage of the company’s proximity to the film industry. This is evidenced by his having engaged Bruce Beresford to direct Rigoletto and William Friedkin to direct Ariadne auf Naxos, Duke Bluebeard’s Castle and Gianni Schicchi. Perhaps the most daring example of Domingo’s approach was convincing Garry Marshall, creator of the television sitcom Happy Days and who directed the films Pretty Woman and The Princess Diaries, to direct Jacques Offenbach’s The Grand Duchess of Gerolstein to open the company’s 20th anniversary season. When asked how Domingo convinced him to direct an opera for the first time, Marshall responded, “he was insistent that one, people think that opera is pretty elitist, and he knew without insulting me that I was not one of the elitists; two, he said that you gotta make a funny opera; we need more comedy in the operetta and opera world.” Marshall rewrote most of the dialogue and performed it in English, but left the “songs” untouched and in the original French. He also developed numerous sight gags and added characters including a dog named Morrie and the composer Jacques Offenbach himself. Did it work? Christie Grimstad wrote, “if you want an evening filled with witty music, kaleidoscopic colors and hilariously good singing, seek out The Grand Duchess. You will not be disappointed.” The FanFaire Website commented on Domingo’s approach of using television and film directors to direct opera: You’ve got to hand it to Plàcido Domingo for having the vision to draw on Hollywood’s vast pool of directorial talent. Certainly something can be gained from the cross-fertilization that could ensue from this sort of interaction between opera and the movies, two forms of entertainment (elitist and perennially struggling for funds vs. popular and, it seems, eternally rich) that in Los Angeles have traditionally lived separate lives on opposite sides of the tracks. A wider audience, for example, never a problem for the movies, can only mean good news for the future of opera. So, did the Marshall Plan work? Purists of course will always want their operas and operettas ‘pure and unadulterated’. But with an audience that seemed to have as much fun as the stellar cast on stage, it sure did. Critic Alan Rich disagrees, calling Marshall “a representative from an alien industry taking on an artistic product, not to create something innovative and interesting, but merely to insult.” Nevertheless, the combination of Hollywood and opera seems to work. The Los Angeles Opera reported that the 2005-2006 season was its best ever: “ticket revenues from the season, which ended in June, exceeded projected figures by nearly US$900,000. Seasonal attendance at the Dorothy Chandler Pavilion stood at more than 86% of the house’s capacity, the largest percentage in the opera’s history.” Domingo continues with the Hollywood connection in the upcoming 2008-2009 season. He has reengaged William Friedkin to direct two of Puccini’s three operas titled collectively as Il Trittico. Friedkin will direct the two tragedies, Il Tabarro and Suor Angelica. Although Friedkin has already directed a production of the third opera in Il Trittico for Los Angeles, the comedy Gianni Schicchi, Domingo convinced Woody Allen to make his operatic directorial debut with this work. This can be viewed as another example of the desire to make opera and popular culture more equal. However, some, like Alan Rich, may see this attempt as merely insulting rather than interesting and innovative. With a top ticket price in Los Angeles of US$238 per seat, opera seems to continue to be elitist. Berger (2005) concurs with this idea and gives his rationale for elitism: there are rich people who support and attend the opera; it is an imported art from Europe that causes some marginalisation; opera is not associated with something being ‘moral,’ a concept engrained in American culture; it is expensive to produce and usually funded by kings, corporations, rich people; and the opera singers are rare –usually one in a million who will have the vocal quality to sing opera arias. Furthermore, Nicholas Kenyon commented in the early 1990s: “there is suspicion that audiences are now paying more and more money for their seats to see more and more money spent on stage” (Kenyon 3). Still, Garry Marshall commented that the budget for The Grand Duchess was US$2 million, while his budget for Runaway Bride was US$72 million. Kenyon warns, “Such popularity for opera may be illusory. The enjoyment of one striking aria does not guarantee the survival of an art form long regarded as over-elitist, over-recondite, and over-priced” (Kenyon 3). A recent development is the Metropolitan Opera’s decision to simulcast live opera performances from the Met stage to various cinemas around the world. These HD transmissions began with the 2006-2007 season when six performances were broadcast. In the 2007-2008 season, the schedule has expanded to eight live Saturday matinee broadcasts plus eight recorded encores broadcast the following day. According to The Los Angeles Times, “the Met’s experiment of merging film with live performance has created a new art form” (Aslup). Whether or not this is a “new art form,” it certainly makes world-class live opera available to countless persons who cannot travel to New York and pay the price for tickets, when they are available. In the US alone, more than 350 cinemas screen these live HD broadcasts from the Met. Top ticket price for these performances at the Met is US$375, while the lowest price is US$27 for seats with only a partial view. Top price for the HD transmissions in participating cinemas is US$22. This experiment with live simulcasts makes opera more affordable and may increase its popularity; combined with updated stagings, opera can engage a much larger audience and hope for even a mass consumption. Is opera moving closer and closer to popular culture? There still seems to be an aura of elitism and snobbery about opera. However, Plàcido Domingo’s attempt to join opera with Hollywood is meant to break the barriers between high and popular culture. The practice of updating opera settings is not confined to Los Angeles. As mentioned earlier, the idea can be traced to post World War II England, and is quite common in Europe. Examples include Erich Wonder’s approach to Wagner’s Ring, making Valhalla, the mythological home of the gods and typically a mountaintop, into the spaceship Valhalla, as well as my own experience with Don Giovanni in Prague and Ariane et Barbe-Bleu in Paris. Indeed, Sutcliffe maintains, “Great classics in all branches of the arts are repeatedly being repackaged for a consumerist world that is increasingly and neurotically self-obsessed” (61). Although new operas are being written and performed, most contemporary performances are of operas by Verdi, Mozart, and Puccini (www.operabase.com). This means that audiences see the same works repeated many times, but in different interpretations. Perhaps this is why Sutcliffe contends, “since the 1970s it is the actual productions that have had the novelty value grabbed by the headlines. Singing no longer predominates” (Sutcliffe 57). If then, as Sutcliffe argues, “operatic fashion through history may be a desire for novelty, new formulas displacing old” (Sutcliffe 65), then the contemporary practice of changing the original settings is simply the latest “new formula” that is replacing the old ones. If there are no new words or new music, then what remains are new methods of performance, hence the practice of changing time and place. Opera is a complex art form that has evolved over the past 400 years and continues to evolve, but will it survive? The underlining motives for directors changing the time and place of opera performances are at least three: for aesthetic/artistic purposes, financial purposes, and to reach an audience from many cultures, who speak different languages, and who have varied tastes. These three reasons are interrelated. In 1996, Sutcliffe wrote that there has been one constant in all the arguments about opera productions during the preceding two decades: “the producer’s wish to relate the works being staged to contemporary circumstances and passions.” Although that sounds like a purely aesthetic reason, making opera relevant to new, multicultural audiences and thereby increasing the bottom line seems very much a part of that aesthetic. It is as true today as it was when Sutcliffe made the observation twelve years ago (60-61). My own speculation is that opera needs to attract various audiences, and it can only do so by appealing to popular culture and engaging new forms of media and technology. Erickson concludes that the number of upper status people who are exclusively faithful to fine arts is declining; high status people consume a variety of culture while the lower status people are limited to what they like. Research in North America, Europe, and Australia, states Erickson, attest to these trends. My answer to the question can stage directors make opera and popular culture “equal” is yes, and they can do it successfully. Perhaps Stanley Sharpless summed it up best: After his Eden triumph, When the Devil played his ace, He wondered what he could do next To irk the human race, So he invented Opera, With many a fiendish grin, To mystify the lowbrows, And take the highbrows in. References The Grand Duchess. 2005. 3 Feb. 2008 < http://www.ffaire.com/Duchess/index.htm >.Aslup, Glenn. “Puccini’s La Boheme: A Live HD Broadcast from the Met.” Central City Blog Opera 7 Apr. 2008. 24 Apr. 2008 < http://www.centralcityopera.org/blog/2008/04/07/puccini%E2%80%99s- la-boheme-a-live-hd-broadcast-from-the-met/ >.Berger, William. Puccini without Excuses. New York: Vintage, 2005.Boorstin, Daniel. The Creators: A History of Heroes of the Imagination. New York: Random House, 1992.Bourdieu, Pierre. Distinction: A Social Critique of the Judgment of Taste. Cambridge: Harvard UP, 1984.Clark, Graham. “Interview with Graham Clark.” The KCSN Opera House, 88.5 FM. 11 Aug. 2006.DiMaggio, Paul. “Cultural Capital and School Success.” American Sociological Review 47 (1982): 189-201.DiMaggio, Paul. “Classification in Art.”_ American Sociological Review_ 52 (1987): 440-55.Elson, C. Louis. “Opera.” Elson’s Music Dictionary. Boston: Oliver Ditson, 1905.Erickson, H. Bonnie. “The Crisis in Culture and Inequality.” In W. Ivey and S. J. Tepper, eds. Engaging Art: The Next Great Transformation of America’s Cultural Life. New York: Routledge, 2007.Fanfaire.com. “At Its 20th Anniversary Celebration, the Los Angeles Opera Had a Ball with The Grand Duchess.” 24 Apr. 2008 < http://www.fanfaire.com/Duchess/index.htm >.Gans, J. Herbert. Popular Culture and High Culture: An Analysis and Evaluation of Taste. New York: Basic Books, 1977.Grimstad, Christie. Concerto Net.com. 2005. 12 Jan. 2008 < http://www.concertonet.com/scripts/review.php?ID_review=3091 >.Grisworld, Wendy. Cultures and Societies in a Changing World. Thousand Oaks, CA: Pine Forge Press, 1994.Grout, D. Jay. A History of Western Music. Shorter ed. New York: W.W. Norton & Company, Inc, 1964.Halle, David. “High and Low Culture.” The Blackwell Encyclopedia of Sociology. London: Blackwell, 2006.Judge, Ian. “Interview with Ian Judge.” The KCSN Opera House, 88.5 FM. 22 Mar. 2006.Harper, Douglas. Online Etymology Dictionary. 2001. 19 Nov. 2006 < http://www.etymonline.com/index.php?search=opera&searchmode=none >.Kenyon, Nicholas. “Introduction.” In A. Holden, N. Kenyon and S. Walsh, eds. The Viking Opera Guide. New York: Penguin, 1993.Lamont, Michele, and Marcel Fournier. Cultivating Differences: Symbolic Boundaries and the Making of Inequality. Chicago: U of Chicago P, 1992.Lord, M.G. “Shlemiel! Shlemozzle! And Cue the Soprano.” The New York Times 4 Sep. 2005.Los Angeles Opera. “LA Opera General Director Placido Domingo Announces Results of Record-Breaking 20th Anniversary Season.” News release. 2006.Marshall, Garry. “Interview with Garry Marshall.” The KCSN Opera House, 88.5 FM. 31 Aug. 2005.National Endowment for the Arts. 2002 Survey of Public Participation in the Arts. Research Division Report #45. 5 Feb. 2008 < http://www.nea.gov/pub/NEASurvey2004.pdf >.NCM Fanthom. “The Metropolitan Opera HD Live.” 2 Feb. 2008 < http://fathomevents.com/details.aspx?seriesid=622&gclid= CLa59NGuspECFQU6awodjiOafA >.Opera Today. James Sobre: Ariane et Barbe-Bleue and Capriccio in Paris – Name This Stage Piece If You Can. 5 Feb. 2008 < http://www.operatoday.com/content/2007/09/ariane_et_barbe_1.php >.Rich, Alan. “High Notes, and Low.” LA Weekly 15 Sep. 2005. 6 May 2008 < http://www.laweekly.com/stage/a-lot-of-night-music/high-notes-and-low/8160/ >.Sharpless, Stanley. “A Song against Opera.” In E. O. Parrott, ed. How to Be Tremendously Tuned in to Opera. New York: Penguin, 1990.Shore, James. Opera Today. 2007. 4 Feb. 2008 < http://www.operatoday.com/content/2007/09/ariane_et_barbe_1.php >.Sutcliffe, Tom. Believing in Opera. Princeton, New Jersey: Princeton UP, 1996.YouTube. “Manon Sex and the Opera.” 24 Apr. 2008 < http://www.youtube.com/watch?v=YiBQhr2Sy0k >.