Journal articles on the topic 'Tsonga language'

This article examines the liturgical practices of the Evangelical Presbyterian Church in South Africa (EPCSA), focusing on its Sunday liturgy, within the broader context of cultural and linguistic considerations. The EPCSA, formerly known as the Tsonga Presbyterian Church (TPC), has a diverse array of liturgies, each composed in Tsonga. Liturgy, as an integral part of worship, has evolved over the history of Christian practices, influenced by various cultures and people. This study emphasizes the cultural aspect of liturgy, asserting that the incorporation of nature into the relationship with God holds cultural significance. While the Tsonga language remains central to the EPCSA's tradition, the changing demographic landscape, with the church previously comprising Tsonga-speaking members exclusively, necessitates a reconsideration of its liturgical approach. The article utilizes a literature review to argue that the current Sunday liturgy may exhibit exclusivity. It underscores the importance of adapting liturgical practices to accommodate changes in the composition of the congregation, emphasizing the unity of diverse individuals coming together to worship a shared God despite their differences.

In South Africa, the transition from an apartheid regime to a popularly elected government in 1994 made possible wide-ranging changes in power relations in every sphere of human interaction, including language. Under the new political dispensation, there are 11 official languages (listed in order of numbers of speakers): Zulu, Xhosa, Afrikaans, Tswana, North Sotho, English, South Sotho, Tsonga, Swati, Ndebele, and Venda. They replace English and Afrikaans, formerly the 2 official languages.

The aim of this article is to evaluate currently available electronic dictionaries from a South African perspective for the eleven official languages of South Africa namely English, Afrikaans and the nine Bantu languages Zulu, Xhosa, Swazi, Ndebele, Northern Sotho, Southern Sotho, Tswana, Tsonga and Venda. A brief discussion of the needs and status quo for English and Afrikaans will be followed by a more detailed discussion of the unique nature and consequent electronic dictionary requirements of the Bantu languages. In the latter category the focus will be on problematic aspects of lemmatisation which can only be solved in the electronic dictionary dimension.

The Tembe tribe, which resides south of Maputo Bay, originates from the present day Zimbabwe and is also linked through archaeological evidence to the ancient state of Mapungubwe. It migrated to Mozambique and later occupied the land south of Maputo Bay, straddling between Mozambique and South Africa, from Mkhuze and Maputo.The list of its rulers has been confused over the years due to the repetition over various generations of most of the names and distortion of some of the names to suit the Tsonga language (or its Rhonga dialect), which the Tembe adopted in later years. A close look at the names, however, does give a chronology of the history of the tribe from its breakaway from the Mapungubwe.Therefore, the focus of this article is on the time of the breakaway to the end of the 18th century, when it was in its apogee with a recognised kingdom. It looks into the migration route from Mapungubwe and the succession history of the ruling lineage during this period. The article helps to boost the understanding of the Tembe’s Kalanga links and could help assist future research of other Kalanga migrations to the south around the same period.

The greatness of Tsong Khapa as a Mādhyamika philosopher lay in his daring originality (which, to the chagrin of his opponents, he traced to a revelation from Mañjuśrī, the bodhisattva of wisdom) and his stress on human reason as an integral factor in the path to enlightenment, a stress which made him value above all a form of Madhyamaka which was systematically coherent. Tsong Khapa's interpretation of Madhyamaka ranges across the entire Madhyamaka corpus, organizes, clarifies obscurities and, above all,makes sense(which is not the same thing as saying that it is true). Madhyamaka thought can be difficult, and in the hands of a scholastic thinker whose temperament and outlook was akin, I suspect, to Aquinas, so Madhyamaka thought becomes extremely difficult. Tsong Khapa moulded Tibetan into a language of considerable philosophical subtlety and sophistication. His writings are renowned for their difficulty among Tibetans, and they are despairingly difficult to translate.

According to the factual material of the Kartvelian, Abkhazian, Ossetian, Armenian, Greek, and Arabic languages, it is possible to reconstruct the common Georgian ethnic term *tsen-, which was historically one of the Kartvelian ethnic groups, whose residence was called Tsane / Tsanja, and the community from there was referred to as tsanar-. It was the people who settled mainly in the territory of the modern Kazbegi-Tianeti region, whose traces of life in the Mtskheta-Tianeti region also were to be confirmed by the Georgian surnames formed with the suffixes -ish / -sh- of the Laz-Megrelian kinship, cf. Kai-sh-aur-i, Ghudu-sh-aur-i, Ghan-ish-ashvil-i and many others. In the ancient historical period, we see the unmistakable traces of occurrence of the Georgian term Tsan-ar- used to denote Georgian in the Dagestanian language data as well, where the ethnic term *Tsonor- was equal to Georgian man and which chronologically precedes the Gurji / Gurzhi allomorphs of modern and oriental origin. საკვანძო სიტყვები: ქართველური ლექსიკა, ეთნონიმი, ეტიმოლოგია. keywords: Kartvelian vocabulary, ethnonym, etymology.

TSHOBOKO Ditogamaano tsa Puo mo Botswana Ditogamaano tsa puo go rewa fa go duwa letsholo la go dira gore batho ba tseye puo nngwe ka tsela nngwe mabapi le go e ithuta, go e kwala, kgotsa tiriso ya yone puo eo (Cooper 1989: 45). Maikaelelo a pampiri e, ke go sekaseka ditiro tsa Lekgotla la Sechaba la Puo ya Setswana mabapi le megopolong e e tswang mo ditshekatshekong tsa mafatshefatshe tsa ditogamaano tsa puo, ele maiteko a go tlhaloganya mathata a Lekgotla le. Pampiri e, e leka go supa gore megopolo e e tswang mo ditshekatshekong tsa mafatshefatshe e ka thusa jang go tlhabolola ditiro tsa Lekgotla le. Ka bokhutshwane, megopolo e e a tlhalosiwa, go baa go bolelwa gore Lekgotla le le simologile jang, maikaelelo a lone ke eng, mme le mathata a lone a a nankolwa. Sa bofelo, mabapi le megopolo ya ditshekatsheko, go ntshiwa kgakololo ya se se ka dirwang go ka tlhabolola ditogamaano tsa ditiro tsa puo mo Botswana. Tse di tlhokang kgato e e bofefo mo ditogamaanong tsa puo ya Setswana, ke tiriso le go rutwa ga yone, ebile di tshwanelwa ke go mekwamekwa mmogo bobeding jwa tsone, ka nako ele nngwe fela. RESUMO Lingvoplanado en Botsvano Lingvoplanado rilatas al "intenca klopodo influi la konduton de aliaj personoj koncerne la akiron, strukturon kaj funkcian distribuon de iliaj lingvaj kodoj" (Cooper 1989: 45). La celo de tiu ci referajo estas meti la agadon de la Nacia Secvana Lingva Konsilio (NSLC), lingvoplana organizajo en Botsvano, en la kuntekston de la aktuala lingvoplana teorio por kompreni la lingvoplanajn problemojn de la Konsilio. Gi celas montri kiel la lingvoplana teorio povas animi la agadon de NSLC. La aütoro prezentas simplan teorian kadron, klarigas la originojn, celojn kaj lingvoplanajn problemojn de la Konsilio, kaj fine sugestas, surbaze de la teoria kadro kaj la cititaj problemoj, lingvoplanan modeion por animi lingvoplanan agadon en Botsvano. La plej urgaj kampoj de Secvana lingvoplanado estas statusa kaj akira planado, kaj oni devas samtempe aliri ambaŭ.

Introduction. Contemporary Kalmyk studies are characterized by that there are still a number of insufficiently explored issues dealing with the shaping of the Kalmyk ethnos, including that of identities of their ancestors within materials related to the religious tradition. Goals. The article seeks to reveal the ties between identities of Kalmyks and Oirats ― and fellow countrymen communities of Drepung Gomang Monastery at earliest stages of Buddhist history among the Mongolic peoples. Results. The work clarifies the specific features of identifying Oirats and Kalmyks through the prism of the Tibetan monastic tradition, and shows the historical changes of identity-related terms. Currently, Drepung Gomang comprises a total of 16 countrymen communities-kangtsens (Tib. khang-tshan) further divided into 22 mitsans (Tib. mi-tshang), i. e. local communities. Representatives of Mongolia and students from Russia’s Buryatia and Tyva are included in Samlo Kangtsen (Tib. bSam-blo Khang-tshan), and the latter’s ten mitsans comprise one referred to as Khalkha Mitsan. As for Kalmyk students, they are affiliated to Hardong Kangtsen (Tib. Har-gdong Khang-tshan) that numbers nine mitsans, and those related to Oirats, Southern Mongols and Kalmyks are Tsokha, Joorche, and Thorgo (Torghut) ones. The emergence of Thorgo and Tsokha Mitsans is closely tied to the history of Oirats and Kalmyks. The paper concludes the name of Thorgo Mitsan is historically related to the identity of prominent Kalmyk monks within Drepung Gomang Monastery, and up to the late 18th century served to denoted the community of monks from the Kalmyk Khanate proper. After the exodus of Kalmyks from the Volga and their resettlement across Xinjiang, Thorgo Mitsan was largely inhabited by the newly arrived ethnic Kalmyks of Torghut descent. Such historical transformations may have introduced structural changes within mitsans, which resulted from ethnic identities of Oirat or Kalmyk monks admitted.

This article aims to trace the impact of the studies and ideas from the works of Prof. A. M. Selishchev in the publications and research directions of Bulgarian linguists. Attention is paid to his monographs and to articles devoted to the language and history of the population in the geographical area of Macedonia. The merits of the descriptions of the phonetic and morphological system of the territorial dialects, accompanied by the tracing of the parallels of the phenomena in Bulgarian dialects, are indicated. The article highlights the professor’s studies of vocabulary and toponymy. Prof. Selishchev paid special attention to the mutual influence of different languages (for example, Albanian and Bulgarian), studying not only the history of the given region and its dialectological specifics, but also the bilingualism of the population. The article also traces Selishchev’s interest in the historical facts that illustrated the issue of ethnic affiliation of the population of different zones in the Bulgarian language area. The historical facts described by Selishchev about the nationality of the population are described. The role of the subject’s research is considered in relation to the general state of Bulgarian linguistic science during the Renaissance, when the Bulgarian sources for the spread of knowledge and enlightenment were limited and were usually published outside the borders of the Ottoman Empire (of which Bulgaria was a part). The works of Selishchev should not be considered an isolated phenomenon, but part of a general trend, which is demonstrated by the works of V. Grigorovich, Al. Duvernoy, and so on. Examples are cited from the works of prominent Bulgarian scientists such as L. Miletich, B. Tsonev, St. Mladenov, and J. Zaimov, which testify to the deep impact left by the work of Prof. Selishchev.

The article introduces the texts of the Kalmyk (Oirat) manuscripts kept at the Russian National Library in Saint Petersburg in the Fund No. 918 (“Kalmyk manuscripts. New series. Meeting»). The collection of Oirat manuscripts includes “Vadzhrachkhedika Pradzhnya-paramita Sutra”, “The History of White Tara”, “Altn Gerl Nertya Nomin Khurangu Orshv”, prayer-repentance “Tsogt Zandn Orshv”, etc. The article gives the transliteration the manuscript of the letter of the Kalmyk Khan Ayuki to the Astrakhan Governor P. M. Apraksin, translated into the modern Kalmyk language and translated into Russian. The introduction of the transliteration and translation into modern Kalmyk of these manuscripts will contribute greatly to the research of the Kalmyk written culture.

Introduction. The article examines the early history of Drepung Monastery, which since its foundation in 1416 has become one of the most important Buddhist educational centers in Tibet. The importance of Drepung for the Tibetan Geluk school and in general for the religious, cultural and political life of Tibet and the Mongolian-speaking peoples is enormous. However, its true scale is still not fully appreciated. Especially important is the information from the original Tibetan sources related to the name of Tsong-kha-pa (1357–1419) and his relationship with his direct disciples, such as ‘Jamyang Choje (1379–1449), the founder of Drepung Monastery. The purpose of the research is to study the main aspects of the history of Drepung Monastery, a brief biography of the founder, and some items of the monastery's material and spiritual culture. Materials and methods. The work is based on the study of “The History of the Foundation of the Four Monasteries [Sera, Ganden, Drepung and Tashilhunpo] and the Two Tantric Datsans of Gyuto and Gyume” (Grwa sa chen po bzhi dang rgyud pa stod smad kyi dkar chag pad dkar 'phreng ba), compiled in 1744 by Purchok I Ngawang Jampa (Phur lcog ngag dbang byams pa, 1682–1762). Results. The presented materials allow us to trace the main stages of the life of Jamchen Choje, the prosperity and decline of Drepung in Tibet. It is noted that the recreated “Indian” Drepung almost completely preserved all the basic elements of religious activity, the administrative and disciplinary structure of the monastery as well as the regional kantsen communities that existed in Tibet before 1959.

The papers published in this issue of Balgarski ezik are unified by the idea of presenting the peculiarities of the language varieties spoken by Bulgarian communities that live outside the state borders of present-day Bulgaria. In these new studies, one can trace the influence of the scientific ideas, theoretical views and remarkable teaching activity of an eminent Bulgarian scholar, Prof. Ivan Kochev, to whose 85th anniversary this issue is dedicated. He was the first of a generation of scholars succeeding the classics of Bulgarian linguistics such as Lyubomir Miletich, Stefan Mladenov and Benyo Tsonev to turn the study of the Bulgarian language throughout its historical territory, both within and outside the contemporary borders of Bulgaria, into his “symbol of faith”. In addition, some of the articles discuss the current state of the language spoken by the Bulgarian diaspora. The first two papers present recent lexical and phonetic data from the dialects of two Bulgarian villages in the Prizren Region that provide further evidence on the geographical position of the western boundary of the Bulgarian language continuum. The material has been collected by the authors of the articles in recent years as a result of personal field research. Luchia Antonova-Vasileva’s study On the Distinction of Dialects of Closely Related Languages at the Lexical Level explores the dialectal differences between Bulgarian and Serbian on the basis of lexical data from a recently studied Bulgarian dialect spoken in the Republic of Kosovo. Revealing the dialect-specific, common Bulgarian and common Slavic tiers of the vocabulary of the dialect of the village of Rahovets in the Prizren Region, the author undoubtedly proves its Bulgarian nature. In her paper The Reflexes of the Proto-Slavic Combinations *tj, *dj, *kt’ and Palatalisation Changes in the Plosives т, д, к and г in the Phonetic System of the Dialect of the Village of Rechane, Prizren Region – New Data, Iliyana Garavalova adduces authentic, although not very abundant, dialect material which corroborates the existence of one of the most typical diagnostic phonetic features of the Bulgarian language – the reflexes шт, жд – in the dialect of the Prizren village of Rechane. Georgi Mitrinov studies The Bulgarian Immigrants’ Dialect of the Village of Musabeyli, Edirne Region in comparison with the Rhodope dialect of the village of Vievo, Smolyan Region, where the inhabitants of Musabeyli hail from. The author discusses the linguistic data in light of historical, geographical and demographic information about the village over a period spanning more than 100 years and continuing into the present day. Based on material from the dialect of the residents of seven villages in the Tsaribrod Region collected by the author himself, Kiril Parvanov analyses the dialect’s most significant archaic features in the domain of morphology. Pointing out the symmetrical bilingualism observed in the dialect of the population of the Western Outlands, he provides linguistic data that clearly prove its Bulgarian character. An intriguing addition to the analysis are several recipes revealing unknown folk medicine practices and experience. Daniela Andrei’s paper The Bulgarian Ethnic Minorities in Oltenia, Romania. The Language of the Inhabitants of Sviniţa as an Ethnographic Group within the Bulgarian People is a contribution to the study of the language and culture of Bulgarian minorities in Romania. The author discusses archaic and recent phonetic features of the ancient dialect of the village of Sviniţa in Mehedinţi County, which shares common features with the dialect of the village of Novo Selo, Vidin Region. She goes on to make an overview of the rich bibliography on this topic, concluding that the language and culture of the Bulgarian minority in Oltenia merit further research. Ana Kocheva adds new details To the Characterisation of the Mixed Language of Second-Generation Viennese Bulgarians. As noted by the author, the language of Viennese Bulgarians preserves major features of the Bulgarian language, but bilingualism of a subordinate type is also observed. The variability between Bulgarian and German typical for the first generation of Bulgarian emigrants is gradually being replaced through the natural stabilisation of the German elements. Katerina Usheva traces the interesting Historical Development of the Old Bulgarian Etymological Vowel А (Я) in the Dialects of the Southern Part of the Э Isoglottal Zone (the regions of Razlog, Sandanski, Petrich, Gotse Delchev, Drama, Serres and Thessaloniki) and emphasises on the archaic nature of the umlaut in the Razlog and Thessaloniki Regions. Simeon Stefanov studies A Peculiarity in the Description of the Local Traditional Clothes Made by the Administration of the Shumen Region in 1888 (On Material from Archive 427 l. 68a-80a). The author analyses the lexis and style of hitherto unexplored documents from the late-19th century which provide data on the way different social and ethnic groups dressed in post-Liberation Bulgaria. The featured articles by established and younger scholars are a contribution to the study of the language of Bulgarian communities abroad that undoubtedly show that even today, whether spoken in or outside the boundaries of the Bulgarian language continuum, these language varieties preserve the most important characterristics of Bulgarian.

The article deals with the origin of the tribal name Coŋgōl or Tsongool, in other orthography. It also known as Soŋgōl or Songool in Buryat pronunciation, where the Written Mongolian [č] developed into [s] through the step [ts] in position before a vowel other than [i]. We argue the connection of the word with the ethnic name Čuŋul ~ Čumul, attested in different spelling forms in Chinese, Old Turkic, Khotanese Saka and Persian texts, in connection with the history of Eastern Turkestan and Gan-su Province of China, at least from the of the 7th to the 11th centuries A. D., and also preserved now among the ethnonyms of the Sarïg-Yogur people as Čoŋïl ~ Čuŋïl. In the latter case, the fact of historical continuity cannot raise any doubts. According to the results of this research, it is possible to argue that the community arrived to territory of modern South Buryatia to become subjects of the Russian Tsar at the end of the 17th century had already pronounced the name Tsongool (< WMong. Čongγol) in the variant Tsoŋgol, taking into account the fact that the designation of a vowel in the second syllable as a long one is a later orthographic phenomenon in Buryat. In other words, they were attested the resulted phonetic development [č] > [ts] and consistent vowel labialization in both syllables of the word, regardless of the peculiarity of the Tsongol dialect of Buryat language, where the development of WMong. [u] > [o] is observed. In this manner it can be interpreted the form of the tribal name known among the Barguzin Evenks čåŋgå̄lʹi̯r as reflected the first mentioned process. This point can also be confirmed by the data on onomastics of the persons associated with the Tsongols, attested in the later 17th century, where it can be found the development [č] > [ts] > [s]. It is discussed the problem of correlating two phonetic forms in connection with the chronology of the appearance of Tsongols in the territory of modern Buryatia. Despite the absence of any earlier information about the existence of a group with this name in the region, they are known the legends according to which the territory of origin of the Tsongols is localized in the valley of the Kuda River (in modern Irkutsk region), where a small group with the name Songool (Tsongool) was recorded back in the 19th century. Explaining the chronology of phonetic changes in a historical context requires future research.

The article presents the results of the psycholinguistic experiment whose aim was to reveal universal and specific features of the verbal behaviour of respondents when studying the stimulus word “crisis” as a relevant lexeme in the linguistic consciousness of Ukrainian people, as well as to single out various sememes that were actualised in the course of the experiment. The total sample comprised 297 respondents: 170 females and 127 males of different ages (“juvenility” – 17–21, “youth” – 22–35, “maturity” – 36–60, “old age” – 61 and above). The universal features of verbal behaviour displayed both by males and females are reflected in such lexemes as “money”, “age”, “economy”, “country”, “problem”, “poverty”, “unemployment”, “war”, “depression”, “misery”. The respondents of all age groups, both males and females, show negative evaluative and emotional attitude to the stimulus word in question. The specific features of the verbal behaviour of the respondents are reflected in the following lexemes: “bankrupt”, “panic”, “ruin”, “deadlock”, “chaos”, “Ukraine”. Among other things, both males and females associate crisis with the state of mental tension, anxiety, and fear, which manifests itself in such reactions as “depression”, “panic”, “negative”, “deadlock”, “bad”, etc. Individual features of verbal behaviour are reflected in the following negative emotional reactions: “pain”, “mess”, “mayhem”, “panic”, “fear”, “alarm”, “mix-up”, etc., with an obvious prevalence of female reactions. Associative reactions to the stimulus word "crisis" yield the following sememes: “lack of money”, “unemployment”, “problem”, “age”, “depression”, “opportunity”. References Башкова И. Слово «кризис» в русской речевой культуре //Journal of Siberian FederalUniversity. Humanities & Social Science, Supplement. 2009. C. 19–29.Bashkova, I. (2009). 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In each and every translated text, there is a certain intended meaning that is being communicated to the target reader or audience in their target language, which is equivalent to what is in the source text. Nonetheless, there is still a big debate on whether a translation should follow the communicative meaning or the semantic meaning when conveying the communicated message. This article provides an analysis and application of Toury’s Descriptive Translation Studies (DTS) methodology on the treatment of technical terms, abbreviations or acronyms and numbers in a Tsonga target text. It also investigated the strategies applied by the translator to close the gap between the two languages in question (Tsonga and English), which vary significantly when we compare their instrumental value, hegemony and economic status.

The objectives of this study were to investigate the replicability, construct equivalence, item bias and reliability of the Social Axioms Survey (SAS) in the South African Police Service (SAPS). A cross-sectional survey design was used. the participants consisted of applicants who had applied for jobs in the SAPS (n = 1535), and the SAS was administered to them. An exploratory factor analysis utilising target rotation applied to all 60 items of the SAS revealed four interpretable factors (Social Cynicism, reward for Application, Fate Control, and Spirituality/religiosity). Values of tucker’s phi higher than 0,90 were found for seven language groups (Zulu, Sotho, Tswana, Swati, Tsonga, Venda and Pedi). Analyses of variance found that item bias was not a major disturbance. Unacceptable alpha values were found for some of the scales of the SAS.

Van der Wiel, Renée. The Swazi People. Gallo Manor, South Africa: Awareness Publishing Group, 2012. Print.South Africa describes itself as “one rainbow nation going forward”, but within that rainbow there are eleven indigenous South African peoples. The Swazi People is one of eleven volumes in the African Cultures of South Africa series, which presents the cultures for readers at the upper elementary level. The other volumes include the cultures of The Khoikhoi, The Ndebele, The North Sotho, The San, The South Sotho, The Tsonga-Shangaan, The Tswana, The Venda, The Xhosa, and The Zulu.In The Swazi People, Renée Van der Wiel describes their arts and crafts, beliefs, clothes, history, houses, language, leaders, marriage, music and dance, recipes, and way of life. The book incorporates many Swazi words, which are listed in the glossary at the back of the book. For example, mahiya (cotton cloth), gogo (grandmother) and lobola (marriage gift, usually cattle) are all listed in the glossary.This volume is attractively produced and brightly coloured. It opens with a full-page map of South Africa that shows the historical movements of the Swazi people and highlights their homelands. Text and images are presented on alternate pages. The professional quality images are usually full-page and are either historical black and white photos or modern colour photos of Swazi people engaged in traditional activities. There is also an index, which improves the book's usefulness as an elementary research text.The text is written in age-appropriate language and deals with the subjects in sufficient detail that as an adult, I was able to learn from it. In general, the tone is objective and non-judgemental. For example, "[i]n 1973, King Sobhuzall and the Imbokoduo National Movement stopped all other political parties from taking part in elections in Swaziland. (…) After only five years of being a democracy, Swaziland became a country ruled by a king." Where there is bias present, it is more in the form of presenting the Swazi point of view: "But the Boers did not care about looking after the Swazi people – all they wanted was to get through to the sea without having to travel through British territory.".This sturdily bound volume is an excellent work and is highly recommended for public and elementary school libraries. Highly recommended: 4 stars out of 4Reviewer: Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.

Aims and objectives/purpose/research questions: This paper investigates the gender assignment strategies employed when genderless Georgian nouns are inserted into gendered Tsova-Tush utterances. We explore the linguistic and extra-linguistic factors motivating the strategies, and compare how these code-switches behave in relation to loans. Design/methodology/approach: Taking a broadly usage-based approach, we collected three types of data: (a) naturalistic corpus data; (b) semi-naturalistic production data from a forced-switch director–matcher (DM) task; and (c) a three-response forced-choice acceptability judgement task (AJT). Data and analysis: The responses from the DM task ( n = 12) and AJT acceptability ( n = 12) were analysed using descriptive (Chi-square) and inferential (log-linear) statistics. The corpus data are described qualitatively. Findings/conclusions: Both the gender of the Tsova-Tush translation equivalent (TE) and the Georgian phonology of the code-switched noun were significantly related to the response, with the TE being the stronger determinant of the two. Only marginal evidence for a default strategy was found. Production responses were found to be more consistent than comprehension responses, with more frequent lexemes displaying higher inter-participant consistency in production. Originality: Tsova-Tush, an endangered Nakh–Daghestanian language with five genders marked by prefixes, offers much-needed diversification within the code-switching literature concerning grammatical gender. This complexity also raises new questions regarding the notion of default in mixed nominal constructions. Significance/implications: Our findings support the prediction that first language speakers of a gendered language prefer a TE strategy, but contradict a relationship between default strategy and language dominance. Phonological criteria display a stronger role in gender assignment than previously found. Frequency and entrenchment of gender–noun pairings partially explain inter-speaker and inter-stimulus variation and consistency, providing a plausible pathway from code-switches to borrowings. Limitations: An unavoidable limitation is the sample size, reflecting the small speaker population. We strongly advocate for similar research in other language pairs in the Caucasus where gender systems feature prominently.

The focus of this paper is a hitherto unstudied methodological guide “The Grammar in Junior High School. Guidelines for Creative Thinking” (1937) by Petar Lakov and Pavel Getov, and above all its theoretical perspectives. The authors clearly state their opinion about the weaknesses in mother tongue education and outline ways to overcome them. Their views about native language learning are evaluated in view of the innovative approaches to the teaching of the Bulgarian language, presented in the 1920s and 1930s in the works of Petko Tsonev, Dimitar Grancharov and Lyuben Georgiev. As a result of the analysis, some of the current in terms of the contemporary methodological views are highlighted such as the communicative orientation of the native language learning and the development of skills for active participation in different speech situations in order to create a different types of discourse. The analysis proves that the methodological guide of Lakov and Getov is an important testimony of the dominant trends in native language learning, aimed at the formation of the creative and socially responsible individuals.

Creative learners need creative teachers. If teachers, whether teaching in higher teacher training institutions or schools, are unable to take any content and convert it into creativity, then we have a big problem before us. While teaching methods are mostly introduced to African language teachers in English, creative teachers can develop their own strategies to make these methods work. This can lead to new methods. In South Africa, some teachers use “scripted lessons,” written by outsiders unfamiliar with the class dynamics. This approach stifles both teacher and student creativity. Poetry teaching, for example, is often relegated to basic questions like ‘Give the content of the poem in your own words.’, ‘Give examples of poetic techniques from the poem.’ and ‘Which emotions does the poem evoke in you? This paper demonstrates that African languages can be as creative as any other language. It explores the use of multiple intelligences in teaching poetry, to illustrate differentiation in cognitive levels of questioning (Bloom’s taxonomy). The mainly qualitative study uses the poem "Molagodimo" (Rainbow) by M. Seboni, applying reader-response theory for broader literary appreciation. The poem is presented through a new lens. The multiple intelligences approach can be applied to any aspect of teaching African languages, even in the teaching of idioms. Employing this method will help accommodate all different types of learners/students in the classroom. Lower, intermediate and higher order questions are used, thereby not only supporting different learning styles, but also fostering learners’/students’ initiative and creativity. Tshosobanyo Barutwana ba ba nang le boitlhamedi ba tlhoka barutabana ba ba nang le boitlhamedi. Fa barutabana, ba ba rutang kwa ditheong tse dikgolwane tsa katiso ya barutabana kgotsa kwa dikolong, ba sa kgone go tsaya diteng dingwe le dingwe tse ba di rutang mme ba di dira gore e nne tsa boitlhamedi, go bontsha fa re lebane le mathata a magolo. Bontsi jwa mekgwa le ditogamaano tsa go ruta, di tlhagisiwa mo barutabaneng ba Dipuo tsa Bantsho ka Seesimane pele. Le fa go ntse jalo, morutabana yo o nang le boitlhamedi, a ka nna a itlhamela ditogamaano tsa gagwe go dira gore mokgwa mongwe le mongwe wa go ruta o atlege fa a ruta Dipuo tsa Bantsho. Seno se ka dira gape gore go nne le mekgwa e mešwa ya tshimologo kgotsa ditogamaano fa go rutiwa Dipuo tsa Bantsho. Mo Aforika Borwa, bangwe ba ikantse “dithuto tse di kwaletsweng ruri”, e leng thuto e e kwadilweng ke mongwe yo o sa itseng gore phaposiborutelo ya gago etlhamegile ka mokgwa mang. Seno ga se kgoreletse fela dikakanyo tsa morutabana le bokgoni ba boitlhamedi, gape go senya boitshimololedi le boitlhamedi jwa barutwana/baithuti. Poko e rutiwa fela ka go botsa dipotso jaaka ‘Neela diteng tsa leboko le ka mafoko a gago.’ ‘Neela dikao tsa diponagalo tsa poko go tswa mo lebokong le,’ le ‘Leboko le, le tsosa maikutlo afe mo go wena?’ Maikaelelo a letlhatlhelelo le ke go senola ntlha ya gore Dipuo tsa Bantsho di ka nna le boitlhamedi fela jaaka dipuo tse dingwe. Go feta foo, maikaelelo a mangwe ke go dirisa matlhale a mantsi fa go rutiwa poko go bontsha mefuta ya dipotso tse di ka botswang tse di tsamaelanang le mokgwa o wa go ruta, ka mafoko a mangwe, ka nako e le nngwe go rutiwa dipotso tsa go farologanya magato a botlhale a a farologaneng (Bloom’s taxonomy). Athikele e, e dirisitse bogolo Mmeo wa Khwalitatifi. Mo kokoanyong ya dinewane, go tlhophilwe leboko la Molagodimo ka M. Seboni go tlhagolela mokgwa o tsela. Dipatlisiso tse, di ikaegile ka tiori ya dikwalwa, e leng Bolepatsibogo, e e thusang go kgatlhegela lorato lwa dikwalwa le le anameng. Leboko le, le tlaa rutiwa ka tebo e ntšhwa. Matlhale a mantsi a ka dirisiwa go ruta karolo nngwe le nngwe ya go ruta Dipuo tsa Bantsho, go akaretsa le go ruta maele tota. Tiriso ya mokgwa o fa go rutwa Dipuo tsa Bantsho, go tlaa thusa go rekegela mefuta e e farologaneng ya barutwana/baithuti mo phaposiborutelong, ka mafoko a mangwe, ba ba leng bonya, magareng le ba ba ditlhaloganyo tse di majato/ba ba tlhaloganyetsang ka pele. Dipotso tse di bonolo, tse di mo magareng le tse di marara di a dirisiwa, ka jalo ga go akaretswe fela mekgwa e e farologaneng ya go ithuta, fela go akarediwa le boitshimololedi le boitlhamedi jwa barutwana/baithuti fa go rutiwa Dipuo tsa Bantsho.

We are very proud to launch this special issue of Approaches entitled ‘Guided Imagery and Music: Contemporary European perspectives and developments’. With its body of articles, we hope to inspire practitioners, researchers and educators from many fields: Guided Imagery and Music (GIM) therapists, music therapists as well as professionals from other health professions. But, why a special issue on GIM in Europe? And why now? The most obvious reason is the celebration of the formation of an independent European branch of the American Association of Guided Imagery and Music that took place at the 12th European GIM Conference in Athens, Greece, September 2016. But we have to go back to the beginning. Guided Imagery and Music The music therapy method GIM, being one of the top five music therapy approaches in the world according to the amount of practice, research and publications (Wheeler et al. 2012), was originally founded in USA in the 1970s by the music therapist, musician, and researcher Helen Lindquist Bonny (1921-2010) (Bonny 2002; Bonny & Savary 1973). Bonny was inspired by humanistic and existential philosophies at her time, as well as by her own spiritual experiences with music. After providing music for LSD psychotherapy sessions together with Stanislav Grof as part of their research in Maryland Hospital, Baltimore, she discovered that listening to classical Western music in itself, in an expanded state of consciousness, could serve as a vehicle of deep inner transformation and unravelling of unconscious material. She saw music as a rich source of inspiration and creativity beyond words that could reach the very core of the human soul to bring out repressed emotions and memories, as well as serving as a method for the exploration of consciousness and inner growth. Bonny selected pieces from different composers and compiled programmes of music with titles such as “Peak Experience”, “Transitions” and “Explorations” (Meadows, 2010), although realising the multiple and deep reaching individual imagery experience that the music would set into motion. In GIM, imagery implies visual images, all sensory and kinaesthetic experiences, emotions, and memories or thoughts that can be elicited by the music during listening in an expanded (non-ordinary) state of consciousness. An individual GIM session is composed of five phases: a pre-talk, a guided relaxation to get the ’traveller’ (client) into an expanded state of consciousness, a music listening phase with ongoing verbal dialogue between traveller and ‘guide’ (therapist) about the imagery experience, a guiding back and expression of the experience in a painting (mandala), and a processing post-talk. It is important to note that in GIM, it is not the therapist that “guides” the client into the imagery, but the music itself. The client free-associates during the music listening period, as opposed to other methods where the process is based on a given script provided by the therapist or a recorded voice. Since the beginning, GIM has spread from USA to many countries around the world, many new music programmes have been created, and adaptations of the method to the needs of populations in mental health and medical settings have been applied with enriched perspectives on humanistic, psychodynamic, transpersonal/ archetypal and even cognitive-behavioural theoretical frameworks. Neuroscience findings have amplified our understanding of the effects of music and imagery in the brain and consequently to the human body. Subsequently, a developing amount of research in GIM is now being carried out (Bonde 2015; Grocke 2010; McKinney 2002; McKinney & Honig 2017). In the Aalborg graduate music therapy programme in Denmark, eight out of 46 PhD theses are GIM-related (http://www.mt-phd.aau.dk/phd-theses/), and four additional GIM studies are in process (http://www.mt-phd.aau.dk/organisation/current/). Short history of the development of GIM associations The American “Association for Music & Imagery” (AMI) was created in 1987 and has grown to be an international organisation with the purpose to provide basic information about GIM, practitioners, training programmes, ethical standards, conferences and the biannual publishing of the Journal of Association for Music & Imagery (see https://ami-bonnymethod.org, and Parker 2010). The “Music & Imagery Association of Australia” was created in 1994 (http://www.musicandimagery.org.au/). In Europe, an intense work of consolidation and identity forming has been taking place over the years, and a continued work to found an independent association has been undertaken, first by a ‘steering boat’ consisting of the four European GIM primary trainers Margareta Wärja, Leslie Bunt, Torben Moe and Dag Körlin, and since the Oslo conference in 2008, by the European Network of GIM (ENGIM) with an expanded steering boat (Wärja 2010). In the European GIM Conference in Berlin (2014), a preliminary association was formed, and finally in Athens (2016), a formal European Association of Music and Imagery (EAMI) union was founded (https://www.music-and-imagery.eu/) with the support from the Australian sister organisation (chair: Denise Grocke) and from AMI (president-elect: Suzannah Scott-Moncrieff) (see also conference report by Samara 2017, and Moe and Lund 2017, in this issue). Several passionate speeches inspired the final vote towards the formation of EAMI. Margareta Wärja said: “We (Europeans) do not have what you (Australians and Americans) have – we have diversity, cultural differences, different training formats, challenges – and this is rich like a gem – we need to embrace the differences, and to be able to communicate and find harmony, in order to grow!” Marilyn Clark from USA shared an inner image of Bonny extending her hands to her across a stream, asking her to jump. Marilyn imparted the trust she learned from Bonny with the Europeans and encouraged them to trust – as if it was Bonny herself who extended her hands to embrace and unite us all: “At this time, we are not pulling you to the United States, but pulling you into a deeper river with music and imagery, and all the things you will do with it, which will be above and beyond and different from what the Bonny method of Guided Imagery is”. Marilyn addressed the loss Europeans will be to AMI, but at the same time shared how amazing the growth of the method has been; Bonny did her first sessions in her spare bedroom, and now we have three organisations, and there even might be a Pacific AMI in the future as GIM is spreading to the East. She quoted Bonny that “we have the ‘tiger by the tail’”, the tiger being “empathy, bringing the beauty of music to people who really need it, creating a bridge to transformation”. It was a touching moment for all to receive this support from Marilyn and her connection with Helen Bonny. The formation of EAMI has raised a question of identity: Is there a special profile of GIM in Europe compared to the rest of the world? It might well be that the clinical application of GIM into medical health and social service institutions have informed the development of adaptations of GIM more in Europe than in the rest of the world by now, supported by research showing beneficial outcomes of GIM and Music and Imagery (MI), and inspiring the training formats to include more ‘modified GIM’ formats. Having said that, it is important to bear in mind that Europe consists of different countries with large differences in their health care systems and education regulations, not to mention different languages. Given this diversity, it has not been an easy task to find a common ground for the description of standards and demands for GIM education – a development that is still in process. According to EAMI, professional training in GIM/MI is geared towards mental health professionals and is designed to develop skills on the uses of the method in various clinical and socio-educational contexts, mainly (but not exclusively) as a music-assisted psychotherapy or self-development technique. As GIM is the most established and widespread method in receptive music therapy, perhaps it is now time for EAMI to strengthen the bonds with other music therapy organisations, especially the European Music Therapy Confederation (EMTC) and the World Federation of Music Therapy (WFMT) – an issue raised previously also by Bonde (2015). Towards the spectrum of GIM/MI approaches Bonny herself worked with both an individual Guided Music and Imagery (GIM) format and an unguided group format, which she called group GIM or Music and Imagery (MI) respectively, and adaptations to different clinical groups were already described from the early days of GIM. Though, the nomenclature of GIM in research and practice has been an issue for years. When is it “traditional” Bonny method? When can a modification be considered a specific method with a new name? What are the different forms of modifications? When does a modification go beyond the limits, so that it is not GIM anymore? In this issue, we have chosen to embrace the issue of nomenclature with an open attitude allowing the individual authors to use their own definitions. However, we would like to refer to the recent book on GIM adaptations (Grocke & Moe 2015), Muller’s book on variations (2014), Bruscia’s (2017) note on definitions, and the European training standards of EAMI (in effect from 2019) that acknowledge the use of GIM modifications and describe them within a hierarchy where the term GIM is used as the overarching umbrella term (see also Bonde 2017, in this issue). In figure 1, different formats of GIM can be seen: the individual GIM formats include the full 1.5 to 2 hours session Bonny Method of GIM (BMGIM), the short GIM (a full session but shortened in time and music listening period), modified GIM (modifications of one or more parts of the method, i.e. using non-classical music) and Music and Imagery (MI) which includes music listening without verbal interaction/guiding during the music. GIM in groups usually is a MI method without guiding during the music (GrpMI); however, interactive communication between group members can also take place in a specific format (Group GIM). Modifications of GIM also include the combination of GIM and other therapeutic methods and approaches, as described in several of the papers in the present issue. The spectrum of GIM and MI methods Individual work Individual GIM(The Bonny method) Short individual GIM Modified individual GIM Music and Imagery (MI) Group work Interactive group GIM Group Music and Imagery (MI) Figure 1: The spectrum of GIM and MI methods (according to EAMI’s Training Standards, 2017) Hence, in Europe we embrace the full Bonny method as well as a whole spectrum of GIM and MI methods, including short forms and modified approaches in individual therapy and group work. The theory formation of GIM is continuously developing, both concerning the understanding of the GIM process itself related to different philosophies and therapeutic theories, and concerning the development of specific adaptations for different clinical purposes. EAMI has developed its own competency-based standards in education of GIM, offering a wide range of approaches and flexibility in the practice of the method in various settings (EAMI, 2017). Contents of the current issue This special issue of GIM in Europe received an abundance of submissions which we experience as an illustration of the current creativity and liveliness of the GIM development in the continent. We are happy to be able to present 16 papers, including original research, theoretical developments, descriptions of GIM adaptations, case studies, presentations of new GIM programmes, a conference report, an interview with the current chair of EAMI, and a book review. The first three papers illustrate GIM in the light of somatic and neurological theories. First Gabriella Rudstam, Ulf Elofsson, Hans Peter Søndergaard, from Sweden with supervisors Lars Ole Bonde and Bolette Daniels Beck from Denmark present original research results from a pilot study on a trauma-focused adaptation of group GIM with women suffering from PTSD and Complex PTSD. Italian psychiatrist and GIM primary trainer Gabriella Giordanelli Perilli discusses aspects of neurological research that describes how GIM can bring forward “tacit knowledge”. Furthermore, she describes a combination of GIM with “redescriptive technique”, as she draws theory from cognitive sciences that introduces a homework assignment for the GIM traveller to do a written narrative about core imagery, serving as a help to integrate the GIM experience. Music therapist, GIM therapist and researcher Ilan Sanfi together with Erik Christensen with a background in music phenomenology, both from Denmark, present a literature review covering the use of music therapy and music medicine in the treatment of chronic pain with a neuroscientific perspective. They find that music interventions such as GIM and Music and Imagery (MI) exert a considerable impact on the physiological and psychological aspects of pain. The next two papers are concerned with clinical aspects of GIM from the therapist perspective. Isabelle Frohne Hagemann, music therapist and GIM primary trainer from Germany writes on GIM supervision adapting a multi-perspective and meta-hermeneutic perspective. Political, theoretical, ethical and practical dimensions are presented and a case example illustrating the complexity of GIM supervision. Psychotherapist and GIM therapist Katarina Mårtenson Blom presents a lyrical first-person analysis of the process of the GIM therapist based on intersubjectivity theory and the concept “the process of surrender”. Another original theoretical contribution is a theoretical essay by the GIM primary trainer Martin Lawes from the UK who draws from the works of the psychoanalyst Ehrenzweig and the physicist Bohm (among others) to describe the deep nature of music as “unfolding wholes”. This theoretical paper is going to the roots of music and consciousness. Lars Ole Bonde, GIM primary trainer, professor at Aalborg University and at the Centre for Research in Music and Health in Oslo, has investigated the use of GIM and its adaptations among professional GIM therapists in Denmark. He finds that adaptations of GIM are used widely in many populations whereas the full Bonny method is applied in a much smaller scale, and he advocates for more training in modifications/adaptations of GIM in the education of GIM therapists. GIM in combination with other psychotherapeutic methods are illustrated by the next two authors. Medical practitioner and GIM therapist Gert Tuinmann from Germany presents his use of a combination of the cognitive method Schema therapy and GIM, exemplified with a case example. The psychologists Evdokia Smirnioti and Sofia Trifonopoulou together with music therapist and primary school teacher Eleni Tsolka, all advanced GIM students from Greece, have described their combination of group GIM processes with fairy tales. The participants “travel” to the music together and tell each other about their imagery along with the music, and their joint story is made into a shared fairy tale, reflecting unconscious processes in the group. Two case studies are going into depth about the clinical process in GIM. Katarina Mårtenson Blom presents a case study that is informed by psychodynamic and relational theory. She analyses the GIM process of a 52-year-old woman with a history of trauma and loss through the “experiential categories of analysis”, that was developed in her doctoral research. Another case study by music therapist and GIM practitioner Alice Pehk from Estonia is based on psychodynamic theory and recounts the GIM process of a young woman with music performance anxiety. Two GIM music programmes are introduced by Norwegian GIM therapists and researchers. Professor Gro Trondalen presents the use of the programme “Soundscapes” that is based on Norwegian compositions. National cultural and nature associations to the music are illustrated through a case study. Associate professor, GIM therapist and assistant trainer Svein Fuglestad presents his music programme called “New blood”, that is a compilation of instrumental recordings of pop songs by Peter Gabriel. Fuglestad provides an analysis of the music based on mood and music profile. GIM therapist with studies in psychology/philosophy Steen Teis Lund from Denmark has interviewed the current chair of EAMI Torben Moe about his background and opinions regarding the future of GIM in Europe; flexibility and openness are discussed as important for the ongoing development and application of the method. Maria Samara, music therapist and GIM therapist from Greece/Switzerland has written a report regarding the 12th GIM conference held in Athens, Greece, where EAMI was established. The report mirrors the special atmosphere of the conference and sees the many new GIM adaptations as answers to the challenges we are faced with in the world, with a specific focus on Europe. Finally, Martin Lawes reviews the book “Variations in Guided Imagery and Music: Taking a Closer Look” by Muller. With this colourful fan of perspectives on GIM, we wish the readers inspiration for future practice, research and development. Acknowledgement We would like to give special thanks to all the contributing authors of this special edition, to the board of reviewers who were specially selected for the present issue, to “SONORA”, a Greek-based Organisation for Music Therapy & Research, for the support and promotion of this special issue, and, last but not least, to the editor in chief Giorgos Tsiris and the team at Approaches for hosting this issue, guiding the process, and proofreading the manuscripts. We hope to be able to host GIM therapists and students, health professionals, and researchers from the entire world in future European conferences, and to continue collaboration and sharing the amazing process of GIM: “May the music take you where you need to go…” References Bonde, L. O. (2015). The Bonny Method of Guided Imagery and Music (GIM) in Europe. Approaches: Music Therapy & Special Music Education, Special Issue 7(1), 86-90. Retrieved from: https://approaches.gr/the-bonny-method-of-guided-imagery-and-music-gim-in-europe-lars-ole-bonde/ Bonde, L.O. (2017). The future of the Bonny Method: A perspective on Danish practice with a forecast to the future. Approaches: An Interdisciplinary Journal of Music Therapy, Special Issue 9(2). Retrieved from: https://approaches.gr/special-issue-9-2-2017 Bonny, H. (2002). Music Consciousness: The Evolution of Guided Imagery and Music (Edited by L. Summer). Gilsum, NH: Barcelona Publishers. Bonny, H., & Savary, L. (1973). Music and Your Mind: Listening with a New Consciousness (1st ed.). New York: Harper & Row. Bruscia, K. (2017). Notes on the Practice of Guided Imagery and Music. Dallas TX: Barcelona Publishers. Bruscia, K. E., & Grocke, D. E. (Eds.). (2002). Guided Imagery and Music: The Bonny Method and Beyond. Gilsum, NH: Barcelona Publishers. European Association for Music & Imagery (EAMI) (2017). Standards for Training in Guided Imagery & Music (GIM). Copenhagen: EAMI. Grocke, D. (2010). An overview of research in the Bonny method of Guided Imagery and Music. Voices: A World Forum for Music Therapy, 10(3). Retrieved from: https://voices.no/index.php/voices/article/view/340 Grocke, D. & Moe, T. (Eds.). (2015). Guided imagery & Music (GIM) and Music Imagery Methods for Individual and Group Therapy: A Spectrum of Approaches. London: Jessica Kingsley Publishers. McKinney, C. (2002). Quantitative GIM. In K. E. Bruscia & D. E. Grocke (Eds.), The Bonny Method of Guided Imagery and Music and Beyond (pp. 449-466). Gilsum: Barcelona Publishers. McKinney, C. H., & Honig, T. J. (2017). Health outcomes of a series of Bonny Method of Guided Imagery and Music sessions: A systematic review. Journal of Music Therapy, 54(1), 1-34. Meadows, A. (2010). The evolution of GIM programming. Voices: A World Forum for Music Therapy, 10(3). Retrieved from: https://voices.no/index.php/voices/article/view/497 Moe, T., & Lund, S.T. (2017). In search of the lost grail: An interview with Torben Moe. Approaches: An Interdisciplinary Journal of Music Therapy, Special Issue 9(2). Retrieved from: https://approaches.gr/special-issue-9-2-2017 Muller, F. (2014). Variations in Guided Imagery & Music: Taking a Closer Look. Dallas TX: Barcelona Publishers. Parker, A. (2010). Report on the Association for Music and Imagery: The development of Guided Imagery and Music around the world. Voices: A World Forum for Music Therapy 10(3). Retrieved from: https://voices.no/index.php/voices/article/view/443 Samara, M. (2017). Conference Report: 12th European Guided Imagery and Music (GIM) Conference “European perspectives on Guided Imagery and Music: Visions, challenges and crossroads’. Approaches: An Interdisciplinary Journal of Music Therapy, Special Issue 9(2), 367-374. Retrieved from: https://approaches.gr/special-issue-9-2-2017 Wärja, M. (2010). Roots and branches of the European Network of Guided Imagery and Music (ENGIM). Voices: A World Forum for Music Therapy, 10(3). Retrieved from: https://voices.no/index.php/voices/article/view/559 Wheeler, B., Wagner, G., Summer, L., Clifford, M., Turry, A., & Eschen, J. T. (2012). Five international models of music therapy practice. Voices: A World Forum for MusicTherapy, 12(1). Retrieved from: https://voices.no/index.php/voices/article/view/634/507 Suggested citation:Papanikolaou, E., & Beck, B. D. (2017). Celebrating GIM developments in Europe. Approaches: An Interdisciplinary Journal of Music Therapy, Special Issue 9(2), 191-195.