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Summary This article discusses four 19th-century textbooks for teaching Egyptian Arabic to foreigners: Nolden’s Vocabulaire français arabe (1844), Zenker’s Vocabulaire phraséologique français-arabe (1854, published under the pseudonym Barthélémy), Sacroug’s The Egyptian Travelling Interpreter (1874) and De Vaujany & Radouan’s Vocabulaire français-arabe (1887). These books display remarkable similarities. They contain, among other subjects, a vocabulary, a grammar, useful Arabic phrases and Egyptian weights and measures. Zenker, Sacroug and De Vaujany & Radouan copied extensively from Nolden’s book without referring to the original source. However, these three textbooks are not exact copies (or, in the case of Sacroug, not an exact translation) of Nolden’s book: although the authors took Nolden’s Vocabulaire as their basis, they also considerably reworked it and added extra materials. In this paper, the contents of the four textbooks are compared in order to determine how the authors treated Nolden’s work, what they added and how they improved it.

Queer Tentacles – Theory, Arts and Activism Seminar 23.–24.9.2022 nonPeerReviewed

Artikkeli käsittelee kahta skotlantilaisen nykykirjailija Ali Smithin novellia. Ehdotan lyhyiden proosatekstien lähilukua mahdollisina esimerkkeinä sukupuolittamattomista henkilökertojista. Yhdistelen queeriä ja epäluonnollista kertomusteoriaa osoittaakseni, kuinka kerrontaratkaisut vaikuttavat sukupuolen monitulkintaisuuteen. Artikkeli myös suosittelee tulkintastrategioita, jotka vastustavat luonnollistavia ja kausaalisia selityksiä. Näiden sijaan queer luenta Smithin novelleista ”erosive” (2003) ja ”The beholder” (2015) nauttii niiden ambiguiteetista, arvaamattomuudesta ja kerronnallisesta kekseliäisyydestä. Tekstejä voi tarkastella aktiivisen tietämättömyyden harjoituksina. Discussing two short stories by contemporary Scottish author Ali Smith, my article recommends a close reading of short prose narratives as potential examples of ungendered character-narration. I combine queer and unnatural narrative theory to consider how forms of telling contribute to gender ambiguity. Further, I advocate interpretative strategies that resist naturalization and causal explanations. Instead, a queer reading of Smith’s “erosive” (2003) and “The beholder” (2015) delights in their ambiguity, waywardness, and narrative inventiveness. The texts can be approached as exercises in unknowing. peerReviewed

Based on the analysis of the texts collected in the 1930s in Latvia and Estonia, this paper provides a description of the semantics of the verbal modifiers, i.e., prefixes (preverbs) and particles, in Latvian Romani. The system of verbal modifiers in Latvian Romani is an innovation evolved under Slavic and Baltic influence. Most preverbs are instances of MAT-borrowing from Slavic and Baltic, whereas verb particles are a PAT-borrowing, modelled after the Latvian system. The paper argues that even preverbs of Slavic origin often copy the semantics and derivational patterns of Latvian prefixed verbs. It is also shown that, differently from Latvian, in Romani both preverbs and verb particles can affect the verb’s argument structure (e.g., by making it transitive) and change its aspectual value (e.g., by making it perfective). Finally, the distribution of verbal modifiers in Latvian Romani (the development of verb particles as opposed to other closely related Northeastern Romani dialects which only have prefixes, and higher frequency of verb particles in Estonia than in Latvia) confirms the areal cline in the spread of verb particles. Peer reviewed

Digital animation was originally developed at scientific research laboratories, where it was seen as an ideal tool for scientific research due to its ability to visualize, analyze, and synthesize time-serial data. It was eventually adopted by the entertainment industry when higher image resolutions made it possible to produce photorealistic visual effects, yet it still has numerous applications in such fields as biology, meteorology, geology, engineering, mathematics, and physics. This paper will argue that the difference between analog and digital animation should be understood not in terms of the indexicality of the images but rather in terms of the temporalities of their material substrates – that is, the difference between the time-based medium of film and the time-critical medium of the computer. Such an approach not only offers an important contribution to the field of animation studies but also explains the continued importance of animation for contemporary scientific research. Journal of Science and Technology of the Arts, Vol 14 No 3 (2022): On Animation: In-Between Frames

In this autobiographical/autofictional article, I analyze the representation of masculinity, an advertising poster for a new Finnish cigarette brand from the 1990s recession, when a new man, a “softie,” debuted under the pressure of the traditional male model and the twenty-first-century dudes and lads. The model posing in the poster is a homosexual, me. In the article I ask whether a gay could represent a Finnish man in the early 1990s or only present him. I examine the picture with a queer eye in search of inconsistencies and distortions that break present alternative interpretations to heteronormativity. Analysoin autobiografisessa/autofiktiivisessä artikkelissani maskuliinisuuden representaatiota, uuden suomalaisen tupakkamerkin julistetta, lama-ajalta 1990-luvun alusta, jolloin uusi mies, ”pehmo”, debytoi perinteisen miehen mallin ja 2000-luvun äijien ja jätkien puristuksessa. Julisteessa poseeraava malli on homoseksuaali, minä. Artikkelissa kysyn, voisiko homo edustaa suomalaista miestä 1990-luvun alussa vai vain esittää tätä. Tarkastelen kuvaa queerilla katseella etsien epäjohdonmukaisuuksia ja vääristymiä sen heteronormatiivisuudessa ja esitän sille vaihtoehtoisia tulkintoja. peerReviewed

Non peer reviewed

Non peer reviewed