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7. Narrative Structure and the Drum Major Headdress

Kerry M. Hull University Press of Colorado ePub



Classic period inscriptions refer to the accession of a lord into the office of king in a variety of ways. One accession statement refers to the fastening of a white headband on the new king (k’ahlaj “fasten, enclose, bind, or tie,” sak huun “white head-band”) (Grube, cited in Schele 1992: 39–40; Schele, Mathews, and Lounsbury 1990: 4–5; Stuart 1996: 155). Several scenes, such as the Palenque Temple XIX platform and Bonampak Sculptured Stone 1, show a sak huun headband being handed to the incoming ruler. This crown of kingship is illustrated as a flexible headband of bark cloth tied onto the head with a large knot in the back (Schele 1992: 22–24). Another headdress that appears on four monuments at Palenque has been nicknamed the drum major headdress for its visual similarity to headgear worn by the leader of a marching band. This headdress is composed of a tall base of jades capped with a short crop of feathers and long tail feathers. In some examples, the long feathers are tipped with jade beads. The drum major headdress has also been identified as a crown of kingship (Fields 1991: 167; Freidel 1990: 74; Schele 1978; Taube 1998: 454–460). By examining the narrative structure of these four monuments, we will argue in this chapter that the drum major headdress represented an office or function that was related to, but quite separate from, the office of king. We will also discuss the possibility that one of the duties of the secondary lords of Palenque, who carried the title yajawk’ahk’, may have been to maintain one particular drum major headdress and the buildings that housed it.

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2 Anne Frank from Page to Stage

Barbara KirshenblattGimblett Indiana University Press ePub

Edna Nahshon

Scene: Apartment kitchen, Upper West Side, New York City.

Time: Shortly before Passover, spring 1997.

Characters: the Author of this essay; her Son, a high-school senior, helping in the kitchen.

Author (focused on chopping vegetables, chatting casually): So, what are your friends doing for the holiday?

Son: Well, David is having a seder at home, Avi is going to relatives on Long Island.

Author: And Ruth?

Son: Ruth’s family has an invitation for the second seder, but her mom doesn’t know how to prepare a seder and she wanted to do “something Jewish,” so she bought theater tickets for Anne Frank.

Although this conversation—which took place when The Diary of Anne Frank enjoyed its first Broadway revival in forty-two years—may seem trivial, it raises key issues about the play. First is the use of theater as a “sacred space” to affirm an ethno-religious identity and moral code. Attending a performance of this play in lieu of a Passover seder may not be a common practice, but the notion that seeing The Diary of Anne Frank is an exceptional, morally galvanizing experience has a considerable history, dating back to the play’s first production. As literary scholars Peter Brooks and John G. Cawelti have argued, the dramatic and literary form of melodrama, of which The Diary of Anne Frank is an example, developed in post-sacred cultures in order to satisfy their need for a secular system of ethics. When replacing the church or synagogue as the forum for contemplating the nature of good and evil, the theater has the power of endowing everyday life with a moral order.1

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6. Ethnoliterary Modernity: Jewish Ethnography and Literature in the Russian Empire and Poland (1890–1930) / Annette Werberger

Gabriella Safran Indiana University Press ePub

Jewish Ethnography and Literature in the
Russian Empire and Poland (1890–1930)


In ethnoliterary texts, modernity is expressed in relation to culture or “ethnos.” Authors seek this kind of modernity by exploring folklore and ethnology, which provide access to a certain “vanishing” premodern culture and deal with all forms of otherness: the near, the distant, and the alien. The catalyst of ethnoliterary texts is often the expressed notion of a crisis or rupture within “tradition” and the need to salvage the threatened lore of one’s own or a foreign “folk,” who still live outside modernity as a “survival” of ancient times.

I consider ethnoliterary texts, scenes, and motifs from Eastern Europe that show the special interest of Jewish authors in the “near” and not the “elsewhere” (Marc Augé). There had been great transformations and challenges within the Russian empire and Poland by 1900. The “modern” person (or undzer modern as Y. L. Peretz writes in Yiddish) need not look far to find tradition in the supposedly premodern ways of living and thinking, exotic clothing, or practices of superstition and magic outside of Warsaw, Kiev, or Vilna.1 The interest in folklore affected a people who thought of themselves as modern; they searched in the Pale of Settlement and the Warsaw underground for primordial Jewish expression, hoping to rescue themselves and to salvage their own modernity, although they preferred to see themselves as the saviors of the folk and tradition. Peretz wrote in 1911:

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36. Proof of the Fundamental Proposition of Arithmetic

Peirce, Charles S. PDF

Fundamental Proposition of Arithmetic, 1881-82


Proof of the Fundamental

Proposition of Arithmetic

MS 402: Fall 1881-Spring 1882

The proposition is that the order of sequence in which the things of any collection are counted makes no difference in the result, provided there be any order of counting in which the count can be completed.

I wish to use this language. Suppose there is a class of ordered pairs such that PQ is one of them (QP may, or may not, belong to the class). Then, supposing X signifies this class of pairs, I say that P is X of Q and Q is A'd by P.

Suppose a collection of things, say the A's is such that whatever class of ordered pairs X may signify, the following conclusion shall hold. Namely, if every A is X of an A, and if no A is X'd by more than one A, then every A is X'd by an A. If that necessarily follows, I term the collection of A's finite. That is the sense in which I use the word finite.

I begin with the following lemma. Every collection of things the count of which can be completed by counting them in a suitable order of succession is finite. For suppose there be a collection of which this is not true, and call it the A's. Then there is some relative,

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4 A History of Light

Craig Morgan Teicher Center for Literary Publishing ePub

Look down. Look at your body,
how it falls from your head

like water dumped
from a bucket—is that you?

What does that body have to do
with your many, many thoughts?

It carries your thoughts
around with it. Have you ever

had a thought in your leg?

Yes—when you were running.

When a thought was in
your hand, you wrote it down

or shaped an urn of clay.

You never shaped an urn.

An urn for ashes, the ashes
of the dead—your body

never thinks of death
but it carries your thoughts

of death like something wrapped
and delicate, something precious—

death must be very precious
or else why carry it

all your life like an egg.

Nothing will hatch—why carry it?

Describe your body: two legs
wear denim pants—why?

One arm holds a pen
while the other steadies

a notebook. And all of it
supports your head, which rides

your body like a prince
held aloft in his sedan chair.

There is also a torso in a
blue shirt; it rests atop

your legs—why bother
telling what everyone knows?

Because these are your thoughts—
they reach for your body

and you want them to be more
than its invisible cargo.

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