The article considers regional issues of the Kazakh transtoposystem. There are a number of problematic issues related to cross-border Kazakh toponymy. The article analyzes only one aspect – the status of binary names in the cross-border toposystem. The goal is to study how obvious the binary opposition is there, considering the etymology of toponyms based on semantic opposition. The toposystem of the Northern and Western regions bordering Russia was used as the empirical material for the study. According to the border (...) administrative-regional division, a number of districts of such regions of the country as North Kazakhstan, Pavlodar, Kostanay, Western Kazakhstan, Aktobe, and Atyrau border with Russia. In the article, a series of binary names along the toponyms of this cross-border zone is formed. In particular, Úlken-Kіshі (Big-Small), Aq-Qara (Black-White), Qara-Sary (Black-Yellow), Jaqsy-Jaman (Good-Bad), Jyly-Sýyq (Warm-Cold), and Ashy-Tushy (Bitter-Fresh) are analyzed. The difference between toponymic binary names and lexical antonyms is considered. We discuss the fact that the contradiction in lexical antonyms is clearly expressed, but in binary opposition along toponyms, the contradiction may not be complete. It is reported that the contradiction of toponyms is recognized only in the toponymic context, and sometimes it is even possible to form a related pair, rather than a semantic contradiction. (shrink)

Jewels in the Sea! If Minos’ jewel brings about the probationary dive of young Theseus , the green-stoned signet-ring of Polycrates is the subject of quite a paradoxical ordeal. Syloson’s coat and Gyges’ ring can be seen through it, although without any reference to the sea.Si le bijou de Minos provoque le plongeon probatoire du jeune Thésée , la bague-cachet à pierre verte de Polycrate est l’objet, pour sa part, d’une bien paradoxale ordalie. Apparaissent en filigrane, bien que sans référence (...) thalassale, le manteau de Syloson et la bague de Gygès. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSafaa Fathy Click for larger view View full resolution (2) Click for larger view View full resolutionDerrida, Jean-François Mabire, Martial Barrault (director of photography), Safaa Fathy, Almeria, Spain, 1999 (23) Click for larger view View full resolutionDerrida and Martial Barrault, Almeria, Spain, February 1999 (44) Click for larger view View full resolutionDerrida, Toledo, February 1999 (63) Click for larger view View full resolutionDerrida and Safaa Fathy, Toledo, 1999 (83) (...) Click for larger view View full resolution (114) Click for larger view View full resolution (133) Click for larger view View full resolutionDerrida and Jean-François Mabire (sound engineer), Spain, February 1999 (153) Click for larger view View full resolution (172)ImagesSafaa Fathy was born in Egypt, where she obtained her first degree, at the University of Minia. In 1981, she moved to France, where she obtained a diploma in dramatic arts followed by a PhD in theatre studies from the Sorbonne University in Paris.While preparing her dissertation, she participated in and founded theatre groups in order to stage work by contemporary French and British authors.In 1991 she coauthored her first film. Recent films include the documentaries Derrida’s Elsewhere and Dardasha Socotra. She has also started to make film-poems, the latest of which is Hidden Valley.Safaa Fathy writes mainly in Arabic and in French, and occasionally in English. She published her first book of poetry in 1993. Recent books include A Name to the Sea (poetry), Tourner les mots, with Jacques Derrida (theory and narrative) and Ordalie/ Terreur (drama). Her most recent essay is “Khôra, Light and Black Desert,” Estudios Visuales, Spain.Other than Egypt and France, she has lived in Germany, Mexico, and the United States.StatementWriting and writing the image engage the whole body. The living body of the author moves through states of wakefulness—active or meditative; of sleep—dreams or nightmares, in a constant process of selection, inclusion and exclusion of the possible. Cameras supplement the hand and the eye, while recording the image becomes the outcome of a conscious/unconscious process. A process of composing a defined time-space by interrupting its flow through framing. A process that permits the seen to be presented to perception as a scene, written or filmed.I am engaged in the process of inscription through ideograms identified formally by the frame, and intrinsically by composition. The urge to inscribe is dictated. It pulsates as part of the living process through which components of the spiritual, the sensual, the perceptive, and the conceptual fuse in the very gesture of signature.This occurs in a relationship with the world in which the other organically reshapes my self-definition and positioning. The social scene of recognition, publishing and broadcasting, albeit important, is nevertheless secondary. Politically, this means dealing with oppression, repressions, exclusion, discrimination on the basis of their possible transfer through sublimation and transcendence in creating and reinventing a poetic time-space in which all these flaws are neutralized.While writing or recording the seen, I am also concerned with the unseen, or the invisible, whose effect shapes the addressee’s reaction to the piece. The time-space is thus free, open, giving, and its energy is sustained by the vital double bind between the self and the other. [End Page 200]Copyright © 2009 The Johns Hopkins University Press... (shrink)

Résumé L’évaluation devient aujourd’hui une nouvelle tyrannie, mais sous une forme intuitive, elle est au cœur de toutes les activités humaines. Elle est au cœur des activités physiques et sportives à risque où un enjeu de vie ou de mort est toujours présent, surtout dans le contexte de l’alpinisme solitaire où une part d’imprévisible demeure toujours, mais contribue à donner son sel à l’action.