August 2014: my activist, academic, and journalistic lives collided in a digitized split-second. Online, I came face-to-surreal-face with ISIS’ execution of a colleague, terrified for the haunting film’s second captive—a friend. Although immersed professionally and personally in graphic image wars, this video proved especially disturbing, but why? Marketing’s analytical frame, strategic deployment of popular culture, and the intended audience of young, digitally networked “global citizens” best contextualizes the ISIS phenomenon: a propaganda blitzkrieg rooted in commodified rebellion’s consumption (Che t-shirts), not theology. ISIS exemplifies the paradoxical power of cultural production in contemporary geopolitical combat theater—war’s increasingly symbolic terrain.

Amanda E. Rogers holds a PhD from Emory (2013). She is an academic, journalist, artist, and political analyst whose work appears in numerous forums, including the BBC, Al-Jazeera, and the New York Times. Her forthcoming monograph, Semiotics of Rebellion From Morocco to Egypt: Advertising Revolution and Marketing Allegiance, focuses on the critical use of politicized cultural discourse for international alliances, regional stability, and intra nation-state image warfare.

With funding from Chellgren Center.

http://finearts.uky.edu/events/art/black-flags-isis-%E2%80%9Cswag%E2%80…;

For decades, many linguists have framed the study of language in terms of a language faculty, a specialized cognitive ‘organ’ unique to humans.  In the last decade, even the most stalwart proponents of this view have come to acknowledge the existence of other factors in the organization of human languages. In this talk, I will concentrate on two of these factors, embodiment and competition, drawing examples from the morphology of spoken and signed languages. Neither is unique to language, nor especially human or cognitive in nature.  Their role in the structuring of languages points to a new research paradigm in the study of language, in which no single factor is privileged and the importance of any one of them is gauged only by the insights it provided, not by its uniqueness to language.

Israel is a microcosm of the sign language world.  Within a country about equal in area to New Jersey, Israel contains both a widely dispersed deaf community sign language used in schools, Israeli Sign Language, and a number of much smaller village sign languages, each confined to a single community and used only within its confines.  Our research team was formed to study Israeli Sign Language, but we have also spent the last decade studying and documenting the sign language of the Bedouin village of Al-Sayyid, located near Be’er Sheva, the ancestral home of Abraham.  I will compare the history and structure of these two languages and show how the study of their emergence has provided a variety of insights into language and human nature.

While in verb-initial Old Irish, topicalization was achieved via left dislocation and focalization was achieved through clefting, the older Continental Celtic languages achieved such pragmatic information structuring through movement into the left periphery of the clause (though the right edge of the clause could also be a target for such purpose).  This paper commences with an inspection of relative clause syntax in Continental Celtic while outlining what we can tell about other movement mechanisms in the clause and then goes on to explore the architecture of the left periphery in these languages.  This exploration provides some insight into the prehistoric development of verb-initial clausal configuration in Insular Celtic.  Some comparative attention is also paid to the architecture of the left periphery in other Indo-European languages and it is found that the Continental Celtic languages have a role to play in determining the degree of articulation to be reconstructed for the left periphery of proto-Indo-European itself.

Joe Goodkin's Odyssey is a 30-minute original musical composition for solo acoustic guitar and voice, a folk opera that tells the story of Homer's Odyssey in a series of 24 short songs.