By AA Khalafallah
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Extra resources for A Descriptive Grammar of sa̲ei:di, Egyptian colloquial Arabic
It often corresponds to the natural environment, human activities or historical events. Brooks, fountains, raindrops, the thunder of storms, bells or cannon fire have all played their part. Instruments have often imitated song, as in the slow movement of Brahms’s Second Piano Concerto in which the vocal sound of the solo cello corresponds to the melody line of an actual song (Lippman 1953: 554–8). Many aspects of music may be symbolic. Apart from onomatopoeia or rhythm and tempo, there are other features which may be more open to interpretation.
Bishop Fulton J. Sheen referred to it as a ‘double cross’ in his British radio programme Catholic Hour (6 April 1941) and the term has been used a number of times since. He implied that siding with fascism was a form of ‘double-crossing’ Christianity, with a play on words relating to the cross pictograms used in both domains. The present English term comes from the Sanskrit svastika as a direct loan although it is unclear when it came into the language and it might have been introduced several times.
The rotation is associated with the movement of the sun as a symbol of the source of life. The bodies of the women represent a cross and their flowing hair the hooks on the swastika. According to definitions of a symbol suggested above, the underlying metaphors in this early representation of the swastika are therefore: FERTILITY = WOMEN and ROTATION OF THE SUN = FLOWING HAIR. The swastika symbol has had a long and diverse history in many parts of the world but this would represent at least one of the origins of its nature and form.
A Descriptive Grammar of sa̲ei:di, Egyptian colloquial Arabic by AA Khalafallah