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Journal articles on the topic 'Primitivité'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Hattiangadi, Anandi. "Non-Reductive Realism, Primitivism, and the Reduction Argument: Commentary on Bart Streumer, Unbelievable Errors." Journal of Moral Philosophy 16, no. 6 (December 4, 2019): 697–706. http://dx.doi.org/10.1163/17455243-20182951.

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In Unbelievable Errors, Bart Streumer defends the error theory by rejecting all competitors to it. My aim here is to defend one brand of realism from Streumer’s objections: primitivim. The primitivist holds that there exist sui generis normative properties that do not supervene on any descriptive properties. It is argued that Streumer’s objections to primitivism can be met.

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2

Deligny, Hugues, and Paul Jolissaint. "Relations de récurrence linéaires, primitivité et loi de Benford." Elemente der Mathematik 68, no. 1 (2013): 9–21. http://dx.doi.org/10.4171/em/213.

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3

Berman, Nancy. "From Le sacre to Les noces: Primitivism and the Changing Face of Modernity." Canadian University Music Review 20, no. 1 (May 16, 2013): 9–21. http://dx.doi.org/10.7202/1015645ar.

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The function of the primitivist aesthetic in modern French culture shifted dramatically from the pre- to the post-war period. Whereas the primitivism of the Ballets russes's Le sacre du printemps was understood by its contemporaries to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les noces was perceived to some extent as a manifestation of both the classicist "call to order" and the mechanistic aesthetic of the post-war period. Indeed, Les noces was one of many cultural products by means of which post-war modernists extolled the virtues of the machine age.

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4

Chung, Iksoon. "The Primitivism of Literature and History on the Primitivity." Criticism and Theory Society of Korea 22, no. 3 (September 30, 2017): 103–22. http://dx.doi.org/10.19116/theory.2017.22.3.103.

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5

Britton, Celia. "How to be Primitive: Tropiques, Surrealism and Ethnography." Paragraph 32, no. 2 (July 2009): 168–81. http://dx.doi.org/10.3366/e0264833409000510.

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The review Tropiques, founded in Martinique by Aimé Césaire and colleagues in 1941, was heavily influenced by French surrealism, both for its emphasis on political liberation and its investment in primitivism and the revalorization of non-European cultures. But Tropiques's attitude to primitivism was far more ambivalent and contradictory than is usually assumed. While the editors and contributors sometimes do indeed claim to have, as Martinican intellectuals, a close identificatory connection to primitivist sensibility (and are encouraged in this by French surrealists), elsewhere their attitude to such supposed examples of primitivism as African-American poetry and Caribbean folklore is extremely distanced and rather patronizing. Moreover, their claims to an ‘authentic’ relation to primitive culture, especially where this is defined as African, are complicated by the fact that they have to rely on European ethnographic sources in order to make these claims; and the writing in Tropiques shows them grappling with this contradiction.

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6

Jeihouni, Mojtaba, and Nasser Maleki. "Far from the madding civilization: Anarcho-primitivism and revolt against disintegration in Eugene O’Neill’s The Hairy Ape." International Journal of English Studies 16, no. 2 (December 12, 2016): 61. http://dx.doi.org/10.6018/ijes/2016/2/238911.

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<p>Anarcho-primitivism contends that modern civilization deprives people of their happiness, which is why it seeks to reconstruct civilization on a primitive basis, one that holds concrete promises of happiness. It argues that a harmonious relation with human nature and external nature needs to be established by translating technological societies into societies that are free of hierarchy, domination, class relationships, and, simply put, of modern structures. Anarcho-primitivists intend to reinstate a primitive outlook in the modern era and recover the authenticity and wholeness lost to the tyranny of civilization. The radical nature of Yank’s anti authoritarianism in Eugene O’Neill’s The Hairy Ape (1921) demonstrates that he is totally at a loss about the positive functions of industrialism. We argue that Yank expresses a deep resentment toward civilization that is barely hidden in the play. This leads us to suggest that Yank’s objective is not dissimilar from that of anarcho primitivists: he values his individuality and tries to subvert the social forces that are arrayed against it. Like anarcho-primitivists, he is determined to bring down the pillars of the material culture in favor of a primitive life, where free subjectivity or individuation becomes the integral gift of society.</p>

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7

Alonso Recarte, Claudia. "Myths of Primitiveness: A Barthean Interpretation of Rhetorical Devices in Early Jazz Criticism." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 195. http://dx.doi.org/10.14198/raei.2013.26.14.

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Ever since jazz began to make an impact in white aesthetic culture in the late 1910s and 1920s, critics, regardless of whether they celebrated or condemned the music, enmeshed their discourse with images of exoticism, noble savageness, and racial brutishness. As Jazz Studies emerged as an academic discipline, scholars have shown increasing interest in exposing these images in order to illustrate the pervading racist sentiment inscribed within white perception of the jazz idiom and also to establish the connections between jazz and the modernist obsession with primitivism. The aim of this paper is to contribute further study to the intricacies of primitivism through a close examination of the rhetorical devices enabling the subsistence and efficiency of the white supremacy’s mystification of jazz. In this way, we may better comprehend how the primitivist construct is not a matter of an ideology’s conglomeration of superficial images, nor of mere associations between the music and rituals. These features are certainly operative, but by approaching the metaliguistic techniques implicit in what Roland Barthes calls the bourgeois myth, jazz primitiveness can be conceived as an act of colonization that begins and is self-nurtured by patterns of speech.

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8

Perchard, Tom. "Tradition, modernity and the supernatural swing: re-reading ‘primitivism’ in Hugues Panassié's writing on jazz." Popular Music 30, no. 1 (January 2011): 25–45. http://dx.doi.org/10.1017/s0261143010000644.

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AbstractBefore WWII, Hugues Panassié (1912–1974) was Europe's leading critical authority on jazz, and by the time of his death he had published a dozen books on jazz music and been President of the Hot-club de France for over 40 years. Yet despite this life's worth of efforts made in jazz's name, Panassié's reputation is no longer a good one: pointing to the fantasies of black exceptionalism and Noble Savagery present in his work, historians have tended to dismiss the critic as a racist primitivist, one in thrall to that contemporarynegrophiliemost familiar today from early-century Parisian visual art. Indeed Panassié used the term ‘primitive’ himself, and positively. But this article traces the ultra-conservative writer's intellectual and religious formation to show that, rather than contemporarynegrophilie, it was a religious and cultural heritage quite distant from the modern European encounter with blackness that first informed Panassié's primitivism. Although this re-reading does not aim to ‘rehabilitate’ someone who remains a troublesome and reactionary figure, the article nevertheless goes on to explore how, in his primitivist rejection of European modernism, Panassié sometimes pre-empts important arguments made by the postmodern jazz scholarship that would seem to marginalise the critic's historical contributions.

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9

Perry, Seth. "Scripture, Time, and Authority among Early Disciples of Christ." Church History 85, no. 4 (December 2016): 762–83. http://dx.doi.org/10.1017/s0009640716000780.

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This article explores the relationship between the idealization of the Bible and the material characteristics of printed bibles among the Disciples of Christ in the early nineteenth century. The Disciples were founded on the principles of biblical primitivism: they revered the “pure” Bible as the sole source for proper faith and practice. The tenacity with which Disciples emphasized their allegiance to an idealized, timeless Bible has obscured their attention to its physical manifestations and use as printed scripture. The timeless authority of the Bible was entangled with the historical contingencies of mere bibles, and the ways in which they dealt with these tensions offer important perspective on nineteenth-century bible culture. Scholars have treated primitivism as an ahistorical impulse—the idealization of the New Testament church as a mythical sacred era outside of time that could be perpetually inhabited. By contrast, through an examination of the New Testaments edited and published by Disciples leader Alexander Campbell and the heavily-annotated preaching bible of Thomas Allen, an early Disciples preacher, I argue that in seeking to recover the New Testament era through historicized understandings of scripture, primitivists like Campbell and Allen situated the early church itself firmly within historical, not primordial, time.

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10

Manouelian, Edward. "Invented Traditions: Primitivist Narrative and Design in the Polish Fin de Siècle." Slavic Review 59, no. 2 (2000): 391–405. http://dx.doi.org/10.2307/2697058.

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Around 1900, Poland saw the outgrowth of a nativist primitivism, one that consciously redefined the periphery as a site of cultural resistance. Primitivism, as Colin Rhodes points out, “does not designate an organized group of artists, or even an identifiable style arising at a particular historical moment, but rather brings together artists’ various reactions to ideas of the primitive.” Within the subject ethnicities of central Europe at the turn of the century, “ideas of the primitive” that were taking shape in the then stillemerging discipline of anthropology were influencing various constructions of national and regional identity. The nationalist imperative of the new discipline was emphasized by Jan Karlowicz, who, writing in 1906, argued that “a people certain of its own existence may calmly study its own folklore from a purely scientific point of view. Tribes deprived of their independence and living in endless fear of suppression and decay, however, must, while reflecting upon the nature and conditions of folkloric tradition, consider practical questions as part of such inquiries. For whenever reference is made to national peculiarities and attributes, there constantly arises the question: to be or not to be.” Karlowicz's remarks point toward a deeply subjective primitivist discourse whose articulations, in critical writing about the applied arts as well as literary representations of rural popular culture, form part of what Eric Hobsbawm terms the “invention of tradition.”

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Lewthwaite, Stephanie. "Modernism in the Borderlands: The Life and Art of Octavio Medellín." Pacific Historical Review 81, no. 3 (August 1, 2012): 337–70. http://dx.doi.org/10.1525/phr.2012.81.3.337.

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This article examines the life and work of Octavio Medellín, a Mexican-born sculptor based in Texas during the 1930s and 1940s. It argues that Medellín was not simply a Mexican artist operating within the confines of an indigenist and nationalist art; neither was he a modernist primitivist artist committed to the search for pure form. As an emerging Mexican American subject located on the margins of both homeland and host society, Medellín synthesized the categories of Mexican art, regionalism, and modernist primitivism to produce an alternative modernism. Medellín's art reflects the bicultural complexities of becoming Mexican American in the United States—the appropriation and transformation of one's ancestral heritage while seeking cultural and political citizenship in a new land. Medellín's artistic journeying also underscores the multidirectional and transcultural origins of modernism during the 1930s and 1940s.

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12

Woodbridge, David. "Watchman Nee, Chinese Christianity and the Global Search for the Primitive Church." Studies in World Christianity 22, no. 2 (August 2016): 125–47. http://dx.doi.org/10.3366/swc.2016.0146.

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This article will examine aspects of Watchman Nee's interactions with British churches and missions during the 1920s and 1930s. It will argue that, rather than simply appropriating and adapting Christianity for a Chinese context, as has been claimed, a more complex exchange was taking place. In particular, Nee was seeking to develop churches in China on a primitivist basis – that is, using the New Testament as a model for church forms and practices. In this, he was drawing inspiration from the Christian (or Plymouth) Brethren, a radical evangelical group that had emerged in Britain during the nineteenth century. For a number of reasons, the significance of Nee's primitivism has been played down, both by his admirers in the West and by historians. However, it was a vital factor in the success of his movement and gave an important impetus to the spread of Christianity in China during the twentieth century.

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13

Moody, David. "Peter Brook's Heart of Light: ‘Primitivism’ and Intercultural Theatre." New Theatre Quarterly 11, no. 41 (February 1995): 33–39. http://dx.doi.org/10.1017/s0266464x0000885x.

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Peter Brook's work has always figured in debates over ‘intercultural’ projects in the contemporary theatre. However, the controversy has most often centred on his engagement with Asian theatrical traditions, and in particular on his production of The Mahabharata. David Moody here examines Peter Brook's writings on Africa, as theatrical ‘discourse’ with its own theoretical half-life quite distinct from actual productions. This discourse, it is argued, can be described as ‘primitivist’, in that it constructs the African audience as, in Barthes's term, ‘degree zero’ – a ‘limit-text’ to universal theatrical communication. In doing so it presents a limiting version of African theatrical traditions themselves, and, as a result, reinforces a broader, more destructive global discourse of cultural primitivism concerning African and so-called ‘indigenous’ art and performance. David Moody, who currently lectures in Theatre and Drama Studies at Murdoch University, Perth, Australia, is a playwright, actor, and director who has written extensively on African, post-colonial, and popular theatre, and is now engaged in his own problematic intercultural projects.

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14

BARRETT, ROSS. "Picturing a Crude Past: Primitivism, Public Art, and Corporate Oil Promotion in the United States." Journal of American Studies 46, no. 2 (May 2012): 395–422. http://dx.doi.org/10.1017/s0021875812000084.

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This essay examines the first monument dedicated to the US oil industry, the Drake Memorial in Titusville, Pennsylvania (1899–1901), as an influential project of corporate self-representation. Commissioned by Standard Oil, the memorial shaped a public image for the petroleum industry that addressed concerns about the sustainability and social effects of oil capitalism, and established the key terms for a promotional discourse that would circulate throughout the twentieth century. This discourse, which I call “petro-primitivism,” reimagined the ultramodern oil industry as an extension of timeless practices rooted in an imagined archaic past. By shaping a primitivist spectacle that figured oil as an eternal component of the natural world and a primordial object of “human” endeavor, I argue, the Drake Memorial encouraged audiences to take the long view on oil: to adopt an expansive perspective that reconceived oil as a timelessly abundant element, and the boom-and-bust oil industry as an age-old venture. These tropes proved useful to the industry throughout the crises of the early twentieth century, reappearing in corporate displays and filtering into the rhetoric of industry advertising and publicity. Accordingly, I examine two later projects that appropriated the themes of petro-primitivism: the Sinclair Oil exhibit at the 1933–34 World's Fair, and Sun Oil's exhibit Oil Serves America at the Franklin Institute in Philadelphia (1953–c.1962). Echoing the earlier Drake Memorial, these displays employed strategies drawn from public art and civic architecture to organize collective experiences around the image of oil. By examining these popular exhibits alongside the Drake Memorial, I aim to offer a new account of the promotional culture of the early petroleum industry that explores the intersections between the traditional arts and industry publicity and illuminates the vital role that cultural representations played in accommodating twentieth-century Americans to the dynamic structures of petro-capitalism.

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15

Meyer, J. H. "Left ideals and 0-primitivity in matrix near-rings." Proceedings of the Edinburgh Mathematical Society 35, no. 2 (June 1992): 173–87. http://dx.doi.org/10.1017/s0013091500005460.

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Maximal left ideals in matrix rings were studied by Stone [10]. Similar results are not necessarily valid in the general near-ring case and one of the objectives of this paper is to study these differences. Furthermore, although much is known about 2-primitivity in general matrix near-rings (Van der Walt [11]), quite the opposite is true for 0-primitivity and the other objective of this paper is to present some results on 0-primitivity in matrix near-rings in certain restricted cases.

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Fomichev, V. M., Ya E. Avezova, A. M. Koreneva, and S. N. Kyazhin. "Primitivity and Local Primitivity of Digraphs and Nonnegative Matrices." Journal of Applied and Industrial Mathematics 12, no. 3 (July 2018): 453–69. http://dx.doi.org/10.1134/s1990478918030067.

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17

Engel, Ann-Kristin, Benjamin Fine, and Gerhard Rosenberger. "Test Elements, Generic Elements and Almost Primitivity in Free Products." Algebra Colloquium 23, no. 02 (March 16, 2016): 263–80. http://dx.doi.org/10.1142/s1005386716000298.

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In [5, 6] the relationships between test words, generic elements, almost primitivity and tame almost primitivity were examined in free groups. In this paper we extend the concepts and connections to general free products and in particular to free products of cyclic groups.

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18

Hatch, James V., and Joe Weixlmann. ""Primitivism"." Black American Literature Forum 19, no. 1 (1985): 51. http://dx.doi.org/10.2307/2904482.

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19

Rushing, W. Jackson, and Marianna Torgovnick. "Primitivism." Art Journal 49, no. 4 (1990): 432. http://dx.doi.org/10.2307/777147.

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20

JONES, SUSAN. "From Text to Dance: Andrée Howard's The Sailor's Return." Dance Research 26, no. 1 (April 2008): 1–17. http://dx.doi.org/10.3366/e0264287508000030.

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This essay explores the source material for Andrée Howard's 1947 narrative work for Ballet Rambert, The Sailor's Return. Howard based her libretto for the ballet on David Garnett's 1925 novel of the same name, closely following his story of a West African princess who marries an English sailor and encounters racial prejudice in England. I examine the textual and choreographic contexts for the ballet, relating its visual rhetoric and movement vocabularies to a variety of sources from nineteenth- and twentieth-century literature and dance. In investigating the novel, we find that Garnett drew on Richard Burton's 1864 anthropological account of Dahomey (now Benin) in West Africa, especially his striking descriptions of Amazonian dance. I locate these transmissions between text and dance in the context of modernist discussions of primitivism, showing that while aspects of Howard's ballet conform to enduring primitivist traditions, its focus on the female protagonist's individuality and ethnic origins reflects the anthropological thrust of the textual sources and offers a striking critique of racism in a realist mode. Howard's choreographic style can also be located in the context of contemporary experiments in black performance dance. Her sensitive handling of sources shows her important contribution to narrative ballet and the distinctiveness of her presentation of female experience in the period.

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21

Cortez, Luciano. "Quase pintura: poesia e visualidade em Pau Brasil, de Oswald de Andrade." Aletria: Revista de Estudos de Literatura 13, no. 1 (June 30, 2005): 94–104. http://dx.doi.org/10.17851/2317-2096.13.1.94-104.

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Resumo: A reconstituição dos dados da paisagem revelam os modos operatórios do discurso poético de Oswald de Andrade para traduzir o mundo em poesia. Essa tradução se fez por meio da transposição de recursos de linguagem próprios às artes plásticas das vanguardas européias de inícios do século XX para o universo da palavra. Seu resultado foi uma poesia capaz de reproduzir no plano verbal o dinamismo do mundo moderno. Em Oswald de Andrade isso implicou a elaboração de uma poesia com sabor primitivista próximo ao que reconhecera na pintura cubista.Palavras-chave: Oswald de Andrade; Pau-Brasil; pintura e literatura.Résumé: La reconstitution des donnés du paysage révélent les modes opératoires du discours poétique de Oswald de Andrade pour traduire le monde en poésie. Cette traduction est faite par moyen de la transposition de ressources de la language propres aux arts plastiques des avant-gards européenes du debut du XXème siècle a l’univers de la parole. Son résultat a été une poésie capable de reproduire dans le plan verbal le dynamisme du monde moderne. Chez Oswald de Andrade, ça a eu, par conséquence, l’elaboration d’une poésie avec une saveur primitiviste, proche a laquelle qu’il avait reconnu dans la peinture cubiste.Mots-clés: Oswald de Andrade; Pau-Brasil; peinture et literature.

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22

Klimakov, Andrey. "Primitivity rank of elements of free algebras of Schreier varieties." Journal of Algebra and Its Applications 15, no. 02 (October 6, 2015): 1650036. http://dx.doi.org/10.1142/s0219498816500365.

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D. Puder defined the primitivity rank of elements of free groups [Primitive words, free factors and measure preservation, Israel J. Math.201(1) (2014) 25–73], we give a similar definition for free algebras of Schreier varieties and prove properties of a primitivity rank using the properties of the almost primitive elements.

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23

Öğüşlü, Nazar Şahin, and Naime Ekici. "k-Primitivity and images of primitive elements." Journal of Algebra and Its Applications 15, no. 07 (July 22, 2016): 1650126. http://dx.doi.org/10.1142/s0219498816501267.

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Let [Formula: see text] be a free Lie algebra of finite rank [Formula: see text] [Formula: see text]. We give another proof of the following criterion which is proven by Mikhalev and Zolotykh, using the idea of [Formula: see text]-primitivity: An endomorphism of [Formula: see text] preserving primitivity of elements is an automorphism.

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24

Ryan, Laura. "“A Little Civilization in My Pocket”." English Language Notes 59, no. 1 (April 1, 2021): 73–92. http://dx.doi.org/10.1215/00138282-8814994.

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Abstract This article argues that Romance in Marseille marks a significant shift in Claude McKay’s approach to primitivism, one that necessitates a reconsideration of his reputation—based on his two novels of the late 1920s—as perhaps the Harlem Renaissance’s foremost proponent of “strategic primitivism.” Tracing the development of McKay’s primitivism from Home to Harlem (1928) and Banjo (1929) to his most recently published novel, this essay suggests an evolution along philosophical, political, and stylistic lines. Romance in Marseille deconstructs the primitive/civilized binary, forgoing the antiracist potentialities of primitivism for the utopian possibilities of international Marxism, interracial collaboration and queer love.

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Crabb, M. J., and W. D. Munn. "On the contracted l1-algebra of a 0-bisimple inverse semigroup." Proceedings of the Royal Society of Edinburgh: Section A Mathematics 135, no. 2 (April 2005): 285–95. http://dx.doi.org/10.1017/s0308210500003887.

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Let S be a 0-bisimple inverse semigroup and let denote the contracted l1-algebra of S; that is, the Banach algebra l1 (S)/Z, where Z is the ideal spanned by the zero of S. It is shown that, if l1 (G) is primitive for some non-zero maximal subgroup G of S, then is primitive. The same result also holds with primitivity replaced by a stronger condition, here called *-primitivity

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26

GUPTA, NEHA, and ILYA KAPOVICH. "The primitivity index function for a free group, and untangling closed curves on hyperbolic surfaces.With the appendix by Khalid Bou–Rabee." Mathematical Proceedings of the Cambridge Philosophical Society 166, no. 1 (October 17, 2017): 83–121. http://dx.doi.org/10.1017/s0305004117000755.

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AbstractMotivated by the results of Scott and Patel about “untangling” closed geodesics in finite covers of hyperbolic surfaces, we introduce and study primitivity, simplicity and non-filling index functions for finitely generated free groups. We obtain lower bounds for these functions and relate these free group results back to the setting of hyperbolic surfaces. An appendix by Khalid Bou–Rabee connects the primitivity index functionfprim(n,FN) to the residual finiteness growth function forFN.

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Beasley, LeRoy B., and Sarah Mousley. "k -Primitivity of digraphs." Linear Algebra and its Applications 449 (May 2014): 512–19. http://dx.doi.org/10.1016/j.laa.2014.02.039.

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Bernd Schomburg. "Primitivity and Orbit Decomposition." American Mathematical Monthly 123, no. 9 (2016): 920. http://dx.doi.org/10.4169/amer.math.monthly.123.9.920.

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29

Le Page, Y. "About the primitivity theorem." Journal of Applied Crystallography 25, no. 5 (October 1, 1992): 661–62. http://dx.doi.org/10.1107/s0021889892006290.

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Loosely stated, the primitivity theorem says that a cell based on the three shortest noncoplanar translations of a lattice is primitive. No course on elementary crystallography can omit this basic property of three-dimensional lattices, with everyday applications for selection of cells and for cell reduction. Textbooks have treated this property as obvious for many years now and have not hinted at a proof. The complexity of several apparently little-known proofs published since 1831 and the fact that no similar theorem exists in four dimensions or more show that this property cannot be taken for granted. However, little more than a drawing schematizing the simple proof of Delaunay, Galiulin, Dolbilin, Zalgaller & Stogrin [Dokl. Akad. Nauk SSSR (1973), 209, 25–58] would be needed to clarify this important theorem for average undergraduate students.

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30

Huang, C. C., and S. S. Yu. "Prefix-primitivity-preserving homomorphisms." Discrete Mathematics 308, no. 7 (April 2008): 1025–32. http://dx.doi.org/10.1016/j.disc.2007.03.057.

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31

Davies, Huw. "Flag-transitivity and primitivity." Discrete Mathematics 63, no. 1 (January 1987): 91–93. http://dx.doi.org/10.1016/0012-365x(87)90154-3.

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32

Ferguson, Pamela A., and Alexandre Turull. "Prime characters and primitivity." Journal of Algebra 128, no. 2 (February 1990): 456–73. http://dx.doi.org/10.1016/0021-8693(90)90034-l.

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33

Boscagli, Maurizia, and Marianna Torgovnick. "Primitivist Reflections." NOVEL: A Forum on Fiction 25, no. 2 (1992): 200. http://dx.doi.org/10.2307/1346005.

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34

Majeed, Risham. "Against primitivism." Res: Anthropology and aesthetics 71-72 (January 2019): 295–311. http://dx.doi.org/10.1086/704389.

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35

Camayd-Freixas, Erik. "Literary primitivism." Journal of Postcolonial Writing 55, no. 6 (November 2, 2019): 873–74. http://dx.doi.org/10.1080/17449855.2019.1664808.

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36

Severi, Carlo, Ramon Fonkoue, and Joyce Suechun Cheng. "Primitivist Empathy." Art in Translation 4, no. 1 (March 2012): 99–130. http://dx.doi.org/10.2752/175613112x13244611239917.

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37

Byrne, Alex, and David R. Hilbert. "Color primitivism." Erkenntnis 66, no. 1-2 (February 20, 2007): 73–105. http://dx.doi.org/10.1007/s10670-006-9028-8.

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38

van der Walt, Andries P. J. "PRIMITIVITY IN MATRIX NEAR-RINGS." Quaestiones Mathematicae 9, no. 1-4 (January 1986): 459–69. http://dx.doi.org/10.1080/16073606.1986.9632127.

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39

Cohen, Stephen D., and Dirk Hachenberger. "Primitivity, freeness, norm and trace." Discrete Mathematics 214, no. 1-3 (March 2000): 135–44. http://dx.doi.org/10.1016/s0012-365x(99)00224-1.

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40

Daileda, R., and N. Jones. "On primitivity of Dirichlet characters." International Journal of Number Theory 11, no. 06 (August 26, 2015): 1913–39. http://dx.doi.org/10.1142/s1793042115500839.

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Recall that a Dirichlet character is called imprimitive if it is induced from a character of smaller level, and otherwise it is called primitive. In this paper, we introduce a modification of "inducing to higher level" which causes imprimitive characters to behave primitively, in the sense that the properties of the associated Gauss sum and the functional equation of the attached L-function take on a form usually associated to a primitive character.

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41

M�ller, R�gnvaldur G. "Primitivity and ends of graphs." Combinatorica 14, no. 4 (December 1994): 477–84. http://dx.doi.org/10.1007/bf01302968.

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42

Gusev, Vladimir V., Raphaël M. Jungers, and Elena V. Pribavkina. "Generalized primitivity of labeled digraphs." Electronic Notes in Discrete Mathematics 61 (August 2017): 549–55. http://dx.doi.org/10.1016/j.endm.2017.07.006.

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43

Blanchet-Sadri, F., and Arundhati R. Anavekar. "Testing primitivity on partial words." Discrete Applied Mathematics 155, no. 3 (February 2007): 279–87. http://dx.doi.org/10.1016/j.dam.2006.07.001.

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44

Lin, James P., and Frank Williams. "Primitivity of the c2-invariant." Journal of Pure and Applied Algebra 43, no. 3 (December 1986): 289–98. http://dx.doi.org/10.1016/0022-4049(86)90070-8.

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45

Holt, Derek F., C. R. Leedham-Green, E. A. O'Brien, and Sarah Rees. "Testing Matrix Groups for Primitivity." Journal of Algebra 184, no. 3 (September 1996): 795–817. http://dx.doi.org/10.1006/jabr.1996.0285.

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46

Catalano, Costanza, and Raphaël M. Jungers. "The Synchronizing Probability Function for Primitive Sets of Matrices." International Journal of Foundations of Computer Science 31, no. 06 (September 2020): 777–803. http://dx.doi.org/10.1142/s0129054120410051.

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Motivated by recent results relating synchronizing DFAs and primitive sets, we tackle the synchronization process and the related longstanding Černý conjecture by studying the primitivity phenomenon for sets of nonnegative matrices having neither zero-rows nor zero-columns. We formulate the primitivity process in the setting of a two-player probabilistic game and we make use of convex optimization techniques to describe its behavior. We develop a tool for approximating and upper bounding the exponent of any primitive set and supported by numerical results we state a conjecture that, if true, would imply a quadratic upper bound on the reset threshold of a new class of automata.

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47

Hoopes, James, Theodore Dwight Bozeman, Charles Lloyd Cohen, Richard T. Hughes, and C. Leonard Allen. "Primitivists and Puritans." Reviews in American History 17, no. 4 (December 1989): 529. http://dx.doi.org/10.2307/2703427.

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48

Wilsch, Tobias. "Sophisticated Modal Primitivism." Philosophical Issues 27, no. 1 (October 2017): 428–48. http://dx.doi.org/10.1111/phis.12100.

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49

Benbaji, Hagit. "Why Colour Primitivism?" Australasian Journal of Philosophy 94, no. 2 (June 22, 2015): 243–65. http://dx.doi.org/10.1080/00048402.2015.1054848.

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50

Pellizzi, Francesco. "Anthropology and Primitivism." Res: Anthropology and aesthetics 44 (September 2003): 5–9. http://dx.doi.org/10.1086/resv44n1ms20167603.

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