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Libri sul tema "Repetitious work"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 febbraio 2022

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1

Repetitions of word forms in texts: An approach to establishing text structure. Newcastle upon Tyne: Cambridge Scholars, 2011.

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2

Harris, Trevor A. Le V. Maupassant in the hall of mirrors: Ironies and repetition in the work of Guy de Maupassant. Basingstoke: Macmillan, 1990.

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3

Masters of repetition: Poetry, culture and work in Thomson, Wordsworth, Shelley, and Emerson. Basingstoke: Macmillan, 1998.

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4

Masters of repetition: Poetry, culture, and work in Thomson, Wordsworth, Shelley, and Emerson. New York: St. Martin's Press, 1998.

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5

Repetition, difference, and knowledge in the work of Samuel Beckett, Jacques Derrida, and Gilles Deleuze. New York: Peter Lang, 2009.

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6

The Galician works of Ramón del Valle-Inclán: Patterns of repetition and continuity. Oxford: Peter Lang, 2010.

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7

Trevor A. Le V. Harris. Maupassant in the hall of mirrors: Ironies of repetition in the work of Guy de Maupassant. New York: St. Martin's Press, 1990.

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8

Trevor A. Le V. Harris. Maupassant in the hall of mirrors: Ironies of repetition in the work of Guy de Maupassant. Basingstoke: Macmillan, 1990.

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9

Lanier, Georgiann. The "R" word (Retention is OK): A program about retention for students in grades 1-5. Warminster, PA: MAR*CO Products, 1995.

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10

Uri mal ŭi pisŭthan kkol toep'uri nanmal yŏn'gu. Sŏul: Yŏngnak, 2010.

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11

Bijutsukan, Tōkyō Kokuritsu Kindai. Gendai no katazome, kurikaesu patān: Contemporary stencil dyeing and printing, the repetition of patterns. [Tokyo]: Tōkyō Kokuritsu Kindai Bijutsukan Kōgeikan, 1994.

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12

Mandel', Boris. Developmental psychology. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1065840.

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The manual is a unique course that includes a work program with modular technology. Each Chapter is accompanied by a list of key words for memorization and repetition, questions and tasks. The textbook also contains a list of required and additional literature, about the themes of the seminars and practical training, the approximate list of questions for self-study for exams and credits, the modular division of the.  Meets the requirements of Federal state educational standards of higher education of the last generation. For students and teachers of pedagogical universities, psycho

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13

Uri mal ŭi nanmal saengsŏng toepʻuripŏp yŏnʼgu. Kangwŏn-do Chʻunchʻŏn-si: Kangwŏn Taehakkyo Chʻulpʻanbu, 2009.

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14

Uri mal ŭi nanmal saengsŏng toepʻuripŏp yŏnʼgu. Kangwŏn-do Chʻunchʻŏn-si: Kangwŏn Taehakkyo Chʻulpʻanbu, 2009.

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15

Morfemnyĭ povtor v khudozhestvennom tekste v svete obshcheėsteticheskoĭ teorii igry. Khabarovsk: Izd-vo Dalʹnevostochnogo gos. gumanitarnogo universiteta, 2006.

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16

Uri mal ŭi nanmal saengsŏng toepʻuripŏp yŏnʼgu. Kangwŏn-do Chʻunchʻŏn-si: Kangwŏn Taehakkyo Chʻulpʻanbu, 2009.

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17

Mandel', Boris. Psychology of addictions (addictologie). ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1071408.

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Abstract (sommario):

The manual is a unique course, including the work program. It is created on the basis of the developed programs in psychology in accordance with Federal state educational standards of higher education of the last generation. Contains 18 chapters, a detailed indicative work program of the discipline and based on modern information on psychology, psychiatry and addiktology. Each Chapter concludes with a list of key words for memorization and repetition, as well as questions and tasks. In addition, the manual contains a significant number of references and explanations that contain information ab

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18

Storr, Annette. Die Wiederholung, Gertrude Stein und das Theater: Lektüren der Zeit als bedeutender Form. München: W. Fink, 2003.

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19

McDonald, Marianne. Croaks into Song. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0020.

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“Croaks into Song” puts Sondheim’sFrogsinto the context of his other work. His music adds informed commentary. Sondheim is the most modern and insightful of present-day composers of musicals, skillfully reflecting not only the blackness of the times, but adding doubts about the future. Sondheim often turns to the classics, so Aristophanes’sThe Frogs, with its descent into Hades, was a natural choice. His work concludes with a hymn to death and praise for the way of life in Hades. There is political criticism, like the Aristophanic original: disparaging the insanity of war and know-nothing poli

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20

Guss, Teicholz Judith, Kriegman Daniel H. 1951-, and Fairfield Susan, eds. Trauma, repetition, and affect regulation: The work of Paul Russell. New York: The Other Press, 1998.

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21

Repetition: And, Philosophical crumbs. Oxford: Oxford University Press, 2009.

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22

Repetition: And philosophical crumbs. Oxford: Oxford University Press, 2009.

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23

Repetition: And philosophical crumbs. Oxford: Oxford University Press, 2009.

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24

1941-, Berstel Jean, ed. Combinatorics on words: Christoffel words and repetitions in words. Providence, R.I: American Mathematical Society, 2008.

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25

Smith, Christen A. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039935.003.0001.

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This introductory chapter provides an overview of the book's main arguments. Focusing on the city of Salvador, this book uses performance as a methodological frame for deconstructing gendered antiblack violence. Following the work of performance theorist D. Soyini Madison (2010), it employs performance analytics as a method of social analysis in order to travel back and forth between onstage and offstage. It makes five claims: (1) that the maintenance of racial democracy as a national ideology in Brazil (exemplified by the myth of Bahia's Afro-paradise) depends on the spectacular and mundane r

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26

Trauma, Repitition, and Affect Regulation : The work of Paul Russell. Other Press, 1998.

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27

McGlazer, Ramsey. Old Schools. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286591.001.0001.

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This book marks out a modernist counter-tradition. The book proceeds from an anachronism common to Italian- and English-language literature and cinema: a fascination with outmoded, paradigmatically pre-modern educational forms that persists long after they are displaced in modernizing, reform-minded pedagogical theories. Old Schools shows that these old-school teaching techniques organize key works by Walter Pater, Giovanni Pascoli, James Joyce, Pier Paolo Pasolini, and Glauber Rocha. All of these figures oppose ideologies of progress by returning to and creatively reimagining the Latin class

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28

Waltham-Smith, Naomi. Mozart’s Uselessness. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.003.0003.

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Humanity has oftentimes been defined as a laboring being. This chapter looks at how musical play undoes this determination. Using Deleuze, Guillaume, and Malabou, it revisits the relation between repetition and variation in musical form, focusing on the refrain cadences in Mozart’s piano concertos. The analyses reveal that repetition, far from being static, restores musical material to its potentiality. They show how repetition is related to virtuosic play and hence how repetition challenges the privilege of productivity and labor. To this end, this chapter reexamines what is at stake in recne

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29

Trevor A. Le V. Harris. Maupassant in the Hall of Mirrors: Ironies of Repetition in the Work of Guy De Maupassant. Palgrave Macmillan, 1991.

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30

Trevor A. Le V. Harris. Maupassant in the Hall of Mirrors: Ironies of Repetition in the Work of Guy de Maupassant. Palgrave Macmillan, 1990.

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31

Simmons, Keith. Paradox and Context. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198791546.003.0002.

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Chapter 2 articulates and defends the claim that our semantic expressions ‘denotes’, ‘extension’, and ‘true’ are context-sensitive. The chapter focuses on three simple paradoxes of denotation, extension, and truth. Two phenomena emerge as we reason through these paradoxes. First, the phenomenon of repetition: in the course of our reasoning, we produce a repetition of the paradoxical expression. This repetition, though composed of the very same words as the paradoxical expression, is semantically unproblematic and has a definite value. Second, the phenomenon of rehabilitation: we can reflect on

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32

Pont, Antonia. Philosophising Practice. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429344.003.0002.

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Artists often explicitly consider themselves practitioners, acknowledging practising as the mode of doing from which work non-causally emerges. Practising recognises that novelty is best courted via a precise register of repetition, explored by Deleuze in Difference and Repetition. Linked to habit and unrelated to discipline (as impatience/compliance), practising mobilises consistent (sets of) behavioural forms along with intentional repetition via a relaxing that reinflects laziness. It generates a stability subtracted from identity, clarifying the directions of Deleuze’s thought concerning d

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33

Dooner, Richard Anthony. Repetition in postmodern fiction: The works of Kathy Acker, Donald Barthelme and Don DeLillo. 1993.

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34

Parsons, Laurel, and Brenda Ravenscroft. Hildegard of Bingen, O Ierusalem aurea civitas (ca. 1150–1170). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0002.

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This chapter contextualizes Hildegard of Bingen’s monumental sequence for her monastic community’s patron St. Rupert, O Ierusalem aurea civitas, both within Hildegard’s own output of sequences, and within the sequence repertory at large. Considering her deep sensitivity to the relationship between text and music, including close attention to grammatical structure, word stress, and word and syllable parsing, the essay proposes that Hildegard uses a varied repetition technique, adapting the standard sequence form. Instead of strict repetition, she varies many elements of the melodic surface thro

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35

Roffe, Jon. Practising Philosophy. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429344.003.0007.

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In What is Philosophy?, Deleuze and Guattari famously describe philosophy as the creation of concepts. However, nowhere in his work does Deleuze detail what this practice involves for the philosopher themselves. After surveying the fragmentary descriptions of philosophical activity in his work, this chapter proposes a quadripartite account of Deleuzean philosophical practice, involving dispossession, bricolage, coadaption and repetition.

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36

Eccentric peak torque and maximal repetition work percentages of the dominant external rotators in college Division I baseball players. 1992.

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37

Eccentric peak torque and maximal repetition work percentages of the dominant external rotators in College Division I baseball players. 1991.

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38

Wickerson, Erica. Myth. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793274.003.0005.

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Mythology was of great interest to Mann and allusions to well-known myths appear in many guises across his works. It is also of interest in terms of narrative time. This chapter takes a selection of works in which Mann toys—to varying degrees of subtlety—with mythic tales, and explores the way in which nods to well-known mythological tales affect the subjective flow of time. I explore the different models presented in Felix Krull, Blood of the Walsungs, and Doctor Faustus, and compare these to Günter Grass’s The Tin Drum, a work that engages closely with Mann’s writing. This analysis illustrat

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39

LeVen, Pauline A. Echo and the Invention of the Lyric Listener. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805823.003.0010.

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This chapter investigates the notion of lyric listening and concentrates on the particular role of the adverb δηὖτε‎ (‘once again’) in constructing a poetics of delayed repetition in several archaic melic poets (Alcman, Sappho, and Anacreon). Building on the model provided by a reading of the mythical nymph Echo in Longus’ Daphnis and Chloe to understand the seduction and role of delay and repetition in lyric listening, it is argued that ‘once again’ works as a form of gramophone, allowing the listener of the poem to experience the immediacy of poetry through the imagined distance and delay in

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40

Connor, W. R. Scale Matters. Edited by Sara Forsdyke, Edith Foster, and Ryan Balot. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199340385.013.28.

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By examining variations in scale and techniques of expansion and contraction in Thucydides’ narrative, the essay identifies a mimetic principle in his writing—that the presentation of an episode in the work should normally be proportionate to its significance. Significance, however, is not measured by purely military factors. In fact, expansion is often an indicator of intense suffering, pathos. Among the techniques of expansion and compression discussed are allusions, superlatives, figures of speech (such as litotes), direct and indirect discourse, day-by-day narrative, enargeia (vividness) a

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41

Brown, Andrew, Christopher T. Flinton, Josh Gibson, Brian Grant, Barrie Greiff, Duane Hagen, Stephen Heidel, et al. The Broken Contract. Edited by Andrew Brown, Christopher T. Flinton, Josh Gibson, Brian Grant, Barrie Greiff, Duane Hagen, Stephen Heidel, et al. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190697068.003.0003.

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Broken relationships develop over time and with repetition and have a corroding effect on loyalty and commitment, which are the glue that holds people together enough to accomplish mutual goals. Managers need to know if someone important to their work is feeling that way, particularly if the person feels that way about them. A key part of understanding such ruptures is to understand the implicit interpersonal promises, better known as the psychological contract. The psychological contract has five essential components: predictability versus confusion, dependence versus independence, distance v

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42

Ferriss-Hill, Jennifer. Horace's Ars Poetica. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691195025.001.0001.

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For two millennia, the Ars Poetica (Art of Poetry), the 476-line literary treatise in verse with which Horace closed his career, has served as a paradigmatic manual for writers. Rarely has it been considered as a poem in its own right, or else it has been disparaged as a great poet's baffling outlier. Here, this book fully reintegrates the Ars Poetica into Horace's oeuvre, reading the poem as a coherent, complete, and exceptional literary artifact intimately linked with the larger themes pervading his work. Arguing that the poem can be interpreted as a manual on how to live masquerading as a h

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43

Daniels, Dieter. Silence and Void. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.11.

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The notorious “silent piece” 4'33 (1952) by John Cage is a seminal point of convergence for visual and acoustic arts: each performance of the piece offers an acoustic and visual uniqueness, which defies repetition. The equivalent in visual arts is Robert Rauschenberg’sWhite Paintings(1951), credited by Cage as inspirational. Around the same time and without knowing the works by Cage and Rauschenberg, Yves Klein and Guy Debord also created works related to silence, emptiness, and void. This chapter reflects on the similar and different types of absence, reduction, and various kinds of “nothingn

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44

Galvin, Rachel. Raymond Queneau Reading the Newspaper. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190623920.003.0006.

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The work of Raymond Queneau, who is usually regarded as avoiding making political statements, presents a fruitful case for examining how a civilian writer critiques the transmission of news of war through formal procedures. In poems that explore civilian witnessing and reception of war news, the figure of a solitary reader hunched over a newspaper during a political crisis appears at the same time as Queneau experiments with forms drawn from classical rhetoric (like the progymnasmata, a handbook of rhetorical exercises) and with journalistic formulae (like the fait divers). Close examination o

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45

Gaines, Jane M. The Genius of Genre and the Ingenuity of Women. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0001.

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This chapter examines a two-minute melodrama by silent cinema director-producer, Alice Guy Blaché, and demonstrates several of its entry points for—mutually exclusive—readings. Crucially, such readings depend on familiar generically gendered possibilities. Thus, against feminism's assertion of difference, rethinking gender as generic foregrounds the role of repetition and its dynamic of expectation. It is here that the woman filmmaker can work. Her “ingenuity” lies in responding to the “genius” of genre's play with expectation, working out of the past to stage permutations for future imagining

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46

Abbott, Helen. Baudelaire’s Assemblage. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0002.

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Song is a combination of elements, of which the outcome is not always stable. This chapter examines the nature of the bonds formed between poem and music by proposing a new ‘‘assemblage’’ model, which focuses on five key parameters: (a) metre/prosody; (b) form/structure; (c) sound properties/repetition; (d) semantics/word painting; (e) live performance options. This approach bridges methodological gaps exposed through an examination of existing models used in translation theory, adaptation theory, and word/music theory. The two stages in the assemblage model examine: (1) adhesion strength (how

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47

Siegmund, Gerald. Rehearsing In-Difference. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.54.

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European choreographers Pina Bausch and Jérôme Bel share a critical line of inquiry into the established dance practices of their time, putting both the identity of their subjects and the identity of the genre of dance at risk. By addressing and including their own rehearsal processes in the performance, Bausch and Bel play with their own aesthetic strategies and their coming into being as social practices. As the author argues, the political, here, lies in the blurring of definite and defining categories, thus creating ambivalent and polyvalent scenes that defy explanation. Yet, Bausch and Be

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48

Adleyba, Dzhulyetta. The stylistic and poetical-compositional system of a fairy tale. Volume 1 : Oral stylistic foundations of a fairy tale. Experimental study on the Abkhaz material. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1473.978-5-317-06459-4_v1.

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In the present edition “The stylistic and poetical-compositional system of a fairy tale” in 2 volumes, the author's works in the field of the study of the stylistic system of a fairy tale, carried out within the framework of an experimental direction in folklore studies, are combined. The study of the problem in this direction was undertaken by the author on the initiative of the outstanding scientist V.M. Gatsak, Doctor of Philology, Corresponding Member RAS, and was conducted over a number of years. The monograph “Oral stylistic foundations of a fairy tale. Experimental study on the abkhaz m

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49

Germana, Michael. Time, History, and Becoming in Invisible Man. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682088.003.0002.

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Chapter 1 locates the origins of Ralph Ellison’s philosophy of temporality in the ideas of Henri Bergson and Friedrich Nietzsche, and reads Ellison’s debut novel Invisible Man in light of these observations. Anticipating the work of Gilles Deleuze, Ellison places Nietzsche’s concept of eternal recurrence into a Bergsonian context by combining Nietzsche’s arguments about history and immanence with Bergson’s claims about time and its fundamental creativity. The resulting philosophy prefigures Deleuze’s ideas about difference and repetition, or, the complex relationship between becoming and being

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Beeston, Alix. Torn, Burned, and Yet Dancing. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.003.0005.

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This chapter discusses the collaborative and institutionalized mode of production in studio-era Hollywood through the lens of the two major projects that comprised the work of the final year of F. Scott Fitzgerald’s life: the screenplay “Cosmopolitan” and the unfinished novel The Last Tycoon. These texts modify the modernist literary trope of the woman-in-series in concert with classical Hollywood’s defining logic of substitution and repetition. Ultimately derived from the basic seriality of the photogrammatic track, this logic is incarnated by female characters in “Cosmopolitan” and The Last

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