Siga este link para ver outros tipos de publicações sobre o tema: Time telling itself.
Artigos de revistas sobre o tema "Time telling itself"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Time telling itself".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Rafael, Vicente L. "Telling Times". positions: asia critique 29, n.º 1 (1 de fevereiro de 2021): 121–39. http://dx.doi.org/10.1215/10679847-8722810.
Texto completo da fonteResumo:
Nick Joaquin (1917–2004) is often regarded as the greatest Filipino writer in English, yet he remains largely unknown outside his country. He published widely in all genres and was awarded the National Artist Award, yet he dropped out of high school and spent much of his youth holed up in libraries and walking Manila’s streets. He wrote some of his most powerful stories between the end of US colonial rule and the beginning of the postcolonial era, at a time when the very craft of storytelling was itself endangered. And he did so in another language, American English, which required setting aside his mother tongue, Tagalog, and an inherited tongue, Spanish. This article explores some of these contradictions, looking at the relationship between language and literature exemplified in Joaquin’s writings and situating him as a storyteller in the wake of Manila’s utter destruction by colonial wars and the uneven recovery from postcolonial strife. This article also asks how Joaquin sought to rescue not just the memory of the city but also the very faculty of remembering itself as well as the remembering self.
2
Lambrou, Ioannis L. "Achilles and Helen and Homer’s Telling Silence". Mnemosyne 73, n.º 5 (20 de fevereiro de 2020): 705–28. http://dx.doi.org/10.1163/1568525x-12342656.
Texto completo da fonteResumo:
Abstract The present study focuses on an episode attested only in Proclus’ summary of the now-lost epic poem Cypria, a suggestively erotic ‘rendezvous’ between Achilles and Helen that appears to heighten the hero’s appreciation of her as a driving force, convincing him to persist in the war for her sake. This most prominently contradicts Homer’s portrayal of an Achilles whose choices are fundamentally motivated by his quest for personal honour. As this paper argues, however, the story, though probably post-Homeric in itself, still has a traditional basis in the way it depicts Achilles’ susceptibility to eros. On the other hand, and more importantly, Homer does seem to tacitly acknowledge this less standardised aspect but at the same time agonistically suppresses it, thus achieving an advantageously idiosyncratic coalescence between tradition and individuality.
3
Holmes, Diana. "Dancing in the Dark: Immersion and Self-Reflexivity in Nancy Huston's Danse noire". Nottingham French Studies 57, n.º 3 (dezembro de 2018): 298–310. http://dx.doi.org/10.3366/nfs.2018.0226.
Texto completo da fonteResumo:
Nancy Huston's Danse noire (2014) is a formidably complex novel: multilingual, composed throughout of three connected but separately told stories, highly self-reflexive in its intra-diegetic presentation of the narrative as film scenario and its use of capoeira as framing device and analogy. Some critics and readers have found this intricate structure excessive and confusing. This article, on the other hand, situates the novel within Huston's distinctive project as a contemporary French novelist who is as committed to immersive story-telling as she is to self-aware celebration of narrative form. It argues that Danse noire demonstrates fiction's power to carry us in imagination through space and time and into the subjective worlds of others, even as it invites awareness of narrative form itself. Moreover, this combination of entrancing story-telling and self-reflexivity is central to what Huston convincingly maintains is the ethical function of the novel.
4
Morrill, Angie. "Time Traveling Dogs (and Other Native Feminist Ways to Defy Dislocations)". Cultural Studies ↔ Critical Methodologies 17, n.º 1 (25 de julho de 2016): 14–20. http://dx.doi.org/10.1177/1532708616640564.
Texto completo da fonteResumo:
In this article, I analyze a painting by Modoc/Klamath artist Peggy Ball through a Native feminist reading methodology. The painting, Vanport, is named after a city that disappeared in a flood in 1948. The artist survived that flood, and displacement as did thousands of others. The painting is a rememory map of dislocations and hauntings and disappearances. The painting remaps gentrified dislocations, telling stories that focus on the relationship of the present to the past and the past to the future. The painting itself is a Native feminist practice. The travel to places gone, to places that will reappear again; by people gone as well as by people presently alive; into times that existed, that never existed, that will exist again; to times made contemporaneous by time traveling dogs; with people co-present through desire—at the heart of all this time travel is recognition and survivance.
5
Young, Jan, e Sandra Regan. "Groups for Children of Separation/Divorce: A Metaphorical Approach". Children Australia 13, n.º 1 (1988): 4–6. http://dx.doi.org/10.1017/s0312897000001739.
Texto completo da fonteResumo:
AbstractThe use of a metaphorical approach in a time limited group for children whose parents are separating/divorcing is explored. Drawing, “naming the group”, and structured exercises are used metaphorically to help the children tell their own “story”, not their parents version. The metaphorical processing of the media is what counts not the media itself. Every way of using media tells a story and moves children from story telling to story experiencing. When children are able to share feelings, they have taken a step forward.
6
Raymaker, Dora M. "Reflections of a community-based participatory researcher from the intersection of disability advocacy, engineering, and the academy". Action Research 15, n.º 3 (14 de março de 2016): 258–75. http://dx.doi.org/10.1177/1476750316636669.
Texto completo da fonteResumo:
This article uses an evocative autoethnographic approach to explore the experience of being an insider-researcher in a community-based participatory research setting. Taking a holistic perspective and using the form of narrative story-telling, I examine the dynamics between the typically marginalizing (but sometimes empowering) experience of being an autistic woman and the typically privileging (but sometimes oppressive) experience of being an engineering professional, during a time of career upheaval. Themes of motivations and mentors, adversity from social services and the academy, belonging, the slipperiness of intersectional positioning, feedback cycles of opportunity, dichotomies of competence and inadequacy, heightened stakes, and power and resistance are explored through the narrative. While primarily leaving the narrative to speak for itself per the qualitative approach taken, the article concludes with a discussion of how the personal experiences described relate both to the broader work of insider-researchers within disability-related fields, and to misconceptions about self-reflection and capacity for story-telling in individuals on the autism spectrum.
7
Witz, Klaus G., Sung Ah Bae, Hyunju Lee, Youngcook Jun e Yongsock Chang. "Colwyn, Age 5 1/2, “Protecting Mom and Dad”". Asian Qualitative Inquiry Association 1, n.º 1 (30 de junho de 2022): 16–32. http://dx.doi.org/10.56428/aqij.2022.1.1.16.
Texto completo da fonteResumo:
The present paper is part of a larger case study of a 5 1/2 year old Korean boy, Colwyn, with his mother, Dr. Bae. Dr. Bae interviewed Colwyn twice, about 2 months apart; the first interview was audiotaped, the second videotaped. The present paper is based primarily on the second interview where Colwyn tells several wildly imaginative stories of himself like a superhero “protecting mom and dad.” Our aim is to communicate a sense of Colwyn’s “feeling, consciousness, state” when he is telling these “stories”, using the portraiture philosophy of Lawrence-Lightfoot and Davis and the “Participant-as-ally - Essentialist portraiture” approach of Witz and his students.
The paper suggests that Colwyn’s “telling stories” in that Interview involves a highly self-actualized way of “being involved with his ‘I’”, which was apparently prompted by Interview 1 and is expressed in the drawing in Fig. 1. (In Interview 2 he constantly comes back to this drawing and uses it as a jumping off point for ideas in the stories). In addition, when he is telling a story, his whole being (feeling and mind) is “as if flowing in a direct channel,” manifesting as a constant stream of inspiration (creativity), ideas and diverse kinds of energy which is coming from within him, and that is carried on a powerful undercurrent of moral feeling of “being good.” At the same time telling the story represents a state of “subjectively being in a unity with” his mother’s feelings of appreciation and love. These things represent intense genuine spiritual engagement that at the same time manifests itself as creative expression in painting and in verbal interaction, already at this young age. This conclusion is supported by various additional data available.
8
Pile, Steve. "Echo, Desire, and the Grounds of Knowledge: A Mytho-Poetic Assessment of Buttimer's Geography and the Human Spirit". Environment and Planning D: Society and Space 12, n.º 4 (agosto de 1994): 495–507. http://dx.doi.org/10.1068/d120495.
Texto completo da fonteResumo:
In Geography and the Human Spirit, Buttimer argues that the history of geographical concern is marked by cyclical time, which is distinguished by three phases: Phoenix, Faust, and Narcissus, By taking a longer look at one of these myths, Narcissus, it is possible to suggest that Buttimer bases her account on some problematic assumptions. Thus, the figure of Echo, absent from Buttimer's telling of the myth, can return to disrupt her story. This mytho-poetic assessment reveals something of the way in which ‘others’ are constituted in her story: I take this erasure to be symptomatic of an ‘othering’ humanism, which is predicated on the other, but considers itself self-grounded and thereby distances itself from others. The conclusion questions Buttimer's universalism, her concept of cyclical time, and her sense of a liberation cry of humanism, I suggest that an emancipatory geography cannot rely on undisclosed and marginalized ‘others’, in this case represented by the figure of Echo.
9
Moala, Kalafi. "A final word: Pasifika solutions for Pacific problems". Pacific Journalism Review 22, n.º 2 (31 de dezembro de 2016): 118. http://dx.doi.org/10.24135/pjr.v22i2.73.
Texto completo da fonteResumo:
The issues that challenge the stewardship of Pasifika’s peoples are as complex and diverse as the Pacific itself. We have our own conceptual tools that help us understand these complex issues. Our problem has been that we have a hard time using the tools of others and we end up with somewhat distorted understanding of our own issues. No wonder we have problems sometimes in communicating our issues to the people we serve. Telling our own stories, in our own language, with our own conceptual tools, so that we can construct meaning and bring understanding is the aim of Pacific journalism.
10
Holmes, Brooke. "At the end of the line: on kairological history". Classical Receptions Journal 12, n.º 1 (1 de janeiro de 2020): 62–90. http://dx.doi.org/10.1093/crj/clz027.
Texto completo da fonteResumo:
Abstract This essay examines, from a position within Classics, different angles on critiques of historicism and the turn to anachronism in History, Art History, Medieval Studies, and Queer Theory before proposing the idea of ‘kairological history’, on the model of the artist Paul Chan’s ‘kairological art’. On this analysis, ‘kairological history’ engages the critical and creative resources of anachronic thinking alongside tools of historicism (e.g. empiricism, successionism, periodization, alterity) in making choices about ‘telling time’. These choices reflect a critical understanding of how temporality shapes the valuation of the past, particularly in relation to a ‘classical’ past; the negotiation of identity and difference between past and present; and the kinds of communities that history aims to support. The second half of the essay examines two instances of anachronism within the history of anatomy, one from Galen and one from the early twenty-first century. Both cases represent problems that historicism can correct. But the modality of correction, in itself, is anaemic and risks the very teleology that linear history is so often faulted for. The essay therefore explores what gets lost and what gets found when temporality is aligned with linearity, as well as non-linear modes of telling time.
11
Yovel, Jonathan. "The Creation of Language and Language without Time: Metaphysics and Metapragmatics in Genesis". Biblical Interpretation 20, n.º 3 (2012): 205–25. http://dx.doi.org/10.1163/156851512x651102.
Texto completo da fonteResumo:
AbstractThis essay makes two related arguments regarding the relation of the performative language of creation in Genesis 1 to temporality and to existence. The first explores how Biblical Hebrew constructs atemporal language in order to designate divine action that does not presuppose temporality through an under-researched device known as grammatical aspect. The second offers a new explanation of why language was the instrument of creation ex nihilo to begin with. It argues that fiat lux should be understood as the instant of the metalinguistic creation of language itself. Together these claims suggest that standard readings of the biblical creation narrative, especially when relying on translations that presuppose temporal categories in their grammatical forms and thus in their metaphysical commitments (as Germanic languages, such as English, do), fail to express the radical nature of the creation narrative —placing divine creation in time and telling, in essence, a flawed story. While offering primarily a linguistic argument, this essay also adds to the discussion of the relations between language and the metaphysical commitments of mimesis in general.
12
Dziewit, Grzegorz, Jakub Korczyński e Maria Skublewska-Paszkowska. "Performance analysis of relational databases Oracle and MS SQL based on desktop application". Journal of Computer Sciences Institute 8 (30 de novembro de 2018): 263–69. http://dx.doi.org/10.35784/jcsi.693.
Texto completo da fonteResumo:
Comparison of efficiency is not a trivial phenomenon because of disparities between different database systems. This paper presents a methodology of comparing relational database systems in respect of mean time of execution individual DML queries containing subqueries and conjunction of tables. The presented methodology can be additionally accommodated to studies of efficiency in a range of database system itself (study of queries executed directly in database engine). The described methodology allows to receive statement telling which database system is better in comparison to another in dependency of functionalities fulfilled by external application. In the article the analysis of mean time of execution individual DML queries was performed.Two research hypotheses have been put forward: "Microsoft SQL Server database system needs less time to execute INSERT and UPDATE queries than Oracle database" and "Oracle database system needs less time to execute DML queries with binary data than SQL Server"
13
Robertson, William O. "Management of the Child With Multiple Injuries". Pediatrics In Review 10, n.º 2 (1 de agosto de 1988): 35–36. http://dx.doi.org/10.1542/pir.10.2.35.
Texto completo da fonteResumo:
Featured in this issue is a comprehensive update by Martha Bushore aimed at the practicing pediatrician confronted with a multiply injured child. It is not to be a quick referral piece available for consultation at the time of the disaster; rather, it is best consumed and digested slowly in one's favorite chair—far removed from the blare of the television set—and certainly not after a full dinner! Dr Bushore has produced a particularly tightly written review with at least one telling idea in almost every sentence. Even though she has structured her message along traditional lines of organization logic (thus making the sequence easy to follow), the subject itself remains a conceptually difficult one to read through critically.
14
Elliot, Michelle L., e Aaron Bonsall. "Building stories". Narrative Inquiry 28, n.º 2 (19 de outubro de 2018): 330–45. http://dx.doi.org/10.1075/ni.17069.ell.
Texto completo da fonteResumo:
Abstract In this article we present findings from two separate narrative phenomenological studies interested in the narrative representations of experiences. While meeting original research aims, unexpected accounts of the meaningful experience derived from participation in the studies emerged. The shared methodological approach is introduced, followed by explorations of time, space, actors, and scenes as co-constructed story-telling and story-making considerations. The discussion highlights that while researcher positionality is itself not a novel focus, the potential influence of engagement in research must be acknowledged. The “data” therefore transcends the narrative shared to become a secondary experience with a constitutive influence on how the research relationship and participation in research is considered, analysed and interpreted.
15
Baym, Geoffrey. "Journalism and the hybrid condition: Long-form television drama at the intersections of news and narrative". Journalism 18, n.º 1 (9 de julho de 2016): 11–26. http://dx.doi.org/10.1177/1464884916657521.
Texto completo da fonteResumo:
Particularly in the context of American television, hybridity has become the defining feature of contemporary broadcast journalism. Hybridity itself manifests on multiple levels – the textual, systemic, and discursive. Together, these three levels of hybridization challenge traditional conceptions of journalism while at the same time enabling the emergence of new forms of journalistic truth-telling. This essay explores three examples of ‘public affairs narratives’, long-form fictional dramas that sit, in different configurations, at the intersections of news and narrative. It concludes that in an age of complexifying distinctions between the factual and the fictive, hybrid public affairs narratives have the potential to play a valuable journalistic function, orienting audiences to critical, but often under-explored, socio-political realities.
16
S, Suja. "Rhetoric in Purananuru". International Research Journal of Tamil 2, n.º 4 (30 de setembro de 2020): 35–42. http://dx.doi.org/10.34256/irjt2045.
Texto completo da fonteResumo:
The word has a history; The words by nature are telling history because the nature of the word and its mechanism of action are inherent in the nature of change. These changes have been periodically taken into preferred action beyond the memory of time and society. These changes involve the development of the language itself. The grandiloquence research on the glossary of diction or phraseology that has been taking place since the last century has set the stage for the endorsing of the myth and uniqueness of Tamil in the order of world languages. This article elucidates the linguistic richness of the epistles and the villanelle compositions based on the tenuous words found in the Purananuru, alone, one of the oldest literary works in Tamil.
17
Crick, Bernard. "This Journal: Early Days". Government and Opposition 32, n.º 2 (abril de 1997): 161–71. http://dx.doi.org/10.1111/j.1477-7053.1997.tb00155.x.
Texto completo da fonteResumo:
THE NEW EDITOR HAS ASKED ME ‘TO WRITE THE KEY ARTICLE ON THE foundation and achievements of Government and Opposition itself’, others to write on aspects of Ghiţa Ionescu's life and work, just as John Pinder has already written such an excellent comprehensive account. I said that that was too tall an order, to sit down and read again, or look over, thirty-one years of it and all those associated books and pamphlets. But Geraint Parry twisted my arm, much as Ionescu used to do, most flatteringly, telling me that ‘the Board felt unanimously that you would be the ideal [sic] person since you were one of the journal's founders’. Even so, all I said I could do would be an essay, mostly from memory, an essai to catch the motives, atmosphere and context of that time, half a life-time ago at the height of the cold war. And as an erstwhile biographer, I know the unreliability of memory.
18
Petersson, Bo, e Emil Persson. "Coveted, detested and unattainable?" International Journal of Cultural Studies 14, n.º 1 (janeiro de 2011): 71–89. http://dx.doi.org/10.1177/1367877910384185.
Texto completo da fonteResumo:
•This article explores how the image of the USA has developed in two major Russian daily newspapers, Izvestiya and Komsomolskaya Pravda, in a time period comprised of a total 20 weeks’ of study in the years of 1984, 1994, 2004 and 2009. For Russia this time span was dramatic: it moved from seemingly stable superpower in the 1980s, over the chaos after the dissolution of the Soviet Union in the 1990s, to the partial comeback to great power status at the beginning of the 21st century. While telling the story of how the image of the USA has evolved, the article also describes how Russian self-images have developed. The image projected of the USA was Manichean in the 1980s, whereas the most benevolent images were found in the 1990s. The examples from 2004 and 2009 reflect an assertive Russia that is back on the world stage. The USA is here again often criticized, but also — as before — comprises the scale against which Russia itself is measured. •
19
Mensch, Jennifer. "The Key to All Metaphysics: Kant's Letter to Herz, 1772". Kantian Review 12, n.º 2 (julho de 2007): 109–27. http://dx.doi.org/10.1017/s1369415400000923.
Texto completo da fonteResumo:
Kant's 1772 letter to Markus Herz is celebrated for its marking the ‘Critical turn’ in Kant's thought, a turn that would move Kant away from the speculative metaphysics of the 1750s towards the Critical philosophy of 1781. It is here, seemingly for the first time, that Kant asks the question concerning the relationship between concepts and objects, telling his former pupil that the answer to this question ‘constitutes the key to the whole secret of hitherto still obscure metaphysics.’ For anyone interested in the development of Kant's thought this makes for exciting news since it is the posing of this question that marks Kant's first step towards the Critique and it is the answer to this question that will come to identify the ‘objective portion’ of the Transcendental Deduction, a text that already begins with a rehearsal of points raised in Kant's letter. But while the letter to Herz is clearly itself a key to what Kant sees as the ‘whole secret of hitherto still obscure metaphysics’, the question concerning concepts and objects itself poses interpretive problems that need to be addressed. Above all, one needs to ask how Kant arrived at such a question.
20
Thompson, Terry W. "The Writing on the Wall". Renascence 71, n.º 3 (2019): 173–85. http://dx.doi.org/10.5840/renascence201971312.
Texto completo da fonteResumo:
Charles Dickens, considered by many the poet laureate for the poor and downtrodden of his time, had a great fondness for "religious and moral themes." As a result, "one does not have to read very far in either the major or minor works of Dickens to learn lessons contained in both the New and Old Testaments." Among his favorite biblical allusions are examples of the many hard "lessons" visited upon the rich and the powerful by a just God. One of the author's most resonating Old Testament references is to the "great feast" of King Belshazzar, the sixth century B.C. ruler of Babylon who loved gold and silver more than people, more than life itself. Allusions, subtle and otherwise, to this self-destructive tyrant appear—with telling effect—in several of Dickens's best-known novels, from A Christmas Carol to A Tale of Two Cities.
21
Steele, Richard B. "“Sufficiently Edified”—The Use of Stories in the Spiritual Formation of College Students". Horizons 31, n.º 2 (2004): 343–54. http://dx.doi.org/10.1017/s0360966900001584.
Texto completo da fonteResumo:
ABSTRACTThis essay argues that undergraduate theological education at Christian colleges and universities ought to concern itself with the spiritual and moral formation of undergraduate students, and suggests ways that the use of edifying stories can be especially conducive to that end. The meaning of the term “edification” is unpacked by reference to its use in Christian scripture, and especially by reference to a delightful story told by Palladius about two Desert Fathers, Pachomius of Tabennisi and Macarius the Alexandrian. Then two crucial qualities of spiritually edifying story-telling are delineated: (1) the story chosen must invite students to engage in candid self-examination. (2) the teacher must embody the virtues that her story illustrates, but at the same time tell the story in a way that does not draw attention to herself. One who seeks to edify others must avoid all self-promotion, even while exemplifying one's lessons in one's conduct.
22
Wright-Ríos, Edward. "La Madre Matiana: Prophetess and Nation in Mexican Satire". Americas 68, n.º 02 (outubro de 2011): 241–74. http://dx.doi.org/10.1017/s0003161500006763.
Texto completo da fonteResumo:
On July 1, 1917, a publication calling itself La Madre Matiana hit the newsstands in Mexico City. The newspaper promised a bold take on politics and society, and its masthead revealed a mission both madcap and grandiose: “A prophetic, truth-telling newspaper; it will block the sun with a finger, bark at the moon, and serenade the morning star.” This earnest but rather comical statement of endeavor appeared in each issue, and Mexicans of the time would have seen in addition an irreverent parody in the publication's name. The periodical's founder, Angel Prieto, had appropriated a clairvoyant character from popular lore to serve as his paper's alter ego. He chose well—the prophecies of madre Matiana had provoked Mexicans for over half a century and gained renewed prominence during the Mexican Revolution. In the years leading up to the newspaper's emergence, various publications had revisited the Matiana legacy.
23
K, Sathya Jothi. "The Natural Life of the People of Mudhuvar Ethnic Community through the novel 'Valasai (Animal Migration)'". International Research Journal of Tamil 4, S-17 (17 de dezembro de 2022): 129–35. http://dx.doi.org/10.34256/irjt224s1722.
Texto completo da fonteResumo:
Tamil literature of this period plays a major role in speaking of the current scenario. In that sense, it can be said that there is no equivalent to novels in telling contemporary social problems and their solutions. No wonder today's Tamil novels are mirrors of time. Among such novels is Su. Venugopal's novel 'Valasai' is one of them. The novel speaks of the problems of the life of elephants; And as another storyline, it also talks about the life of the tribal people, the Mudhuvars. The novel reveals that the Mudhuvars have their own unique way of life and that they are ecologically concerned. This article shows how the way of life of the Mudhuvars revealed by the novel 'Valasai' is naturalistic. This paper describes the way in which natural life manifests itself in elements such as food, shelter, harmony with elephants, and practical recreation of the Mudhuvars.
24
Skeggs, Beverley. "The Dirty History of Feminism and Sociology: Or the War of Conceptual Attrition". Sociological Review 56, n.º 4 (novembro de 2008): 670–90. http://dx.doi.org/10.1111/j.1467-954x.2008.00810.x.
Texto completo da fonteResumo:
In the telling of the inscription of feminism into sociology, both space and time intervene. Institutionally some departments appear to be at the vanguard of feminist thought, others, as if feminism never happened. These uneven manifestations tell a story about people, place, power and struggle. Even feminism itself operates on different temporalities: while many feminists now ‘forget’ to address ‘woman’ as an object of their research, using instead debates from feminist theory about gender, life itself or relations, others continuing to generate important information on where women are and what they do. The gap between these two positions of object/no object is vast. Yet the perception of objects/subjects and their recognition through citation is central to the achievement of feminism within academia and this is where the struggle continues, as this paper shows. By showing how feminism has impacted upon sociology in a variety of ways: institutionally, theoretically, methodologically, politically, practically, it unearths how many different struggles on many different fronts continue. Rather than accepting the defeat or dilution of feminism this paper shows how feminism has inscribed some of the darkest and deepest recesses of sociology. But also how this is an achievement reliant upon repetition and attrition.
25
O'Toole, Michael. "Umm Kulthum's Water Wheel". International Journal of Middle East Studies 48, n.º 1 (14 de janeiro de 2016): 120–23. http://dx.doi.org/10.1017/s0020743815001518.
Texto completo da fonteResumo:
In a scene in Michal Goldman's documentary film Umm Kulthum: A Voice Like Egypt, two female friends of Umm Kulthum are reminiscing about her decision in the 1930s to purchase land for a villa in Cairo's Zamalek district. At the time, the women relate, Zamalek had very few buildings and was considered a remote location, far from the city center. “What were you thinking about to buy something so far away?” one of the women recalls her mother telling Umm Kulthum. At this point, the other woman, who had been distractedly knitting a scarf on her lap, suddenly brightens up and enters the conversation: “Do you remember the water wheel on the river in front of her house?” she excitedly asks her companion. “There was a waterwheel.” She imitates its high-pitched whirring sound as she turns her hand to trace the circular path of the wheel itself. “People used to say she kept it to remind her of the old days.”
26
Mann, Joanna. "Knitting the archive: Shetland lace and ecologies of skilled practice". cultural geographies 25, n.º 1 (28 de janeiro de 2017): 91–106. http://dx.doi.org/10.1177/1474474016688911.
Texto completo da fonteResumo:
Conjuring up images of fine openwork shawls, Shetland lace knitting might seem to be the very essence of ‘tradition’. Although contemporary scholarship is increasingly noting the diversity of knitting practices and practitioners – from stitch ‘n bitch to yarn bombing – accounts of Shetland lace knitting often convey a sense of a skilled practice which has remained unchanged since time immemorial. In this article, I illustrate and unravel how the skill of Shetland lace knitting has become seemingly sedimented by telling its story through a series of innovative archival explorations and engagements. Using ‘making’ as method, I employ the skilled practice of knitting as a means by which to investigate the question of skill itself. By putting the anthropologic work of Tim Ingold into conversation with contemporary geographical theory, I advocate an ecological consideration of skill which is able to account for the economic, cultural, geographical and material threads of practice, while undermining any notion of skill being static or given within a situation.
27
Laden, Anthony Simon. "Outline of a Theory of Reasonable Deliberation". Canadian Journal of Philosophy 30, n.º 4 (dezembro de 2000): 551–79. http://dx.doi.org/10.1080/00455091.2000.10717543.
Texto completo da fonteResumo:
Theories of rational choice focus on the question of how to choose what to do. They are, that is, concerned with the selection of one among a set of possible actions. Furthermore, they tell us how to make such a choice rationally. They accomplish this aspect of their task by telling us how to choose ‘in order to achieve our aims as well as possible.’Theories of reasonable deliberation, as I describe them in this paper, analyze a different domain of reasoning in the service of action. First, their subject matter is the deliberation that leads to action, rather than the final selection of the action itself. Second, they ask about the intrinsic character of a deliberative path, rather than its likely outcome. That is, they are theories of the reasonableness of deliberation, rather than its rationality. To see the distinctiveness of this theoretical domain, it helps to approach it by backing away from the domain of rational choice theories one step at a time.
28
Prasetyo, Widi, e Mudrik Alaydrus. "The condition monitoring of diesel engines using acoustic signal analysis". Indonesian Journal of Electrical Engineering and Computer Science 13, n.º 1 (1 de janeiro de 2019): 179. http://dx.doi.org/10.11591/ijeecs.v13.i1.pp179-185.
Texto completo da fonteResumo:
<span>Engine have become one of the supportive asset for many activity and work, therefore engine need attention for its condition. The easiest way to do is through the acoustic sound of the engine itself. Most of the time, the engine sounds are checked using a traditional way that may causing a debate regarding its condition. This is due to no supportive scientific basis to know about engine condition using their own acoustic sound. A value from its frequency pattern is needed as scientific basis to determine an engine condition using acoustic sound. Method of envelope extraction by hilbert transform, fast fourier transform, and correlation coefficient are used to find that value. A series of tests have been carried out on the values that have been found and the result are promising for telling engine condition, but unfortunately the values has not been able to identify type of damage that occur on the engine.</span>
29
Pulver, Y., C. Merz, K. Koebel, J. Scheidegger e A. Çöltekin. "TELLING ENGAGING INTERACTIVE STORIES WITH EXTENDED REALITY (XR): BACK TO 1930S IN ZURICH’S MAIN TRAIN STATION". ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences V-4-2020 (3 de agosto de 2020): 171–78. http://dx.doi.org/10.5194/isprs-annals-v-4-2020-171-2020.
Texto completo da fonteResumo:
Abstract. With increasing technical feasibility of extended reality (XR) on smartphones and tablets, we also witness increasing versatility in the use of the mixed reality (MR) (i.e., rather than augmented or virtual) in utility-oriented apps (e.g., for navigation, indoor/outdoor spatial planning, entertainment and location based gaming. In cases where user adaptation and adherence is important, the design of the story itself, visualization and interaction in the game must be engaging, and ideally support spatial knowledge acquisition. In this paper, we briefly review the literature on creating engaging MR experiences for a location based game, and present a case study in which we feature a location based MR game (SBB Stories). We conceptualized, designed and implemented the SBB Stories with user-centered design methods in collaboration with the SBB (Swiss Federal Railways). In this paper we feature an interactive story that took place in Zurich’s main train station in 1937. Our findings from several cycles of user studies shows an increased spatial awareness of the surroundings as participants used the SBB Stories app. Importantly, participants reported the blending of historical and current visual elements as an outstanding and inspiring experience. Besides a high score of 83.75/100 in a standardized usability test, and a similarly high score of 4.25/5.00 in a standardized user engagement scale, all participants reported that they would spend extra time at the train station to play this game, suggesting that the app was indeed engaging.
30
Xavier T, Roy. "Novels Speak Reality: Ivanhoe, An Example". SMART MOVES JOURNAL IJELLH 8, n.º 6 (29 de junho de 2020): 43–49. http://dx.doi.org/10.24113/ijellh.v8i6.10629.
Texto completo da fonteResumo:
Stories have been the source of moral lessons and entertainment, as far as the humankind of all the time, is concerned. The use of story- telling existed from the time immemorial. Stories appeared in the form of ballads and epics, in the ancient time, but later it took the shape of short and long fictions. The long fictions or novels varied in its theme and size. They are divided into many genres according to its subject matter- Gothic, Picaresque, Historical etc. The Ballad is nothing but a short story in verse. Its subjects are simple and memorable like adventure, love, war and the life etc. An Epic is a long tale in verse with famous heroes for its main characters. Iliad and Odyssey are examples. These stories gave the reader enjoyment and certain life-related ‘tips’. Hayden White, an American historian says, “the aim of the writer of a novel must be the same as that of the writer of the history”. Historians and Novelists wish to provide a verbal image of ‘reality’. A novelist may produce reality indirectly but this is meant to correspond to some sphere of human experience. He desires to pass the merits and demerits of such experience onto the readers, to enhance a better vision of life. Novelists are free to use fictitious characters and situations for the readers’ entertainment. Stories took its present prose form later in the middle ages. Decameron, a collection of stories by Boccaccio, was published in 1350. It deals with stories told by a group of people affected by Black Plague. They used these stories to get mental relief from the pandemic. ‘Canterbury Tales’ of Geoffrey Chaucer also, is telling the life-related stories by some pilgrims to the shrine of St. Thomas Becket at Canterbury. All these show that men were, from the early ages itself, used to tell stories to recollect the past and go forward with lessons of reality for a better life. Actually these stories are ‘historical facts’ blended with the imagination of the writers.
31
Lack, Graham. "AT FEVER PITCH: THE MUSIC OF JÖRG WIDMANN". Tempo 59, n.º 231 (janeiro de 2005): 29–35. http://dx.doi.org/10.1017/s0040298205000045.
Texto completo da fonteResumo:
Just as a young grand master chooses, with a degree of self-acknowledgement, an opening that creates space for key playing strengths at a later stage, Jörg Widmann seems with every new work to alight on an initial strategy (usually in the form of just a single sound or a complex but discrete sonic entity) which not only occasions further related ideas in the composer's imagination but also reveals feasible compositional paths through the new material. In performance, this simultaneity of creation – in which the primary gesture is clearly a microcosm of the piece itself – may be perceived too in real time by the audience. Any closer analogy with the game of chess breaks down at this point: Widmann's openings remain ambiguous, marked by both a tentative approach and moved by a desire for more telling blows to render a score complete. Music – or the calling to write it, at least – remains nonetheless a considerable opponent. And the sense of the composer finding his bearings at the outset (one might say the onset) of a piece is palpable. A febrile tension is created.
32
Asutay, Mehmet. "The Revolution of 1908 in Turkey". American Journal of Islam and Society 18, n.º 2 (1 de abril de 2001): 172–85. http://dx.doi.org/10.35632/ajis.v18i2.2029.
Texto completo da fonteResumo:
This is a book version of Kansu's doctoral thesis, in which his objective"was to show [the political] transformation [in the beginning of thecentury]-however elusive- by re-telling the political history of modemTurkey in a radically different fashion" (p. ix). He states that this radicalapproach is based on an '"historical' viewpoint [which is) opposed to a'political' one"(p. ix).In order to show his radical re-telling of the political transformation of theOttoman Empire in the beginning of the previous century, the bookcommences with a critical but analytical and enjoyable chapter on Turkishhistoriography by making special emphasis on the interpretation of theRevolution of 1908. In doing so, Kansu summarises the attitudes of theTurkish academics and intellectuals towards the interpretation of recentTurkish history. This in tum is an attempt to clarify his ideological standas regards the Kemalist revolution of 1923 and the Young Turks.The first concept the reader encounters with the first chapter is'Revolution'. For Kansu the year 1908 is the most crucial year in modemTurkish history, "because a new era opens before the Turkish socialformation through a genuine revolutionary movement. 1908 is thebeginning of the establishment -for the first time in modem Turkishhistory- a constitutional monarchical form of government whichlegitimates itself on the presence of a representative parliament to which itis totally responsible" (p. l). It has to be stated that while the "genuinerevolutionary character" of the constitutional movement is open to question,Ottomans had the first parliamentary political structure not in 1908 butin 1876, albeit it lived only a short while due to Abdulhamid H's politicalambitions and, one has to accept, it was not as strong as the 1908experience in its representation. However, Kansu claims that it was the ...
33
Mulford, Carla. "Benjamin Franklin, Native Americans, and European Cultures of Civility". Prospects 24 (outubro de 1999): 49–66. http://dx.doi.org/10.1017/s0361233300000296.
Texto completo da fonteResumo:
In Treating Any Historical Cultural Moment, we are engaging a discourse of alterity that verifies our own being in time by drawing conclusions about others' existences at some other time. We are in the process of making history while discussing historical phenomena. In so doing, we are differentiating ourselves such that another's past is both apart from us and part of us, and the history we tell becomes our own. As Michel de Certeau has said about this process of history creation in his book,The Writing of History, we could be said to be creatingintelligibility, an intelligibility “established through a relation with the other” and contingent upon a “process of selection between what can beunderstoodand what must beforgottenin order to obtain the representation of a present” that is knowable. The history thus told is one tending to invoke a story line that itself reproduces a normative power arrangement in behalf of an already ongoing and authorized “text” of history. Some elements of the past thus discussed get silenced, while other elements are brought forward for discussion. In selecting, emending, adapting, and erasing, we are telling stories that seem to be about others but stories that are also abundantly about ourselves.
34
Kebung, Konrad. "Michel Foucault: Subjectivity and Ethics of the Self as Practice of Freedom". MELINTAS 35, n.º 2 (7 de julho de 2020): 108–21. http://dx.doi.org/10.26593/mel.v35i2.4037.108-121.
Texto completo da fonteResumo:
This article presents the thoughts of Michel Foucault, a cultural historian, philosopher, and intellectual, who brilliantly analyses the historical events of the past as creative criticisms for shaping human attitudes today. Through this historical analysis, Foucault examines the ways in which subjects were formed from classical times to the present. Foucault sees how this process takes a long time, starting from the subject as formed through various discourses to the subject as forming itself. To arrive at the latter, Foucault brings his readers to the classical Greco-Roman era to see how humans live their freedom and responsibilities. He also shows them various practices of the self through meditation and inner examination, as well as the practice of telling the truth (parrhesia) to oneself and to others. All this in the era was known as ethics and also seen as a practice of freedom. For Foucault, life must always be seen as a work of art that requires the attention of the artist from time to time in order to arrive at an art level considered useful and valuable to many people. Foucault calls this an aesthetic of existence, where life is not merely seen as something given, but also that must always be fought for creatively from day to day. Life must be seen as an unstable condition in which there are always cracks, therefore it has to be fixed from time to time. This is what Foucault calls a model of human existence.
35
Hosta, Nilay, e Birsen Limon. "Changing features of the concept of pilgrimage: the example of the Mevlana's museum in Konya". Scripta Instituti Donneriani Aboensis 22 (1 de janeiro de 2010): 196–210. http://dx.doi.org/10.30674/scripta.67367.
Texto completo da fonteResumo:
Mevlana Celaleddin Rumi was a philosopher who influenced our era with his ‘humanist’ thoughts, his invitation towards everybody to friendship and brotherhood and his ideas about love and humanism. The museum, opened in his name in 1926 in Konya, Turkey, has been converted into a special place, describing Mevlevi’s way of life, telling the history of the Mevlana Dervish lodge and exhibiting related works with religious historical values. This important Museum, attracting many visitors from all over the world, including Turkey, represents unique examples both in architecture and genuine works of arts from Seljuk and the Ottoman period.Today faith tourism, emerging as a business sector, due to the increasing number of travelling people everyday, fulfils the space of the religious obligations related to travelling and also shows itself in religious aspects, not only pertaining to the major dimensions of a religion, but also by affecting all other religion-related rituals. The Mevlana Museum has become one of the places affected by the faith tourism. It has turned into an economic resource and become an important place for advertising Turkey, having visitors any time of year.
36
Horstmann, Jan. "Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater". Journal of Literary Theory 13, n.º 2 (6 de setembro de 2019): 185–205. http://dx.doi.org/10.1515/jlt-2019-0007.
Texto completo da fonteResumo:
Abstract The positioning in space and time of performed narration in theater poses a specific challenge to classical narratological categories of structuralist descent (developed, for example, by Gérard Genette or Wolf Schmid, for the analysis of narrative fiction). Time is the phenomenon which connects narratology and theater studies: on the one hand, it provides the basis for nearly every definition of narrativity; on the other, it grounds a number of different methodologies for the analysis of theater stagings, as well as theories of performance – with their emphasis on transience, the ephemeral, and the unrepeatable, singular or transitory nature of the technically unreproducible art of theater (e. g. by Erika Fischer-Lichte). This turn towards temporality is also present in theories of postdramatic theater (by Hans-Thies Lehman) and performance art. Narrating always takes place in time; likewise, every performance is a handling of and an encounter with time. Furthermore, performed narration gains a concrete spatial setting by virtue of its location on a stage or comparable performance area, so that the spatial structures contained in this setting exist in relation to the temporal structures of the act of theatrical telling, as well as the content of what is told. Both temporal and spatial structures of theater stagings can be systematically described and analyzed with a narratological vocabulary. With references to Seymour Chatman, Käte Hamburger and Markus Kuhn among others, the contribution discusses how narratological parameters for the analysis of temporal and spatial relations can be productively expanded in relation to theater and performance analysis. For exemplary purposes, it refers to Dimiter Gotscheff’s staging of Peter Handke’s Immer noch Sturm (which premiered in 2011 at the Thalia Theater Hamburg in cooperation with the Salzburger Festspiele), focusing on its transmedial broadening of temporal categories like order, duration, and frequency, and subsequent, prior, or simultaneous narration. The broadening itself proves feasible since all categories of temporal narration can be applied to performative narration in the theater – at times even more fruitfully than in written language, as is the case, for example, with the concept of ›duration‹. The concept of ›time of narration‹ too can be productively applied to theater. Whilst a subsequent narration is frequently considered the standard case in written-language narratives on the one hand – a conclusion that is, however, only correct if the narrator figure and narrative stand in spatiotemporal relation to one another, i. e. if a homodiegetic narrator figure is present – it is commonly held that in scenic-performed narration, on the other hand, the telling and the told take place simultaneously. The present contribution argues against this interpretation, as it stems from a misguided understanding of the ›liveness‹ of performance. ›Liveness‹ refers only to the relationship between viewers and performers and their respective presence, but not to their temporal and spatial relationship to the told. Rather, the following will argue that the time of narration in theater (as well as in film) stays unmarked in most cases. It is possible, however, to stage subsequent, prior, or simultaneous narration, too. Immer noch Sturm is one example for a performed subsequent narration. For audiovisual narration, then, a special case of iterative narration (telling once what happened n times) can be identified, which is to tell a few times (n minus x) what happened n times. As an additional category for the analysis of narrative temporality in audiovisual narrative media, I propose what I venture to call ›synchronized narration‹, in order to describe the specificity of spatiotemporal relations in performance. In synchronized narration, two or more events (that happen at different places or times in the narrative world) are shown at the same time on stage. This synchronized performance of several events is only realizable within the audiovisual dimension of spatial narration and not in written-language based narration. Furthermore, for narrative space relations the categories ›space covering‹, ›space extending‹, and ›space reducing narration‹ are suggested in order to analyze the relationships between discourse space and story space(s). Discourse space emerges in the concrete physical space of the performance when narrativity is present. Within this discourse space any amount of story spaces (with any expansion) can emerge. However, whilst in time-extending narration the time of the telling is longer than the time of the told, in space-extending narration the told space is bigger than the space of the telling. This principle is analogously valid for time-reducing or space-reducing narration. The transmission and media-specific broadening of temporal and spatial narratological parameters reveals how time and space form a continuum and should thus be linked and discussed alongside one another in analytical approaches to narrative artifacts. The staging of Immer noch Sturm actualizes a metaleptic structure, in which temporal borders are systematically dissolved and the overstepping of spatial borders becomes an indicator for the merging of different temporal levels. Referring back to established narratological parameters and developing analogous conceptual tools for narrative space facilitates a comparative analysis both of specific narratives and of narrative media and thus not only offers a productive challenge of classical narratological parameters, but allows to investigate and construct a holistic – if culture-specific – overall view of narration.
37
Komarova, Olga. "“Писатель всегда платит за все валютой собственной жизни: за счастье, за творчество, за любовь, за увлечения...”: О романе Дины Рубиной На солнечной стороне улицы". Poljarnyj vestnik 10 (1 de janeiro de 2007): 14. http://dx.doi.org/10.7557/6.1307.
Texto completo da fonteResumo:
The article deals with Dina Rubina's novel On the Sunny Side of the Street, published in 2006. The writer's name became known in Russia in the 70-ies when as a young girl she began publishing her first short stories in the liberal literary magazine Junost ́, and got her first recognition among the reading public as a promising story-teller.After her emigration to Israel in 1990 a new period in Dina Rubina's writing started. A new theme made itself apparent in her stories - the theme of Jews from the former Soviet Union discovering their new Motherland, their new experience of living under absolutely different geographical and social surroundings. She managed to create in her stories a gallery of characters almost recognizable in their uncertainty and fumbling attempts at survival. The stories she wrote then were a success with the public not only because of their plot but also because of a peculiar mixture of humour and sadness, and very vivid and convincing speech characteristics of the protagonists, they also witnessed about the awakening of patriotic feelings of the newcomers. Dina Rubina's artistic style seemed to combine the vividness of the psychological characterization and caleidoscopic variety of depicted situations.The novel On the Sunny Side of the Street is different both in the topic and in the artistic means used by the author. It is telling a story of two gifted persons, mother and daughter, and their different ways of using their talents.This particular story is shown on a wide background of different events taking place in Tashkent during some four decades after World War II with a picturesque variety of characters of different nationalities and beautiful scenery, tragic and comic signs of the Soviet time - all this helps to create a panoramic view of both the city and its inhabitants.The structure of the novel is complicated, the story is often interrupted by voices of former inhabitants of Tashkent telling about their impressions from the town or by the voice of the author telling of her own private experiences and even meetings with the main protagonist, Vera, who is a painter. This fact accounts for the author's masterful use of colourful details both in descriptions of the characters, their speech and the nature.This novel was rewarded with a special Radio-Booker prize in 2006, and with a very prestigious literary prize "Bol ́šaja kniga" in 2007. Dina Rubina has proved that she remains a very important part of Russian literary life.
38
DAVIS, DIANE E., e VIVIANE BRACHET-MÁRQUEZ. "Rethinking Democracy: Mexico in Historical Perspective". Comparative Studies in Society and History 39, n.º 1 (janeiro de 1997): 86–119. http://dx.doi.org/10.1017/s0010417597000042.
Texto completo da fonteResumo:
Since Robert Dahl's seminal writings on democracy more than two decades ago, interest in the topic has emerged again, especially among scholars analyzing democratic transitions. Great strides have been made in revealing the uncertain nature of these transitions (O'Donnell et al. 1986; Malloy and Seligson 1987; Diamond, Linz, and Lipset 1989; Hakim and Lowenthal 1991; O'Donnell 1994), in methodologically analyzing them as contested and “crafted” rather than spontaneous (Di Palma 1990), and in documenting the class and social forces that make democratic outcomes more likely (Rueschemeyer, Stephens, and Stephens 1992; see also Moore 1966). Despite these advances, there has been little change in our theoretical understanding of democracy. As Bruce Cumings has perceptively noted, recent studies of democratic transition have “given way to atheoretical and idiosyncratic explanations of more or less successful democratic ‘openings’” in which little time is spent elaborating “the decision rule for saying this person is hard-line or soft-line, that system is ‘liberalized autocracy’ instead of ‘limited democracy,’” or for defining democracy itself. If scholars do bring theory into their writings “through the back door of the obscure but telling footnote,” he observes, “rather than advancing their own conception of democracy, [they] uniformly define democracy by reference to Robert Dahl's Polyarchy, a classic pluralist account of the North American system” (Cumings 1989:15–17).
39
Rudokas, Kastytis, e Silvija Čižaitė-Rudokienė. "Narrative-Based Nature of Heritage: Between Myth and Discourses: Case of Šiluva Place-Making in Progress". Land 11, n.º 1 (29 de dezembro de 2021): 47. http://dx.doi.org/10.3390/land11010047.
Texto completo da fonteResumo:
The article focuses on the phenomenon of myth, which cannot be seen and may not even exist based on empirical evidence, although it can function as a long-lasting wave inceptor, as demonstrated in numerous cases in history. The singular presence of myth has no linear time, and the way to approach the concealed mythic meaning that is beyond tales, oral traditions or ritual practices is based on language and narrative. Narrative is how myth manifests itself in the temporal layers of discourse through collective decision-making processes within cultures and in places. The urban cultural heritage seems to be a promising source of understanding of what sort of narrative history has been telling. We emphasize that the closest possible approach to the permanence of myth lies in this subtle between-epoch or between-generational moment wherein the discourse alters. The hermeneutics of repetition within alteration processes is what could be called the narrative of cultural heritage in towns and cities. Development of the physical heritage properties has been touched by a variety of agents, and therefore it must have gathered a nearly unlimited amount of explicit and implicit knowledge. The research further demonstrates how the myth–narrative–discourse interaction affects our understanding of the authenticity of heritage objects, shifting towards a permanent pervading authenticity which could be intensive or extensive in the tangible realm. The case of Šiluva is discussed in order to explain how myth can be used practically in placemaking.
40
YOLCU, Pelin, e Sedat ŞİMŞEK. "MISE EN SCENE FILM CRITICISM IN THE CONTEXT OF THE FILM WAITING FOR HEAVEN". JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, n.º 28 (28 de setembro de 2021): 44–59. http://dx.doi.org/10.31623/iksad072804.
Texto completo da fonteResumo:
It is a need to tell, to share the experience. A human being is an entity that tells stories and also needs stories. Myths and tales have explained the world to human beings when rational mind was not used and science was not developed yet. Myths are the first teachers of humanity, and tales have continued to form new narratives with new tools in the later ages. By the 20th century, humanity meets with a new storytelling tool. Apart from narrative films, cinema, although there are genres such as educational films, documentaries or news films, primarily undertook the mission of 'storytelling' and attracted the attention of the masses by telling stories. The paradoxical relationships and distance presented by the contemporary world to humanity are presented to the audience through sounds and images, and the audience tries to make sense of the existence of its environment and itself in a critical framework. Director and cinema question themselves in contemporary cinema narratives. The greatest innovation brought by contemporary cinema is hidden in the feature that leads the narrative to questioning activism. In the study, Derviş Zaim's, one of the most important directors of modern Turkish cinema, film Waiting for Heaven, was used as an example. The film was evaluated under the titles of technical structure, light, sound, time and space, actor, movement and performance, decor, costume and make-up in order to gain a qualitative understanding of the work. Keywords: Cinema, Movie Criticism, Derviş Zaim, Waiting For Heaven
41
Domsch, Sebastian. "Framing absence: A narratology of the empty page". Frontiers of Narrative Studies 3, n.º 2 (23 de novembro de 2017): 273–88. http://dx.doi.org/10.1515/fns-2017-0018.
Texto completo da fonteResumo:
AbstractNarrative experimentation has seen many forms, but among the most radical strategies might be the complete absence of text. Printed text is largely determined through its physical presence on the page, it defines itself by where it is, and the performance of the present text determines the flow of narrative time. Silences and absences are usually created semantically, with a present text telling about an absence. Only rarely do texts stage emptiness through the actual absence of text. But when they do, they considerably expand the narrative range of expression of the printed page. In this paper I will look at the narratology of the empty page by analyzing and comparing a number of texts that stage or emphasize the actual absence of text from the page. There are some narrative texts that use their medial form as text printed on a page and bound in a codex not only to narrate absences, but also to stage them outside of the text proper, or rather, through the actual absence of text leading the recipient’s awareness to the page as a frame of reference that potentially carries semantic value. I will contrast different techniques of “framing absence” in texts by David Mitchell (number9dream), Jonathan Safran Foer (Tree of codes), B. S. Johnson (House mother normal) and Mark Z. Danielewski (House of leaves). These examples will show how literary texts can use their own mediality and materiality to reflect on the general relation between all three.
42
Nguyên-Quang, Trung. "“No Man Is an Island”: On Fragmented Experiences in Zadie Smith’s NW 2012". Anglica Wratislaviensia 56 (22 de novembro de 2018): 77–85. http://dx.doi.org/10.19195/0301-7966.56.6.
Texto completo da fonteResumo:
Published in 2012, Zadie Smith’s NW appears to break with the aesthetics of On Beauty 2005, her Booker Prize shortlisted novel: abandoning the linearity of traditional story-telling of which On Beauty partook, NW displays a formal fragmentation that allows the narrative to jump back and forth from one point of view to another, one time period to another, and this with no apparent rationale. Indeed, the novel weaves together the threads of four different narratives seen through four different characters, its structure thus fragmented into seemingly disparate subplots and timelines, as though it were taking to task the linearity of time itself. Through the analysis of the various fragmentary modes in NW, this paper wishes to contend that, while it may first appear to be a challenge to the congruence of plot, one that is reminiscent of the postmodernist taste for discontinuity and experimentation, this writing commitment for fragmentation is fundamentally a political stance in Smith’s fiction. By deconstructing the linear fabric of plot, NW seems to argue that experience — whether it be cultural, political, social or individual — is multifarious and ever-shifting, and thus can only be accounted for by discursively espousing its fragmentary nature. Therefore, the multiplication of subject-positions, the refusal of monologic narratives, as well as the eschewal of linearity in NW must be understood as rebuttals of a reality conceived of unilaterally, or normatively defined. In other words, my argument is that, in NW, the poetics of fragmentation is a politics of authenticity, since it is only through the representation of fragmented experiences that fiction can have any claim on realism.
43
Thibodeau, Philip. "ANAXIMANDER'S SPARTAN SUNDIAL". Classical Quarterly 67, n.º 2 (11 de agosto de 2017): 374–79. http://dx.doi.org/10.1017/s0009838817000507.
Texto completo da fonteResumo:
As the author of the earliest secular account of the universe's formation, Anaximander of Miletus can lay a strong claim to the title of first Greek cosmologist. Tradition also credited him with invention of the first time-telling instruments: ‘He was the first to constructgnomonsfor the identification of solstices, time spans,horaiand the equinox’ (οὗτος πρῶτος γνώμονας κατεσκεύασε πρὸς διάγνωσιν τροπῶν τε ἡλίου καὶ χρόνων καὶ ὡρῶν καὶ ἰσημερίας, Euseb.Praep. evang. 10.14.11). This paper reconstructs the location, design and function of a γνώμων which he erected at Sparta, and moots some intriguing parallels with the Augustan Horologium on the Campus Martius. Before we turn to the evidence, however, two points of terminology need to be clarified. The Greek term γνώμων can denote either a sundial—a pointer attached to a surface with marks for tracking its shadow—or the pointer itself, in English also called the gnomon; Eusebius’ reference to the identification of times suggests that what Anaximander created was in fact a sundial. Now, depending on its design, a sundial can tell either the hour of the day, the season of the year, or both; from Eusebius’ text it is not clear which function Anaximander's dial possessed, since the noun ὧραι can mean either ‘hours’ or ‘seasons’. But only one usage of the word would be appropriate for the sixth century: no authors refer to hours of the day prior to Herodotus (2.109) and there is no evidence for Greek sundials displaying hours prior toc.350b.c.; by contrast, the use of ὥρα to mean ‘season of the year’ is as old as Homer and Hesiod, and the solstices and equinoxes mentioned by Eusebius demarcate the transitions between the seasons. Anaximander's device was a sundial, then, one which tracked seasons rather than hours. According to Diogenes Laertius, the cosmologist set up one such device at Sparta (2.1).
44
Cordell, Sigrid Anderson. "“A BEAUTIFUL TRANSLATION FROM A VERY IMPERFECT ORIGINAL”: MABEL WOTTON, AESTHETICISM, AND THE DILEMMA OF LITERARY BORROWING". Victorian Literature and Culture 37, n.º 2 (setembro de 2009): 427–45. http://dx.doi.org/10.1017/s1060150309090275.
Texto completo da fonteResumo:
In a pivotal moment in Mabel Wotton's short story, “The Fifth Edition” (1896), Janet Suttaby, a struggling writer unable to find a publisher for her novel, offers the rising literary star, Franklyn Leyden, her manuscript, telling him, “If you really think there is any good in it . . . it must either go back to the drawer until I have time to polish it, or . . . you must take it” (179). Miss Suttaby offers almost no explanation for her act, nor does she outline what she expects Leyden to do with the manuscript, so when Leyden accepts, re-writes, and then publishes it under his own name, he hasn't done anything that she has explicitly forbidden. Nevertheless, his appropriation of her work is clearly marked in the text as ethically compromised, especially when Miss Suttaby's subsequent death from starvation underscores her desperate need for the money that the sale of a novel would have brought. At the same time, the text offers a much more nuanced critique of Leyden's actions that reaches beyond the ethics of plagiarism and into the realm of literary invention itself; as Leyden revises the manuscript, his creative act is bound up with a parasitical translation of Miss Suttaby herself into text, and he is thus implicated as a fraud on the grounds of both literal and figurative appropriation. In this way, the appropriated manuscript becomes a metaphor for the uneasy relationship between art and life, a concern that is central to fin-de-siècle literary culture. As I will argue, the emphasis in this story, and elsewhere in Wotton's fiction, on what Susan Sontag has termed in another context the “shady commerce between art and truth” (6) makes visible concerns about the connection between inspiration and invention that emerge in the aesthetic theories of Pater, Wilde, and James, as well as in debates over plagiarism and New Woman fiction.
45
Daoud, Ramy. "On therapy - extra". British Journal of Psychiatry 196, n.º 6 (junho de 2010): 439. http://dx.doi.org/10.1192/bjp.196.6.439.
Texto completo da fonteResumo:
I worked in medicine for many years before I was drawn to psychiatry. My encounters with patients with physical ailments prefigured those encounters I would have as a psychiatrist. The cognition of pain. The search for meaning. The elicitation of a story. The laying of hands on where it hurts. The re-cognition of pain. Sometimes I would cut it out. Sometimes I would cover it up. Sometimes I could do neither. In these instances, I am reminded of Mural by the Palestinian poet of exile, Darwish. I find it quite a haunting piece, lingering in the back of my mind before, during, between sessions with patients. A patient knocks at the door of therapy. Therapy: ‘the dialogue of dreamers' where the patient ‘shuns body and self … to finish that first journey towards meaning, which burnt me, and disappeared.’ Disappeared into absence and no space, where ‘nothing hurts at the door of doom’. In no space, and no time, that insistent voice says ‘one day I shall become …’. And they come, knocking at the door of therapy. Therapy is a space-time, an en-closure where dis-closure unfolds through language/thoughts (‘one day I shall become a thought’), that threatens to ‘split [the patient's nascent sense of being like] a burgeoning blade of grass’. A battle-field, between ‘neither being nor nothingness’. Therapy, language, the act of re-telling one's story seems to me like a sword ‘wresting being from non-being’, that promises an ‘epiphany’. That epiphany that comes on the wings of the words: ‘This is your name’. Darwish's ‘epiphany’ reminds me of Heidegger's Da-sein and the ecstasy of temporality. Being which temporalises itself yet unites past, present and future ‘selves’. I believe Darwish wishes to leave this activity of being open: ‘I know this epiphany, and know I'm on my way towards what I don't know’.
46
Torres-Castro, Camila. "Lejos de Veracruz". Latin American and Latinx Visual Culture 4, n.º 4 (1 de outubro de 2022): 26–39. http://dx.doi.org/10.1525/lavc.2022.4.4.26.
Texto completo da fonteResumo:
The urban landscape of Mexico City has been the main subject of many Mexican films throughout the years, transforming the city into a character itself. The movie Güeros (dir. Alonso Ruizpalacios, 2014) is no exception, telling the story of four young people navigating the metropolis at a time of political and social turmoil in late 1990s Mexico. This essay discusses the intersection between three elements that construct the utopia these characters are looking for: the city, its sounds, and a former rock star. The main intention is to foreground the sounds of the city not as an accessory to the moving image, but as an integral part of the construction of the plot, drawing from R. Murray Schafer’s concept of “soundscape” (1979), as well as on Josh Kun’s (2005) and Brandon LaBelle’s (2010) discussions around space and sound. The film is shot in black and white in an effort to tell a tale of dualism, one that insists on constructing otherness through opposition, primarily as it relates to the urban. By following the binary gesture first presented by the chiaroscuro, this essay argues that silence opens up a possibility for intimacy as opposed to a deafening environment that engulfs the inner worlds of its inhabitants. The search for a home is framed by aural elements that resist the regime of noise that characterizes the city. I propose a counterintuitive analysis that unpacks the symbolic charge of these narrative elements as they tell a parallel story that may not be portrayed in purely visual terms.
47
Pawlowski, K., L. Patrick-Miller, C. K. Daugherty, O. I. Olopade, J. J. Dignam, C. N. Ibe, F. J. Hlubocky et al. "Content and method of parental disclosure of genetic risk to young adult and minor children in BRCA families". Journal of Clinical Oncology 25, n.º 18_suppl (20 de junho de 2007): 1536. http://dx.doi.org/10.1200/jco.2007.25.18_suppl.1536.
Texto completo da fonteResumo:
1536 Background: Prior research has found that many BRCA mutation carriers report discussing their genetic test results with their minor children. The content, method and process of this communication have not been previously described. Methods: 20 parents (yielding 42 parent-offspring pairs, POP) have completed a 62-item questionnaire regarding the content and methods of communication of genetic risk to offspring. Results: Of 19 (45%) POP where parents reported disclosure of their BRCA mutation to offspring in response to a binary (yes/no) question, all reported telling their children about the genetic mutation itself, as well as the parents’ risk for cancer. In 74% of POP the offspring’s chance of inheriting the mutation or risk for cancer were said to have been communicated. In 53% of POP parents reported discussion of parental risk reduction measures, and in only 37% of POP parents reported communication of offspring risk reduction measures. Of the POP where parents reported some communication of cancer risk, 22% described incorporating written materials. In 75% of POP parents reported communication through multiple conversations over time (1 -20 conversations, up to 4 years). Conclusions: Although many BRCA carriers report discussing their genetic mutation with offspring, the content and extent of parental communication is variable, often including information regarding the genetic mutation, but less frequently the offspring’s risk of inheriting the gene and infrequently communication regarding risk reduction measures. Further research on this expanding cohort will allow for analyses of parent and child factors associated with disclosure content in order to guide the development of interventions to facilitate age and content-appropriate communication of genetic risk to at-risk offspring. No significant financial relationships to disclose.
48
Watanabe, Yoshio. "Two kinds of feng-shui history in Japan: science and divination". Estudos Japoneses, n.º 35 (7 de março de 2015): 124–38. http://dx.doi.org/10.11606/issn.2447-7125.v0i35p124-138.
Texto completo da fonteResumo:
In this paper, I don’tuse the word of “geomancy” but use “feng-shui”, as meaning a set of method and concept for an assessment for environmental impact against human life. Environmental impact assessment, connected with the feng-shui theory of later eras, first began with xiang-zhai (house and community observation), which appeared in the Zhou Period (770~256 BC.), Spring and Autumn/Warring States Periods(770~221 BC.) in China. Now I recognize the meanings of feng-shuiare indicated two kinds. One meaning is a kind of scientific thought through the ancient environmental impact assessment, and another meaning is a method of divination through judgments fortune-telling items. So I will mention about the Japanese history of feng-shuidivided into two kinds of histories. A number of scholars have pointed out the transmission of feng-shui knowledge to Japan, as recorded in the section of the Nihon Shoki (the Book of the ancient Japanese record) which reads: “In 601 AD, a buddhist monk named Kanroku arrived from Paekche (one of the country, ancient Korea) to Japan. As tribute, they brought books of astronomy and geography (same meaning of feng-shui)...”. After this record, terms synonymous with feng-shui can be sporadically seen in the records of ancient Japan. Continuing, in the Book of Ryo-no-gige (chapter of staff inst- ructions) of the 9th century in Japan, it states that 6 yin-yang practitioners of the yin-yang Bureau (Ministry of astronomical and geographical observations) “shall be in charge of divination sticks and souchi (feng-shui)”. Thus, one of the duties of the yin-yang practitioners was souchi. This was a form of divination and observation topography which was a predecessor of the feng-shui theory. Much later in time, we arrive at the Edo Period (1603~1868 AD.). In Wakan-sansai-zue, or Sino-Japanese encyclopaedia from this Period written by Terashima Ryoan, the compass (which developed later) was called a tokei-shin, and it is explained as “an instrument for determining directions and telling time”. According to Terashima Ryoan, it is a compass, like that used in Japan today for kasou (i.e. divining the fortune of a house from its directions and situation). The tokei-shin described by Terashima Ryoan was a “compass for sea navigation” developed further for sea navigation after the invention of the luo-pan (compass) in the Sung Period in China. This “compass for sea navigation” was a simplified version of the luo-pan for land divination (feng-shui), and until very recently, was used as a compass for small boats in Japan. After the luo-pan using a magnetic needle was invented, there is a history in China of using the luo-pan as a surveying instrument, i.e. as a successor of the previous tugui method based on sun shadow measurement. This was not a luo-pan notched with many graduations; rather, it was a luo-pan which attempted to measure accurate directions and angles by using only one type of graduation. This type of luo-pan was also used in Japan in the Edo Period called “banshin- raban”. In the Edo Period, there was active development of mines, and it was necessary to measure accurate bearings and angles for tasks like excavating mine tunnels. In the some of ancient Japanese written historical records, the synonymous words of “Chiri” (in Japanese), or “Dili” (in Chinese) could be recognized as the “geography” which has been used in ancient China. But we know two letters of “feng (wind) and shui (water)” that are widely used today all over the world. When it comes to the Edo period, the name “fuu-sui”, or “geography=Chiri” can be discovered at the time of feng-shui manual named “Kasou-sho”. A book of “Kasou-zukai or feng-shui illustration published in 1798 is commentary various divination ways in the name of “fuu-sui”. Since then, also in many other Edo periods, at the Kasou-sho manual, words and examples of “fuu-sui” are abundantly found, the knowledge of “fuu-sui” as a method of divination had been introduced to Japan. Currently, examples of I know the oldest word of “fuu-sui or feng-shui” in Japan is in a memorial document of “Engaku temple” in the Muromachi era. But I don’t know now that from Muromachi to Edo era, the term of “fuu-sui” has first used in Japan or not. Appeared in a “topography of Youshuu” in the Edo era and “Engaku temple document” in the Muromachi era, “fuu-sui or feng-shui” do not mean the knowledge of “geography” associated with land observations, but means a method how to judge right and wrong about their environmental conditions. We therefore, can recognize about the meaning of “Chiri” that there were two kinds or more of knowledge in Edo era. A Japanese geographer in Edo era named Nyoken Nishikawa wrote his book (1712). His book tells us an example of meaning of “Chiri”. Nyoken Nishikawa said that ranging from one of the house to the entire earth, “Chiri or geography” have various levels of meaning. “Fuu-sui” means “geographical conditions” themselves. There are good or bad conditions in “Chiri” itself, but not exist in human environmental judgments. “Geography” itself means environmental conditions, so there was no need to judge human environment good or bad. However, in the medieval period, Yin-yang diviner or fuu-sui master in Japan had broken out over wide area and using the name of “Chiri or geography”, explaining about the vicissitudes of descendant life, as a result of their adverse effects do not converge till now. At the time of Japan, there were many Yin-yang diviners preached weal or woe of human life for the common people. As the time passed, they were gradually increasing and Kasou-sho were also gradually increasing. Today in Japan and East Asia, we can take many books of feng-shui judgment and Kasou documents in our hand. These are filled with bothersome non-scientific judgment items. And because there are many different items in each feng-shui manuals, of course these books are fortune-telling books, but we can also find “some vestiges of scientific thought” in such feng-shui fortune-telling judgment items. European awareness about the declination was the end of 14th century, that is to say several hundred years later for China. Chinese direction finding methods and land surveying technology and knowledge, whose development was motivated by feng-shui divination and observation, subsequently spread to Europe (12th century) and Arabia (13th century). Therefore, today we must take another look at feng-shui research, on a global scale.
49
Gardiner, Michael. "Liberalism's Opiate Subjectivity: Dependency, Edinburgh and Enlightenment". New Formations 103, n.º 103 (1 de março de 2021): 78–93. http://dx.doi.org/10.3898/newf:103.05.2021.
Texto completo da fonteResumo:
This essay suggests that British liberalism itself has an addictive core. It describes opiates as a particular carrier of this addiction, and follows them from the Edinburgh-based opium trade of the early nineteenth century to their rebound in the Edinburgh of the 1980s. Opiates are such a telling carrier of British liberal authority because they take on a dual historiographical and physical role, affirming both the rise of individual ownership and the understanding of that individual through an addictive self-interest. An accompaniment to and analogue for British globalisation, opiates show how entrepreneurship and dependency have been bound together. This essay describes how a hardening of Scottish Enlightenment ideas in the early nineteenth-century expansion of opium was echoed in the late twentieth century, as liberalism reformed for the post-industrial economy and Edinburgh reabsorbed the combined 'dependency-entrepreneurship'. Both the 1830s opium that extended the reach of British liberal values and the 1980s heroin that accompanied post-industrial decline have their own heroic smuggling, virtuous entrepreneurialism, and 'property progressivism'. Both demand the reform of personal time in economic terms, first in a kind of Smithian productivity, second in a relentless search for opportunity against a background of mass unemployment. An opiate neoliberalism, moreover, becomes paradigmatic for the financialisation of personal relationships we experience in the twenty-first century, and the normalness of progressive pseudo-communities joined in individual self-interest. A number of dramas of the 1980s Edinburgh epidemic realise this, exposing the debilitation underside in virtuous progressive self-interest, and returning to the foundations of Scottish Enlightenment and British liberalism as a whole. Of these dramas, this essay returns to Shoot for the Sun (1986), Trainspotting (1993) and Looking After Jojo (1998), and asks what opiate entrepreneurialism says about our own ongoing 'historiographical addiction'.
50
Aaronson, Scott, e Alex Arkhipov. "BosonSampling is far from uniform". Quantum Information and Computation 14, n.º 15&16 (novembro de 2014): 1383–423. http://dx.doi.org/10.26421/qic14.15-16-7.
Texto completo da fonteResumo:
BosonSampling, which we proposed three years ago, is a scheme for using linear-optical networks to solve sampling problems that appear to be intractable for a classical computer. \ In a recent manuscript, Gogolin et al.\ claimed that even an ideal BosonSampling device's output would be operationally indistinguishable\textquotedblright\ from a uniform random outcome, at least \textquotedblleft without detailed a priori knowledge; or at any rate, that telling the two apart might itself be a hard problem. We first answer these claims---explaining why the first is based on a definition of a priori knowledge such that, were it adopted, almost no quantum algorithm could be distinguished from a pure random-number source; while the second is neither new nor a practical obstacle to interesting BosonSampling experiments.However, we then go further, and address some interesting research questions inspired by Gogolin et al.'s arguments. We prove that, with high probability over a Haar-random matrix $A$, the BosonSampling distribution induced by $A$ is far from the uniform distribution in total variation distance. More surprisingly, and counter to Gogolin et al., we give an efficient algorithm that distinguishes these two distributions with constant bias. Finally, we offer three bonus results about BosonSampling. First, we report an observation of Fernando Brandao: that one can efficiently sample a distribution that has large entropy and that's indistinguishable from a BosonSampling distribution by any circuit of fixed polynomial size. Second, we show that BosonSampling distributions can be efficiently distinguished from uniform even with photon losses and for general initial states. Third, we offer the simplest known proof that Fermion Sampling is solvable in classical polynomial time, and we reuse techniques from our Boson Sampling analysis to characterize random FermionSampling distributions.