On the two-nucleon mass enhancement associated with the high momentum tail of the spectator in the deuteron break-up

1976 ◽  
Vol 274 (3-4) ◽  
pp. 486-494 ◽  
Author(s):  
B.S. Aladashvili ◽  
V.V. Glagolev ◽  
R.M. Lebedev ◽  
M.S. Nioradze ◽  
I. Saitov ◽  
...  
Worldview ◽  
1964 ◽  
Vol 7 (6) ◽  
pp. 7-11
Author(s):  
Thomas Molnar

In Sponono, Alan Paton's recent play, a message spelled out somewhat clumsily in the last act leaves the spectator breathless. The message is addressed by the African black man to the African white man: “You are responsible for us,” it tells him; “you are, whether you like it or not, your brother's keeper. You must help and admonish us, but you must also endlessly forgive because we are bound together for better or for worse.” This may be defective logic but it is realistic psychology. Those of us in the Western world who imagined that tomorrow or next year the Union of South Africa may break up in the fire of a revolution, or change radically its raciallegal structure know little about the real situation and its extraordinary complexity.


1976 ◽  
Vol 108 (2) ◽  
pp. 327-354 ◽  
Author(s):  
G. Alberi ◽  
V. Hepp ◽  
L.P. Rosa ◽  
Z.D. Thomé

Nature ◽  
1998 ◽  
Author(s):  
Henry Gee
Keyword(s):  

Author(s):  
Adam Schoene

Where Adam Smith’s The Theory of Moral Sentiments (1759) extends the domain of spectatorship beyond the ocular realm and claims that we must become the impartial spectators of our own character and conduct, Jean-Jacques Rousseau’s Rousseau juge de Jean-Jacques, Dialogues (1776) also attempts to probe beyond the visual surface to examine through careful study the constitution of another, who is actually himself. This chapter traces a Smithian sentiment in the radical division of the self dramatized in Rousseau’s fictional autobiographical Dialogues, emphasizing Rousseau’s attempt to liberate his own gaze and render an unbiased judgment upon himself. Although Rousseau does not write in direct discourse with Smith, he applies a strikingly similar rhetorical device to the spectator within the dialogic structure of his apologia. Reading Rousseau alongside Smith resituates the Dialogues not as a work of madness, as it has frequently been interpreted, but rather as an unrelenting struggle for justice.


2015 ◽  
Vol 12 (4) ◽  
pp. 556-571
Author(s):  
Jack Post

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.


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