Mosaics of Knowledge

2019 ◽  
Author(s):  
Andrew Riggsby
Keyword(s):  
Information Technologies ◽  
The Other ◽  
Shared Knowledge ◽  
Weights And Measures ◽  
Time Space ◽  
Actual Use ◽  
Use Context ◽  
The One ◽  
Cognitive Perspectives ◽  
And Diffusion

The book examines the invention, use, and diffusion of ancient Roman information technologies. In particular, it looks at technologies defined in conceptual terms—lists, tables, weights and measures, perspective and related artistic devices, and cartography—rather than mechanical ones (e.g., “tablet” or “scroll”). Each is viewed from both social and cognitive perspectives, as well as with attention to the interaction between the conceptual and its material instantiation. The study is particularly focused on the most powerful technologies, whose uptakes are in most cases sporadic across time, space, and use context. These systems display a tolerance for error and/or omission remarkable unless they are considered in the narrowest possible use-context. Similarly, they often presuppose shared knowledge (both of form and of content) that could only have existed in highly localized contexts. Further constraints on the use of these devices arise from preferences for facts that are constituted by the record, rather than recorded, and (at least in elite circles) for linear exposition on the model of oral discourse. As a consequence, on the one hand, Romans lived in a balkanized informational world. Persons in different “locations”—whether geographical, social, or occupational—would have had access to quite different informational resources, and the overall situation is thus not controlled by the needs of any particular class or group. On the other hand, seeming technological weakness often turn out to be illusory if we set them in their actual use-contexts.

scholarly journals DEVELOPMENT OF THE MODEL OF STUDENTS’ INDEPENDENT WORK UNDER CONDITIONS OF DISTANCE LEARNING

2021 ◽  
pp. 273-289
Author(s):  
Olena Osadcha
Keyword(s):  
Distance Learning ◽  
Information Technologies ◽  
The Other ◽  
Advantages And Disadvantages ◽  
Other Hand ◽  
The One ◽  
Independent Work ◽  
Further Development

The article deals with the development of the model of students’ independent work under conditions of distance learning. The importance of the research into this problem is determined, on the one hand, by the growing possibilities of using various information technologies and, on the other hand by the necessity to adapt to the conditions of today’s world where independent work of students is becoming increasingly important. The advantages and disadvantages of distance learning have been explored. The author studied the role of independent work in the formation of the professional competences of students. The issue of modeling in the area of education has been tackled. The approaches to the development of the model of independent work have been identified and analyzed. The components of the model, such as the goal, the tasks, the content, the methods, the means and evaluation of results have been determined and characterized. The prospects of further development of this research are related to the exploration of models of independent work of students majoring in different areas.

scholarly journals Re-semantization of A. Pushkin’s poetry in the creative work of V. Kosenko (on the example of “The Five Romances”, op. 20)

2018 ◽  
Vol 50 (50) ◽  
pp. 89-102
Author(s):  
Duangui Wang
Keyword(s):  
Slow Motion ◽  
The Other ◽  
Literary Translation ◽  
Time Space ◽  
Free Translation ◽  
The One ◽  
The Individual ◽  
Two Parameters ◽  
Love Language ◽  
Poetic Composition

Formulation of the problem. In the chamber-vocal genre, the composer exists in two images: he is both the interpreter of the poetic composition and the author of a new synthetic music and poetic composition. The experience of the style analysis of one of the best examples of Ukrainian vocal lyrics of the first third of the 20th century shows that the cycle op. 20 characterizes the mature style of the composer, which was formed, on the one hand, under the influence of European Romanticism. On the other hand, the essence of the Ukrainian “branch” of the Western European song-romance (“solo-singing”) is revealed by the prominent national song-romance intonation, filled with not only a romantic worldview, but also with some personal sincerity, chastity, intimate involvement with the great in depth and simplicity poetry line, read from the individual position of the musician. The paradox is as follows. Although Pushkin’s poetry is embodied in a “holistic adequacy” (A. Khutorskaya), and the composer found the fullest semantic analogue of the poetic source, however, in terms of translating the text into the Ukrainian language, the musical semantics changes its intonation immanence, which naturally leads to inconsistency of the listeners’ position and ideas about the style of Russian romance. We are dealing with inter-specific literary translation: Pushkin’s discourse creates the Ukrainian romance style and system of figurative thinking. The purpose of the article is to reveal the principle of re-semantization of the intonation-figurative concept of the vocal composition by V. Kosenko (in the context of translating Pushkin’s poetry into the Ukrainian language) in light of the theory of interspecific art translation. Analysis of recent publications on the topic. Among the most recent studies of Ukrainian musicology, one should point out the dissertation by G. Khafizova (Kyiv, 2017), in which the theory of modelling of the stylistic system of the vocal composition as an expression of Pushkin’s discourse is described. The basis for the further stylistic analysis of V. Kosenko’s compositions is the points from A. Hutorska’s candidate’s thesis; she develops the theory of interspecific art translation. The types of translation of poetry into music are classified according to two parameters. The exact translation creates integral adequacy, which involves the composer’s finding a maximally full semantic analogue of the poetic source. The free translation is characterized by compensatory, fragmentary, generalized-genre adequacy. Presenting the main material. The Zhitomir period for Viktor Kosenko was the time of the formation of his creative style. Alongside the lyrical imagery line, the composer acquired one more – dramatic, after his mother’s death. It is possible that the romances on the poems of A. Pushkin are more late reflection of this tragic experience (op. 20 was created in 1930). “I Loved You” opens the vocal cycle and has been dedicated by A. V. Kosenko. The short piano introduction contains the intonation emblem of the love-feeling wave. The form of the composition is a two part reprising (А А1) with the piano Introduction and Postlude. The semantic culmination is emphasized by the change of metro-rhythmic organization 5/4 (instead of 4) and the plastic phrase “as I wish, that the other will love you” sounding in the text. Due to these melodies (with national segments in melo-types, rhythm formulas and harmony) V. Kosenko should be considered as “Ukrainian Glinka”, the composer who introduced new forms and “figures” of the love language into the romantic “intonation dictionary”. In general, V. Kosenko’s solo-singing represents the Ukrainian analogue of Pushkin’s discourse – the theme of love. The melos of vocal piece “I Lived through My Desires” is remembered by the broad breath, bright expression of the syntactic deployment of emotion. On the background of bass ostinato, the song intonation acquires a noble courage. This solo-singing most intermediately appeal to the typical examples of the urban romance of Russian culture of the 19th century. “The Raven to the Raven” – a Scottish folk ballad in the translation by A. Pushkin. V. Kosenko as a profound psychologist, delicately transmits the techniques of versification, following each movement of a poetic phrase, builds stages of the musical drama by purely intonation means. The semantics of a death is embodied through the sound imaging of a black bird: a marching-like tempo and rhythm of the accompaniment, with a characteristic dotted pattern in a descending motion (like a raven is beating its wings). The middle section is dominated by a slow-motion perception of time space (Andante), meditative “freeze” (size 6/4). The melody contrasts with the previous section, its profile is built on the principle of descending move: from “h1” to “h” of the small octave (with a stop on S-harmony), which creates a psychologically immersed state, filled by premonition of an unexpected tragedy. In general, the Ukrainian melodic intonation intensified the tragic content of the ballad by Pushkin. The musical semantics of V. Kosenko’s romances is marked by the dependence on the romantic “musical vocabulary”, however, it is possible to indicate and national characteristics (ascending little-sixth and fifth intervals, which is filled with a gradual anti-movement; syllabic tonic versification, and other). Conclusion. The romances (“solo-singings”) by V. Kosenko belongs to the type of a free art translation with generalized-genre adequacy. There is a re-semantization of poetic images due to the national-mental intonation. Melos, rhythm, textural presentation (repetitions), stylization of different genre formulas testify to the rare beauty of Kosenko’s vocal style, spiritual strength and maturity of the master of Ukrainian vocal culture. Entering the “Slavic song area”, the style of Ukrainian romance, however, is differenced from the Russian and common European style system of figurative and intonation thinking (the picture of the world).

Innovation

2019 ◽  
pp. 438-510
Author(s):  
Sheilagh Ogilvie
Keyword(s):  
Technological Innovation ◽  
Diffusion Of Innovations ◽  
Spatial Clustering ◽  
Technological Knowledge ◽  
The Other ◽  
Market Failures ◽  
New Techniques ◽  
The One ◽  
And Diffusion

This chapter addresses how guilds dealt with technological innovation. Innovation is a final sphere in which market failures are widespread in premodern economies, as in modern ones. On the one hand, contemporaries frequently complained that guilds blocked new techniques and practices. On the other hand, guilds were in a position to generate cartel rents, and this might have encouraged their members to incur the costs of invention. Guilds might also have encouraged diffusion of technological knowledge through compulsory apprenticeship, mandatory travelling by journeymen, or the spatial clustering of practitioners. Guilds could also affect innovation unintentionally by things they did for other reasons. Guilds thus provide a rich context for investigating the role of different institutional mechanisms in encouraging the invention and diffusion of innovations.

Ghosted subjectivities in Margo Lanagan’s ‘The Point of Roses’

2020 ◽  
Vol 10 (1) ◽  
pp. 57-72 ◽  
Author(s):  
Karima Thomas
Keyword(s):  
The Other ◽  
Dual Nature ◽  
Disturbing Force ◽  
Construction Of Identity ◽  
The Uncanny ◽  
Other Hand ◽  
Time Space ◽  
The One ◽  
Opening Up

This article examines the tropes of ghosting in Margo Lanagan’s ‘The Point of Roses’ in relation to Judith Butler’s theory of the performative construction of identity through reiteration and foreclosure. The story illustrates the ghosting effect of normative subjectivities and the spectral, disruptive return of the contingent, socially erased subjectivities. Ghosting is considered in the light of the dual nature of the spectral as ‘a dispossessing erasure or disappearance’, and also a ‘powerful ability to rematerialize as a disturbing force’ (Maria del Pilar Blanco and Ester Peeren). In this sense, the ghost is that which is ontologically invisible because of absence/erasure; but which is also visible because it is haunting those who try to erase it. The article examines the role of the uncanny in disrupting the ontological conditions of time, space, character, substance and language. Then, it focuses on the traces of invisibility as signs of erasure and foreclosure that are meant to institute and suture an identity, while relegating other layers of subjectivity to oblivion. Finally, the article studies the disruptive return of the excluded and its dual consequences on the haunted subject, on the one hand by establishing a liminal condition of unknowing and, on the other hand, by opening up to a condition of ‘transformative recognition’ (Avery Gordon).

The Homeric Talent, its Origin, Value, and Affinities

1887 ◽  
Vol 8 ◽  
pp. 133-158 ◽  
Author(s):  
William Ridgeway
Keyword(s):  
Precious Metals ◽  
The Other ◽  
Primitive Form ◽  
Other Hand ◽  
Two Systems ◽  
Actual Use ◽  
The One

This paper is an endeavour to discover (1) the origin, (2) the value, and (3) the affinity of the Talent of the Homeric Poems to other systems. In those Poems we find two systems of denominating value, the one by the ox (or cow), or the value of an ox, the other by the talent (τάλαντον). The former is the one which has prevailed and does still prevail in barbaric communities, such as the Zulus, where the sole or principal wealth consists in herds and flocks. For several reasons we may assign to it priority in age as compared with the talent. For as it represents the most primitive form of exchange, the barter of one article of value for another, before the employment of the precious metals as a medium of exchange, consequently the estimation of values by the ox is older than that by a talent or ‘weight’ of gold, or silver, or copper. Again in Homer all values are expressed in so many beeves, e.g. (Il. vi. 236.)The talent on the other hand is only mentioned in relation to gold; for we never find any mention of a talent of silver. But the names of monetary units hold their ground long after they themselves have ceased to be in actual use, as we observe in such common expressions as ‘bet a guinea,’ or ‘worth a crown,’ although these coins themselves are no longer in circulation.

Frederick II of Hohenstaufen and Arabic Science

2001 ◽  
Vol 14 (1-2) ◽  
pp. 289-312 ◽  
Author(s):  
Matthias Schramm
Keyword(s):  
Biological Sciences ◽  
Scientific Knowledge ◽  
The Other ◽  
Political Practice ◽  
Unique Role ◽  
Other Hand ◽  
Court Life ◽  
The One ◽  
And Diffusion ◽  
Contemporary Approach

The article argues that Frederick II of Hohenstaufen and his court played a unique role in the transfer and diffusion of Arabic science (with its Greek, Hebrew and Christian elements). Scientists at the court translated and elaborated upon it. Moreover, there existed a two-way traffic of scientific knowledge between Frederick and his court scholars, on the one hand, and several oriental courts and their scientists on the other hand. Thus the reader gains a view of Frederick's scientific activities from the Arab perspective, too.Frederick's contribution to the existing biological sciences of his time was his “Book of Falconry”, which was exceptional in the then contemporary approach and methods employed in those fields. Even in this treatise on falconry, Frederick drew upon the fund of knowledge of Arab practitioners. This chain of arguments concerning Arabic science is situated within the setup of Frederick's oriental political practice and sumptuous court life.

scholarly journals Modernitetens modsigelser. Konfigurationskonflikter og samfundstænkning i Grundtvigs »Om Mennesket i Verden«

1998 ◽  
Vol 49 (1) ◽  
pp. 142-156
Author(s):  
Henning Eichberg
Keyword(s):  
Civil Society ◽  
Social Relations ◽  
Social Life ◽  
The Body ◽  
The Other ◽  
Human Being ◽  
Human Beings ◽  
Time Space ◽  
The World ◽  
The One

Contradictions of Modernity. Conflicting Configurations and Societal Thinking in Grundtvig's »The Human Being in the World«A Worm - a God. About the Human Being in the World. Ove Korsgaard (ed.). With contributions of Niels Buur Hansen, Hans Hauge, Bosse Bergstedt, Uffe Jonas and Knud Bjarne Gjesing. Odense Universitetsforlag 1997.By Henning EichbergIn 1817, Grundtvig wrote »Om Mennesket i Verden« which can be regarded as a key to the understanding of his philosophy and psychology, but which is difficult to place in relation to his later folkelig, societal engagement. A recent reedition of this text together with some actual comments by Grundtvig researchers is an occasion to quest deeper about this relation.However, it is not enough to ask - as Grundtvig research has done for a long time - what Grundtvig wanted to say, but his text can be regarded as a document of how modem orientation in the world is characterized by conflicting linguistic and metaphorical patterns, which sometimes may tell another story than intended.On the one hand, Grundtvig's text speaks of a lot of dualistic contradictions such as life vs. death, light vs. darkness, truth vs. lie, God vs. devil, human fall vs. resurrection, body vs. spirit, nature vs. history and time vs. eternity. In contrast to the author's intention to produce clarity and lucidity - whether in the spirit of Christianity or of modem rationality - the binary constructions give rather a confusing picture of systematical disorder where polarity and polemics are mixed, antagonism and gradual order, dichotomy and exclusive either-or, paradoxes and dialectical contradictions. On the other hand,Grundtvig tries again and again to build up three-pole imaginations as for instance the threefold human relation to time, space and truth and the three ages of spiritual seeing, feeling and conceptualization resp. of mythology (childhood), theology (youth) and history (adult age). The main history, Grundtvig wants to tell in his text, is built up around the trialectic relation of the human being to the body, to the spirit and to itself, to the living soul.The most difficult to understand in this relation seems to be what Grundtvig calls the spirit, Aanden. Grundtvig describes it as Aandigt Samfund mellem Menneske og Sandhed, »the spiritual community between the human being and the truth«, and this may direct our attention towards samfund, meaning at the same time association, togetherness and society. Aanden is described by threefold effects - will, conscience and faith, all of them describing social relations between human beings resp. their psychological correlate. The same social undertone is true when Grundtvig characterizes three Aande-Livets Spor (»traces of spiritual life«): the word, the history and love. If »the spirit« represents what is larger or »higher« than the single human being and what cannot be touched by his or her hand, then this definition fits exactly to society or the sociality of the human being. Social life - whether understood as culture, social identity or folk (people) - is not only a quantitative sum of human individuals, but represents another quality of natural order. Thus it has its logic that Grundtvig places the human being in between the realms of minerals, plant and animal life on the one hand and the »higher« order on the other, which can be understood as the social existence.In this respect, the societal dimension is not at all absent in his philosophy of 1817. However, it is not enough to state the implicite presence of sociality as such in the earlier Grundtvigian thinking before his folkelig break-through. What was the sociality, more concretely, which Grundtvig experienced during the early modernity? In general, highly dichotomous concepts are dominating the modem discourse as capitalism vs. feudalism, materialism vs. idealism, modernity vs. premodemity, democracy vs. absolutism or revolution vs. restoration; Grundtvig was always difficult to place into these patterns. Again, it might be helpful to try a trialectical approach, transcending the dualism of state and market by civil society as a third field of social action. Indeed, it was civil society with its farmers' anarchist undertones which became the contents of Grundtvig's later folk engagement.

scholarly journals Huellas del vicio redhibitorio romano en el Código Civil español

2020 ◽  
pp. 227
Author(s):  
Teresa González Herrero
Keyword(s):  
Civil Code ◽  
The Other ◽  
Roman Law ◽  
Time Space ◽  
The One

En la regulación normativa del contrato de compraventa de nuestro Código Civil puede constatarse una clara huella y supervivencia del Derecho romano. En particular, la protección prevista por razón de los vicios ocultos reproduce, casi literalmente, la contemplada en Roma, donde la noción de vicio redhibitorio se origina y evoluciona en el seno del Derecho edilicio. Tal concepto, se forma en correspondencia al contexto espaciotemporal y socioeconómico en el que se desarrolla y evoluciona el Derecho edilicio en relación con las demás fuentes. Todo ello condicionó las acciones procesales ofrecidas por los Ediles, su naturaleza y finalidad, así como el régimen de responsabilidad del vendedor. Teniendo en cuenta pues, tales variables, el estudio pretende profundizar en la casuística romana para, desde la misma, extraer los principales rasgos del concepto de vicio en nuestro Código Civil.In the normative regulation of our Civil Code we can verify the echo and survival of the Roman Law. Specifically, the protection provided by reason of latent defect, reproduces, almost literally, that reproduces the one contemplated in Rome, where the notion of redhibitory vice that was originated and evolved within the aedilitian Law. That same concept was formed depending on the socioeconomic and time-space context in which the aedilitian Law developed and evolved in relation to the other sources. All of that, influenced the procedural actions offered by these magistrates, its nature and goal, as well as the responsibility of the seller. Bearing these variables in mind, as it was said, the study intends to delve the Roma casuistry to, from itself, to extract the main features of the concept of vice in our Civil Code.

scholarly journals 150 years after the birth of Rosa Luxemburg: Actuality of her social reform or revolution

2021 ◽  
Vol 55 (3) ◽  
pp. 833-865
Author(s):  
Vera Vratuša-Žunjić
Keyword(s):  
Content Analysis ◽  
Social Reform ◽  
The Other ◽  
Main Method ◽  
Capitalist Mode ◽  
Time Space ◽  
The One ◽  
Mode Of Production ◽  
Rosa Luxemburg

The paper examines the actuality of Rosa Luxemburg's Reform or revolution 150 years after her birth. The main method used is the content analysis of this important polemical pamphlet placed in the context of the time/space, i.e. when and where it was written, on the one hand, and today, on the other. The main finding is that Rosa's work has remained relevant to our days since the capitalist mode of production is still characterized by internal contradictions producing barbaric consequences of exploitation and imperialist wars. These capitalist system's consequences ensure the permanent actuality of the dilemma between socialism and barbarism confronted by Rosa Luxemburg throughout her life.

scholarly journals A comunicação de marca entre a publicidade de ontem e as novas gerações de consumidores: tensões e transformações

2021 ◽  
Vol 3 (5) ◽  
pp. 2881-2897
Author(s):  
Sandra Maria Ribeiro De Souza
Keyword(s):  
Information Technologies ◽  
Transformation Process ◽  
The Other ◽  
Current Phase ◽  
Advertising Industry ◽  
Other Hand ◽  
The One

A publicidade se encontra em processo de transformação impulsionada, por um lado, pelo uso crescente de tecnologias da informação nas relações interpessoais e de consumo, e por outro, pela quebra das fronteiras rígidas entre as disciplinas de comunicação, decorrente do surgimento de formatos híbridos de ações marcárias, tanto em objetivos quanto em linguagem. O case Devassa Bem Loura, escolhido como exemplar das transformações em curso, ilustra a fase atual da publicidade em tensão entre esquemas criativos do passado e tendências inovadoras de difusão e persuasão.   The advertising industry is undergoing a transformation process driven, on the one hand, by the growing use of information technologies in interpersonal and consumer relations, and on the other hand, by the breakdown of rigid boundaries between communication disciplines, resulting from the emergence of hybrid formats of branding actions, both in objectives and language. The Devassa Bem Loura case, chosen as an example of the ongoing transformations, illustrates the current phase of advertising in tension between past creative schemes and innovative trends of diffusion and persuasion.

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