‘Let Us Cease’: Early Reflections on the Spectacle’s End

2019 ◽  
pp. 109-140
Author(s):  
Tobias Myers
Keyword(s):  
Real Time ◽  
The Third ◽  
Mise En Abyme ◽  
The Dead ◽  
Extended Reflection

Chapter 3 focuses on the two major episodes of Book 7, both of which have often been criticized as ill-motivated and disconnected, and both of which feature prominent scenes of divine viewing and discussion: the formal duel between Hector and Aias; and the truce for the burial of the dead, during which the Achaeans build a defensive wall. The chapter shows that the two episodes can in fact be read as both well-motivated and connected, if seen in metaperformative terms: as an extended reflection on how the Iliad’s battlefield spectacle ends. The second duel offers a mise en abyme, by which the poet dramatizes tension between two types of response to the conflict at this point: desire for Achaean victory, and pity for the doomed Trojans. The duel is normally seen as the second of two formal duels, but is best understood as the second of three ‘spectacular duels’, the third being between Hector and Achilles in Book 22. Then, through the building of the Achaean wall as viewed by the gods, the poet reflects upon tension between (a) the Iliad’s insistence that its central spectacle is playing out in real time, before our eyes, and (b) its equally powerful investment in the idea that its action is not ephemeral, but permanent.

Pèlerinages barrésiens

2013 ◽  
pp. 116-123
Author(s):  
Claire Bompaire-Evesque
Keyword(s):  
Large Scale ◽  
The Self ◽  
Joan Of Arc ◽  
The Third ◽  
National Importance ◽  
The Earth ◽  
Third Stage ◽  
The Dead

This article is a inquiry about how Barrès (1862-1923) handles the religious rite of pilgrimage. Barrès stages in his writings three successive forms of pilgrimage, revealing what is sacred to him at different times. The pilgrimage to a museum or to the birthplace of an artist is typical for the egotism and the humanism of the young Barrès, expressed in the Cult of the Self (1888-1891). After his conversion to nationalism, Barrès tries to unite the sons of France and to instill in them a solemn reverence for “the earth and the dead” ; for that purpose he encourages in French Amities (1903) pilgrimages to historical places of national importance (battlefields; birthplace of Joan of Arc), building what Nora later called the Realms of Memory. The third stage of Barrès’ intellectual evolution is exemplified by The Sacred Hill (1913). In this book the writer celebrates the places where “the Spirit blows”, and proves open to a large scale of spiritual forces, reaching back to paganism and forward to integrative syncretism, which aims at unifying “the entire realm of the sacred”.

The Third Generation of Real-Time Virtual Sonography for Navigation in the Treatment of Hepatocellular Carcinoma

2011 ◽  
Vol 37 (8) ◽  
pp. S136
Author(s):  
Y. Eso ◽  
A. Sakamoto ◽  
S.G. Kim ◽  
S. Saito ◽  
H. Nishikawa ◽  
...  
Keyword(s):  
Hepatocellular Carcinoma ◽  
Real Time ◽  
Third Generation ◽  
The Third

The Mystery of Jesus' Teaching about “The Son of Man”

2012 ◽  
Vol 42 (2) ◽  
pp. 70-80
Author(s):  
Edward A. Beckstrom
Keyword(s):  
Dead Sea Scrolls ◽  
Dead Sea ◽  
High Priest ◽  
The Third ◽  
Son Of Man ◽  
Third Person ◽  
The Will ◽  
The Dead ◽  
The Third Person ◽  
Will Of God

For centuries a mystery has surrounded the meaning of Jesus' term “The Son of Man” in his ministry, and today it is often called “The Son of Man Problem.” Studying “Son of Man” in all of its biblical references, and apocryphal usages, together with insights from the Dead Sea Scrolls, I propose a solution that the idiom means “Priest” or “High Priest,” but most especially “Heavenly High Priest” and is framed in the third person by Jesus because it is expressed as his destiny given by God—it is the Will of God. “The Son of Man” is distinct from Jesus own will, but is the destiny he follows. It is also the use of this term that caused Caiaphas to cry “blasphemy” at Jesus' Sanhedrin trial, who then sent him to Pilate for crucifixion, yet asserting that Jesus proclaimed himself “King of the Jews.” Caiaphas, knew, I believe, that “Son of Man” was synonymous with “High Priest.”

The Images of Dante’s Inferno in Fyodor Dostoevsky’s The House of the Dead

2021 ◽  
pp. 31-52
Author(s):  
Marina G. Kurgan ◽  
Keyword(s):  
Semantic Network ◽  
Three Dimensional ◽  
Personal Space ◽  
Divine Comedy ◽  
The Body ◽  
Dimensional Image ◽  
The Third ◽  
Character System ◽  
The Divine Comedy ◽  
The Dead

The House of the Dead was repeatedly compared with the first part of Dante’s The Divine Comedy even in F.M. Dostoevsky’s lifetime. However, his contemporaries usually focused on general analogies, while later scholars paid more attention to the narrative features or individual reminiscences. This research studies the main aspects of the artistic structure of the Dante code, constructing the space of Hell in Dostoevsky’s novel. 1. The organization of space. Alexander Petrovich Goryanchikov, the narrator in The House of the Dead, recreates a three-dimensional image that resembles a gradually narrowing funnel: from a bird’s-eye view, where the prison is seen in its entirety, the focus slowly descends, passing to smaller objects, and finally reaching the “three boards”, which limit Goryanchikov’s personal space. The same principle is employed to construct the space of Hell in Dante’s poem. In The House of the Dead, there is another significant indication of the spatial affinity of Dante’s hell and Dostoevsky’s katorga – active imagery associated with cobwebs and spiders. In the centre of the system of images associated with the designated semantic network is the parade- major, the head of the fortress and the owner of the inmate web. 2. The character system as an element constituting the space of Hell. The character system of The House of the Dead follows the compositional principle of Divine Comedy, where sinners are located in different circles in accordance with their main passion. There are three circles in the prison: the first is formal, according to the court decision; the second is informal, internal, formed by crafts and occupations; the third represents Goryanchikov’s perspective as an exponent of human and humane judgment, which distinguishes another person’s moral state. 3. Torment. The House of the Dead demonstrate a hierarchy in describing the tortures, while freedom becomes a fundamental category to embody the most important motif of physical and moral torment connecting Dostoevsky’s novel with Dante’s experience. The bodily torment ceases to be only the torment of the body to become a pain of the soul, comparable to physical torment, so the soul suffers and burns. Hell as a moral topos was the key for Dostoevsky. In The House of the Dead, he chooses the same way as Dante in The Divine Comedy: vivid corporeality conveys an esoteric metaphor of moral suffering and deep inner movements of the soul.

scholarly journals Ultrasonography: The Third Eye of Anaesthesiologist

2021 ◽  
pp. 235-238
Author(s):  
Kirti Gujarkar Mahatme ◽  
Pratibha Deshmukh ◽  
Parag Sable ◽  
Vivek Chakole
Keyword(s):  
Chronic Pain ◽  
Critical Care ◽  
Pain Management ◽  
Difficult Airway ◽  
Real Time ◽  
Endotracheal Intubation ◽  
Regional Anesthesia ◽  
Chronic Pain Management ◽  
The Third ◽  
Safe Anesthesia

Anesthesiology is an evolving branch. Most of the procedures done by anesthesiologists, are blind except for endotracheal intubation. Ultrasonography (USG) helps anesthesiologists to see the actual anatomy in real time and thus helps them to give safe anesthesia minimizing the complications in every aspect of the field like difficult airway, vascular access, regional anesthesia, chronic pain management and critical care.

scholarly journals Detection of Yeast-like Symbionts in Brown Planthopper Reared on Different Resistant Rice Varieties Combining DGGE and Absolute Quantitative Real-Time PCR

Insects ◽  
2022 ◽  
Vol 13 (1) ◽  
pp. 85
Author(s):  
Chengling Lai ◽  
Yun Hou ◽  
Peiying Hao ◽  
Kun Pang ◽  
Xiaoping Yu
Keyword(s):  
Real Time ◽  
Real Time Pcr ◽  
Brown Planthopper ◽  
Nilaparvata Lugens ◽  
Quantitative Real Time Pcr ◽  
Nymphal Instar ◽  
Rice Varieties ◽  
Development Stages ◽  
The Third ◽  
Minimum Number

The brown planthopper (BPH), Nilaparvata lugens, is a serious pest of rice throughout Asia. Yeast-like symbionts (YLS) are endosymbionts closely linked with the development of BPH and the adapted mechanism of BPH virulence to resistant plants. In this study, we used semi-quantitative DGGE and absolute quantitative real-time PCR (qPCR) to quantify the number of the three YLS strains (Ascomycetes symbionts, Pichia-like symbionts, and Candida-like symbionts) that typically infect BPH in the nymphal stages and in newly emerged female adults. The quantities of each of the three YLS assessed increased in tandem with the developing nymphal instar stages, peaking at the fourth instar stage, and then declined significantly at the fifth instar stage. However, the amount of YLS present recovered sharply within the emerging adult females. Additionally, we estimated the quantities of YLS for up to eight generations after their inoculation onto resistant cultivars (Mudgo, ASD7, and RH) to reassociate the dynamics of YLS with the fitness of BPH. The minimum number of each YLS was detected in the second generation and gradually increased from the third generation with regard to resistant rice varieties. In addition, the Ascomycetes symbionts of YLS were found to be the most abundant of the three YLS strains tested for all of the development stages of BPH.

The Land of Misfit Relics

2018 ◽  
pp. 113-120
Author(s):  
Chad Seales
Keyword(s):  
Popular Culture ◽  
Civil War ◽  
African Americans ◽  
Cultural Production ◽  
Racial Difference ◽  
Communal Violence ◽  
The Third ◽  
The Dead

This chapter addresses the fascinations of Protestants with certain “relics” of racial, political, and communal violence. In contrast to Catholicism, blatant Protestant relics are rare. While the ones they have are significant, there are not enough of them to comprise a Protestant tradition of devotional use of relics. However, there are southern Protestants who have had two major sources of relics as understood as the sacred remains of the dead: those produced by death in the Civil War and those made through the lynching deaths of African Americans. There are three possible options for the presence and persistence of religious relics in popular culture. The first is the importance of religious relics to subcultural memory. The second is the significance of religious relics to the cultural production and ritual construction of racial difference. The third is the power of those relics to resurface and strain against historical amnesia.

Paul and the Parousia: 1 Corinthians 15.50–57 and 2 Corinthians 5.1–5

1989 ◽  
Vol 35 (4) ◽  
pp. 512-521 ◽  
Author(s):  
A. C. Perriman
Keyword(s):  
First Person ◽  
1 Corinthians ◽  
2 Corinthians ◽  
The Third ◽  
Number Of Factors ◽  
Third Person ◽  
The Dead ◽  
The Third Person

1 Cor 15.50–57 is frequently cited as evidence that Paul expected to be alive at the parousia, chiefly on the basis of the distinction in v. 52 between ‘the dead’ who ‘will be raised imperishable’ and ‘we’ who ‘will be changed’. Paul ‘expects that at the parusia he himself will not be among the dead (of whom he speaks in the third person), but among the living (of whom he speaks in the first person)’. There are, however, a number of factors that persuade us to question this conclusion.

Musical Schemata in Real-Time Listening to a Piece of Music

1996 ◽  
Vol 14 (2) ◽  
pp. 117-159 ◽  
Author(s):  
Iréne Deliège ◽  
Marc Mélen ◽  
Diana Stammers ◽  
Ian Cross
Keyword(s):  
Real Time ◽  
Cognitive Processes ◽  
Declarative Knowledge ◽  
Musical Structure ◽  
Tonal Structure ◽  
Surface Features ◽  
The Third ◽  
Recent Memory ◽  
Series Of Experiments ◽  
Temporal Location

A series of experiments investigated cognitive processes involved in listening to a piece of music, focusing in particular on the abstraction of surface features (here referred to as cues). Subjects listened to an unfamiliar piece in a familiar musical idiom, and their sensitivities to aspects of the just-heard piece were used to elucidate the nature of their representations of the piece in recent memory. The study also sought to assess the capacities of subjects to use any declarative knowledge of aspects of tonal structure that they possessed in organizing musical material. Three experiments made use of different procedures to address these issues, using either a single short tonal piece—Schubert's Valse sentimentale, D. 779, op. 50, no. 6—or a variant of this. The first two experiments used nonmusician subjects and examined (1) the cues abstracted in listening to the piece and (2) subjects' ability to identify the temporal location of segments of the piece after listening. The third experiment explored the constructional abilities of musician and nonmusician subjects, requiring them to create a coherent piece by ordering the segments that made up the original piece. The results of these experiments indicated that although the abilities of musicians differed from those of nonmusicians, both groups of subjects exhibited a weaker sensitivity to features of musical structure than to cues abstracted from the musical surface.

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