Virtual Subjects

2020 ◽  
pp. 87-92
Author(s):  
Jonardon Ganeri
Keyword(s):  
Gottlob Frege ◽  
Central Position ◽  
Abstract Entity ◽  
Abstract Entities ◽  
Philosophy Of Self ◽  
Virtual Subject ◽  
Virtual Subjects

Our task now is to talk about the types of entity which occupy the central position. What occupies that position? Given that it is evidently a self or subject which does so, the task is to say more about the nature of selves. What makes Pessoa’s heteronymic philosophy of self so fascinating is, precisely, that it stands as much opposed to both the Cartesian and the animalist pictures as it does, evidently, to the Humean account of selfhood. Heteronyms are virtual subjects. A virtual subject is an abstract entity, and there is a standard way to introduce and define abstract entities of any type. This is the method of definition by abstraction, first proposed by Gottlob Frege.

Orthonyms as Shadow Selves

2020 ◽  
pp. 93-98
Author(s):  
Jonardon Ganeri
Keyword(s):  
Fernando Pessoa ◽  
Virtual Subject ◽  
Virtual Subjects

Fernando Pessoa has introduced the term ‘heteronym’ for the coterie of virtual subjects whose identity he variously assumes. Within this group there is one whose name is ‘Fernando Pessoa’. When Pessoa writes about someone called ‘Fernando Pessoa’ he is employing an orthonym, and doing so precisely because within the imagined scenario he is not Fernando Pessoa. An orthonym, like a heteronym, is a virtual subject, but it is one which stands in a distinguished relationship with a simulating subject. The concept of an orthonym explains that of a literary doppelgänger.

scholarly journals Multidimensional Numbers and Semantic Numeration Systems:Theoretical Foundation and Application

2019 ◽  
Vol 16 (2) ◽  
Author(s):  
Alexander Ju. Chunikhin
Keyword(s):  
Image Compression ◽  
Number System ◽  
Abstract Entity ◽  
Two Dimensional ◽  
Numeration System ◽  
New Class ◽  
Abstract Entities ◽  
Numeration Systems ◽  
Theoretical Foundations

In this article, we present a new class of numeration systems, namely Semantic Numeration Systems. The methodological background and theoretical foundations of such systems are considered. The concepts of abstract entity, entanglement and valence of abstract entities, and the topology of the numeration system are introduced. The proposed classification of semantic numeration systems allows to choose the numeration system depending on the problem being solved. Examples of the use of a two-dimensional number system for image compression problems and computation of a two-dimensional convolution are given.

Heteronyms as Virtual Subjects

2020 ◽  
pp. 9-16
Author(s):  
Jonardon Ganeri
Keyword(s):  
First Person ◽  
As I Lay Dying ◽  
The Subject ◽  
The One ◽  
The Relationship ◽  
Virtual Subject ◽  
Virtual Subjects

The authorial act of heteronymic self-transformation is quite different from that of inventing a character in a story. What is fundamental to the notion of a heteronym is that it is an othered I, ‘lived by the author within himself’, that is to say, lived first-personally. A heteronym is not a character because the relationship an author stands in to an invented character is a third-personal one. A closer analogy would be with one of those stories in which each section has a different narrator writing from a first-person position, such as Orhan Pamuk’s novel My Name is Red or William Faulkner’s As I Lay Dying. Yet a sequence of distinct narrators writing in the first person is still not a display of heteronymy: they are distinct characters taking it in turn to speak about themselves. When one dreams it is not uncommon for one to oneself figure in the dream, as the one to whom the events in the dream are presenting. The ‘subject-within-the-dream’ is both a virtual subject and a simulation of the dreaming subject; and for this reason it would be entirely appropriate to describe the subject-within-the-dream as the dreaming subject’s heteronym in the dream. The idea of heteronymy is also well-captured in Yasumasa Morimura’s multiple self-portraiture under the assumed identities of famous historical artists.

scholarly journals Kěài ‘cute’ in Mandarin

2021 ◽  
Vol 47 (1) ◽  
Author(s):  
Yu-Chieh Chen ◽  
Jen-i Li
Keyword(s):  
Social Media ◽  
Abstract Entity ◽  
Internet Communication ◽  
Human Beings ◽  
Age And Gender ◽  
Abstract Entities ◽  
The Social ◽  
Before And After ◽  
Social Media Platforms ◽  
And Gender

Abstract The word kěài in Mandarin is semantically rich. However, little research has been devoted to examining its meanings and uses, let alone possible innovative usage following the popularity of social media platforms. Hence, this study aims to examine in detail (a) the descriptive range, meanings and functions of kěài, and (b) possible changes of its usage in Internet communication. To achieve these goals, a total of 800 tokens of kěài were collected and analyzed–400 from the Sinica Corpus and 400 from two widely used social media platforms, representing the data before and after social media platforms became popular. Our major findings are as follows: First, although human beings and non-human objects are what kěài mostly describes, its descriptive range is shifting to more abstract entities for much higher percentages of Abstract Entity and Event are found on the social media platforms. Second, the influence of age and gender factors has weakened. Third, although most of the non-human cases are described as kěài due to their external features, most of the human cases in the Sinica Corpus are called kěài for their external features while on the social media platforms, for their non-external features. Fourth, kěài conveys positive meanings most of the time, and the three most frequently found meanings of kěài in the Sinica Corpus are different from those on the social media platforms. Fifth, kěài is found to serve as hedges in both sets of data, but it is also used to show surprise on the social media platforms.

Characteristics of the Interaction between Thrombin Exosite1 and the Sequence 269-297 of Platelet Glycoprotein Ibα

1998 ◽  
Vol 80 (08) ◽  
pp. 310-315 ◽  
Author(s):  
Marie-Christine Bouton ◽  
Christophe Thurieau ◽  
Marie-Claude Guillin ◽  
Martine Jandrot-Perrus
Keyword(s):  
Platelet Activation ◽  
Electrostatic Interactions ◽  
Platelet Glycoprotein ◽  
Thrombin Receptor ◽  
Central Position ◽  
Amidolytic Activity ◽  
N Terminus ◽  
Hydrolysis Of ◽  
Chemical Cross Linking ◽  
Positively Charged

SummaryThe interaction between GPIb and thrombin promotes platelet activation elicited via the hydrolysis of the thrombin receptor and involves structures located on the segment 238-290 within the N-terminal domain of GPIbα and the positively charged exosite 1 on thrombin. We have investigated the ability of peptides derived from the 269-287 sequence of GPIbα to interact with thrombin. Three peptides were synthesized, including Ibα 269-287 and two scrambled peptides R1 and R2 which are comparable to Ibα 269-287 with regards to their content and distribution of anionic residues. However, R2 differs from both Ibα 269-287 and R1 by the shifting of one proline from a central position to the N-terminus. By chemical cross-linking, we observed the formation of a complex between 125I-Ibα 269-287 and α-thrombin that was inhibited by hirudin, the C-terminal peptide of hirudin, sodium pyrophosphate but not by heparin. The complex did not form when γ-thrombin was substituted for α-thrombin. Ibα 269-287 produced only slight changes in thrombin amidolytic activity and inhibited thrombin binding to fibrin. R1 and R2 also formed complexes with α-thrombin, modified slightly its catalytic activity and inhibited its binding to fibrin. Peptides Ibα 269-287 and R1 inhibited platelet aggregation and secretion induced by low thrombin concentrations whereas R2 was without effect. Our results indicate that Ibα 269-287 interacts with thrombin exosite 1 via mainly electrostatic interactions, which explains why the scrambled peptides also interact with exosite 1. Nevertheless, the lack of effect of R2 on thrombin-induced platelet activation suggests that proline 280 is important for thrombin interaction with GPIb.

Derrida and Frege

Paragraph ◽  
2018 ◽  
Vol 41 (2) ◽  
pp. 184-195
Author(s):  
Marian Hobson
Keyword(s):  
Gottlob Frege

Derrida, for reasons which he never made clear publicly, published his mémoire for the diplôme d'études supérieures only in 1990, some thirty-five years after it had been written. Had it been published much earlier, some of the dispiritingly ill-informed remarks about his work might have been avoided. The mémoire, entitled The Problem of Genesis in Husserl's Philosophy, reveals that he is, when required, perfectly able to write a standard thesis in straightforward French. And that, in particular, he is aware of the work of the great logician Gottlob Frege in its relation to Husserl.

Kreation und Zeit

2006 ◽  
Vol 51 (1) ◽  
pp. 118-133
Author(s):  
Renate Schlesier
Keyword(s):  
Central Position ◽  
Intellectual Work ◽  
Eine Analyse ◽  
Artistic Production ◽  
Poetic Creation

Das Inspirationskonzept ist für Prousts selbstreflexive Bestimmung künstlerischer Produktion von zentraler Bedeutung (dies läßt sich durch eine Analyse von Textstellen sowohl aus dem letzten Teil von Prousts Recherche als auch aus dem Kontext von Jean Santeuil und Contre Sainte-Beuve zeigen). Prousts spezifische Bestimmung der Inspiration als etwas, das auf intellektuelle Arbeit nicht verzichten kann, unterminiert jedoch antiintellektualistische platonische Dichtungslehren. Dies impliziert zudem, daß Proust die Kluft zwischen Künstlern und Nicht-Künstlern für unüberbrückbar erklärt. Inspiration ist für Proust etwas Verzauberndes, weil sie wiedergefundene Zeit ist, die jedoch erst im poetischen Kreationsprozeß Gestalt gewinnt. The concept of inspiration occupies a central position in the realm of Proust’s self-reflexive evaluation of artistic production (as can be demonstrated by an analysis of passages bothfrom the last part of Proust’s ›Recherche‹ and from the context of ›Jean Santeuil‹ and ›Contre SainteBeuve‹). Yet by evaluating inspiration as something that could not do without intellectual work, Proust undermines anti-intellectualistic platonizing poetics. In addition, this implies that Proust declares the gap between artists and non-artists as unbridgeable. For Proust, inspiration is enchanting because it is time regained, but takes shape only in the process of poetic creation.

Gottlob Frege, One More Time1

Hypatia ◽  
2000 ◽  
Vol 15 (4) ◽  
pp. 156-173
Author(s):  
CLAUDE IMBERT
Keyword(s):  
Gottlob Frege

The Features of B. Shergin’s Cognitive Style (On the Example of the Conceptualization of the Image of the Sea)

2020 ◽  
Vol 81 (1) ◽  
pp. 73-81
Author(s):  
T. A. Sidorova
Keyword(s):  
Cognitive Style ◽  
World View ◽  
Literary Text ◽  
Central Position ◽  
Special Role ◽  
Cognitive Mechanisms ◽  
Cognitive Poetics ◽  
Conceptual Structures ◽  
The People ◽  
Artistic Image

The main aim of this research was to identify the features of B. V. Shergin’s cognitive style through comprehension of the artistic image of the sea in the works of this writer. An analysis of this image was conducted from the standpoint of cognitive poetic. Cognitive poetic is considered as the main method of linguopoetic interpretation of a literary text, whose basic principles include analysis of conceptual structures reflected in the text. In the process of research, the concept of “cognitive style” in correlation with the literary text was clarified, The components of cognitive style, objectified by the image of the sea were specified. Since the literary text was interpreted from the position of cognitive poetics, the main attention was paid not only to linguistic, but also to mental structures. Furthermore, the article explores the wellknown structures of knowledge: presuppositions, concepts, motives, ideas, etc., along with semantic dominants and semantic constructs as strong meaning formations, which are determined by the author’s needs, values, world view and world perception. Therefore, the process of text interpretation takes into account the specificity of linguistic and artistic consciousness of the author, including features of the socio-cultural consciousness of Pomors (members of a subculture). The study showed that each component of B. V. Shergin’s cognitive style has its specific characteristics. The manner of presenting information in the text is characterized by a special emotional tension: understandable and close to the people daily life gets an ontological understanding. Among the cognitive mechanisms, the secondary conceptualization of the concepts of Russian Northern culture plays a special role: many of them acquire a sign of spirituality. It is shown that the specifics of the author’s cognitive style is determined by the features of his consciousness; therefore, the knowledge as sententias, semantic dominants, semantic constructs, stereotypes, values and oppositions holds the central position.

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