Chapter XLVI: Friendly Counsels

Author(s):  
Anne Brontë
Keyword(s):  
The Real ◽  

I Felt strongly tempted, at times, to enlighten my mother and sister on the real character and circumstances of the persecuted tenant of Wildfell Hall; and at first I greatly regretted having omitted to ask that lady’s permission to do so; but, on...

One of the characters with which Mendel dealt in his hybridisation experiments with peas was, as is well known, the shape of the ripe seed. Weldon, in his criticism of Mendel’s interpretation of his results, showed that round were not discontinuously distinct from wrinkle peas, but that intermediate shapes connecting these two extremes were not infrequently exhibited. The answer which was made to Weldon’s criticism was that the intermediate shapes were due to spurious pitting or dimpling of the seed, and did not represent an intermediate condition of the germ which gave rise to them. And this answer was shown to be correct by the work of Gregory, who found that the starch-grains of round and wrinkled peas were quite distinct, and that they afforded an infallible test by which the real character of a pea with doubtful shape could be determined. Our knowledge of this subject has not advanced beyond the stage reached by Gregory in 1903; that is to say, we know no more about the inheritance of wrinkledness and roundness than Mendel did, except that each of these two characters is associated with a particular kind of starch-grain. What is the nature of the starch-grain in the hydrid; and how the characters of the starch-grains segregate, if they do so at all, in subsequent generations, are points on which we are at present ignorant. The observations, which I have to record, form the first instalment of an attempt to fill up this gap in our knowledge.


2019 ◽  
Vol 53 ◽  
pp. 295-307
Author(s):  
Will McNeill ◽  

Heidegger’s 1936 essay “The Origin of the Work of Art” is notoriously dense and difficult. In part this is because it appears to come almost from nowhere, given that Heidegger has relatively little to say about art in his earlier work. Yet the essay can only be adequately understood, I would argue, in concert with Heidegger’s essay on Hölderlin from the same year, “Hölderlin and the Essence of Poetizing.” Without the Hölderlin essay, for instance, the central claim of “The Origin of the Work of Art” to the effect that all art is in essence poetizing, Dichtung, can hardly be appreciated in its philosophical significance without the discussions of both essence and poetizing that appear in the Hölderlin essay. This is true of other concepts also. The central concept of the rift (Riß)—the fissure or tear—that appears in “The Origin of the Work of Art” might readily be assumed to be adopted from Albrecht Dürer, whose use of the term Heidegger cites at a key point in the 1936 essay. Here, however, I argue that the real source of the concept for Heidegger is Hölderlin, and that the Riß is, moreover—quite literally—an inscription of originary, ekstatic temporality; that is, of temporality as the “origin” of Being and as the poetic or poetizing essence of art. I do so, first, by briefly considering Heidegger’s references to Dürer in “The Origin of the Work of Art” and other texts from the period, as well as his understanding of the Riß and of the tearing of the Riß in that essay and in its two earlier versions. I then turn to Heidegger’s 1936 Rome lecture “Hölderlin and the Essence of Poetizing,” in order to show the Hölderlinian origins of this concept for Heidegger.


Retos ◽  
2015 ◽  
pp. 67-69
Author(s):  
José Antonio Pérez Turpin ◽  
Juan Manuel Cortell Tormo ◽  
Juan José Chinchilla Mira ◽  
Roberto Cejuela Anta ◽  
Concepción Suárez Llorca

Para conocer los componentes actuales del rendimiento en vóley playa, es preciso conocer la estructura temporal de la competición. Por ello, el objetivo del presente estudio fue conocer la distribución del tiempo de juego real y absoluto durante el partido, los sets y los puntos en jugadores de vóley playa profesionales. Para esto, se realizaron video grabaciones de 10 jugadores durante cuatro encuentros disputados en el Campeonato de Europa de vóley playa (Valencia 2005). Se cuantificó la duración total de los partidos, sets y puntos al tiempo que se diferenció del tiempo real de juego. Como resultado se observó que la media de tiempo absoluto por partido fue de 37min 17,4s±11min 16,2s mientras que el tiempo real fue de 8min 12s±2min 24s. La duración media del total del tiempo de duración de los sets fue de16min 19,8s±2min 27s. y la real de 3min 25,8s±43,20s. La media de tiempo invertida en la realización del punto fue de 6±0,95s. El conocimiento mejorado del tiempo absoluto y real de juego en los jugadores puede aportar una valiosa información que permita establecer patrones de entrenamiento específicos para el vóley playa.Abstract: In order to identify the real components of beach volleyball performance, we need to know the time structure of the competition. This study was designed to identify the distribution of time in real and absolute play during the matches, sets and points played by professional beach volleyball players. To do so, we made video recordings of 10 players playing four matches at the European Beach Volleyball Championships (Valencia 2005). We measured the total length of the matches, sets and points while differentiating real playing time. We observed that the absolute time per match was 37min 17.4sec±11min 16.2sec, while real playing time was 8min 12sec±2min 24sec. The average length of the total duration of the sets was 16min 19.8sec±2min 27sec and real playing time was 3min 25.8sec±43.20sec. The average time taken to play a point was 6±0.95sec. An improved understanding of absolute and real playing time provides valuable information that allows us to create specific training patterns for beach volleyball.


Author(s):  
Sean J. McGrath
Keyword(s):  
The Real ◽  

This chapter extracts from the philosophy of the late Schelling, a form of realism called ‘ecstatic realism’. After providing an overview of Schelling’s role in the rise and fall of German idealism, it turns to Schelling’s interpretation of kenosis and its corresponding ontology. It shows that the presupposition of Schelling’s ecstatic realism is an idealism that renounces itself, and can only do so because it necessarily asserts itself at the expense of the real. This dynamic defines the paradoxical relation of negative and positive philosophy in Schelling’s late writings and offers an alternative to the either/or of idealism or realism gripping contemporary debates about correlationism.


1993 ◽  
Vol 3 (1) ◽  
pp. 7-53 ◽  
Author(s):  
Roshdi Rashed

The author examines the relationship between mathematics and philosophy in the works of al-Kindī, and suggests that the real character of his contribution will become clear only when we restore to mathematics their proper role in his philosophy. The recently discovered treatise of al-Kindī on the approximation of π, of which the author gives the editio princeps here, throws important new light on al-Kindī's knowledge of mathematics, and on the history of the transmission of The Measurement of the Circle of Archimedes. The author shows that al-Kindī's commentary on the third proposition of the Measurement of the Circle was written before 857, at the same time if not before that of the Banū Mūsā, and that it was one of the sources of the Florence Versions, the Latin commentary on the same proposition.


2013 ◽  
Vol 30 (3) ◽  
pp. 424-459
Author(s):  
Simon Morrison

Research in Moscow, New York, Paris, and Stockholm uncovers the compositional and early performance histories of Debussy’s ballet pantomime for children, The Toy Box. Surprisingly, the first large-scale production took place in Moscow, not Paris, and Henri Forterre—in advance of André Caplet—completed the orchestration after Debussy’s death. Theater directors and choreographers variously interpret Debussy’s distinctive approach to creating music for children as having been influenced by the designs of his scenarist, André Hellé. Although newly uncovered source materials might permit a reconstruction of The Toy Box, to do so would be to violate the spirit of the ballet, which embraces the imagined over the real and, paradoxically, the permanence of the ephemeral.


Phronesis ◽  
2003 ◽  
Vol 48 (2) ◽  
pp. 89-115 ◽  
Author(s):  
Michael Pakaluk

AbstractIt can be shown that, if we assume 'substance dualism', or the real distinctness of the soul from the body, then the standard objections to the Cyclical Argument in the Phaedo fail. So charity would presumably require that we take substance dualism to be presupposed by that argument. To do so would not beg any question, since substance dualism is a significantly weaker thesis than the immortality of the soul. Moreover, there is good textual evidence in favor of this presumption. A closer look at the immediately preceding passage, viz. "Socrates' Defense", reveals an argument for a real distinction between soul and body, not unlike Descartes' famous argument, based on the identification of an activity in which the soul can in principle engage on its own, without assistance from the body. The argumentative project of the Phaedo, on this reading, becomes: given that the soul is really distinct, show that it is immortal. And Plato aims to do this in two stages. The three initial arguments are meant to establish merely the minimal claim that the continued existence of the soul across cycles of reincarnation is the most plausible view to take, given substance dualism; and it is left to the Final Argument to argue for something that we might regard as immortality, that is, the imperishability of the soul, come what may.


Author(s):  
Shaimaa Mohamed Hassanin

This paper reevaluates the fundamental status of Coleman Silk in Philip Roth’s The Human Stain and Oedipus in Sophocles' Oedipus Rex by testing their characters against Aristotelian tragic hero's elements. In spite of the verifiable comparisons to Oedipus, Coleman is not a neglected figure, but a subverted one that underpins Roth's proposal of "the different nature" of inconceivable postmodern American tragedy. In Philip Roth’s The Human Stain, the protagonist Coleman Silk is implicitly linked to Sophocles' classical figure Oedipus in Oedipus Rex. The plot is interwoven with allusions to Greek tragedies, but in The Human Stain Coleman lacks the stature and the real character of Oedipus. In addition, Coleman lacks, to some extent, the real elements of a tragic hero that constitute the Catharsis: the process of releasing and providing relief; a conflict which raises the question; is Coleman really a tragic hero? According to Aristotle, the tragic hero should experience a dilemma and a massive transformation from valuable standards to lower depth, and this person should suffer particularly after committing a mistake, or even thinking about his past deeds. The tragic hero should be relatively a commendable person whose comeuppance is brought about by his own fallacies which he did not commit out of defect or wickedness, but out of his own serendipity. Following the ancient Greek concept which asserts that fluke is associated with actions, Coleman is a fortuitous man at first, unlike Oedipus, despite being born as a black man. Because of this unlucky fact, he is capable of changing his identity and rising up to the level of preeminence.


2016 ◽  
Author(s):  
Chris Onyebuchi Ifediora

Objectives: The use of escorts (chauffeurs and chaperones) while on duty in after-hours-house-call (AHHC) is one key protective option available to doctors in the service and has been linked to low burnout and increased satisfaction in AHHC. This study aims to explore the patterns of engagement of escorts in Australian AHHC. Method: A questionnaire-based, electronic survey of all 300 doctors involved in AHHC through the National Home Doctor Service (NHDS), Australia’s largest providers of the service. Results: A total of 168 valid responses (56.0%) were received. 60.8% of the doctors engaged escorts. Of the doctors that engage chauffeurs, three-quarters do so “all or most times”, while only one-quarter engage chaperones to the same degree of frequency. Hiring escorts is very popular among Brisbane (91.7%) and Sydney-based (88.2%) practitioners, but is unpopular in the City of Gold Coast (26.1%). There were moderate patronages in Adelaide (52.9%) and Melbourne (46.4%). Compared to females, males were more likely to drive themselves (OR 5.34; P=0.001; CI 2.08 to 13.74) and less likely to use chauffeurs (OR 0.19; p<0.001; CI 0.07 to 0.51). Doctors in legally recognized social unions (OR 0.24; p=0.03; CI 0.07 to 0.83) and those that have attained the postgraduate fellowships (OR 0.43; p=0.02; CI 0.21 to 0.87) were both less likely to work without escorts. Conclusion: More needs to be done to increase the engagement of escorts by doctors involved in the Australian AHHC, particularly given their proven benefits in the service. Future studies may be needed to fully explore the real reasons behind the significant associations identified in this study.


2020 ◽  
Vol 8 (1) ◽  
pp. 121-126
Author(s):  
Nicola Parkin

This paper turns toward learning design, not as a role, method, skill or even style of thinking, but as something that we are already existentially ‘in’, a lived-and-living part of teaching which is natural and arises from the places of our here-and-now situations. This way of understanding the work of learning design contradicts the prevailing position of learning design as instrumental future-work in which our faces are ever turned towards a time that is always yet-to-come. Our work is not, in the temporal sense, of itself, but always on the way to being something other than itself.  As we strive to transcend our current situation towards a greater measure of fulfilment, we are reaching always away from ourselves. Instead, we might take a stance of ‘slow’: Slow makes a space for us to encounter ourselves in practice and invites us to stay-with rather than race ahead. It begins with the quietly radical act of seeing goodness in slowness, in trusting time. Slow means finding the natural pace of our work, and takes the long-scale view that accepts into itself the many tempos and time scales in the work of learning design – including at times, the need for fast work. This paper invites you to pause and sit, to expand the moment you are already in, and to ponder philosophically, rambling across the page with notions of untangling, opening, loosening, listening, seeing, belonging pondering, sitting with and trusting. Taking time to do so is self-affirming. But perhaps the deepest gift that slow offers is choice: it opens a space for considered thought and action, and calls into question the habits and expectations of speed that we have grown so accustomed to.


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