scholarly journals Notes on the characterization of prokaryote strains for taxonomic purposes

2010 ◽  
Vol 60 (1) ◽  
pp. 249-266 ◽  
Author(s):  
B. J. Tindall ◽  
R. Rosselló-Móra ◽  
H.-J. Busse ◽  
W. Ludwig ◽  
P. Kämpfer
Keyword(s):  
Present Article ◽  
The One ◽  
The Way

Taxonomy relies on three key elements: characterization, classification and nomenclature. All three elements are dynamic fields, but each step depends on the one which precedes it. Thus, the nomenclature of a group of organisms depends on the way they are classified, and the classification (among other elements) depends on the information gathered as a result of characterization. While nomenclature is governed by the Bacteriological Code, the classification and characterization of prokaryotes is an area that is not formally regulated and one in which numerous changes have taken place in the last 50 years. The purpose of the present article is to outline the key elements in the way that prokaryotes are characterized, with a view to providing an overview of some of the pitfalls commonly encountered in taxonomic papers.

Subjectivité et projet. La critique patočkienne du concept heideggérien de "projet de possibilités"

Labyrinth ◽  
2017 ◽  
Vol 19 (1) ◽  
pp. 63
Author(s):  
Ovidiu Stanciu
Keyword(s):  
Being And Time ◽  
Final Part ◽  
Critical Reading ◽  
Fundamental Ontology ◽  
Phenomenal Field ◽  
The One ◽  
The Way

Subjectivity and Project. Patočka's critique of Heidegger's concept "project of possibilities" The purpose of this article is to lay out the way the main aspects of Patočka's critical reading of Heidegger's fundamental ontology. More precisely, I intend to restate the central arguments Patočka raised against Heidegger's characterization of "understanding" (Verstehen) as a "project". In the first part, I will single out Patočka's project of an "asubjective phenomenology" by distinguishing it from another asubjective project (that of Aristotle) and from the subjective phenomenology. In the second part, I will examine some central theses Heidegger puts forth in §31 of Being and Time in order to show the inescapable difficulties they bring about. In the final part, I will describe the tenets around which Patočka's critical reading of Heidegger revolves. I will explore the two directions of this critique that correspond to the double orientation of asubjective phenomenology: a) on the one hand, the priority of the phenomenal field with regard to any subjective sense-bestowal; b) the importance of the phenomenon of corporeity for an accurate apprehension of subjectivity.

Tallis—Vaughan Williams—Howells: Reflections on Mode Three

Tempo ◽  
1984 ◽  
pp. 2-13 ◽  
Author(s):  
Lionel Pike
Keyword(s):  
Present Article ◽  
Very Old ◽  
The One ◽  
Determining Factor ◽  
The Way ◽  
Vaughan Williams

Herbert Howells said that the one experience which stood out as a vitally determining factor in his life was his first encounter with Vaughan Williams's Fantasia on a theme by Thomas Tallis. ‘It was after then that I felt I really knew myself, both as a man and artist. It all seemed so incredibly new at the time, but I soon came to realize how very, very old it actually was, how I'd been living the music since long before I could ever begin to remember’. This paradoxical combination of the new and the old in Vaughan Williams is worth investigation, and its effect on Howells's own music awaits full exploration. The present article can do little more than introduce the topic, but it will have served its purpose if it points the way to further investigation.

The ‘Neoplatonic’ Interpretation of Plato’s Parmenides

2016 ◽  
Vol 10 (1) ◽  
pp. 65-94 ◽  
Author(s):  
Lloyd P. Gerson
Keyword(s):  
The One ◽  
The Way

In his highly influential 1928 article ‘The Parmenides of Plato and the Origin of the Neoplatonic “One”,’ E.R. Dodds argued, inter alia, that among the so-called Neoplatonists Plotinus was the first to interpret Plato’s Parmenides in terms of the distinctive three ‘hypostases’, One, Intellect, and Soul. Dodds argued that this interpretation was embraced and extensively developed by Proclus, among others. In this paper, I argue that although Plotinus took Parmenides to contain a sort of outline of the true metaphysical principles, he understood the One of the first hypothesis of the second part of the dialogue in a way importantly different from the way that Proclus understood it. The characterization of this One, especially its identity with the Idea of the Good of Republic, has significant ramification for Plotinus’ philosophy that set it apart from Proclus’ philosophy in ways hitherto infrequently noted. The widely accepted reasons for rejecting Proclus’ interpretation do not apply to the interpretation of Plotinus. The two different interpretations help explain why Proclus’ notorious proliferation of entities in the intelligible realm is not found in Plotinus.

scholarly journals “And in the fourth year Egypt rebelled ...” The Chronology of and Sources for Egypt’s Second Revolt (ca. 487–484 BC)

2019 ◽  
Vol 7 (1) ◽  
pp. 32-61
Author(s):  
Uzume Z. Wijnsma
Keyword(s):  
Present Article ◽  
Social Impact ◽  
Achaemenid Empire ◽  
Upper Egypt ◽  
Relevant Evidence ◽  
The One ◽  
The Way

Abstract Scholars continue to give different dates for Egypt’s second revolt against the Persians: Classicists generally date the revolt to 487–485 or 487/486–485/484 BC; Egyptologists and historians of the Achaemenid Empire generally date it to 486–485/484; while some scholars date it to 486/485–485/484. Such chronological differences may sound small, but they have important consequences for the way the rebellion is understood. The purpose of the present article is therefore twofold: first, it aims to clarify what we can and cannot know about the rebellion’s exact chronology. After a review of the relevant evidence, it will be argued that the best chronological framework for the rebellion remains the one provided by Herodotus’s Histories, which places the rebellion in ca. 487–484. Second, the article will show how this chronology influences our understanding of the geographical extent and social impact of the rebellion. The adoption of Herodotus’s chronological framework, for example, results in a larger number of Egyptian sources that can be connected to the period of revolt than was previously recognized. These sources, it will be argued, suggest that some people in the country remained loyal to the Persian regime while others were already fighting against it. Moreover, they indicate that the revolt reached Upper Egypt and that it may have affected the important city of Thebes.

Make Love at War? Representing Gender and Memory in the Soviet Estonian Film Dark Windows (Pimedad aknad, Tõnis Kask, 1968)

2018 ◽  
Vol 6 (1) ◽  
pp. 20-37
Author(s):  
Liis Jõhvik
Keyword(s):  
Everyday Life ◽  
Young Women ◽  
Interpersonal Relations ◽  
Nazi Germany ◽  
National Narrative ◽  
Moral Choices ◽  
The One ◽  
Falling In Love ◽  
The Way

Abstract Initially produced in 1968 as a three-part TV miniseries, and restored and re-edited in 2008 as a feature-length film, Dark Windows (Pimedad aknad, Tõnis Kask, Estonia) explores interpersonal relations and everyday life in September 1944, during the last days of Estonia’s occupation by Nazi Germany. The story focuses on two young women and the struggles they face in making moral choices and falling in love with righteous men. The one who slips up and falls in love with a Nazi is condemned and made to feel responsible for the national decay. This article explores how the category of gender becomes a marker in the way the film reconstructs and reconstitutes the images of ‘us’ and ‘them’. The article also discusses the re-appropriation process and analyses how re-editing relates to remembering of not only the filmmaking process and the wartime occupation, but also the Estonian women and how the ones who ‘slipped up’ are later reintegrated into the national narrative. Ultimately, the article seeks to understand how this film from the Soviet era is remembered as it becomes a part of Estonian national filmography.

Ibn-Ul-Arabi's Cultural Environment that Influenced Him

2017 ◽  
Vol 5 (1) ◽  
pp. 165
Author(s):  
Assist. Prof. Dr. Kazım Yıldırım
Keyword(s):  
The Other ◽  
Cultural Environment ◽  
Ibn Rushd ◽  
Other Hand ◽  
The One ◽  
The Way

The cultural environment of Ibn al-Arabi is in Andalusia, Spain today. There, on the one hand, Sufism, on the other hand, thinks like Ibn Bacce (Death.1138), Ibn Tufeyl (Death186), Ibn Rushd (Death.1198) and the knowledge and philosophy inherited by scholars, . Ibn al-Arabi (1165-1240), that was the effect of all this; But more mystic (mystic) circles came out of the way. This work, written by Ibn al-Arabi's works (especially Futuhati Mekkiye), also contains a very small number of other relevant sources.

Un Dieu sadique : le rôle de l’image blasphématoire de Dieu dans Dolce agonia de Nancy Huston

2013 ◽  
pp. 160-166
Author(s):  
Izabela Front
Keyword(s):  
Present Article ◽  
Human Life ◽  
Character Of God ◽  
Double Character ◽  
The Way

The present article seeks to analyze the way in which the blasphemous figure of God in Dolce agonia by Nancy Huston allows the author to describe the sacred element in human life, seen as deprived of transcendental character. This is possible thanks to the three aspects of the text dependent on the type of God’s figure, which are: the contrast between passages marked by the cynical God’s voice and passages focused on man’s life filled with suffering; the tone and the appropriation of time var-iations and, finally, the double character of God who, at the same time, is indifferent to man’s lot while touched by his capacity of love.

Emerson's Memory Loss

2017 ◽  
Author(s):  
Christopher Hanlon
Keyword(s):  
William James ◽  
Memory Loss ◽  
Margaret Fuller ◽  
Final Phase ◽  
Important Work ◽  
The Social ◽  
The Many ◽  
The One ◽  
Do So ◽  
The Way

Emerson’s Memory Loss is about an archive of texts documenting Emerson’s intellectual state during the final phase of his life, as he underwent dementia. It is also about the way these texts provoke a rereading of the more familiar canon of Emerson’s thinking. Emerson’s memory loss, Hanlon argues, contributed to the shaping of a line of thought in America that emphasizes the social over the solipsistic, the affective over the distant, the many over the one. Emerson regarded his output during the time when his patterns of cognition transformed profoundly as a regathering of focus on the nature of memory and of thinking itself. His late texts theorize Emerson’s experience of senescence even as they disrupt his prior valorizations of the independent mind teeming with self-sufficient conviction. But still, these late writings have succumbed to a process of critical forgetting—either ignored by scholars or denied inclusion in Emerson’s oeuvre. Attending to a manuscript archive that reveals the extent to which Emerson collaborated with others—especially his daughter, Ellen Tucker Emerson—to articulate what he considered his most important work even as his ability to do so independently waned, Hanlon measures the resonance of these late texts across the stretch of Emerson’s thinking, including his writing about Margaret Fuller and his meditations on streams of thought that verge unto those of his godson, William James. Such ventures bring us toward a self defined less by its anxiety of overinfluence than by its communality, its very connectedness with myriad others.

Shakespeare Afoot

2018 ◽  
Author(s):  
John Kerrigan
Keyword(s):  
Early Modern ◽  
Richard Iii ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
A Midsummer Night's Dream ◽  
History Of ◽  
The Way

That Shakespeare adds a limp to the received characterization of Richard III is only the most conspicuous instance of his interest in how actors walked, ran, danced, and wandered. His attention to actors’ footwork, as an originating condition of performance, can be traced from Richard III through A Midsummer Night’s Dream and As You Like It into Macbeth, which is preoccupied with the topic and activity all the way to the protagonist’s melancholy conclusion that ‘Life’s but a walking shadow, a poor player | That struts and frets his hour upon the stage’. Drawing on classical and early modern accounts of how people walk and should walk, on ideas about time and prosody, and the experience of disability, this chapter cites episodes in the history of performance to show how actors, including Alleyn, Garrick, and Olivier, have worked with the opportunities to dramatize footwork that are provided by Shakespeare’s plays.

The Futurists. Experts in World Futures

2018 ◽  
Author(s):  
Jenny Andersson
Keyword(s):  
Cold War ◽  
Status Quo ◽  
The Other ◽  
Futures Studies ◽  
The Future ◽  
The Status ◽  
The One ◽  
The Cold War ◽  
Images Of The Future ◽  
The Way

Alvin Toffler’s writings encapsulated many of the tensions of futurism: the way that futurology and futures studies oscillated between forms of utopianism and technocracy with global ambitions, and between new forms of activism, on the one hand, and emerging forms of consultancy and paid advice on the other. Paradoxically, in their desire to create new images of the future capable of providing exits from the status quo of the Cold War world, futurists reinvented the technologies of prediction that they had initially rejected, and put them at the basis of a new activity of futures advice. Consultancy was central to the field of futures studies from its inception. For futurists, consultancy was a form of militancy—a potentially world altering expertise that could bypass politics and also escaped the boring halls of academia.

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