The Hérelle phenomenon, its nature and significance from the point of view of biologists and clinicians

1923 ◽  
Vol 19 (5) ◽  
pp. 85-103
Author(s):  
M. P. Tushnov
Keyword(s):  
Point Of View ◽  
Starting Point ◽  
The Creation ◽  
In The Beginning ◽  
Scientific Hypotheses

From individual facts through their generalization scientific hypotheses and theories are created, which in turn are the basis for new conquests of science. Therefore, it is not surprising that often a suddenly discovered fact produces a whole revolution in our views. Often such a fact, which in the beginning does not fit in our ideas, later serves as a starting point for the creation of a new theory. So it was with discoveries of phagocytosis, gemolysis, bacteriolysis, Kraus' precipitations, agglutination, anaphylaxis, etc. Apparently, the so-called "dʹHerelle phenomenon" has the same place nowadays.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

LES AXES DE LA CRÉATION ET LA NAISSANCE DE LʹIMAGINAIRE COMME LANGAGE MYTHIQUE

Trictrac ◽  
2016 ◽  
Vol 9 ◽  
Author(s):  
Liliana Danciu ◽  
Petru Adrian Danciu
Keyword(s):  
Sacred Space ◽  
Physical World ◽  
Spoken Word ◽  
Point Of View ◽  
Philosophical Approach ◽  
Starting Point ◽  
Written Form ◽  
The Creation ◽  
Religious Systems ◽  
Rich Spectrum

The axes of the creation and birth of the imaginary as a mythical language. Our research follows the relationships of the concepts that are taking into account creation on the double axis of verticality and horizontality. We highlight those symbolic elements which would later constitute the mythical language about the sacred space-temporality. Inside this space-temporality a rich spectrum of mythical images develops; images capable of explaining the relationships of the creation plans. Without a religious perception of the temporality, the conceptualization of the axis would remain a philosophical approach. Through our point of view, the two are born simultaneously. Thanks to them, creation can be imagined. The first “frozen” formula of the mystical human spirit can be thought, brought to a palpable reality, expressed in an oral and then a written form. Studied together, temporality (sacred or not) and space are permanently imagined together. For example, a loss of mundane temporality in the secret ecstasy that offers to the soul an ascending direction does not mean getting out of universal temporality, but of its mundane section. In the sacred space the soul relates to time. Even the gods are submitted by the sacred, Aeon sometimes being synonymous to destiny. The universal creator seems to evade every touch, but not consistently, only when he avoids the descent into its created worlds. In sacredness, time and space seem or become confused, both expressing the same reality, by the immediate swing from thinking to deed. The mythical imagery conceives the displacement in the primary space-temporality by the spoken word. So, for something to appear and live, the spoken word is required. Even the divine dream appears as a pre-word of a creator’s thought. The thought follows the spoken word, the spoken word follows the gestures which finally indicate the meanings of the creative act, controlling the rhythm of the creation days. These three will later be adapted through imitation in rite. We are now situated at the limit of the physical world, a real challenge for the mythical imagery. The general feature of the mythical expression on the creation of the material world is the state of the divinity’s exhaustion, most often conceptualized by sacrifice or divine fatigue. The world geography identifies with the anatomy of a self-gutted god. Practically, material creation is most likely the complete revelation of God’s body autopsy. As each body decomposes, everything in it is an illusion. An axial approach of the phenomenon exists in all religious systems. The created element’s origin is exterior, with or without a pre-existing matter, by a god’s sacrifice or only because it has to be that way. This is the starting point of the discussion on the symbolism of axiality as a reason for the constitution of the language of creation, capable of retelling the imaginary construction of myth in an oral and then written form.

The Scope of International Relations

1948 ◽  
Vol 1 (1) ◽  
pp. 142-146 ◽  
Author(s):  
Frederick S. Dunn
Keyword(s):  
International Relations ◽  
Ambiguous Word ◽  
Point Of View ◽  
Striking Similarity ◽  
Real Property ◽  
Starting Point ◽  
Vested Interests ◽  
Critical Scrutiny ◽  
The Moment ◽  
In The Beginning

Four able and penetrating writers have recently given us their considered views on the nature and scope of international relations as a branch of higher learning.* While each of them starts from a somewhat different intellectual viewpoint, they display a striking similarity of conception of the general place of international relations (hereafter referred to as IR) in the spectrum of human knowledge. I propose here, not to subject these writings to critical scrutiny, but to use them as a starting point for a brief inspection of the scope of international relations as it now seems to be taking form in the work of the leading scholars in the field.It is necessary to note in the beginning that “scope” is a dangerously ambiguous word. It suggests that the subject matter under inquiry has clearly discernible limits, and that all one has to do in defining its scope is to trace out these boundaries in much the manner of a surveyor marking out the bounds of a piece of real property. Actually, it is nothing of the sort. A field of knowledge does not possess a fixed extension in space but is a constantly changing focus of data and methods that happen at the moment to be useful in answering an identifiable set of questions. It presents at any given time different aspects to different observers, depending on their point of view and purpose. The boundaries that supposedly divide one field of knowledge from another are not fixed walls between separate cells of truth but are convenient devices for arranging known facts and methods in manageable segments for instruction and practice. But the foci of interest are constantly shifting and these divisions tend to change with them, although more slowly because mental habits alter slowly and the vested interests of the intellectual world are as resistant to change as those of the social world.

The Search of the Absolute in Lucian Blaga’s Poetry

2017 ◽  
Vol 9 (1) ◽  
pp. 45
Author(s):  
Mădălina Deaconu
Keyword(s):  
Point Of View ◽  
World Knowledge ◽  
Philosophical Work ◽  
Starting Point ◽  
The Creation ◽  
The Absolute ◽  
Main Ideas ◽  
Insight Into

The present paper aims at giving a brief insight into the poetry of one of the most important Romanian poet, Lucian Blaga, representative of modernism, focusing on the search of the Absolute from the linguistic point of view. Mention should be made of the fact that the metaphors of the Absolute are analysed both from a traditional point of view as well as from a more recent one – cognitivism. Reference is made only to those poems that are more suggestive in this respect. When analysing Lucian Blaga’s metaphors, it is compulsory to take his philosophical construction as a starting point. Ample and complex, it aims at presenting Blaga’s views on the creation of world, knowledge, history and culture. As everything is closely intertwined, it is essential to mention at least some of the main ideas of his philosophical work in connection to our subject.

History of Organizational Psychology

2017 ◽  
Author(s):  
Helio Carpintero
Keyword(s):  
Modern Society ◽  
Organizational Psychology ◽  
Point Of View ◽  
Past Century ◽  
Worker Satisfaction ◽  
The World ◽  
History Of ◽  
The Creation ◽  
In The Beginning ◽  
Practical Field

Organizational psychology represents an important theoretical and practical field of contemporary psychological science that studies mental and behavioral phenomena that take place in individuals and groups belonging to social organizations. From a historical point of view, the roots of this specialty can be traced to the psychological approaches to the world of industry and work that began to appear in the beginning of the 20th century. The discovery of the relevance of individual differences in both mental and behavioral processes paved the way to the creation of a scientific and technical knowledge that could maximize an adaptation of humans at work that would benefit industrial activities, would increase worker satisfaction, and bring progress and peace to all of society. Such specialized knowledge has evolved during the past century through a series of stages that permitted a growing theoretical complexity and more efficient technological interventions. This evolution of basic topics includes the study of the human operator; humankind’s capacities and abilities; the influence of social factors upon people in the workplace; and the structures of all sorts of organizations created to obtain desired and needed goals. The relevance of social powers influencing the world of labor have made possible the creation of a rigorous and complex body of scientific knowledge that continuously provides information, advice, and help to modern society in its economic, social, and political structures.

Estetyka wobec feminizmu

2019 ◽  
Vol 25 (25) ◽  
pp. 40-66
Author(s):  
Grzegorz Dziamski
Keyword(s):  
Virginia Woolf ◽  
Point Of View ◽  
Feminist Art ◽  
Women's Art ◽  
The Enlightenment ◽  
Starting Point ◽  
Judy Chicago ◽  
The Difference ◽  
In The Beginning ◽  
Feminist Aesthetics

When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

ESTHETICS TOWARDS FEMINISM

2019 ◽  
Vol 25 (25) ◽  
pp. 40-66
Author(s):  
Grzegorz Dziamski
Keyword(s):  
Virginia Woolf ◽  
Point Of View ◽  
Feminist Art ◽  
Women's Art ◽  
The Enlightenment ◽  
Starting Point ◽  
Judy Chicago ◽  
The Difference ◽  
In The Beginning ◽  
Feminist Aesthetics

When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

scholarly journals A LITERATURA COMPARADA NO BRASIL

Organon ◽  
2012 ◽  
Vol 10 (24) ◽  
Author(s):  
Gilda Bittencourt
Keyword(s):  
Comparative Literature ◽  
Point Of View ◽  
National Association ◽  
Critical Discourse ◽  
Graduate Courses ◽  
Starting Point ◽  
The Creation

Comparatism followed the steps of Brazilian literatureinvestigation even before the establishment of Comparative Literature as asistematic study, for it was a spontaneous practice which was present in thecritical essays by different scholars. Comparative Literature has beenintroduced in Brazilian University from the 30's onwards. The name ofAntonio Candido de Mello e Souza has contributed to its development andconsolidation, mainly through his renewed ideas of the concept of influence.His critical discourse was the starting point for the search of a decolonizedcomparativist model. The establishment of graduate courses in ComparativeLiterature on a regular basis has given a great impetus to the field in Brazil,producing in-depth studies which have shown the interliterary relationsthrough a new point of view, breaking with the tradicional concepts of debtsand influences. The ripening of Comparative Literature in Brazil can bemeasured by the creation of the National Association (ABRALIC) in 1986,and by the realization of four National Conferences.

L’absence chez Michel Butor. L’Emploi du temps et Degrés

2012 ◽  
pp. 66-80
Author(s):  
Michał Mrozowicki
Keyword(s):  
Human Memory ◽  
Point Of View ◽  
Narrative Discourse ◽  
The Novel ◽  
Michel Butor ◽  
Starting Point ◽  
One Year ◽  
The Moment ◽  
Narrative Mode ◽  
The City

Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) – 1960. The theme of absence is crucial in both of them. In the former, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in a double – spatial and temporal – labyrinth. The first of them, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and in its strange labyrinth – strange because devoid any centre – that at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, by contrast, more and more dense and complex, which is reflected by an increasinly complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits. In Degrees temporal and spatial structures are also very important. This time round, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.

OWNERSHIP IN THE REPUBLIC OF MACEDONIA AND THE STATE AS THE HOLDER OF THE PROPERTY RIGHT UNDER THE CONSTITUTION IN 1991

2018 ◽  
Vol 28 (6) ◽  
pp. 1993-2005
Author(s):  
Shemsije Demiri ◽  
Rudina Kaja
Keyword(s):  
Legal Aspect ◽  
State Ownership ◽  
The State ◽  
Point Of View ◽  
State Function ◽  
Dominant Form ◽  
Republic Of Macedonia ◽  
General Terms ◽  
Starting Point ◽  
The Republic

This paper deals with the right to property in general terms from its source in Roman law, which is the starting point for all subsequent legal systems. As a result of this, the acquisition of property rights is handled from the historical point of view, with the inclusion of various local and international literature and studies, as well as the legal aspect devoted to the respective civil codes of the states cited in the paper.Due to such socio-economic developments, state ownership and its ownership function have changed. The state function as owner of property also changed in Macedonia's property law.The new constitutional sequence of the Republic of Macedonia since 1991 became privately owned as a dominant form of ownership, however, state ownership also exists.This process of transforming social property into state or private (dissolves), in Macedonia starts from Yugoslavia through privatization, return and denationalization measures, on which basis laws on privatization have been adopted. Because of this, there will be particularly intensive negotiations regaring the remaining state assets.

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