scholarly journals Why Sextus? The Pros logikous as Reliable Source for Gorgias’ Peri tou me ontos

2019 ◽  
Vol 14 (1) ◽  
pp. 83-96
Author(s):  
Stefania Giombini
Keyword(s):  
Original Text ◽  
Valuable Resource ◽  
Sextus Empiricus ◽  
The Third ◽  
Refined Formulation ◽  
Unknown Source ◽  
Reductio Ad Absurdum ◽  
Reliable Source ◽  
The One ◽  
Specific Reason

Two versions of Peri tou mē ontos ptmo by Gorgias, related by an Anonymous Author MXG and by Sextus Empiricus SE, have been alternatively accredited by scholars according to their disposition to seek a doctrine or a rhetorical- communicational dimension respectively with the first tendency prevailing. Comparing the ptmo to the rest of Gorgiasʼ works, we verify and clearly demonstrate how SE manages to convey a precise modus argumentandi. In effect, SE shows Gorgias’ demonstrative reasoning as employing: 1 the application of demonstrandum and quod erat demonstrandum typical of Gorgiasʼ speeches, reinforced by a substantial and abundant use of verbs of explanation and demonstration, especially in comparison to the rest of the same Against the Logicians’ section. Otherwise, MXG reduces this lexicon to the more generic phēmi; 2 the continuous employment of the reductio ad absurdum, like in all of Gorgias’ works; 3 a very refined formulation of the principle of non-contradiction §67, similar to the one seen in Pal. 25. In addition, MXG is accurate in the discussion of some arguments as in the third kephalaion, however, presents as an overcorrected interpreter, more interested in questioning Gorgias than reporting his original text, also directly referring to Zeno, Melissus, and Leucippus. The context of the ptmo in SE’s work the structure presented leads us to believe that SE had the text or at least an accurate summary of the ptmo different from MXG. The aims of this paper are: 1 to demonstrate that SE shows well the Gorgianic demonstrative reasoning and, for this specific reason, he is reliable and valuable resource for us; 2 to hypothesise that SE’s version is based on and independent as yet unknown source.

scholarly journals Following Sextus: Demonstrative Argument in Gorgias’ Peri tou mē ontos

2018 ◽  
Vol 9 (1) ◽  
pp. 13-29
Author(s):  
Stefania Giombini
Keyword(s):  
The Other ◽  
Sextus Empiricus ◽  
The Third ◽  
Refined Formulation ◽  
Other Hand ◽  
Reductio Ad Absurdum ◽  
The One

The two extant versions of Gorgias’ Peri tou mē ontos (PTMO) have been preserved by an anonymous author (MXG) and by Sextus Empiricus (S.E.). Both versions have been differently interpreted by scholars who examine either the doctrine or the rhetorical-communicational dimen­sion (the first option being dominant). When comparing the PTMO with the rest of Gorgias’ works, the present paper aims to demonstrate that S.E. offers a more precise account of Gorgias’ modus argumentandi. Thus, S.E. shows the following, typical features of Gorgias’ demonstra­tive reasoning: 1) application of demonstrandum and quod erat demon­strandum, 2) continuous employment of reductio ad absurdum and 3) a refined formulation of the principle of non-contradiction (similar to the one in Pal. 25). The MXG, on the other hand, is accurate in the discussion of particular arguments (e.g. the third kephalaion), but presents an interpreter who is more interested in questioning Gorgias rather than doing justice to his thought. Hence, this article concludes that it was S.E., who had the text or at least a relatively accurate summa­ry of the PTMO.

scholarly journals APPLICATION OF CRYPTOGRAPHY WITH DATA ENCRYPTION STANDARD (DES) ALGORITHM IN PICTURE

2020 ◽  
Vol 4 (2) ◽  
pp. 9
Author(s):  
Angga Aditya Permana ◽  
Desi Nurnaningsih
Keyword(s):  
Block Cipher ◽  
Data Encryption ◽  
Third Party ◽  
Original Text ◽  
Symmetric Cryptography ◽  
Data Confidentiality ◽  
Data Encryption Standard ◽  
The Third ◽  
Encryption And Decryption ◽  
The One

Cryptography is the science of maintaining data confidentiality, where the original text (plaintext) is encrypted using an encryption key to be ciphertext (text that has been encrypted). In this case cryptography secures data from a third party so that the third party cannot know the original contents of the data because the one who holds the key for encryption and decryption is only the sender and receiver. There are several cryptographic methods that are commonly used, one of which is DES or Data Encryption Standard. DES is included in the key-symmetric cryptography and is classified as a block cipher type

scholarly journals W. TREVOR’S APPLICATION OF J. JOYCE’S INSPIRATION

2021 ◽  
pp. 37-47
Author(s):  
Olha Kabkova
Keyword(s):  
The Other ◽  
Third Party ◽  
Original Text ◽  
Creative Activity ◽  
The Third ◽  
Poetic Image ◽  
Different Types ◽  
Third Person ◽  
To Come ◽  
The One

While finding out the relation of W. Trevor’s writing to Joyce, we are to take into account the fact, fixed by the German writer H. Bell in his “Irish diary”: Joyce is one of the ordinary surnames in Ireland. Yet the aim of the article was to search for the influence of the literary technique of J. Joyce — one of the well-known modernists — on W. Trevor’s creative works. On the one hand, W. Trevor himself in the interviews insisted that “Dubliners” and “A Portrait of the Artist as a Young Man” were valuable for him within the whole life; on the other hand, the known and famous writers and critics aimed at finding those links. A number of researchers took into account that Joyce’s later texts were not so valuable for Trevor’s creative works. His influence was not the linguistic pyrotechnics of the “Ulysses” but the modest and punctilious voice of “Dubliners”. It is possible to determine some levels of Joyce’s presence in W. Trevor’s texts: Joyce as a character, as a model of creative activity, as a pattern for stylization and even comic imitation. One of the characters of Trevor’s “Music” was fascinated with Joyce’s appearance, his photograph. Sometimes, while hearing music, he was imagining himself a human being similar to Joyce. “The Third Party” began with a meeting of two men, one the husband, one the lover in a Dublin hotel bar. They have to come to an agreement on the end of the marriage, which was not achieved. The plot of this story is somewhat a travesty of “A Little Cloud” (from “Dubliners”). Moreover, the main characters are W. Trevor’s version of two different types of mental constitution vivid in “A Little Cloud” as well as in “Ulysses”. The interview of two characters in Trevor’s text allowed using Joyce’s telling strategy: an application of subjective third-person narration. An aspect of location in Trevor’s story is similar to that of Joyce, it is Dublin. Nevertheless for Trevor Dublin was a city, where events took place, not a version of the important original location, as it was with Joyce. The same may be said about “Two More Gallants”. Th is story of the modern and equally traditional Irish writer is the most vivid example of the author’s dialogue with the original text of Joyce. Th e writer simultaneously reflected and parodied “Two Gallants” (from “Dubliners”). There is a certain similarity between the viewpoints of both authors on Dublin and Ireland in general. The creative activity of Joyce was governed by Ireland. W. Trevor’s links with Ireland were restored only when he became something of a stranger to this country. Moreover, Trevor’s conception of Ireland remained constant as if nothing had happened in this country during the second half of the XX century. So the reality of “Two Gallants” and “Two More Gallants” remained alike, as well as irresponsibility of the main characters. The narrative nerve in Joyce’s text may be defi ned as no-event, while Trevor’s text is arranged according to tale tradition. “Two Gallants” is associated with the concentrated poetic image of paralysis. A similar representation is evident in “Two More Gallants”: puppets dance to the music of original sins. Th at shows Trevor’s play with the original text.

Alkohol im Tank – Bio-Kraftstoffe und die Grenzen moderner Mobilität

2004 ◽  
Vol 34 (136) ◽  
pp. 455-468
Author(s):  
Hartwig Berger
Keyword(s):  
Third World ◽  
Fossil Fuel ◽  
Energy Resources ◽  
The Third ◽  
Political Conflicts ◽  
The Future ◽  
Long Time ◽  
Food Market ◽  
The One ◽  
The Third World

The article discusses the future of mobility in the light of energy resources. Fossil fuel will not be available for a long time - not to mention its growing environmental and political conflicts. In analysing the potential of biofuel it is argued that the high demands of modern mobility can hardly be fulfilled in the future. Furthermore, the change into using biofuel will probably lead to increasing conflicts between the fuel market and the food market, as well as to conflicts with regional agricultural networks in the third world. Petrol imperialism might be replaced by bio imperialism. Therefore, mobility on a solar base pursues a double strategy of raising efficiency on the one hand and strongly reducing mobility itself on the other.

Al-Rasm al-ʿUthmānī: Towards Correct Pronunciation and the Preclusion of Ambiguity

2011 ◽  
Vol 13 (2) ◽  
pp. 201-171
Author(s):  
Nāṣir Al-Dīn Abū Khaḍīr
Keyword(s):  
Specific Pattern ◽  
Writing Style ◽  
The Third ◽  
The Past ◽  
Different Ages ◽  
Correct Pronunciation ◽  
The One ◽  
The Mind

The ʿUthmānic way of writing (al-rasm al-ʿUthmānī) is a science that specialises in the writing of Qur'anic words in accordance with a specific ‘pattern’. It follows the writing style of the Companions at the time of the third caliph, ʿUthmān b. ʿAffān, and was attributed to ʿUthmān on the basis that he was the one who ordered the collection and copying of the Qur'an into the actual muṣḥaf. This article aims to expound on the two fundamental functions of al-rasm al-ʿUthmānī: that of paying regard to the ‘correct’ pronunciation of the words in the muṣḥaf, and the pursuit of the preclusion of ambiguity which may arise in the mind of the reader and his auditor. There is a further practical aim for this study: to show the connection between modern orthography and the ʿUthmānic rasm in order that we, nowadays, are thereby able to overcome the problems faced by calligraphers and writers of the past in their different ages and cultures.

Detection and representation of the basic peculiarities of vegetation cover by the mapping method (experience based on a research of goltsy-taiga territories)

2013 ◽  
pp. 32-47
Author(s):  
S. V. Osipov
Keyword(s):  
Vegetation Cover ◽  
Mapping Method ◽  
Vegetation Changes ◽  
Large Classes ◽  
High Rise ◽  
The Third ◽  
Altitudinal Belts ◽  
The One ◽  
Dynamic Series ◽  
River Valleys

Geobotanical mapping of the territory in riverheads Bureya of 4500 sq.km is carried out and the map of a actual vegetation cover of scale 1 : 200 000 is prepared. The legend of the map is presented in the form of the text with three-level hierarchy of classes. At the heart of structure of a legend of the map such regularities of a vegetation cover, as its latitudinal zonality / altitudinal belts, situation in a relief and dynamic series lie. The largest divisions of the legend reflect, first, change of large classes of mesocombinations of vegetation at the level of belts and, secondly, distinction in a boreal - forestry belt between a vegetation cover of tops and slopes of mountains, on the one hand, and the bottoms of river valleys, with another. Divisions of the legend of the second level reflect, first, vegetation changes in the form of high-rise and barrier changes of subbelts, secondly, distinctions of a vegetation cover in different geomorphological conditions (small and average river valleys, northern slopes, etc.). Divisions of the legend of the second level correspond to dynamic series of units of the third level. Essential addition to it are block diagrams of dynamics of a vegetation cover.

Shalott’s Song: a Specific Feature Found in Balmont’s Translation of A. Tennyson’s Poem «The Lady of Shalott»

2020 ◽  
pp. 22-33
Author(s):  
Margarita Shanurina
Keyword(s):  
Neutral Word ◽  
Fairy Tale ◽  
The Other ◽  
Original Text ◽  
Academic Paper ◽  
Other Hand ◽  
The One

This academic paper is devoted to the analysis of a specific feature which could be found in K. Balmont’s translation of A. Tennyson’s poem «The Lady of Shalott». The aim of the work is to study the reasons why Balmont uses the word «волшебница» to describe the heroine in his translation while there is no word with such semantics in the original text. (This word is put in the name of the translated work and it is found in almost every stanza).English analogue of the word «volshebnitsa» (that is, the word «enchantress», which, according to the Oxford English Dictionary, is closest to this word in semantics), while in the original text of the poem this word is not mentioned, the neutral word «lady» is used andonce (in the speech of the mower who hears the heroine singing, but does not see her) there is the word «fairy». This article, on the one hand, summarizes existing studies on the topic; on the other hand, complements them. The study highlights and considers several reasons for the above-mentioned discrepancy between the original text and its translation: emphasizing the connection with a fairy tale, revealing a number of motifs which play an important role in the work of Balmont himself (namely, motifs of music and creativity as magic) and an indication of the main heroine’s charming beauty.

Introduction

2017 ◽  
Author(s):  
Patrick Colm Hogan
Keyword(s):  
Queer Theory ◽  
Social Constructionism ◽  
The Other ◽  
Sexual Identities ◽  
The Third ◽  
Sexuality And Gender ◽  
And Gender ◽  
Sexual Part ◽  
The One ◽  
And Behavior

The introduction first sets out some preliminary definitions of sex, sexuality, and gender. It then turns from the sexual part of Sexual Identities to the identity part. A great deal of confusion results from failing to distinguish between identity in the sense of a category with which one identifies (categorial identity) and identity in the sense of a set of patterns that characterize one’s cognition, emotion, and behavior (practical identity). The second section gives a brief summary of this difference. The third and fourth sections sketch the relation of the book to social constructionism and queer theory, on the one hand, and evolutionary-cognitive approaches to sex, sexuality, and gender, on the other. The fifth section outlines the value of literature in not only illustrating, but advancing a research program in sex, sexuality, and gender identity. Finally, the introduction provides an overview of the chapters in this volume.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

Introducing Morphology

2021 ◽  
Author(s):  
Rochelle Lieber
Keyword(s):  
Mental Lexicon ◽  
The Other ◽  
Morphological Data ◽  
Theoretical Frameworks ◽  
The Third ◽  
Hands On ◽  
Morphological Theory ◽  
Basic Concepts ◽  
The One

A lively introduction to morphology, this textbook is intended for undergraduates with relatively little background in linguistics. It shows students how to find and analyze morphological data and presents them with basic concepts and terminology concerning the mental lexicon, inflection, derivation, morphological typology, productivity, and the interfaces between morphology and syntax on the one hand and phonology on the other. By the end of the text students are ready to understand morphological theory and how to support or refute theoretical proposals. Providing data from a wide variety of languages, the text includes hands-on activities designed to encourage students to gather and analyse their own data. The third edition has been thoroughly updated with new examples and exercises. Chapter 2 now includes an updated detailed introduction to using linguistic corpora, and there is a new final chapter covering several current theoretical frameworks.

Sign in / Sign up

Export Citation Format

Share Document