The relationship between body weight and exterior measurements in domestic ostriches during the first four months after hatching

It is related leg problems to the realization of the necessity of doing a detailed analysis of the phenotype correlations between body weight and exterior measurements. As a result of the study, lower coefficients have been obtained of the correlation between the girth of the tarso metatarsus on one hand, and the body weight and the girth behind the wings, on the other hand (respectively 0.563 and 0.608), compared with the one between the body weight and the girth behind the wings (0.898). It is advisable in the selection of ostriches to take into consideration the necessity of a higher phenotypic correlation between the girth of the tarso metatarsus on the one hand, and the body weight and the girth behind the wings on the other hand, with a view to preventing leg problems.

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Comedies of Tough Love

The Oxford Handbook of Shakespearean Comedy ◽

10.1093/oxfordhb/9780198727682.013.32 ◽

2018 ◽

pp. 503-519

Author(s):

Joanne Diaz

Keyword(s):

The Body ◽

The Other ◽

Much Ado About Nothing ◽

Other Hand ◽

Love's Labour's Lost ◽

The One ◽

Ars Amatoria ◽

The Relationship

Shakespeare’s comedies feature characters who are always open to the possibilities of Ovidian transformation, and in four comedies in particular—Two Gentlemen of Verona, Taming of the Shrew, Love’s Labour’s Lost, and Much Ado about Nothing—the transformation can be a painful one. This chapter surveys these four comedies in order to understand the relationship between teaching and taming. I engage with recent Shakespeare criticism that foregrounds the importance of Ovid’s work to the rhetorical practices of Tudor-era grammar schools. I also draw upon readings of Ovid’s Heroides, Ars Amatoria, and Metamorphoses in order to articulate a vision of a pedagogical enterprise that on the one hand privileged translation and transformation and on the other hand attempted to regulate the bodies of Tudor schoolboys. In doing so, I explore the complex Ovidian engagements that produced knowledge of the body and of relationships in Shakespeare’s culture and on his stage.

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Cossos en reclusió i cavant. Experiències i representacions emblemàtiques sobre la persona

Barcelona Investigación Arte Creación ◽

10.17583/brac.2017.2269 ◽

2017 ◽

Vol 5 (3) ◽

pp. 272

Author(s):

Jordi Morell Rovira

Keyword(s):

The Body ◽

The Other ◽

Time Interval ◽

San Jose ◽

Other Hand ◽

Common Practices ◽

The One ◽

The Individual ◽

Relationship Of ◽

The Relationship

The article explores the relationship of the person with the hole through both literal and metaphorical situations. On the one hand, it points up the body in seclusion and suspended in a time interval, as in the case of the accident at the mine in San José (Chile) or works by artists like J. Wall, G. Schneider or R. Ondák. In this way, opposed feelings evoke the experiences of waiting and/or punishment, which are explanatory of a confined body or a hole. Literature, cinema and art deal with these events from multiple aspects, which become existential allegories about the individual. On the other hand, the act of digging gains prominence as a symbol of work, but also of the absurd. Recalling the ambivalence that may suggest a person making a hole, this article carries out a drift through works by artists of different generations and contexts, such as C. Burden, M. Heizer, F. Miralles, Geliti, S. Sierra, F. Alÿs, M. Salum, X. Ristol or N. Güell. A series of clearly performative or conceptual works, where the act of digging, drilling, burying or unburying become common practices that show the diversity of meanings and intentions.

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Botanical geography correspondence between Alexander von Humboldt and Filippo Parlatore (1851-1852)

Natural History Sciences ◽

10.4081/nhs.2020.470 ◽

2020 ◽

Vol 7 (2) ◽

Author(s):

Enrico Banfi ◽

Agnese Visconti

Keyword(s):

Plant Communities ◽

The Other ◽

Natural Plant ◽

Alexander Von Humboldt ◽

Other Hand ◽

State Library ◽

The One ◽

The Relationship ◽

Selection Of

This paper focuses on the relationship between Alexander von Humboldt, the famous German explorer-naturalist and Filippo Parlatore, botanist from Palermo (Sicily, Italy) in the field of botanical geography. Our considerations are based on three letters written by Humboldt to Parlatore in May 1851 and two letters with attachments written by Parlatore in answer to Humboldt in May 1851 and June 1852. The former are preserved in the Biblioteca comunale di Palermo (Palermo City Library) and the latter in the Staatsbibliothek zu Berlin (Berlin State Library). On reading the correspondence it can be inferred how, on the one hand, Humboldt asked Parlatore for verification on some important questions of botanical geography that he intended to cover in the second part (never published) of volume five of his Kosmos, and how, on the other hand, Parlatore diverged in his answers from Humboldt’s intent to search for universal laws to explain the distribution of plants on the planet. In fact, Parlatore was engaging in new lines of research, which, though stemming from Humboldt, were moving towards a modern twodimensional interpretation of natural plant communities according to which vegetation and flora, though interacting, are distinct realities and require different methods of study. The paper includes a portrait of Parlatore and one of Humboldt, a taxonomic table of the plants mentioned by the two scientists in their correspondence and illustrations of a selection of the same plants.

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From reflex to reflection: Moving from the space of causes to the space of reasons and back

Open Philosophy ◽

10.1515/opphil-2020-0124 ◽

2020 ◽

Vol 3 (1) ◽

pp. 681-693

Author(s):

Ariel Furstenberg

Keyword(s):

The Other ◽

Final Part ◽

Clear Cut ◽

Other Hand ◽

Space Of Reasons ◽

The One ◽

The Relationship ◽

Simple Picture

AbstractThis article proposes to narrow the gap between the space of reasons and the space of causes. By articulating the standard phenomenology of reasons and causes, we investigate the cases in which the clear-cut divide between reasons and causes starts to break down. Thus, substituting the simple picture of the relationship between the space of reasons and the space of causes with an inverted and complex one, in which reasons can have a causal-like phenomenology and causes can have a reason-like phenomenology. This is attained by focusing on “swift reasoned actions” on the one hand, and on “causal noisy brain mechanisms” on the other hand. In the final part of the article, I show how an analogous move, that of narrowing the gap between one’s normative framework and the space of reasons, can be seen as an extension of narrowing the gap between the space of causes and the space of reasons.

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Towards a Kenotic Identity Politics: Migration, Transformation and the Eucharist

Religions ◽

10.3390/rel12060380 ◽

2021 ◽

Vol 12 (6) ◽

pp. 380

Author(s):

Matthew John Paul Tan

Keyword(s):

Identity Politics ◽

The Body ◽

The Other ◽

Body Of Christ ◽

Eucharistic Theology ◽

Critical Tradition ◽

Other Hand ◽

Massive Influx ◽

Identity Based ◽

The One

This paper will focus on one element of the pushback against the massive influx of immigrants taken in for humanitarian purposes, namely, an identity-based chauvinism which uses identity as the point of resistance to the perceived dilution of that identity, brought about by the transformation of culture induced by the incorporation of a foreign other. The solution to this perceived dilution is a simultaneous defence of that culture and a demand for a conformity to it. While those in the critical tradition have encouraged a counter-position of revolutionary transformation by the other through ethics, dialogue, or the multitude, such a transformation is arguably impeded by what is ultimately a repetition of the metaphysics of conformity. Drawing on the personalism of Emmanuel Mounier and the Eucharistic theology of Creston Davis and Aaron Riches, this paper submits an alternative identity politics position that completes the revolutionary impulse. Identity here is not the flashpoint of a self-serving conflict, but the launch-point of politics of self-emptying, whose hallmarks include, on the one hand, a never-ending reception of transformation by the other, and on the other hand, an anchoring in the Body of Christ that is at once ever-changing and never-changing.

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《高文舉》版本考述

中正漢學研究 ◽

10.53106/2306036020210600370010 ◽

2021 ◽

Vol 37 (37) ◽

pp. 281-332

Author(s):

柯香君柯香君

Keyword(s):

The Other ◽

Evolution Process ◽

Cultural Characteristics ◽

Original Stories ◽

Other Hand ◽

The One ◽

The Relationship ◽

Work First

「高文舉故事」始自形成，便以多元樣貌流播於各地聲腔，依據本文所較析的四個版本，彼此間存在著複雜關係，或有獨立發展者，如南管戲《高文舉》，或有屬古本系統者，如《水雲亭還魂記》，或有保留南戲原貌者莆仙戲《高文舉》，乃至於集大成者「文林閣本」《高文舉珍珠記》。南戲《高文舉》已亡佚，其中以《高文舉珍珠記》之影響最為深遠。「高文舉故事」主要情節有三：「珍珠米糷」、「還魂訴冤」、「包拯斷案」。在「文林閣本」與「莆仙本」皆有「珍珠米糷」、「龍圖斷案」，而「還魂本」有「玉真還魂」、「龍圖斷案」，至於「南管本」則一概具無，可知「南管本」在高文舉故事流變過程中之獨特性。本文主要針對各版本間之「關目情節」、「曲文賓白」等詳實比勘，剖析「高文舉」在不同聲腔劇種間之承繼與創新，並試圖重構各地聲腔在「高文舉」演化過程中之地位與價值。  Gao Wen Jyu of southern opera has been disappeared and present versions include Zhen Zhu Ji (Yi Yang tune), Gao Wen Jyu of Southern Pipes (Quan tune), Gao Wen Jyu of Pu Xian (Hsin Hua tune) and Revival After Death of Shui Yun Pavilion (Qing Yang tune). Among others, Zhen Zhu Ji is the most influential one. The plots such as “Window Meeting” and “Zhen Zhu Mi Lan” are not only the selected Zhe Zi operas for the later generations, but also the adapted texts of local operas. Main plots of “story of Gao Wen Jyu” are below: “Zhen Zhu Mi Lan”, “Revival After Death to Appeal for Justice” and “Master Pao’s Judgment”. Zhen Zhu Ji and “version of Pu Xian” include “Zhen Zhu Mi Lan” and “Master Pag’s Judgment”. “Version of revival after death” includes “Revival After Death of Yu Chen” and “Master Pao’s Judgment”. “Version of Southern Pipes” does not include the above. Hence, it shows the uniqueness of “version of Southern Pipes” in the evolution of “story of Gao Wen Jyu”. Varieties of plots result in the richness of “story of Gao Wen Jyu”. The process of spread reveals flexibility and regionality of local common systematic tunes and varieties of operas. This study will treat four versions of Gao Wen Jyu as the subjects to significantly compare and analyze the original stories and difference and similarity of related work. First, it explores present versions to recognize the evolution of the story “Gao Wen Jyu”; secondly, it precisely compares “plots” and “singing and talking” of the versions to analyze the inheritance and innovation of “story of Gao Wen Jyu” in different common systematic tunes and varieties of Chinese operas. It, on the one hand, clarifies the relationship and origin of different versions of “Gao Wen Jyu” and, on the other hand, probes into cultural characteristics of “time” and “region” of operas; finally, it attmpets to reconstruct the positions and values of common systematic tunes in different regions in the evolution process of “Gao Wen Jyu”.

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A Liberating Experience. On Becoming a Work of Art

Creativity Theories – Research – Applications ◽

10.2478/ctra-2020-0020 ◽

2020 ◽

Vol 7 (2) ◽

pp. 411-430

Author(s):

Maja Tabea Jerrentrup

Keyword(s):

Three Dimensional ◽

The Body ◽

The Other ◽

Work Of Art ◽

Other Hand ◽

Film Clips ◽

Long Time ◽

The One ◽

Body Painting ◽

Dimensional Surface

Abstract The art of bodypainting that is fairly unknown to a wider public turns the body into a canvas - it is a frequently used phrase in the field of bodypainting that illustrates the challenge it faces: it uses a three-dimensional surface and has to cope with its irregularities, but also with the model’s abilities and characteristics. This paper looks at individuals who are turned into art by bodypainting. Although body painting can be very challenging for them - they have to expose their bodies and to stand still for a long time while getting transformed - models report that they enjoy both the process and the result, even if they are not confident about their own bodies. Among the reasons there are physical aspects like the sensual enjoyment, but also the feeling of being part of something artistic. This is enhanced and preserved through double staging - becoming a threedimentional work of art and then being staged for photography or film clips. This process gives the model the chance to experience their own body in a detached way. On the one hand, bodypainting closely relates to the body and on the other hand, it can help to over-come the body.

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FOREST IN THE BASHKIRS' VIEW OF THE WORLD

SCIENTIFIC REVIEW OF SAYANO-ALTAI ◽

10.52782/kril.2021.2.30.007 ◽

2022 ◽

pp. 33-40

Author(s):

Ю. А. Абсалямова

Keyword(s):

World View ◽

Construction Materials ◽

The Other ◽

Aesthetic Perception ◽

Food Protection ◽

Other Hand ◽

The World ◽

Other World ◽

The One ◽

The Relationship

В статье анализируются особенности восприятия лесного пространства башкирами. На основе языковых, фольклорных материалов сделана попытка раскрыть различные аспекты взаимоотношений лес - человек, образ леса в картине мира башкир. Как и в большинстве традиционных культур, в целом мифологический образ леса носит отрицательный характер. В фольклоре он часто описывается как тёмный, мрачный, неизвестный, таящий опасности, противопоставляясь обжитому и освоенному пространству селений. Лесной пандемониум также представлен в основном отрицательными персонажами. В целом образ леса в традиционной картине мира башкир предстаёт довольно неоднозначным. С одной стороны - это категория, связанная с потусторонним миром, неизведанная, «чужая» территория. С другой - лес издавна являлся источником различных благ - в виде строительного материала, пушнины, различных продуктов питания, укрывал от врагов. The article analyzes the features of Bashkirs' perception of the forest space. On the basis of the materials of the epos, folklore, folk ideas, an attempt was made to reveal the various aspects of the relationship between forest and man, the image of the forest in Bashkirs' world view. As in most traditional cultures, the mythological image of the forest as a whole is negative. In folklore, it is often described as dark, gloomy, unknown, fraught with danger, being contrasted with the inhabited and developed space of the villages. The forest pandemonium is also represented mainly by negative characters. On the other hand, in the domestic perception forest is valued for the benefits derived from it: shelter, food, protection from enemies. In addition, Bashkirs, distinguished by a developed aesthetic perception and contemplative thinking, appreciated its beauty, which is also reflected in folklore. In general, the image of forest in the Bashkirs' traditional view of the world appears rather ambiguous. On the one hand, it is the category associated with the other world, unknown, «foreign» territory. On the other hand, the forest has long been a source of various benefits - in the form of construction materials, furs, various food products, and it sheltered them from enemies.

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The Perspective of Overcoming Nihilism in Heidegger’s Dialogue with Jünger

Filosofija Sociologija ◽

10.6001/fil-soc.v30i1.3915 ◽

2019 ◽

Vol 30 (1) ◽

Author(s):

Tautvydas Vėželis

Keyword(s):

Point Of View ◽

The Other ◽

Dialectical Thinking ◽

Other Hand ◽

History Of ◽

Metaphysical Tradition ◽

The One ◽

Relationship Of ◽

The Relationship ◽

European Civilization

This article examines the problem of overcoming nihilism in Heidegger’s dialogue with Jünger. It is suggested that nihilism is manifested in various forms and is the deep logic of the whole history of European civilization. One of the main aims of this paper is to outline the relationship of nihilism and Nothing in Heidegger’s dispute with Jünger, viewing how Heidegger distinguishes his approach from Jünger’s point of view. Heidegger, on the one hand, treats nihilism as consummation of the Western metaphysical tradition, on the other hand, identifies Nothing itself as the shadow of Being, which cannot be overcome in the traditional dialectical thinking manner.

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Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzenia

Prace Kulturoznawcze ◽

10.19195/0860-6668.21.2.5 ◽

2018 ◽

Vol 21 (2) ◽

pp. 55-68

Author(s):

Robert Dobrowolski

Keyword(s):

Modern Art ◽

The Body ◽

The Other ◽

The Sublime ◽

Other Hand ◽

Sensual Pleasure ◽

The One

Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzeniaPrzenikające współczesną sztukę rozmaite, często przeciwstawne, strategie estetyczne manifestują się w kulinarnym artyzmie nowoczesnej kuchni, a także w zmieniających się pod jej wpływem postawach i zwyczajach żywieniowych. Z jednej strony — abiektualizacyjny porządek dadaistycznej dezynwoltury, perwersyjna obrona przed całkowitym nihilizmem, w perwersyjny sposób dekonstruuje estetykę jedzenia w kuchni fusion; z drugiej — zupełnie odmienna i szczególnie zaskakująca w wypadku sztuki jedzenia, charakterystyczna dla kuchni molekularnej, estetyka wzniosłości, zbliżająca się niekiedy do anorektycznej awersji wobec ciała, ale też nigdy nieporzucająca perspektywy smaku i związanej z nią zmysłowej przyjemności. The sublime and carnal food in the art of eating and not eatingVarious aesthetic strategies present in modern art, often contradictory, are not only manifested in culinary art of modern cuisine, but also in changing dietary attitudes and habits. On the one hand — abject order of dadaistic unceremoniousness, defense against complete nihilism, perversely deconstructs the food aesthetics in fusion cuisine; on the other hand — completely surprising in the context of food art, characteristic of molecular cuisine, aesthetics of sublime acquires sometimes anorectic aversion to the body, but never abandons the taste and connected with it sensual pleasure.

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