scholarly journals Posiciones, causas y razones en los Rvf: 1.- Voluntad de acabar y Spes en los sonetti CCXLVI y CCCXLIX. La vaticinatio post eventum de Agustinus

2013 ◽  
pp. 196
Author(s):  
Antonio Armisén Abós
Keyword(s):  
Don Quixote ◽  
Modular Network ◽  
Core Group ◽  
Beatific Vision ◽  
The Core ◽  
The Will ◽  
Symbolic Identity

Composición clásica y cristiana del Canzoniere. Los De musica libri VI de Agustín. La ‘voluntad de acabar’ en el cierre cifrado por el 17 de Parte prima y Parte seconda de los Rerum vulgarium fragmenta (Rvf). El decisivo año 17 y el sonetto CXVIII. Las fechas de redacción del Secretum, el augurio de Agustín sobre la muerte de Laura  y la dispositio final de las rime sparse. El hombre como meraviglia del sonetto CCIX, el ‘grupo central’, la ratio sesquiteria del Vat. lat. 3195 y la transcripción autógrafa del fascículo VI P¹. El crecimiento de la esperanza y la aspiración a la visión beatífica apoyados por la composición textual: las peticiones a la Muerte de la sestina doppia CCCXXXII, la forma impetrare y el sonetto CCCXLIX. La experiencia de la contextualización. Dos notas numéricas sobre la poesía de fray Luis de León. Posiciones marcadas, le fila benedette, red modular, recurrencia e imbricación narrativas. Inicios y finales. Textos para la identidad simbólica de Laura: el sonetto IV como propositio inicial y el sonetto CCXI como chiave de entrada al laberinto. La pietà de Laura. Amor uccellatore, la galassia ornitologica en los Rvf y su incidencia en el Quijote de 1615. Observaciones sobre el doble final del Canzoniere.The Canzoniere’s classical and christian composition. Augustine’s De musica libri VI. The 'will to end' in the encrypted closing by the 17 of Parte prima and Parte seconda of Rerum vulgarium fragmenta (RvF). The decisive year 17 and the sonetto CXVIII. The drafting dates of the Secretum, the Augustine’s omen on the death of Laura and the final dispositio of the rime sparse. Man as meraviglia of sonetto CCIX, the 'core group', the ratio sesquiteria of Vat lat. 3195 and the autographic transcription of the issue VI P¹. The growth of hope and the aspiration to the beatific vision supported by textual composition: Death requests of the sestina doppia CCCXXXII, the form impetrare and sonetto CCCXLIX. The experience of contextualization. Two numerical notes on the poetry of fray Luis de León. Marked positions, le fila benedette, modular network, recurrence and narrative interweaving. Beginnings and endings. Texts for Laura’s symbolic identity: the sonetto IV as initial propositio and the sonetto CCXI as chiave to entrance to the labyrinth. The pietà of Laura. Amor uccellatore, the galassia ornitologica in the RvF. and Don Quixote reader of Petrarca. Observations on the double ending of the Canzoniere.

Canonical Submersion and Lie Homomorphisms Normal Subgroup

2020 ◽  
Vol 23 (1) ◽  
pp. 97-101
Author(s):  
Mikhail Petrichenko ◽  
Dmitry W. Serow
Keyword(s):  
Normal Subgroup ◽  
Canonical System ◽  
System Of Equations ◽  
Core Group ◽  
The Core ◽  
Switch Group

Normal subgroup module f (module over the ring F = [ f ] 1; 2-diffeomorphisms) coincides with the kernel Ker Lf derivations along the field. The core consists of the trivial homomorphism (integrals of the system v = x = f (t; x )) and bundles with zero switch group Lf , obtained from the condition ᐁ( ω × f ) = 0. There is the analog of the Liouville for trivial immersion. In this case, the core group Lf derivations along the field replenished elements V ( z ), such that ᐁz = ω × f. Hence, the core group Lf updated elements helicoid (spiral) bundles, in particular, such that f = ᐁU. System as an example Crocco shown that the canonical system does not permit the trivial embedding: the canonical system of equations are the closure of the class of systems that permit a submersion.

Force in Nature

2020 ◽  
pp. 146-160
Author(s):  
David Carus
Keyword(s):  
Natural Science ◽  
The Body ◽  
The Core ◽  
Thing In Itself ◽  
The Will ◽  
Insight Into

This chapter explores Schopenhauer’s concept of force, which lies at the root of his philosophy. It is force in nature and thus in natural science that is inexplicable and grabs Schopenhauer’s attention. To answer the question of what this inexplicable term is at the root of all causation, Schopenhauer looks to the will within us. Through will, he maintains that we gain immediate insight into forces in nature and hence into the thing in itself at the core of everything and all things. Will is thus Schopenhauer’s attempt to answer the question of the essence of appearance. Yet will, as it turns out, cannot be known immediately as it is subject to time, and the acts of will, which we experience within us, do not correlate immediately with the actions of the body (as Schopenhauer had originally postulated). Hence, the acts of will do not lead to an explanation of force, which is at the root of causation in nature. Schopenhauer sets out to explain what is at the root of all appearances, derived from the question of an original cause, or as Schopenhauer states “the cause of causation,” but cannot determine this essence other than by stating that it is will; a will, however, that cannot be immediately known.

scholarly journals Lessons Learned from the CORE Group Polio Project and Their Relevance for Other Global Health Priorities

2019 ◽  
Vol 101 (4_Suppl) ◽  
pp. 107-112 ◽  
Author(s):  
Henry B. Perry ◽  
Roma Solomon ◽  
Filimona Bisrat ◽  
Lisa Hilmi ◽  
Katherine V. Stamidis ◽  
...  
Keyword(s):  
Global Health ◽  
Lessons Learned ◽  
Health Priorities ◽  
Core Group ◽  
The Core

Hofmann, Hans (1880–1966)

2018 ◽  
Author(s):  
Christa Noel Robbins
Keyword(s):  
New York ◽  
York City ◽  
Abstract Expressionism ◽  
Picture Plane ◽  
Depth Of Field ◽  
New York School ◽  
American Modernism ◽  
Core Group ◽  
The Core ◽  
Clement Greenberg

Hans Hofmann was a German–American painter associated with Abstract Expressionism. Known as much for his paintings as for his role as a teacher, Hofmann moved to New York City in 1932. Much older than the core group of New York School painters, Hofmann acted as a kind of bridge between European and American modernism. Hofmann’s paintings are highly recognizable: they feature large planes of thickly applied, bold color, often interspersed with expressionistic fields of gestural painting. The result, which can be seen in his 1962 painting Memoria in Aeternum, is a dynamic play with depth of field and colour relations. Hofmann referred to this spatial and optical play as the "push–pull" effect, indicating the manner in which areas of a canvas can appear to push back behind the picture plane and pull forward into the viewer’s space, while simultaneously reading as flat surface. The spatial and material relationality introduced through this device influenced a generation of New York painters and critics, both those taught directly by Hofmann and those who learned of his theories through second parties. Hofmann’s students from this period include Lee Krasner, Helen Frankenthaler, Frank Stella, Allan Kaprow and, importantly, Clement Greenberg. Many of their first lessons in modernist painting took place in his school.

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