scholarly journals Postmodernism, Postmodernist Fiction, Apocalypse and Fantasy

2019 ◽  
pp. 1-8
Author(s):  
Dr. S. Z. Abbas
Keyword(s):  
Temporal Logic ◽  
Time Scale ◽  
Historical Perspective ◽  
Time Frame ◽  
Experimental Techniques ◽  
Modern Literature ◽  
True Nature ◽  
Avant Garde

Terms like 'modern', 'postmodern' and 'contemporary' are subject-centered, and not based on any historical or objective phenomenon or personality. Everyone feels that something called 'Postmodernism' has happened, but, as regards its true nature and causes, opinion is divided; a few people say postmodernism is a fiction. There is also a problem with the nomenclature. What was referred to as 'contemporary', for example, in 1956 by the writers of that year will not be so to the generation of Y2K. All these terms tend to shift about what is known as PP in temporal logic, which itself keeps moving on the time scale. When we rename modern literature as the age of T.S. Eliot, we assign it a slot in the historical perspective. A further complication is created by the use of ‘modern’ and 'modernist', ‘postmodern’ and ‘postmodernist' as well as ‘contemporary.’ We may, perhaps, safely assume that its element in each case signifies the avant-garde, a group of authors in the respective period that is distinguished by experimentation and innovation. While attempts to accord the postmodern period a definitive time frame (which includes the postmodernist movement in arts and literature) remain in an inconclusive stage, let us assume that postmodernism encompasses the period from the fifties to the present time, which is open-endeded. It should also be noted that some postmodernist writers concentrate on new tones and new reality rather than experimental techniques.

scholarly journals SPLIT ENDS? LITERATURE AND POLITICS AT THEFIN DE SIECLE

2007 ◽  
Vol 35 (2) ◽  
pp. 697-709
Author(s):  
Jock Macleod
Keyword(s):  
Victorian Literature ◽  
Cultural Landscape ◽  
Modern Literature ◽  
The Political ◽  
Literature And Politics ◽  
The Real ◽  
Avant Garde ◽  
Split Ends ◽  
Bourgeois Culture ◽  
Long Course

AS AN UNDERGRADUATE IN THE1970s, my introduction to the 1890s was perfunctory. Squeezed into a couple of weeks in the middle of a year-long course on “Victorian and Modern Literature,” the literature of the decade was reduced to aestheticism and decadence and presented as something of a preliminary to the real business of modernism. Such a focus reflected the scholarship of the time, in which thefin de sièclewas constructed as a moment of transition, one in which the political and socio-ethical dimensions so central to high Victorian literature were evacuated, as arguments for the autonomy of art came to dominate the literary cultural landscape. The organising principle was one of bifurcation: the separating out ofavant gardefrom bourgeois culture, the high from the low and, of particular relevance to this essay, literature from politics.

Cut and paste

2018 ◽  
pp. 25-65
Author(s):  
Anna Dahlgren
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Historical Perspective ◽  
Avant Garde ◽  
Victorian Britain ◽  
Art Form ◽  
Close Study ◽  
History Of ◽  
Illustrated Press

Chapter 1 considers the mechanisms of breaks and continuities in the history of photocollage with regard to gender, genre and locations of display. Collage is commonly celebrated as a twentieth-century art form invented by Dada artists in the 1910s. Yet there was already a vibrant culture of making photocollages in Victorian Britain. From an art historical perspective this can be interpreted as an expression of typical modernist amnesia. The default stance of the early twentieth century’s avant-garde was to be radically, ground-breakingly new and different from any historical precursors. However, there is, when turning to the illustrated press, also a trajectory of continuity and withholding of traditions in the history of photocollage. This chapter has two parts. The first includes a critical investigation of the writings on the history of photocollage between the 1970s and 2010s, focusing on the arguments and rationales of forgetting and retrieving those nineteenth-century forerunners. It includes examples of amnesia and recognition and revaluation. The second is a close study of a number of images that appear in Victorian albums produced between 1870 and 1900 and their contemporary counterparts in the visual culture of illustrated journals and books.

scholarly journals Estimating the maritime component of aerosol optical depth and its dependency on surface wind speed using satellite data

2010 ◽  
Vol 10 (14) ◽  
pp. 6711-6720 ◽  
Author(s):  
Y. Lehahn ◽  
I. Koren ◽  
E. Boss ◽  
Y. Ben-Ami ◽  
O. Altaratz
Keyword(s):  
Wind Speed ◽  
Aerosol Optical Depth ◽  
Optical Depth ◽  
Time Scale ◽  
Time Lag ◽  
Surface Wind ◽  
Surface Wind Speed ◽  
Time Frame ◽  
Marine Aerosol ◽  
Wind Intensity

Abstract. Six years (2003–2008) of satellite measurements of aerosol parameters from the Moderate Resolution Imaging Spectroradiometer (MODIS) and surface wind speeds from Quick Scatterometer (QuikSCAT), the Advanced Microwave Scanning Radiometer (AMSR-E), and the Special Sensor Microwave Imager (SSM/I), are used to provide a comprehensive perspective on the link between surface wind speed and marine aerosol optical depth over tropical and subtropical oceanic regions. A systematic comparison between the satellite derived fields in these regions allows to: (i) separate the relative contribution of wind-induced marine aerosol to the aerosol optical depth; (ii) extract an empirical linear equation linking coarse marine aerosol optical depth and wind intensity; and (iii) identify a time scale for correlating marine aerosol optical depth and surface wind speed. The contribution of wind induced marine aerosol to aerosol optical depth is found to be dominated by the coarse mode elements. When wind intensity exceeds 4 m/s, coarse marine aerosol optical depth is linearly correlated with the surface wind speed, with a remarkably consistent slope of 0.009±0.002 s/m. A detailed time scale analysis shows that the linear correlation between the fields is well kept within a 12 h time frame, while sharply decreasing when the time lag between measurements is longer. The background aerosol optical depth, associated with aerosols that are not produced in-situ through wind driven processes, can be used for estimating the contributions of terrestrial and biogenic marine aerosol to over-ocean satellite retrievals of aerosol optical depth.

The Origin of Regenerating Mesothelium: A Historical Perspective

2007 ◽  
Vol 30 (6) ◽  
pp. 484-494 ◽  
Author(s):  
S.E. Mutsaers ◽  
C. Prêle ◽  
S.M. Lansley ◽  
S.E. Herrick
Keyword(s):  
Historical Perspective ◽  
Time Frame ◽  
Mesothelial Cells ◽  
Injured Area ◽  
Health And Disease

Bichat first described the mesothelium in 1827 but despite its early discovery, it has only been in recent years that its importance both in health and disease has been realised. One area still poorly understood is that of the mechanisms regulating mesothelial repair. Mesothelial cells are derived from the mesoderm but express many epithelial characteristics. However, mesothelium does not heal in the same way as other epithelial-like cells. Epithelium heals by centripetal migration, with cells at the edge of the wound proliferating and migrating into the injured area. Hertzler in 1919 noted that both large and small peritoneal injuries healed within the same time frame, concluding that the mesothelium could not heal solely by centripetal migration. The exact mechanisms involved in mesothelial regeneration following injury are controversial with a number of proposals suggested to explain the origin of the regenerating cells. This review will examine these proposals and give some insights into the likely mechanisms involved.

A Reading Public, 1963–66

2020 ◽  
pp. 259-268
Author(s):  
Ann Jefferson
Keyword(s):  
United States ◽  
United Kingdom ◽  
The United States ◽  
Modern Literature ◽  
Nathalie Sarraute ◽  
Reading Public ◽  
Avant Garde ◽  
The United Kingdom ◽  
Regular Contact ◽  
Lasting Influence

This chapter recounts the literary prize Nathalie Sarraute won in May 1964 after seven years as a judge of literary prizes. It discloses that Nathalie won the International Publishers' Prize for her novel “The Golden Fruits.” It also explains that the award was overseen by a committee of prestigious representatives from France, the United States, the United Kingdom, Germany, Spain, and Italy and was intended to promote avant-garde literature by authors of any nationality whose existing body of work will have a lasting influence on the development of modern literature. The chapter talks about Nathalie's regular contact with the Belgian literary and art critic, René Micha, who was preparing an article about her for the “National revue française” (NRF). It details the exchange of letters between Nathalie and Micha, in which Nathalie expressed appreciation of his critical acumen.

scholarly journals Neither Here nor There: The Writing of Wystan Curnow 1961-1984

2021 ◽  
Author(s):  
◽  
Thomasin Sleigh
Keyword(s):  
United States ◽  
New York ◽  
New Zealand ◽  
American Culture ◽  
The United States ◽  
Time Frame ◽  
Postmodern Theory ◽  
Avant Garde ◽  
Art And Literature ◽  
Style Of Writing

<p>This thesis addresses the writing of Wystan Curnow from 1961 to 1984. Curnow has written a great deal throughout his life, and the challenge of this thesis has been to select an appropriate time frame and important texts to place within it. The period of 1961 to 1984 has been chosen because it encompasses the 1970s, an interesting decade of experimentation for Curnow and also because the early 1980s signal a shift in Curnow's work. I argue that Curnow's encounter with post-object art and the immediate, phenomenological writing he produced in response to this work gives way in the early 1980s to a style of writing directly informed by post-structural and postmodern theory. Further, this study looks not only at Curnow's criticism but also his poetry to reveal how, in their form and content, these two strands of writing together construct one of the first arguments for an 'avant-garde' in New Zealand art and literature.  The thesis is divided into four chronological chapters. These follow the course of Curnow's life from his birth in 1939 up until the publication of his seminal essay on Colin McCahon 'I Will Need Words' in 1984. The first chapter begins with the biographical background of Curnow's youth and education and considers the significance of the eminence of Curnow's father, Allen Curnow, in the decisions that Wystan Curnow has made throughout his career. This chapter then goes on to look at Curnow's experience in the United States, studying for his Ph.D. and engaging with contemporary American culture. Chapter two begins with Curnow's return to Auckland in 1970 and goes on to look at his important pieces of writing from the 1970s up until his return to New York on sabbatical in 1976. Chapter three focuses on this trip and the key texts which followed it. And finally, chapter four examines the early 1980s, the increasing influence of continental theory in New Zealand and the shift this precipitated in Curnow's writing.</p>

Exploring the crystal form landscape

2020 ◽  
pp. 78-135
Author(s):  
Joel Bernstein
Keyword(s):  
High Throughput ◽  
Crystal Form ◽  
Time Frame ◽  
Theoretical Background ◽  
Experimental Techniques ◽  
Crystallization Conditions ◽  
Kinetic Crystallization ◽  
Solid Form ◽  
Evolving Models

Chapter 3 deals with the theoretical background, the strategies, and the experimental techniques for exploring the crystal for landscape. The various and evolving models for aggregation and nucleation are discussed, followed by the description of thermodynamic (i.e., approximately equilibrium) and kinetic crystallization conditions, followed by the use of thermodynamic information obtained in Chapter 2 for designing crystallization strategies. The various aspects of solid form screens—design, composition, time frame, variables to consider, application of high throughput methods—are discussed, followed by a description of the screen on the specific example of axitinib. The chapter closes with discussions of concomitant polymorphs and disappearing polymorphs.

Displacement assay methodology for pseudorotaxane formation in the millisecond time-scale

2017 ◽  
Vol 89 (6) ◽  
pp. 821-827 ◽  
Author(s):  
Fernando García-Martínez ◽  
Miguel Quiroga ◽  
Pedro Rodríguez-Dafonte ◽  
Mercedes Parajó ◽  
Luis Garcia-Rio
Keyword(s):  
Time Scale ◽  
Molecular Machines ◽  
Experimental Techniques ◽  
Mechanistic Studies ◽  
Millisecond Time Scale ◽  
Displacement Assay ◽  
Kinetic Processes ◽  
Mechanical Bonds

AbstractRotaxanes, formed by an axis through the cavity of a macrocycle, are promising systems for the construction of molecular machines. A very limited number of experimental techniques are available for mechanistic studies since only mechanical bonds are formed, being NMR one of the most widely used. The major inconvenience derived from NMR use is the time-scale for threading/dethreading processes lasting a few minutes in the case of faster processes. In the present manuscript, we report the application of a new kinetic methodology based on a displacement assay for cyclodextrin-based pseudorotaxane formation. By coupling a very fast (microseconds time-scale) binding/dissociation of nitrophenol to α-CD with a dicationic axle threading/dethreading process, we have been able to study kinetic processes taking place in the millisecond time-scale.

scholarly journals Algorithmic Analysis of Chemical Dynamics of the Autoignition of NH3–H2O2/Air Mixtures

Energies ◽  
2019 ◽  
Vol 12 (23) ◽  
pp. 4422 ◽  
Author(s):  
Ahmed T. Khalil ◽  
Dimitris M. Manias ◽  
Efstathios-Al. Tingas ◽  
Dimitrios C. Kyritsis ◽  
Dimitris A. Goussis
Keyword(s):  
Singular Perturbation ◽  
Thermal Explosion ◽  
Time Scale ◽  
Ignition Delay ◽  
Initial Mixture ◽  
Time Frame ◽  
Computational Singular Perturbation ◽  
Algorithmic Analysis ◽  
The One ◽  
A Minor

The dynamics of a homogeneous adiabatic autoignition of an ammonia/air mixture at constant volume was studied, using the algorithmic tools of Computational Singular Perturbation. Since ammonia combustion is characterized by both unrealistically long ignition delays and elevated NO x emissions, the time frame of action of the modes that are responsible for ignition was analyzed by calculating the developing time scales throughout the process and by studying their possible relation to NO x emissions. The reactions that support or oppose the explosive time scale were identified, along with the variables that are related the most to the dynamics that drive the system to an explosion. It is shown that reaction H 2 O 2 (+M) → OH + OH (+M) is the one contributing the most to the time scale that characterizes ignition and that its reactant H 2 O 2 is the species related the most to this time scale. These findings suggested that addition of H 2 O 2 in the initial mixture will influence strongly the evolution of the process. It was shown that ignition of pure ammonia advanced as a slow thermal explosion with very limited chemical runaway. The ignition delay could be reduced by more than two orders of magnitude through H 2 O 2 addition, which causes only a minor increase in NO x emissions.

Introduction

2020 ◽  
pp. 1-38
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Historical Perspective ◽  
Social Values ◽  
Avant Garde ◽  
Art Form ◽  
Expanded Cinema ◽  
Experimental Cinema ◽  
The Subject ◽  
The 1960S ◽  
Critical Literature

This chapter defines expanded cinema, traces its history broadly from the 1960s to the present, and reviews previous scholarly and critical literature on the subject. It argues that while expanded cinema has traditionally been seen as a rejection or abandonment of cinema in its conventional form, and as a form of “intermedia” or “new media,” with historical perspective it is better understood as an attempt to define and explore the limits and essences of cinema as an art form. While it takes forms commonly associated with the other arts (including installation, performance, sculptural objects, and even text), it is precisely by exploring this aesthetic territory that avant-garde/experimental filmmakers have tested the boundaries and clarified the specific nature of their art form. The introduction also defines the category of “avant-garde” or “experimental” cinema, defining it as a distinct cinematic culture and historical tradition, which represents a set of aesthetic and social values that can be traced through works of expanded cinema. The title of the introduction indicates the book’s larger argument: that expanded cinema does not represent the end of cinema as we know it, but its persistence, albeit in new and unconventional forms.

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