scholarly journals ON THE PARADOXICAL NATURE OF LAUGHTER IN THE LITERATURE OF THE XXTH CENTURY

2021 ◽  
pp. 215-225
Author(s):  
S. A. Golubkov ◽  
Keyword(s):  
20Th Century ◽  
Two Dimensional ◽  
Xxth Century ◽  
Integral System ◽  
Individual Person ◽  
Structural Ambiguity

The article deals with the attraction of the art of the 20th century to the paradox as a tool for understanding the absurdity of life. Paradox and laughter share their inherent structural ambiguity, pulsating ambivalence. Paradox and laughter are often a platform for the conflict of different logics - ordinary logic and “paralogy” (alogism). Consideration of the typology of objects of ridicule helps to reveal the paradoxical nature of laughter. At the same time, attention is drawn to two types of object: an integral system (institution, professional team, power institutions) and an individual person (in particular, an adventurous hero). It is interesting to study the paradoxical in the very fabric of a comic work. In particular, pleonasm is described as a component of the funny technique. It denotes a paradoxical contradiction between the necessary and the redundant in the description. Paradoxically, the two-dimensional texts associated with the laugh attitude, which are built on the model of the anti-genre, have a conflict-like nature: false panegyrics, anti-idylls, dystopias.

scholarly journals Tokens, Writing and (Ac)counting: A Conversation with Denise Schmandt-Besserat and Bill Maurer

2017 ◽  
Vol 5 (1) ◽  
pp. 1-14 ◽  
Author(s):  
Denise Wilding ◽  
Clare Rowan ◽  
Bill Maurer ◽  
Denise Schmandt-Besserat ◽  
Denise Wilding ◽  
...  
Keyword(s):  
20Th Century ◽  
Three Dimensional ◽  
Two Dimensional ◽  
Three Dimensional Objects ◽  
American Scientist

In her foundational study of Neolithic clay tokens, the renowned archaeologist Denise Schmandt-Besserat identified that different token shapes represented different goods and were used in accounting and distribution. When these tokens came to be stored in sealed clay envelopes (likely representing a debt), each token was impressed on the outside of the envelope before being placed inside (thus allowing people to see quickly what was within). Three-dimensional objects were thus reduced to two-dimensional representations, the first form of writing (and contributing to cuneiform script). These clay envelopes in turn developed into pictographic tablets; here each token did not have to be impressed into the clay in a 'one, one, one' system, but instead quantity was indicated by a numerical symbol - abstract number was born. Much of Schmandt-Besserat’s work can be found online at https://sites.utexas.edu/dsb/. Her book ‘How Writing Came About’ was listed by American Scientist magazine as one of the 100 books that shaped science in the 20th century, and she remains an active expert on all things ‘token’.

scholarly journals Literary Processes In America in the 50s of the XXth Century

enadakultura ◽  
2021 ◽  
Author(s):  
Nana Gagua
Keyword(s):  
United States ◽  
Human Nature ◽  
20Th Century ◽  
Edgar Allan Poe ◽  
The United States ◽  
American Poetry ◽  
Dark Side ◽  
Xxth Century ◽  
Literary Process ◽  
Edgar Allen Poe

Above mentioned article describes development of literary process in the United States at the beginning of the 20th century. The article discusses the most influential figure of American Poetry Edgar Allan Poe. His immersive influence on art field. Generally his poetry is distinguished with expressing bitter truth about dark side of human nature. His works definitely express sympathy and love toward humans. Edgar Allen Poe is an inspiration for many modern writers, among them is Steven King. Generally Edgar Allen Poe’s works contain different genres, in the end he is genius, honest and human artist who worries about human’s condition.

scholarly journals Image of Soviet and Russian logic in the West. Latter Half of the XXth Century

2021 ◽  
Vol 27 (2) ◽  
pp. 133-152
Author(s):  
Valentin A. Bazhanov ◽  
Irving H. Anellis
Keyword(s):  
Mathematical Logic ◽  
20Th Century ◽  
Scientific Knowledge ◽  
Russian Language ◽  
History Of Logic ◽  
The West ◽  
Xxth Century ◽  
History Of ◽  
Publishing Houses ◽  
The Russian Language

The article attempts to overview Western scientific knowledge of research in mathematical logic and its history in the USSR and Russia in the first half of the 20th century. We claim that Western scholars followed and were generally aware of the main works of their Soviet and Russian colleagues on mathematical logic and its history. It was possible, firstly, due to the fact that a number of Western scientists knew the Russian language, and, secondly, because Soviet and Russian logicians published their works in English (sometimes in German) in the original journals of mathematical logic or Soviet publishing houses (mainly Mir Publishers) translated Soviet authors into English. Thus, the names of A.G. Dragalin, Yu.L. Ershov, A.S. Karpenko, A.N. Kolmogorov, Z.A. Kuzicheva, Yu.I. Manin, S.Yu. Maslov, F.A. Medvedev, G.E. Mints, V.N. Salii, V.A. Smirnov, A.A. Stolyar, N.I. Styazhkin, V.A. Uspensky, I.M. Yaglom, S.A. Yanovskaya, A.P. Yushkevich, A.A. Zinov’ev were quite known to their Western counterparts. With the dawn of perestroika, contacts of Soviet / Russian logicians expanded significantly. Nevertheless, the analysis of Western works on mathematical logic and the history of logic suggests that by the end of the 20th century the interest of Western scientists in the works of their Russian colleagues had noticeably waned.

scholarly journals A presentation set of 19th and 20th century photographic processes from the Art Gallery of Ontario's Harris study collection

2021 ◽  
Author(s):  
Sara Keane
Keyword(s):  
20Th Century ◽  
Digital Photography ◽  
Two Dimensional ◽  
Art Gallery ◽  
Cultural Function ◽  
19Th And 20Th Century ◽  
Two Dimensional Images

With the rise in digital photography -- and the shift in photography's materiality -- it has become increasingly important to revisit photographs and reconsider them as multifaceted objects, and not simply as two-dimensional images. In this applied thesis project, the Art Gallery of Ontario's John Richmond Harris study collection was used as the basis for creating a presentation set of fifteen different 19th and 20th century positive photographic processes. With specially constructed archival housings and concise didactic labels accompanying each photograph, this presentation set aims to enable learning about the identification of photographic processes through the use of original examples, while encouraging the consideration of photography's material qualities, to help the user better understand photography's past social and cultural function.

scholarly journals A two-dimensional shallow ice-flow model of Glacier de Saint-Sorlin, France

2003 ◽  
Vol 49 (167) ◽  
pp. 527-538 ◽  
Author(s):  
Emmanuel Le Meur ◽  
Christian Vincent
Keyword(s):  
Steady State ◽  
20Th Century ◽  
Flow Rate ◽  
Flow Model ◽  
Parameter Study ◽  
Two Dimensional ◽  
Zeroth Order ◽  
Ice Flow ◽  
Glacier Changes ◽  
Bedrock Surface

AbstractA two-dimensional ice-flow model based on the shallow-ice approximation (SIA) is used to investigate the dynamics of Glacier de Saint-Sorlin, France. This glacier is well suited for this kind of study. First, the particular geometry of the glacier itself as well as that of the bedrock surface allows for correct applicability of the SIA (zeroth-order equations), provided that thickness changes and termini positions rather than short-scale dynamics are considered. Secondly, the wealth of available data for the glacier including mass-balance series and records of glacier changes provides a reliable forcing and a powerful constraining set for the model. Steady-state simulations show realistic results and the capabilities of the model in reproducing the glacier extent at the beginning of the 20th century. An extensive parameter study of ice rheology and sliding intensity is also carried out and the results are checked against the thickness changes as well as the glacier termini positions since 1905. It is possible to find a parameter combination that best matches these two types of data with an ice-flow rate factor of 2 × 10−24 Pa−3 s−1 and a Weertman-type sliding factor of 5 × 10−14 m8 N−3 a−1 which both appear to be in agreement with similar inferences from recent modelling attempts.

scholarly journals A presentation set of 19th and 20th century photographic processes from the Art Gallery of Ontario's Harris study collection

2021 ◽  
Author(s):  
Sara Keane
Keyword(s):  
20Th Century ◽  
Digital Photography ◽  
Two Dimensional ◽  
Art Gallery ◽  
Cultural Function ◽  
19Th And 20Th Century ◽  
Two Dimensional Images

With the rise in digital photography -- and the shift in photography's materiality -- it has become increasingly important to revisit photographs and reconsider them as multifaceted objects, and not simply as two-dimensional images. In this applied thesis project, the Art Gallery of Ontario's John Richmond Harris study collection was used as the basis for creating a presentation set of fifteen different 19th and 20th century positive photographic processes. With specially constructed archival housings and concise didactic labels accompanying each photograph, this presentation set aims to enable learning about the identification of photographic processes through the use of original examples, while encouraging the consideration of photography's material qualities, to help the user better understand photography's past social and cultural function.

Komplexes Denken

2021 ◽  
pp. 37-66
Author(s):  
Holger Siever
Keyword(s):  
20Th Century ◽  
Translation Studies ◽  
Simple Relation ◽  
Three Dimensions ◽  
Two Dimensional ◽  
New Model ◽  
Complex Approach ◽  
Skopos Theory ◽  
Dimensional Models ◽  
The Relationship

Since at least the latter half of the 20th century, scientific theorizing has been marked by a tendency to focus increasingly on the concept of complexity. However, within the field of Translation Studies, we continue to work primarily with non-complex, uni-dimensional models. The relationship between the source text and the target text is commonly established in uni-dimensional terms, that is: either via sense (linguistics, hermeneutics) or via the function or skopos (Skopos theory, functionalism). Terms like equivalence (Nida, Kade) and adequacy (Vermeer) are also based on uni-dimensional models. In the late 1980s, Neubert suggested a two-dimensional approach using the notions of content and purpose to overcome uni-dimensional models. In my paper I would like to present a more complex approach to translation based on semiotics and interpretation philosophy. It consists of two levels: the intratextual level focusing the interrelation of signs (word, sentences, texts) within texts, and the extratextual level focusing the interrelation of signs with extratextual phenomena. Each level is divided into three dimensions. I use the concepts of meaning, function, and information to describe what a translator has to take into account on the intratextual level to be able to elaborate an equivalent target text, i.e. a text that fits into the constraints of a given linguistics settings. In addition to that, I use the concepts of sense, purpose, and form to describe what a translator has to take into consideration on the extratextual level to elaborate an adequate target text, i.e. a text that fits into the constraints of a given translatological setting. Whereas the uni-dimensional arrow just stands for the simple relation between source and target text, this new model establishes a whole translational space between both texts which is able to show the complexity of translational decisions to be taken.

scholarly journals «María Luisa Villalba» y La Tarde

2021 ◽  
pp. 153-170
Author(s):  
Juana González González ◽  
Keyword(s):  
20Th Century ◽  
Historical Context ◽  
Young Scholar ◽  
Professional Relationship ◽  
Chronological Order ◽  
Xxth Century ◽  
The Feminine ◽  
Young Writer

The present work focuses on the first steps of María Rosa Alonso as journalist, specifically her collaboration with the newspaper La Tarde. At that time, she was only twenty years old and she dared to write articles under the pseudonym «María Luisa Villalba». At the beginning of the 20th century it was frowned upon for a woman to write in the journals, and in order to avoid problems, principally with her mother, she decided to silence her true identity. Later this work deals with the young writer in the historical context of the first decades of the xxth century, with a comparison with María Joaquina de Viera y Clavijo, a woman who during the Enlightment also carried out works that, at the time, were unexpected for the feminine condition. Her life shares several similarities with the journalist. We focus on the newspaper La Tarde, its history and how the trust that Víctor Zurita, director of that evening journal, placed in the young scholar was decisive for the beginning of a fruitful professional relationship. We present a thematic classification of her articles, in which we include a brief abstract with some personal assessments, always following the chronological order.

Schwitters, Kurt (1887–1948)

2018 ◽  
Author(s):  
Silvio Gaggi
Keyword(s):  
20Th Century ◽  
Visual Art ◽  
Three Dimensional ◽  
Major Influence ◽  
The Political ◽  
Two Dimensional ◽  
Art Exhibition ◽  
Avant Garde ◽  
Music And Architecture ◽  
Degenerate Art

Kurt Schwitters is most commonly associated with Dada, but his relationship to that movement’s aesthetic, political, and philosophical rebellion was ambivalent. Although he was friends with the Berlin Dadaists and participated in shows with them, he never formally became a member of their group. Schwitters was also involved with the Expressionist gallery and magazine, Der Sturm, and Dada purists disdained Expressionism, with its focus on the personal rather than the political, the dominant concern of other German Dadaists such as George Gros and Richard Huelsenbeck. The formalist aspect of much of Schwitters’s work also separated his work from Dada "anti-art." Nevertheless, Schwitters is generally regarded as the greatest collage artist of the 20th century. He named his particular style of collage, which often incorporated three dimensional as well as two-dimensional elements, Merz. Merz became a tag prefix for all his works, which included poetry, music, and architecture, as well as visual art. After Schwitters’s art was included in the Nazi’s Degenerate Art exhibition, he escaped, first to Norway and then to England, where he continued to be artistically active until his death in 1948. Schwitters’s Merz aesthetics has been a major influence on avant-garde art throughout the 20th and early 21st centuries.

Spectrophotometric measurements of objective-prism spectra

1966 ◽  
Vol 24 ◽  
pp. 118-119
Author(s):  
Th. Schmidt-Kaler
Keyword(s):  
Progress Report ◽  
Two Dimensional ◽  
Objective Prism ◽  
Made In

I should like to give you a very condensed progress report on some spectrophotometric measurements of objective-prism spectra made in collaboration with H. Leicher at Bonn. The procedure used is almost completely automatic. The measurements are made with the help of a semi-automatic fully digitized registering microphotometer constructed by Hög-Hamburg. The reductions are carried out with the aid of a number of interconnected programmes written for the computer IBM 7090, beginning with the output of the photometer in the form of punched cards and ending with the printing-out of the final two-dimensional classifications.

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