The Final Say In Verses From Surat Yusuf - Peace Be Upon Him - Differed In Their Interpretation (original study)

2021 ◽  
Author(s):  
Zabn Al-Dulaimi
Keyword(s):  
Original Study ◽  
Chronological Order ◽  
The One

In my research, I dealt with the disagreement of the commentators in determining the identity of the seller of prophet Yusuf - peace be upon him - and whether Yusuf was committed to sin - whatever its kind - or not? And who is the one who elaborated the saying about the slitting of the shirt and acquitted Yusuf? Who says after the ruling case? Is it the woman's husband or the ruling? And who Satan makes him forget the remembrance of his Lord? Is it Yusuf, or the waterer? And who is the one who said in verse 52 and verse 53 of Surat Yusuf? Is it from the continuation of the words of the woman, or is it from the words of Yusuf? And was Yusuf secretly saying: (You are the worst in place) in himself, or what was he concealed? I will mention all of this according to the research documentation of the commentators, in the chronological order of the years of their death.

scholarly journals Weblogues: a new instrument for the promotion of the communication between television and viewers

Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
Neusa Baltasar
Keyword(s):  
Information Exchange ◽  
Media Education ◽  
Chronological Order ◽  
Critical Thought ◽  
Internet Connection ◽  
New Instrument ◽  
Group Members ◽  
Common Interests ◽  
Access Information ◽  
The One

Weblogs, also referred to as Blogs, are a very important tool in our days and its growth in the last few years is the confirmation of the importance they have in the Portuguese mediatic context. This new communication instrument can be defined as a frequently updated website or personal diary where the contents are inserted by chronological order and the most recent content is always the one that appears first on top of the site. Blogs are usually pointers to other websites or blogs and they often include comments from the readers. One of its most interesting features is that they can be created and maintained by a group with common interests, and be a debate and reflection space for the group members or they can be open to the community comments if that’s their members’ option. If the Internet was already considered a privileged space for communication and information exchange, blogs came to reinforce these potentials even more in the sense that they sustain themselves as a meeting point among people with common interests. Blogs offer the opportunity for everyone (with a computer and Internet connection) to access information, comment it, express their ideas and opinions, share their knowledge, etc. It is in this perspective that we consider blogs can, as an expression and reflection space, fill in a gap that exists in television – the audience space, their answer, opinion, etc. In Portugal there are many blogs related to media education and some about television in particular and they are a reference of critical analysis and reflection. This paper is based in the study of some of these blogs related to media education and television, as for instance Crianças e Media, Educação para os Media, Educomunicação/Educomunicación and Irreal tv. We aim at doing an analysis in what concerns their goals, contents, functionality and dynamics. Departing from this analysis we intend to deepen knowledge about this kind of blogs and its worth to reflection and to increase critical thought towards television and media in general. We also aim at drawing attention to the small part television occupies as creator of a dialogue space for their audience and to the fact that it should be more involved in creating initiatives and promoting interaction with their audience. Los Weblogs, también conocidos como Blogs, son una herramienta muy importante en estos días y su crecimiento en los últimos años confirma su importancia en el contexto mediático portugués. Este nuevo instrumento puede ser definido como un tipo de pagina webo diario personal frecuentemente actualizado donde los contenidos son exhibidos por un orden cronológico en que los más recientes son los primeros que nos surgen en la cabecera de la pagina web. Los Blogs tienen, normalmente, enlaces para otros websites o blogs y muchas veces incluyen comentarios de los lectores. Una de sus características más interesantes es que pueden ser creados y desarrollados por un grupo congregado en torno de intereses compartidos y ofrecen un espacio de debate para los miembros del grupo. Pero también pueden ser abiertos a los comentarios de la comunidad en general, si sus miembros permiten los comentarios de otras personas exteriores al blog. Si Internet ya era considerada un espacio privilegiado para la comunicación y el cambio de información, los weblogs vienen a reforzar este potencial aún más, pues son reconocidos y apreciados por ser un punto de encuentro donde las personas se reúnen al rededor de un tema. Se mantienen como un local que permite a todos (con ordenador y conexión a Internet) alcanzar información, comentarla, expresar sus ideas y opiniones, compartir sus conocimientos, etc. Es en esta perspectiva que se considera que los blogs podrán rellenar un hueco que existe ahora en la televisión, el lugar de los telespectadores, sus respuestas, opiniones, sugestiones, etc. En Portugal, se encuentran muchos blogs relacionados con la educación para los medios y algunos sobre el tema de la televisióny estos son considerados una referencia para la reflexión y la crítica. Esta comunicación se basa en el estudio de algunos de estos blogs relacionados con la educación para los medios y para la televisión, por ejemplo Crianças e Media, Educação para os Media, Educomunicação/Educomunicación e Irreal tv. Se pretende desarrollar un análisis en lo que respecta a sus objetivos, contenidos, funciones y dinámicas. Partiendo de este análisis se busca profundizar en los conocimientos sobre este tipo de blogs y su significado para fomentar el pensamiento crítico sobre la televisión y los medios en general. También se pretende hacer una llamada de atención para la necesidad que existe de que la televisión desenvuelva espacios de dialogo con su audiencia, y creemos que ésta debe desarrollar iniciativas para promover la interacción con los telespectadores.

The “Mnemonic Time-Travel Effect”

2019 ◽  
Vol 66 (6) ◽  
pp. 437-442 ◽  
Author(s):  
Laura Mieth ◽  
Raoul Bell ◽  
Axel Buchner
Keyword(s):  
Statistical Power ◽  
Time Travel ◽  
Original Study ◽  
Memory Test ◽  
Forward Motion ◽  
Space And Time ◽  
The Moment ◽  
The One ◽  
Sufficient Statistical Power

Abstract. This registered report aims at replicating the so-called “mnemonic time-travel” effect. Aksentijevic, Brandt, Tsakanikos, and Thorpe (2019) reported that memory was improved when their participants experienced backward motion before a memory test in comparison to when they experienced forward motion or no motion. This finding was interpreted as suggesting that backward motion brought individuals back to the moment of encoding. In the original study, the mnemonic time-travel effect was robustly found with various types of backward motion (real, simulated, and imagined). Such a spectacular finding calls for a preregistered replication. To determine the robustness of the effect, we performed a close replication of Experiment 4 of Aksentijevic et al. in which the mnemonic time-travel effect was most pronounced. Despite sufficient statistical power to detect an even considerably smaller effect than the one reported by Aksentijevic et al., we found no significant differences among the different motion conditions. The present results thus disconfirm the idea that experiencing backward motion improves memory which suggests that the empirical robustness of the mnemonic time travel effect should be further scrutinized before any conclusions about mnemonic space and time can be drawn.

reader. This is the riddle. The answer emerges in the battle, when the Blemmyes rush forward like madmen (all this is seen from the Persian point of view, without explanation), throw themselves to the ground and stab upwards with their swords into the horses’ unprotected bellies as they thunder over their heads (9.17-18), and then butcher the dismounted knights through the one vulnerable point in their armour, between the legs, as they lie helpless, too heavy to move. Meanwhile the Seres part ranks to reveal Hydaspes’ corps of elephants, the sight of which throws the cavalry into panic. Ethiopian archers pick off the survivors by shooting arrows through the eye-slits in their helmets. Unobtrusive clues to the stratagem were furnished in the description of the armour, where all the details which become important in the battle were unosten­ tatiously included. These examples present the riddle format over a medium-term narrative span. The pattern recurs with sufficient frequency for us to identify it as a characteristic feature of Heliodoros’ narrative technique. To reiterate, release of information is deliberately con­ trolled so as to entice the reader into identifying and answering, with varying degrees of certainty, questions posed by the narrative. The implied reader of the Aithiopika is compelled to be constantly engaged in interpretation and speculation, and must respond to the author’s games in order to actuate the text fully. Formalist critics earlier this century made a distinction between what they called histoire, that is the story as it ‘actually’ happened, complete and in chronological order, and ricit, that is, the way that the story is presented, the textual surface. To use their terms, Helio­ doros’ ricit consistently omits or postpones important aspects of the histoire, and the author communicates directly with the reader about the histoire through riddles, over the head of the narrator and his ricit. By this stage, it has probably become clear to anyone who knows the Aithiopika and the recent secondary literature on it that what I have been discussing is an exact counterpart in microcosm to the macrotextual structure of the whole work. This is where Heliodoros marks a spectacular advance over his predecessors in the romance form. At the end of the tradition, when Heliodoros was writing,10 two weaknesses of conventional romantic narrative must have become obvious. The first was its predictability: curi­ osity to know what happens next is the motor of reading any fiction, but with a stereotyped basic plot there can never be

2014 ◽  
pp. 326-326
Keyword(s):  
Characteristic Feature ◽  
Point Of View ◽  
Chronological Order ◽  
Implied Reader ◽  
Medium Term ◽  
Narrative Technique ◽  
Secondary Literature ◽  
The One ◽  
Release Of Information ◽  
The Way

On the Order of the Athenian Catalogues of Aiseitoi

1950 ◽  
Vol 43 (3) ◽  
pp. 233-235
Author(s):  
James H. Oliver
Keyword(s):  
Systematic Study ◽  
The Other ◽  
Chronological Order ◽  
Other Hand ◽  
The One

According to Pausanias II 14 one of the two main differences between the cult at Phlius and that at Eleusis lay in the circumstance that at Phlius the hierophant was not appointed for life (οὐκ ἐς τὸν βίον πάντα ἀποδέδικται). The implication that at Eleusis the hierophant was appointed for life is borne out by inscriptions such as the one concerning the old man Glaucus who died as hierophant after many years in office. On the other hand, the inscriptions never mention living men as exhierophants, ex-daduchi, ex-sacred-heralds or ex-altar-priests, except such altar priests as resigned to take the higher post of daduchus. Therefore, students have long been agreed that the hierophant, daduchus, sacred herald and altar priest, i.e. the incumbents of the four great Eleusinian priesthoods, held their office for life. (See, for example, P. Foucart, Les mystères d'Éleusis [Paris, 1914], 168–206, especially 171 for the hierophant and 203 for the sacred herald.) As far as I know, this interpretation of the evidence has never been refuted. Recently, however, this interpretation of the evidence has been repudiated without argument by J. A. Notopoulos (“Studies in the Chronology of Athens under the Empire,” Hesperia XVIII [1949], 1–57, especially 1 and 23), who, asserting, in what he describes as a “systematic study,” that the hierophant and sacred herald “occupy their office for an interval of one or more years, then vacate it only to be re-elected to it later,” dresses a table of the catalogues of aiseitoi (the four great Eleusinian priests and various clerks and other functionaries entitled to public maintenance) in what purports to be a chronological order.

Asceticism and Poverty in the Qurʾan

Numen ◽  
2019 ◽  
Vol 66 (5-6) ◽  
pp. 524-549
Author(s):  
Michael Bonner
Keyword(s):  
Training Program ◽  
The Other ◽  
Historical Narratives ◽  
Simultaneous Contrast ◽  
Chronological Order ◽  
Diverse Communities ◽  
The One ◽  
The Way

AbstractWhile the Qurʾan approves of ascetic practices such as fasting and vigils, it does not insist on them. Nonetheless, Sloterdijk’s You Must Change Your Life may help us to identify an ascetic “training program” within the Qurʾan. This has as its main elements: hijra, in the sense of an ongoing attitude of separation and exile; jihad, in the sense of training for and engaging in combat, again as an ongoing attitude; and poverty, not in the sense of voluntarily undergoing deprivation, but of benefaction on a heroic scale recalling pre-Islamic Arabia. How do we contextualize this program and the Qurʾanic environment in general? While the historical narratives about Muhammad and the early community have plenty to say about these elements, they do not adequately account for the way they appear in the Qurʾan. We propose instead to use the chronological order of suras first proposed by Weil and Nöldeke, not to establish chronology but to identify diverse communities of reception within the Qurʾan, specifically with regard to poverty and generosity. The result is a simultaneous contrast and balance between values and practices based on reciprocity on the one hand, and requital/ reward on the other. Asceticism thus has a central role in a uniquely Qurʾanic system of economic and moral exchange.

Between Propaganda and Cao-Mienism

2020 ◽  
Vol 15 (1) ◽  
pp. 49-76
Author(s):  
Hoang Minh Vu
Keyword(s):  
Short Stories ◽  
The Other ◽  
Chronological Order ◽  
Hegemonic Discourse ◽  
The Core ◽  
Bilateral Relations ◽  
Vietnamese Literature ◽  
Popular Memory ◽  
The One

The generation of soldiers, advisors, politicians, and civilians who participated in Vietnam’s intervention in Cambodia between 1978 and 1989 had diverse, colorful, and powerful experiences. Their impressions and reflections as immortalized in diaries, songs, poems, plays, short stories, and even novels form the core of popular memory of Vietnam’s long involvement in Cambodia, which I term Vietnam’s Cambodian Decade. I argue that all Vietnamese literature on this period exhibits some combination of state propaganda to justify the Vietnamese presence in Cambodia on the one hand, and exoticization of Cambodia and Cambodians on the other. This latter tendency I term “Cao-Mienism,” drawing the connection between Edward W. Said’s critique of Orientalism and the old Vietnamese term for Cambodia, Cao Miên, which carries many outdated connotations of a mystical, uncivilized, violent, and hypersexual other. I divide Vietnamese literature on the Cambodian Decade into four distinct groups, based largely on the chronological order of their publication, but also on the distinct literary characteristics of each group, thereby charting the evolution of Vietnamese views of the Cambodian Decade through the years. My main finding is that Vietnamese literature on the Cambodian Decade started out largely to serve the needs of state propaganda, but has in time shifted decisively to Cao-Mienizing Cambodia. I conclude by warning that both strands of propaganda and Cao-Mienization remain relevant in contemporary Vietnamese literature and can serve to perpetuate and legitimize a hegemonic discourse on Cambodia that is detrimental to bilateral relations.

scholarly journals LINGUA E DRAMMATURGIA NEI LIBRETTI VERDIANI

2013 ◽  
pp. 133-164
Author(s):  
Ilaria Bonomi
Keyword(s):  
Linguistic Analysis ◽  
The Other ◽  
Chronological Order ◽  
Linguistic Features ◽  
Other Hand ◽  
The One

This report will outline the main linguistic nature of Verdi’s librettos, with special attention to the peculiarity of each Librettist and to the lines of Verdi’s intervention on the formal role of the librettos. The introductive remarks illustrate fundamental methodological notes and the slant of the linguistic analysis, that must necessarily consider the drama component and the connection words/music. In the first part, we consider the textual stories of the librettos. On the one hand we focus on the cooperation of Verdi with the Librettists and on the other hand on the lines and the parameters of his intervention on the librettos. In the second part we’ll analyze (in a chronological order) the linguistic features of every Librettist, their melodramatic code and their original adaptations concluding that the personality of Verdi always dominate on everything.

To Paris, Texas, and Beyond

2020 ◽  
pp. 128-147
Author(s):  
Joseph B. Atkins
Keyword(s):  
Los Angeles ◽  
American Film ◽  
Santa Fe ◽  
Chronological Order ◽  
Wim Wenders ◽  
Wide Range ◽  
The One

This chapter looks at Harry Dean Stanton's greatest film from a wide range of aspects -- Ry Cooder's music, Robbie Müller's cinematography, Sam Shepard's writing, Wim Wenders' direction, and, of course, the acting, not only Harry Dean's but also that of Nastassja Kinski, Dean Stockwell, Aurore Clément, and Hunter Carson. It traces the genesis of the story that grew out of Shepard's imagination and Wenders' fascination with American iconography. Important, too, was Shepard's encounter with Harry Dean in a Santa Fe bar and subsequent casting of him for the role of Travis Henderson, the mysterious desert wanderer searching for some kind of redemption after abandoning his wife and son. Each of the key contributors to the film -- whether in music, scenery, or the story -- had his or her own journey that led to this very American film that is yet so imbued with European sensibilities. Shot in chronological order and thus with cast and crew shuffling back and forth between Texas and Los Angeles, Paris, Texas was a test for all involved, but it became the film that made Harry Dean most proud and the one that marked the peak of his career.

Lamia, Isabella, The Eve of St Agnes, And Other Poems (1820) as a Unified Volume

2020 ◽  
pp. 3-18
Author(s):  
Robert White
Keyword(s):  
Chronological Order ◽  
The One ◽  
The Individual

Whereas most books on Keats’s poetry, including most editions of his works, present and deal with individual poems singly and in the chronological order and biographical contexts of their composition with an implicit aim of demonstrating Keats’s development from ‘juvenilia’, to ‘maturity’ and giving priority to the Odes, I shall instead focus on the likelihood that Keats consciously shaped the contents into a considered structure and order, in order to create a unified whole. Recognising this provides a fresh significance and perspective to the individual poems, allowing them to be read in interrelated ways, instead of as individual works interpreted in the light of when and where they were composed. The one important qualification I shall argue for is that there is evidence that Keats intended ‘Ode to Melancholy’ to be the final poem in the collection, and that he regarded the inclusion of ‘Hyperion: A Fragment’ as a publisher’s decision with which he did not necessarily agree.

scholarly journals Discussion on a null hypothesis for a bibliometric study

2021 ◽  
Vol 17 (1) ◽  
pp. 23-24
Author(s):  
Corinne Kraus ◽  
Wilhelm Mosgöller ◽  
Harald Lothaller ◽  
P Christian Endler
Keyword(s):  
Null Hypothesis ◽  
Research Question ◽  
Test Group ◽  
Original Study ◽  
Bibliometric Study ◽  
Control Group ◽  
Control Groups ◽  
Replication Studies ◽  
The One ◽  
And Control

In a bibliometric study [1] we located around 100 high-potency studies, each of which scrutinized an earlier study. An expert round was set to discuss whether it was justified to use the null hypothesis that no difference would be found between the respective test and control groups. The following two viewpoints were juxtaposed: 1) The classical null hypothesis states that the results from a test group and its respective control will not differ. If difference is found, the null hypothesis must be rejected. In this case, whether the values found in the test group were higher or lower than the ones of the control group is irrelevant. However, in some instances lack of difference between the test and the control groups is not helpful to make an informed decision. In the case of the analyzed bibliometric study, the research question is as follows: is the number of replication studies which produced a result of the same kind as the original study greater than the number of replication studies which produced a result of the opposite kind? 2) Often there is a pragmatic interest in a one-sided difference or in a deviation in one specific direction. A null hypothesis to this end will state, for example, that the result of the test group will not be better than that of the control group. If difference in favor of the test group is found, the null hypothesis must then be rejected. If, conversely, no difference is found or the result of the control group is better, the null hypothesis can be maintained. For the analyzed bibliometric study the question is: is the number of replication studies which yielded a result of the same kind as the original study greater than the number of all other replication studies? From viewpoint (1) the outcome was that 70% of replication studies yielded the same result as the original study, 10% per cent the opposite result, and in 20% no difference was found between test and control. From this view point the standing is 70 positive, 10 negative and 20 undecided results. Broken down further, the outcome for laboratory-internal replication was 83 and 5 (12 undecided results) while the outcome for multicenter replication was 75 and 11 (14) and that for external replication was 48 and 14 (38). From viewpoint (2) the outcome was that 70% of replication studies yielded the same result as the original study, and that 30% (= 10% + 20%) either resulted in no difference between the test and the control group or a result opposite to the one of the original study. From this viewpoint the standing is 70 ‘for reproducibility’ versus 30 ‘not for reproducibility.’ Broken down further, the outcome for laboratory-internal replication was 83 and 17 (= 5 + 12), while that for multicenter replication 75 and 25 (= 11 + 14) and the one for external replication 48 and 52 (= 14 + 38). We conclude that the 2 two viewpoints should be treated as equally valid when discussing the outcome of the analyzed bibliometric study Keywords: high dilution, experiment repetition, null hypothesis References [1] Endler PC, Bellavite P, Bonamin L, Jäger T. Mazon S. Replications of fundamental research models in ultra high dilutions, 1994 and 2015: an update on a bibliometric study. Homeopathy 2015;104:235-245

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