temporal qualities
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2022 ◽  
Author(s):  
Joseph Jupille ◽  
James A. Caporaso

The human condition teems with institutions – intertemporal social arrangements that shape human relations in support of particular values – and the social scientific work developed over the last five decades aimed at understanding them is similarly vast and diverse. This book synthesizes scholarship from across the social sciences, with special focus on political science, sociology, economics, and organizational studies. Drawing out institutions' essentially social and temporal qualities and their varying relationships to efficiency and power, the authors identify more underlying similarity in understandings of institutional origins, maintenance, and change than emerges from overviews from within any given disciplinary tradition. Most importantly, Theories of Institutions identifies dozens of avenues for cross-fertilization, the pursuit of which can help keep this broad and inherently diverse field of study vibrant for future generations of scholars.


2021 ◽  
Vol 11 ◽  
pp. 53-74
Author(s):  
Faisal Al-Asaad

In the wake of colonial violence, how do we come to terms with its event while refusing the power exercised by these very terms? If race is an organising grammar upon which we must draw in articulating the very realities to which it consigns us, then what recourse does it leave us in disarticulating and remaking these realities? This article is a meditation on these questions in the context of the massacres at two Christchurch mosques, and the raced discourses which they occasioned. In exploring these discourses as raced, the emphasis here is on their temporal qualities: on race as the coding of the time and the place (or non-place) in history where its subjects belong. Against the legibility and transparency with which race interpellates its subjects, is there a magic in the opacity and poetics of speech through which we can rewrite our ‘destinies’ and reinvent ourselves?


2021 ◽  
Vol 5 (Supplement_1) ◽  
pp. 47-48
Author(s):  
Andrea Gilmore Bykovskyi ◽  
Kim Mueller ◽  
Nicole Werner ◽  
Erica Smith ◽  
Laura Block ◽  
...  

Abstract Though episodes of lucidity (EL) in Alzheimer’s disease and related dementia (ADRD), reportedly more common near end of life, have significant implications for care, they are poorly understood due to underdeveloped methodological approaches for capturing and measuring these events. This prospective observational study addresses these gaps through audiovisual observation among persons with ADRD surrounding end of life to inform data-driven definitions for EL and distinguish EL from routine fluctuations in ADRD. Audiovisual observation is well-suited to addressing gaps in operationalization of EL, providing an objective data source to assess verbal and nonverbal communication, the primary means through which EL are evidenced. Our study is designed to establish optimal procedures for capturing audiovisual data of targeted populations and timeframes to maximize opportunities for detecting EL. Operationalization of EL will be informed by computational linguistic and behavioral-event coding of linguistic and non-linguistic communication features of EL and associated temporal qualities.


2021 ◽  
Author(s):  
◽  
Lucy Eleanor Alston

<p>It is a commonplace that ekphrasis – the description in literature of a visual work of art – brings to the fore questions of representation and reference. Such questions are particularly associated with the ‘postmodern’; ekphrasis is thus often subsumed under the category of metafiction. There has been little critical attention, however, to how the ekphrastic mode might be understood in aesthetic terms. This thesis considers the nature of ekphrasis’s referential capacity, but expands on this to suggest a number of ways in which the ekphrastic mode evinces the aesthetic and ontological assumptions upon which a text is predicated. Two case studies illustrate how the ekphrastic mode can be figured to different effect. In comparing these two novels, this thesis argues that the ekphrastic mode makes clear the particular subject-object relations expressed by each. If Lukács is correct in asserting that the novel mode expresses a discrepancy between ‘the conventionality of the objective world and the interiority of the subjective one’, ekphrasis provides a fruitful but under-explored avenue for critical inquiry because, as a mode, it is situated at the point at which subject and object must converge. The first chapter of this thesis is concerned with Ben Lerner’s Leaving the Atocha Station (2011), a novel that includes both traditional ekphrastic descriptions and embedded photographs and references to critical theory that function ekphrastically. David Foster Wallace’s Infinite Jest (1996) provides a contrast: the novel makes continued reference to film – a medium defined by its temporal qualities – but as used in the novel the ekphrastic mode implies a fixed, ahistorical schema. The implications that such differences have on the novel mode and critical discourse are explored in the final section of the thesis.</p>


2021 ◽  
Author(s):  
◽  
Lucy Eleanor Alston

<p>It is a commonplace that ekphrasis – the description in literature of a visual work of art – brings to the fore questions of representation and reference. Such questions are particularly associated with the ‘postmodern’; ekphrasis is thus often subsumed under the category of metafiction. There has been little critical attention, however, to how the ekphrastic mode might be understood in aesthetic terms. This thesis considers the nature of ekphrasis’s referential capacity, but expands on this to suggest a number of ways in which the ekphrastic mode evinces the aesthetic and ontological assumptions upon which a text is predicated. Two case studies illustrate how the ekphrastic mode can be figured to different effect. In comparing these two novels, this thesis argues that the ekphrastic mode makes clear the particular subject-object relations expressed by each. If Lukács is correct in asserting that the novel mode expresses a discrepancy between ‘the conventionality of the objective world and the interiority of the subjective one’, ekphrasis provides a fruitful but under-explored avenue for critical inquiry because, as a mode, it is situated at the point at which subject and object must converge. The first chapter of this thesis is concerned with Ben Lerner’s Leaving the Atocha Station (2011), a novel that includes both traditional ekphrastic descriptions and embedded photographs and references to critical theory that function ekphrastically. David Foster Wallace’s Infinite Jest (1996) provides a contrast: the novel makes continued reference to film – a medium defined by its temporal qualities – but as used in the novel the ekphrastic mode implies a fixed, ahistorical schema. The implications that such differences have on the novel mode and critical discourse are explored in the final section of the thesis.</p>


2021 ◽  
pp. 009145092110455
Author(s):  
Javier Guerrero C. ◽  
Craig Martin

The study of drug smuggling has often taken an organizational perspective whereby the structures of how smuggling is constituted predominate. Building on a growing body of scholarship addressing the networked complexities of drug smuggling this article considers the importance of distinct infrastructural arrangements. Its primary focus is on the materiality of drug smuggling infrastructures, and how the social, spatial and temporal qualities of these configurations overlap with licit mobility infrastructures, including intersections of visibility/invisibility, stability, and permanence. The core conceptual premise, drawn from Science and Technology Studies, is that drug smuggling mobilities are formed of ephemeral infrastructures that exhibit temporary, short-lived stability and permanence through the subversion of licit infrastructural configurations. Drawing on material from El Dorado Airport, Colombia, the paper examines the everyday artefacts which constitute these ephemeral infrastructures.


2021 ◽  
Vol 56 (7) ◽  
pp. 703-710
Author(s):  
Adrian J. Boltz ◽  
Aliza K. Nedimyer ◽  
Avinash Chandran ◽  
Hannah J. Robison ◽  
Christy L. Collins ◽  
...  

Context The National Collegiate Athletic Association has supported men's ice hockey, a distinct sport that mandates high-velocity gamesmanship, since 1974. Background Injury surveillance systems are designed to identify evolving injury trends and their temporal qualities. Continual monitoring of collegiate men's ice hockey athletes remains essential. Methods Exposure and injury data collected in the National Collegiate Athletic Association Injury Surveillance Program from 2014–2015 through 2018–2019 were analyzed. Injury counts, rates, and proportions were used to describe injury characteristics, and injury rate ratios (IRR) were used to examine differential injury rates. Results The overall injury rate was 7.65 per 1000 athlete-exposures. Injuries from competition occurred at a rate nearly 7 times that from practice injuries (IRR = 6.54, 95% CI = 6.08, 7.04). The most common specific injury diagnoses were concussions (9.6%), acromioclavicular sprains (7.3%), and medial collateral ligament tears (3.7%). Summary Injury rates by event type and season segment were higher than previously reported. Contusions accounted for nearly a quarter of all injuries, and acromioclavicular sprain rates increased notably across the study period.


2021 ◽  
pp. 1-39
Author(s):  
Benedict Taylor

Abstract Der Rosenkavalier is an opera that foregrounds time: the problem of time, as transience, passing and ultimately death for the aging Marschallin, and a potentially more redemptive quality, the category of the Augenblick associated with the young lovers Octavian and Sophie, in which the temporal intersects with the eternal. It is also a work that has traditionally marked the turning point in Strauss's relation to historical time and the idea of musical progress, as the composer supposedly retreated from the modernity of Salome and Elektra to a more conservative idiom. The temporal qualities manifested in Der Rosenkavalier invite comparison with another work from this period that similarly foregrounds the concept of time, Thomas Mann's Der Zauberberg. In this self-styled ‘novel of time’, Mann raises a number of problems concerning the human limitations on perceiving time and its artistic representation, especially with regard to music. Disputing the contention of the narrator of Mann's novel that music cannot ‘narrate time’, I show that Strauss's music in fact exemplifies music's capacity to express ‘the historical in time’, using Der Rosenkavalier as a case study for addressing the philosophical problem of temporal representation in art. I argue that Der Rosenkavalier – both Hofmannsthal's text and Strauss's music – is in several significant ways ‘an opera about time’ – the temporal and the eternal, the historical and what I call the ‘metahistorical’.


Linguistics ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Nora Boneh ◽  
Hagit Sofer

Abstract The aim of the paper is to expand the crosslinguistic scope of the study of the expression habituality in language, and to provide further support for the claim that the expression of habituality is basically independent from that of tense and aspect, although it closely interacts with it. The argument for this independence is based on the following findings: First, habituality in Biblical Hebrew is not marked morphologically: any verbal form of the verb system can serve as a basis to express habituality irrespective of its aspectual and temporal qualities. In this respect, the periphrastic form hāyā qōṭēl receives special attention, since although it does not appear in episodic occurrences, it nevertheless patterns with non-recurring positional predicates (e.g., stand, live as in She used to live here), illustrating that it selects statives that can hold over prolonged periods of time, subsuming habituals, rather than being exclusively dedicated to the expression of habituality. Second, and most importantly, this pattern is diachronically stable. When observing Early and Late Biblical Hebrew, nothing alters in the way verbal forms pattern in clauses expressing habituality, even though the make-up of the verbal systems has changed over time. Additionally, the findings confirm the importance of paying attention to the availability of habitual interpretation with and without a modifying quantificational expression, by lending support to the correlation established between the bareness of habituals and their aspectual properties.


2020 ◽  
Vol 7 (1-2) ◽  
pp. 27-49
Author(s):  
Fenella Hitchcock ◽  
Jay McCauley Bowstead

This article focuses on the collections of London-based, Glaswegian designer Charles Jeffrey who has won plaudits for his spectacular, subversive, theatrical and highly camp catwalk shows. His label LOVERBOY – having grown out of an East London club night of the same name – brings together eclectic historical references with the stylistic bricolage of the queer scene from which it emerged. Using a combination of image analysis and a semi-structured interview with Jeffrey, this article investigates how he has blurred the boundaries between the nightclub and the runway, the collective and the named designer to formulate a distinctly queer mode of fashion practice. At LOVERBOY the transformative possibilities of the nightclub; the heightened emotion of the dance floor; and the embodied, affective, temporal qualities of ‘queer sociality’ are transposed onto the catwalk, revealing the role of fashion and clothing in practices of queer world-making. Camp aesthetics and queer nightlife have played a crucial role in the history of fashion – perhaps most notably during the 1980s when designers like Bodymap, Jean Paul Gaultier and Stephen Linard drew extensively on queer signifiers in their work. However, the success of LOVERBOY marks a shift in contemporary cultures of gender as discourses of queerness and performativity reach a new point of amplification. After the seriousness, refinement and minimalism of millennial fashion, the liminality, polysemy and exuberance of camp has again reasserted its transgressive potential.


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