Lines

Chapter 2 considers how the arrangement of poems into lines creates a sense of rhythm and affects the experience of time for the reader or listener. It introduces the concept of parallelism as a form of repetition that is prevalent in the biblical corpus and emphasizes the different ways parallelism can be put to use. It also considers the presence of enjambment in biblical poetry and the variety of relationships that are possible between the syntax of individual sentences and the lines of a poem. It ends with a reading of Psalm 19 that shows how lineation is one of the primary formal techniques that contribute to the aesthetics of the poem.

J. M. Coetzee’s Weakness

This chapter’s investigation of the value of “soft opinions” from Diary of a Bad Year seeks to take political objections to critical modesty head on by thinking with J. M. Coetzee about the dispositions necessary to speak well in public. Both McEwan and Smith are interested in reading as an event that intimates one to an experience of failure, specifically the failure to know the world as another person does. From this intimation of failure, both draw lessons about the need for a modest disposition towards our own self-knowledge and our ability to make private experience public. Coetzee’s late novels—Elizabeth Costello and Diary of a Bad Year—take this failure to mean that there is no uncompromised position outside of politics or literature from which to speak about them. Coetzee’s well-known critique of rationalism is a reflection of his insistence that we are already compromised when we speak, that neither pure reason nor pure fiction provides any neutral site of judgment. Against the strong opinions of rationality, Coetzee embraces the weak but still critical claims of fiction, rhetoric, and imagination. Thus, for Coetzee modesty emerges as a condition of speaking in public because such speech is already politically, ethically, and spiritually implicated. In Diary, Coetzee uses multiple overlapping narrative lines to model what he calls “soft opinions” and “sympathetic imagination.” These formal techniques exemplify a disposition of critical modesty that he finds necessary for cultivating a better life from a position already entangled with the world.

Special Issue on Algorithms and Models for Dynamic Multiple Criteria Decision Making

The current Special Issue contains six papers focused on Multiple Criteria Decision Making (MCDM) problems and the formal techniques applied to derive consistent rankings of them [...]

Rapid radiation of the inner Indo-European languages: an advanced approach to Indo-European lexicostatistics

In this article we present a new reconstruction of Indo-European phylogeny based on 13 110-item basic wordlists for protolanguages of IE subgroups (Proto-Germanic, Proto-Slavic, etc.) or ancient languages of the corresponding subgroups (Hittite, Ancient Greek, etc.). We apply reasonably formal techniques of linguistic data collection and post-processing (onomasiological reconstruction, derivational drift elimination, homoplastic optimization) that have been recently proposed or specially developed for the present study. We use sequential phylogenetic workflow and obtain a consensus tree based on several algorithms (Bayesian inference, maximum parsimony, neighbor joining; without topological constraints applied). The resulting tree topology and datings are entirely compatible with established expert views. Our main finding is the multifurcation of the Inner IE clade into four branches ca. 3357–2162 bc: (1) Greek-Armenian, (2) Albanian, (3) Italic-Germanic-Celtic, (4) Balto-Slavic–Indo-Iranian. The proposed radiation scenario may be reconciled with diverse opinions on Inner IE branchings previously expressed by Indo-Europeanists.

Observer Patterns for Timed Properties

Dwyer et al. proposed qualitative specification patterns that enable the practitioners of model checking tools to write formal specifications mainly used for automatic model checking. Although this involves formalisms that are not always easy to handle by engineers, to facilitate the integration of formal methods based on these definition patterns in the industrial field, several formal techniques and languages have been proposed. This paper studies a domain specific language named CDL which help non-experts writing formal specifications effortlessly. In CDL, a property is transformed into an observer automaton to perform a reachability analysis. The existing CDL patterns allow non-experts to reason about occurrence and order of events, but not enough about their timing. Furthermore, the semantics of patterns and transformations are not ideally formalized and are still complex. This work serves to extend the existing CDL system by patterns related to time. The contribution is illustrated in an industrial embedded system.

СOMMONALITY OF PLAUTUS 'COMEDIES AND V. KATAEV'S COMEDY «QUADRATURE OF THE CIRCLE»

Статья посвящена исследованию литературных источников драматургической техники комедии В. Катаева «Квадратура круга». Исследование формальных приемов в структуре произведения строится на текстуальном анализе трех комедий Плавта и комедии «Квадратура круга». Анализ сходства драматургической техники производится путем сопоставления отдельных сцен в комедиях Плавта «Клад», «Близнецы», «Пленники» и комедии В. Катаева «Квадратура круга». Автором статьи используется терминология, существующая в научном обороте, но не имеющая нормативного употребления. Слова «схема», «фигура», «элемент» являются синонимами и обозначают отдельный прием драматургической техники. Процесс текстуального сличения отдельных сцен комедий Плавта и Катаева демонстрирует очевидную общность драматургической техники. Сходство приемов драматургической техники, их количественный уровень указывает на факт заимствования Катаевым отдельных элементов из комедий римского автора. Драматургические фигуры, составляющие общность приемов в комедиях Плавта и Катаева, различны на идейно-тематическом и структурно-композиционном уровне. Глубина профессионального освоения творчества Плавта вкупе с дарованием и талантом самого Валентина Петровича способствовали феерическому успеху «Квадратуры круга» на российской и мировой сценах. Использование литературно-исторических традиций античной драматургии Катаевым является бесценным опытом и примером создания произведения высокого художественного уровня. The article is devoted to the study of literary sources of the dramatic technique of V. Kataev's Comedy «the Quadrature of the circle». The study of formal techniques in the structure of the work is based on the textual analysis of three comedies by Plautus and V. Kataev's Comedy «the Quadrature of the circle». The similarity of dramatic technique is analyzed by comparing individual scenes in Plautus 'comedies «the Treasure», «the Twins», «the Prisoners» and V. Kataev's Comedy «the Quadrature of the circle». The author of the article uses terminology that exists in scientific circulation but does not have normative use. Words: the schematic of figure element are synonymous and refer to the individual reception of dramatic technique. The process of textual comparison of individual scenes of Plautus and Kataev's comedies demonstrates an obvious similarity of dramatic technique. The similarity of the techniques of dramaturgical technique ,their quantitative level, indicates the fact that V. Kataev adopted certain elements from the comedies of the Roman author. The dramaturgical figures that make up the commonality of techniques in the comedies of Plautus and V. Kataev are different on the ideological-thematic and structural-compositional level. The depth of Kataev's professional development of Plautus ' work, combined with the talent and talent of Valentin Petrovich, contributed to the enchanting success of the circle Quadrature on the Russian and world stages. The use of literary and historical traditions of ancient drama By V. Kataev is an invaluable experience and example of creating a work of high artistic level.

Through a Tube, Darkly: Critical Remediation in High and Low (1963)

Akira Kurosawa's 1963 police procedural High and Low is, as its title suggests, intensely interested in the socioeconomic valences of spatial relationships, literalized in Yokohama's affluent hills and its low-lying slums. The central conflict between inhabitants of these two spaces articulates this local topography into a global framework, in which concrete spaces of social interaction and functional production become abstract places that act as conduits for flows of media and capital. Previous analyses have read the film as an historical reflection of and nationalistic reaction to Americanization. Attending to the film's transnational, transtemporal, and transmedial articulations reframes the film as a critical engagement with globalization rather than a symptomatic reflection thereof. The immediate context of the rapid adoption of television, concomitant with Japan's emerging consumerism, allows Kurosawa to figure abstract economic patterns through intermedial formal techniques. These textual practices associate the materiality of celluloid with manual labor, and the ephemerality of TV with speculative finance. By further linking the protagonist Gondo with the former pair and the antagonist Takeuchi with the latter, High and Low formally and structurally critiques economic globalization as a form of criminality.