Seven Types of Ambiguity
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Tracing Autism’ Ambiguity and Difference in a Neuroscientific Research Practice
The London School of Economics and Political Science ‘Tracing Autism’ Ambiguity and difference in a neuroscientific research practice Patrick D. Fitzgerald A thesis submitted to the Department of Sociology of the London School of Economics for the degree of Doctor of Philosophy London, September 2012 1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 88,543 words. I can confirm that portions of this thesis were copy-edited for conventions of language, spelling and grammar by John MacArtney, Megan Clinch, Joanne Kalogeras, Juljan Krause and Neasa Terry. ________________________________________________________ Des Fitzgerald, September 2012 2 Abstract Tracing Autism is about neuroscientists’ on-going search for a brain-based biomarker for autism. While much recent sociological work has looked at the ‘cerebralization’ of such diverse diagnostic categories as depression, bipolar disorder, psychopathy, addiction, and even autism itself, surprisingly little light has yet been shed on the mundane ways that researchers in the new brain sciences actually think about, reason through, and hold together neurological accounts of complex and emerging diagnostic entities . -
93708615 Bloom S Shakespeare Through the Ages Othello Harold
Bloom’s Shakespeare Through the Ages Antony and Cleopatra As You Like It Hamlet Henry IV (Part I) Julius Caesar King Lear Macbeth The Merchant of Venice A Midsummer Night’s Dream Othello Romeo and Juliet The Sonnets The Taming of the Shrew The Tempest Twelfth Night Bloom’s Shakespeare Through the Ages OTHELLO Edited and with an introduction by Harold Bloom Sterling Professor of the Humanities Yale University Volume Editor Neil Heims Bloom’s Shakespeare Through the Ages: Othello Copyright © 2008 by Infobase Publishing Introduction © 2008 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Othello / edited and with an introduction by Harold Bloom ; volume editor, Neil Heims. p. cm. — (Bloom’s Shakespeare through the ages) Includes bibliographical references and index. ISBN 978-0-7910-9575-1 (acid-free paper) 1. Shakespeare, William, 1564-1616. Othello. 2. Othello (Fictitious character) I. Bloom, Harold. II. Heims, Neil. III. Shakespeare, William, 1564–1616. Othello. PR2829.O77 2008 822.3’3—dc22 2007026815 Bloom’s Literary Criticism books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. -
Introduction
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. introduction Nothing can exceed the energy and magnificence of the character of Satan in “Paradise Lost.” It is a mistake to suppose that he could ever have been intended for the popular personification of evil. —shelley, The Defence of Poetry 1. “Too full of the Devill” Paradise Lost is not an orthodox poem and it needs to be rescued from its orthodox critics. This book contends that the best way back to the poem Milton composed, rather than the one the orthodox would have us read, is to reassert the importance of Satan, heretic and hater. I shall be doing this in various ways. One is through revising the history of the Satan that Milton reimagines for us, since a mistaken idea about it has been widely accepted in recent years. It is the combat myth, I argue, that has always been at the center of that history, and Milton knew it. His more perceptive readers have kept it there, for the opposition is central to the poem. “The reason Milton wrote in fetters when he wrote of Angels and God, and at liberty when of Devils and Hell, is because he was a true poet and of the Devils party without knowing it.”1 Blake’s aphorism has become so famous that it is hard to hear what it says. I think that, like much Romantic criticism, it is right, or at least helpful, except for the implied accusation of ignorance. -
Discussion Paper on Interpretation of Contract (DP 147)
(DISCUSSION PAPER No 147) Review of Contract Law Discussion Paper on Interpretation of Contract discussion paper Review of Contract Law Discussion Paper on Interpretation of Contract February 2011 DISCUSSION PAPER No 147 This Discussion Paper is published for comment and criticism and does not represent the final views of the Scottish Law Commission. EDINBURGH: The Stationery Office £20.50 NOTES 1. In accordance with our Publication Scheme, please note that (i) responses to this paper will be made available to third parties on request in paper form once the responses have been considered at a Commission meeting unless a respondent has asked for a response to be treated as confidential or the Commission considers that a response should be treated as confidential; (ii) subject to the following, any summary of responses to this paper will be made available to third parties on request in paper form once it has been considered at a Commission meeting: any summary will not be made available in relation to projects where the subject matter is considered by Commissioners to be of a sensitive nature; any summary being made available will not include reference to any response where either the respondent has asked for the response to be treated as confidential or the Commission considers that the response should be treated as confidential. Any request for information which is not available under the Commission's Publication Scheme will be determined in accordance with the Freedom of Information (Scotland) Act 2002. 2. Please note that some or all responses to this paper and the names of those who submitted them may be referred to and/or quoted in the final report following from this consultation or in other Commission publications and the names of all respondents to this paper will be listed in the relative final report unless the respondent specifically asks that, or the Commission considers that, the response or name, or any part of the response, should be treated as confidential. -
The General Stud Book : Containing Pedigrees of Race Horses, &C
^--v ''*4# ^^^j^ r- "^. Digitized by tine Internet Arciiive in 2009 witii funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/generalstudbookc02fair THE GENERAL STUD BOOK VOL. II. : THE deiterol STUD BOOK, CONTAINING PEDIGREES OF RACE HORSES, &C. &-C. From the earliest Accounts to the Year 1831. inclusice. ITS FOUR VOLUMES. VOL. II. Brussels PRINTED FOR MELINE, CANS A.ND C"., EOILEVARD DE WATERLOO, Zi. M DCCC XXXIX. MR V. un:ve PREFACE TO THE FIRST EDITION. To assist in the detection of spurious and the correction of inaccu- rate pedigrees, is one of the purposes of the present publication, in which respect the first Volume has been of acknowledged utility. The two together, it is hoped, will form a comprehensive and tole- rably correct Register of Pedigrees. It will be observed that some of the Mares which appeared in the last Supplement (whereof this is a republication and continua- tion) stand as they did there, i. e. without any additions to their produce since 1813 or 1814. — It has been ascertained that several of them were about that time sold by public auction, and as all attempts to trace them have failed, the probability is that they have either been converted to some other use, or been sent abroad. If any proof were wanting of the superiority of the English breed of horses over that of every other country, it might be found in the avidity with which they are sought by Foreigners. The exportation of them to Russia, France, Germany, etc. for the last five years has been so considerable, as to render it an object of some importance in a commercial point of view. -
ACRL Publications in Librarianship Open Peer Review Code of Conduct
ACRL Publications in Librarianship Open Peer Review Monograph title: Envisioning the Framework: A Graphic Guide to Information Literacy Editor: Jannette L. Finch Review close: Monday, July 13, 2020 Google document available at: https://docs.google.com/document/d/1KJmun8UgMyirsyeKK0Lx- _ZwBJLU9qrYaEU0-zRwqBw/edit?usp=sharing Code of Conduct Reviewers agree to: ● provide objective reviews that deliver constructive criticism in a positive and professional manner ● support their recommendations with clearly developed examples or arguments ● focus on substantive comments and suggestions on the content; the book will be professionally copyedited and designed, so formatting, unfinished graphics, typos, and other grammatical errors will be addressed later in the production process ● look for the following as they review: ○ significance of topic ○ conceptually/theoretically grounded ○ appropriate methodology/research design ○ coherent discussion ○ valid conclusions ○ advancement of knowledge ○ clear, articulate, and well written ● value diversity and inclusion in the review process ● meet all deadlines, or notify the Publications in Librarianship Editor as soon as possible if unable to meet deadlines ● maintain confidentiality of other reviewers’ comments ● recuse themselves from reviewing manuscripts for which they lack expertise, have any undisclosed conflicts of interest, or are unable to meet all deadlines ● consult with the Publications in Librarianship Editor if they have any questions: ○ Daniel Mack, Associate Dean, Collection Strategies and Services, University of Maryland ○ email: [email protected] ○ voice: 301.405.9264 Identifying and Contact Information Please type your name, position, email, and institutional affiliation (if any) below this line. Doing so means agreeing to our code of conduct. You will need to sign in with your Google account and request access at the top left before commenting. -
William Empson: Genius of Ambiguity Charles I
j_ WILLIAM EMPSON: GENIUS OF AMBIGUITY CHARLES I. GLtCKSDERG* W ILLIAM EMPSON employs a method that is highly technical and specialized, but it must be admitted that it yields some astonishingly fruitful rosults. At least, it pro vides in the field of literary criticism an effective cure for glib generalizations. Instead of offering us brilliant theorizing and un focused emotional reactions, the stock-in-trade of the impres sionist, this enterprising scholar-critic patiently undertakes the task of disentangling the ambiguities of meaning in the skein of poetic context. He uses the word "ambiguity" in a special sense as any "consequence of language, however slight, which adds some nuance to the direct statement of prose". He is thus in terested in catching overtones of expression, hidden nuances and implications not revealed by a superficial reading of the text, subtleties and indirections precipitated by means of protracted analysis and the developed technique of free association. In herent in poetry is the process of diffused association, and the richer, the more varied and original the diffuson, the greater the genius of the poet. And greater, too, by implication, it would seem, is the genius of the critic who can bring this diffused glory to light. Words may possess, as I. A. Richards has taught us on nu merous occasions, a number of distinct meanings- meanings I ·l that cluster together in a system of interanimation. The in .1, dwelling ambiguity springs from an indecision as to the meaning . ~ intended. Frequently the meaning branches off in different di r ections, and it is a nice question for the reader to determine I which road to take. -
A Reconsideration of Pictish Mirror and Comb Symbols Traci N
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2016 Gender Reflections: a Reconsideration of Pictish Mirror and Comb Symbols Traci N. Billings University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Archaeological Anthropology Commons, European History Commons, and the Medieval History Commons Recommended Citation Billings, Traci N., "Gender Reflections: a Reconsideration of Pictish Mirror and Comb Symbols" (2016). Theses and Dissertations. 1351. https://dc.uwm.edu/etd/1351 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. GENDER REFLECTIONS: A RECONSIDERATION OF PICTISH MIRROR AND COMB SYMBOLS by Traci N. Billings A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Anthropology at The University of Wisconsin-Milwaukee December 2016 ABSTRACT GENDER REFLECTIONS: A RECONSIDERATION OF PICTISH MIRROR AND COMB SYMBOLS by Traci N. Billings The University of Wisconsin-Milwaukee, 2016 Under the Supervision of Professor Bettina Arnold, PhD. The interpretation of prehistoric iconography is complicated by the tendency to project contemporary male/female gender dichotomies into the past. Pictish monumental stone sculpture in Scotland has been studied over the last 100 years. Traditionally, mirror and comb symbols found on some stones produced in Scotland between AD 400 and AD 900 have been interpreted as being associated exclusively with women and/or the female gender. This thesis re-examines this assumption in light of more recent work to offer a new interpretation of Pictish mirror and comb symbols and to suggest a larger context for their possible meaning. -
When Cultures Collide: LEADING ACROSS CULTURES
When Cultures Collide: LEADING ACROSS CULTURES Richard D. Lewis Nicholas Brealey International 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page i # bli d f li 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page ii page # blind folio 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page iii ✦ When Cultures Collide ✦ LEADING ACROSS CULTURES # bli d f li 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page iv page # blind folio 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page v ✦ When Cultures Collide ✦ LEADING ACROSS CULTURES A Major New Edition of the Global Guide Richard D. Lewis # bli d f li 31573 01 i-xxiv 1-176 r13rm 8/18/05 2:56 PM Page vi First published in hardback by Nicholas Brealey Publishing in 1996. This revised edition first published in 2006. 100 City Hall Plaza, Suite 501 3-5 Spafield Street, Clerkenwell Boston, MA 02108, USA London, EC1R 4QB, UK Information: 617-523-3801 Tel: +44-(0)-207-239-0360 Fax: 617-523-3708 Fax: +44-(0)-207-239-0370 www.nicholasbrealey.com www.nbrealey-books.com © 2006, 1999, 1996 by Richard D. Lewis All rights reserved. No part of this publication may be reproduced in any manner whatsoever without written permission from the publisher, except in the case of brief quotations embodied in critical articles or reviews. Printed in Finland by WS Bookwell. 10 09 08 07 06 12345 ISBN-13: 978-1-904838-02-9 ISBN-10: 1-904838-02-2 Library of Congress Cataloging-in-Publication Data Lewis, Richard D. -
A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events. -
Ii the New Criticism and Leavisian Criticism
II THE NEW CRITICISM AND LEAVISIAN CRITICISM Though the New Criticism had its ongms in Britain in the criticism of T. S. Eliot, the theory of I. A. Richards and the practice of William Empson, its most powerful impact has been in America. John Crowe Ransom, who published a book entitled The New Criticism in 1941, was the leading American influence and he acknowledged a debt to Eliot and Richards. The other major American New Critics were Cleanth Brooks, Allen Tate, Robert Penn Warren and W. K. Wimsatt. Indirectly related to the New Criticism are such important figures as Kenneth Burke and R. P. Blackmur. The early New Critics were politically conservative and their attitudes to literature were shaped by their opposition to certain twentieth-century tendencies of thought, such as Marxism. The fundamental aim of American New Criticism was to create a critical alternative to impressionism and historical scholarship, and thus there are some parallels with Russian Formalism. It advocated 'intrinsic' criticism - an impersonal concern for the literary work as an independent object - and opposed 'extrinsic' critical approaches, which concerned themselves with such matters as authorial intention, historical, moral or political considerations, and audience response. The earlier New Criticism was primarily interested in lyric poetry and regarded most highly forms of poetry in which irony, tension, paradox and ambiguity interact with the semantics of language in such a way, they believed, as to render poetic meaning unique and un paraphrasable. They claimed, however, that poetry could impart knowledge but a form of knowledge radically different from knowledge in the scientific sense. -
The Theosophical Seal by Arthur M. Coon the Theosophical Seal a Study for the Student and Non-Student
The Theosophical Seal by Arthur M. Coon The Theosophical Seal A Study for the Student and Non-Student by Arthur M. Coon This book is dedicated to all searchers for wisdom Published in the 1800's Page 1 The Theosophical Seal by Arthur M. Coon INTRODUCTION PREFACE BOOK -1- A DIVINE LANGUAGE ALPHA AND OMEGA UNITY BECOMES DUALITY THREE: THE SACRED NUMBER THE SQUARE AND THE NUMBER FOUR THE CROSS BOOK 2-THE TAU THE PHILOSOPHIC CROSS THE MYSTIC CROSS VICTORY THE PATH BOOK -3- THE SWASTIKA ANTIQUITY THE WHIRLING CROSS CREATIVE FIRE BOOK -4- THE SERPENT MYTH AND SACRED SCRIPTURE SYMBOL OF EVIL SATAN, LUCIFER AND THE DEVIL SYMBOL OF THE DIVINE HEALER SYMBOL OF WISDOM THE SERPENT SWALLOWING ITS TAIL BOOK 5 - THE INTERLACED TRIANGLES THE PATTERN THE NUMBER THREE THE MYSTERY OF THE TRIANGLE THE HINDU TRIMURTI Page 2 The Theosophical Seal by Arthur M. Coon THE THREEFOLD UNIVERSE THE HOLY TRINITY THE WORK OF THE TRINITY THE DIVINE IMAGE " AS ABOVE, SO BELOW " KING SOLOMON'S SEAL SIXES AND SEVENS BOOK 6 - THE SACRED WORD THE SACRED WORD ACKNOWLEDGEMENT Page 3 The Theosophical Seal by Arthur M. Coon INTRODUCTION I am happy to introduce this present volume, the contents of which originally appeared as a series of articles in The American Theosophist magazine. Mr. Arthur Coon's careful analysis of the Theosophical Seal is highly recommend to the many readers who will find here a rich store of information concerning the meaning of the various components of the seal Symbology is one of the ancient keys unlocking the mysteries of man and Nature.