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Proprietary Aspects of Commercial Remote-Sensing Imagery, 13 Nw
Northwestern Journal of International Law & Business Volume 13 Issue 2 Fall Fall 1992 Proprietary Aspects of Commercial Remote- Sensing Imagery Patrick A. Salin Follow this and additional works at: http://scholarlycommons.law.northwestern.edu/njilb Part of the Science and Technology Commons Recommended Citation Patrick A. Salin, Proprietary Aspects of Commercial Remote-Sensing Imagery, 13 Nw. J. Int'l L. & Bus. 349 (1992-1993) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of International Law & Business by an authorized administrator of Northwestern University School of Law Scholarly Commons. Proprietary Aspects of Commercial Remote-Sensing Imagery PatrickA. Salin * I. INTRODUCTION Remote-sensing is performed by sensors on board a satellite which is usually placed on a low polar orbit so that it may vertically scan the Earth while the Earth is revolving around its axis. Remote-sensing en- ables a very high altitude view of the areas which are covered and since it always follows the same path in a circular movement which is perpendic- ular to the rotation of the Earth, it covers the whole Earth after a few rotations. For example, US Landsat satellites, the initiator in the field, circle the globe fourteen times a day at a 920 km circular and sun-synchronous orbit,1 with a 200 km wide swath.' Their repeat coverage at the Equator is 18 days.3 Resolution of Landsat imagery is 30 m. (i.e. the size of the smallest object which can be identifiable on the basis of picture elements or "pixels"), within a standard image of 185 km by 170 km. -
Durham Research Online
Durham Research Online Deposited in DRO: 11 April 2019 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Sunderland, Luke (2020) 'Visualizing elemental ontology in the Livre des propri¡et¡esdes choses.', Romanic review., 111 (1). pp. 106-127. Further information on publisher's website: https://doi.org/10.1215/00358118-8007978 Publisher's copyright statement: Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Visualizing Elemental Ontology in the Livre des propriétés des choses Luke Sunderland Durham University A major challenge for the humanities and social sciences, according to Bruno Latour, is the need to supersede the model of cultural diversity, which he does not see (as we might expect) as a positive, open-minded stance that valorizes difference. Instead, he holds that to speak of cultural diversity is to suggest that difference is only possible on the level of concepts and vocabulary, stories and beliefs, and to assume that there are objectively knowable truths about the material world that are immune to variation (Inquiry 20). -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Imagery in the Journals Written by the Writing I Students of the English Department of Widya Mandala Catholic University Surabaya
Imagery in the Journals Written by the Writing I Students Of the English Department Of Widya Mandala Catholic University Surabaya Nonce Trisnawaty Abstract. Many students think that writing is a daunting task and, therefore, they cannot write a good composition and journal writing is assigned for writing improvement. One of the aspects in writing a journal is imagery. Imagery is the use of concrete words to replace the abstract ones in order to enable the readers to imagine in everything experienced by the author. This study explored the kinds of imagery which are found in the journals written by the Writing I students of Widya Mandala Catholic University Surabaya. The subjects were eleven students of Writing I. Each student submitted 4 journals. A checklist was used to organize the imagery in the journals. Not all writing journals that were analyzed exposed imagery. Visual and auditory imagery were found. There were forty seven examples of visual imagery and six examples of auditory imagery. The olfactory, gustatory and tactile imagery were not found. Key words: imagery, journal, writing I class Introduction Writing is a way in which people can communicate thoughts and feelings with others graphemically. It is a complex process of language communication and also a creative thinking process (Zuo Huangqi, 2002, p. 197). Hansen (2006) states that writing skills can be the ticket to better college grades and greater academic achievement, even if the students do not study harder and know the material better than others do. Writing allows students to keep permanent records such as journals, and it lets students demonstrate their knowledge on an examination. -
ABOVE AVERAGE MAN by Christopher E
ABOVE AVERAGE MAN By Christopher E. Engler Copyright © MMXX by Christopher E. Engler All rights reserved. ISBN: 978-1-61588-464-3 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Heuer Publishing LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Heuer Publishing LLC. Questions concerning other rights should be addressed to Heuer Publishing LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Heuer Publishing LLC. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged. -
Fanfiction and Imaginative Reading a Dissertation
"I Opened a Book and in I Strode": Fanfiction and Imaginative Reading A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Ashley J. Barner April 2016 © 2016 Ashley J. Barner. All Rights Reserved. 2 This dissertation titled "I Opened a Book and in I Strode": Fanfiction and Imaginative Reading by ASHLEY J. BARNER has been approved for the Department of English and the College of Arts and Sciences by Robert Miklitsch Professor of English Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT BARNER, ASHLEY J., Ph.D., April 2016, English "I Opened a Book and in I Strode": Fanfiction and Imaginative Reading Director of Dissertation: Robert Miklitsch This dissertation studies imaginative reading and its relationship to fanfiction. Imaginative reading is a practice that involves engaging the imagination while reading, mentally constructing a picture of the characters and settings described in the text. Readers may imaginatively watch and listen to the narrated action, using imagination to recreate the characters’ sensations and emotions. To those who frequently read this way, imagining readers, the text can become, through the work of imagination, a play or film visualized or entered. The readers find themselves inside the world of the text, as if transported to foreign lands and foreign eras, as if they have been many different people, embodied in many different fictional characters. By engaging imaginatively and emotionally with the text, the readers can enter into the fictional world: the settings seem to them like locations they can visit, the many characters like roles they can inhabit or like real people with whom they can interact as imaginary friends and lovers. -
Cognitive Mechanisms of Alexithymia in Schizophrenia Investigating the Role of Basic Neurocognitive Functioning and Cognitive B
Psychiatry Research 271 (2019) 573–580 Contents lists available at ScienceDirect Psychiatry Research journal homepage: www.elsevier.com/locate/psychres Cognitive mechanisms of alexithymia in schizophrenia: Investigating the T role of basic neurocognitive functioning and cognitive biases ⁎ Łukasz Gawęda , Martyna Krężołek II Department of Psychiatry, Medical University of Warsaw, Kondratowicza 8, 03-242 Warsaw, Poland ARTICLE INFO ABSTRACT Keywords: Alexithymia is an important but poorly understood emotional deficit in schizophrenia. We aimed at investigating Emotion regulation the role of basic cognitive functions, cognitive biases, and symptom severity in alexithymia among patients with Cognitive distortions schizophrenia. Sixty patients (31 females) with schizophrenia were assessed with standardized clinical inter- Cognition views for symptom severity. Cognitive functioning was assessed with neuropsychological tests. A self-report Psychosis scale (Davos Assessment of Cognitive Biases, DACOBS), as well as two experimental tasks assessing jumping to Hallucinations conclusions (the Fish task) and source monitoring (Action memory task), were used to investigate cognitive biases. Alexithymia was assessed with the Toronto Alexithymia Scale (TAS-20). Alexithymia was related to the severity of hallucinations but not delusions. Patients with a lifetime history of more psychotic symptoms had higher alexithymia. Alexithymia has broad relationships with different cognitive biases, especially in the self- reported measure. These relationships were -
A Cultural Theory of Mary Sue Fan Fiction As Fair
Everyone's a Superhero: A Cultural Theory of "Mary Sue" Fan Fiction as Fair Use Anupam Chander t Madhavi Sunder tt Lieutenant Mary Sue took the helm of the Starship Enterprise,saving the ship while parrying Kirk's advances. At least she did so in the unofficial short story by Trekkie Paula Smith. "Mary Sue" has since come to stand for the insertion of an idealized authorial representative in a popular work. Derided as an exercise in narcissism, Mary Sue is in fact a figure ofsubaltern critique, challenging the stereotypes of the original.The stereotypes of popular culture insinuate themselves deeply into our lives, coloring our views on occupations and roles. From Hermione Granger-led stories, to Harry Potter in Kolkata, to Star Trek same-sex romances, Mary Sues re-imagine our cultural landscape,granting agency to those denied it in the popular mythology. Lacking the global distribution channels of traditional media, Mary Sue authors now find an alternative in the World Wide Web, which brings their work to the world. Despite copyright law's grant of rights in derivative works to the original's owners, we argue that Mary Sues that challenge the orthodoxy of the originallikely constitutefair use. The Mary Sue serves as a metonym for all derivative uses that challenge the hegemony of the original. Scholars raise three principal critiques to such fair use: (1) why not write your own story rather than borrowing another's? (2) even ifyou must borrow, why not license it? and (3 won't "recoding" popular icons Copyright © 2007 Anupam Chander and Madhavi Sunder. -
DIDLS Diction, Imagery, Details, Language, and Syntax Use Diction to Find Tone
DIDLS Diction, Imagery, Details, Language, and Syntax Use diction to find tone. Use imagery, details, language and syntax to support tone. TONE Author's attitude toward the subject, toward himself, or toward the audience. DICTION Adjectives, nouns, verbs, adverbs, negative words, positive words, synonyms, contrast. Look at the words that jump out at you - Evaluate only those words to find tone Also look at: Colloquial (Slang) Old-Fashioned Informal (Conversational) Formal (Literary) Connotative (Suggestive meaning) Denotative (Exact meaning) Concrete (Specific) Abstract (General or Conceptual) Euphonious (Pleasant Sounding) Cacophonous (Harsh sounding) Monosyllabic (One syllable) Polysyllabic (More than one syllable) • Describe diction (choice of words) by considering the following: 1. Words can be monosyllabic (one syllable in length) or polysyllabic (more than one syllable in length). The higher the ratio of polysyllabic words, the more difficult the content. 2. Words can be mainly colloquial (slang), informal (conversational), formal (literary) or old-fashioned. 3. Words can be mainly denotative (containing an exact meaning, e.g., dress) or connotative (containing suggested meaning, e.g., gown) 4. Words can be concrete (specific) or abstract (general or conceptual). 5. Words can euphonious (pleasant sounding, e.g., languid, murmur) or cacophonous (harsh sound, e.g., raucous, croak). IMAGERY Creates a vivid picture and appeals to the senses Alliteration repetition of consonant sounds at the start of a word The giggling girl gave gum. -
Web-Based Chinese Fanfic of Jane Austen Jin Feng Grinnell College
Time-Travel to P & P: Web-based Chinese Fanfic of Jane Austen Jin Feng Grinnell College Occupying a secure place in both “the solemn pantheon of classic English literature and the exuberantly commercial realm of pop culture” in the West,1 Jane Austen’s works are also generating enthusiastic fans on the Chinese cyberspace. Chinese fans may not possess the same background knowledge demonstrated by those who call themselves “Janeites,” who show “self-consciously idolatrous enthusiasm for ‘Jane’ and every detail relative to her” in the histories of English and American literature, 2 or by users at the Republic of Pemberley, a renowned English-language website featuring lore, fan fiction (fanfic), and discussion related to all things Austen. They may also lack resources to partake in the wide variety of Austen-themed conferences, balls, and tourism enjoyed by their Western counterparts.3 But they more than make up for the ostensibly limited scope and depth of their engagements through creative and passionate rewritings, reinterpretations, and debates of the original on the Chinese Web. In this article, I examine a group of Chinese-language web-based fanfic works of Austen’s Pride and Prejudice (P& P) published at Yaya Bay, a U.S.-based discussion forum catering to world-wide Chinese speaking audiences. By examining specific themes, literary devices, and discussions, I show that the production and consumption of these 1 Deborah Yaffe, Among the Janeites: A Journey Though the World of Jane Austen Fandom (Boston and New York: Mariner Books, Houghton Mifflin Harcourt, 2013), xvii. 2 Claudia L. Johnson, “Austen Cults and Cultures”, in Edward Copeland and Juliet McMaster eds., The Cambridge Companion to Jane Austen, (Cambridge: Cambridge University Press), 211-226. -
History of the Future
History of the Future: www.soundcloud.com/jepilkin/hotf By: Brittney McKoy, Catherine Studer, and Johnathan Pilkington Key: B: Brittney J: Johnny C: Catherine *Intro Music* J: Like I was saying, before we get into things let’s once again define science fiction to our B: Hey everyone, welcome back to History of listeners. the Future - where three nerds talk about the sci-fi stuff they love. I’m Brittney. C: We know you guys have heard it about a million times, but just in case we have some J: I’m Johnny. new listeners, we’d like to lay it out for you again. C: And I’m Catherine. J: New listeners? Unrealistic. B: And we’re so excited to welcome you back for our topic of the week. B: Hey, be positive! You know, sci-fi in its broadest definition is “literature that makes J: Before we jump into things- the improbable possible.” B: Jump through time and space? C: So hello, improbable new listeners. 66 | RhetTech B: You too? J: Introducing the mother of sci-fi and the monster story you all know and love- J: So the definition of sci-fi we’re working with is the one we found from the good old C: Come on, every time. Please. encyclopedia britannica. It says, “science fiction is a form of fiction that deals primarily J: Mary Shelley and Frankenstein. with the impact of actual or imagined science upon society or individuals.” C: Why does she come up every time? We don’t need to keep doing this. -
Pride Goeth Before a Fall
Pride Goeth Before a Fall Rachel VanderWoude ________________________________________________________________________________________________ Suggested Citation: VanderWoude, Rachel. “Pride Goeth Before a Fall.” Paper presented at the Ambrose Research Conference, Calgary, AB, April 4, 2018. Please consult your style guide when citing this resource. Available at: https://ambrose.whdl.org/ Posted with permission of rights holder. This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License. VanderWoude 2 Pride Goeth Before a Fall Rachel VanderWoude The character of Satan in John Milton’s Paradise Lost is a subject of heavy debate among Milton scholars. Some, like C.S. Lewis, believe that Satan is a villain through and through, and any sympathy towards him shows the reader to be an atheist, or at the very least, not firmly Christian. Others, like William Blake, claim that Milton was “of the devil’s party without knowing it,” and consider Satan to be a tragic hero rather than a villain (Blake 88). The latter is an especially convincing argument when studying Paradise Lost as a tragedy, since one of the key elements of tragedy is hamartia, the hero’s fatal flaw or error in judgement that inevitably brings about their downfall. For the most part, Satan certainly seems to fit the stereotype, but it is problematic to argue for his heroism and virtue in light of his mistakes. Perhaps this is because Paradise Lost is not a tragedy, at least not fully, and cannot be read as such without some serious difficulties. However, while Satan may not be able to fit the stock character of a tragic hero, he is not without a fatal flaw.