ellauri019.html on line 50: In seinem Hauptwerk Der Untergang des Abendlandes richtet sich Spengler gegen eine lineare Geschichtsschreibung, die die Geschichte „der Menschheit“ als Geschichte des Fortschritts erzählt. Stattdessen vertritt er eine Zyklentheorie, nach der immer wieder neue Kulturen entstehen, eine Blütezeit erleben und sich durch eine Phase des Verfalls vollenden und untergehen.
ellauri035.html on line 1072: Sen puuhastelu taitaa olla osallistuvaa havainnointia akateemisissa apinalaumoissa. Uusia muotoja tarvitaan koulufilosofiaankin, uusia labroja. Mitä sen uusissa labroissa puuhastellaan jää aika hämäräx. Käsitetyötä, ei siis käsityötä, eikä käsityölehtiä. Meemejä tutkitaan uusilla ovelilla tavoilla, niin ainakin rahoittajille luvataan. Eihän ne mitään ymmärrä kuitenkaan. Se nyysii Foucaultilta, toiselta rättikauppiaalta, History of the Present, ja tekee siitä Anthropology of the Contemporary. Vähemmän iskevä, mun miälestä. Sehän plagioi kuin Zizek, paizi ei izeään, vaan Foucaultia. Kunnon lipilaaristi se haluu osottaa et nykyisyys on rahanheittoa, ja sixi tulevaisuuskin voi olla mitä tahansa. Kovasti ähkäisten se äkistää ulos tän neronleimauxen: contemporary “is a moving ratio of modernity, moving through the recent past and near future in a (non-linear) space. Eli vähän vanhaa, vähän uutta, vähän lainattua, vähän sinistä. Bravo Polle! Sä teit sen! Mikä pukerrus! Tais peräpukamat olla kovilla!
ellauri065.html on line 507: (vulgar, slang) Short for Mother I´d Like to Fuck, a (putative) senior mother found sexually attractive by younger men. Synonym: yummy mummy. See also cougar, DILF, GLM (statistics) initialism of generalized linear model. Etymology 2: Initialism of Moro Islamic Liberation Front. An organization in the Philippines seeking to establish an Islamic state on the island of Mindanao.
ellauri097.html on line 237: Jönsykin ihmettelee mixi olen kiinnostunut kirjailijoiden taustoista ja taipumuxista. Mitä esim. kirjailijan kuvaan lisää se tieto että se on homo. Osaahan se sen izekin kertoa josse on tärkeää, ja paremmin kuin sä. Niinpä tietysti, ellei ole elämä-ja-teos linjan kirjallisuudenharrastaja. Me biografistit ei olla kiinnostuneita sitiä mitä kirjailija sanoo, vaan siitä mixi se sanoo mitä se sanoo. Ja siihen kysymyxeen voi hyvin olla osavastaus että se on hinaaja. Muita lupaavia muuttujia linear ja mixed modeliin näyttäs olevan heimo, vanhemmat ja kotiolot, ulkonäkö sekä uskonto.
ellauri098.html on line 66: Vois tehdä TV troppimaisesti tiivistelmiä mailmankirjallisuuden ja muun paskaviihteen juonista johtotähtenä EAT! EAT! FUCK! FUCK! KILL! KILL!. Siis jätä pois kaikki muu paizi reviirit, lisääntyminen ja kuolemat. Montako erilaista kirjaa jää jälelle. Ja sitten sama apinoista jotka kirjoittivat ne, sekä linear/mixed model joka selittää edellisen jälkimmäisestä.
ellauri098.html on line 175: According to Propp, based on his analysis of 100 folktales from the corpus of Alexander Fyodorovich Afanasyev, there were 31 basic structural elements (or 'functions') that typically occurred within Russian fairy tales. He identified these 31 functions as typical of all fairy tales, or wonder tales [skazka] in Russian folklore. These functions occurred in a specific, ascending order (1-31, although not inclusive of all functions within any tale) within each story. This type of structural analysis of folklore is referred to as "syntagmatic". This focus on the events of a story and the order in which they occur is in contrast to another form of analysis, the "paradigmatic" which is more typical of Lévi-Strauss's structuralist theory of mythology. Lévi-Strauss sought to uncover a narrative's underlying pattern, regardless of the linear, superficial syntagm, and his structure is usually rendered as a binary oppositional structure. For paradigmatic analysis, the syntagm, or the linear structural arrangement of narratives is irrelevant to their underlying meaning.
ellauri159.html on line 1289: You are a conceptualizer who tends to explore a narrow topic deeply. Guys like you take a systems approach, rather than a linear one, during the planning stage. They do a website not just a text! You start a project early to test the concept, then quickly drive toward the conclusion. Once the competitors´ bones are in place, you further develop the content, adding facts to flesh out their ideas. You may find it useful during revision to challenge yourself to consider alternatives, rather than locking yourself in to your original premise. Oh, why bother, since you got it all figured out already.
ellauri172.html on line 163: «Nella città di Asti, in Piemonte, il 17 gennaio dell'anno 1749, io nacqui di nobili, agiati ed onesti parenti». Così Alfieri presenta se stesso nella Vita scritta da esso, autobiografia stesa, per la maggior parte, intorno al 1790, ma completata solo nel 1803. Alfieri ebbe un'attività letteraria breve ma prolifica e intensa; il suo carattere tormentato, oltre a delineare la sua vita in senso avventuroso, fece di lui un precursore delle inquietudini romantiche.
ellauri189.html on line 129: landscape. Communing with the monotonous plain that extends as far as the horizon, where it melts into the heaven, the author discovers that “mood” (Heidegger’s Gestimmtsein) is the fundamental human mode of being-in-the-world. The level plain and the hemisphere (earth and heaven) constitute a spatial totality that is self-enclosed: Being combines flatness with the curve of the hemisphere, the linear with the cyclical perspective (from an empirical point of view only half of its orbit is visible to man though he can of course turn around to see the rest of it):
ellauri189.html on line 199: The centre of our planetary system is the visible sign of the infinity of immanence and contains the cyclical essence of being, not merely indicating this con-dition, but also embodying it: this celestial body is subject to an infinite movement without apparent linear direction. But the stages of the sun’s voyage could also be interpreted as stages of human life (birth, youth, maturity, old age) and this circumstance inclines man to perceive a similarity between a celestial body and a feeling sublunary body (does man deceive himself, thinking it a bond of
ellauri189.html on line 202: However, romantics aside, in reality these entirely different bodies share only one quality: they race towards nothingness, like all phenomena, either hurrying towards an unknown distance (the linear perspective), or turning around with the
ellauri189.html on line 209: with its receding horizon, melting into heaven, shows two different countenances of infinity. Man may spontaneously recognize the identity of linear and cyclical infinity, but the basis of this identity is not an empirically established fact, but an assumption, a matter of belief. The wheel of Karma is not so different from Schopenhauers endless rounds of the lush parks of Frankfurt following the dark star behind his poodle Atman.
ellauri210.html on line 1310: It is based on Breton's actual "interactions" with a young woman, Nadja (actually Léona Camille Ghislaine Delacourt 1902–1941), over the course of ten days, and is presumed to be a semi-autobiographical description of his relationship with a patient of Pierre Janet. The book's non-linear structure is grounded in reality by references to other Paris surrealists such as Louis Aragon and 44 photographs. Tästä E. Saarinen lie ottanut postmodernia mallia.
ellauri210.html on line 1316: The narrator, randomly named André, ruminates on a number of Surrealist principles, before ultimately commencing (around a third of the way through the novel) on a narrative account, generally linear, of his brief ten-day affair with the titular character Nadja. She is so named “because in Russian it's the beginning of the word hope, and because it's only the beginning,” but her name might also evoke the Spanish "Nadie," which means "No one." The narrator becomes obsessed with this woman with whom he, upon a chance encounter while walking through the street, strikes up conversation immediately. He becomes reliant on daily rendezvous, occasionally culminating in romance (a kiss here and there). His true fascination with Nadja, however, is her vision of the world, which is often provoked through a discussion of the work of a number of Surrealist artists, including himself. While her understanding of existence subverts the rigidly authoritarian quotidian, it is later discovered that she is mad and belongs in a sanitarium. After Nadja reveals too many details of her past life, she in a sense becomes demystified, and the narrator realizes that he cannot continue their relationship.
ellauri214.html on line 549: This blurring of fact and fiction is intentional. Tokarczuk tells me she is often asked “Why we central Europeans don’t use a classical linear narrative, and my answer is that we don’t have such a history. Our perception is different. Poland was once a powerful imperial country that disappeared from maps of Europe for more than 100 years. It was partitioned and occupied by the Nazis and the Russians . . . We pop up and disappear and we do not trust what we are told to believe.”
ellauri267.html on line 97: Based on the novel by Walter Wager, "Telefon" has not aged well because it'(TM)s so dependent on the cold war tension that existed between the USSR and the US in the Seventies. The film is basically a cat-and-mouse game with Soviet agent Major Grigori Borzov (Charles Bronson, that's right Bronson is a commie) tracking rogue Russian scientist Nicolai Dalmchimsky (Donald Pleasence) across America to prevent him from activating sleeper agents. Borzov is assisted by Barbara (Lee Remick. fresh from "The Omen") who asks more annoying questions than necessary, leading the audience to believe she may not be completely true to the motherland. The film's middle section is dragged down by repetitive bomb scares. Dalmichimsky is working from outdated intelligence so his targets are all de-classified U.S. Military installations. Once Borzov realizes the pattern and hones in the next target the action shifts to a more linear chase that'(TM)s further heightened by Barbara'(TM)s loyalties. But the ultimate showdown is deflating because beyond some silly disguises Pleasence's Dalmichimsky is never built up to be a threat. Director Don Siegel uses his flair for montage to craft a his action sequences without dialogue. "Telefon" is a road movie, much like Alfred Hitchcock's "Saboteur" and "North by Northwest" had their leads criss-crossing America here we see plenty of seventies architecture including San Francisco's Hyatt Regency Hotel (used in "The Towering Inferno") and a modernist house resting on top of a barren rock outcropping. The supporting cast is uniformly good (but trapped in underwritten roles), and it'(TM)s nice to see veteran character actors Alan Badel and Patrick Magee playing snotty KGB strategists, and Tyne Daly in a small (and ultimately irrelevant role) as a computer geek. Trivia note: The poem that activates the Russian sleeper agents was used by Quentin Tarantino in "Death Proof" as the lines Jungle Julia has her listeners recite to Butterfly. The lines are an excerpt of the poem "Stopping by Woods on a Snowy Evening" by Robert Frost. "The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep."
ellauri285.html on line 763: Building on research by Barbara Fredrickson suggesting that individuals with a higher ratio of positive to negative emotions tend to have more successful life outcomes, and on studies by Marcial Losada applying differential equations from fluid dynamics to human emotions,[citation needed] Fredrickson and Losada proposed as informative a ratio of positive to negative affect derived from nonlinear dynamics modelling (based on Lorenz systems), which appeared in 2005 in a paper in American Psychologist. The derived combination of expressions and default parameters led them to conclude that a critical ratio of positive to negative affect of exactly 2.9013 separated flourishing from languishing individuals, and to argue that the ideal positivity/negativity ratio lies between 2.9013 and an upper limit ratio of 11.6346. Hence, they claimed that their model predicted cut-off points for the minimum and maximum positivity ratios within which one should observe qualitative changes in an individual´s level of flourishing, specifically, that those within this range of ratios would "flourish", and those outside would "languish".[non-primary source needed] As of January 2014, the 2005 Fredrickson and Losada´s paper had been cited more than 320 times in the psychology literature.
ellauri285.html on line 775: With regard to these, and especially the last, the Brown-Sokal-Friedman rebuttal argues that it is likely that Fredrickson and Losada did not fully grasp the implications of applying nonlinear dynamics to their data. Brown, Sokal, and Friedman state that one can only marvel at the astonishing coincidence that human emotions should turn out to be governed by exactly the same set of equations that were derived in a celebrated article several decades ago as a deliberately simplified model of convection in fluids, and whose solutions happen to have visually appealing properties. An alternati
ellauri285.html on line 776: ve explanation – and, frankly, the one that appears most plausible to us – is that the entire process of "derivation" of the Lorenz equations has been contrived to demonstrate an imagined fit between some rather limited empirical data and the scientifically impressive world of nonlinear dynamics.
ellauri285.html on line 788: Marcial Francisco Losada was born in 1939 in Chile.[citation needed] He received a Ph.D. in organizational psychology from the University of Michigan. After finishing his doctoral work, Losada served as a Center for Advanced Research (CFAR) in Ann Arbor, Michigan.[when?][citation needed] In his career, Losada developed a nonlinear dynamics model, the meta learning model, to show dynamical patterns achieved by high, medium and low performing teams, where performance was evaluated based on profitability, customer satisfaction, and 360-degree feedback.[citation needed]. In pursuing these goals, he founded and served as executive director of Losada Line Consulting, which had presented past workshops and seminars at companies including Apple, Boeing, EDS, GM, and Merck, and foundations including the Kellogg and Mellon Foundations, with high performance team-building contracts at BCI, Banchile, BHP-Billiton, Codelco, and Telefónica [better source needed].
xxx/ellauri167.html on line 620: The Illuminatus! Trilogy is a series of three novels by American writers Robert Shea and Robert Anton Wilson, first published in 1975. The trilogy is a satirical, postmodern, science fiction–influenced adventure story; a drug-, sex-, and magic-laden trek through a number of conspiracy theories, both historical and imaginary, related to the authors´ version of the Illuminati. The narrative often switches between third- and first-person perspectives in a nonlinear narrative. It is thematically dense, covering topics like counterculture, numerology, and Discordianism.
xxx/ellauri225.html on line 278: Several of Le Guin´s works have featured stylistic or structural features that were unusual or even subversive. The heterogeneous structure of The Left Hand of Darkness, described as "distinctly post-modern" (eek!), was unusual for the time of its publication. This was in marked contrast to the structure of (primarily male-authored) traditional science fiction, which was straightforward and linear. The novel was framed as part of a report sent to the Ekumen by the protagonist Genly Ai after his time on the planet Gethen, thus suggesting that Ai was selecting and ordering the material, consisting of personal narration, diary extracts, Gethenian myths, and ethnological reports. Earthsea also employed an outlandishly unconventional narrative form described by scholar Mike Cadden (Princeton U Senior Lecturer in Theater) as "free indirect discourse", in which the feelings of the protagonist are not directly separated from the narration, making the narrator seem sympathetic to the characters, and removing the skepticism towards a character´s thoughts and emotions that are a feature of more direct narration. Cadden suggests that this method leads to younger readers sympathizing directly with the characters, making it an effective technique for young-adult literature like Flaubert or Zola.
xxx/ellauri261.html on line 146: Itsekeskeinen nautiskelu ja elämysten kokeminen on tärkeää. Tätä trendiä ei lainkaan tunnettu kirkkoisien aikana. Olemme suorittajina elämysten meressä, missä luonnollakin on vain välinearvonsa elämysten tuottajana, elämysteollisuudessa. Ihmistä ei ole olemassa subjektina, puuttuu hiljaisuus, puuttuu pyhyys ja pyhäinkuvien hypistely.
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xxx/ellauri287.html on line 181: A: Olen törmännyt tähän nyt ratkaistuun Q:iin vasta vuoden 2021 alussa. AV Interlinearissa Apostolien tekojen 16:17 kreikankielisessä tekstissä on pieni sanaero sen ja Interlinearsin välillä, jotka käyttävät Westcott & Hort -kreikankielistä tekstiä, jota useimmat nykyaikaiset käännökset käyttävät. Kreikan sanan alla, joka on käännetty "pelastuksen tie", kirjaimellinen englanti tarkoittaa itse asiassa "eräs pelastustie". Se on käännetty Youngin kirjaimellisessa käännöksessä "pelastuksen tie". Eli
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