ellauri040.html on line 260: Tähän tulee nyt se matriisi, mikä tutkii mitä voidaan päätellä siitä, onko meemitaiteilija ollut eläessään kermaperse, nousukas, laskukas vai pulde. Ristiinluokittelevina kategorioina entiset: kuivuri, puolikuivuri vai märkyrrrri. Hurjan samanmallinen se on kuin isis/mamis sekoitusmatriisi?! Käänteiskorrelaatio on odotuxen mukainen, regressiosuora laskeva. En meinaa kexiä ketään kohtaan nousukas märsyrri, onko se oire jostakin?
ellauri072.html on line 401: Kuviossa on estimoitu regressiomallilla lasten lukumäärän ja onnellisuuden yhteys suhteessa lapsettomiin eri ikäryhmissä. Regressiomalli kontrolloi sukupuolen, tulojen, sosioekonomisen aseman, siviilisäädyn, survey-vuoden ja maiden väliset erot.
ellauri096.html on line 129: A paradox is commonly defined as a set of propositions that are individually plausible but jointly inconsistent. Paradoxes pressure us to revise beliefs in a highly structured way. For instance, much epistemology orbits a riddle posed by the regress of justification, namely, which of the following is false?
ellauri096.html on line 153: The eliminativist, who thinks that ‘know’ or ‘justified’ is meaningless, will diagnose the epistemic paradoxes as questions that only appear to be well-formed. For instance, the eliminativist about justification would not accept proposition (4) in the regress paradox: ‘Some beliefs are justified’. His point is not that no beliefs meet the high standards for justification, as an anarchist might deny that any ostensible authorities meet the high standards for legitimacy. Instead, the eliminativist unromantically diagnoses ‘justified’ as a pathological term. Just as the astronomer ignores ‘Are there a zillion stars?’ on the grounds that ‘zillion’ is not a genuine numeral, the eliminativist ignores ‘Are some beliefs justified?’ on the grounds that ‘justified’ is not a genuine adjective.
ellauri147.html on line 608: Winnicott's theoretical slipperiness has been linked to his efforts to unclify Kleinian views. Yet whereas from a Kleinian standpoint, his repudiation of the concepts of envy and the death wish were a resistant retreat from the harsh realities he had found in infant life, he too has been accused of being too close to his mother, and of sharing in Klein's regressive shift of focus away from the Oedipus complex to the pre-oedipal.
ellauri194.html on line 461: Kriteerin ongelma on tietoteoriassa tiedon lähtökohtaa koskeva ongelma. Kriteerin ongelman mukaan tietämisen haasteena on tosien väitteiden erottaminen epätosista. Ongelma on erillinen ja perustavanlaatuisempi kuin regressioargumentti, joka liittyy tiedon oikeuttamiseen.
ellauri324.html on line 669: regress he encountered upon his return stateside after
ellauri348.html on line 697: Tulokset: ED-pisteet olivat korkeimmat muslimien arabeilla (4,9), jota seurasivat kristityt arabit (4,2), juutalaiset (3,1) ja druusit (2,8). Niiden arvioitu esiintyvyys oli 43,4 %, 37,0 %, 21,4 % ja 17,0 %. Näiden tulosten gradientti pysyi muuttumattomana monimuuttuja-analyysissä ED-pisteiden mukauttamisessa hämmentäviä muuttujia varten. Sitä vastoin hämmentäviä muuttujia kontrolloiva logistinen regressioanalyysi ei löytänyt eroa epäillylle psykopatologialle arabien ja juutalaisten välillä.
ellauri428.html on line 268: According to de Bres’s neat distinction, some narrativists are relationists, who hold that it is the obtaining of certain causal relations among parts of a life that contributes (in part) to its meaningfulness. I, for example, have argued that our lives as agents consist of a succession of (often overlapping) projects, and that other things being equal, it contributes to meaningfulness if later projects build on earlier ones. Here building on the past means, for example, that later projects are more successful or have more valuable aims because of earlier ones, or fulfill aims that were left unrealized earlier. So the claim is that having a progressive structure – rather than a repetitive or disconnected or regressive one – makes a life more meaningful, other things being equal. Lives with such a structure are narratable in a certain kind of story that is apt to arouse admiration or pride, but no one need actually tell the story. (Let me add here parenthetically that it is a real pleasure to read a paper that presents one’s view as accurately and fairly as de Bres does!) De Bres rejects relationism, because she doesn’t believe that the mere existence of a causal relation between parts of a life is the sort of thing that could contribute to value or meaning (8-9). I’ll come back to this below.
ellauri434.html on line 189: In “Kiev — town” Bulgakov gave full rein to his nostalgia for the Kyiv of his childhood and to his antipathy to Ukrainian nationalism. The essay belongs to a genre of modernist city sketches and ironic travel guides that were popular among male prose writers at the time. Vladimir Nabokov’s “Guide to Berlin” and Viktor Shklovsky’s “Petersburg in the Blockade” were published in the same year. Shklovsky’s decision to give Petrograd, soon to be Leningrad, its pre-revolutionary name parallels Bulgakov’s choice to spell place names in the language of the Russian Empire rather than in Ukrainian. For Bulgakov, modernity had brought devastation to the “mother of Russian cities” causing it to regress to the status of a provincial town. His accounts of local opportunists, citizens’ shifting religious and political affiliations, an ugly new sculpture of Karl Marx, and even the actions of the competing armies who tried to seize Kyiv during the Civil War are affectionate and mildly cynical. However, the essay’s ironic comparisons of the former glory of the Russian Empire with its inferior modern Soviet version turn to crude hostility when Bulgakov describes his native city’s burgeoning Ukrainian identity. The section labelled ‘Science, Literature and Art’ contains a single damning word: “none”. Kyiv’s citizens are dependent on American charitable aid and find it hard to believe their fashionably dressed visitor’s stories of Moscow nightlife. Had he wished, Bulgakov could have told a vastly different story of Kyiv in the mid 1920s, one of the “jubilant experimentation” demonstrated in the multilingual title of Irena Makaryk and Virlana Tkacz’s 2017 collection of essays Modernism in Kiev/ Kyiv/ Київ/ Киев/ Kijów/ קייעוו
xxx/ellauri056.html on line 627: Idealistit pukersivat samaa infinite regress kysymystä kuin antiikkiset liikkumattomasta liikuttajasta. Bertrand Russellin vanha mummu tiesi siihen ratkaisun: Its no use Mr. Russell, its turtles all the way down. Ja sitne koittaa kovasti vetää esiin jotain "toista" omasta napanöyhdästä. Turha vaiva: jos kaikki on vaan mä niin eihän sitä toista edes tarvita. Narsismi ja autismi on erottamattomat kuin kaxi munapussia.
xxx/ellauri169.html on line 468: This Finnish film is heavy-handed, regressive, and short-listed for an Oscar.
xxx/ellauri169.html on line 473: Esim venäläisvastainen, Israel-myönteinen näkövinkkeli olisi ollut nyt enemmän kuin paikallaan. Mutta ei, its heavy-handed, tendentious, and regressive! Pahassa ryssämiehessä on muka jotain lieventäviä asianhaaroja. Hah, paskan marjat, paha mikä paha! Ryssä on ryssä vaikka sen voissa paistaisi. Mutta se onkin ulkkareiden oscar-ehdokas. Eine osaa, eivät edes yritä. Missä räväyttävät käänteet, missä car chaset, missä reippaat länkkärit, missä antiryssäily? Eihän tästä tule yhtään mitään, yhtä vätystelevää kuin Aki Kaurismäki. Vitun autistit!
xxx/ellauri250.html on line 433: Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view. When used cannily, it can convey ambiguous neutrality and looming mystery, but, more often, it suggests the merely functional recording of action, which is exactly what’s delivered in “Compartment No. 6,” opening in theatres on Wednesday. The movie sinks, fast and deep, under the weight of dramatic shortcuts, overemphatic details, undercooked possibilities, unconsidered implications. It’s heavy-handed, tendentious, and regressive—and it should come as no surprise that it’s on the fifteen-film shortlist for the Best International Feature Oscar.
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