Lexical Semantics in Ancient Egyptian. Edited by Eitan Grossman; Stéphane Polis; and Jean Winand. Lingua Aegyptia Studia Monographica, vol. 9. Hamburg: Widmaier Verlag, 2012. Pp. vi + 486. €69.

Dating Egyptian Literary Texts. Edited by Gerald Moers; Kai Widmaier; Antionia Giewekmeyer; Arndt Lümers; and Ralf Ernst. Lingua Aegyptia, Studia Monographica, vol. 11. Hamburg: Widmaier Verlag, 2013. Pp. xiv + 653. Linguistic Dating of Middle Egyptian Literary Texts. By Andréas Stauder. Lingua Aegyptia, Studia Monographica, vol. 12. Hamburg: Widmaier Verlag, 2013. Pp. xx + 568.

This profound analysis of the nature of art is the culmination of a series of essays and polemics on issues of morality, social justice, and religion. Considering and rejecting the idea that art reveals and reinvents through beauty, Tolstoy perceives the question of the nature of art to be a religious one. Ultimately, he concludes, art must be a force for good, for the progress and improvement of mankind. For more than seventy years, Penguin has been the leading publisher of (...) classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. (shrink)

I. The function of models in the empirical sciencesII. Structure and purpose: conditions of a structural nature which models should satisfy in order to accomplish their function.III. Generalisation and specialisation of the classical definition of model, in view of the above requirements:the algebraic model conceptthe semantic model conceptthe syntactical model conceptIV. Attempt towards reunification: the concept of model on a pragmatic basis.

Natural right and the historical approach -- Natural right and the distinction between facts and values -- The origin of the idea of natural right -- Classic natural right -- Modern natural right : Hobbes ; Locke -- The crisis of modern natural right : Rousseau ; Burke.

Name der Zeitschrift: Paragrana Jahrgang: 25 Heft: 1 Seiten: 373-399.

This study investigates switching costs in landmark-based wayfinding using olfactory and visual landmark information. It has already been demonstrated that there seem to be no switching costs, in terms of correct route decisions, when switching between acoustically and visually presented landmarks. Olfaction, on the other hand, is not extensively focused on in landmark-based wayfinding thus far, especially with respect to modality switching. The goal of this work is to empirically test and compare visual and olfactory landmark information with regard to (...) their suitability for wayfinding including a modality switch. To investigate this, an experiment within a virtual environment was conducted in which participants were walked along a virtual route of 12 intersections. At each intersection, landmark information together with directional information was presented, which was to be memorized and recalled in the following phase, either in the same or in the other modality. The results of the study show that, in contrast to the no-switching costs between auditory and visual landmarks in previous studies, switching costs occur when switching modality from visual to olfactory and vice versa. This is indicated by both longer decision times and fewer correct decisions. This means that a modality switch involving olfactory landmark information is possible but could lead to poorer performance. Therefore, olfaction may still be valuable for landmark-based-wayfinding. We argue that the poorer performance in the switching-condition is possibly due to higher cognitive load and the separate initial processing of odors and images in different cognitive systems. (shrink)

This article continues the author's research devoted to the study of the problem of choreographic interpretations of literary works, in particular, John Neumeier's ballet "Anna Karenina". In this work, the identification of expressive staging means and choreographic elements used by Neumeier in the production of duets by Anna Karenina and Alexei Vronsky is carried out in order to determine the place of these choreographic fragments in the performance, as well as their significance for the author's interpretation of the images of (...) the main characters of the novel by Leo Tolstoy. In the course of the research, the author applied comparative-historical, ideological-artistic and analytical methods, as well as the method of included observation. In the course of the source analysis, video materials from the archives of the Hamburg Ballettzentrum and the Moscow Bolshoi Theater were used, as well as lectures conducted by Neumeier before the Moscow premiere of Anna Karenina. A detailed analysis of the dance score of three duets by Anna and Vronsky revealed traditional and innovative author's solutions related to the new research results. So, Neumeier uses such staging means as the compilation of Tchaikovsky and Schnittke's music; the inclusion of symbolic images in the choreographic canvas; the appearance of other characters; the use of stage lighting to accentuate the transition from reality to the sphere of the subconscious; active choreographic development based on a technically saturated duet dance, replete with high supports in the neoclassical style, as well as acrobatic elements; semantic use of plastic quotations. It can be concluded that in order to develop the images and relationships of Anna Karenina and Alexey Vronsky, the choreographer chooses a duet as the dominant musical and choreographic form. Moreover, in his version of Anna Karenina, Neumeier makes three duets of the main characters a key component of the performance and the author's interpretation of the images of the main characters. (shrink)

The Securities and Exchange Commission (SEC) sanctioned investor-paid rating agency Egan-Jones for falsely stating that it did not know its clients’ investment positions. The SEC’s action against Egan-Jones raises the broad question whether knowledge of clients’ investment positions creates a conflict of interest for investor-paid ratings. In an experimental setting, we find that investor-paid rating agencies are likely to assign credit ratings that are biased in favor of their clients’ positions, and that this effect is attenuated when the rated company (...) has a sophisticated investor base that is expected to scrutinize ratings. The effect is not conditional on the risk profile of the rated companies. Taken together, our findings suggest that a conflict of interest stemming from investors’ preferences is likely to bias ratings under investor-pays business models, but scrutiny by the company’s investor base can counteract this bias. (shrink)

En su obra Mil mesetas, Deleuze y Guattari ofrecen una perspectiva singular sobre el lenguaje, concebido como un sistema de signos interconectados y fluidos, donde el significado surge de las relaciones intrincadas dentro de este sistema. Este artículo evalúa la influencia de Deleuze y Guattari en la lingüística contemporánea y explora las diferencias entre su enfoque y la lingüística estructural propuesta por Saussure. Deleuze y Guattari introducen la noción de máquina como un quiebre radical con los enfoques estructurales tradicionales, al (...) concebir el lenguaje como un sistema dinámico y en constante transformación. Este enfoque contrasta con la lingüística estructural, que concibe el lenguaje como un sistema estático y autónomo. (shrink)

Throughout the long centuries of western metaphysics the problem of the infinite has kept surfacing in different but important ways. It had confronted Greek philosophical speculation from earliest times. It appeared in the definition of the divine attributed to Thales in Diogenes Laertius (I, 36) under the description "that which has neither beginning nor end. " It was presented on the scroll of Anaximander with enough precision to allow doxographers to transmit it in the technical terminology of the unlimited (apeiron) (...) and the indeterminate (aoriston). The respective quanti tative and qualitative implications of these terms could hardly avoid causing trouble. The formation of the words, moreover, was clearly negative or privative in bearing. Yet in the philosophical framework the notion in its earliest use meant something highly positive, signifying fruitful content for the first principle of all the things that have positive status in the universe. These tensions could not help but make themselves felt through the course of later Greek thought. In one extreme the notion of the infinite was refined in a way that left it appropriated to the Aristotelian category of quantity. In Aristotle (Phys. III 6-8) it came to appear as essentially re quiring imperfection and lack. It meant the capacity for never-ending increase. It was always potential, never completely actualized. (shrink)