The article considers the nature of series as a narrative, focusing especially on its chronotope, i.e. its spatiotemporal coordinates. The concept of chronotope can be applied at at least two different levels of the interpretation of a narrative: the real world of reception and the expressive form of narration. The impact of series entails both aspects. It is for this reason that series, once on television then on the internet, represented a revolutionary turn in the modern experience of (...) storytelling. Series are therefore bound to the progressive spread of a new form of sociality known as a digital “total mobilisation”. Since the era of TV series up to the emergence of web series, seriality has been able to regulate the increase of interaction in the use of visual devices. Series play the role of a dietetical regulator, which designs the spectators’ attention. An artistic, i.e. experimental, exploitation of this new form of storytelling is possible when one considers the emergence of a new narrative genre, which we propose to call the “short form”. (shrink)

Jurisdiction, Scale and Governance: Chronotopes of Law develops a post-metaphysical framework for analyzing the spatio-temporal workings of law and other forms of governance. In this regard, it does not seek merely to combine analyses of legal temporality carried out by anthropologists with analyses of law and space carried out by geographers and socio-legal scholars. Adding two metaphysical abstractions together does not produce anything but somewhat more complex, but equally metaphysical, abstractions. After Kant, 'time' and 'space' are simply categories of human (...) understanding, not metaphysical entities. And, in this book Mariana Valverde develops an anti-metaphysical theoretical approach to law that aims not to theorize the world in general, but rather to be useful to researchers who seek to shed light on the actual workings of law and other forms of governance. Written by one of the foremost theorists in the area, this theoretically innovative work constitutes a major contribution to contemporary studies in law and society. (shrink)

The Epic of Gilgamesh is a story full of thresholds, liminal spaces, and times of transition. This essay investigates the representation of time and space in Gilgamesh, employing Mikhail Bakhtin’s concept of the “chronotope.” The chronotope is a methodological tool that Bakhtin developed to compare changing depictions of time and space across the history of literature, and I argue that the Epic of Gilgamesh employs what Bakhtin terms “the chronotope of the threshold.” I examine four aspects of (...) this chronotope: the depiction of space, the depiction of time, the human characteristics associated with the chronotope, and its relation to the textuality of the epic. I argue that space in Gilgamesh is structured as a mosaic sequence of externally different but internally homogenous spaces, separated by highly symbolic thresholds. Likewise, the passage of time is repeatedly depicted as transformative, through such temporal markers as the “six days and seven nights,” or “the very first glimmer of dawn.” Further, it is shown that this particular arrangement of space and time, both in Gilgamesh and in Ishtar’s Descent, is associated with characters who are driven by powerful but obscure forces within themselves, crossing thresholds that lead to their undoing. The essay closes with a consideration of how the epic’s depiction of thresholds is related to the threshold of textuality itself, that is, the line that separates reality from representation. (shrink)

Problem Statement. In modern conditions the reconstruction of self-developing socio-technological- ecological systems, which include man as its element, is actualized. The result of such a construction will be the management of the value of technogenic risk in its biological, social and civilizational forms. And the obvious consequence will be the transition of the development of biopolitical problems to a new, no longer international, but global-evolutionary level. The theory and practice of such a reconstruction can be designated by the category of (...) “Transbiolitics,” which implies the political institutionalization of “ecological re整ection. The article is a logical continuation of our previous publication devoted to the analysis of the transformation of the political process into the main factor of global evolution and the biopolitical transformation of the geopolitical landscape. The purpose of this paper is to create a general sketch of the con散guration of the main trends of the coevolutionary interaction of biological, sociocultural and techno-rationalist modules of the stable evolutionary strategy of the technogenic civilization in the space of bio- and geopolitical connotations of international relations. Based on a combination of methods of conceptual, discursive and political-anthropological analysis (in the context of transbiolitical paradigm) the content of the category “Transbiolitical Chronotope” is revealed: a geopolitically di䍕erentiated set of socio-cultural vectors of modern civilization evolution. In other words, the trans-biopolitical chronotope determines the direction of inclusive technological transformation of both cultural and ecological niche and the biosocial nature of man. The general conclusion/prognosis can be reduced to two theses. Firstly, transbiolitics, formed in a di䍕erentiated cultural-civilizational context, is currently being integrated into the general political process, partially replacing and partially intertwining with geopolitical doctrines in the sphere of international relations. Secondly, the growing con整ict of technological civilization with the cultural and ecological niche constructed by it through the turbulence of the geopolitical sphere of social life can bring the level of technological and civilizational risk to the existential boundary. (shrink)

In serial verb constructions (SVCs), multiple independent lexical verbs are combined in a mono-clausal construction. SVCs express a range of grammatical meanings and are attested in numerous spoken languages all around the world. Yet, to date only few studies have investigated the existence and functions of SVCs in sign languages. For the most part, these studies—including a previous study on Sign Language of the Netherlands (NGT)—relied on elicited data. In this article, we offer a cross-modal typological contribution to the study (...) of SVCs by investigating the phenomenon based on naturalistic corpus data from NGT. A search of the Corpus NGT yielded 41 mono-clausal utterances in which one of a closed set of verbs—namely go, give, take, and call —combines with another lexical verb. While the combinations we found are in important respects reminiscent of SVCs described for spoken languages, our data also confirm the previous finding that the fixed verb in the SVC serves to express agreement (by means of spatial modulation) when the other verb cannot do so. In addition, we identified some novel uses of the verbs go and give: (i) go functioning as a future tense marker and (ii) give functioning as a light verb. We will also discuss aspects of the grammaticalization of SVCs in NGT: from lexical verb to light verb to auxiliary, again offering some comparison to grammaticalization paths described for spoken languages. (shrink)

RESUMO Este artigo propõe o uso do conceito de cronotopo para analisar a obra literária de emigrantes russos da primeira onda na França. O artigo se concentra na representação artística de mundo da comunidade de emigrantes russos em Paris, ao explorar os poemas de Irina Knorring, uma representante da jovem geração da primeira onda de emigrantes russos. Nesses poemas, a figura do emigrante russo assume uma posição central. Ao examiná-los, esta pesquisa identifica os motivos e as imagens recorrentes, dotados de (...) sentidos espaciais e temporais, e discute aspectos específicos do cronotopo de Paris. Em seus poemas, Knorring explora não só o mundo interior e as particularidades dos indivíduos, mas também reflete sobre os acontecimentos da vida e sobre o destino comum dos refugiados russos no exílio. Nas obras da poeta, o cronotopo serve como um elemento indispensável, estabelecendo uma unidade espacial e temporal coesa, que permite aos leitores perceberem a imagem dos emigrantes russos na Europa (Paris) pelos olhos do andarilho russo. A análise cronotópica presente no artigo oferece uma representação espacial e temporal abrangente da trajetória de vida de emigrantes russos em Paris, abarcando tanto as experiências individuais, quanto o contexto mais amplo da emigração russa como um todo. (shrink)

This chapter contains sections titled: Sade, Nietzsche, and Brady at the Gates of Janus Brady's Life and Crimes Philosophy and the Moors Murders Brady's Library A Little Knowledge is a Dangerous Thing Nietzsche Sade The Sadean Hero and the Serial Killer Opening the Gates of Janus Brady Evaluates Other Serial Killers.

Given the pervasiveness of gene sharing in evolution and the extent of homology across the tree of life, why is everything not homologous with everything else? The continuity and overlapping genetic contributions to diverse traits across lineages seem to imply that no discrete determination of homology is possible. Although some argue that the widespread overlap in parts and processes should be acknowledged as “partial” homology, this threatens a broad base of presumed comparative morphological knowledge accepted by most biologists. Following a (...) long scientific tradition, we advocate a strategy of “theoretical articulation” that introduces further distinctions to existing concepts to produce increased contrastive resolution among the labels used to represent biological phenomena. We pursue this strategy by drawing on successful patterns of reasoning from serial homology at the level of gene sequences to generate an enriched characterization of serial homology as a hierarchical, phylogenetic concept. Specifically, we propose that the concept of serial homology should be applied primarily to repeated but developmentally individualized body parts, such as cell types, differentiated body segments, or epidermal appendages. For these characters, a phylogenetic history can be reconstructed, similar to families of paralogous genes, endowing the notion of serial homology with a hierarchical, phylogenetic interpretation. On this basis, we propose a five-fold theoretical classification that permits a more fine-grained mapping of diverse trait-types. This facilitates answering the question of why everything is not homologous with everything else, as well as how novelty is possible given that any new character possesses evolutionary precursors. We illustrate the fecundity of our account by reference to debates over insect wing serial homologs and vertebrate paired appendages. (shrink)

This paper focuses on modeling and control of a class of serial variable stiffness actuators based on level mechanisms for robotic applications. A multi-input multi-output complex nonlinear dynamic model is derived to fully describe SVSAs and the relative degree of the model is determined accordingly. Due to nonlinearity, high coupling, and parametric uncertainty of SVSAs, a neural network-based adaptive control strategy based on feedback linearization is proposed to handle system uncertainties. The feasibility of the proposed approach for position and stiffness (...) tracking of SVSAs is verified by simulation results. (shrink)

How do listeners learn about the statistical regularities underlying musical harmony? In traditional Western music, certain chords predict the occurrence of other chords: Given a particular chord, not all chords are equally likely to follow. In Experiments 1 and 2, we investigated whether adults make use of statistical information when learning new musical structures. Listeners were exposed to a novel musical system containing phrases generated using an artificial grammar. This new system contained statistical structure quite different from Western tonal music. (...) Our results suggest that learners take advantage of the statistical patterning of chords to acquire new musical structures, similar to learning processes previously observed for language learning. (shrink)

The literature on the aetiology of serial killing has benefited from analyses which offer an alternative perspective to individual/psychological approaches and consider serial murder as a sociological phenomenon. The main argument brought to bear within this body of work identifies the socio-economic and cultural conditions of modernity as enabling and legitimating the motivations and actions of the serial killer. This article interrogates this work from the standpoint of a gendered reading of modernity. Using the Yorkshire Ripper case, it emphasizes how (...) in addition to the political economy, gender relations and masculinity shape the dynamics of serial murder and its representation. (shrink)

Recent work on the problem of truth in serial fiction has focused on the semantics of certain sentences used to talk about serial fictions, as in Ross Cameron’s (2012) “How to Be a Nominalist and a Fictional Realist” and Andrew McGonigal’s (2013) “Truth, Relativism, and Serial Fiction,” or semantic properties of works themselves, as in Ben Caplan’s (2014) “Serial Fiction, Continued.” Here I argue that these proposed solutions are mistaken, and, more importantly, that the general approach to the problem is (...) mistaken: the problem of truth in serial fiction is an instance of the problem of change. Fictions can undergo change, much like you and me in certain respects. As a result, what is true in or according to them changes as well. (shrink)

RESUMO Exercício de análise do discurso da dança de espetáculo através do conceito bakhtiniano de cronotopo. A partir do gênero do balé clássico, estabelece-se o teatro como cronotopo constitutivo que concretiza espaço-temporalmente seus valores sócioestéticos. A análise de transgressões cronotópicas permite identificar o surgimento do balé moderno com base em duas coreografias do artista russo Vaslav Nijinski.

This paper first advances and discusses the hypothesis that so-called “iconic” or (for the auditory sphere) “echoic” memory is actually a form of perception of the past. Such perception is made possible by parallel inputs with differential delays which feed independently into the sensorium. This hypothesis goes well together with a set of related psychological and phenomenological facts, as for example: Sperling’s results about the visual sensory buffer, the facts that we seem to see movement and hear temporal Gestalts, and (...) the fact that we sometimes seem to hear sounds only after they have stopped. In it most simple form, and formulated in the somewhat misleading information processing idiom, my hypothesis says that each one of a number of parallel input lines with different delays feeds into a spatially separate sensory unit. The set of such units then holds information about the immediate past in what one might call a “chronotopic” sensory map. This contrasts with the idea (common in sensory buffer theory) that the received sensory information is kept (while possibly decaying) in the same unit for some time after it occurred. The hypothesis also contradicts the theory that all sensory information passes through the same unit but is then successively passed through a unidirectional chain of separate units, where the past experiences then become represented (the shift register hypothesis). The main advantage of my theory, beside the natural explanations it offers for the above-mentioned kind of phenomena, is that it postulates a parallel – and therefore robust – rather than a serial mechanism for the registering of temporal information. It can of course easily be modified to fit more complex models of the sensory cerebral code(s) as well as of the chronotopic representation as such. -/- In the second part of my poster, I advance a corresponding hypothesis for those motor commands which control brief movements. At closer inspection, most socalled “ballistic” movements do not seem to be truly ballistic (in the sense in which the movement of a cannonball is so) since the brain must exert some kind of feedforward control over the later part of their trajectory. I suggest that this control is at least sometimes realized by means of differentially delayed output from a chronotopic representation of successive segments of the movement. Not only could this be a biologically natural way of ensuring efficient adaptability of the movement; the hypothesis also explains the not uncommon experience of “seeing the whole movement laid out in advance” when it is initiated. (shrink)