Fisher, Jin, and Scott push a central assumption of syntactic bootstrapping: that learners have a universal bias to map each noun in a sentence onto a participant role (i.e., argument of the verb). They propose two enrichments: First, that children use both semantic and syntactic information in representing nouns that accompany a verb; second, that children expect continuity across a discourse. They provide evidence for both learning mechanisms among young children, further spelling out the precise mechanisms underlying syntactic bootstrapping.

Speech disfluencies can signal that a speaker is about to refer to something difficult to name. In two experiments, we found evidence that 4-year-olds, like adults, flexibly interpret a particular partner’s disfluency based on their estimate of that partner’s knowledge, derived from the preceding conversation. In entrainment trials, children established partner-specific shared knowledge of names for tangram pictures with one or two adult interlocutors. In each test trial, an adult named one of two visible tangrams either fluently or disfluently while (...) children’s eye-movements were monitored. We manipulated speaker knowledge in the test trials. In Experiment 1, the test-trial speaker was the same speaker from entrainment or a naïve experimenter; in Experiment 2, the test-trial speaker had been one of the child’s partners in entrainment and had seen half of the tangrams. When hearing disfluent expressions, children looked more at a tangram that was unfamiliar from the speaker’s perspective; this systematic disfluency effect disappeared in Experiment 1 when the speaker was entirely naïve, and depended on each speaker’s entrainment experience in Experiment 2. These findings show that 4-year-olds can keep track of two different partners’ knowledge states, and use this information to determine what should be difficult for a particular partner to name, doing so efficiently enough to guide online interpretation of disfluent speech. (shrink)

독일제국과 현대물리학의 출현, 원자핵이 깨어지다 등 과학사적인 성과 및 20세기 과학의 쟁점사항 14 가지를 풀어쓴 현직 교수의 저서.

독일제국과 현대물리학의 출현, 원자핵이 깨어지다 등 과학사적인 성과 및 20세기 과학의 쟁점사항 14 가지를 풀어쓴 현직 교수의 저서.

Die Idee des «Gesamtkunstwerks» war schon längst vor Wagner gegenwärtig. In zahlreichen Schriften der deutschen Frühromantiker wird das Auseinandergehen der einzelnen Künste betrachtet, aber ihr Zusammenwirken als Utopie ersehnt. Die Verfasserin versucht, ausgehend von der Stellung der Musik in der Frühromantik, die Möglichkeit im Blick zu behalten, die Sehnsucht nach der Einheit der Künste, die zunächst im literarischen sowie im philosophischen Bereich rein theoretisch, daneben jedoch auch praktisch in der Poesie und Malerei ihren Ausdruck fand, in die musikalische Romantik zu (...) übertragen, sowohl in kompositorischer als auch in wirkungsästhetischer Hinsicht. Dadurch erscheint der Zusammenhang zwischen Musik innerhalb der Idee des «Gesamtkunstwerks» in der Romantik in neuem Licht. (shrink)

Einleitung: zur Aktualität Natorps Daß an Tiefe und Scharfsinn die deutsche akademische Philosophie des späten 19. und frühen 20. Jahrhunderts der heutigen sprachanalytischen Philosophie nicht nachsteht, läßt sich sehr schön am Beispiel von Paul Natorp (1854–1924) zeigen, der neben seinem Lehrer, Freund und Förderer Hermann Cohen (1842–1918) Mitbegründer des Marburger Neukantianismus war. Nämlich sowohl auf die Frage, worin die intentionale Gerichtetheit von Bewußtseinszuständen und -erlebnissen besteht, wie auch auf die Frage, was es heißt, sich der eigenen Bewußtseinszustände und -erlebnisse bewußt (...) zu sein, gibt Natorp subtile Antworten, die auch heute noch vertreten werden. Ja, in einer Hinsicht zeigt sich Natorp den ihm nahestehenden zeitgenössischen Philosophen sogar überlegen. Denn aus einer Antwort auf die Frage nach der Intentionalität des Bewußtseins, die ihn u.a. mit Davidson, Dretske und Fodor verbindet, leitet er eine zunächst frappierende Antwort auf die Frage nach dem Selbstbewußtsein ab, eine Antwort, die etwa Davidson, Dretske und Fodor nicht geben würden, die sie aber angesichts ihrer Auffassung von Intentionalität geben sollten: Selbstbewußtsein im eigentlichen Sinne ist unmöglich. (shrink)

This paper unravels an unprecedented interplay between board gender diversity (BGD) and corporate environmental, social, and governance (ESG) disputes among Chinese A-share-listed nonfinancial companies from 2017 to 2021. Framed within a knowledge-based and sensemaking perspective of institutional frameworks, the research not only illuminates the profound impact of internal (corporate governance ratings) and external (regional institutional development) institutional factors on this intricate relationship but also brings to light a paradigm-shifting revelation. The study employed a diverse set of empirical tests, ranging from (...) ordinary least squares regression to advanced methods such as the generalized method of moments, two-stage least squares, and propensity score matching, providing a nuanced and comprehensive analysis. The findings highlight the pivotal role of female directors in significantly mitigating ESG disputes. A mechanism analysis further uncovers that internal and external institutional quality are potent positive moderators in shaping the BGD–ESG dispute dynamic. This research has profound implications, providing valuable insights for stakeholders, policymakers, and scholars, offering a comprehensive understanding of how gender diversity fosters sustainability while unravelling the intricate tapestry of internal and external institutional dynamics that shape ESG outcomes. (shrink)

Die offizielle Urteilstheorie Brentanos war eine nicht-propositionale Theorie. Die These, dass man, um die in einem Urteilsakt involvierten intentionalen Beziehungen zu erklären, keine propositionalen Entitäten einführen muss, war in der Tat eine seiner interessantesten Ideen. Brentano hat aber im Laufe seiner Lehrtätigkeit sehr viele neue Wege ausprobiert und so finden wir in seinen Vorlesungen aus den späten achtziger Jahren auch eine Urteilstheorie, die jedem Urteilsakt eine propositionale Entität zuordnet. Gerade diese Lehre war für Brentanos Studenten besonders inspirierend. Vor allem Anton (...) Marty und Carl Stumpf haben sehr interessante Theorien von solchen, wie sie es nannten, Inhalten entwickelt. 1888 hat Stumpf in seinen Vorle¬sun¬gen für der¬ar¬tige Entitäten den Ausdruck „Sachverhalt” ein¬geführt. Da sich vor allem diese Bezeichnung als terminus technicus durchgesetzt hat, werden wir sie in diesem Aufsatz auch in Bezug auf diejenigen Philosophen verwenden, die ihre propo¬sitionalen Entitäte anders nannten. Unter den treuen Brentanisten war es Anton Marty, der am konsequentesten an der Unentbehrlichkeit solcher Sachverhalte als Wahrmacher für richtige Urteile bestand. Seine Theorie hat jedoch einen etwas merkwürdigen Charakter. Die Sachverhalte werden einerseits als unverzichtbare Elemente des ontologischen Mobiliars angesehen, andererseits finden wir aber bei Marty eine deutliche Tendenz, sie als Strukturen zu interpretieren, die auf den Dingen (der nominalen Form), wie man es heutzutage gerne sagt, supervenieren. Der Sinn, in dem sie dann noch als unreduzierbar zu bezeichnen sind, ist nicht einfach zu eruieren. Der Philosoph, der sich von diesem, an sich sehr attraktiven, Supervenienz¬gedanken endgültig verabschiedet hat, war Alexius Meinong. Wir besprechen die Hauptpunkte seiner Kritik, untersuchen mögliche Auswege und versuchen die innere Spannung Martys Sachverhaltsbegriffs zwischen der Supervenienz und Unreduzierbarkeit ein wenig zu klären. (shrink)

Shared brain regions have been found for processing action and language, including the left inferior frontal gyrus, the premotor cortex, and the inferior parietal lobule. However, in the context of action and language generation that shares the same action semantics, it is unclear whether the activity patterns within the overlapping brain regions would be the same. The changes in effective connectivity affected by these activity patterns are also unclear. In this fMRI study, participants were asked to perform hand action and (...) verb generation tasks toward object pictures. We identified shared and specific brain regions for the two tasks in the left PMC, IFG, and IPL. The mean activation level and multi-voxel pattern analysis revealed that the activity patterns in the shared sub-regions were distinct for the two tasks. The dynamic causal modeling results demonstrated that the information flows for the two tasks were different across the shared sub-regions. These results provided the first neuroimaging evidence that the action and verb generation were task context driven in the shared regions, and the distinct patterns of neural information flow across the PMC-IFG-IPL neural network were affected by the polymodal processing in the shared regions. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Service process optimization is conducive to the innovation of enterprise services, but the poor logic design of multiple touchpoints can easily lead to problems in the service process, such as scattered layouts and repeated paths. Aiming at the promotion of service innovation and user experience, this paper takes the optimization of a single service touchpoint as the prerequisite and proposes a service process optimization method based on service touchpoint association and the design structure matrix. The association of service touchpoints is (...) categorized into two types, namely, noncoupled and coupled association. The DSM is used to describe the two types of association between service touchpoints, and the matrix operation is used for modular identification and layering of the two kinds of association. Finally, through the above steps, the problematic service process was replanned. By using the service process optimization of a new retail convenience store as an example, the service process is divided into 6 relatively independent modules, and the order of module execution is arranged. Moreover, the optimal service process of the convenience store system is determined, and the method is verified to be feasible. Through optimization both from single service touchpoint and service process modularization, the study provides a reference for process optimization of the complex service system. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christian Humanism in the Age of Critical Philology:Ralph Häfner's Gods in ExileMartin MulsowHäfner's book is a monumental study and a milestone of German-language research.1 He delineates, for the first time, a comprehensive picture of the Christian humanism of European philologists in the era of criticism. Recovering an immense wealth of forgotten sources, the book reveals the complex interaction and tension between pagan mythology and Christian culture in philological controversies. (...) Though authors might denounce the pagan histories of gods as fabulae, they were constitutive for the productive and emulative reception of ancient Greco-Roman patterns in Renaissance and Baroque culture. How could the peculiar logic of this paganizing be handled? Was it advisable to have faith in the integrative power of Christian truth, which was capable of finding precursors or even proofs of one's own truth in pagan patterns, or should the pagan be selectively separated from the Christian? And what was the role of philology in this process? Did the growing expertise in criticism advance the process of dissociation of paganism and Christianity? Did it further new possibilities of synthesis in the spirit of Apologetics? [End Page 659]The reconstruction of these processes involves much more than what the book's very specific title suggests. It is a large-scale history of scholarship written from the perspective of the most important tensions that Christian humanism had to overcome in its final stage. From an Anglo-American perspective, this book contributes to recent reconstructions of ideas of early modern men of learning, as well as the growing number of studies on antiquarianism and the history of religion.2 The final stage of Christian humanism, the period of time covered by the book, begins in the late sixteenth century and ends in the 1730s, a point in time which Häfner presents, with some justification, as the end of an era.Hymnology and PolymathyThe study consists of three basic parts. The first one is the "Persistence of Orphic-Platonic Hymnology in Christian Humanism" ("Fortleben der orphisch-platonischen Hymnologie im christlichen Humanismus"). This topic, apparently very specialized and marginal, proves to be a key arena of early modern scholarship, an arena traversed by the battle lines between pagan tradition and Christianity as well as between poetry and theology. Were hymns inspired poetry? What kind of inspiration could and should be conceded to hymns to Jupiter and the sun? Of course, those humanists who reappropriated Orphism and Neo-Platonism were interested in this genre. In the fifteenth and early sixteenth centuries, and even into the mid-sixteenth century, this was not yet a problem. However, the more philological consciousness (and confessionalization) evolved, the more the genre's scope was delimited. What scope remained? Häfner relates the problem to the revival of an "eclectic Platonism" in the wake of the Second Sophistic. This "eclectic Platonism," which was particularly influential from 1500 on, combined Platonism with rhetorics, and the claim of comprehensive polymathy with the joyful presentation of the findings of reading. In this respect, Apuleius and Aulus Gellius were two model authors for early modern polyhistors. We must include Martianus Capella as a continuation of the "Renaissance of the Second Sophistic into Early Christian Encyclopedism" [End Page 660] ("Renaissance der Zweiten Sophistik bis in die frühchristliche Enzyklopädie hinein," p. 18).Häfner's approach is starkly original and, in my opinion, highly productive for the current debates about early modern encyclopedism and "cultures of knowledge" that are sometimes deadlocked.3 Too frequently, polymathy is used synonymously for encyclopedism, which is often associated with modern concepts of systematic classification. Yet, according to Häfner, this is a misunderstanding. It neglects the playful elements and skillful rhetorical options of throwing questions out into the open rather than narrowing them dogmatically. Perhaps the only addition to Häfner's sources could have been Louis de Cressolles's Theatrum veterum Rhetorum, which, according to Marc Fumaroli in L'age de l'éloquence, marked the return of the Second Sophistic.4 The analysis of the work of Gerhard Johannes Vossius, a classical philologist who resided in Leyden and Amsterdam, is the first test for Häfner... (shrink)

Das Volksmärchen L’Arbre du Bœuf vom Typ ATU 511 [Ein-, Zwei-, Dreiäuglein] ist nach P. Delarue und M.-L. Tenèze das einzige französische Märchen, welches dem Subtyp AT 511 A [Kleiner Roter Ochse] angehört. L’Arbre du Bœuf ist darüber hinaus aufgrund einiger Motive besonders interessant, weil sie vermutlich aus archaischen Glaubensvorstellungen stammen: So ist die mystische „Reise zur Sonne“ ein bestimmendes Thema, welches seinen Ursprung im indoeuropäischen Mythos findet. Der Weltbaum als Axis Mundi und die Seelenbrücke sind Verbindungen zwischen dem Dies- (...) und Jenseits, die der Märchenheld ebenso wie der Schamane bei seiner ekstatischen Reise in die lichte Himmelswelt benutzt. Magische Tier- und Helferwesen treten im Zaubermärchen auf und sind integrale Bestandteile schamanistischer Glaubenswelten. Wenn im Märchen auf oder aus dem geopferten Ochsen als heiliges Tier der Weltbaum sprießt, so findet dieses Sujet Entsprechungen in urtümlichen Kosmogonien. Damit ideell verwandt ist vielleicht das Motiv vom „Tierhorn als Weltbaum“, welches sich in archaischen kosmologischen Vorstellungen findet und sich von da her womöglich ebenso in die Märchenwelten eingemischt hat. Le conte populaire L’Arbre du Bœuf du type ATU 511 [Un Œil, Deux Yeux, Trois Yeux] d’après P. Delarue et M.-L. Tenèze est le seul conte de fées français appartenant au sous-type AT 511 A [Petit Bœuf Rouge]. En outre, L’Arbre du Bœuf est particulièrement intéressant en raison de certains motifs probablement issus de croyances archaïques : Le « voyage mystique au soleil » est un thème déterminant qui tire son origine du mythe indo-européen. L’Arbre du Monde en tant qu’Axis Mundi et le pont d’autre monde sont des liens entre l’ici et l’au-delà, que le héros de conte et le chaman utilisent dans leur voyage extatique dans le ciel lumineux. Les animaux magiques et les êtres auxiliaires apparaissent dans le conte de fées et font partie intégrante du monde de croyances chamaniques. Tout comme dans le conte de fées, l’Arbre du Monde pousse sur ou bien du bœuf sacrifié et sacré, ce motif trouve des correspondances dans les anciennes cosmogonies. Le motif de la « corne animale en tant qu’Arbre du Monde » est peut-être associé à ce concept mythique. Il se trouve dans les conceptions cosmologiques archaïques et s’est mêlé de là au monde des contes de fées. The folk tale L’Arbre du Bœuf of the type ATU 511 [One Eye, Two Eyes, Three Eyes] is according to P. Delarue and M.-L. Tenèze the only French fairy tale that belongs to the subtype AT 511 A [Little Red Ox]. In addition, L’Arbre du Bœuf is particularly interesting due to some of the motifs that probably stem from archaic beliefs: The mystical “journey to the sun” is a determining theme, which finds its origin in the Indo-European myth. The World Tree as Axis Mundi and the Soul Bridge are connections between this world and the hereafter which are harnessed by the fairy tale hero as well as the shaman in his ecstatic journey into the bright world of heaven. Magical animals and helping entities appear in the fairy tale and are fundamental parts of shamanistic beliefs. The World Tree as it sprouts on or out of the sacrificed and sacred ox finds its equivalent in ancient cosmogonies. Perhaps ideally related to this is the motif of the “animal horn as the World Tree”, which is present in archaic cosmological conceptions and has possibly interfered with the fairytale worlds as well. (shrink)

Emojis and stickers are becoming increasingly popular in computer mediated communications. The present study examined the associations between personality traits and people’s reasons and patterns for using both emojis and stickers. Participants (n= 312) completed three on-line questionnaires assessing shyness, the Big Five personality traits and why and how they used emojis and stickers. Results revealed that shyness, neuroticism, extraversion and agreeableness were correlated with different reasons of usage. Moreover, some participants exhibited a tendency to adjust frequency of usage depending (...) on who the target person was and whether they were in a private or group chat. People who showed such tendencies were found to differ in personality with those who did not. Some differences in usage patterns were also observed between emojis and stickers. Together, the present study sheds more insights into how emojis and stickers can help people with different personality traits to achieve different purposes in their daily communication. (shrink)

In empiricism, there are only two answers for a question: black or white. Yet, subjective meanings of human behaviours and responses toward health and illness cannot be simply explained with black and white. Gray zones are needed because they are characterized by complexity and require a contextual understanding. In this paper, we present and suggest fuzzy logic as an example of theoretical bases that help transcend the conflicts between objectivity and subjectivity, respect gray zones between black and white answers for (...) questions, and provide a contextual understanding of complex nursing phenomenon. A historical review of fuzzy logic is followed by a definition of fuzzy logic. Then, fuzzy logic is discussed in terms of its compatibility with nursing epistemological views and philosophical thoughts. Fuzzy logic agrees with three categories of epistemological views of nursing, including correspondence, coherence and pragmatism. Fuzzy logic also agrees with four major philosophical thoughts in nursing, including postempiricism, pragmatism, feminism, and postmodernism. Based on the discussion, we propose that fuzzy logic be further explored, used and developed in research and practice in the nursing areas/situations/phenomena that are characterized by complexity, ambiguousness, and vagueness. (shrink)

The main purpose of this article is to introduce the weighted ENSC value for cooperative transferable utility games which takes into account players’ selfishness about the payoff allocations. Similar to Shapley’s idea of a one-by-one formation of the grand coalition [Shapley ], we first provide a procedural implementation of the weighted ENSC value depending on players’ selfishness as well as their marginal contributions to the grand coalition. Second, in the spirit of the nucleolus [Schmeidler ], we prove that the weighted (...) ENSC value is obtained by lexicographically minimizing a complaint vector associated with a new complaint criterion relying on players’ selfishness. (shrink)

Background and ObjectiveThere is a paucity of research that has explored “False Alarm” mechanisms. In order to remedy this deficiency in knowledge, the present study used event-related potential technology to reveal the mechanisms underlying False Alarm in response to fear stimuli.MethodsThis study selected snakes as experimental materials and the “oddball paradigm” was used to simulate the conditions of False Alarm. The mechanism underlying False Alarm was revealed by comparing cognitive processing similarities and differences between real snakes and toy snakes.ResultsEvent-related potential (...) findings demonstrated that there was no significant difference between N1 and P2 components induced by real and toy snakes in the early processing stage. Compared with toy snakes, real snakes induced smaller N2 amplitude, larger P3 amplitude, and a shorter P3 latency at the late processing stage. The results of brain topographic mapping analysis showed that the brain regions activated by a real or toy snake were basically the same within the time windows of 110–150 and 220–270 ms, respectively. In the time window of 300–360 and 400–500 ms, the degree of brain regions activation with a real snake was significantly greater than that induced by a toy snake.ConclusionFalse Alarm is caused by the brain’s inability to distinguish, in the early stage of cognitive processing, stimulus objects with similar appearances. When the brain is able to distinguish the differences between different stimulus objects in the late stage of cognitive processing, False Alarm disappears. (shrink)

Subgraph matching on a large graph has become a popular research topic in the field of graph analysis, which has a wide range of applications including question answering and community detection. However, traditional edge-cutting strategy destroys the structure of indivisible knowledge in a large RDF graph. On the premise of load-balancing on subgraph division, a dominance-partitioned strategy is proposed to divide a large RDF graph without compromising the knowledge structure. Firstly, a dominance-connected pattern graph is extracted from a pattern graph (...) to construct a dominance-partitioned pattern hypergraph, which divides a pattern graph as multiple fish-shaped pattern subgraphs. Secondly, a dominance-driven spectrum clustering strategy is used to gather the pattern subgraphs into multiple clusters. Thirdly, the dominance-partitioned subgraph matching algorithm is designed to conduct all isomorphic subgraphs on a cluster-partitioned RDF graph. Finally, experimental evaluation verifies that our strategy has higher time-efficiency of complex queries, and it has a better scalability on multiple machines and different data scales. (shrink)

Han Wei liang Jin Nan Bei chao fo jiao shi -- Wei Jin xuan xue lun gao -- Ping jin ren zhi wen hua yan jiu -- Wen hua si xiang zhi chong tu yu tiao he.

With the prevalence of the Internet and new media channels, consumer reviews have become one of the main determinants of Consumers’ purchasing decisions. This paper uses the Latent Dirichlet Allocation model to identify the key factors that are of major concern to consumers, including design factors, laptop setup factors, logistics factors, after-sales factors, and user experience factors. And, we classify these factors into product quality factors and supporting service factors for new products. We then explore the relationship between online reviews (...) and purchase decisions under these different factors, and also further explore the impact of interactions between online review metrics on purchase decisions. Our findings suggest that the impact of online reviews on consumer purchase decisions also varies considerably across different consumer focus factors. In addition, we find that the impact of the interaction between online review features is complex. In particular, consumers do not follow the positive guidance and make purchase decisions as we would expect when confronted with a large number of positive emotional polarity online reviews. Meanwhile, the interaction between negative emotional polarity and variance of online reviews had no significant effect on consumer purchase decisions. The variance of online reviews has a limited role in reducing consumer risk perceptions triggered by negative emotional polarity. Our study provides new evidence for the study of the impact of online reviews through text mining. (shrink)

I am a worker. Not long ago I began to study Marxism-Leninism and Chairman Mao's works. In order to meet my needs in study and to follow lectures, I read several articles carried in Philosophical Research. I think I have been somewhat enlightened with regard to philosophy. Several articles on the identity between thinking and existence were carried in the latest issues of this journal. Issues Nos. 4 and 5 carried Comrade Chiang Li-ch'ün's article "Is There Identity Between Erroneous Thinking (...) and Existence?" After reading this article, I remembered many past events in work and production activity and then formed my views on this subject. Now I place my views before my comrades. As my cultural level is low, my views may be erroneous. I hope that they will spare no criticism of my views. In the following paragraphs I will take issue with Comrade Chiang Li-ch'ün primarily on the question of whether there is identity between erroneous thinking and existence. (shrink)

Syntactic priming in language production is the increased likelihood of using a recently encountered syntactic structure. In this paper, we examine two theories of why speakers can be primed: error‐driven learning accounts (Bock, Dell, Chang, & Onishi, 2007; Chang, Dell, & Bock, 2006) and activation‐based accounts (Pickering & Branigan, 1999; Reitter, Keller, & Moore, 2011). Both theories predict that speakers should be primed by the syntactic choices of others, but only activation‐based accounts predict that speakers should be able to prime (...) themselves. Here we test whether speakers can be primed by their own productions in three behavioral experiments and find evidence of structural persistence following both comprehension and speakers’ own productions. We also find that comprehension‐based priming effects are larger for rarer syntactic structures than for more common ones, which is most consistent with error‐driven accounts. Because neither error‐driven accounts nor activation‐based accounts fully explain the data, we propose a hybrid model. (shrink)

This study examines the effectiveness of the inoculation strategy in countering vaccine-related misinformation among Hong Kong college students. A three-phase between-subject experiment was conducted to compare the persuasive effects of inoculation messages, supportive messages, and no message control. The results show that inoculation messages were superior to supportive messages at generating resistance to misinformation, as evidenced by more positive vaccine attitudes and stronger vaccine intention. Notably, while we expected the inoculation condition would produce more resistance than the control condition, there (...) was little evidence in favor of this prediction. Attitudinal threat and counterarguing moderated the experimental effects; issue involvement and political trust were found to directly predict vaccine attitudes and intention. The findings suggest that future interventions focus on developing preventive mechanisms to counter misinformation and spreading inoculation over the issue is an effective strategy to generate resistance to misinformation. Interventions should be cautious about using health advocacy initiated by governments among populations with low political trust. (shrink)

In this paper, I reveal systematic aspects of the moral epistemology of the Warring States Confucian, Mengzi. Mengzi thinks moral knowledge is 'internally' available to humans because it is acquired through normative dictates built into the human heart-mind. Those dictates are capable of motivating and justifying an agent's normative categorizations. Such dictates are linked to Mengzi's conception of human nature as good. I then interpret Mengzi's difficult discussion of courage and qi in Mengzi 2A: 2 as illuminating the idea of (...) 'internal' justification. The epistemology of courage is intimately related in 2A: 2 to its practice. Finally, I indicate at the end in outline the ways in which Mengzi and Gaozi are engaged in a dispute about moral epistemology that pits each of them against Xunzi and also against Zhuangzi. (shrink)

Early Confucian thought is still not completely understood. This is particularly so, I argue, in the case of Mencius , who was the first prominent follower of Confucius. I present a new reading of this early figure. ;The key problem in traditional analyses is in attributing to Mencius the view that a person's motivational capacities, especially her emotions, require cultivation in order for her to act and feel correctly. That reading, combined with certain important passages of the text, make it (...) seem that Mencius is quite simply confused. For he seems in those passages to exhort people to do and feel what is right even though it is clear that they lack the kind of cultivation Mencius's view supposedly requires. What is more, he quite obviously expects such people to be able immediately to do and feel what is right. ;Once we leave the cultivation reading behind, I argue, pieces of Mencius's fall into place and a more or less systematic ethical theory begins to form. Far from being confused, I argue, Mencius combines a psychologically realistic account of the morally virtuous person, i.e. one which recognizes human limitations with respect to our emotional lives, with a plausible account of the control that we have and the responsibility that we bear for how we feel or don't feel toward one another. (shrink)