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Academic literature on the topic 'Symons' critical writing'
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Journal articles on the topic "Symons' critical writing"
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Tongue, Samuel. "‘What is Language but a Sound We Christen?’ Poetic Retellings as an Improper Surprise for Biblical Reception History." biblical interpretation 23, no. 2 (March 23, 2015): 248–71. http://dx.doi.org/10.1163/15685152-00232p06.
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Although overtly poetic interaction with biblical material has often been deemed beyond the pale in critical biblical scholarship, much work in reception history now positions such literature as part of the afterlife of a biblical text. While this is a welcome turn, this article argues that acts of poetic biblical retelling and recycling are more disruptive, troubling the ways in which critical scholarship operates. Utilising Timothy Beal’s thinking around the ‘cultural history of scripture’ and analysing Roland Boer’s sceptical attitude toward reception-historical practices, the first section teases out the nuances of how certain modes of biblical interpretation are deemed primary (and thus more legitimate) and others secondary (and thus anachronistic). As such, the second section introduces poetic retellings of biblical material that foreground how poetry is a literary space where knowledge is articulated in particularly performative idioms. Reading poems from Kei Miller and Michael Symmons Roberts that appropriate biblical material, this analysis demonstrates that the poetic retelling of biblical material is an act of writing that refuses secondary status and cannot be simplistically yoked to traditional modes of exegesis. In this way, poetry problematizes the originary-secondary binary in reception-historical interpretation and, at the same time, recasts historical-critical exegesis as another form of ‘supplemental’ writing. This opens up the discipline to rethink some of its most protected interpretative paradigms and engage more fully with other forms of biblical ‘supplement’ across the disciplines.
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Murtianto, Yanuar Hery, Muhtarom Muhtarom, and Eka Devi Setiyaningrum. "Pemahaman Konsep Logaritma Siswa SMA Ditinjau dari Kemampuan Matematika." Media Penelitian Pendidikan : Jurnal Penelitian dalam Bidang Pendidikan dan Pengajaran 13, no. 1 (June 30, 2019): 36. http://dx.doi.org/10.26877/mpp.v13i1.5087.
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This Understanding the concept is the ability of students to understand a mathematical meaning both in theory and its application in solving problems based on the formation of their own knowledge, not just memorizing. The purpose of this study was to analyze the understanding of students' concepts in the material logarithm class x in terms of mathematical abilities. This research is descriptive qualitative research conducted at SMK N 5 Semarang, with research subjects in class X TP 1. To be able to know the understanding of concepts in students it is done by giving a test that includes seven indicators of mathematical abilities namely understanding, solving problems, connections, communication, reasoning, critical thinking, and creative thinking. The stages carried out consisted of three phases, namely: giving a test of mathematical ability, giving a concept understanding test, and interviewing. From the results of the study using triangulation methods, namely by comparing the results of tests of mathematical understanding in writing with the interview test. The results of qualitative analysis show that: (1) students with TKA mathematical abilities can understand the concept by defining logarithms using writing and symbols, can mention and apply logarithmic properties, can transform logarization forms into exponent forms, can compare examples and not logarithmic examples. (2) students with mathematical skills TKC mathematical abilities can understand the concept by defining logarithms with writing and symbols, changing the shape of logarithms to exponent forms, can only apply logarithmic properties to addition and subtraction, can only compare examples and not just 2. logarithms. (4) students with TKE mathematical abilities can understand the concept by defining logarithms using symbols, can only apply the logarithmic properties of addition and subtraction but cannot specify the properties, can only mention examples and not examples of logarithms 1.
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Timalsina, Ramji. "Diaspora-Homeland Connection in Bharati Gautam’s Vigata ra Baduli [Past and Hiccups]." Dristikon: A Multidisciplinary Journal 11, no. 1 (August 17, 2021): 145–54. http://dx.doi.org/10.3126/dristikon.v11i1.39155.
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This article aims to explore the way Bharati Gautam’s memoir Vigata ra Baduli [Past and Hiccups] (2020) connects the writer with her homeland. Home and homeland are out of some major loci of diasporic life and the discourse. Diasporic writings deal with homeland both as a real place to return and an imaginary reality for those transnational migrants who have no chance of physical return to the place left back. To study the writer’s homeland connection as expressed in the book, this study uses qualitative methodology with its interpretative approach for analysis. The theoretical input is the diasporic discourse related to home and homeland. For the diasporans, homeland is the root of their life, culture, language and in total the life they live in the hostland. The time a diaspora loses its physical, imaginary or emotional connection with the homeland, it stops being a diaspora. Thus, every diasporic writing has some kind of homeland connection. The study finds that Gautam’s memoirs deal with her love and respect for the root. These feelings are expressed through her nostalgia, symbols and culture she follows in the USA. Similarly, her own and her children’s critical thoughts on Nepal and Nepali socio-cultural praxis also highlight their connection with the homeland. It is hoped that this study is useful to find how Nepali Diaspora connects itself with Nepal. It may encourage the researchers to work in this field.
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Alek, Alek, Abdul Gafur Marzuki, Didin Nuruddin Hidayat, and Evi Nurisra Aprilia Sari. "A Critical Discourse Analysis of song “Look What You Made Me Do” by Taylor Swift." Eralingua: Jurnal Pendidikan Bahasa Asing dan Sastra 4, no. 2 (July 27, 2020): 154. http://dx.doi.org/10.26858/eralingua.v4i2.11199.
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The aim of this study was to reveal on how the intended meaning of any figurative expressions delivered through the lyrics and also symbolic signs and gestures which delivered on a popular video clip of Taylor Swift “Look What You Made Me Do” in order to figure out its implication toward language learning as one of the most-watched music videos on YouTube. The data of this study were the lyrics of Taylor Swift’s song “Look What You Made Me Do” and the official video clip on YouTube uploaded by VIVO on August 27th, 2017. Both the lyrics and the symbolic cues shown on the video clip were analyzed through Fairclough’s critical discourse analysis by categorizing any kinds of figurative expressions delivered to reveal the intended meaning of the song and interpret its symbolic expressions through semiotic study as research method. Thus the context is intervening the writing of the song. The results showed that there are many repetitions found to emphasize the message delivered which can be considered as something that viewed as highly really matter for the author or the singer of the song then based on the symbolic or semiotic analysis, most of the clues delivered are trying to express the singers’ transformation regarding to her new reputation as a more powerful and tough person from her past image as an innocent sweet girl. The clues are delivered through the symbols in the forms of animals such as snakes and raven which belief as the symbols of transformation.
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Denysenko, Volodymyr. "The Knight of the National-Statist Idea (To the 140th Anniversary of Symon Petliura, Architect of the National Idea, Statesman, Military Figure and Prominent Personality)." Diplomatic Ukraine, no. XX (2019): 777–93. http://dx.doi.org/10.37837/2707-7683-2019-53.
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The article highlights the main life milestones of Symon Petliura, a Ukrainian statesman, one of the founders of the UPR army and a public figure, reveals his contribution to the development of spirituality and scientific heritage of our society. National idea always took centre stage in his life and work. Symon Petliura had a pen-chant for art, writing, and theatre. Being fond of Ukrainian antiquity and song creativity, he thoroughly investigated the history of Ukrainian culture. In the critical period of the Ukrainian revolution, he was destined to become the head of state and fight for freedom and independence of the people. The personality of Symon Petliura is inseparable from the history of the Ukrainian army, to which he contributed a lot of effort and energy. His contribution at the time of stormy military activities is especially striking, given that Symon Petliura had no special military education. Still, it was he who was able to understand the importance of Ukraine’s own armed forces and their role in the struggle for statehood. In his capacity as Head of State and Supreme Commander of the UPR Army, Symon Petliura served as a model for his contemporaries and successors and a prominent example of ardent struggle for his country. This struggle was not successful due to the prevailing forces of the external fronts and the Ukrainian forces were too fragmented altogether. Ukraine was faced with an array of complex problems and unforeseen circumstances, which could not be dealt with even by the most brilliant masters of the then world politics. Nonetheless, he did not lose faith in the revival of Ukraine as an independent state. Even in exile, Symon Petliura continued to be a guide for his people through his diplomatic services trying to maintain the international legal status of the government of the UPR in exile. Symon Petliura is an undisputed and uncompromising leader of the national liberation struggle. His name went down in Ukrainian history as one of the outstanding figures of the 20th century. Keywords: national idea, statesman, Ukrainian People’s Republic, Ukrainian army, spirituality, patriotism.
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Kaikkonen, Konsta. "Sámi indigenous(?) Religion(s)(?)—Some Observations and Suggestions Concerning Term Use." Religions 11, no. 9 (August 23, 2020): 432. http://dx.doi.org/10.3390/rel11090432.
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When writing about politically and culturally sensitive topics, term use is of great relevance. Sámi religion is a case in point. Words organise and create the world around us, and labels have direct consequences on how religious phenomena are perceived. Even labelling a phenomenon or an action “religious” carries certain baggage. Term use is, of course, easier when writing about historical materials and describing rituals whose practitioners have been dead for centuries. Nonetheless, contemporary practitioners of age-old rituals or people who use ancient symbols in their everyday lives often see themselves as carriers of old tradition and wish to identify with previous generations regardless of opinions that might deem their actions as “re-enacting”, “neoshamanism”, or “neopaganism”. If, for example, outsider academics wish to deem modern-day Indigenous persons as “neo”-something, issues of power and essentialism blend in with the discourse. This paper critically explores terms used around the Sámi religion in different time periods and attempts to come to suggestions that could solve some of the terminological problems a student of modern practitioners of indigenous religions inevitably faces.
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Mosaleva, G. V. "DEPICTED AND DEPICTING WORD: A.N. OSTROVSKY, N.S. LESKOV, I.S. SHMELEV." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (December 25, 2019): 1012–17. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1012-1017.
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The article considers artistic principles of representing folk speech reflected in the creative works of three Russian canonical writers such as A.N. Ostrovsky, N.S. Leskov, I.S. Shmelyov. Images of people’s life stem from speech activity. Critical literature about the writers mentioned above focuses on speech as a subject matter and on its objective status. However in the creative works of the writers under discussion the word proves to be both depicted and depicting, while claiming iconicity as the key principle of text structuring. Literary works of these writers are affected by the genre concept of the ancient Russian literature as well as by the temple and liturgic ontos of the Orthodox Church. The paper highlights Ostrovsky’s constituent efforts to create dramaturgy as a national poetic epos reflected in the temple and litulrgic and iconic symbols, in the aspiration of the national playwright to portray ideal images and concept of the Ideal shared by the people. Referring to Leskov’s creative works the author emphasizes his focus on ecclesiastical discourse, on the Sacred Writings. Therefore Leskov’s poetics is saturated with visual iconic images and liturgic images and is marked with ecphrasis, iconography of sainthood referred to the phenomenon of foolishness for Christ. Leskov’s writings are regarded as a vocal icon of Russia, as a narration with its typical “Russian nesting doll” (“matryoshechnaya”) structure reflecting Orthodox code of Russian culture. Iconic principles of representation are reflected in all Smelyov’s writings: in the plots, compositions, motives, images-symbols. The author refutes an opinion about Shmelyov as a writer-ethnographer, portrayer of pre-revolutionary way of life. The paper proves symbolism and material sacralization of Shmelyov’s poetics, his contribution to develop principles of non-verbal narration, principles of visual iconic symbolism.
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Bird, Steven. "Strategies for Representing Tone in African Writing Systems." Written Language and Literacy 2, no. 1 (July 23, 1999): 1–44. http://dx.doi.org/10.1075/wll.2.1.02bir.
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Tone languages provide some interesting challenges for the designers of new orthographies. One approach is to omit tone marks, just as stress is not marked in English (zero marking). Another approach is to do phonemic tone analysis, and then make heavy use of diacritic symbols to distinguish the "tonemes" (shallow marking). While orthographies based on either system have been successful, this may be thanks to our ability to manage inadequate orthographies, rather than to any intrinsic advantage which is afforded by one or the other approach. In many cases, practical experience with both kinds of orthography in sub-Saharan Africa has shown that people have not been able to attain the level of reading and writing fluency that we know to be possible for the orthographies of non-tonal languages. In some cases this can be attributed to a socio linguistic setting which does not favour vernacular literacy. In other cases, the orthography itself may be to blame. If the orthography of a tone language is difficult to use or to learn, then a good part of the reason may be that the designer either has not paid enough attention to the FUNCTION of tone in the language, or has not ensured that the information encoded in the orthography is ACCESSIBLE to the ordinary (non-linguist) user of the language. If the writing of tone is not going to continue to be a stumbling block to literacy efforts, then a fresh approach to tone orthography is required — one which assigns high priority to these two factors. This article describes the problems with orthographies that use too few or too many tone marks, and critically evaluates a wide range of creative intermediate solutions. I review the contributions made by phonology and reading theory, and provide some broad methodological principles to guide those who are seeking to represent tone in a writing system. The tone orthographies of several languages from sub-Saharan Africa are presented throughout the article, with particular emphasis on some tone languages of Cameroon.
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Podoroga, Boris V. "Logos and Prosthesis: Bernard Stiegler’s Theory of Tertiary Memory." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 6 (December 15, 2020): 90–99. http://dx.doi.org/10.37482/2687-1505-v067.
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This article discusses the relationship between the concepts of writing and tertiary memory in Bernard Stiegler’s philosophy of technology. It is demonstrated that tertiary memory, being a process of sensuality exteriorization (espacement) that defines the specifics of human existence, is almost identical to Derrida’s writing. Tertiary memory is expressed in everything that falls under the rubric “record”, from the most primitive tools to socio-political institutions and cybernetic technologies. Unlike Derrida, Stiegler believed that tertiary memory is most clearly expressed in material and technical objects. As an example the paper takes Stiegler’s critical analysis of Husserl’s phenomenology and Martin Heidegger’s existential ontology. Stiegler shows that in Husserl’s phenomenology, tertiary memory is represented by tertiary retention (determining a set of symbols, signs and images that implicitly constitute phenomenological experience), while in Heidegger’s philosophy, by the world-historical, determining the objective historical heritage of humankind, without which, as Stiegler demonstrates, there can be no existential experience. Further, the article discusses Stiegler’s thesis about historical and ontological duality of tertiary memory, containing both creative and destructive potential. Referring to Derrida, Stiegler shows that technics should be understood as what Plato called pharmakon, meaning a substance that can be both poison and remedy. This thesis defines the contemporary problem of lacking reflexion of the above-mentioned structural technical duality, which leads to excessive instrumentalization of the technics and its destructive effect on humans, similar to that during the time of Greek sophists.
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Waterman, Amanda H., Jelena Havelka, Peter R. Culmer, Liam J. B. Hill, and Mark Mon-Williams. "The ontogeny of visual–motor memory and its importance in handwriting and reading: a developing construct." Proceedings of the Royal Society B: Biological Sciences 282, no. 1798 (January 7, 2015): 20140896. http://dx.doi.org/10.1098/rspb.2014.0896.
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Humans have evolved a remarkable ability to remember visual shapes and use these representations to generate motor activity (from Palaeolithic cave drawings through Jiahu symbols to cursive handwriting). The term visual–motor memory (VMM) describes this psychological ability, which must have conveyed an evolutionary advantage and remains critically important to humans (e.g. when learning to write). Surprisingly, little empirical investigation of this unique human ability exists—almost certainly because of the technological difficulties involved in measuring VMM. We deployed a novel technique for measuring this construct in 87 children (6–11 years old, 44 females). Children drew novel shapes presented briefly on a tablet laptop screen, drawing their responses from memory on the screen using a digitizer stylus. Sophisticated algorithms (using point-registration techniques) objectively quantified the accuracy of the children's reproductions. VMM improved with age and performance decreased with shape complexity, indicating that the measure captured meaningful developmental changes. The relationship between VMM and scores on nationally standardized writing assessments were explored with the results showing a clear relationship between these measures, even after controlling for age. Moreover, a relationship between VMM and the nationally standardized reading test was mediated via writing ability, suggesting VMM's wider importance within language development.
Books on the topic "Symons' critical writing"
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Maxwell, Catherine. Les Fleurs du Mâle. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0004.
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Focusing on the founding figures of British aestheticism, Algernon Charles Swinburne and Walter Pater, this chapter discusses how they embraced the identity of the aesthetic olfactif, the cultivation of scent sensitivity, and the notion of the perfumed atmosphere produced by individual writers and literary or cultural schools, with this reflected in their influential critical prose. While Swinburne’s notorious Poems and Ballads (1866) apparently revels in heady perfumes, his own taste for light airy florals and dislike of musk clearly emerges in his subsequent poetry and prose, although his associations with his favoured scents are anything but conventional. Pater, another lover of delicate floral fragrance, refines Swinburne’s perception of the ‘scent’ of literature into a subtler critical language. His influential notion of the literary work’s ‘scented essence’ was adopted by admirers like Wilde and Symons, while his own writing was noted for its unmistakable ‘perfume’.
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Lilley, Deborah. New British Nature Writing. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199935338.013.155.
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This chapter explores the emergence of “new British nature writing” in the twenty-first century and identifies new approaches to its subject and form produced in response to the scale of harm registered by the growing awareness of environmental crisis. It interrogates the notion of “new” nature writing and the ways that it has been received, considering its continuities and breaks with the legacies of the tradition in Britain alongside ecocritical arguments concerning the concept and representation of nature and human–nonhuman relations. The chapter examines defining characteristics of the form— interest in urban, suburban, and industrial landscapes; attention to spatial and temporal intersections of people and place; a re-evaluation of ideas such as “natural” and “wild”; and a critical self-consciousness regarding the representation of nature — in key works by writers including Robert Macfarlane, Kathleen Jamie, Helen Macdonald, Roger Deakin, and Paul Farley and Michael Symmons Roberts.
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Barnard, John Levi. In Plain Sight. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190663599.003.0003.
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This chapter elaborates three primary elements of “black classicism” that African American writers, editors, and activists would develop in relation to dominant modes of classicism and monumental culture: the appropriation of the classically inflected rhetoric of revolutionary liberty to the cause of radical abolitionism; the critical juxtaposition of the neoclassical architecture of national buildings and monuments with images of the infrastructure of slavery; and the imaginative transformation of these buildings and monuments from icons of democracy and civilization to symbols of imperial hubris and harbingers of ruin. The chapter traces these developments through the pages of black newspapers and abolitionist polemics by radical figures such as David Walker, Henry Highland Garnet, and especially William Wells Brown. Brown draws together all the elements of antebellum black classicism in writings across a number of genres, from memoir and travel narrative to moving panorama, antislavery lecture, and finally his novel Clotel.
Book chapters on the topic "Symons' critical writing"
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Freeman, Nick. "Symons at the Seaside." In Coastal Cultures of the Long Nineteenth Century, 242–55. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474435734.003.0014.
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The poet, critic and short story writer Arthur Symons (1865–1945) was an inveterate traveller who wrote frequently about the Channel and the North Cornish coasts in poetry and prose. During the 1890s and 1900s, he was at the forefront of the pre-modernist avant-garde, and was an important conduit for the dissemination of decadent and impressionist art in England. As a landscape writer, he blended the quasi-Impressionist methods of painters such as Whistler with the decadent’s concern with the privileged subjectivity of the artist. This chapter examines the implications of such practices for his treatment of Cornwall, Sussex and Dieppe – including in neglected later writings such as ‘Sea Magic’ (1920).
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Danesi, Marcel. "Exponents." In Pythagoras' Legacy, 69–81. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852247.003.0005.
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Mathematicians have devised notations and symbols to compress information and to explore mathematics via the symbols themselves. In the 1500s the invention of exponential notation, which was devised as a type of shorthand to facilitate the cumbersomeness of just reading repeated multiplications of the same digit, was a watershed event. Exponential notation not only saves space and lessens the mental energy required to process the relevant information, it is critical for writing larger and larger numbers. Moreover, mathematicians started to play with exponential notation in an abstract way, discovering new facts about numbers, leading to the notion of logarithms and all the discoveries that this, in turn, has brought about. This chapter will deal with exponents and logarithms, and their significance to the history of mathematics—a history often characterized by problems of notation that have led serendipitously to new ideas and branches.
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Pracha, Setara. "Apples and Pears: Symbolism and Influence in Daphne du Maurier’s ‘The Apple Tree’ and Katherine Mansfield’s ‘Bliss’." In Katherine Mansfield and Psychology. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474417532.003.0016.
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This essay offers a parallel reading of two stories, ‘Bliss’ by Katherine Mansfield and ‘The Apple Tree’ by Daphne du Maurier, revealing a hitherto unexamined yet fruitful area of research. Dramatic irony, organic unity and liminal spaces are identified and discussed in terms of how these are used to represent subconscious and conscious perceptions of reality. The plots incorporate symbols from well-known myths to suggest extreme mental states in narratives that invite the reader to occupy psychological spaces of delusion and fantasy. Material from previously unpublished letters reveals the extent to which Mansfield influenced du Maurier’s writing and this close analysis demonstrates how examining these writers in tandem provides a valuable mean of accessing their work in a new way. Du Maurier’s critical reputation is current undergoing a process of revision which echoes the way in which Mansfield has come to be increasingly regarded as one of the ‘high priestesses’ of modernism.