Literatura académica sobre el tema "Silene paradoxa"
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Artículos de revistas sobre el tema "Silene paradoxa"
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Zibareva, Larisa Nikolayevna, Elena Sergeyevna Filonenko, Elena Il'inichna Chernyak, Sergey Vladimirovich Morozov y Oleg Alekseyevich Kotelnikov. "FLAVONOIDS OF SOME PLANT SPECIES OF THE GENERA SILENE". chemistry of plant raw material, n.º 3 (26 de septiembre de 2022): 109–18. http://dx.doi.org/10.14258/jcprm.20220310592.
Texto completoResumen
The composition of flavonoids of 12 species of plants of the genus Silene introduced into Western Siberia was studied for the first time. The C-diglycoside of apigenin, shaftoside, was isolated from the aboveground part of S. chalcedonica, the structure of which was identified by HPLC, mass spectrometry, and NMR spectroscopy. In all other studied species, the presence of shaftoside and other C-glycosides of flavones was established on the basis of HPLC data. C-diglycoside of apigenin - vicenin-2 was first identified in S. sendtneri, S. roemeri, S. viridiflora, S. paradoxa, S. nemoralis, S. frivaldszkyana, S. colpophylla, S. linicola, S. caramanica.
The most common in the studied Silene species are the apigenin monoglycosides vitexin and isovitexin and a number of their derivatives, luteolin derivatives orientin and others are found a little less frequently. The highest content of flavonoids in the aboveground part of the studied species is characterized by S. nemoralis (6.75%), high – S. chalcedonica, S. paradoxa, S. frivaldszkyana, S. caramanica, S. sendtneri (3.35–5.15%). The major component in the sum of flavonoids is shaftoside, the proportion of which in most species ranges from 50 to 90%. It is shown that the composition of flavonoids changes during vegetative development. The phases of maximum accumulation of flavonoids in the aboveground part of 4 Silene species have been determined. In general, the studied Silene species are promising sources of C-glycosylflavones.
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Arnetoli, Miluscia, Giordano Montegrossi, Antonella Buccianti y Cristina Gonnelli. "Determination of Organic Acids in Plants of Silene paradoxa L. by HPLC". Journal of Agricultural and Food Chemistry 56, n.º 3 (febrero de 2008): 789–95. http://dx.doi.org/10.1021/jf072203d.
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Colzi, Ilaria, Sara Pignattelli, Elisabetta Giorni, Alessio Papini y Cristina Gonnelli. "Linking root traits to copper exclusion mechanisms in Silene paradoxa L. (Caryophyllaceae)". Plant and Soil 390, n.º 1-2 (5 de enero de 2015): 1–15. http://dx.doi.org/10.1007/s11104-014-2375-3.
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Arnetoli, Miluscia, Riet Vooijs, Wilma ten Bookum, Francesca Galardi, Cristina Gonnelli, Roberto Gabbrielli, Henk Schat y Jos A. C. Verkleij. "Arsenate tolerance in Silene paradoxa does not rely on phytochelatin-dependent sequestration". Environmental Pollution 152, n.º 3 (abril de 2008): 585–91. http://dx.doi.org/10.1016/j.envpol.2007.07.002.
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Gonnelli, Cristina, Francesca Galardi y Roberto Gabbrielli. "Nickel and copper tolerance and toxicity in three Tuscan populations of Silene paradoxa". Physiologia Plantarum 113, n.º 4 (diciembre de 2001): 507–14. http://dx.doi.org/10.1034/j.1399-3054.2001.1130409.x.
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Colzi, Ilaria, Miluscia Arnetoli, Alessia Gallo, Saer Doumett, Massimo Del Bubba, Sara Pignattelli, Roberto Gabbrielli y Cristina Gonnelli. "Copper tolerance strategies involving the root cell wall pectins in Silene paradoxa L." Environmental and Experimental Botany 78 (mayo de 2012): 91–98. http://dx.doi.org/10.1016/j.envexpbot.2011.12.028.
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Capuana, Maurizio, Ilaria Colzi, Antonella Buccianti, Andrea Coppi, Emily Palm, Massimo Del Bubba y Cristina Gonnelli. "Paradoxical effects of density on measurement of copper tolerance in Silene paradoxa L." Environmental Science and Pollution Research 25, n.º 2 (31 de octubre de 2017): 1331–39. http://dx.doi.org/10.1007/s11356-017-0593-y.
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Leuzinger, Marianne, Yamama Naciri, Pierre-Emmanuel Du Pasquier y Daniel Jeanmonod. "Molecular diversity, phylogeography and genetic relationships of the Silene paradoxa group of section Siphonomorpha (Caryophyllaceae)". Plant Systematics and Evolution 301, n.º 1 (30 de mayo de 2014): 265–78. http://dx.doi.org/10.1007/s00606-014-1071-3.
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Colzi, Ilaria, Saer Doumett, Massimo Del Bubba, Jessica Fornaini, Miluscia Arnetoli, Roberto Gabbrielli y Cristina Gonnelli. "On the role of the cell wall in the phenomenon of copper tolerance in Silene paradoxa L." Environmental and Experimental Botany 72, n.º 1 (agosto de 2011): 77–83. http://dx.doi.org/10.1016/j.envexpbot.2010.02.006.
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Mengoni, A., C. Gonnelli, H. W. J. Hakvoort, F. Galardi, M. Bazzicalupo, R. Gabbrielli y H. Schat. "Evolution of copper-tolerance and increased expression of a 2b-type metallothionein gene in Silene paradoxa L. populations". Plant and Soil 257, n.º 2 (diciembre de 2003): 451–57. http://dx.doi.org/10.1023/a:1027325907996.
Texto completoTesis sobre el tema "Silene paradoxa"
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Li, Dilin. "Can silence be a proper response to the liar paradox?" HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/877.
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Many attempts at solving the liar paradox involve either rejecting some principles in classical logic so as to block the argument that leads to the contradiction or modifying the notion of truth so that the liar sentence can be classified as true in one aspect while false in another. However, the prominent approaches based the above strategies may suffer from the revenge problem. That is, while they solve the pristine liar paradox, the introduction of the solution triggers another one with the same structure. In this dissertation, three prominent approaches to the liar paradox are first introduced and examined. In particular, they are, first, the Tarskian hierarchical approach, whose main idea can be roughly characterized as that a natural language is a hierarchy of a series of languages and the liar sentence is true at one level of the hierarchy and is false at another; second, Saul Kripke's paracomplete approach, whose main idea can be roughly characterized as that the liar sentence is ungrounded and has no classical truth value at all; finally, Gupta and Belnep's revision theory of truth, the main idea of which is that truth is a circular concept and that the truth predicate is circularly defined. With a new semantics and logic for circular concept and definition, one can classify the liar sentence as not categorical. Based on two general patterns that give rise to the revenge paradox by Graham Priest, it is shown that none of the above approaches can escape the revenge paradox, at least, not satisfactorily. After the examination of three prominent approaches, I provide an initial characterization of a kind of approach which I call the silence approach. The main idea of the silence approach is that, perhaps what the liar paradox teaches us is that the semantic status of the liar sentence is eventually not classifiable, in the sense that the accepted or correct semantic theory for natural language simply does not apply to the liar sentence. There are two theoretical possibilities that can evoke the failure of classification. Either there is just no semantic category that fits the liar sentence or the necessary principles for the classification do not apply to the sentence. In either case, the silence approach suggests that although the liar sentence could have a semantic status according to the accepted or correct semantic theory, but given that we cannot classify it, we cannot know it. In this dissertation, I do not provide a detailed and well-developed theory of the silence approach. Instead, after the initial characterization of this approach, I go on to introduce and examine two current theories on the liar paradox which I think satisfy at least part of my characterization of the silence approach. The first theory is the semantic epistemicism by Paul Horwich. The second one is what I call exceptional theory, which is given by Thomas Hofweber. The result of the examination is that, both theories can indeed be interpreted as a silence approach. However, although they can block both the pristine liar paradox and the revenge paradox, they suffer severely from the problem of being ad hoc. The current conclusion of this dissertation about the silence approach thus is that, it is possible to construct a silence approach which can block the pristine liar paradox and the revenge, but it is hard to find a rationale for the solution. That is, it is hard to answer the question as to why the liar sentence is not classifiable. Finally, as an overlook to the future development of the silence approach, I suggest that even if we can solve the problem of ad hocness, there remains a question as to whether the incompleteness of classification is a symptom revealing that the accepted semantic theory is defective, or it is a symptom showing that there is just no possible semantic theory that can eventually do the job. Without answering this question, the silence approach still lacks a plausible theoretical ground
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Brétéché, Sylvain. "L'incarnation musicale : l'expérience musicale sourde". Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3076.
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L’ordinaire musical fait de l’oreille le médium principal de son accomplissement, reléguant au second plan le corps et ses capacités de réception des éléments sonores. Lorsque l’oreille ne peut remplir son rôle, le corps déploie alors ses qualités sensibles. Fondamentalement, la musique s’incorpore et se révèle expérience incarnée. La réalité musicale des sourds exprime ainsi cette dimension profonde du musical qui, par essence, prend le corps pour lieu de concrétisation. Délaissant les qualités aurales de la musique, celles qui s’adressent à l’oreille, pour singulariser plus précisément la corpauralité, le sujet sourd dévoile l’ordinaire musical à lui-même en lui révélant son altérité. Altérité sensorielle, altérité culturelle mais encore altérité esthétique, l’expérience musicale sourde se veut être une figure extra-ordinaire de la musique. Penser l’expérience musicale sourde, c’est en un sens se rapprocher de l’essence même du musical et de son nécessaire accomplissement corporel. Au-delà du paradoxe qu’elle suppose, l’expérience sourde de la musique investit le sens commun pour lui offrir une possibilité de dépasser le cadre qui le conditionne, décadrant l’ordinaire musical de son audiocentrisme pour signifier ce qui, au cœur de l’existence musicale, semble se présenter comme un principe fondamental : l’incarnationThe musical ordinary makes the ear the main medium for its fulfillment and relegates the body and its sound perception capacities to a position of second importance. When the ear cannot play its role, the body does deploy its sensible qualities. Essentially, music embodies and reveals itself a personified experience. The musical reality of the Deafs thus expresses this deep dimension of the musical which, in essence, takes the body as a place of realization. In the abandon of the aurals of music, those which address the ear, the deaf experience allows to single out the corpaurality more specifically and as such reveals the alterity of the musical ordinary. Sensory alterity, cultural alterity, but also the aesthetic alterity, the deaf musical experience presents itself as an extra ordinary figure of music.Approaching the deaf musical experience, is in a way getting closer to the essence of the Musical and its necessary corporeal fulfillment. Beyond the paradox it implies, the deaf experience of music invest the common sense to offer a possibility to go beyond the framework that governs it, detaching the musical ordinary from its audiocentrism to mean what, at the centre of the musical existence, seems to present itself as a crucial principle: the embodiement
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Geffroy, Cyril. "Paradoxes et silences : étude des statuts de l'écriture chez Albert Cossery". Thesis, Versailles-St Quentin en Yvelines, 2015. http://www.theses.fr/2015VERS009S.
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Cette étude de l’œuvre d’Albert Cossery interroge les relations entre parole et silence qui la gouvernent. Sous cet angle, le paradoxe s’impose comme une clé de lecture essentielle. Il permet de questionner le statut d’une écriture suspendue à la menace de son extinction. Dans un premier temps, la thèse envisage la dimension existentielle de la création littéraire pour Cossery, ce qui soulève une triple problématique touchant l’autobiographie, le rapport au temps et l’inscription dans l’espace. A chaque fois, un même constat s’impose : écrire est aussi vital que subsidiaire, car le dandy Cossery entend faire de sa vie une œuvre, sublimer le monde tangible, et y affirmer sa liberté. En toute cohérence, ses huit récits principaux, que la deuxième partie analyse dans leur épaisseur diégétique, s’accordent à révéler l’imposture universelle, à promouvoir une résistance active à son règne avant de plaider pour une résistance passive. C’est une révolution solitaire qui se trouve proposée et qui redéfinit le rapport de l’individu au réel. Un tel parcours de création, orienté vers la paix intérieure et le silence littéraire, vise à l’épure. Dans la dernière partie, l’écriture de Cossery, examinée dans ses aspects historiques, génériques et stylistiques, apparaît promise à une esthétique de la faute, au risque de passer pour une faute d’esthétique. Sa finalité est, là encore, méta-discursive. Son but n’est plus de se multiplier en livres ni de se constituer en œuvre, mais de se taire et de se laisser vivre dans la réception. L’écriture fonde un pacte de lecture qui se résorbe dans sa propre finalité. En foi de quoi, elle dessine, dans sa progression, un mouvement spiralaire. Le silence qui suit l’écriture est celui d’un bonheur de vivre enfin réaliséTo wonder about the writing status of Albert Cossery’s literary work and understand the connection between the words and the silence leads to three directions (autobiography, time, space) which come down to the same conclusion: it is as essential to write as it is to stop writing. The dandy Cossery turns his life into an art and transcends the world. Therefore, his eight main novels bring to light a universal deception, followed by an active resistance to face it and finally a passive resistance driving to freedom. It is an individual revolution that will help oneself to relocate within the world. This path to inner peace and literary silence is an outline. From a linguistic point of view (literary movement, genre and stylistic), Cossery’s writing includes deliberate errors that make it aesthetic. Its ending is here again outside literature. His intention is not only to build a literary work but to keep silent and live it the way it is perceived. In the end, three approaches of the writing have been presented and three similar and paradoxal conclusions have been found out: writing claims the end of its own writing. The overall theme of this thesis shapes it into a spiral. The silence that follows the writing enables the happiness of living
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Burrell, Nigel Robert. "The language of silence is no paradox : enervation & renewal in the poetry of J.H.Prynne". Thesis, Open University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240897.
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Berman, Mona. "Elie Wiesel's fictional universe : the paradox of the mute narrator". Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1001829.
Texto completoResumen
The approach I have chosen for my study is to analyse the narrative techniques in Wiesel's fiction, with particular emphasis on the role of the narrator and listener in the narratives. This will not only highlight aspects of his authorial strategy involving the reader's response to various dimensions of the Holocaust, but will allow an appraisal of the literary merit of Wiesel's novels. The hushed reverence that tends to accompany allusions to Auschwitz and its literature has impeded certain theoretical investigations, with the result that most critical studies undertaken on Wiesel's works have dealt predominantly with themes and content rather than with form. A narrative approach, however, while it accounts for themes, does so within the narrative process of the work. Form and content are examined as interwoven entities in the particular context of an individual work. My decision to adopt this pursuit is based on the conviction that Wiesel's fiction is a significant contribution to the literature of testimony, not only because of its subject matter, but also because of the way in which his narrators unfold their stories with words suspended by silence in the text. The paradox of the mute narrator, the title of my study, is intended to convey the paradoxical quality of Wiesel's fiction and to show how silence, which is manifested in the themes of his work, is concretized by his strategy of entrusting the transmission of the tale to narrators, who, for various reasons have been silenced. A mute by definition cannot emit an articulate sound. A narrator, on the other hand, is a storyteller who is reliant on verbal articulation for communication. This contradiction in terms is dramatized in the novels and is symptomatic of the dilemma of Wiesel's narrators who are compelled to bear testimony through their silence. In my study of Wiesel's fiction, I will follow the chronological sequence in which the novels were written, although I will not be using a developmental approach, except to point out that the trilogy which marks the beginning of his exploration into narrative strategies, and The Testament, the last book I will be dealing with, are a culmination of his previous fictional techniques. While a developmental analysis of his fiction, particularly from a thematic point of view, enables the reader to gain insight into his background, which is important in a comprehensive study of his works, I feel that this avenue of investigation has been competently dealt with by other critics. Ellen Fine's Legacy of Night, one of the first book-length studies of Wiesel, puts forward a convincing argument for examining his fiction in chronological sequence as a kind of serialized journey from being a witness in l'univers concentrationnaire to bearing - witness in a post-Holocaust world. Furthermore, it is possible to trace the direction Wiesel's fiction follows, as in each book the seeds are sown for new ideas which are expanded upon in subsequent books. My discussion, however, will deal with the narrative process of each novel as an individual work in its own particular context. Apart from the trilogy which is examined in one chapter, and The Testament which serves as a conclusion to the study, I have not used cross references to Wiesel's other fiction when analysing specific books. Moreover, I have deliberately avoided including Wiesel's comments on his works and references to them in his essays, interviews and non-fiction writing. The reason for this approach is that I consider each novel to be a separate narrative work which merits an interpretative response that is independent of the comparative criteria that has up to now influenced the assessment of his fiction. (Introduction, p. 12-14)
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Elias, Joan-Ignasi. "La Poètica del silenci i la poesia catalana del segle XX". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/383062.
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El plantejament del treball es fa partint de dues constatacions: l'estudi del silenci requereix una visió interdisciplinària i parlar-ne constitueix una paradoxa en si mateix. L'aproximació es realitza tenint en compte la seva gran rellevància en l'art en general i en la poesia en particular, en què la seva influència ha estat decisiva, especialment a partir del segle XX.
Al llarg d’aquest treball volem ressaltar el silenci poètic o, millor dit, la seva capacitat d’eloqüència, el seu dot de suggeriment, la seva idoneïtat per expressar l’inefable com a veu de misteri i com a codi d’enigma, i, en definitiva, el seu indiscutible paper com a transmissor de l’experiència vital i artística dels poetes.
En aquest recorregut polisèmic, hem focalitzat en els poetes catalans del segle XX l'exemplificació del significat vital i artístic que el silenci i la seva profunda i àmplia poètica representa.The approach of the work is based on two observations: the study requires an interdisciplinary silence and talking about it is a paradox in itself. The approach is made taking into account the great significance in art in general and poetry in particular, where its influence has been decisive, especially since the twentieth century. Throughout this paper, we highlight the poetic silence, or rather, their ability eloquence, her dowry suggestion, their suitability to express the ineffable mystery as voice and as a source of mystery, and, ultimately, its indisputable role as a transmitter of life experience and artistic poets. This route polysemous we focused on Catalan poets of the twentieth century exemplification of vital significance and artistic silence and deep and broad poetic accounts.
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Fernandez, Escareño Itzia Gabriela. "La compilation, un outil paradoxal de valorisation des films muets recyclés par Peter Delpeut et coproduits par le Nederlands Filmmuseum [1989-1999]". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00759225.
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La recherche interroge la valorisation des archives du Nederlands Filmmuseum [NFM] à partir du travail de compilation du cinéaste Peter Delpeut. Ce corpus de dix films [1989-1999] se situe à cheval entre deux ambitions qui ne sont pas toujours compatibles, entre une volonté d'archiviste de rendre accessible des films muets [1895-1931] parfois de simples fragments, en restituant leur couleur, en créant une sonorisation et une quête artistique, plus personnel et liée à un cinéaste. Convoquant des sources audiovisuelles mais également écrites et orales, il s'agit d'abord de se demander comment le NFM en vient à produire ces compilations afin de mettre en valeur ses collections, de tracer l'histoire de cette cinémathèque et de suivre la trajectoire de Delpeut, en somme de comprendre la rencontre entre cet homme riche d'une expérience de recherche, de critique et de réalisation et une institution en plein bouleversement de sa philosophie dans les années 1990. Le questionnement s'oriente ensuite sur le processus de fabrication lui-même et de la façon dont fonctionnent ces compilations en vue de montrer comment elles sont prises en tension entre le sensoriel et l'analytique, étant au-delà et en deçà d'une stricte valorisation des films muets du NFM. La dernière partie interroge les usages des compilations, la manière dont elles sont liées à la politique de programmation du NFM, comment elles affectent la dynamique de l'institution et du cinéaste, mais aussi comment elles sortent du cadre de la cinémathèque, évaluant à chaque fois les apports et les limites en terme de transmission d'un patrimoine cinématographique.
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GIORNI, ELISABETTA. "Responses to environmental stresses in metallicolous and non metallicolous Silene paradoxa L. populations". Doctoral thesis, 2017. http://hdl.handle.net/2158/1080136.
Texto completoResumen
Due to the high heavy metal concentrations, metalliferous soils, both of
natural and anthropogenic origin, provide a very restrictive and selective
environment for plant life. Some plants, named “metallophytes”, have evolved
tolerance mechanisms that allow them to cope with toxic heavy metal
concentrations.
A good model for comparative studies of metal tolerance is the specie Silene
paradoxa L. (Caryophyllaceae), an excluder facultative metallophyte that
presents populations living in metalliferous and non-metalliferous soils.
This project aims to investigate responses to different environmental
stresses, both biotic and abiotic, in metallicolous and non-metallicolous
populations of this specie.
At the root level, we investigated how Cu affects the morphology and
composition of such organ in a non-metallicolous and a Cu-tolerant Silene
paradoxa population. We found out that in the Cu-tolerant population some of
the possible Cu exclusion strategies could be the mucilage and lignine production
and the reduction of subapical zone of the root. Passing to the shoot level, we
investigated the different effects of Cu excess on photosynthetic parameters in
the same two populations. The Cu-tolerant population showed a more efficient
photosynthetic activity in respect to the non-metallicolous population and a
different nature of photosynthetic limitations, being mostly stomatal, compared
to non-metallicolous mostly diffusional and biochemical limitations.
Metalliferous soils are characterized by low macronutrient concentrations
and availability, if compared to non-metalliferous ones, so that metallophytes
have to adapt even to nutrient scarcity. We compared the ability to use nutrients
in a non-metallicolous, a Cu-tolerant and a serpentine Ni-tolerant population
exposed to Cu and Ni excess. We found out that metallicolous populations have evolved mechanisms to adapt to Ca and Mg scarcity in a metal-dependent way,
optimizing nutrient utilization.
Responses to biotic stresses in excluder metallophytes are poorly studied.
These plants, unlike hyperaccumulators, cannot rely on the accumulation of the
metal to defend themselves from pathogens. Therefore, we quantified the
responses to pathogen attack in a metallicolous and Cu-tolerant Silene paradoxa
population exposed to Cu. As an elicitor of defense responses, we used a purified
fungal protein with PAMP activity, called cerato-platanin (CP). An overproduction
of phytoalexins was recorded for the Cu-tolerant population exposed
to Cu, suggesting that adaptation to metalliferous soils can affect plant response
to biotic stress. Remaining in the same outline and with the same experimental
setting, we further investigated whether the pathway leading to induction of
defense responses is dependent on ROS (reactive oxygen species) production or
not. Our results showed incompatibility between the ordinary ROS-mediated
response to fungal attack and the acquired mechanisms of preventing oxidative
stress in the Cu-tolerant population. Therefore, the same incompatibility of
hyperaccumulators in ROS-mediated biotic stress signals seemed to be exhibited
by this excluder metallophyte, but without the advantage of being able to rely on
the elemental defense for plant protection from natural enemies.
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Ishikawa, M. "Nakagami Kenji : paradox and the representation of the silenced voice". Thesis, 2015. https://eprints.utas.edu.au/23223/1/Ishikawa_whole_thesis.pdf.
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How does a writer represent the voice of the voiceless? This is the primary
question in my reading of Burakumin writer, Nakagami Kenji (1946-1992). My project
explores Nakagami's representation of the voices of voiceless (mukoku) people - especially
Burakumin people - who are oppressed by mainstream Japanese social structures. Nakagami
was always conscious of the fact that, in spite of his own background, his privilege as a writer
made it difficult for him to 'represent' the voices of the dispossessed. This 'paradox of
representing the silenced voice' is the key theme of my thesis. Gayatri Chakravorty Spivak
theorises the (im)possibility of representing the voice of 'subalterns,' those oppressed by
ideologies such as imperialism, patriarchy and heteronormativity. Arguing that the oppressed
Burakumin peoples depicted in Nakagami's narratives are Japan's 'subalterns,' I draw on
Spivak to analyse Nakagami's material. There is no other study, in either Japanese or English
that reads Nakagami through Spivak's ground-breaking ideas. Spivak's work reveals and
transcends the complicity of Western (Northern, in Gramsci' s terms) intellectuals in the
suppression of the non-West (or South). I argue that Nakagami similarly interrogates the
relationship between mainstream and marginalised in Japan. Nakagami's narratives have a
strong geopolitical perspective that reveals the 'otherness' of his birthplace, Kumano.
Nakagami identifies Kumano as Japan's marginalised 'South.'
I am particularly interested in drawing on Spivak, and theorists such as Butler and
Sedgwick, to profile Nakagami's depiction of marginalised Japanese women, especially
Burakumin women. I wish to help readers hear the voices of these women who are often
violated sexually by the men given a profile in much Nakagami scholarship. Firstly, I will
revisit the voices of key male characters, and the voice of Nakagami himself, in order better
to understand the role these men play in suppressing women's stories. Through reviewing
conflicts between masculine pairs, especially the father and son, I will note how misogynistic
homosocial practices silence the voices of the women associated with these males.
The analysis references a selection of both well-known and little read Nakagami
narratives. Chapter One examines the 1978 travel journal, Kishu: ki no kuni, ne no kuni
monogatari (Kishu: A Tale of the Country of Trees, the Country of Roots), as an early
representation of the silenced Kumano Burakumin voice. Chapter Two focuses on the 1976
short story, 'Rakudo' (Paradise) little discussed in existing scholarship, to explore the
depiction of the voice of a violent young patriarch and the defiance expressed by the silence of his wife. Chapter Three considers Nakagami's masterpiece, the Akiyuki trilogy. Rather
than the better known 1976 and 1977 works, 'Misaki' (The Cape) and Kareki nada (The Sea
of Withered Trees), close attention is given to Chi no hate shijo no toki (1983, The End of the
'
Earth, Supreme Time), written after Nakagami's declaration of his Burakumin background.
The second half of the thesis focuses directly on the rarely heard voices of
Burakumin women. I profile these women as independent subjects, rather than objects of
male interaction. Chapters Four and Five introduce women from the Akiyuki trilogy. Satoko,
the prostitute who unknowingly commits incest with her half-brother, Akiyuki, becomes a
pawn in the power struggle between her father and half-brother. The aged 'oldest sister,' Yuki,
sacrificed her youth in a brothel to feed her father-less family. Moyo remains traumatised by
the rape that resulted in the conception of her now adult son. Nakagami's most celebrated
woman character, Oryu no oba, the mid-wife and community mother of the buraku
community, from Sen 'nen no yuraku (1982, A Thousand Years of Pleasure), is also discussed
to support my interpretation of Burakumin women. Finally, I examine the writer's last
published novel, Keibetsu (1992, Scorn), with its account of the Tokyo topless dancer,
Machiko, who migrates to her husband's rural 'hometown' where she is oppressed and
branded as immoral by the gaze of her partner's community. My close reading ofNakagami's
representation of the voice of these sexually stigmatised women is my unique contribution to
Nakagami scholarship.
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Dyer, Tshimangadzo Unifier. "The paradoxes of silenced trauma in Mongane Serote's To Every Birth its Blood". Thesis, 2015. http://hdl.handle.net/10539/18412.
Texto completoLibros sobre el tema "Silene paradoxa"
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1951-, Ross Lena B., ed. To speak or be silent: The paradox of disobedience in the lives of women. Wilmette, Ill: Chiron Publications, 1993.
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Smith, B. The Silence of Divine Love. Darton, Longman & Todd Ltd, 1998.
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Ishikawa, Machiko. Paradox and Representation. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501751943.001.0001.
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How can the “voiceless” voice be represented? This primary question underpins this book's analysis of selected works by Buraku writer, Nakagami Kenji (1946–1992). In spite of his Buraku background, Nakagami's privilege as a writer made it difficult for him to “hear” and “represent” those voices silenced by mainstream social structures in Japan. This “paradox of representing the silenced voice” is the key theme of the book. Gayatri Spivak theorizes the (im)possibility of representing the voice of “subalterns,” those oppressed by imperialism, patriarchy, and heteronomativity. Arguing for Burakumin as Japan's “subalterns,” the book draws on Spivak to analyze Nakagami's texts. The first half of the book revisits the theme of the transgressive Burakumin man. This section includes analysis of a seldom discussed narrative of a violent man and his silenced wife. The second half of the book focuses on the rarely heard voices of Burakumin women from the Kiyuki trilogy. Satoko, the prostitute, unknowingly commits incest with her half-brother, Akiyuki. The aged Yuki sacrifices her youth in a brothel to feed her fatherless family. The mute Moyo remains traumatized by rape. The author's close reading of Nakagami's representation of the silenced voices of these sexually stigmatized women is this book's unique contribution to Nakagami scholarship.
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The Great Silence: Science and Philosophy of Fermi's Paradox. Oxford University Press, 2018.
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Ross, Lena B. To Speak or Be Silent: The Paradox of Disobedience in the Lives of Women. Chiron Publications, 1993.
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Gray, Erik. The Art of Love Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198752974.001.0001.
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Love begets poetry; poetry begets love. These two propositions have seemed evident to thinkers and poets across the Western literary tradition. Plato writes that “anyone that love touches instantly becomes a poet.” And even today, when poetry has largely disappeared from the mainstream of popular culture, it retains its romantic associations. But why should this be so—what are the connections between poetry and erotic love that lead us to associate them so strongly with one another? An examination of different theories of both love and poetry across the centuries reveals that the connection between them is not merely an accident of cultural history—the result of our having grown up hearing, or hearing about, love poetry—but something more intrinsic. Even as definitions of them have changed, the two phenomena have consistently been described in parallel terms. Love is characterized by paradox. Above all, it is both necessarily public, because interpersonal, and intensely private; hence it both requires expression and resists it. In poetry, especially lyric poetry, which features its own characteristic paradoxes and silences, love finds a natural outlet. This study considers both the theories and the love poems themselves, bringing together a wide range of examples from different eras in order to examine the major structures that love and poetry share. It does not aim to be a comprehensive history of Western love poetry, but an investigation into the meaning and function of recurrent tropes, forms, and images employed by poets to express and describe erotic love.
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Pryce, Paula. Antechapel. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680589.003.0002.
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Chapter 2 emphasizes the importance of the monastic tenet of stability, showing the methods by which teachers and communities help ground newcomers in their intentions to follow demanding contemplative Christian alternatives while nevertheless allowing for ambiguity and open-mindedness toward people who follow other lifeways. Rather than depending on unreliable belief and emotion, neophytes learn to keep intentions and practices as a way of working toward “contemplative transformation,” a kind of religious conversion. The difficulties they have in learning practices and principles, especially discipline, humility, and detachment, reveal some deep-seated American cultural motifs of self-identity, self-achievement, and acquisition. Ethnographic examples illustrate the critical role of teachers in stabilizing neophytes as they struggle to learn the paradox of focusing their lives while retaining a non-judgmental, pluralistic outlook. Some key practices include keeping a rule of life, practicing silence and Centering Prayer, maintaining a sense of humor, and serving others through social action.
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Gao, Rui y Jeffrey C. Alexander. Remembrance of Things Past: Cultural Trauma, the “Nanking Massacre,” and Chinese Identity. Editado por Jeffrey C. Alexander, Ronald N. Jacobs y Philip Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780195377767.013.22.
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This article examines the theory of cultural trauma from a cultural sociological perspective by using the case of the Nanking Massacre and its implications for Chinese identity. It begins with an overview of the Nanking Massacre and its initial constructions, focusing on the shift from Western concern to Western silence about the mass murder from a cultural standpoint. It then considers why the Nanking Massacre disappeared from the consciousness of the Chinese, arguing that the event was not narrated as a collective trauma, and the opportunities to extend psychological identification and moral universalism were not taken up, due to the paradoxes of solidarity, boundary-making, and collective identity. It also discusses social revolution and communism as Chinese responses to trauma and concludes with a commentary on the proliferation of articles and reports concerning the Nanking Massacre.
Capítulos de libros sobre el tema "Silene paradoxa"
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Graham, Archie. "Truth, Paradox, and Silence: Hakuin and Kierkegaard". En Kierkegaard and Japanese Thought, 124–40. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230589827_7.
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Sielke, Sabine. "No Quiet Place—Breaking the Silence, Speaking the Unspeakable, or: How Cultural Critique Thrives on a Paradox". En Silence and its Derivatives, 235–54. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06523-1_12.
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Saxer, Marion. "Paradoxes of Autonomy: Bernd Thewes’s Compositions to the Rhythmus-films of Hans Richter". En The Sounds of Silent Films, 192–207. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137410726_12.
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Vallée, J. P. "Search for Strongly Polarized Radio Emission from E.T.I., and an Optimist Approach to the Great Silence (Fermi’s Paradox)". En The Search for Extraterrestrial Life: Recent Developments, 321–25. Dordrecht: Springer Netherlands, 1985. http://dx.doi.org/10.1007/978-94-009-5462-5_41.
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Roberts, Dorothy. "The Paradox of Silence and Display: Sexual Violation of Enslaved Women and Contemporary Contradictions in Black Female Sexuality". En Beyond Slavery, 41–60. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230113893_3.
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Kallio, Alexis Anja, Kathryn Marsh, Heidi Westerlund, Sidsel Karlsen y Eva Sæther. "Introduction: The Politics of Diversity in Music Education". En The Politics of Diversity in Music Education, 1–11. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_1.
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AbstractThe Politics of Diversity in Music Educationattends to the political structures and processes that frame and produce understandings of diversity in and through music education. Recent surges in nationalist, fundamentalist, protectionist, and separatist tendencies highlight the imperative for music education to extend beyond nominal policy agendas to critically consider the ways in which understandings about society are upheld or unsettled and the ways in which knowledge about diversity is produced. This chapter provides an overview of the scholarly foundations that this book builds upon before introducing the four sections of the book and contributing chapters. The first section of the book focuses on the politics of inquiry in music education research. The second section attends to the paradoxes and challenges that arise as music teachers negotiate cultural identity and tradition within the political frames and ideals of the nation state. The third section considers diversities that are often overlooked or silenced, and the final section turns to matters of leadership in higher music education as an inherently political and ethical undertaking. Together, chapters work towards a more critical, complex, and nuanced understanding of the ways in which the politics of diversity shape our ideals of what music education is, and what it is for.
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Gold, Leah Gruenpeter. "The Paradox of Double-Bind Theory in Controversies: The Case of “Silence” in the Philosophical Questions that Abounded During the Eighteenth Century in Europe". En Logic, Argumentation & Reasoning, 149–70. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-41978-7_12.
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Quinlivan, Kathleen. "Hooked on a Queer Feeling? The Paradoxes of Engaging with Affective Silences and Talk in a High School Classroom". En Queer Pedagogies, 9–22. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27066-7_2.
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Guida, Michael. "Broadcasting nature". En Listening to British Nature, 69–92. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190085537.003.0004.
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The BBC’s leading figure, John Reith, formulated a vision of broadcasting that was underpinned by the idea that the medium of radio and its programme content could give the nation access to sublime earthly and cosmic silences. In a new reading of the well-known live nightingale transmissions that from 1924 became an annual event every May, the paradox of a silent broadcasting system is explored. Reith, who described the nightingale’s song as a silence that the busy world craved, also saw it as symbolic of the culturally unifying force that his public service broadcasting should be, with an emotional appeal to every citizen. More than this, Reith mixed scientific and mystical ideas to articulate his belief that radio waves connected all humans to the perfect stillness of the heavens and the grand scheme of nature, presided over by a silent God.
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Garfield, Jay L. "Silence and Upāya". En What Can't be Said, 42–56. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526187.003.0003.
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This chapter examines the paradox developed in the Vimalakīrti-nirdeśa-sūtra regarding the limits of language. The sūtra argues that ultimate reality is ineffable, and that regarding it one must be silent. But that is to say something about it, and the silence one maintains, if it is to express ultimate reality, must also be a kind of speech. Speech and silence, and the expressible and the ineffable, are hence paradoxically related.
Actas de conferencias sobre el tema "Silene paradoxa"
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Ben Amor, Syrine. "Pour une lecture croisée des représentations de l'onde dans Bruges-la-Morte de Georges Rodenbach". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3068.
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« Et cette eau elle-même, malgré tant de reflets : coins de ciel bleu, tuiles des toits, neige des cygnes voguant, verdure des peupliers du bord, s’unifie en chemins de silence incolores. » Georges Rodenbach L’eau constitue l’une des thématiques axiales de l’œuvre de Georges Rodenbach. Thématique commune à sa production scripturale dans son étendue, l’eau irrigue l’imaginaire poétique de l’écrivain. Pourquoi Bruges-la-Morte ? Bruges-la-Morte est le roman d’un veuf éploré qui a choisi Bruges, ville d’eau et de canaux, non pour y vivre mais pour y mourir, pour y dissoudre sa peine. Et, c’est à Bruges, la Venise Flamande, que Hugues Viane s’acharne à chercher le visage de sa femme « sur d’autres visages ». Précisons que l’élément aquatique se présente comme la véritable substance aussi bien du paysage que du travail analogique entrepris dans le roman. Récurrentes et labiles sont les particularités des images poétique et poétisante de l’eau. Plus intéressante nous semble le traitement des représentations de l’eau. Sujette à la modulation, à une distribution-redistribution sans cesse renouvelée, les images et les métaphores de l’onde fusent dans le roman. On se propose de faire découvrir comment la thématique de l’onde fait l’objet d’une configuration paradoxale. Elle est le réceptacle de la vie et de la mort (comme espace paradoxal, l’eau se présente comme la matérialisation d’un état de présence-absence). Nous analyserons comment l’eau, l’œil, le miroir et la photographie deviennent interchangeables. Ces mêmes surfaces, aux propriétés réfléchissantes et enchâssantes font l’objet de maintes associations analogiques. Nous verrons comment l’eau rodenbachienne est tantôt lascive et foncièrement féminine, tantôt inquiétante et violente. La dernière partie de la présentation constitue une réflexion métalinguistique portant sur le rapport eau / mots. L’eau comme espace de l’imaginaire et le roman comme espace de l’illusion.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3068
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Capes, David B. "TOLERANCE IN THE THEOLOGY AND THOUGHT OF A. J. CONYERS AND FETHULLAH GÜLEN (EXTENDED ABSTRACT)". En Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/fbvr3629.
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In his book The Long Truce (Spence Publishing, 2001) the late A. J. Conyers argues that tolerance, as practiced in western democracies, is not a public virtue; it is a political strat- egy employed to establish power and guarantee profits. Tolerance, of course, seemed to be a reasonable response to the religious wars of the sixteenth and seventeenth centuries, but tolerance based upon indifference to all values except political power and materialism relegated ultimate questions of meaning to private life. Conyers offers another model for tolerance based upon values and resources already resident in pre-Reformation Christianity. In this paper, we consider Conyer’s case against the modern, secular form of tolerance and its current practice. We examine his attempt to reclaim the practice of Christian tolerance based upon humility, hospitality and the “powerful fact” of the incarnation. Furthermore, we bring the late Conyers into dialog with Fethullah Gülen, a Muslim scholar, prolific writer and the source of inspiration for a transnational civil society movement. We explore how both Conyers and Gülen interpret their scriptures in order to fashion a theology and politi- cal ideology conducive to peaceful co-existence. Finally, because Gülen’s identity has been formed within the Sufi tradition, we reflect on the spiritual resources within Sufi spirituality that make dialog and toleration key values for him. Conyers locates various values, practices and convictions in the Christian message that pave the way for authentic toleration. These include humility, trust, reconciliation, the interrelat- edness of all things, the paradox of power--that is, that strength is found in weakness and greatness in service—hope, the inherent goodness of creation, and interfaith dialog. Conyers refers to this latter practice as developing “the listening heart” and “the open soul.” In his writings and oral addresses, Gülen prefers the term hoshgoru (literally, “good view”) to “tolerance.” Conceptually, the former term indicates actions of the heart and the mind that include empathy, inquisitiveness, reflection, consideration of the dialog partner’s context, and respect for their positions. The term “tolerance” does not capture the notion of hoshgoru. Elsewhere, Gülen finds even the concept of hoshgoru insufficient, and employs terms with more depth in interfaith relations, such as respect and an appreciation of the positions of your dialog partner. The resources Gülen references in the context of dialog and empathic acceptance include the Qur’an, the prophetic tradition, especially lives of the companions of the Prophet, the works of great Muslim scholars and Sufi masters, and finally, the history of Islamic civilization. Among his Qur’anic references, Gülen alludes to verses that tell the believers to represent hu- mility, peace and security, trustworthiness, compassion and forgiveness (The Qur’an, 25:63, 25:72, 28:55, 45:14, 17:84), to avoid armed conflicts and prefer peace (4:128), to maintain cordial relationships with the “people of the book,” and to avoid argumentation (29:46). But perhaps the most important references of Gülen with respect to interfaith relations are his readings of those verses that allow Muslims to fight others. Gülen positions these verses in historical context to point out one by one that their applicability is conditioned upon active hostility. In other words, in Gülen’s view, nowhere in the Qur’an does God allow fighting based on differences of faith. An important factor for Gülen’s embracing views of empathic acceptance and respect is his view of the inherent value of the human. Gülen’s message is essentially that every human person exists as a piece of art created by the Compassionate God, reflecting aspects of His compassion. He highlights love as the raison d’etre of the universe. “Love is the very reason of existence, and the most important bond among beings,” Gülen comments. A failure to approach fellow humans with love, therefore, implies a deficiency in our love of God and of those who are beloved to God. The lack of love for fellow human beings implies a lack of respect for this monumental work of art by God. Ultimately, to remain indifferent to the conditions and suffering of fellow human beings implies indifference to God himself. While advocating love of human beings as a pillar of human relations, Gülen maintains a balance. He distinguishes between the love of fellow human beings and our attitude toward some of their qualities or actions. Our love for a human being who inflicts suffering upon others does not mean that we remain silent toward his violent actions. On the contrary, our very love for that human being as a human being, as well as our love of those who suffer, necessitate that we participate actively in the elimination of suffering. In the end we argue that strong resonances are found in the notion of authentic toleration based on humility advocated by Conyers and the notion of hoshgoru in the writings of Gülen.