610 research outputs found
Gillian Dooley interviews Joris Luyendijk, author of 'Fit to Print: Misrepresenting the Middle East'.
No full textInterview with Joris Luyendijk, author of 'Fit to Print: Misrepresenting the Middle East', a book about the problems of foreign journalism in the Middle East
La symbolique maternelle dans quatre romans de Françoise Mallet-Joris /
No full textSo far, Francoise Mallet-Joris has been categorized either as a Catholic novelist or as a moderate feminist. Accused of conservatism by some, perceived by others as immoral, she has been considerably underrated by a critical audience anxious to maintain traditional literary categories. This thesis attempts to demonstrate that faith and feminism, far from conflicting with each other, are linked in Mallet-Joris' work with the process of writing, thus forming a triple entity where the common denominator is the theme of maternity. This theme will be analysed in four of Mallet-Joris' novels, Les Mensonges, Les Signes et les Prodiges, Allegra, and La Tristesse du Cerf-volant, using a symbolic approach whose usefulness lies in the twofold definition of a symbol as, on the one hand, a materialisation of the inexpressible and on the other, a split unity. For the temporal modality and the concept of identity inherent in the maternal experience place it outside the narrative system, thus putting any author who wishes to tackle this area in the position of either inventing a new narrative form or attempting a compromise between already existing forms and the specific content of the maternal experience. It is this latter alternative that Francoise Mallet-Joris adopts. Although as far as form is concerned, Mallet-Joris can hardly be termed innovative, she demonstrates on an ideological plane an originality which is largely the product of using the symbol of the Virgin Mary as an intermediary between the maternal experience and the symbolic order
Joris Janzen Van Horne and his Descendants
No full textDetailed listing of marriages and children descending from the 1666 marriage of Joris Jansen (of Hoorn) and Maria Rutgers (of Amersfoort). Introduction and early entries describe communities in Netherlands. Family settled in areas now part of Jersey City: Bergen, Communipaw, Paulus Hook, and became prominent citizens. Listing for early generations include anecdotes of community life, and references to slaves. Details of descendants through early 1900s. Full indexes of names and places. Also includes articles on disputed land claims of family, a description and history of the "house of four chimneys" (the Van Horne homestead), and a Washington Irving story describing colonial history of Communipaw as a holdout of Dutch language and culture resisting English rule (written under pen name Hermanus Vanderdonk). With many plates of portraits of family, and household scenes. Family name known variously as Van Horn, Van Hoorn, Van Horne
Framing metamemory judgments: judgments of retention intervals (JORIs)
No full text2010 Summer.Includes bibliographic references (pages 57-60).Covers not scanned.Print version deaccessioned 2022.Prior research has shown that participants’ predictions of memory performance are not sensitive to the time between study and test. However, this work has largely relied in one metacognitive measure, Judgments of Learning (JOLs), to assess such awareness. Thus, in three experiments I explored a new metacognitive measure. Judgments of Retention Interval (JORIs), in which participants determine how long (in minutes) information will be remembered. Results demonstrated that the metacognitive measure itself influences assessments of monitoring and control. For example participants chose to restudy more items when JORIs were made, compared with fewer restudy choices from participants who made JOLs (Experiment 2). However, participants demonstrated difficulty incorporating information about a retention interval into their judgments regardless of the type of judgment made (i.e., JOLs or JORIs). Results are considered within existing theoretical frameworks. I suggest that the metacognitive measure needs to be considered in order to accurately assess metacognitive awareness, and additional work is needed to assess metacognitive awareness of RI
THE MONOLITH DRAWING
No full textRobin Evans describes the way in which architecture always exceeds its representations for every architecture meanders through different stages of being image [*]. Stan Allen defines the practice of producing images of architecture to be a combination between representation and expression [*]. The practice of notational drawing, driven by professional codes, indeed allows us to represent spaces as empirical objects. The diagram, as he explains, is a moment where one takes a distance from such a professional vocabulary to allow the image or drawing to become expressive of something perhaps less tangible [*]. This distinction between notation and diagramming has been termed by the American Philosopher Nelson Goodman (1976) as the difference between allographic and autographic art forms.
Allographic art is “capable of being reproduced at a distance from the author by means of notation” [*]. An example of this would be music scores or indeed an architectural drawing. Autographic art its authenticity on the other hand is clearly dependent on direct contact with the author. Its value therefore lays in the original, such as in a painting or diagram.
This paper aims at describing a drawing protocol through which the dialectics between representation and expression are under perpetual review. The protocol, termed The Monolith Drawing, acts as a performative discourse syncopating between representation and expression like Rubin’s Vase allowing both models to simultaneously exist on for and background.
A significant attribute of The Monolith Drawing is its investment in the enormity of absence in order to avoid, as much as possible, ready made vocabularies and pre-determined routes of reflection. As such overthrowing the Architect’s personal formations of truth to allow him/her to interact with the vastness of what one could address as collective memory. This allows for a particular kind of embryonic architecture, born out of the organizational framework in which individual consciousness can coincide with shared understanding (or indeed collective memory). This is important to prevent the act of drawing to be reduced to subjective idealism and allow it to enter the dimensions of an architectural history.
The Monolith Drawing invests in the entirety of history actively referencing historical archetypical elements to explore aspects of duration freed from historical classification and taxonomy. This in turn seems to create a practice of paradox with the appearing congruence between intuition and tradition. It is this kind of practice which is enabled a search for architecture escaping a historical periphery in order to (re) enter history in pursuit of productive points of intersection and overlap. In doing so, any boundary between historicized and present day architecture is carefully erased. Any safe distance between historical and contemporary information is eliminated to allow the drawing to engage with a process of intimate reflection. Such production of architecture demands a distancing between the architect as author and the authored product. The Monolith Drawing, as this paper will explain, is partly responsible for its own becoming with the architect standing at a (critical) distance. Such positioning of the architect, as maker of drawing constructs or choreographer of (historical) information is the actuation of a practice in which any linear or secular understanding of time is rejected and the idea of space or more specifically ‘distance’ is allowed to change.sponsorship: KU Leuvenstatus: Accepte
From the narrative about other to the narrative about yourself. "La double confidence" by Françoise Mallet-Joris
No full textThis article is devoted to the book The Double Confidence (2000) by the Belgian novelist Françoise Mallet‐Joris, which is the fusion of the biography of Marceline Debordes‐Valmore and the autobiography of the author. The writing of the biography triggers the author's memory and awakens her memories (mainly her difficult relationship with her mother, Suzanne Lilar): she allows her to observe herself, to analyze herself, to ask questions she avoid, to re‐emerge repressed. I study the elements that link the work of Mallet‐Joris to "narrations of filiation", I examine the binary structure, the singularity of discursive strategies, as well as the therapeutic function of this self‐biographic project
Double Trouble - De veranderende relatie tussen publiek en het originele kunstwerk door identieke 3D-prints
No full textGreen Open Access added to TU Delft Institutional Repository 'You share, we take care!' - Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public.Team Joris Di
Wilde Rewound: Time-Travelling with Oscar in Recent Author Fictions
No full textIn the early 1980s historical figures in general – and writers from the past in particular – entered a kind of Golden Age thanks to fiction. Through various forms of semi-biographical novels and other narratives, they have, from that time forward, been enjoying a pampered life in a new genre called “the author-as-character” (Franssen and Hoenselaars 1999) or “author fictions” (Savu 2009) that reanimate them or conjure them up in a present that constantly seeks to reassert its link with the past. This is particularly true of Oscar Wilde’s life, for his disparate and colourful personality has been time and again re-appropriated in recent fiction. This article focuses on three of these contemporary fictional depictions: an epistolary novel, an epistolary website and a fictional interview, all three dealing with a fictionalised Oscar Wilde conversing with a contemporary author who is also an interviewer in his or her own way and right. Because they are very close to each other in terms of narration (i.e. impersonation and pastiche) and subject, putting words in Wilde’s mouth as though they were his own, The Unauthorized Letters of Oscar Wilde, the website Dialogus, and Coffee with Oscar Wilde, represent three fascinating means of exploring how Oscar’s rebirth as a man and author actually takes place. Among the numerous fictional portraits of Oscar Wilde, I have thus chosen to pay particular attention to the depictions that are well anchored in the twentieth and twenty-first centuries and which do not, therefore, display a narrative that would merely take place during the fin de siècle, with only period-style people in period costume. By contrast, the three portraits are literal time-travelling narratives that endeavour to bridge the gap between past, present and future
Bone scintigraphy in trapeziometacarpal joint replacement
No full textThe normal evolution of bone scintigraphy tracer uptake after trapeziometacarpal total joint arthroplasty is unknown. We assessed the scintigraphic appearance of 111 uncemented implants after surgery and normalization of tracer uptake can be expected after 2 years.Level of evidence: IVFunding
The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: none.
Acknowledgements
We would like to thank Ms Liesbeth Bruckers, consulting coordinator of Hasselt University for her help with the statistics of this stud
Reply to: Problems with two recent Petri net analyses of Neanderthal adhesive technology
No full textTeam Joris Di
- …
