Analogy and “Kinds” of Things

Blue car, red car: Developing efficiency in online interpretation of adjective–noun phrases

E. Nesbit, the Bastables, and The Red House:A Response Julia Briggs (bio) It is at once a pleasure and a responsibility to respond to two papers that address E. Nesbit's cross-writing, as demonstrated in Nesbit's description of the Bastables' visit to the Red House in the novel of that name. It is a pleasure to find Nesbit's work being treated with the seriousness it deserves, and a responsibility because any response risks narrowing, rather than opening up, the field. Mavis Reimer and Erika Rothwell contribute valuably to ongoing theoretical discussions concerning the construction of the child at the end of the last century; they set the figure of the child in the perspectives of empire and of earlier writing for children, and they explore the question of persuasion or even coercion implicit in the adult writer's address to the child reader. These are key issues, and their very centrality permits a response more closely focused upon the initial circumstances of publication of The Story of the Treasure Seekers as a text generated by and within a context of cross-writing. I am conscious of pursuing a rather different line of argument, but my approach through intertextuality and publishing history, which is intended to complement rather than to counter the arguments Reimer and Rothwell establish, is made possible by their more fundamental concern to define the relationship between adult and child as figured in Nesbit's The Story of the Treasure Seekers, The Red House, and The New Treasure Seekers. Yes, these stories are good. They are written on a rather original idea, on a line off the common run. Here we have the life of a family of children told by themselves in a candid, ingenuous and very amusing style. Of course, no child would write as E. Nesbit writes, but the result is that we have drawn for us a very charming picture of English family life . . . the stories are individual—they will please every grown up who reads them. Edward Garnett, Reader's Report to Fisher Unwin on Seven Stories from the Pall Mall Magazine, 1898 [End Page 71] Garnett, a famous talent-spotter, seizes at once on the point made by Erika Rothwell at the outset of her essay: the stories that became The Story of the Treasure Seekers were addressed to children and adults simultaneously, with the expectation that they would be read in different ways, like a pantomime that includes different types of jokes for different age groups. Unfortunately Nesbit left no record of the process by which she transformed her writing for children from the flat, simplistic narratives of her early work for Raphael Tuck and Ernest Nister to the complex and self-conscious rhetoric of Oswald Bastable, whose literary sense apparently directs him to relate his own story as a third-person narrative. She was, however, an ardent admirer of Henry James, whose work in the 1890s, particularly What Maisie Knew (1897) and The Turn of the Screw (1898) exploits the possibilities of literary misreadings created by unreliable narrators and the conflicting interpretations of events by children and adults. Put to comic purpose, these devices dominate the narrative practice of The Story of the Treasure Seekers (1899), creating a cross-writing that simultaneously addresses adult and child readers by conferring on Oswald (and through him on his siblings) the full subjecthood implicit in a first-person narrative, a narrative that invites the child-reader to identify with Oswald or his siblings. (When he is referred to in the third person or as a child among children confronting the adult world, however, Oswald is seen from an adult perspective as comically smaller and less significant than he supposes, as an amusing little boy, as "Other"; as Rothwell puts it, "the joke is often between the adult reader and the author at Oswald's expense.") Nesbit's introduction of the Bastables into her sentimental novel The Red House (1902) could thus be considered the logical outcome of a narrative strategy that had originated with their invention. Chloe's exclamation, "Aren't they perfect dears? . . . I don't like the Morrison boy—but the others are lovely" (175) is thus...

Philosophers of religion of the Cracow Circle (1934-1944) are the principal precursors of what is now called the analytic philosophy of religion. The widespread claim that the analytic philosophy of religion was from the beginning an Anglo-American affair is an ill-informed one. It is demonstrable that the enterprise, although not the label “analytic philosophy of religion,” appeared in Poland in the 1930’s. Józef Bocheński’s post-war work is a development of the Cracow Circle’s pre-war work in the analytic philosophy of religion, or at least of important elements of that earlier work. Bocheński’s approach in his Logic of Religion is quite original and might still be profitably studied and discussed by philosophers of religion of the analytic persuasion.

Three items, each of which reveals a significant dimension of Morris's work as a designer and manufacturer of textiles, remain in my mind from the Victoria and Albert Museum's splendid exhibition. The first is the 'If I Can' hanging of r856-57; the second a group of letters, dating from r875 and r876, from Morris to Thomas Wardle of Leek; and the third is Burne-Jones's caricature of Morris giving a demonstration of weaving at the Arts and Crafts Exhibition in November r888. Of the three, the 'If I Can' hanging is the most poignant, seeming to offer direct contact with Morris at a crucial phase in his career. Behind him lay an idyllic childhood in Walthamstow, the shock of his father's death when Morris was sixteen, the formative but often disappointing years at Marlborough and Oxford, the revelatory force of his exploration of French Gothic architecture in r854 and r855, the abandonment of his plan to enter the Church and his brief and abortive apprenticeship in G. E. Street's Oxford architectural practice. Now, influenced by Dante Gabriel Rossetti and in company with his closest friend, Edward Burne-Jones, he had moved to London to begin his career as a painter. Since childhood he had been under the spell of the Middle Ages and when he found no contemporary furnishings to his taste, he set about designing his own in the medieval style. His visits to Queen Elizabeth's hunting lodge in Epping Forest had demonstrated the potential of wall hangings, and the 'If I Can' hanging represents the only surviving example of his earliest work in this medium. The design of repeating fruit tree with birds in flight was taken from a fifteenth-century manuscript, while the motto is a form of Jan van Eyck's 'Als ich kanne', seen on Morris's trip to the Low Countries in r856. The materials are simple: a plain linen ground with natural dyed wools. The work itself is tactfully described in the catalogue as 'unorthodox flat and patterned stitches', with which Morris may have had some help from Mary Nicholson, the servant at his rooms in Red Lion Square. It is simply done, but it has the charm and force of the naive. It shows Morris, characteristically, encountering a particular decorative need and discovering for himself the resources and techniques to fulfil that need. It was out of Morris's response to similar requirements for the decoration of Philip Webb's Red House, completed in r860, that Morris, Marshall, Faulkner and Co. ('The Firm') was founded. The letters to Thomas Wardle, dating from nearly twenty years later than the hanging, find Morris at a very different stage in his career. By now well-known as both poet and designer, he was at the very beginning of his political activity. He also faced considerable challenges in his business life. In r875 'The Firm' was reconstituted as Morris arid Co., with Morris himself as sole proprietor. His investment income was falling, and it was essential for him to place the company on a sound footing; he therefore needed to ensure a

Seven experiments tested, whether when naming a colored object (e.g., CAR), its color (e.g., red) is phonologically encoded. In the first experiment, adults had to say aloud the names of colored line drawings of objects that were each displayed among 3 black-and-white line drawings (Experiment 1a) or that were presented alone (Experiment 1b). Naming times were shorter in Experiment 1a, but not in Experiment 1b, when both the color and object names were phonologically related (e.g., blue ball). In Experiment 2a, adults had to name objects having diagnostic colors (e.g., banana, tomato) while hearing distractor words. Compared with unrelated distractors, object naming times were longer when the distractors were phonologically related to the names of the colors, indicating that the names of the colors were activated. In Experiment 2b, this inhibitory effect did not surface when the same pictures were displayed in black and white, indicating that it originates from the perceptual level. In Experiment 3a, we used the same paradigm as in Experiment 2 (a and b) with objects having "plausible," but nondiagnostic, colors (e.g., red CAR). The inhibitory effect of color-related distractors turned out to be reliable but it vanished when regular colored-line drawings were used (Experiment 3b) and when colors and objects were spatially segregated (Experiment 3c). Taken together, the findings strongly suggest that under certain circumstances, an object's properties are phonologically activated during object naming. These findings are accounted for in terms of the general attentional view of cascading of Oppermann, Jescheniak, Schriefers, and Görges (2010).

The output is a collection of fifteen creative book works which explore how the formal and sculptural properties of the book can be used to communicate narrative. The research is an iterative, cumulative, practice-based approach to making books, where repetition leads to extended insights. Illustrated books currently sit within several fields including fine art, illustration, and design. Roscoe’s research invests the spaces between these fields to interrogate the way the physical book acts as a form of visual communication through materials, binding, shape, and audience interaction. Individual books from the output have been selected for inclusion in The Liverpool & Knowsley Book Art Exhibition, Kirby Gallery, Knowsley (2019) and ICON 10 Gallery Show, Red Bull House of Art, Detroit (2018). The entire collection has been selected annually, in different iterations, for exhibition at Artists’ BookMarket at The Fruitmarket Gallery, Edinburgh (2016–2020).

Reviewed by: Lucia by Bernard Minier Nathalie G. Cornelius Minier, Bernard. Lucia. XO, 2022. ISBN 978-2-37448-406-8. Pp. 480. Like Minier's earlier works, this well-researched procedural thriller opens with a shocking prologue. Lieutenant Lucia Guerrero, a member of l'UCO, the elite unit of the Spanish Guardia Civil, discovers her naked colleague brutally stabbed, and glued to a cross in the hills outside Madrid under a pouring rain. As her name implies, this tough female lead is a powerhouse of energy and determination with a knack for tracking down elusive violent criminals (Lucia derived from "light" and Guerrero means "warrior" in Spanish). This new heroine's grit and rebellious nature is well-suited to the demands of the case despite her clichéd backstory as a crimefighter whose past traumas have pushed her to sacrifice her marriage and custody of her young son for her career. In parallel with Lucia's investigation of her partner's gruesome murder, a group of criminology students guided by professor Salomón Borges of the University of Salamanca discovers that DIMAS, their algorithmic crime-analysis database, has found correlations between a 1989 unsolved double-murder and two more recent cold-cases involving killings of couples in various parts of Spain. All victims were enigmatically posed, their bodies glued into place. Guerrero and Borges join forces in this entertaining, well-paced mystery complete with red herrings, false clues, exciting chase scenes, and atmospherically creepy locations. The readers find themselves transported to Spain, whose geographical contrasts highlight the collision between historic traditions and the country's status in the contemporary European Union. Unfortunately, this conflict between old and modern is not explored in any depth although vivid descriptions of cityscapes and references to famous writers and philosophers through the characters' names provided for that opportunity. The plot is also formulaic, lacking the creativity of some of Minier's earlier novels. Consequently, the murderer's identity is poorly obscured by the thinly developed storyline. Intriguing side-stories are all too brief and initial references to more unusual psychological disorders merited further attention rather than being subsequently ignored in favor of general platitudes on mental illness and childhood trauma. The noteworthy highlight of the novel is the exploration of violence in Ovid's Metamorphoses as the source and signature of the criminal act. The cause of Ovid's exile itself is a secondary mystery on which Minier briefly speculates, and the disturbing themes of the Renaissance and Baroque paintings inspired by Ovid's work are as unsettling as the murders Lucia must solve. Minier has voiced his intent to bring back Lucia Guerrero in the future. If so, perhaps she will return having moved beyond her prototypical characteristics and with a more challenging case to solve. In the meantime, Minier's M, le bord de l'abîme (2019) (FR 94.1) which also features a female detective while exploring the potential of intelligent technology, immerses the reader into Japanese culture and is superior on all levels to Lucia. [End Page 240] Nathalie G. Cornelius Bloomsburg University of Pennsylvania Copyright © 2023 American Association of Teachers of French

Peter Wilson’s early work from the late 1970s is unusual for its focus on representations of the self. This evolved through a positioning of his work in relation to: his colleagues at the Architectural Association School of Architecture such as Nigel Coates and Bernard Tschumi; the Austrian artist Walter Pichler; and more historic references including Jean-Jacques Lequeu and the Belgian Symbolist painter Fernand Khnopff. Responding to Wilson’s characterisation of the Villa Auto projects as ‘type noire’, this article interrogates his drawings in a forensic manner drawing on Ernst Bloch’s ‘A Philosophical View of the Detective Novel’ and Paul Auster’s City of Glass. By doing so, it uncovers how, through a series clues, traces, and red herrings, Wilson situates his persona into his work as he develops his own distinctive architectural language.

Extinction, and: I Am, and: Day after Day We, and: When You Were a Boy Jin Eun-young Translated by Chung Eun-Gwi (bio) and Brother Anthony of Taizé (bio) extinction Like Sunday going to the zoo riding in a red car, Like a bird sitting on a car horn, The sky is a blue partition concealing the mystery of what is beyond it. The song will soon be blown away. A dead-end alley where men who were quick vanished along with those who lagged. Wearing the landscape’s blurred wings, August’s trees growing their green tumors. Death long as a snake winding round me. Across the road, like a piano with a broken leg, the world is starting to tilt. Darkness. The light on windowpanes trembles like lemons. I have never once told the truth. Now night has come, when those things are written down, filling empty books. [End Page 10] i am Overcooked spinach, a wet lollipop thrown away, I am a house rolled by a tapeworm, broken scissors, a gas station selling fake gas, fish scales scattered across a chopping board, a compass that never stops spinning, I am a thief who steals rotten fruits, sleep that is long in coming, a wet hand thrust into a flour sack, the broken crutch of a one-legged man, the mouth of a yellow balloon, a day when lips touched, so swollen it split day after day we After filling the pockets of our white shirts with cherries, we tumbled down every day. The green tomato thrown high in the air at five in the afternoon ripens and turns red as it comes down. We have been thinking for far too long. In order to tell our lies we shake the darkness inside ebony boxes with missing keys. Our four seasons, cut segments of a tart orange. Puffing long on pipes of bursting scent, day after day we [End Page 11] when you were a boy You liked a kidnapped princess, a little window, and a magic top. You liked the fake names of various colors, apple vinegar, and rafts that shattered in songs that were just the least bit sad. Running down wooden stairs with your eyes closed. How beautiful the creaking sound. You hated Demon King Daimao, oil wars, and excuses. The Ice Planet shivered on the back of your yellow wool blanket. Your old coins went pouring into the broken fountain with a clinking sound. When you were a boy, when I longed to taste the plums you gathered, when no bosom beneath the black-spotted dress was as heavy as stone. When a girl loved a girl, when a boy loved a boy, when I caught a strange flame between thumb and forefinger, when I burnt out the large blanks in a faded test paper, when I wanted to be the painter of a red house, when I wore fiery underwear on the cold skin of war and passing summer. [End Page 12] Chung Eun-Gwi Chung Eun-Gwi was born in 1969 in Kyungju, Korea. She received her doctorate from the Poetics Program at the University at Buffalo (SUNY), and is now an associate professor in the Department of English Literature at Hankuk University of Foreign Studies, in Seoul. Among her translated works is the volume Ah! Mouthless Things by Lee Seong-bok. She received a Daesan Foundation Translation Grant for Korean literature and a translation grant from the Korea Literature Translation Institute (KLTI). She has participated in many KLTI projects. Brother Anthony of Taizé Brother Anthony of Taizé has published more than thirty volumes of translations of Korean poetry. Recently, he published ten volumes of work by Ko Un, along with volumes by Lee Si-Young and Kim Soo-bok. Born in Cornwall in 1942, he has lived in Korea since 1980 and was naturalized as a Korean citizen in 1994. Brother Anthony has received the Republic of Korea Literary Award (Translation), the Daesan Award for Translation, the Korea PEN Translation Prize, and the Ok-gwan (Jade Crown) Order of Merit for Culture from the Korean government. He is also emeritus professor of English at Sogang University and Chair of the...

The duality relation between shortest paths and potentials in directed graphs and the significance of both of these in the theory of network flows is well known. In this paper, we work out the analogous undirected notions, which neither are contained in nor contain their directed counterpart. They are more related to matching theory than to network flows: the corresponding min-path-max-potential theorem can be considered a weighted generalization of the Gallai--Edmonds structure theorem for matchings. In our earlier work [J. Combin. Theory Ser. B, 49 (1990), pp. 10--39], the corresponding theorems are proved in the special case of $\pm 1$ bipartite weightings, and this special case already contains the main points of the general proof. The goal of the present paper is to extrapolate from this $\pm 1$-weighted bipartite special case the arbitrarily weighted general min-path-max-potential theorem and to show some algorithmic consequences related to planar multiflows, the Chinese postman problem, the weighted and unweighted matching structure, etc. In order to make this paper self-contained, we also include a compact, revised variant of earlier proofs, adapted to the present context. In addition to good characterization theorems and polynomial algorithms, efficient (logarithmic polynomial) parallel algorithms follow for some of these problems.

This paper addresses writer Itsuki Hiroyuki’s 1966 debut novel Farewell to Moscow Misfits through the lens of middlebrow novels, jazz novels, and repatriates. This novel draws from Itsuki’s personal experience being repatriated from colonial Korea after the war and visiting the Soviet Union in the mid-1960s. Farewell was unique for its time in representing jazz, music, and youth “stilyagi” counterculture in the Soviet Union. This counterculture movement was roughly contemporaneous with the student movement of the 1960s in Japan. This period also saw the popularization of the “middlebrow novel”—an ambiguous term that was used to describe literature outside of the established pure/popular dichotomy. These amorphous “middlebrow” works allow us to read some of the cultural dynamics of the 1960s. Itsuki published many of his early works in so-called middlebrow magazines, not “pure” literary journals. Itsuki himself claimed that his works were neither pure literature nor popular literature; they were simply “entertainment”. He placed his works in relation to jazz, the circus, and enka. His unique views on cultural production and media emerged from his repatriation experiences and his encounter with Russian culture. This paper examines not only genre conventions in literature but also Itsuki’s objections to the pure/popular literary structure, as well as his place in cultural representations of the 1960s.

Love and Narrative Form in Toni Morrison’s Later Novels by Jean Wyatt

This chapter provides a roughly chronological description of the major developments in connectionist ideas. It describes a family of models that associate an input with a particular pattern of activity over a number of units. Whereas the McCulloch–Pitts model was concerned with the formal properties that followed from their assumptions, Hebb aimed to set out the psychological implications of a particular neural model. In fact like all good ideas the origins of connectionism may be clearly seen in earlier work. Among the earliest were efforts to explore the computational abilities of networks of simplified neurons. A technique for learning in multilayer networks of perceptron-like units has been developed independently by several people. Adaptive resonance theory networks operate using a resonance process in which initial activation values on a set of “output” classifier units are adjusted by continued recycling of input through sets of trained weights.

I. M. SHEF"ERIntroduction.Sequences of polynomials such as the Legendre, the Laguerre and the Hermite polynomials appeared in mathematics many years ago, and their properties have been investigated by numerous people.They satisfy simple difference equations, and also are solutions of linear differential equations of second order.The expansion problems (in the complex plane) associated with them are not so old.For the Legendre polynomials the region of convergence was determined by C. Neumann.fMore recently the convergence regions for the Laguerre and Hermite polynomials were treated by O. Volk.fThe paper of Volk considers, more generally, the boundary value problem (in the complex domain) for a second-order linear differential equation, not restricting attention to polynomials.The «th-order equation has since been treated, as a boundary value problem, by L. Bristow.§ Up to the present, however, there has been no general study of the properties of polynomials satisfying a linear differential equation of order higher than two.The present paper has in view such an investigation.There is another aspect to our treatment.In an earlier work we considered the properties of arbitrary sets of polynomials,!|associating with each set a linear differential equation, usually of infinite order.We obtained certain formal properties, whose complete justification required convergence proofs.The present paper deals with these matters for the case of a finite order equation.§1 is preliminary: we state two theorems of Perron, and prove a corollary that is of use later.§2 introduces a fundamental differential equation whose polynomial solutions {yn(x)} we investigate, as well as the entire function

Separate neural pathways for the visual analysis of object shape in perception and prehension