Kinds Of Characters Research Articles

Bohater reklamowy, czyli jak budować wiarygodność w reklamie

The article is the result of the review of the literature concerning advertising, persuasion, social influence, etc. A hero is someone reliable that can be trusted and/or who has knowledge on the subject. In conclusion the text presents methods in which that kind of character is used in advertisements. An average consumer who knows the product from his personal experience is more oft en a main character of an ad than a professional who is highly knowledgeable because of his training and work. Ads usually present an emotional woman as an average consumer and rational man as an expert with knowledge and experience backed with affiliation with scientific institutions and association.

Liberal Education: Its Conditions and Ends

This article describes liberal education as it comes to light not historically but philosophically, taking the word liber (free) as its chief distinguishing feature. It considers what liberal education presupposes of those who pursue it, and it enumerates several outcomes or “ends” that are likely to ensue. Through liberal education, I argue, the mind is liberated from the here and now, freed by exposure to diverse kinds of character, released from the tyranny of the practical mode of thought, and, at the same time, freed by certain careful habits of reflection that take years to acquire.

A note on a kind of character sums over the short interval

Let p be a prime, χ denote the Dirichlet character modulo p and \(L(p)=\{a\in {\mathbb{Z}}^{+}|(a,p)=1,a\bar{a}\equiv 1(\bmod\ p),|a-\bar{a}|\le H\}\). We study the distribution of elements in the set L(p) in character over the short interval. In this paper, we use the analytic method and show the distribution property of $$ \sum\limits_{n\le N\atop n\in L(p)}\chi(n), $$ and give a non-trivial estimate.

렘 콜하스 공간의 음악현상학적 시간성에 대한 연구

Today, the views on Temporality of space have been changed not only to be based on the concept of time, but also to identify the space with a body adapted to the new circumstances. The study suggests that the actions of performers in space have been important by changes of views and are connected to the music phenomenology mixed with music whose tempo is the phenomenology related with of human consciousness itself, and derives the temporal property by putting them into Rem Koolhaas space with the fluid quality. According to Clifton's Phenomenology of Music, an understanding of music is made in both human body and consciousness as two ways to listen to sounds and enjoy music. Though a correlation between the characteristics of Clifton's Phenomenology of Music and one of resulted from uncertainty and immateriality of modern space Temporality, we could work out four kinds of characters which are the continuity of the fluidity from temporal programs, contrasting changes or synchronicity, the multidimensionality from synesthesia of line and face, ventilation by quality of the material and immaterial circumstances of sound effects, the implication in events resulted from cognition for information and unexpected actions, and the autonomy of the route of a variety of experiences including intimate connection of inter-related events and temporary and diverse external conditions. Hereby Temporality of musical phenomenology in Rem Koolhaas's space can be experienced by systems base oh the importance of host's motion, changes of programs according to the motion as well as uncertainty and immaterial changes. Due to the changes user's emotion and motion is undergone as Temporality that changes automatically.

"A Kind of Character in thy Life": Shakespeare and the Character of History

This article explores the early modern concept of “character” – and Shakespeare’s use of the word – as a way to rethink the nature of Shakespearean biography. Through the material of evidence of Shakespeare’s character, his writing, I turn to the figuring of “history” in Shakespeare’s plays, the writing of letters (leaving traces of characters as writing), before finally imaging a different kind of Shakespeare biography.

Immoral Beliefs

AbstractIn this paper, I argue that there exists a class of immoral beliefs. These beliefs are immoral not for the usual reasons, i.e. because of their tendency to cause harm, their immoral acquisition, or the fact that they involve unjustified moral judgments. Rather, the class of beliefs to which I wish to draw attention includes beliefs that do not even have any moral content, but whose non‐moral content is still morally significant. These beliefs are immoral because holding them constitutes an immoral condition of the belief‐holder. This usually involves a moral failure of the belief‐holder. We may object to such beliefs for all of the usual reasons, but I wish to draw attention to their objectionable content based on the kind of character they represent a person as having.1

“The Curious Mixture of Signs” That Is Hieroglyphics

“The Curious Mixture of Signs” That Is Hieroglyphics* COLIN WELLS In the early pages of Wuthering Heights, Lockwood , the narrator, gets snowed in at the remote farmhouse from which Emily Bronte’s only novel takes its title. Exploring the place, he comes across a cache of dilapidated and mildewed books. On the shelf where the books rest, he sees writing scratched into the paint: “This writing, however, was nothing but a name repeated in all kinds of characters, large and small—CATHERINE EARNSHAW, here and there varied to CATHERINE HEATHCLIFF, and then again to CATHERINE LINTON.” When he examines the books more closely, Lockwood notices that the margins have been filled with scribbled notes that, he realizes, amount to a sort of diary. “An immediate interest kindled within me for the unknown Catherine, and I began forthwith to decipher her faded hieroglyphics.” Of course, we’re not meant to think that Catherine’s diary was actually written in hieroglyphics, just that her writing resembled the ancient Egyptian script in being old and hard to read as well as mysterious and highly alluring. Such writing seems to hold out the promise of unlocking ancient, hidden secrets. It certainly does so in Wuthering Heights, since this is how Lockwood begins to uncover the story of revenge and timeless love that has captivated readers ever since (and which, despite numerous film versions, continues somehow to elude movie audiences). *Andrew Robinson, Cracking the Egyptian Code: The Revolutionary Life of Jean-François Champollion. New York: Oxford University Press, 2012. 272 pages. $29.95 cloth. arion 20.3 winter 2013 Characteristically, Emily Bronte chose the perfect metaphor here and deployed it with breathtaking, seemingly casual precision . When Wuthering Heights came out in 1847, the decipherment of hieroglyphics was fresh and very much alive in popular imagination. The big breakthrough had come only a quarter-century earlier, in 1822, and important progress was still being made and widely followed by a very interested public . The Heathcliffesque genius who figured out hieroglyphics, Jean-François Champollion, had died at the age of 41 just a decade and a half before the novel, in 1832. More specifically, though, Bronte’s use of the metaphor is precise not only because it picks up on the repetition of names, which in fact played a central role in the decipherment, but also because the key to understanding the script was Champollion’s 1822 insight that it did, indeed, embrace “all kinds of characters”— what Champollion’s fellow Egytpologist Karl Richard Lepsius, in 1837, called “the curious mixture of signs of a totally different nature that comprise one and the same alphabet.” Not to mention that, from the beginning of nineteenth century, the romance of ancient Egypt had kindled the interest of Europeans like nothing else. In his recent biography of Champollion, journalist and author Andrew Robinson does full justice to all aspects of this story for the general reader. It’s a narrative with great visual appeal, and one of the book’s strengths lies in its generous graphics, with plentiful, well-chosen black-and-white illustrations interwoven with the text and two fine selections of color plates. In addition, the examples of the hieroglyphic signs themselves, which appear frequently in the text, are cleanly and crisply reproduced. And for the most part, Robinson finds just the right level of detail in laying out the many complexities of the Egyptians’ baffling script clearly and understandably , while offering an enthralling yet judicious portrait of the first person since late antiquity who truly grasped it. The book’s graphic excellence may have something to do with its publishing history, since the British edition was published by Thames & Hudson, who also published several of “the curious mixture of signs” 162 Robinson’s other books on related subjects. Robinson, a former literary editor of the Times Higher Education Supplement , has carved out a niche for himself with well-illustrated books of popular synthesis on the history of writing systems and the modern decipherment (or lack thereof) of some early ones. His previous books include The Story of Writing and Lost Languages: The Enigma of the World’s Undeciphered Scripts, as well as The Man Who...

Arnold Bennett’s Hotels

Hotels are exercises in practical salvation. --Wayne Koestenbaum Virginia Woolf famously accused Arnold Bennett of caring more about the mundane houses characters live in than about those characters themselves, neglecting the interior defining qualities of characters in favor of superficial descriptions that reveal too little. He is trying to make us imagine for him, she tells us in Mr. Bennett and Mrs. Brown (1924), He is trying to hypnotize us into the belief that, because he has made a house, must be a person living there (328-29). Bennett's fascination with the space, in life and in art, would seem to support this claim. In Those United States (1912), a collection of essays detailing his first transatlantic voyage, Bennett confesses [his] secret ambition had always been to be the manager of a grand (149-50), though this ambition was hardly as secret as Bennett suggests. Two of his most popular novels, The Grand Babylon Hotel (1902) and Imperial Palace (1930), feature hotels based on London's Savoy as the setting for nearly all of their action. A number of his other and short stories--notably The Old Wives' Tale (1908), his masterwork--similarly take place in and around hotels. (1) Yet in these works, Bennett enthusiastically reconceives accepted notions of home and domestic life, resituating his characters within the parameters of the hotel, and thus creating new kinds of characters, representing in new ways individual subjectivity and its relation to material space as he explores the modern in all its various incarnations. In doing so, Bennett addresses the very questions he is accused by Woolf of avoiding, illuminating the deeply complicated relationship between internal and external conditions, between domestic selves and public identities. Chronologically situated between Victorianism and high modernism, Bennett closely examines the transition of his characters from the one period to the other, and thus focuses, in the most pragmatic sense, on the question of where they live, how they define and are defined by the rooms they occupy. Where Woolf sees this as banal materialism, we might recognize Bennett's acute realization that the houses of the nineteenth century--and the identities they shape--were becoming obsolete, and something needed to replace them. While Woolf accuses Bennett's characters of deserting even the well-built villa in the Five Towns for eternity of bliss spent in the very best in Brighton (Modern 148)--leaving a dull though solid grounding for an existence wholly trivial--she ignores the very real significance of such relocation as Bennett represents it. As brilliantly as modern authors might explore inner psychological worlds, the physical realities of characters' lives remained important, the inner worlds and the outer realities shaping one another in a variety of ways. Domestic life might change radically--as it does, time and again, in Bennett's works--but it remains crucial to character. Bennett's two explicit hotel novels were written at opposite ends of his career. Imperial Palace was Bennett's last completed novel and is a far lengthier and more ponderous work. Each book focuses on the operations of a London luxury (modeled on the Savoy) and each is deeply invested in the question of Englishness, signaling Bennett's concerns with larger issues of nation and identity. The Grand Babylon Hotel is filled almost entirely with non-English characters, while within its walls the Imperial Palace offers a miniature reproduction of England--specifically of its class system. Even more urgently, perhaps, these are concerned with the desire to find or create a home in the modern world, and how the hotel, seemingly at odds with such desire, becomes the means by which a new model of domesticity can be identified. Modernism has traditionally been defined by its rejection of Victorian notions of the domestic, a breaking away from home and family, and from all the network of connections and loyalties that such material conditions and relationships entail. …

Direct Control of Simulated Nonhuman Characters

A proposed system lets users directly control simulated self-propelled characters. Users drag a mouse to guide the character, while a physics simulation determines the motion. On the basis of the user input, the system computes an actuator command that causes the character to follow the user's intention as closely as possible while respecting the underlying physics. This direct control can be more intuitive than methods such as controlling character joints to track a given joint trajectory or using keyframes, especially when physically plausible dynamic motions are desired. With the system, users have created realistic motions of various kinds of characters, including rigid characters, characters with deformable bodies and rigid skeletons, and self-locomoting characters whose bodies form closed loops. The Web extras are screen-captured demos of algorithms for creating dynamic motions on various kinds of characters, and the resulting character animations. You can also view the videos on YouTube here: Part 1, http://www.youtube.com/watch?v=aD891Qub8kU; Part 2, http://www.youtube.com/watch?v=9tqUDijvzZc.

Direct Control of Simulated Nonhuman Characters

A proposed system lets users directly control simulated self-propelled characters. Users drag a mouse to guide the character, while a physics simulation determines the motion. On the basis of the user input, the system computes an actuator command that causes the character to follow the user's intention as closely as possible while respecting the underlying physics. This direct control can be more intuitive than methods such as controlling character joints to track a given joint trajectory or using keyframes, especially when physically plausible dynamic motions are desired. With the system, users have created realistic motions of various kinds of characters, including rigid characters, characters with deformable bodies and rigid skeletons, and self-locomoting characters whose bodies form closed loops. The Web extras are screen-captured demos of algorithms for creating dynamic motions on various kinds of characters, and the resulting character animations. You can also view the videos on YouTube here: Part 1, http://www.youtube.com/watch?v=aD891Qub8kU; Part 2, http://www.youtube.com/watch?v=9tqUDijvzZc.

Remaking the Chorus: Charles Mee Jr.'s Orestes 2.0

If, as playwright and historian Charles Mee Jr. suggests, a tragic structure is like a Rolls Royce, then what function does the chorus serve? Is it, as it was for Aeschylus, the engine that runs the machine? Or is it instead more like the rearview mirror: we occasionally check it out to see what is behind us, but it does nothing to help propel us forward. The song and dance of the choral mode was a marker of the best of civilization for Plato, modeled the gods and used the elite of Athens to educate, integrate, and propagate their cultural myths and mores. Helen Bacon claims that Greek audiences would have experienced the choruses of drama as a natural and necessary form of human interaction which they had witnessed and participated in since childhood, a reality, rather than the artificial artistic convention they seem to us. (1) Nonetheless, contemporary adaptors and directors continually stage the chorus, sometimes approximating some semblance of movement, song, and chant based on fragmentary knowledge of ancient Athenian staging, music, and dramaturgy; and other rimes making the choruses smaller or even into distinct decidedly more contemporary and conversational than ancient and choral in the sense we imagine they were in the fifth century BCE. (2) In many ways, this insistence on using a chorus is ironic, as its effect in contemporary production is often probably the opposite that it likely had in the Athenian context: instead of enhancing an event by giving it context and meaning in terms of traditional values so that it can be understood and become a permanent possession of the society, (3) it distances many contemporary spectators from the dramatic event making it more difficult to comprehend and contextualize. Mee's play Orestes 2.0 contains his most radical refiguring of a chorus, divided among nurses and war victims, individuated but not characters, as they serve as mouthpieces for different voices taken from popular and scholarly texts ranging from Soap Opera Digest to Elaine Scarry. (4) Mee sees his own theatrical project as a way to express the nature of human existence. He purposefully problematizes the characters and narratives in his texts in order to emphasize that we are social creatures--that we are the product not just of psychology, but also of history and culture, that we often express our histories and cultures in ways even we are not conscious of,-that the culture speaks through us, grabs us and throws us to the ground, cries out, silences us. (5) For Mee, all of the texts he uses to inspire his plays are historical documents ... evidence of who and how we are and what we do. (6) Mee discusses the basis of the theater and the cultural aspects of originality in his own theatrical texts in ways that make him think of his own project as similar to that of the tragedians. In his Orestes 2.0, Mee does very little to change the structure of Euripides' play. In fact, the episodes with the main characters are in many cases almost identical in both form and content to Euripides' play. Ina Jamesonian-like pastiche, Mee expresses a critique of a structure and a culture while also speaking in the dead language of that very structure. The most significant changes take place in Mee's remakings of the public aspects of the work: the choral interludes and the trial scene. Mee's stress on the choral interludes speaks directly to his interest in the aspects of the plays. However, he does not create a chorus out of a single large group of but rather of different kinds of characters with different voices. There are female nurses and male patients, and even within those groupings there are significant separations. This is primarily because Mee's choral figures speak the found text of contemporary culture, which is fragmented in such a way as to make each choral voice both distinct and difficult to identify. …

The Effect of Character’s Whole Recognition on the Processing of Components in the Processes of Chinese Characters

The word superiority effect is an important evidence that whole word processing facilitates letter processing in English word recognition. However, such effect still remains controversial in Chinese character recognition. In this study, two experiments were carried out to explore the effect of Chinese whole character recognition over component processing. There was manipulation of three types of stimuli: real characters, pseudo characters and radical characters, only right-left or up-down structures of which are chosen. The target radicals could be placed either at the left or the right (either the up or the down) side of the three types of character stimuli. Reicher-Wheeler task was used in experiment 1. The stimuli were presented for 350ms, followed by a mask for 200ms, then two radicals for 1700ms. The participants were asked to choose the target radical in the two radicals. Radical judgment task was performed in experiment 2. The target radical was presented for 350ms, followed by three types of stimuli. Participants were asked to judge whether the stimuli character contained the target radical or not. The reaction time and the error rate were recorded by the computer. Twenty-seven healthy female college students participated in this study. The results were as the following: 1) In both experiments, the reaction time of radical judgment in the radical character condition was shorter than the real characters and the pseudo characters. Word superiority effect was found in radical characters. Compared with the pseudo characters, no word superiority effect was found in real characters. These findings indicated that Chinese character’s whole recognition blocked radical processing. 2) The reaction time of left-right structure characters was shorter than that of the up-down ones. That is to say, the structure effect was significant in Chinese characters. 3) The spatial position of radicals in a stimulus had a significant influence on radical recognition. The position effect was found across three kinds of characters. The reaction time of the left radicals was the shortest and the reaction time of the down radicals was the longest among four positions in the three types of characters.

The Optimal Size of Handwriting Character Input Boxes on PDAs

This article presents an empirical study to determine the optimal size of a box for the input of handwriting characters on personal digital assistants (PDAs). The experiments involve the consideration of boxes for different kinds of characters, different box sizes and shapes (square and rectangular), different user postures, and the age differences of users. The results are assessed in terms of high performance (high character recognition rates, minimal stroke protrusions outside the character box, minimal number of error corrections, minimum writing time) and subjective ratings (e.g., ease of writing and minimum degree of fatigue). The results show that the optimal size of character boxes for the input of alphanumeric characters is 12 × 14 mm (rectangular), whereas for Kanji (Chinese characters) mixed with Kana characters and for Hiragana & Katakana characters the optimal size is 14 × 14 mm (square). We believe that knowledge of the optimal size of character input boxes will be useful for the design of user interfaces on PDAs.

Minissale Gregory, Images of Thought, Visuality in Islamic India 1550-1750, Cambridge Scholars Press, Newcastle, 2006, 271 p.

This is a much needed and compelling work, the first of its kind in the abundant literature on the great art of Mughal painting. Gregory Minissale’s book “Images of Thought “circumscribes its investigation in the time frame of 1550-1750 in which the most significant works were produced. As the author states in the very beginning of the introduction, his objective is not to “tell a story, at least not the kind of characters and events that has been told in art history many times”. This stateme...

Liquid Film Characteristics on Surface of Structured Packing

Structured packing is a good candidate for CO 2 capture process because of its higher mass transfer efficiency and lower pressure drop. Now, the challenging problem of CO 2 capture and storage demands more and more efficiency equipment. The aim of the present study is to investigate the liquid film characteristics under countercurrent gas phase and throw some insight into the enhancing mechanism of mass transfer performance in structuredpacking. A high speed digital camera, non-intrusive measurement technique, was used. Water and air were working fluids. Experiments were carried out for different gas/liquid flow rates and different inclination angles. Thetime-average and instantaneous film widths for each set of flow parameters were calculated. It is shown that the effects of gas phase could be neglected for lower flow rate, and then, become more pronounced at higher flow rate. According to instantaneous film width, three different stages can be distinguished. One is the constant width of liquid film. The second is the slight decrease of film width and the smooth surface. This kind of character will lead toless interfacial area and deteriorate the packing mass transfer performance. For the third stage, the variation of filmwidth shows clearly chaotic behavior. The prediction model was also developed in present work. The predicted and experimental results are in good agreement.

The Linnaean Hierarchy and ‘Extensional Thinking’

The Linnaean Hierarchy has been opposed from a number of different perspectives, but most of this opposition was based upon the confusion of two aspects of every taxon—extension and intension. These aspects account for its dual nature of simultaneous change and constancy. Constancy is apparent only in the differences that exist among groups of organisms; these differences appear in the very first origin of taxa and persist throughout their entire evolutionary history. The sequence of differences over time is the only basis upon which to judge the history of the organic world. The Lin- naean system addresses this sequence by attempting to distribute these differences among hierarchical levels. Taxonomic hierarchical levels, or ranks, do not imply a rigid adherence to certain kinds of characters, since characters can change their rank during group evolution. As such, taxonomic levels can serve only as a tool to coordinate chaotically segregated groups of organisms. Keywods: Taxonomic philosophy, phylogeny, phenetics, typology, essentialism, evolution.

A Small Group Interview on Genetic Concepts with Middle School Students Participated in a Science Camp

To analyze preconceptions and/or misconceptions on genetics of middle school students, we interviewed a group of five students from a small town in Cheonranamdo, Korea. We asked three questions and let the students talk over the questions within the group, including two interviewers. The interview started with a question that asked if they were familiar with genes or recombinant DNA techniques. Although they did not have a chance to learn genetics in biology classes, they had heard about genes or recombinant DNA techniques in other classes or through mass media. After that, a series of pictures with living creatures and non-living things were shown to the group, and students were asked whether or not each of the items carried genes. All of the students understood the fact that genes are something a living creature carries. However, they did not incorporate their general understanding in pinpointing the 소집단 면담을 통한「과학 꿈나무 예비대학」참가 중학생들의 유전자에 대한 선개념 분석 사례 137 living creatures with genes. Lastly to investigate how the students understand the human traits, they were asked what kinds of characters would be shared by identical twins raised in different environments. They showed a strong tendency toward genetic determination of human characters such as heights, weights, personalities, an so forth. One exception we noticed was intelligence. All five students agreed that intelligence was the trait that the personal experiences and efforts are more important than the genetic background. key words: gene, genetic concept, preconception, nature vs. nurture, small group interview

Study on the method for 6-SPS Gough—Stewart platforms to pass through type-II singular points with its original configuration

It is well known that there exist many more singularities in parallel manipulators. At the singular point, the motion of the parallel manipulator is uncertain. In order to make parallel manipulators produce concrete output at singular points, and go away from singular points with the desired configuration, the method for the manipulator to pass through type-II singularities with its original configuration has been investigated in the paper. First, the semi-regular hexagon Gough—Stewart manipulator is taken as an example to analyse the configuration bifurcation characteristics at the vicinities of the type-II singularities going with the input parameters. The studies show that on different configuration branches, the singularity-free moving region is different, and there are two or four assembly configurations in the space above the base for the same group of input parameters. By researching transition behaviours of the configuration bifurcation curves under the disturbances applied to the other input parameters, it is found that under a suitable disturbance the perturbed persistent configuration will go away from the non-persistent configuration. Based on this kind of character, a novel method for the manipulator to pass through the turning point with its original configuration has been presented.

Markus + Diana (review)

Reviewed by: Markus + Diana Karen Coats Hagerup, Klaus Markus + Diana; tr. by Tara Chace. Front Street, 2006188p ISBN 1-932425-59-4$17.95 R Gr. 6-9 Markus is convinced he's the most timid boy in Norway; even though he tries to always stay on the safe side, he often doubts that there is one. His overactive imagination doesn't just spin out scenarios of doom, however; he uses it to craft identities that he thinks will appeal to his heroes—sports figures, movie stars, poets—and then writes letters in these personae asking for autographs. During a disastrous school trip full of fears and humiliations, he soothes his ruffled feelings by writing a letter to a famous actress, Diana Mortensen. To his surprise, she writes back, revealing her own considerable insecurities to one she presumes is a kindred spirit. He and his alarmingly intelligent friend Sigmund commence a "Help Diana" campaign, which ultimately ends with her arranging to meet Markus as Markus, Jr., the mostly fictional son of a fully fictional millionaire, in person. Sigmund's eccentric coaching in etiquette and fashion all come to naught, however, when Markus decides, finally, fatefully, and decisively, to simply be himself. The tenderness of this [End Page 252] heartwarming shy-guy-makes-good story is balanced by Markus' self-effacing humor and Sigmund's old-physicist-in-a-kid's-body quirkiness. Markus' relationship with his father, who shares most of his personality peccadilloes, is deftly drawn in all its spiderweb complexity of seeming fragility and subtle strength. The story is sweet in the best sense, as the boys demonstrate the gains in sardonic worldly wisdom that come from being chronic social misfits. Their developmental curve, from being boys who fantasize about movie stars to boys who actually kiss girls, sneaks up on the boys and catches them at the perfect moment of readiness as they enter junior high. Published in Norway in 1997, this is the first of the Markus adventures to be imported to the U.S. (it's also been made into a film); let's hope others soon follow, since Markus is the kind of character who inspires a cult following. Copyright © 2007 The Board of Trustees of the University of Illinois

Vjačeslav Ivanov: poesia e sacra scrittura. Europa Orientalis, 21, 2002, 1: 2 by Andrei Shishkin (review)

748 SEER, 84, 4, 2006 sometimes ambiguous. By contrast,in tales about adult males the Baba Iaga is sometimes a helpful figure who mediates between the hero and a female figure,but the adult female,just as in girls'tales, only encountersa villainous or ambiguous figure. The psychological analysis seeks to explain these differences by focusing on the features and actions of the various types of Baba laga in relation to these four kinds of character, relating them with considerablesuccess to gender expectations in traditionalpeasant society. Apart from a full bibliographythe book contains a valuable list of variants and Englishtranslationsof key texts. If it has problems,these are with exposition rather than argument. The need to locate a thesis firmly in a mass of informationand evidence does not alwaysmake for an easy read. In the first chapter the survey of current views does not guide the reader sufficiently, while in the main analysisof the roles of the Baba laga the readermay flounder in the detail of the variants. It is worth persisting,however, for this is a solid work of scholarship, yielding new insights (even to those sceptical of Freudianapproaches)and as such it is a valuablecontributionto the literature on that most grotesque and hideous of fairy tale witches, the Baba laga. School of Slavonic andEastEuropean Studies FAITH WIGZELL University College London Shishkin,Andrei (ed.) Vjaceslav Ivanov: poesiaesacrascrittura. Europa Orientalis, 2I, 2002, I: 2. Dipartimento di Studi Linguisticiet Letterari,UniversitAdi Salerno, Avellino, 2004. 413 and 398 pp. Illustrations.Tables. Notes. Appendices. Indices. Price unknown. THESE two volumes featurethe proceedings of the Eighth InternationalConference organized by the Viacheslav Ivanov Consortium,now sadly depleted by the loss not only of the last representativeof Ivanov'simmediatefamilybut of the author of the opening articleof Volume One, Sergei Averintsev.Based largelyon archivalresearchin St Petersburg,Moscow, Bakuand in the exceptionally reader-friendlyconditions of the last Ivanov home in Rome, the articlesrange over a wide spectrumof the poet's involvementwith European ChristianHumanism and with the Ur-text of the last two millenniumsof our culture, the Bible. It is impossible to do justice to all twenty-six individual authors, articles and publications. Since it is the reviewer's prime duty to inform readers of what may interest them in a compendium of this kind, I shall attempt to encapsulatethe content ratherthan the value of each contribution . It should neverthelessbe clearlysaid that the standardis of the highest , the editing and polygraphyexcellent and that the two volumes contribute to our knowledge of Ivanov's relationshipwith the Roman Catholic Church and with contemporary Christianjournals as well as of his sources and his abilityto transformpagan myth and legend into Christianliteraryconstructs. The languages are Russian, Italian and English but for the sake of uniformityI have translatedthe titles of papers into English. Averintsev's'The strategyof quotationin ViacheslavIvanov'spoetry'demonstrates how Ivanov implements his holistic world view through the use REVIEWS 749 of traditionallyhallowed words and phrases in classical, pre-Christian and modern, secular contexts, obviating the need for discursive argument. The poet, Averintsevpoints out, uses his awarenessthat everythingworth saying has, in a sense, already been said to create an echo-chamber of reference which gives a positive sense of depths, thus avoiding the self-conscious intertextualityso often deployed by postmodernism. Ivan Golub's 'Holy Writ and Ivanov's poetry: man as the Image of God' stressesthe distinctionbetween Word and Language, the play of singularand plural in the biblical account of Creation and the importance, in a poetry focused on the divinization of Man and the Incarnation of God, of enracinement in mother-earthand mother-tongue. AndreiArkhipov,in 'ViacheslavIvanov as commentatorof the New Testament ;preliminarythoughts',presentsa clear and detailed account of Ivanov's commission from the Papal Institute for the Affairs of the Eastern Church (probablyhis most widely read, albeit anonymous work) and the differences between his commentary, that of his German model Konstantin Rosch and the I980 republicationrevisedby FatherAlexander Men'. Vincenzo Poggi's 'Ivanov in Rome' gives a full factual account of the Russianpoet's relationshipwith the PontificeInstituteOrientale (Russicum)in the years afterhis retirementfrom his teaching-postin the Collegio Borromeo in Pavia, when his advanced years and non-partystatusprevented a possible new appointmentat the Universityof Florence. Russicum not only employed Ivanov as part...