Kind Of Repetition Research Articles

Trying Again and Again: Multiple Repetitions in Early Modern Reports of Experiments on Snake Bites

AbstractThis essay deals with a conspicuous feature of early modern experimental reports: references to multiple repetitions. I examine an episode from the history of research on venomous snakes, the dispute between Francesco Redi and Moyse Charas about the cause of death from viper bites. I identify different kinds of repetitions that are described and specify the various different roles that are attributed to repetitions in experimental reports. I argue that repetition (the successive reproduction of one's own experimental trials) should be distinguished from replication (reproducing other investigators' experiments). At first, replications played hardly any role in the exchange, but references to repetitions were crucial to show that contingencies had been obviated, to support inductive generalizations, and to specify the exact cause of an experimental effect. Notably, it appears that the replication of effects by different experimental means was not part of the repository of methodological notions that Redi and Charas brought to bear on their experiments. Reruns and repetitions with variations (including complementary trials) bore the epistemic weight.

Sinonim, Repetisi, dan Antonim dalam Bahasa Jepang: Telaah Majalah Nihongo Journal dan Hiragana Times

Purpose of this article is to know the kinds of repetition, synonym, and antonym in Japanese. Data were taken from the columns of “NJ News” of Nihongo Journal magazine to analyze the repetition and columns of “Tips for Livings in Japan” in Hiragana’s Times magazine, to discuss the synonym and antonym. The research result indicates that the full repetition is often used to emphasize information; then the context synonym is used in order to create a variation of sentences. Yet, there was also information was not found in the data, which was the antonym of kobutsu no kankei because it did not explain about family.

Umas ondas e outras: o desdobrar-se do mar e do amor (abordagem semiótica de uma barcarola de Roi Fernandiz)

Uma análise semiótica peirceana da cantiga "Quand' eu vejo Ias ondas", do trovador galego Roi Fernandiz. Exame mais detalhado do recurso estilístico denominado dobre e de outras modalidades de repetição. Valorização do conceito de ícone como um dos mais apropriados para tratar da problemática examinada. Breve abordagem da questão intersemiótica (palavras e música).

Hard Feelings: Stephanie Brooks

This essay on Stephanie Brooks's art is also a meditation on affect, emotion, for malism, and feminism, all of which her art makes you wonder about. Brooks's work often takes the shape of a series, a series not shaped by genre, exactly, but by form, form being a kind of repetition that induces the double take of recogni tion because events become predictable during the stretched-out absorption of aesthetic time (oh, that sound again, that line, that shape, that feeling). Her work takes up book shapes, poem shapes, forms from ordinary life that usually induce inattention because of their reliable intelligibility. But here they call out from their cool stability toward something else: the kinds of sharp outrage that can tip over pleasure at the edge of a joke. But it would be easy not to catch this critical drift, this angry floating mote, because the works' practice of formal reenactment often convolutes feeling as it extends form. It recalls artwork like Jenny Holzer's or Barbara Kruger's without being much like that work, which is very noisy. Brooks's practice of formalism opens up unusual questions about how engaged art works: it reenacts ordinary sights on behalf of interfering with ordinary affects and feelings without manifesting those scenes explicitly. If implicitation weren't already a word, it would be invented to describe the activity of Brooks's body of work. But Brooks's process is a paradox, since the work is so formal and so verbal, so out there and yet so mild, in the way it juts out into and interferes with space. What hails your attention often points to reten tion. I proceed with some examples of her art of extroverted withdrawal, of giv ing as withholding, of providing formal comforts while detaching the comforting affects from their very anchors. Art history-literate viewers of Brooks's work will immediately read its for malism in the context of two traditions. On one side, one sees the mark of Dadaesque deployments of cliched word and image, outrage and iconoclasm, and anti-bourgeois counter-conventionalism; on the other, the minimalist tradition in sculpture and painting, with its emphasis on affirmation in negation, erasure, pure

Through the Prism of Slave Art: History, Literature, Memory, and the Work of P. Sterling Stuckey

Previous articleNext article No AccessThrough the Prism of Slave Art: History, Literature, Memory, and the Work of P. Sterling StuckeyJason YoungJason Young Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Journal of African American History Volume 91, Number 4Fall 2006P. Sterling Stuckey: In Praise of an Intellectual Legacy A journal of the Association for the Study of African American Life and History Article DOIhttps://doi.org/10.1086/JAAHv91n4p389 Views: 25Total views on this site Copyright ASALHPDF download Crossref reports no articles citing this article.

Corpus-based approaches and discourse analysis in relation to reduplication and repetition

Reduplication is important in language studies. Its linguistic form at the lexical level has long been explored in terms of various formalist theories. However, the linguistic function at other levels such as the discourse layer tends to be ignored. A reduplication corpus (ongoing compilation; 1687 items in total thus far) has been constructed as the baseline for an integrated approach to the interplay of various kinds of repetition in the use of language. The frequency of each token was calculated based on its occurrence in the British National Corpus (BNC). Then a wordlist with the top 102 items was proposed for related research topics such as frequency, percentage coverage, concordance, and collocation in terms of McCarthy's framework (1990 and later) using MonoConc Pro, WordSmith 4.0 and the SARA 3.2 software. The probability of collocation was calculated in terms of mutual information (MI). The higher the MI score, the more genuine the association between two items (Church and Hanks, 1990). A powerful search engine, Google, was further employed to locate relevant texts on websites for the analysis of reduplication from lexical to discourse levels. Both reduplication and repetition do play a significant role and exhibit extensively a certain language musicality in our everyday life.

Ada, the Bog and the Garden: or, Straw, Fluff, and Peat: Sources and Places in Ada

Nabokov's discovery in 1964 or 1965, in a crime novel by Nicholas Freeling, DoubleBarrel,that the Dutch word veen means "marsh, bog, peat" appears to have shaped Ada from an early stage, perhaps via the slight whiff of incest and the concentrated theme of eavesdropping or tom-peeping in Freeling's novel. Linking veen and Venus, Nabokov also drew on the image of a garden of earthly love endlessly repeated in Bosch's masterpiece to create his characters' Ardis or paradise as a garden of Eden or Venus that subsides into a moral bog, as Bosch's triptych moves from Eden to repetition of seemingly Edenic delights to Hell, in part by way of a third source, Fowlie's mistranslation of the word for "marsh marigold" in Rimbaud's "Mémoire." A fourth source, the Barton and Guestier advertisement mimicking Toulouse-Lautrec's poster for the Paris café Le Divan japonais, suggested a different kind of repetition, but Nabokov, unexpectedly, makes it also combine with the veen-as-"marsh, bog, peat" theme and the moral mire of Ardis.

"Rude Mechanicals and the Specters of Marx"

Brecht, in the poem, indicates that conventional theatre is built on pretense and illusion. The word moreover, is often a sign for the idea of phantasmic spectacle even if not all theatre, following Brecht, engages in the pretenses of illusion or mimetic representations of an imaginary world. The phantoms in the heart of theatre are difficult to displace no matter how many actual theatrical practices dispel them. They return to haunt even the most self-conscious or presentational modes of practice simply because the act of representation itself is constituted by a division that distinguishes it from other sorts of actions. With or without the sense of mimesis, representation is a kind of repetition that generates the phantom of a double. Explicit or implicit, the space marked out as theatre frames a difference and duplicity that is, apparently, distinctly different from the work of the stage hands. The act of represent ing in theatre, regardless of technique, generates questions about the double because that double is something both there, present, and not there. In his essay, Street Scene, Brecht talks about the actor demonstrating not identifying with an accident victim; even there that victim is in a sense quite visible but is also not really there. By contrast, a stage hand, even when, for example, demonstrating how to pull a curtain, does not exhibit such a double.

Platonic Relations

Platonic Relations

How to bath the baby!

Here's a fun action song naming body parts. Be sure to sing the chorus twice each time as this gives your child plenty of time to join in. Try to sing the whole song over at least three times - children respond well to this kind of repetition. When you know the song well - try variations. For example:

Analyzing the changing character and sophistication of TV advertisements in the People’s Republic of China

This article reports some preliminary findings of a research project comparing the pragmatic and discoursal aspects of British and Chinese TV advertisements and raises some issues concerning the detailed study of textual inferencing. We briefly discuss the changing situation in television advertizing in China in terms of the 'hard-sell/soft-sell' distinction. We then discuss in detail two contrasting Chinese advertisements on the 'hard-sell-soft-sell' continuum in order to characterize what linguistic/pragmatic factors constitute the contrast. Previous authors have characterized soft-sell advertisements mainly by negative contrast with hard sell, but our work led us to try to capture more positive discriminatory features of soft sell. We suggest that, other things being equal, the more nonobvious inferencing which has to be done to understand an advertisement, the more likely it is to be thought of as soft sell. However, most work on inference to date has tended to deal with brief often constructed examples, and the comparison of patterns of inference in different texts raises difficult issues concerning how to characterize, and thus quantify, inferences. This problem is particularly acute in data which have linguistic and nonlinguistic information in both the audio and visual reception channels. We do not have elegant solutions to these problems, but hope that our detailed textual analyses will promote more study in this difficult, but crucial, area. Our work also reveals an interesting new kind of repetition phenomenon, inference repetition. Our data shows that the same inference may be made at the same or different moment(s) in different reception channels, and that an inference in one channel can repeat a more direct statement in another channel. This kind of inference repetition can then, in turn, help to characterize the hard-sell/soft-sell opposition

On the concept and presentation of yamaka in early Indian poetic theory

Figures of repetition occur very early in Sanskrit literature. In the oldest stratum, the hymns of the Rgveda, this phenomenon seems to be restricted to the repetition of words with the same meaning, its function being either to express continuation or regularity, i.e. in the case when a single word, normally an adverb, is duplicated (āmreḍita, e.g. dive-dive), or to give a special emphasis to a phrase, preferably at the end of a number of stanzas of a hymn (refrain type). Both kinds of repetition continue to be used in later literature, such as the Pāli Jātakas and the two epics, Mahābhārata and Rāmāyaṇa.

On Analyzing the Verbal Rhythm of a Russian Lyric Folk Song

The verse of folk songs has played an important role in the devel- opment of literary verse in many European poetic traditions but has usually remained less studied. Many difficulties in the analysis of the rhythm of folk songs are not encountered in the analysis of a literary poem. Textological prob- lems arise and the question of what constitutes a verbal text proper becomes crucial because folk songs have no fixed text but exist in variants, have the superimposed rhythmical level of the melody, and may be composed in a poetic idiom that diverges from the contemporary standard language. A traditional Russian wedding lyric, which often has the incipit Iz-za lesu, lesu temnogo and has been recorded over a hundred times, is taken as an example in this article. The structure of the melody may induce several kinds of repetition in the verbal text, such as the repetition of all lines (AA, BB, CC .. .) or of all lines but the first and last (AB, BC, CD . . .). In accordance with the approach proposed by the ethnomusicologist A. A. Banin, all such repeated lines are excluded so as to obtain what may be termed the pure textual analogue, which serves as the basis for analysis of the verbal rhythm. At this point, however, another distinctive level must be dealt with - the traditional poetic language of Russian folk songs, which evince differences especially in accentuation and morphology. As performers of oral poetry, singers may combine and manipulate such elements to create the rhythmical structure of a particular poetic meter. In the case of this wedding lyric, the meter is most often trochaic tetrameter with unrhymed two-syllable clausula. This article is derived from Three Russian LyricFolk SongMeters (Bailey 1993). Wherever possible, references are made to works available in English.

The Concept of Strategies: Use and Abuse

The attempt to recognize strategies in plants and animals provides many opportunities for debate. If the arguments are to be fruitful, it is necessary to recognize that the methods and objectives of ecologists differ according to the scale of the patterns which they seek to analyse. The problems and potential value of this diversity of approach were perceived by MacArthur (1968) as follows: 'Ecological patterns, about which we construct theories, are only interesting if they are repeated. They may be repeated in space or in time, and they may be repeated from species to species. A pattern which has all of these kinds of repetition is of special interest because of its generality, and yet these very general events are only seen by ecologists with rather blurred vision. The very sharp-sighted always find discrepancies and are able to say that there is no generality, only a spectrum of special cases. This diversity in outlook, has proved useful in every science, but it is nowhere more marked than in ecology.' Thus it has come about that whilst some ecologists have chosen to study the distribution and functioning of individuals and populations, others are attempting to recognize recurrent avenues of specialization by comparing the characteristics of plants of different species and widely-contrasted ecology. In this latter form of research it is not practicable, nor is it necessary, to establish with precision the extent to which the plant materials under study are representative of the full spectrum of populations comprising each species. Provided that the plant sources are identified and a sufficiently wide range of species are studied, insights can be gained with regard to the 'design constraints' (Stearns 1976) which often limit the ecological range of populations, species, families and, in some cases, even larger groups. As in all fields of research it is necessary that those who seek to recognize strategies make clear their objectives and where necessary warn against the false constructions which may be placed upon their data. Equally, I submit, it is necessary that those who are concerned with the analysis of fine-scale patterns should recognize and respect the rather different methods and objectives of those who work upon a broader canvas. The misunderstandings which can arise when the differences of approach of those who examine details and those who look for large-scale patterns are not taken into account may be seen in two examples. First, McNeilly (1981), writes: 'Grime (1974) in assessing the determinants of vegetation considers three basic factors as being of prime importance, competition, stress and disturbance. The three have been presented as a triangular ordination and P[oal annua is shown as being a much weaker competitor than L[oliuml perenne. The experiment reported here has clearly shown that whether suffering disturbance due to cutting (sensu Grime, 1978 [sic]), or in the absence of such disturbance, P. annua exhibits a spectrum of behaviour in competition with Lolium consistent with the view that ecotypic differentiation with respect to both competitive ability and ability to accommodate grazing/mowing has occurred in P. annua.'

Repetition of Prepositions in the Russian Oral Traditional Lament

The oral traditional literature of all cultures is characterized by many kinds of repetition on a variety of structural levels, including, for example, repetition of metrical patterns, sounds and syntax, verbal formulas, large and small thematic units, and even entire story patterns.' Among the kinds of repetition that have long attracted scholars of Russian oral traditional literature is the repetition of prepositions, which has been studied from many different perspectives.2 One of the first to concern himself with this feature of oral literature was A. X. Vostokov, who early in the nineteenth century observed that this kind of repetition, serving to clarify the syntactic relationship between modifiers and substantives, was especially frequent in prose genres such as the chronicle and should be listed among the grammatical properties of Old Russian. In oral traditional verse Vostokov considered this type of repetition as one of the devices used to fill out the metrical line.3 Toward the end of the nineteenth century in a short article entitled Two Syntactic Peculiarities of the Russian Language, I. Kozlovskij supported Vostokov's observations that the repetition of prepositions was a feature of Old Russian, a feature which Old Church Slavonic lacked.4 Kozlovskij's research, however, led him to conclude that repetition of prepositions occurred primarily in diplomatic and legal documents. In support of this conclusion Kozlovskij gave a variety of examples from many different genres of the eleventh through the nineteenth centuries, including among them some examples from the oral poetry of the seventeenth and nineteenth centuries. Kozlovskij stressed the fact that prepositions are repeated most frequently in those monuments which reflect the vernacular. When A. A. Potebnja turned to this problem he concluded, with Vostokov, that repetition of prepositions, particularly in early Russian literature, was a syntactic characteristic of the early language occurring with greatest frequency in Russian chronicles before the seventeenth century.5 He dismissed, however, the role of the repeated preposition in satisfying metrical requirements. Repetition of prepositions has also been noted as a feature of the language of certain fifteenth-century official documents.6

Response vs. Stimulus Fixation in the Shocked Rat

Fowler, eb al. (1959) have shown thac the rat repeats stimuli rather than responses when it is forced by electric shock to run from one stem of a crossmaze wich the other stem blocked after it has been given six trials from the latter scem. The results contradict our study in which response fixation is emphasized (Iwahara, 1960b). However, close examination of their study reveals a few points of weakness. First, their conclusion is based on the one-tailed test. If the more adequate two-tailed test is employed, the result becomes inconclusive. Second, their Group I which received electric shock of threshold value did not show any obvious change when the starting scem was reversed. This is contrary to previous studies which have shown that non-reinforced rats repeat responses and alternate stimuli (Glanzer, 1953; Walker, et al., 1955). It seemed necessary to duplicate the Fowler, et aL. experiment. Ninety-six white rats (48 males, 48 females) were divided into four groups of 24 Ss each. They were all given 12 shocked (100 FA, AC) trials in a grey T maze. The first two trials were free but the remaining 10 were forced to either side in such a way thac S had equal experience on both sides (50% response alternation). After two days, S was given 12 free-choice trials in an endosed cross-maze wich one stem blocked to form a T maze. A 5-min. intertrial interval was used. The stems were painted gray, but one side of the arms and the connecting goal-box were black, while those on the other side were wh~te The floor was a grid except in the goal boxes where it was wooden. Sheets of painted paper (gray, black, white, corresponding to the rest of the parts) were placed onder the grid. S could escape electric shock (200 PA, AC) by running into either goal-box. For Group I, the starting stem was alternated on every other trial, while for Groups I1 through IV, it was not changed until the third, sixth, and tenth trials, respectively, and the rest of the trials were started from the opposing stem. The results indicate that Group I repeated responses 55.3% on Trial 2, and the percentage of repeticion of the immediately preceding responses increased rapidly to the order of 80 to 90% within a few trials. As a whole, Group I repeated responses significantly more often than srimuli (P < .002; by two-tailed binomial test). This is contradictory co the Fowler, et al. results. In addition, the present ficding that response repetition tends to increase with trials, confirms our response interpretation. The mean percentage of response repetition on Trial 2 was 72.2% when Groups I1 through IV were pooled. However, this is also the percentage of stimulus repetition since the starting stem was not changed on these trials. The two kinds of repetitions can be differentiated on the trials when the scem was first reversed. The response repetition on these critical trials was 66.7% for

Techniques of Ambiguity in Un drama nuevo

reader, thanks largely to its balanced blend of literacy and theatricality. In this pastiche of an Elizabethan revenge tragedy, Tamayo imaginatively places Shakespeare himself, and a Shakespearean character (one who never appears in any play--unless his skull be termed an appearance), in the center of a drama of love and jealousy. Yorick is appropriated as the symbolic jester, metamorphosed into a comic actor. He is used, not to betoken the transitoriness and ultimate uselessness of action, as in Hamlet, but to reflect the tragic quality of certain human interrelationships. This quality inheres in the ambivalent nature, or at least, the ambivalent possibilities, of our emotional attachments. Given the proper circumstances, love and hate consort despairingly in our hearts; ingratitude feeds upon the absorbing claim for gratitude; ambition becomes the road to downfall; and the game we play may turn out as deadly as death. The risk of the stereotype and of the romantic Pagliaccio antithesis had to be accepted. Tamayo has to some degree exorcised the curse, inherent to his theme and situation, by unmatched skill in dramatic technique, deft character delineation, and a lyrical plumbing of the depths of human agony. Clearly a basic part of this skill lies in stagecraft: the handling of exists and entrances, the remarkable power to hold the characters -and with them, the audience-poised between two possibilities, now inclined to despair, now to hope, but ever filled with terror. These are traditional weapons of the dramatist. Our present interest lies beyond them, in a more literary and less usual technique, the persistent play of ambiguities. In truth, Tamayo makes deliberate use of two types of structural artifice. We shall refer only briefly to a device of repetition, which is lyrical, rather than dramatic. A particular kind of repetition, a sequence of parallel phrasings of parallel emotional states, it is employed twice in the first act, and both times by the illicit lovers, Edmundo and Alicia. We first experience its impact in the fifth scene, in the wider reverberations of the long speeches in which they confess to each other the feelings of guilt, remorse, and frustration that have been the fruits of their weakness. Immediately following, the second instance is antithetical in its emotion, and in the brief, clipped phrases that carry it to us. This second time, repetition is designed to convey the ecstasy of Liebesgeburt to their auditor, Shakespeare. The echo of the Paolo and Francesca episode (Inferno, v) is caught and emotionally heightened, though the loss of simplicity and directness must be weighed heavily against the artifice of the lyrical tremolo.

On Homogeneous, Structures and the Symmetrical Partitioning of them, with Application to Crystals

SummaryThe above investigation shows:— 1.The nature of homogeneity of structure, and the properties which distinguish it from structureless homogeneity. The new definition of a homogeneous structure recently put forward by the author in Groth's Zeitschrift is given.2.A method of realising in a concrete form, and with great generality, the kind of repetition in space which constitutes homogeneity of structure, the models employed for this purpose each consisting of a number of similar plaster hands appropriately arranged in space.The total number of types of arrangement, all of which can be represented in this way, is 230, this being the number of typical point systems described by Fedorow and Schönflies, derived by their extension of Sohncke's methods. The various types of homogeneous structure, like the corresponding point-systems, all fall into the 32 classes of crystal symmetry.3.What property common to all homogeneous structures whatever most nearly coyresponds to Thomson and Tait's definition of homogeneity.4.Reasons for regarding as untenable the arguments put forward by Fedorow in support of his recent attempt to select from among the types of homogeneous structure those which are possible for crystals, and to determine the shapes of their ultimate units.5.The possibility of so classifying all conceivable ways of symmetrically partitioning all the types of homogeneous structure as to avoid all reference to the nature of the cell-faces, whether plane or otherwise, and, in other respects also, be perfectly general. Some reasons for undertaking this classification, notwithstanding its complexity, are given, the chief one being the relation of symmetrical partitioning to some stereo-chemical and other experimental facts.