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  • writeLaTeX is a typesetting tool using the familiar tex language, but the interface is online and you see the compilation in real time. I have been using it now for several months and it enables you to save versions to DropBox and track changes. The first collaborative LaTeX tool I know about. Use is free but you can buy additional storage and support for multiple projects with the different pricing levels. I find it easier than folders to organize project files, especially for book-length projects. Also an easy way to learn LaTeX. You can search for LaTeX program commands from within the interface, check for spelling, change the backgrounds to reduce eyestrain, import Bibtex and Beamer file classes, download packages, and, most importantly, use LaTeX on any computer in the world in the cloud without downloading any software. I finally found the software that is enabling me to truly abandon word processors for scholarly writing.

  • das Problem ist ja auch noch, dass dieses ganze Zeug furzlangweilig ist. Weil immer wieder der immer gleiche Scheiß erzählt wird.

     

    Ich meine, hey. Das sind die Leute, mit denen ich mich battlen soll? Ach… Bringt mir doch mal Ketchup. Oder Mayo. Oder ‘ne Grillzange. Danke. Gute Nacht.

  • Digitisation has massively widened access to historical sources, yet history seems to still be written in much the same way and by the same narrow set of people as before.
  • and what consequences would that have for both the character of historical research in particular, and the construction of plausible narratives of our past and present in general?
  • What is needed besides technology to put this potential into practice

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  • For Boyd, the paintings in this exhibition address our retrospective “comprehension” of historical events. “The works are acknowledging that when we look at a point in history, there’s always that element of trying to fully understand that point in time – and not being able to at the same time.” He describes the aesthetic of his paintings as “seductive” in that, thanks to the ‘lenses’ atop the canvas, they “shimmer as you walk in front of them.” Like histories and memories, these images are fragmented, refracted and, for good or bad, deeply beautiful in their own way.

  • Daniel Boyd’s ‘history paintings’ are rich with narrative. Inspired by archival photographs, Boyd re-imagines historical moments in his work. A veil of resin dots is applied to each painting causing the images to shift between figuration and abstraction – depending on your distance from them. These dots or ‘lenses’ trap tiny sections of the narrative before the scenes are painted over in black. The resulting images are visible only through the shimmering glue lenses, a poetic analogy for the process of memory and the multifaceted nature of history.

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    There continues to be special pressure on women to “make the relationship work” and “find a way to hold the family together,” regardless of abuse. Since so many people accept the misconception that abuse comes from bad relationship dynamics, they see the woman as sharing responsibility equally for “getting things to go better.” Into this context steps the abuser, telling his partner’s friends, “I still really want to work things out, but she isn’t willing to try. I guess it isn’t worth the effort to her. And she’s refusing to look at her part in what went wrong; she puts it all on me.”
    What her family and friends may not know is that when an abused woman refuses to “look at her part” in the abuse, she has actually taken a powerful step out of self-blame and toward emotional recovery. She doesn’t have any responsibility for his actions. Anyone who tries to get her to share responsibility is adopting the abuser’s perspective.
     
     
  • Lundy Bancroft: “Why Does He Do That”, p.278-279 on the topic of friends and family allying with the abuser.

  • How many thousands of pages might I have now had I focused on content rather than the pursuit of some awkward perfection?
  • For me, finally, I’m happy for Discards to finally be what it is, a journeyman work in a box in a closet. A personal example of what can happen when you want too much and know too little. And, maybe, an example of how not to make a graphic novel.

  • Einladung zur Jahrestagung der GWG vom 29.-31. Mai 2014 in Heidelberg
  • Begriffsgeschichte: Entstehung und Entwicklung wissenschaftlicher Konzepte

  • Professor of Renaissance Studies, University of Oxford

  • This paper argues that the metaphorical representation of concepts and the appropriation of language-based construals can be hypothesized as additional sources of conceptual change alongside those previously proposed. Analyses of construals implicit in the lay and scientific use of the noun energy from the perspective of the theory of conceptual metaphor are summarized. The experientially grounded metaphorical construals identified in both uses help conceptualize the shift from the concrete, naïve to the abstract, scientific understanding of energy. The case of the concept of energy motivates the more general hypothesis that an important part of learning a highly abstract (even mathematical) concept is the appropriation of experientially grounded metaphorical construals implicit in scientific discourse. Pedagogical implications of this proposal are discussed.
  • Al-Zahrani, A. (2008). Darwin’s metaphors revisited: Conceptual metaphors, conceptual blends, and idealized cognitive models in the theory of evolution. Metaphor and Symbol, 23, 50–82. 
      
     

  • Bowdle, B.F., & Gentner, D. (2005). The career of metaphor. Psychological Review, 112, 193–216.

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    • Jean-Pierre van Noppen, et al., Metaphor. Bibliography of Post-1970 Publications (Amsterdam, Philadelphia: John Benjamins Publishing Company, 1985) 
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    •   Noppen, and Edith Hols, Metaphor II. A Classified Bibliography of Publications, 1985 to 1990 (Amsterdam, Philadelphia: John Benjamins Publishing Company, 1990). 
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  • Generally, the relationship between literature and science manifests itself mainly in two ways: 1) as an exchange of concepts across the boundaries of the different types of discourse; and 2) through its literary usage the metaphor provides, implicitly or explicitly, a model also for scientific use. As far as the extent and recognition of the transfer of individual concepts between science and literature is concerned, both are subject to continuous change. Until the mid-19th century, no rigid boundary existed between men of letters and scientists. Beer, for instance, discusses Darwins’s influences on the literature of Kingsley, G. Eliot, and Hardy (Gillian Beer, Darwin’s Plots. Evolutionary Narrative in Darwin, George Eliot and Nineteenth-Century Fiction (London: Routledge & Paul, 1983) p. 5. In turn, Darwin based his insights, inter alia, on Malthus’s On Population as well as on Beagle: The Poetical Works of John Milton
  • Weininger, Introduction: The Evolution of Literature and Science as a Discipline, in F. Amrine (ed.), Literature and Science as Modes of Expression, Dordrecht (Boston, London: Kluwer, 1989)

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  • Of course, Tumblr is able to flag a user's account as adult regardless of the user's consent.
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