The semantics of pure indexicals ＂I,＂ ＂here,＂ and ＂now＂ has been discussed in the area of philosophy of language. According to David Kaplan, in face-to-face communication, ＂I,＂ ＂here,＂ and ＂now＂ refer resp...The semantics of pure indexicals ＂I,＂ ＂here,＂ and ＂now＂ has been discussed in the area of philosophy of language. According to David Kaplan, in face-to-face communication, ＂I,＂ ＂here,＂ and ＂now＂ refer respectively to the agent, the place, and the time of the context of utterance. In recorded and written messages, however, the identification of pure indexical references is nontrivial, given that there is a gap between the time of utterance and that of interpretation. In the literature, four major views are proposed from a philosophical perspective. While these are theoretically competing, no empirical data or pragmatic analyses have been provided. How is the reference of ＂now＂ in written messages interpreted？ Which views proposed in the literature are supported empirically？ This paper investigates these questions from experimental and pragmatic perspectives.展开更多
In this context,four specimens,i.e.(i)circumferentially notched cylindrical torsion(CNCT),(ii)circum-ferentially notched cylindrical direct tension(CNCDT),(iii)edge notch disc bend(ENDB)and(iv)three-point bend beam(3P...In this context,four specimens,i.e.(i)circumferentially notched cylindrical torsion(CNCT),(ii)circum-ferentially notched cylindrical direct tension(CNCDT),(iii)edge notch disc bend(ENDB)and(iv)three-point bend beam(3PBB),were utilized to measure the modesⅠandⅢfracture toughness values of gypsum.While the CNCT specimen provides pure modeⅢloading in a direct manner,this pure mode condition is indirectly produced by the ENDB specimen.The ENDB specimen provided lower KⅢc and a non-coplanar(i.e.twisted)fracture surface compared with the CNCT specimen,which showed a planar modeⅢfracture surface.The ENDB specimen is also employed for conducting pure modeⅠ(with different crack depths)and mixed modeⅠ/Ⅲtests.KIc value was independent of the notch depth,and it was consistent with the RILEM and ASTM standard methods.But the modeⅢfracture results were highly sensitive to the notch depth.While the fracture resistance against modeⅢwas significantly lower than that of modeⅠ,the greater work of fracture under modeⅢwas noticeable.展开更多
Scripting what may be read as a“string figure”companion to Donna Haraway’s Chthulucene,Jen Bervin’s 2017 Silk Poems project becomes entangled with the damage of the Anthropocene—and with projects of recuperation ...Scripting what may be read as a“string figure”companion to Donna Haraway’s Chthulucene,Jen Bervin’s 2017 Silk Poems project becomes entangled with the damage of the Anthropocene—and with projects of recuperation in the face of that damage—via a proposed Sericene:an ecopoetic weaving of human-worm-moth symbiosis in silk,a human voicing articulated through the nonhuman persona of Bombyx mori,the domestic silkworm(家蚕jiācán).This larval Sericene,like Haraway’s critical reinscription of the Anthropocene as the“tentacular”Chthulucene,underscores the necessity of thinking and acting in what Haraway terms“sympoiesis—making-with and becoming-with”in a time of accelerating planetary ecological crisis,insisting that we read ourselves in coproductive kinship with other species not merely as a strategy for poetry,art,and critical intervention,but for long-term multispecies survival.It is important to keep things light,we learn:the silkworm is never a hectoring lecturer,but rather often quite the comedian,good-natured in the face of individual and collective mortalities.Haraway’s Chthulucene and Bervin’s Silk Poems converge in unsettling self into selves,species-being into multispecies being,and suggest sites of refuge,recuperation,and future-oriented sympoiesis within the ongoing crisis of crises which“the Anthropocene”attempts to name,and in which critical memetic neologisms(Capitalocene,Plantationocene,Chthulucene)seek to intervene,renaming and reframing in coproductive critique.展开更多
Gwendolyn Brooks’s sonnet sequence,“Gay Chaps at the Bar”is written in compliance with the esoteric literary ideas of the followers of A.R.Orage.Thus each sonnet contains a verifiable intentional mistake,a series o...Gwendolyn Brooks’s sonnet sequence,“Gay Chaps at the Bar”is written in compliance with the esoteric literary ideas of the followers of A.R.Orage.Thus each sonnet contains a verifiable intentional mistake,a series of literary allusions,and an esoteric idea.These mistakes have been previously undetected.Most of the allusions have been have been overlooked by critics.The sonnets are also written in the phonetic code used by alchemists.The material that Brooks drew on for her allusions consists of works of popular culture,and literary classics,so that there is nothing erudite about her references.On the other hand,the esoteric ideas are extremely obscure.This close reading is a severe departure from readings which have treated the poems as social protest and experiments in a so-called Afro-Modernist aesthetic.The new aesthetic of“objective literature”raises many questions about the nature of art,reading,and consciousness.展开更多
文摘The semantics of pure indexicals ＂I,＂ ＂here,＂ and ＂now＂ has been discussed in the area of philosophy of language. According to David Kaplan, in face-to-face communication, ＂I,＂ ＂here,＂ and ＂now＂ refer respectively to the agent, the place, and the time of the context of utterance. In recorded and written messages, however, the identification of pure indexical references is nontrivial, given that there is a gap between the time of utterance and that of interpretation. In the literature, four major views are proposed from a philosophical perspective. While these are theoretically competing, no empirical data or pragmatic analyses have been provided. How is the reference of ＂now＂ in written messages interpreted？ Which views proposed in the literature are supported empirically？ This paper investigates these questions from experimental and pragmatic perspectives.
文摘In this context,four specimens,i.e.(i)circumferentially notched cylindrical torsion(CNCT),(ii)circum-ferentially notched cylindrical direct tension(CNCDT),(iii)edge notch disc bend(ENDB)and(iv)three-point bend beam(3PBB),were utilized to measure the modesⅠandⅢfracture toughness values of gypsum.While the CNCT specimen provides pure modeⅢloading in a direct manner,this pure mode condition is indirectly produced by the ENDB specimen.The ENDB specimen provided lower KⅢc and a non-coplanar(i.e.twisted)fracture surface compared with the CNCT specimen,which showed a planar modeⅢfracture surface.The ENDB specimen is also employed for conducting pure modeⅠ(with different crack depths)and mixed modeⅠ/Ⅲtests.KIc value was independent of the notch depth,and it was consistent with the RILEM and ASTM standard methods.But the modeⅢfracture results were highly sensitive to the notch depth.While the fracture resistance against modeⅢwas significantly lower than that of modeⅠ,the greater work of fracture under modeⅢwas noticeable.
文摘Scripting what may be read as a“string figure”companion to Donna Haraway’s Chthulucene,Jen Bervin’s 2017 Silk Poems project becomes entangled with the damage of the Anthropocene—and with projects of recuperation in the face of that damage—via a proposed Sericene:an ecopoetic weaving of human-worm-moth symbiosis in silk,a human voicing articulated through the nonhuman persona of Bombyx mori,the domestic silkworm(家蚕jiācán).This larval Sericene,like Haraway’s critical reinscription of the Anthropocene as the“tentacular”Chthulucene,underscores the necessity of thinking and acting in what Haraway terms“sympoiesis—making-with and becoming-with”in a time of accelerating planetary ecological crisis,insisting that we read ourselves in coproductive kinship with other species not merely as a strategy for poetry,art,and critical intervention,but for long-term multispecies survival.It is important to keep things light,we learn:the silkworm is never a hectoring lecturer,but rather often quite the comedian,good-natured in the face of individual and collective mortalities.Haraway’s Chthulucene and Bervin’s Silk Poems converge in unsettling self into selves,species-being into multispecies being,and suggest sites of refuge,recuperation,and future-oriented sympoiesis within the ongoing crisis of crises which“the Anthropocene”attempts to name,and in which critical memetic neologisms(Capitalocene,Plantationocene,Chthulucene)seek to intervene,renaming and reframing in coproductive critique.
文摘Gwendolyn Brooks’s sonnet sequence,“Gay Chaps at the Bar”is written in compliance with the esoteric literary ideas of the followers of A.R.Orage.Thus each sonnet contains a verifiable intentional mistake,a series of literary allusions,and an esoteric idea.These mistakes have been previously undetected.Most of the allusions have been have been overlooked by critics.The sonnets are also written in the phonetic code used by alchemists.The material that Brooks drew on for her allusions consists of works of popular culture,and literary classics,so that there is nothing erudite about her references.On the other hand,the esoteric ideas are extremely obscure.This close reading is a severe departure from readings which have treated the poems as social protest and experiments in a so-called Afro-Modernist aesthetic.The new aesthetic of“objective literature”raises many questions about the nature of art,reading,and consciousness.
