Behavior of HVDC Thyristor Valve on the Critical Turn-Off Condition and Optimized Gate Firing System

1982 ◽  
Vol PAS-101 (11) ◽  
pp. 4419-4427 ◽  
Author(s):  
K. Imai ◽  
S. Kobayashi ◽  
T. Senda
Keyword(s):  
Critical Turn ◽  
Firing System

The New Historicism

2018 ◽  
Author(s):  
Marjorie Levinson
Keyword(s):  
Dialectical Materialism ◽  
The Other ◽  
New Historicism ◽  
Turn On ◽  
The World ◽  
Previous Decade ◽  
Critical Turn ◽  
The Relationship

Chapter 2 studies the relationship between historicism and Romanticism. It locates the two between Enlightenment materialism, on one side, and Marxian historical and dialectical materialism, on the other. In so doing, it isolates a paradox of materialism—namely, its production of the very concepts that undo it. These include the ideas of knowing as dissociated conceptual activity, and consciousness as absolute negativity. Romanticism and historicism, it is argued, represent solutions to a common problem—a claim defended through a reading of Wordsworth’s sonnet “The world is too much with us.” In considering how we position ourselves in relation to past literature, the chapter evaluates the choices between contemplation and empathy, knowledge and power, blame and defense. As such, it represents the first move in a self-critical turn on the new historicist method that had shaped the author’s—and part of the field’s—work in the previous decade.

Adorno’s Philistine: the Dialectic of Art and its Other

2019 ◽  
pp. 1-31
Author(s):  
Paul Ingram
Keyword(s):  
The Other ◽  
Critical Potential ◽  
The Social ◽  
The Aesthetic ◽  
Critical Turn ◽  
The Ideal

Abstract Theodor Adorno’s philistine functions as the other of art, or as the ideal embodiment of everything that the bourgeois aesthetic subject is not. He insists on the truth-content of the derogation, while recognising its unjust social foundation, and seeking to reflect that tension in a self-critical turn. His model of advanced art is negatively delimited by the philistinism of art with a cause and the philistinism of art for enjoyment, which represent the poles of the aesthetic and the social. The philistine is also the counterpart to the connoisseur, with the interplay between them pointing to his preferred approach to aesthetics, in which an affinity for art and alienness to it are combined without compromise. However, Adorno fails to realise fully the critical potential of the philistine as the immanent negation of art and aesthetics.

The “Critical” Turn

2014 ◽  
Vol 16 (4) ◽  
pp. 529-535 ◽  
Author(s):  
Julie Gedro ◽  
Joshua C. Collins ◽  
Tonette S. Rocco
Keyword(s):  
Critical Turn

Study on the Element Composition of Southern Celadon Porcelain and Coloring Mechanism

2014 ◽  
Vol 484-485 ◽  
pp. 96-99
Author(s):  
Xue Wen Gao
Keyword(s):  
Electron Microscopy ◽  
Scanning Electron Microscopy ◽  
Field Emission ◽  
Element Composition ◽  
Molar Ratio ◽  
Experimental Sample ◽  
Fe Content ◽  
Firing System ◽  
Pink Coloration ◽  
Scanning Electron

This paper mainly discusses the Si/Al molar ratio, RO/R2O molar ratio, Fe content, glazing and firing system on the thickness of Longquan Celadon pink coloring effects, and using a colorimeter, field emission scanning electron microscopy were used to analyze better experimental sample microstructure and color and so on. We explored the Longquan Celadon of pink coloration mechanism.

Music Technology in Ethnomusicology

2017 ◽  
pp. 56-64
Author(s):  
Gabriel Solis
Keyword(s):  
Twentieth Century ◽  
Digital Humanities ◽  
Data Analytics ◽  
Music Technology ◽  
Vantage Point ◽  
Contextual Knowledge ◽  
Recording Technology ◽  
Critical Engagement ◽  
Ambivalent Relationship ◽  
Critical Turn

Ethnomusicology has often had an ambivalent relationship with technology: we owe our discipline to mid-twentieth-century developments in recording technology. Nevertheless there is a strong counter-modern streak that characterizes ethnomusicologists as a group. This essay investigates the reasons for ethnomusciologists’ mistrust of certain kinds of music technology and interprets ambivalence as a mode of critical engagement. It surveys turning points in the field from comparative musicology to the critical turn and from the critical turn to the new digital humanities. I conclude that digital humanities needs ethnomusicological ambivalence in the form of critical engagement. Good data analytics needs a skeptical view from the vantage point of music scholars and contextual knowledge-bearers in the cultures of study.

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