Parallelism

Multicore embedded systems introduce new opportunities and challenges. Scaling of computational power is one of the main reasons for a transition to a multicore environment. Parallel design patterns, such as Map Reduce, Task Graph, Thread Pool, Task Parallelism assist to derive a parallel approach for calculating the Fast Fourier Transform. By combining these design patterns, a robust application can be obtained. The key issues for concurrent calculation of a Fast Fourier Transform are determined at a higher level avoiding low-level patch-ups.

This paper attempts a stylistic study of a poem. It targets to unveil the deeper underpinnings of semanticity in condensed literary pieces, particularly in poetry, as a consequence of the style employed by an author. Among other findings, the study uncovered the peculiar use of lexis and the features embedded in such peculiar use. It brings to the fore, the heavy use of deviation and parallelism in drumming home the theme of the poem. And finally, a fundamental literary feature used which is worthy of note and which the study has clearly drawn attention to in the analysis, is the foregrounding of the entire literary piece, which gives it a unique outlook. On the surface, one might not notice the effect of this literary technique but the study has meticulously pointed this out. Article visualizations:

In the recent worlds computing applications it’s the revolutionary challenging task for database people to maintain and process information in cyclic manner. Thus it turned the research people interest how the peculiar queries for particular application can be resolved in an elapsed time slice optimistically. Ultimately it’s parallelizing the process. An optimistic analysis is made in this paper how to cover parallelism for database queries without suffering any loss and obtained desired response time.

The paper deals with the linguo-poetic properties of suffixal morphemes in the Azerbaijan
and English languages. In the linguo-poetic researches of both languages which belong to
different linguistic typology the issues related to definition and distribution of suffixal
morphemes have been identified. The types of suffixal morphemes, their use and distribution, as
well as their frequency of use have been investigated by the aid of poetical samples of stated
languages. The study found out common features and diversity among linguo-poetic properties
of suffixal morphemes in these languages. Indeed as Azerbaijan and English belong to various
linguistic typology, it definitely influenced the issues related to definition, distribution and use of
suffixal morphemes in forming morphological parallelisms.
Keywords: morpholgical parallelism; suffixes; suffixal morpheme; linguopoetics;
Azerbaijan; English; inflectional affixes; derivational affixes.

The article offers a dynamic reading of word pairs and parallelism in
selected poems throughout the Hebrew Bible. Psalmists are concerned
with world order and with the dangers facing that order. This tension is
regularly represented by pairs of opposites or complementary natural
entities. The poets construct their parallel cola and strophes with an
eye towards these binary opposites, using deliberate ambiguous or
contrastive structure in order to draw the reader’s attention to the
constant interchange of opposites. In biblical poems, this interchange
may lead to equilibrium while it may equally lead to chaos and loss of
control. The border between these situations is fragile. This notion is
demonstrated with regard to the drama of world order in Psalm 85. A
close reading of the Amos Doxologies follows. The article concludes
with a discussion of the hymns on nature in Job chapters 5, 10, and
especially chapter 26.

Folk Song Mentality in Uku Masing’s Poetry of the 1930s: The Use of Parallelism to Shape the Poetic Language and Self-Perception


Külliki Kuusk

This article discusses the artistic principles of the poetry of the Estonian poet Uku Masing (1909–1985) and its links with older Estonian folk songs. The study proceeds from two hypotheses: first, that parallelism can be considered to be the core characteristic of Masing’s poetic language which connects his poetry with the older Estonian folk song tradition; second, it is assumed that the archaic quality of Masing’s poetic self-perception finds expression in his poetics.

The study is divided into three parts. The first gives an overview of the cultural context of Masing’s poetry, while in the second and the third, I examine the application of the principle of parallelism in his poems by describing it from two angles: Masing’s perception of language and his poetic self-perception. In both parts, the theoretical discussion is illustrated by a textual analysis of Masing’s ecstatic poems, „Love lõikuskuu ööl“ and „Taanduja palve“.

When introducing the cultural context of Masing’s poetry, I draw attention to the fact that parallelism is not a regular stylistic occurrence in Masing’s poetry. There are no direct imitations of runo song parallelism in the structure of Masing’s texts. Neither is it possible to approach Masing’s texts without considering their context, separately from their (song) cultural context. Parallelism, in Masing’s poetry, is a universal mental phenomenon.

In Estonian poetry, Masing is not by any means the only one whose poetic language is influenced by folk songs; however, what is clearly unique about him is his author’s or observer’s position. By denoting his artistic consciousness with the term “another self”, he intentionally burrowed from the archaic Finno-Ugric belief and thereby also anchored his poetic self-perception to it. The specific mentality-centered essence of parallelism in his poetry is first defined through Masing’s attitude towards language, according to which language is first of all a means of cognition. In his poetry, this is manifested in the cognitive aspect of parallelism, which involves its “oral origin” as well as more broadly, the aspect of orality or the performativity of his poetry. Orality is associated with Masing’s mode of writing using a humming voice. Second, I also highlight the influence of the living tradition which was the cultural ambiance surrounding Masing in his childhood.

In my discussion of the application of principles of parallelism in Masing’s poetry, I first examine the cognitive relation of parallelism to the folk song. Drawing upon Lotman’s description of modelling systems, I approach parallelism as an encoded use of language: I show how parallelism is associated with certain visionary techniques in Masing’s poetry, as a result of which the mental pictures of “I” are realized in the poeticised text as loci. On the textual level, these can be regarded as semiotic spatial constructions that are conveyed by formulas of parallelism on the levels of both the form and the content. In the description of spatial constructions, I employ the concept of mental text (the visualised reality behind the text) suggested by Lauri Honko. In the pragmatic analysis of these spatial constructions, I use Lotman’s notion of text within a text. In these semiotic spaces, the “I” functions as a figure of speech, in other words it has the characteristics of the textual “I”.

Second, I examine the textual role of parallelism by describing parallelism as an encoded message carrier. I highlight parallelism as a sentence figure operating on the verse level where for Masing, it is the generator of a linguistic and stylistic unity of expression, and at the same time it is also a semantic organiser of the mental images of the “I”. It is alliteration and assonance in interplay with parallelism that create the lexical cohesion of the verse. Thereby the archaic figurativeness of Masing’s poetry can come to the fore and convey a peculiarly Estonian way of rationalizing or reflecting reality. Just as in a runo song verse, the parallelism of analogy broadens the range of possibilities of expression, so in his poetry, Masing has sought to achieve the same effect by using metonymy. In turn, the use of archaic language forms (or dialect language in relation to formal literary language) supports the use of alliteration.

On the verse level, the encoded content of parallelism relies upon the obscurity of expression and allegory. It is also connected to the ecstatic perception of the “I” and certain visionary techniques of the creation process. When elucidating the visionary basis of parallelism in the text, I will show the semiotic character of meaning construction. A paradigm of certain signs reveals itself in the state of verse’s organisation and in the structural articulation of the text. Given the “text within a text” condition of Masing’s poetry, I discern the speech figures of the “real” space and those of the non-real space that are associated either with the author’s experience of the everyday or with his artistic consciousness.

Masing’s relationship to tradition was quite inclusive. Thus he also freely utilized the formal elements of runo song poetics in his poetry. Parallelism both carries Masing’s archaic world perception and shapes it, and this gives it a special pragmatic role in his poetry.

[This is a DRAFT paper. In an updated paper to be released, some information will be changed and the presentation refined.]

Genesis continues to defy. Centuries of attempts to shape it to conform to the prevailing paradigm have created a theoretical maelstrom, around which swirl literal theories of chaos. So unsettled are the waters that much of the Genesis text is still in darkness due to modern cultural presuppositions, prior creedal beliefs, and conflicting inherited scholarship.

The effort in this study is to look afresh and minimize prior theoretical, creedal or genre expectations. The goal is to discover the original intent of the author that is obscured by cultural and literary expectations. The proposed approach is merely a grammatical-historical method with a heightened awareness of original cultural context and literary genre to overcome hindering eisegesis influences.

This approach lead to the documentation of a highly detailed literary structure which is beautiful and inspiring. The structure has been outlined by others before, but the present study provides a number of tables detailing the structure to a greater level. In addition, a historical survey of selected Ancient Near East cosmologies near the time of the writing of Genesis, provides the perspective of the original audience which we can temporarily enter to review the discovered structure. It reveals the polemic purposes that motivated the narrative's structure and wording which have often been mistaken for other purposes or derived from other processes that were concomitant to the commenter's worldview and not Genesis.

¿Qué lleva a que concibamos el mundo del modo en que lo hacemos? ¿Por qué distintas culturas lo imaginan y piensan conforme a sus peculiares maneras de hacerlo? En este singular ensayo, desarrollado con admirable precisión, Andrés Claro examina cómo las formas de lenguaje exploran la representación de la realidad y sintetizan mundos posibles. Mediante una aproximación comparativa a los comportamientos del poema, el autor nos hace experimentar hasta qué punto las figuraciones dominantes de la imagen, tal como se verifican en poetas clásicos de tradiciones ejemplares –la metáfora en Horacio, el paralelismo en Du Fu y el montaje en Ezra Pound–, proyectan las configuraciones metafísicas características de sus respectivas culturas –el dualismo entre lo sensible y lo ideal de la ontología clásica, el Proceso correlativo o Tao de la tradición china, y esa simultaneidad interruptiva, trascendencia en la inmanencia, que ha redefinido dramáticamente nuestros modos de habitar contemporáneos.

En el horizonte de una investigación acerca de las solidaridades entre las artes del lenguaje (lengua, poética, escritura) y maneras de concebir lo real o habitar un mundo, el seminario interrogará el legado filosófico-literario de China clásica, una poética sostenida y radical de la imagen que ha tenido un impacto contemporáneo que va desde la poesía al cine.
En un primer bloque, tras introducir el rendimiento metafísico-epistemológico de la imaginación lingüística (formas poéticas y gramatológicas como síntesis de lo real que conforman una visión de mundo determinada), se hará un examen comparativo entre la economía de la ‘metáfora’ en la poética/retórica occidental y la economía de la ‘imagen dinámica’ en la poética china, discerniendo las solidaridades básicas entre sus actuaciones estéticas y las cosmovisiones respectivas. Partiendo de la sentencia heideggeriana –“lo metafórico no existe más que en el interior de las fronteras de la metafísica [occidental]”– y asistidos, entre otros, por los trabajos de F. Nietzsche, J. Derrida, P. Ricoeur y F. Jullien, se indagarán al menos dos series de relaciones que permiten delimitar la concepción china del arte como ‘correlación’ y ‘proceso’, desmarcándola de la poiesis y mimesis que se impone en Occidente desde Aristóteles. Estas son: (i) las relaciones entre espacialidad y figura, con énfasis en las solidaridades entre la correlación de la imagen dinámica y una metafísica horizontal e inmanente, frente a las solidaridades entre la sustitución metafórica y el dualismo jerárquico de la ontología; (ii) las relaciones entre temporalidad y figura, con énfasis en las solidaridades entre la vibración dinámica de la imagen y una concepción de la temporalidad como proceso o flujo, frente a las solidaridades entre la traslación estructural en la metáfora y una concepción del tiempo como movimiento.
En un segundo bloque se interrogarán las grandes concepciones clásicas del pensamiento poético, con atención a las maneras en que promueven el estatuto de la imagen como respuesta subjetiva y entelequia de lo real. La atención a la poética expresiva de tendencia confuciana estará centrada en la doctrina de la ‘corrección de los nombres’ y en la concepción de la imagen como respuesta subjetivo-emocional ante la objetividad-natural. El examen de la poética metafísica de tendencia taoísta pondrá atención a la imagen como búsqueda de ‘representación más allá de la representación’ y entelequia de las correlaciones cósmicas (actualización de las virtualidades de la inmanencia).
En un tercer bloque se examinarán las diversas formas de la imagen en la poesía china, con atención a su síntesis de lo real como correlación y proceso. Tras discernir los elementos de lengua/escritura que contribuyen a la promoción e impacto de la imagen dinámica, el énfasis estará en ciertos arreglos mayores (paralelismo, cuartetos, octetos, etc.) que forjan una tensión característica entre lo subjetivo-proposicional y lo objetivo-imagístico, así como en otras formas de significación por fragmentación y yuxtaposición (montaje) que han tenido un impacto decisivo en las artes contemporáneas.
En un bloque final, dedicado precisamente a los ecos contemporáneos de esta poética de la imagen, se interrogará el método ideogramático en la poesía moderna (del imagismo de Ezra Pound a la poesía concreta brasilera), así como el impacto del ideograma y la imagen dinámica en el montaje cinematográfico.
El desarrollo de este programa general se hará en contrapunto con cuatro sesiones intercaladas, a cargo del Dr. Fernando Pérez, quien nos introducirá a los elementos esenciales de la poética y escritura chinas, así como a al legado respectivo de Wang Wei, Li Po y Du Fu, las tres cumbres indiscutibles de la Edad de Oro.
Los ecos de las formas de la poética china en las estrategias contemporáneas del cine serán abordadas por el cineasta Raúl Ruiz.

In this paper, I begin by showing that for Spinoza, it is unclear how the human mind can have a true idea of God.  I first provide an explanation of Spinoza’s theory of parallelism of the mind and the body, followed by showing how this doctrine seems to undermine the mind’s ability to have an adequate idea of God.  From there, I show that the idea of God presents a problem for Spinoza’s theory of the parallelism of the attributes in general.  To resolve the tension, I argue that Spinoza’s theory of parallelism does not entail a one-to-one correspondence between the modes of different attributes.  From here, I show that the human mind can have an adequate idea of God, because the mind can have an idea of its own formal essences and the idea of a formal essence is itself an idea of God.

This paper attempts a stylistic study of a poem. It targets to unveil the deeper underpinnings of semanticity in condensed literary pieces, particularly in poetry, as a consequence of the style employed by an author. Among other findings, the study uncovered the peculiar use of lexis and the features embedded in such peculiar use. It brings to the fore, the heavy use of deviation and parallelism in drumming home the theme of the poem. And finally, a fundamental literary feature used which is worthy of note and which the study has clearly drawn attention to in the analysis, is the foregrounding of the entire literary piece, which gives it a unique outlook. On the surface, one might not notice the effect of this literary technique but the study has meticulously pointed this out.

The principle of double segmentation is at work in Biblical Hebrew poetry in spite of the structural parallelism: both syntactic and poetic segmentations are evident, giving place to dynamic discrepancies between these two levels. In order to illustrate this claim I turned to the poetic system of cantillation of Three books examined for the selected
Psalms corpus. I claimed that the poetic system of cantillation manifests poetic prosody, sensitive to the poetic segmentation: (1) there are two patterns of versification for couplets and for triplets; (2) there are explicit prosodic rules that set a poetic line as a long conjunctive sequence marked by a monotonous pitch contour and an a-semantic
boundary pause, namely as a prosodic unit on its own. However, the cantillation system of Three books is also responsive to the syntactic segmentation: (1) the patterns of doubles and triplets can be sporadically used for pragmatically marked constituents, glossing,
pivot phrase, and in order to avoid heavy enjambments; (2) the system is not uniform processing too long poetic units, apparently due to their complex syntactic structure; (3) if the syntax strongly contradicts the versification, the cantillation system would rather follow the syntactic segmentation.

Simulation software is an important platform of finding results to be expected from a practical hardware setup
which is costly and tedious to modify frequently. There are a lot of Network Simulators in the communication world. Some of
them are dedicated to wireless network, some of them are dedicated to wired network or both type of networks. Because of
wide variations in operating systems, hardware requirements, programming software requirements, output features and
scalability, it is very difficult to choose a suitable simulator for a specific job. Our aim is to subjugate the barrier. We have
studied and compared the detail features of  the Network Simulators for the sake of choosing the absolutely necessary one from the pool of simulators.

The article deals with such a universal phenomenon as parallelism, its functions and possible parameters for its classification. Biblical texts are chosen as the material for analysis. The article mentions a number of existing classifications and then introduces a new one, based primarily on the functions performed by parallel constructions in a text.
Статья касается вопроса о функциях и возможных параметрах классификации такого универсального явления, как параллелизм, рассматривая его на материале библейских текстов. Она рассматривает ряд существующих классификаций параллелизма, а затем предлагает новую, самостоятельную, основанную по преимуществу на функции той или иной параллельной конструкции в тексте.

In Hebrew poetry, a vertical grammatical relation between two parallel lines can be noted in bicolons such as Ps 18:42. One can also recognize the vertical grammar between the first and the last lines of a tetracolon, in such passages as Amos 1:5, Job 12:24-25, 2 Sam 3:33b-34c, Ps 89:36-37, and 2 Sam 7:22. In this pattern, the AXX'B pattern, the middle two lines are a bicolon (XX') inserted into another bicolon (AB). In this article I focus on the vertical grammatical relationship between line A and line B, which constitute either a simple sentence or a complex sentence in the Hebrew text.

Michael O’Connor (whose 1980 opus, Hebrew Verse Structure, provides a compelling linguistically grounded description of the poetic line) has called the endurance of Lowthian parallelism a “horror” that wreaks havoc on lexical semantics and “is beyond the comprehension of any sensitive student of language.” Why does a model known to be a descriptive failure for a century persist in teaching resources and commentaries? It is because nothing compelling has risen to replace it. O’Connor’s linguistic analysis of the line offered the first piece to replacing the traditional model, but O’Connor’s model was more compelling for the structure of the poetic line than for the relationship of lines. In this study I take up interlineal syntax and offer an analysis that compliments and completes O’Connor’s approach, allowing us to provide a proper burial for the admirable but ultimately unworkable Lowthian parallelism.

A modern paradigm of Oriental-Occidental translatio is presented by ... Andrés Claro ... in his comprehensive study “Montage as East-West Poetic Configuration. Ezra Pound’s Translation of Chinese Images”. The critic demonstrates that Ezra Pound’s principle of montage, developed at first in his early collection of translated Chinese poems called Cathay (1915) that contributed  to revolutionize English and Western poetry, is not only a re-orientation of euro-centred literature and of global translatio studii, but a reconfiguration of poetic form and representation as such. As a result, montage ‘formally’ emerged as “a hybrid figure of mixed origins”.
In order to illustrate the complexity of cultural transfer or translatio studii in the field of translation between Eastern and Western languages and literatures, Claro starts with the presentation of Pound’s iconical notice on the front cover of Cathay. This notice synoptically displays in the shape of an inverted cone the creative translation process leading to East-Western Cathay: it goes from the Chinese poems, many of them by Li Po (jap. Rihaku), to Ernest Fenollosa’s English translation and notes, via a Japanese sinologue – Pound’s professor, ignoring English – and via an auxiliary Japanese-English interpreter – up to Ezra Pound himself who, besides retranslating in Cathay Fenollosa’s cribs and paraphrases of Chinese poetry, was to edit Fenollosa’s essay The Chinese Character as a Medium for Poetry (1918) whose ideas had inspired his own translational poetry and poetics since he was handed over the manuscript in 1913, after the author’s death (1908).
In the first chapter on “East-West Poetic Figurations” Claro analyses the principles of Pound’s creative transpositions of the Chinese images into the English language, with constant reference to Fenollosa’s notes and with close comparisons between Fenollosa’s more prosaic and Pound’s more poetic translations. The basic principle is the English re-creation of Chinese imagery, rooted in the partly pictographic writing system and in the syntactic isolation, the asyndetic juxtaposition of discrete images stimulating a vivid dynamic between the imagistic figures in the reader’s mind. While Pound’s translations aim mainly, in accordance with the principle of phanopoeia, at an adequate, yet creative, verbovisual figuration, the ‘equivalence’ of Chinese and English melopoeia, i.e. phonic and rhythmic figuration, and of logopoeia, i.e. cultural and allusive figuration, is either reduced or completely left apart, due to historic and linguistic resistance or to the poet’s personal ignorance, as he declares himself.
Another principle of Chinese writing is the cosmic correspondence between nature and literature, firstly the word considered as a natural and moving thing, and secondly the verbovisual configuration of invisible cosmic correlations between things. Its symbolic matrix is the figure of Yin Yang that constitutes the dynamic parallelism of corresponding and complementary pairs of all kinds. In a series of lucid interpretations, Andrés Claro, so to speak, ‘carves the dragon’ by working out some subtle stylistic couplings or “dynamic imagistic arrangements” in classical Chinese poetry, namely in Li Po’s couplets, quatrains and octets, heteroglossically transfigured in Ezra Pound’s Cathay. Claro’s interpretation includes the philosophical value of imagistic figuration, where he notes, with reference to contemporary sinologues, the significant linkage between the Taoist principle of cosmic correspondence and the Chinese word wen that designates literature through the meaning of ‘pattern’, especially the stirring figure of parallelism. This goes along with a comparative analysis of Oriental and Occidental conceptions of cosmic and literary figures, of parallelism and metaphor.
In his second chapter “East-West Metaphysical Configurations: from ideological criticism to the transcendental revolution of montage”, the scholar looks at the more or less ‘discrete’ and ‘discreet’ modes of montage within the context of the work of Ezra Pound: the more ‘discreet’ and a bit less ‘discrete’ Cathay versus the more ‘discrete’ and less ‘discreet’ The Cantos. At the same time, he considers the modes of montage in the larger context of Western Modernism in the fields of literature, the arts and the media, with a focus on T.S. Eliot, on Picasso and on Sergei Eisenstein’s essay “The Cinematographic Principle and the Ideogram”. Since montage is substantially linked to the aspect of history, the scholar investigates the double connexions between the context of World War I in which Cathay is embedded and the topic of ancient history in Cathay, on the one hand, and on the other hand, the connexions between ancient and contemporary world history, including World War II, in and around The Cantos.
Against the background of Chinese ‘ideogrammaticality’, The Cantos induced a new form of representation in epic poetry where ideogrammic and idiomatic fragmentation and semantic polyvalence become overwhelming and eliminate intentional meaning and anticipatory historical sense, while staging it in an kaleidoscopic way. The performative and imagistic impact is predominant, very much like Walter Benjamin has stated in his Passagen-Werk regarding the phenomenon of Modernity. Both world views, the traditional Occidental dualism of two separate worlds with its static mode of metaphorical figuration and the dynamic ideogrammic figuration of correlated immanent worlds in Oriental poetry and Taoism are finally disconnected from Modernity. They are replaced by the poetic and ideogrammic figure of the interruptive and instantaneous event that generates flashes of impersonal meanings and multiple perspectives on a possible past and future, lacking both origo and telos.
Still, in the broken figures of montage there is also a partial re-membring of disiecta membra: the figure of interlingual and intermedial couplings of Chinese and European characters, of translational parallelisms in The Cantos. They are conceived as a multiple écart, semantic, phonic and graphic, operating erratically in praesentia and in absentia: a complex convergence and divergence of Eastern and Western idioms and ideas. 

A. Knauth (from "Configuration of the Book" - Introduction).

ÖZET
17. Yüzyılla birlikte “ruh” kavramı yerine ekseriyetle “zihin” (mens) kavramının ikame edildiğini görmekteyiz. Klasik anlamda, farklı töz anlayışlarına rağmen, insan söz konusu olduğunda bedenin karşısına ya da yanına konulan ve insanın cisimsel olmayan yönünü ifade eden “ruh”, sahip olduğu tüm özellikleriyle (ontolojik, epistemolojik ve aksiyolojik) modern anlamda “zihin” olarak karşımıza çıkmaktadır. Modern felsefenin kurucuları
arasında zikredilen Spinoza da insanın cisimsel olmayan yanını ifade etmek için, “ruh” yerine “zihin” kavramını genellikle tercih etmiş ve birkaç yerde de birini diğerinin yerine kullanmıştır. Spinoza’nın Tanrı merkezli felsefesinde, insan zihin ve bedenden oluşur. İnsan zihni, Tanrı’nın bilinen iki sıfatından biri olan “düşünce” (res-cogitans) sıfatının bir tezahürü ya da değişimi olurken, insan bedeni Tanrı’nın bilinen diğer sıfatı olan “yer kaplama”nın (res-extansa) bir tezahürüdür. Tanrı gerçek anlamda tek töz olduğu için ve bilinen iki sıfatı da bu tek tözü nitelediği için, bu iki sıfatın tezahürü olarak insanda yer alan zihin ve beden farklı tözler olmayıp aynı tözü farklı şekilde ifade eden paralel, bir ve aynı şeydir.
İnsan zihni, bir yandan bedenin dışarıdan aldığı etkileri (affectus), diğer yandan da bedenin kendi içsel yapısından aldığı etkileri alarak fikirler (ideas) oluşturur. Zihin fikirler oluştururken, daha önce edindiği deneyimlere, fikirler arasındaki bağlantılara, mantıksal çıkarımlara ve duygulara bağlı olarak yeniden eyleme geçme gücünü, sahip
olduğu “anlama yetisi”, “hayal yetisi” ve “hafıza yetisi” sayesinde gerçekleştirir. Zihin bir yandan bedenden aldığı etkilerle ve bu etkiler neticesinde meydana gelen duygularla kendi varlığını sürdürürken, diğer yandan tüm bu etkilerden doğan fikirleri, sahip olduğu yetilerin de yardımıyla yeniden düşünür. Zihin, daha önce edindiği fikirler üzerine tekrar düşündüğünde, düşüncesinin nesnesi artık bu ilk fikir olur ve zihin böylelikle “fikrin fikri”ne (ideas of
ideas) ulaşarak yeni bir fikir daha meydana getirir. Bu “fikrin fikri” olan ikincil fikirler, “bilinci” (conscious/ness)
meydana getirir. Spinoza’da bilinç, zihin-beden paralelinde meydana gelen etkiler ve bu etkilerin taşıyıcısı olan yetiler sayesinde zihnin ulaştığı fikirler üzerine bir tür reflexif düşüncesi demektir. Zihnin bilişsel yönünü ortaya koyan bu reflexif düşünce, öncelikli olarak zihin ve bedenin diğer zihin ve bedenlerle karşılıklı etki alış-verişinden kaynaklanır.
Biz bu çalışmada ontolojik doğasına referansla insanda zihin ve bedenin nasıl bir ortaklık inşa ettiğini, birinin diğerine paralel olmasının ne anlama geldiğini tartışacağız. Spinoza’nın düalizm eleştirisi üzerine yükselen monist töz anlayışı, onun ontoloji, epistemoloji ve değer ya da etik alanlarına dair görüşlerini tamamen şekillendirmiştir. Her şeyden önce Spinoza zihin ve bedeni aynı hakikati farklı şekillerde ifade eden bir ve aynı şey olarak görür. Biz burada zihin ve bedeni bir ve aynı olarak görebilmemizi sağlayan temel zeminin Spinoza tarafından nasıl inşa edildiğini ortaya koymaya çalışacağız. Bu temel zeminde, Spinozacı felsefenin pratik yönünü şimdilik erteleyerek meseleyi ontolojik çerçeveden ve ontoloji ile epistemolojinin bir arada olma zorunluluğu gereği epistemolojik çerçeveden inceleyeceğiz. İncelememizde, zihin ile beden arasındaki ilişkinin nasıl bir ilişki olduğu, zihnin bedeni bilme imkânın ne olduğu, bedende etkilerin, zihinde fikirlerin nasıl meydana geldiği, zihin ve bedenin tabi olduğu bir “varoluş süreleri”nin olup olmadığı gibi temel sorulara yanıtlar aranacaktır.
Anahtar Kelimeler: Zihin, Beden, Paralelizm, Duygulanış/Etkileniş, Fikir, Zihnin Sonsuzluğu

Mind’s Body, Body’s Mind: The Ontology of Spinozist Parallelism

Abstract

With the 17th century, commonly, we see that the concept of "mind" has been replaced by the concept of "soul". In the classical sense, despite the different conceptions of substance, when it comes to human, the "soul", which is placed against or adjoined to the body and expresses the non-corporeal aspect of the human, appears as the "mind" in the modern sense with all its features and means (ontological, epistemological and axiological). Spinoza, who is mentioned among the founders of modern philosophy, generally preferred the concept of "mind" (mens) instead of "soul" (anima) to express the non-corporeal side of man and used one in place of the other in a few places. In Spinoza's God-centered philosophy, man consists of mind and body. The human mind is a manifestations or appearance of the "thought" (res-cogitans), one of the two known attributes of God, while the human body is a manifestation of the other known attribute of God, "extension" (res-extansa). Since God is literally a single substance, and since both known attributes qualify this single substance, the mind and body in man as the manifestation of these two attributes are not different substances, but are parallel, one and the same thing, expressing the same substance differently.
Human mind, on the one hand, constitute ideas by taking the effects of the body, which are receives from the outside and on the other hand, receives the effects of the body, from its own internal structure. While the mind constitute ideas, its realization of its power to act again, depending on the experiences, which it has acquired before, the connections between the ideas, logical inferences and emotions, thanks to its faculties, "intellect", "imagination" and "memory". While the mind preserve its being with the effects it receives from the body and the emotions that occur as a result of these effects, on the other hand, it rethinks the ideas arising from all these effects with the help of its faculties. When the mind rethinks on the ideas it has acquired before, the object of its thought becomes this first idea, and the mind thus creating a new idea, that is "ideas of idea". These "ideas of the idea", which is econdary ideas, form the "conscious-ness". In Spinozas thought, consciousness is a kind of reflexive thought on the ideas that the mind reaches thanks to the effects that occur in the mind-body parallel and the faculties that are the carrier of these effects. This reflexive thought, which reveals the cognitive aspect of the mind, primarily originates from the mutual ex-change of action of the mind and body with other mind and bodies.
In this study, we will discuss how human mind and body build a unity in humans, with reference to their ontological nature, and what it means to be one parallel another. Spinoza's monist conception of substance, rising on his critique of dualism, completely shaped his views on ontology, epistemology, and the fields of value or ethics. Become morething, Spinoza sees mind and body as one and the same thing expressing the same truth in different ways. Here we will try to study how the basic ground that enables us to see mind and body as one and the same thing was built by Spinoza. On this basis, we will postpone the practical aspect of Spinozian philosophy for the time being, and we will examine the issue within the ontological framework and the epistemological framework, that is due to the ontology and epistemology one bound to another. In our examination, answers will be sought to basic questions such as what kind of a relationship between the mind and body is; what is the possibility of the mind to know its body; how occur, the effects in the body, and the ideas in the mind; and whether there is a "duration existence" that the mind and body are subject to etc..
Keywords: Mind, Body, Parallelism, Affections, Ideas, Infinity of Mind

Psalm 23 is a beautiful, poetic masterpiece that exhibits regular meter, several instances of clear parallelism, and iconic enforcement to primarily portray a shepherd-king whose provision, presence, and protection encourage the author.

This is an assignment submitted to Dr. Steven W. Boyd, my Hebrew Intensive III instructor (PhD class).

This article is presenting a ‘structural analysis’ (or ‘structural study’) on Revelation 1:8, demonstrating how the structural analysis needs to be performed. Revelation 1:8, which reveals the declaration of God’s being of the Alpha and the Omega as in 21:5, has raised two related issues: First, who the subject is; Second, why it is located there, in between verses 7 and 9. Two issues are deeply related to each other.
The first issue will be solved by way of exegetical or lexicological study, while the second is going to be suggested by the structural way of reading, which examines the structure(s) in the text in terms of how the logic in structure flows and how it effects constructing the structures of units, or periscopes such as 1:1-8; 1:9-20.
An answer to the first, lexical question, regarding who the subject is in verse 8, is provided, which is easier to be presented. However, the second issue regarding the structure is more complex than the first. The issue needs to find the relation between verses 7 and 8; then the role of verses 7-8 in the prologue, 1:1-8. Furthermore, the structures of verses 9-20 including those inside verses 9-13, 14-16, 17-20 each will be suggested for the purpose to demonstrate how the structures in Revelation are built and what they are like. The ‘paired’ phenomena in structure like chiasm and parallelism come from ‘pairing system’ in communication, which distributes pairs in presenting ideas.

Political philosophers often employ figures of speech such as metaphors, similes, hyperbole, and parallelism in order to add some sort of a literary or rhetorical quality to their writings and also to help the reader understand their political philosophies. For instance, even though warning against using metaphor for the possibility that it might be deceptive (Hobbes 4:102-3), Thomas Hobbes contradicts himself, perhaps due to the nature and power of metaphor, and uses the “Leviathan” for illustrative purposes for his case. In his book Two Treatise of Government, John Locke, similar Hobbes, builds his case on rational arguments and utilizes metaphors and parallelism (such as “mixing labor,” “body politic,” and “appealing to heaven”) only for illustrative purposes, to give rhetorical power to arguments that are not, in their definitive formulations, based upon metaphor. In his explanation of philosophies, Locke’s use of figures of speech makes his case more philosophical and illustrative with real life examples, whereas Hobbes’ use appears more political and hypothetical.

En el horizonte de una aproximación al lenguaje poético como formas de proyectar y habitar mundos, se examina el modo en que diversas figuras literarias en tradiciones ejemplares configuran representaciones características en lo real, abriendo una interrogación acerca de la posibilidad de traducirlas a formas de proyectar y habitar arquitectónicas.

본 논문은 히브리 시의 평행법(平行法 [parallelism], 혹은 대구법[對句法])을 한글로 번역하는 과정에서 발생하는 한계들을 확인하고 그것들에 대한 극복의 여지(餘地)를 밝히는데 그 목적이 있다. 히브리 시의 평행법은 다양한 측면에서 분석될 수 있으나, 본 논문은 아델 벌린(Adele Berlin)의 분석 방식에 따라 평행법을 구문론적, 음운론적, 의미론적 측면에서 연구한다. 이 분석을 통해 논자는 히브리 시의 평행법이 ‘구성 장치’와 ‘의미 창출 장치’의 기능을 수행하며, 이 기능들은 히브리 시를 한글로 번역할 때 평행법의 특징을 반드시 살려서 번역해야 할 당위성을 제공한다고 주장한다. 그러나 굴절어(屈折語)인 히브리어와 교착어(膠着語)인 한글의 언어학적 차이로 인해 히브리 시를 한글로 번역할 때 부득불 의미론적 차원에서만 평행법을 살릴 수밖에 없음을 밝힌다. 이 주장에 기반하여 논자는 히브리 시를 한글로 번역할 때 진지하게 고려해야 할 세 가지 실질적 방안을 제시한다(첫째, 의미론적 평행법이라도 최대한 살려 번역하자. 둘째, 시행을 고려하여 번역하자. 셋째, 성경의 부피를 고려하여 디지털화해 보급하자).

The goal of this paper is to identify limitations occurred in the process of translating parallelism of Hebrew poetry into Korean and to clarify the probability of overcoming those limitations. The parallelism of Hebrew Poetry can be analyzed from various angles; however, this paper focuses on studying the parallelism from syntactic, phonetic, and semantic aspects in accordance with Adele Berlin’s approach to the poetic device. Based on the analysis, I argue that the Hebrew parallelism plays a role as both ‘constructive device’ and ‘meaning-creating device,’ which demonstrates justifiability to appropriately translate features of parallelism as they are translated into Korean. Due to the linguistic disparity between Hebrew as an inflected language and Korean as an agglutinative language, one is forced to focus on the semantic aspect alone. On the basis of this analysis, I have made three practical suggestions to be taken into consideration in translation: the semantic parallelism is to be highlighted, the parallel line must be considered, and the digital version should be used for dissemination.

This paper examines parallelism in San Juan Quiahije Chatino prayers (Otomanguean language from Oaxaca Mexico).The “Prayers for the Community” are part of a ritual carried out regularly by elders and traditional San Juan Quiahije (SJQ) authorities in their official capacity as community representatives. These dignitaries come together at dawn on the first day of each month and on high holidays—the most important feast day is that of the patron saint of SJQ, Saint John the Baptist, June 24th—to petition for the well-being of the entire community, and especially for the younger generations. Both of the petitions analyzed in this essay were made at the same ceremonial event on June 24, 2009, at 5:00 a.m. in the Catholic church. The prayers were said by Simón Zurita and Wenceslao Cortés, two elders from the SJQ community.

This chapter addresses the phenomenon that I call metrical entanglement. Metrical entanglement describes a conventional linkage of language to metrical templates or poetic principles for organising language into units of utterance. It evolves as a feature of a register of verbal art and is predominantly found in oral or oral-derived poetry traditions that have an established and distinct idiom rather than in modern literary poetry.  The phenomenon has been observed from countless angles in a wide range of poetic traditions, but scholars have not previously related the variety of its manifestations to one another. In one of his 1928 dissertations, Milman Parry defines a Homeric formula as a recurrent phrase expressing a coherent unit of meaning “under the same metrical conditions.” In other words, he defines a formula as bound with metre. This definition is the foundation of Oral-Formulaic Theory (OFT), and its sustainability for almost a century testifies to empirically observable linkages of language to metre in a vast spectrum of traditions. Before Parry’s dissertation, August Brink observed that words became linked to the use of alliteration in Old and Middle English verse, founding a rich discussion. Similarly, in his study of ballad traditions, David Buchan notes a general tendency for certain words to “bear the brunt of the rhyme.” The research on these topics has extended to conventional pairs or sets of words linked to both alliteration and forms of rhyme and further to the preferred use of words in certain lifts in alliterative verse. Words linked through parallelism have also been widely discussed, but the complex semantic networks in parallelism have dominated research interests. These diverse examples are united through their concern with how uses of language in verbal art become entangled with poetic principles for organising discourse. Understanding metrical entanglement can help shed light on various aspects of how language and poetic form work in oral poetry and how seemingly independent phenomena may be related.

Considered in its absolute nature, Spinoza's God is nothing more than the total collection of self-sufficient attributes. God is nothing more than the total collection of self-sufficient attributes in the sense that no attribute is a function of anything ontologically prior to it, and whatever may be in excess to the attributes is entirely a function of the attributes themselves. My bundle interpretation of the substance-attribute relationship in Spinoza's thought harmonizes, so I argue in this paper, with various Spinozistic positions said to be in tension with it: God's simplicity and nonderivativeness, the «sameness» of God's attributes, the unity of parallel modes of different attributes, our being able to know God by knowing just one of his attributes, and so on. Through the help of mapping out how God's attributes relate to one another in terms of Suárez's famous taxonomy of distinctions, I explain, moreover, how my interpretation provides solutions to certain famous criticisms of Spinoza's philosophy, perhaps most importantly Leibniz's objection to Spinoza's ontological argument and Tschirnhaus's puzzlement over Spinoza's claim that Thought is the same as any other attribute even though it is more replete than any other attribute.

It has been observed that in fauna terminology there exists an inverse relationship between the size of an animal and the length of its name. This phenomenon seems to hold in the Tibeto-Burman language Sida, spoken in Laos and Vietnam. Examination of word-formation processes operating in the Sida fauna lexicon shows that there are both descriptive and depictive modes, which reflect a deeper system of cultural intimacy related to perceived 'closeness' to human life. Analysis of the polysyllabic, less transparent names within the Sida system of fauna nomenclature, uncovers an aesthetic that values parallelism, euphony and semantic play. This ethnopoetic approach to fauna nomenclature provides insights into the rich detail of the lexicon, enabling an interpretation of Sida worldviews based on the interface of sound, structure and meaning.

I. Introduction: from human finitude vis-à-vis time to the infinitude of historical-temporal figurations
  i. Time as represented by finite and infinite functions: extension and division, potentiality and actuality
  ii. The basis of finite/infinite functions in dominant habits of poetic figuration

II. Horace’s discrete metaphors: time as finite movement
  i. The content of the imaginary: the finite and discrete movement called forth by a power that transcends it
  ii. The dominant figural habit: the finite and teleological movement of metaphor

III. Wang Wei’s parallelisms: temporality as infinite process
  i. The content of the imaginary: human and natural processes as vibration
  ii. The dominant figural habit: the correlative process of dynamic parallelism

IV. Final Remarks: analogical metaphor and dynamic parallelism - the temporal as finite movement and as infinite process

This essay sets out an approach to parallelism in verbal art as a semiotic phenomenon that can operate at multiple orders (or levels) of signification. It examines parallelism in the sounds through which words are communicated, in language communicated by those sounds, in symbols or minimal units of narration communicated through language, and then in more complex units of narration communicated through those symbols or units. Attention is given to how these different levels of parallelism interrelate and may diverge, while revealing that parallelism at all of these levels reflects a coherent semiotic phenomenon.

"Parallelism in Verbal Art and Performance: An Introduction" (in collaboration with Lotte Tarkka), "Parallelism and Orders of Signification (Parallelism Dynamics I)" and "Multimedial Parallelism in Ritual Performance (Parallelism Dynamics II)" can be read together as a monograph-length study.

Multicore embedded systems introduce new opportunities and challenges. Scaling of computational power is one of the main reasons for a transition to a multicore environment. Parallel design patterns, such as Map Reduce, Task Graph, Thread Pool, Task Parallelism assist to derive a parallel approach for calculating the Fast Fourier Transform. By combining these design patterns, a robust application can be obtained.

Homology is the fundamental determinant of the sameness of biological characters or traits. When two characters stand in a relation of homology, they belong to the same character kind. For example, the eyes of humans and birds are homologous as vertebrate eyes – that is, they are the same kind of character: vertebrate eyes. Although the concept of homology originated in pre-Darwinian comparative anatomy, it was subsequently revealed to be an evolutionary phenomenon caused by common descent. Contemporary investigators work roughly within the following generic evolutionary conception of homology:

Homology: Two characters in distinct organisms or taxa are homologous if they are genealogically connected by continuous descent from a common ancestor that had the same character.

No other book in the New Testament compares to John in its complexity of style and structure. So many factors confuse Johannine scholars, including the complexity of styles, repetition, duplication, and seemingly distracted structures that are difficult to discern. Sourcebook of the Structures and Styles in John 1-10 is designed to scrutinize the structures and styles in John 1-10, reading John according to John s way, with the following integrated points of view: First, this reading is indebted to both diachronic and synchronic approaches. Second, macro structure and micro style are treated together and interactively. Third, specific and overall analyses are made together. Fourth, grammatical and relational considerations are brought together. Fifth, syntactic, semantic, and pragmatic relations are considered all together. Sixth, both parallelisms and chiasms (including their variations) are examined, whether in macro structure or in micro style, without excluding either. Seventh, all types of parallelisms and chiasms are examined, whether simple or complex. Eighth, ancient and modern ways in writing-reading processes complement each other. Ninth, Western and Eastern perspectives become complementary. Tenth, the Greek text and its English version (by the author) are used interactively. Eleventh, analysis and discussion are brought to complement one another