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A theory of the adaptation

TL;DR: The author contributes three new concepts that help to prosper a theory of the adaptation, supplementing the theoretical inadequacies and guaranteeing a better practical approach to the real world.
Abstract: In fuzzy mathematic, one concept which multiple applications appear in the scientific literature, is the concept of adaptation coefficient. However, theoretically their definition is insufficient to guarantee the models of the reality, because in the reality manifesting processes that not are included in this concept. The author, through this work contributes three new concepts (over weights in the adaptation, brakes coefficient for equals adaptation coefficients and adjusted brakes coefficient for equals adaptation coefficients) that help to prosper a theory of the adaptation, supplementing the theoretical inadequacies and guaranteeing a better practical approach to the real world.
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01 Jan 2018
TL;DR: In this paper, the authors developed an interpretive model for the exegesis of conceptual music and developed a preliminary model of musical meaning, and developed an Interpretive Model for the interpretation of works of Conceptual Music.
Abstract: vii Conventions Used in This Thesis ix Part I. Establishing the Problem & Its Context 1 1. The Exegetical Problem of Conceptual Music 3 2. Conceptual Art and Materiality 56 3. “Conceptual Music” – A Review of Prior Usage 72 Part II. Methodology: Developing an Interpretive Model 93 4. A Preliminary Model of Musical Meaning 95 5. Developing an Interpretive Model – I. A Process Perspective 107 6. Developing an Interpretive Model – II. A Discourse Perspective 131 7. Developing an Interpretive Model – III. A Systems Perspective 165 8. A Consolidated Model for the Exegesis of Conceptual Music 189 Part III. Interpreting Works of Conceptual Music 203 9. Mode of Identifying – Identity as Concept 205 10. Mode of Signifying – Signs as Concept 251 11. Mode of Crafting – Technē as Concept 277 12. Mode of Referring – “Other(s) of a Work” as Concept 305 13. Mode of Worldmaking – World of Work(s) as Concept 349 14. Exegesis of Portfolio of Original Works 393 Part IV. Conclusions & Directions for Further Research 455 15. Conclusions & Directions for Further Research 457

123 citations

Dissertation
01 Jan 2019
TL;DR: In this article, a genealogical analysis and close textual readings of the Hebrew Bible is used to trace the supplementarity already present in the Hebrew Hebrew Bible as well as in the theo-political, historical, theological and philosophical discourses that underpin and comprise the problematic of monotheism.
Abstract: Jacques Derrida has noted of God that “God contradicts himself already ... only that which is written gives … [God] … existence by naming … [God]. It is simultaneously true that things come into existence and lose existence by being named” (Derrida 1978a: 70). Naming God can lose God. This is a significant insight for examinations of monotheism, drawing attention to its irrecusable contradictions, paradoxes and constitutive aporias. The significance of this insight is heightened when a second recognition is made regarding monotheism’s own discursive practices of exclusion and displacement, practices that are conventionally based on and legitimated by a narrative of presence. Together these points act to frame this dissertation insofar as they open the question as to their possible reconciliation. In this dissertation, then, I argue that Derrida’s deconstructive notion of supplementarity can support a genealogical analysis of this problematic informing traditional conceptions of God as the One and Only. God and monotheism – as I will demonstrate – are irrecusably haunted by their supplementarity. Hence, in this dissertation, via a genealogical analysis and close textual readings, I trace the supplementarity already present in the Hebrew Bible as well as in the theo-political, historical, theological and philosophical discourses that underpin and comprise the problematic of monotheism. Following Foucault’s and Derrida’s insights that analysis also facilitates a rethinking or an experiment, I conclude this work by sketching the outlines toward what could be called a deconstructed ethical monotheism. I name this thinking stance towards reconciliation of a One and Only thinking – a return to exile.

73 citations

01 Jan 2017
TL;DR: This paper explored how certain dramatists in early modern England and in Spain, specifically Ben Jonson and Miguel de Cervantes, pursued authority over texts by claiming as their own a new realm which had not been available to playwrights before: the stage directions in printed plays.
Abstract: This article explores how certain dramatists in early modern England and in Spain, specifically Ben Jonson and Miguel de Cervantes (with much more emphasis on the former), pursued authority over texts by claiming as their own a new realm which had not been available—or, more accurately, as prominently available—to playwrights before: the stage directions in printed plays. The way both these playwrights and/or their publishers dealt with the transcription of stage directions provides perhaps the clearest example of a theatrical convention translated into the realm of readership.

58 citations

01 Jan 2016
TL;DR: Wallace et al. as discussed by the authors traced a cultural reception of the romance genre in England and France in the late fourteenth century, and argued that while the changes in material technologies of medieval textual production break down the exclusivity of romance by opening the texts to wider reading publics, the positive representations of luxury in verbal ornament and visual programs of narrative art objects continue the perpetuation of aristocratic privilege.
Abstract: This dissertation project traces a cultural reception of the romance genre in England and France in the late fourteenth century. In compiling lengthy descriptions of courtly trappings, medieval romances serve as vehicles for idealized aristocratic self-presentation and thereby become complicit in associating material luxury with aristocratic power. I argue that while the changes in material technologies of medieval textual production break down the exclusivity of romance by opening the texts to wider reading publics, the positive representations of luxury in verbal ornament and visual programs of narrative art objects continue the perpetuation of aristocratic privilege. Chapter One examines the Shield of Gawain in Sir Gawain and the Green Knight and the Trojan image-texts in Chaucer’s House of Fame as imitatio of Virgilian ekphrases, theorizing medieval understanding of a Greek poetic device. Chapter Two analyzes the Tryst beneath the Tree episode from Tristan and Isolde as it is rendered on fourteenth-century Parisian ivory caskets, situating the composition within the larger visual program that teaches aristocratic women about heterosexual desire through a negotiation of sight and touch. Chapter Three reads Pearl as a romance-adjacent text and a material object, identifying an emotional community within which the positive vocabulary of aristocratic luxury is deployed as a vehicle for communicating intricate feelings of loss, and where salvation becomes the ultimate aesthetic experience. The dissertation culminates with Chapter Four, which examines Chaucer’s Troilus and Criseyde and the Breton lay Emar� as texts that thematize a romance encounter and invite the associative reading of romance. By attending to the surface pleasures of romance within these seemingly disparate texts, this dissertation locates the genre’s unique aesthetic—a preoccupation with surfaces, conventions, and the boundaries of the perceptible and the experiential. As such, this project intervenes in the growing field of medieval aesthetics. As a feature of both its internal worlds and its physical media, luxury gives us a sense of how romance mediates the aesthetic encounter, while constructing aristocratic ideals and celebrating earthly pleasures. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group English First Advisor David J. Wallace

50 citations

Journal ArticleDOI
Christina Lee1
TL;DR: The authors examines the expanding global tourist trade for fictional places derived from popular narratives that are recreated for the tourist's pleasure through a case study of a Harry Potter t-shirt shop.
Abstract: This article examines the expanding global tourist trade for fictional places derived from popular narratives that are recreated for the tourist’s pleasure. Through a case study of a Harry Potter t...

47 citations


Cites background from "A theory of the adaptation"

  • ...Out of this interpretation/adaptation, something new is created (Hutcheon, 2006: 20).11 For the Harry Potter tourist, their excessive investment does not just describe emotions evoked at a location but more importantly the affective qualities of tourist sites....

    [...]

References
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Book
01 Aug 1996
TL;DR: A separation theorem for convex fuzzy sets is proved without requiring that the fuzzy sets be disjoint.
Abstract: A fuzzy set is a class of objects with a continuum of grades of membership. Such a set is characterized by a membership (characteristic) function which assigns to each object a grade of membership ranging between zero and one. The notions of inclusion, union, intersection, complement, relation, convexity, etc., are extended to such sets, and various properties of these notions in the context of fuzzy sets are established. In particular, a separation theorem for convex fuzzy sets is proved without requiring that the fuzzy sets be disjoint.

52,705 citations

Journal ArticleDOI
Ronald R. Yager1
03 Jan 1988
TL;DR: A type of operator for aggregation called an ordered weighted aggregation (OWA) operator is introduced and its performance is found to be between those obtained using the AND operator and the OR operator.
Abstract: The author is primarily concerned with the problem of aggregating multicriteria to form an overall decision function. He introduces a type of operator for aggregation called an ordered weighted aggregation (OWA) operator and investigates the properties of this operator. The OWA's performance is found to be between those obtained using the AND operator, which requires all criteria to be satisfied, and the OR operator, which requires at least one criteria to be satisfied. >

6,534 citations