(b) Double-decrement variant of the checkerboard illusion. (c) Double-decrement variant of the bullseye illusion. (d) Doubledecrement variant of the zig-zag White's illusion. (Figures created by authors.) Figure III.59-4.
Author: Arthur G. Shapiro
Publisher: Oxford University Press
Visual illusions are compelling phenomena that draw attention to the brain's capacity to construct our perceptual world. The Compendium is a collection of over 100 chapters on visual illusions, written by the illusion creators or by vision scientists who have investigated mechanisms underlying the phenomena. --
It is in the midst of all this doubling that Monica's variation of Crossed Fingers takes center stage. Her variant is, of course, a double-crossedfinger illusion. Ask yourself, how many times have youth's hands and fingers touched one ...
Author: K. Brandon Barker
Publisher: Indiana University Press
Category: Social Science
Wiggling a pencil so that it looks like it is made of rubber, "stealing" your niece's nose, and listening for the sounds of the ocean in a conch shell– these are examples of folk illusions, youthful play forms that trade on perceptual oddities. In this groundbreaking study, K. Brandon Barker and Clairborne Rice argue that these easily overlooked instances of children's folklore offer an important avenue for studying perception and cognition in the contexts of social and embodied development. Folk illusions are traditionalized verbal and/or physical actions that are performed with the intention of creating a phantasm for one or more participants. Using a cross-disciplinary approach that combines the ethnographic methods of folklore with the empirical data of neuroscience, cognitive science, and psychology, Barker and Rice catalogue over eighty discrete folk illusions while exploring the complexities of embodied perception. Taken together as a genre of folklore, folk illusions show that people, starting from a young age, possess an awareness of the illusory tendencies of perceptual processes as well as an awareness that the distinctions between illusion and reality are always communally formed.
Ace Double, New York, hart S Winston, New York, 1967, HOp, Cloth, 1966, 142p, Paper, Novel Novel 07187A retitled: Double illusion. Dennis Dobson, 07209 Pardon my fangs. Holt, Rinehart & Winston, London, 1970, 142p, Cloth, Novel New York ...
Author: R. Reginald
Publisher: Wildside Press LLC
Science Fiction and Fantasy Literature, A Checklist, 1700-1974, Volume one of Two, contains an Author Index, Title Index, Series Index, Awards Index, and the Ace and Belmont Doubles Index.
He then proceedstofuse (objective) physical and (subjective) mental space intosocial space through a critique ofwhat he calls a'double illusion'—the 'illusion oftransparency' andthe 'realistic illusion'—'each sideofwhich refers back ...
Author: Karin Ikas
Category: Literary Criticism
Communicating in the Third Space aims to clarify Homi K. Bhabha’s theory of the third space of enunciation by reconstructing its philosophical, sociological, geographical, and political meaning with attention to the special advantages and ambiguities that arise as it is applied in practical--as well as theoretical--contexts. The idea of "third space" conceives the encounter of two distinct and unequal social groups as taking place in a special third space of enunciation where culture is disseminated and displaced from the interacting groups, making way for the invention of a hybrid identity, whereby these two groups conceive themselves to partake in a common identity relating to shared space and common dialogue. The essays collected in Communicating in the Third Space--including a preface by Bhabha himself--brilliantly introduce readers to this exciting topic in Cultural and Post-Colonial theory and offers insightful elaboration and critique of the meaning and relevance of life in the "third space." With a preface by Homi K. Bhabha.
The ideological distortion has been described as a double illusion: it consists first in working people up into fantastic versions of themselves and second in overlooking the way this illusion structures our relationship to the real ...
Author: Alvin H. Rosenfeld
Publisher: Indiana University Press
Deciphering the New Antisemitism addresses the increasing prevalence of antisemitism on a global scale. Antisemitism takes on various forms in all parts of the world, and the essays in this wide-ranging volume deal with many of them: European antisemitism, antisemitism and Islamophobia, antisemitism and anti-Zionism, and efforts to demonize and delegitimize Israel. Contributors are an international group of scholars who clarify the cultural, intellectual, political, and religious conditions that give rise to antisemitic words and deeds. These landmark essays are noteworthy for their timeliness and ability to grapple effectively with the serious issues at hand.
That would amount to a double illusion. A postmodernist prefers to work in only one illusion. ... The second reading is to look for contradictions, hidden silences, binaries, and circularities in the text itself.
Author: Fenwick W. English
"English successfully challenges the established educational community to rethink the current state of research on school leadership in the social sciences...The inclusion of theory, discourse, and stories of recognized leaders followed by chapter learning extensions that include key concepts, movie recommendations, and prompted reflective journaling makes this book a most valuable resource for the educational leadership community." —H.J. Bultinck, CHOICE "The Art of Educational Leadership provides one of the most complete examinations of leadership that I have encountered. I admire the way it urges students to think and reflect. The format allows individual learners to focus on those materials that best fit their learning style while the numerous presentations of a single topic through the different modalities strengthens the learning. This text is a fresh, new look at leadership..." —Louise L MacKay, East Tennessee State University "Fenwick W. English returns to themes of leadership he explored in more than 20 earlier books and dozens of presentation to educator audiences. He favors "re-centering educational leadership in the humanities," rather than acting on the recommendation of the business literature, and he emphasizes the use of films as a way to humanize leadership concepts." —THE SCHOOL ADMINISTRATOR "Excellent cogent analysis of key concepts of leadership are presented in a reader friendly style." —Saul B. Grossman, Temple University Moves beyond established notions of leadership to recognize that effective leading is about drama and performance—artistry! The Art of Educational Leadership: Balancing Performance and Accountability stresses the human side of leadership. No other text on this topic demonstrates so ably the importance of artistry in leadership in a field that has been lopsidedly dominated by concepts informed by science. Presenting the idea that leadership is an art, this book: Exemplifies a balance between the science and the art of educational leadership: The real improvement of practice is rooted in the art of application, which is about context and represents the key to leadership practice. Connects content material to self-discovery: Exercises at the end of each chapter include creating a personal, reflective journal to engage the reader in and reflect upon theories and practices presented in the book. Films are suggested for viewing to illustrate the interaction between context, culture, decisions, and outcomes. Portrays multicultural leadership in action: Biography boxes throughout the book share how multicultural educational and political leaders who have been recognized as "expert" practitioners learned the art of leadership in the public arena. This is the first book in educational leadership to sketch out a balance between the science and the art of the field. The text illustrates how performance and practice represent the art, while the delineation of the skills and conceptual models represent the science.
For example , the revision of the novel functions as a major indicator of the double illusion sustained throughout the narrative . Revision by its very nature involves the displacement of one version by another ; this , the original ...
Author: Mahmoud Salami
Publisher: Associated University Presse
Category: Literary Collections
This book presents a deconstructive reading of the novels and short stories of John Fowles. As a contemporary novelist, Fowles began as a modernist self-consciously aware of the various narratological problems that he encountered throughout his writings. In his most recent novel, A Maggot, however, he assumes the role of the postmodernist who not only subverts the tradition of narratology, but also poses a series of problems concerning history and politics. Throughout this study, Mahmoud Salami attempts to locate Fowles's fiction in the context of modern critical theory and narrative poetics. He provides a lively analysis of the ways in which Fowles deliberately deployed realistic historical narrative in order to subvert them from within the very conventions they seek to transgress, and he examines these subversive techniques and the challenges they pose to the tradition of narratology. Salami presents, for instance, a critique of the self-conscious narrative of the diary form in The Collector, the intertextual relations of the multiplicity of voices, the problems of subjectivity, the reader's position, the politics of seduction, ideology, and history in The Magus and The French Lieutenant's Woman. The book also analyzes the ways in which Fowles uses and abuses the short-story genre, in which enigmas remain enigmatic and the author disappears to leave the characters free to construct their own texts. Salami centers, for example, on A Maggot, which embodies the postmodernist technique of dialogical narrative, the problem of narrativization of history, and the explicitly political critique of both past and present in terms of social and religious dissent. These political questions are also echoed in Fowles's nonfictional book The Aristos, in which he strongly rejects the totalization of narratives and the materialization of society. Indeed, Fowles emerges as a postmodernist novelist committed to the underprivileged, to social democracy, and to literary pluralism. This study clearly illustrates the fact that Fowles is a poststructuralist--let alone a postmodernist--in many ways: in his treatment of narratives, in mixing history with narrative fiction and philosophy, and in his appeal for freedom and for social and literary pluralism. It significantly contributes to a better understanding of Fowles's problematical narratives, which can only be properly understood if treated within the fields of modern critical theory, narratology, and the poetics of postmodernism.
The first illusion is that the person does not really exist and is therefore nothing more than a verbal fabrication. The second illusion involves the presumption that reading the external signs from a narrative character gives ...
It wouldn't work for long—he was too weak, the pain of his wounds too insistent, and if he blacked out again he was dead—but in a split second of clear thought he called to his flesh the searing illusion of heat, poison, fire, ...
Author: Barbara Hambly
Publisher: Open Road Media
Three fantasy novels of war and wizardry by a “fabulously talented” New York Times–bestselling author (Charlaine Harris). In The Ladies of Mandrigyn, a brilliant mercenary must lead his army against the forces of the most powerful wizard alive. Gifted with courage, strength, and the intelligence to know when to fight, Sun Wolf is the greatest mercenary in a land overrun by war. With his first lieutenant, Starhawk, at his side, he has laid waste to countless cities, taking the best of their treasures for himself, and distributing the rest among his bloodthirsty crew. Then a woman comes to him, an emissary from the town of Mandrigyn, a lush port city recently sacked by a powerful, mad wizard of unmatched abilities. She offers Sun Wolf untold riches for the use of his army, but the captain is not fool enough to wage war against a magician. He refuses her offer, but that is not the end of it. The women of Mandrigyn can be very persuasive. In The Witches of Wenshar, to harness his newfound magical powers, Sun Wolf must cross the desert in search of a witch who can teach him the ways of sorcery. Accompanied by his lieutenant, Starhawk, he travels across the forbidding desert to the land of Wenshar, where witchcraft is said to flourish. There he seeks out a witch with powers far beyond her years, who is rumored to have mastered the ancient art of white magic. But when he and Starhawk finally reach her, there is evil in the air—an evil against which all their might is useless. Sun Wolf must learn to harness his newfound powers—or be taken by this sinister trap. In The Dark Hand of Magic, Sun Wolf must use his immature magical powers to rescue his old army from an evil wizard’s curse. A string of rotten luck has befallen his old crew’s latest campaign, and they have begun to suspect a curse. Their arrows break; their food rots; their tunnels cave in. They have heard rumors of Sun Wolf’s magical abilities, and beg for his help. But when he goes after whatever is targeting his men, he finds himself up against the deadliest force he has ever encountered.
Thus the representation of the corpse on the early modern stage entailed the meta - theatrical recognition not only of an illusion , but also in effect of a double illusion – an illusion of an illusion .
Author: Susan Zimmerman
Publisher: Edinburgh University Press
Category: Literary Criticism
Within a theoretical framework that makes use of history, psychoanalysis and anthropology, The Early Modern Corpse and Shakespeare's Theatre explores the relationship of the public theatre to the question of what constituted the 'dead' in early modern English culture.Susan Zimmerman argues that concepts of the corpse as a semi-animate, generative and indeterminate entity were deeply rooted in medieval religious culture. Such concepts ran counter to early modern discourses that sought to harden categorical distinctions between body/spirit, animate/inanimate - in particular, the attacks of Reformists on the materiality of 'dead' idols, and the rationale of the new anatomy for publicly dissecting 'dead' bodies. Zimmerman contends that within this context, theatrical representations of the corpse or corpse/revenant - as seen here in the tragedies of Shakespeare and his contemporaries - uniquely showcased the theatre's own ideological and performative agency. Features*Original in its conjunction of critical theory (Bataille, Kristeva, Lacan, Benjamin) with an historical account of the shifting status of the corpse in late medieval and early modern England.*The first study to demonstrate connections between the meanings attached to the material body in early modern Protestantism, the practice of anatomical dissection, and the English public theatre.*Strong market appeal to scholars and graduate students with interests in the theatre of Shakespeare and his contemporaries, early modern religion and science, and literary theory. *Relevant to advanced undergraduates taking widely taught courses in Shakespeare and in Renaissance drama.