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In Plato's Sophist, Theaetetus and his interlocutor?a character known, appro priately enough, only as "the Stranger"?embark on a dialectical hunt, a quest to "find out what a Sophist is" (220d) and uncover his true nature. Their inquiry leads them to ponder questions of existence and nonexistence, identity and dif ference, and (perhaps most important) being and appearance?the original and the copy. The "art of image making" proves critical to their inquiry. In pursuing it, Theaetetus and the Stranger discover that, paradoxically, even the most life like images of reality depend upon calculated distortions and partial perspec tives. Referring to "sculptors or painters whose works are of colossal size," the Stranger observes

One The present-ness of character in fictional narrative figures an inherently conflicted temporality. No one would dispute that plot conflict epitomizes tensions between moments in time as much as conflicts between persons. But our way of construing the thematic sense of narrative fictions, by putting an emphasis on the conflict of personalities, privileges the already formed dispositions of character. It transcends the disruptiveness of temporal immediacy, of being present in the present. A focus upon plot conflict inclines us to ignore the relative inchoateness of character in time. It inveigles us to lose sight of the possibility that character is too easily taken for granted as a repository of experience rather than a threshold of experience. Particularly from the vantage point of the novel of the present -since 1945 - character is an increasingly vexed proposition. The present moment prompts us to consider how the novel has long harbored a notion of character that resists characterization insofar as it is responsive to the circumstance of present-ness.

(1999). Show-Trials: Character, Conviction and the Law in Victorian Fiction. Law & Literature: Vol. 11, Theaters of Justics and Fictions of Law, pp. 179-195.

movement. Topologically speaking, then, the movement image emerged out of folded images, pockets of movement whose interiority continually This content downloaded from 157.55.39.45 on Fri, 02 Sep 2016 06:13:56 UTC All use subject to http://about.jstor.org/terms 30 Richard Doyle "Give Me a Body Then " referenced the image or frame that was put into motion. The cut that connects, the movement image was riddled with holes but nonetheless formed a chain of commensurables, movements of the same kind that traversed a stable space that would reference them, (connect i cut) With the time image, the cinematic sign changes in character. No longer a series, where each image is commensurable with the last on a unified, divisible plane, the time image is constituted out of the interstice itself, an intermezzo that "begins to have an importance in itself. The cut, or interstice, between two series of images no longer forms part of either of the two series: it is the equivalent of an irrational cut .... It is no longer a lacuna that the associated images would be assumed to cross; the images are certainly not abandoned to chance, but there are only relinkages subject to the cut, instead of cuts subject to the relinkage." This tranformation of the cinematic sign from a regime that renders formal linkages of images to one that comports a continual break, "the irrational cut" that is grafted as a cut and not a becominglinked retools the entire assemblage of subjects and machines that composes cinema. If early cinema and the production of the movement image demonstrated the "impower of thought" with the brain's "filling in" of movement through the flicker of the image, one could not look away the time image sometimes provokes the impower or even the ends of subjectivity. In his discussion of the "media effect" produced by German film maker Hans Jurgen Syberberg, Deleuze notes that the "interstice" between the visual and the sonic renders not subjects entranced to a cinema of Caligaris but rather maps a landscape of informational complexity: the disjunction, the division of the visual and the sound, will be specifically entrusted with experiencing this complexity of informational space. This goes beyond the psychological individual just as it makes a whole impossible; a nontotalizable complexity, "non-representable by a single individual" and finds its representation only in the automaton. (269) This invasion of the screen by new signs, then, marks more than the emergence of a new style or possibility in cinema; it maps a transformation of the effects of representations and the subjects that would bear them. While the movement image, with its kernal of transformation buried "between" each image, mimed and perhaps constituted a subject of interiority whose depths were unrepresentable but potent, true, and secret, the time image, with its incessant interruptions of itself, invests the intermezzo of the image This content downloaded from 157.55.39.45 on Fri, 02 Sep 2016 06:13:56 UTC All use subject to http://about.jstor.org/terms

Let $G$ be an arbitrary finite group and fix a prime number $p$. The McKay conjecture asserts that $G$ and the normalizer in $G$ of a Sylow $p$-subgroup have equal numbers of irreducible characters with degrees not divisible by $p$. The Alperin-McKay conjecture is a version of this as applied to individual Brauer $p$-blocks of $G$. We offer evidence that perhaps much stronger forms of both of these conjectures are true., 12 pages published version

Brugeilles C, Cromer I., Cromer S.- Male and Female Characters in Illustrated Children's Books or How children's literature contributes to the construction of gender Inequalities between men and women are underpinned by gender representations that are "internalized" by individuals and, like all social models, are slow to change. The goal of the present study is to analyze the construction of representations designed for children through illustrated books for 0 to 9 year-olds. The originality of the approach lies in the application of a quantitative method to subjects that had previously been studied from a qualitative angle. The text and the pictures of illustrated books are thus considered as "respondents" answering a survey questionnaire. The analysis of all new illustrated children's books published in 1994 by means of a modular observation frame covering all the characters made it possible to show, beyond the stereotypes, the combinations of factors influencing the development of the representations: sex, age, role (main, secondary, background character), type of character (human, clothed animal, real animal), parental function and occupation of the characters, as well as the intended readership and the sex of the writers and illustrators., Brugeilles Carole, Cromer Isabelle, Cromer Sylvie.- Las representaciones de lo masculi- no y lo femenino en los libros infantiles ilustrados, o de cómo la literatura infantil contribuye a la construcción social de género Las desigualdades entre hombres y mujeres se apoyan en representaciones de género "asumidas" por los individuos y, como toda representación social, se modifican lentamente. El objetivo de este estudio es analizar la elaboración de representaciones sociales al alcance de los nifios a través de los libros infantiles ilustrados para niňos de 0 a 9 aňos. La novedad del análisis consiste en aplicar un método cuantitativo a objetos que tradicionalmente se han examinado desde una perspectiva cualitativa. Los libros, de los que estudiamos tanto el texto como las ilustraciones, se consideran "individuos" encuestados. Un análisis de la producción exhaustiva de novedades de 1994 permite mostrar, a través de una matriz de observación por módulos de todos los personajes, el conjunto de factores que contribuyen a la elaboración de las representaciones de género: el sexo, la edad, el papel (personaje principal, de segundo piano), la categoria (personaje humano, animal vestido, animal real), las funciones familiares y actividades profesionales del personaje, sin olvidar los lectores a los que se destina el libro, asi como el sexo de los autores e ilustradores., Brugeilles Carole, Cromer Isabelle, Cromer Sylvie. Male and Female Characters in Illustrated Children's Books or How children's. A literature contributes to the construction of gender. In: Population (English edition), 57ᵉ année, n°2, 2002. pp. 237-267.

During more than thirty years of teaching German, I always taught the equivalent of a second-year university language course. Most of the students were actually first-year students, having taken 2-4 years of high-school German; the remainder were at a similar level, with either one year of Beginners' German at university, or with some exposure to the language through family or time spent in a German-speaking country. In all cases, we assumed an active vocabulary of about 600 words and phrases, plus an acquaintance with most of German grammar. Our goal was to increase the active vocabulary to approximately 2000 words and phrases and review the entirety of German grammar. We employed all four skills in the process: reading, writing, speaking, and aural comprehension. Writing practice soon became a particular challenge for me, since the tendency in the late '60s and early '70s was to assign essay topics such as "die kanadische Verfassung," "Abtreibung: Fur und Wider," or "Sollte die Todesstrafe wieder eingefiihrt werden?" Students were rarely happy about such assignments. Many were simply not interested in the problems, and fewer still had the appropriate specialized vocabulary; thus I was constantly looking for new ideas. As it happened, I came across a book in 1975: A Practical Guide to the Teaching of German, by Rivers, Dell'Orto, and Dell'Orto. I found it very useful in general. However one suggestion in particular caught my attention. In chapter 9, the authors suggest that "students invent a family and keep a copy of all the data: number of children and their names, ages, and interests, cousins, aunts, and uncles, where they live, what they do for a living and what they enjoy doing in their leisure, their friends, neighbors, and pets, some of their well-remembered joys and misfortunes, and their hopes and plans for the future...." (276). This suggestion struck me as having possibilities, since it might interest the students, and it could involve more basic vocabulary. I tried it out on my 1975-76 class, and it was such a success that I continued to use it every year thereafter. In all, my students created 22 families, or rather, after the first two years, characters, with or without families. After two years of experimentation, I settled on a standard procedure. Early in the fall, I would announce the project, which was inevitably greeted by initial puzzlement on the part of the students, followed by suspicion, and then-as the possibilities dawned-by considerable glee and merriment. I followed a set pattern of alternation over the years, specifying whether the character for the current year-always a resident of a German-speaking country-would be male or female, and over or under 30 years of age. After that, I asked for 3-4 suggestions from the students for a family name, and then they voted. In the same fashion, we determined the first name, exact age, place of residence, how the character earned a living, his or her height and weight, hair and eye color, marital status, parents, children, and siblings. The process (always done entirely auf Deutsch) usually required a few i utes out of 4-6 class sessions, and by the end of it, the students were quite enthusiastic. They would then go on to write a series of, not essays, but stories, with the created character as the protagonist. I assigned the story topic and the minimum length. The first was always "(Name) stellt sich vor," 75 words minimum. Over the course of the year, the assi nments became longer and more complex: "'Was machen deine Eltern?'," "Jan Walter: ein Tag an der Uni," "Fritz hat eine neue Freundin," "Frau

veterans, and they sat in classes with cadets. Since 1969, the institution had also gained considerable experience in dealing with men and women civilian students in its large evening undergraduate and graduate programs. In 1992 three female navy veterans applied for admission to the daytime veterans' program. When they were turned down, they filed a class-action suit in federal court. According to the Citadel's board of visitors, the admission of female veterans would "destroy the diversity in higher education a single sex classroom provides" and "alter substantially the nature, character and effect of the Citadel." The board uni

Representational theories of mind cannot individuate the sense modalities in a principled manner. According to representationalism, the phenomenal character of experiences is determined by their contents. The usual objection is that inverted qualia are possible, so the phenomenal character of experiences may vary independently of their contents. But the objection is inconclusive. It raises difficult questions about the metaphysics of secondary qualities and it is difficult to see whether or not inverted qualia are possible. This paper proposes an alternative test of representationalism. Do experiences in different sense modalities have the same phenomenal character when they share content? Psychological work on the perception of shape through vision and spatial hearing is discussed. This work shows that visual and auditory experiences differ in phenomenal character even in so far as they represent similar properties. This objection to representationalism does not invite questions about secondary qualities or depend on establishing metaphysical possibilities.

Lygosoma unlineatum de Rooij 1915 is a large New Guinea skink known from five specimens. It was previously associated with taxa now considered to be in the Sphenomorphus group of lygosomine skinks. However, it is a member of the Eugongylus group of lygosomines, best placed in the relatively primitive genus Eugongylus. Within the Eugongylus group, the species has two unique primitive characters: nine premaxillary teeth (versus 211) and pterygoid teeth. The species also has one unique derived character: fusion of the first supralabial and the nasal scale. The two primitive characters make the species especially important in reconstructing the phylogeny of the Eugongylus group.

I am grateful to Michael Tye for his discussion of my book, and to the editor for offering me the opportunity to respond to Tye's criticisms of my account of the phenomenal character of perceptual experience-especially since this prompted reflections that led me to see a way of removing one unattractive feature of the account. The view Tye criticizes in his review is the view I think one must hold if one thinks that the following is a possible case: (1) under the same circumstances, object X looks different to persons A and B with respect to color, and (2) neither A or B is misperceiving X. I take (1) and (2) to imply that X has two different properties, one perceived by A and one perceived by B, and that it is X's (veridically) appearing to them to have these properties that constitutes its looking to them, with respect to color, the ways it does. It is these properties I have called "phenomenal properties," and hold to be different from colors (the object having only one color). The phenomenal character of experiences, I claim, consists in its representing such properties. The case of (1) and (2) I have focused on in previous discussions of this is the hypothetical (and controversial) case of spectrum inversion. But we needn't assume the possibility of spectrum inversion in order to see the need of an account that invokes such phenomenal properties. We need it, I think, in order to account for actual differences between color perceivers. It is a fact that different people often differ slightly in what lights, and what reflectances, they perceive as unique hues.' What one person perceives as unique blue another may perceive as a slightly greenish blue. This is due to slight differences in the ways their visual systems process visual input. Where there is this sort of difference between two people, there is no basis on which one can say that one of them sees the color of an object correctly and the other is misperceiving it-nothing in the reflectances, or in the light, corresponds to the difference between unique and nonunique hues.2 But the object does look

In her review of Evil or Ill? Justifying the Insanity Defense, Professor Colb elucidates the tension between character and autonomy. In Evil or Ill?, author Lawrie Reznek has proposed a formula to identify appropriate excuses in the criminal law. His formula integrates both a strong version of autonomy and an underlying evil character as prerequisites to culpability. In Professor Colb's alternative construct, however, character replaces autonomy as the primary litmus test for criminal responsibility.

We construct analytically the signature operator for a new family of topological manifolds. This family contains the quasi-conformal manifolds and the topological manifolds modeled on germs of homeomorphisms of R^n possessing a derivative which is in L^p, with p > n(n+1)/2. We obtain an unbounded Fredholm module which defines a class in the K-homology of the manifold, the Chern character of which is the Hirzebruch polynomial in the Pontrjagin classes of the manifold. This generalizes previous works of N. Teleman for Lipschitz manifolds and of A. Connes, N. Teleman and D. Sullivan for quasi-conformal manifolds of even dimension.

THE PHENOMENA OF NATIONALISM AND THE NATION-STATE are at once general and yet irreducibly particular. It is perfectly meaningful to talk about nationalism and the nation-state "in general," given the ubiquity of these phenomena, yet nationalism is always someone's claim that their cultural, religious, linguistic, or other particularity be given political expression in the form of a nation-state. The literature on nationalism displays the same two-fold character as its object. On the one hand, it consists of general studies of the "rise of nationalism" or the "idea of nationalism."

In 1997, the last school for girls over the age of twelve in the Netherlands was forced to close. There was no protest, not even from feminists. Considerable attention, but little regret, was shown in the media. Similarly, some thirty years earlier the abolition of the Middelbare Meisjesschool (the MMS)—the Dutch secondary school for girls—had provoked no serious protest. This article offers an historical explanation for the absence of either protest or regret. In order to do so, we will have to go back to the formative years of the Dutch secondary educational system, around 1900. While neighboring countries preferred separate instruction, the Dutch seem to have been at ease with girls and boys together in one classroom relatively early.

Middle childhood is a time when children move beyond the boundaries of family to explore the neighborhood, forge their own relationships with friends and neighbors, and have experiences independent of their parents. Depending on the character of the surrounding community, parents are more or less comfortable allowing unfettered exploration by their children. This article reports a study of families with 9- and 10year-olds in an array of southern California neighborhoods, showing close links between parent perceptions of their neighborhoods, the rules they impose on their children, and the children’s experiences and social skills. T

This paper attempts a solution to the classical problem of predication, "the unity of the sentence": how, instead of merely listing the several things they designate, the parts of the sentence combine to represent something as being the case. While this capacity of a sequence of terms to "say some single thing" is standardly attributed to the distinct function of 'subject' and 'predicate' terms, these functional differences need explaining. Here, they are traced to the distinctive, asymmetrical causal explanation of the tokening of the expressions serving one role or another in the speech act: the unity of the sentence is explained by the interconnection and interdependence of the cause of the predicate on that of the subject. Thus the account adverts to the pragmatic character of the expressions rather than the ontology of what they denote. This causal context explains several central semantic features of predication.

OR groups have been studied from several perspectives and increasingly their role as a means of organising OR work is seen to be subject to a variety of external influences. In this paper OR groups are examined as a form of arranging professional work in organisations using an analytic framework based on concepts from the sociology of professions. The changing character and fortune of such groups is shown to be related to processes involved with the professional character of OR. The role of education, changing organisational contexts, the emergence of other professions and the ability of OR to respond to these are all key factors in explaining the development of OR groups. Issues of relevance to the future of OR groups arising from this analysis are finally considered.

HE study of allusion or reference usually entails the process of evaluating and analysing the consequences of a reference, that is to say, how we interpret the dialogue established between two texts. There is, however, a prior question about a prior process: How do we as readers even recognize something called allusion?' In general, there seem to be two approaches to these questions: formal and thematic. The formal approach tries to establish the multitude of overlapping features in the two texts and the infrequent combination of these features outside of the two texts. On the linguistic level the search is for shared diction, word order, line position, etc.; on the narrative level the search is for similar characters and contexts. Like objects in a matching game, texts which distinctively share an intricate pattern can be paired correctly once the pieces are isolated. A successful join thus makes an allusion. For less distinctive passages which share just a word or two, this problem of allusion is expressed in terms of chance: whether a parallel text is a reference to another text or simply the inevitable reuse of common language. The second or thematic approach asks how our interpretation benefits from pairing two texts. What new view of a character is offered by an echo of another character? In the end, these two approaches must go together, for a full poetic or philological reading requires the integrity and value of both form and function.

Let me start by thanking my four commentators for their stimulating comments. I cannot adequately respond to all of their points, but I will make a few remarks about some of the many issues they have raised: first, on the distinctions between conceptual and nonconceptual states and contents, second on the subject-centered character of perception and thought, third about naturalism and reduction, and fourth about the identity conditions for contents.

Fluctuating asymmetry (or FA) refers to directionally random deviations from bilateral symmetry for a character pair of an organism. Character FA has been related to stress imposed during development of organisms and quality or fitness of individuals. However, FA-stress and FA-quality relations often are absent or variable depending on the characters assessed. Some researchers have hypothesized that FA of sexually selected traits may relate to stress and fitness more reliably than other traits, and that genetic predispositions towards asymmetry may confound relations between asymmetry and either stress or quality. Others have suggested that because character FA is generated randomly, it may not relate to fitness or to FAs of other characters within samples of individuals. In this paper, we modelled development of character FA in relation to random developmental noise or perturbations, stress, developmental stability, and individual quality. We concluded that FA of sexually selected traits need not relate to stress or individual quality more than FA of other characters. We also determined that, in the absence of confounding factors such as genetic predispositions toward asymmetry, measurement error, and character FA-size relations, FA of some characters need not relate to stress or quality. Interestingly, leptokurtic asymmetry distributions could be generated using models expected to generate true FA; thus, leptokurtic asymmetry distributions should be assayed for relations with stress and fitness. We also found that unsigned FA could reliably relate to organism-wide developmental stability and quality, even in the absence of organism-wide FA relations among traits. Finally, conclusions about the utility of FA measures will depend strongly on representation of high FA individuals in samples, because FA-quality relations were typically triangular in distribution.

This article considers the interrelationships of hierarchy, time, and meter in music. Music is an art form that organizes time and reflects different attributes of time. A unique point in the flow of time is "the present." In physical terms, the present is a point in time; in practical terms, however, the present is understood to have a certain span, the extent of which varies depending on the context in which the present is placed (Mach 1906; Husserl 1928; Fraisse 1963, 1982). Similarly, in music, the present has a time-span. For example, the present could mean the note A, the first subject, or the development, etc., depending on the context in which the music belongs. If a random point in time happens to be in the development section, the section began before that point and is likely to continue after it. Basically, the selection of a musical present is also attributable to the character of a piece of music (a musical style). However, the selection is not the sole choice for a piece. The interpretation of a piece of music varies, depending on the time-span that is adopted as the present. There are a number of possible time-spans for a musical present. This fact is inseparable from the hierarchy that is latent as a structural element in music. Specifically, that different time-spans can be adopted as the present indicates the existence of hierarchical levels in music, from higher strata (longer units) to lower strata (shorter units). In other words, the ability to select a musical present in a number of time-spans is a positive indication of the hierarchical structure of music.