Search results for "C_THR86_2305 Latest Study Guide 📟 Reliable C_THR86_2305 Test Sample ⌛ C_THR86_2305 Braindumps 🥈 Open [ www.pdfvce.com ] and search for [ C_THR86_2305 ] to download exam materials for free 🤲Test C_THR86_2305 Lab Questions"
| Results 181 - 190 of 1053
|
Page 19 of 106
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[…]Martinez’s Countering the Counterculture: Rereading Postwar American Dissent from Jack Kerouac to Tomás Rivera (2003) are interrogations of modernism, the construction of American identity, and the production of American literary history. Both critics scrutinize American modernism in the interest of examining the complex influence that racial and ethnic identities have on the construction of American literary movements and literary history. Modernist Nation constructs a history of modernist literary movements and their labels as a way of detailing the improvisational qualities of American identity. Countering the Counterculture deconstructs modernism and the Beat Generation in order to describe alternate narratives of countercultural […]
[…]by the shift from an “epistemological” to an “ontological dominant.” Concluding his latest book, The Obligation toward the Difficult Whole, McHale notes the lack of “any decisive shift of dominant” in the postmodernist long poem that would provide a similar key to its “difficult whole” (250). Is this failure to cohere within a single theoretical framework a reflection of a generic difference between poetry and fiction, or does it reflect, as McHale implies, what he now understands as postmodernism’s characteristic resistance to all essential qualities and normative positions? This question remains tantalizingly open in his brilliant study of a series […]
[…]than a performance, even that of a “healing ritual”. Taussig writes: “We all drank [the yage] and fell into a dreamy doze. About three-quarters of an hour later a tiny hum began. It grew louder to counterpose the wind from the forest and the river’s rush. Utterly absorbed and lost in itself, the song went on for a long time. The singer was old and tired. His voice was rough and low. He seemed lost in himself, singing for the sake of singing, the rite singing to itself in complete disregard of our presence or judgments. The room was quiet. […]
[…]can now refer to Stephan Harding’s Animate Earth, which I discuss later – what Lovelock’s latest book does provide is the most pressing explanation for why one should educate oneself about Gaia theory. In this text Lovelock reviews how the systems perspective of Gaian science leads to a physiological sense of the Earth’s self-regulation. Gaia theory teaches that “We have to think of Gaia as the whole system of animate and inanimate parts” (15), that from the co-evolution of living systems with the totality of their terrestrial environment, Gaia emerged as a meta-system of planetary self-regulation maintaining viable conditions of […]
[…]British Marxists, good in the trenches, like his revered William Morris, but not equipped to handle the spectacular illusions of Late Capitalism. Non sumus quales eramus. But if we are all now sadder men and women, are we any wiser? It’s a nice question. From the perspective of the CI participants, the symposium was a gathering of troubled eagles; to the reporters from New York and Boston, it recalled nothing so much as Chaucer’s Parliament of Foules. Certainly the intramural scene has changed. The Winter 2004 issue of CI collects the thirty “statements for the conference” (324) that we participants […]
[…]monsters in Chainmail, but the voracious appetite of his Twin Cities players spurred him to expand and innovate. “So even in the Dungeon it became quickly apparent that there was a need for a greater variety of monsters, more definition even within the type of monsters, and certainly a deeper Dungeon,” he later recalled (“First Fantasy Campaign” 1980, 3). Reports from the Blackmoor campaign appeared in the Domesday Book, the official newsletter of the Castle & Crusade Society, and thus found their way to Gary Gygax. Arneson visited Gygax in Lake Geneva, Wisconsin in 1972 (Schick 1991, 132), and the […]
[…]the others. They take turns to present pieces of evidence that can be canceled out or combined to form chains of means, motive, and opportunity, until one character has their guilt “proven” to the satisfaction of the group. Each Youdunnit case is about a specific murder – the specifics of the crime and the various potential murderers are all detailed – but can be played multiple times with different outcomes, using the same elements to create different stories. Youdunnit demonstrates many of the principles described in this article, and I will return to it. In fact, designing a story-making game […]
[…]at the time, totally off his face on some chemical cocktail of otherwise lethal proportion to commoners, then entered into conversation with Nixon on the dangers to American youth of drugs, communism … and The Beatles; and finally revealed the purpose of his visit. He had recently got himself appointed as an honorary agent of the Federal Bureau of Narcotics and Dangerous Drugs, and what he wanted from the President – all he wanted – was a Bureau badge. So Nixon gave him one. Their meeting lasted only half-an-hour, enough time for 28 photographs to be taken of one of […]
[…]misunderstanding of the significance of holograms.) Consequently, in tone the book sits somewhat uncomfortably between scholarly academic work and the type of vague theorising often propounded by new-age gurus. One gets the sense that Jackson would quite like to be seen as a guru, especially during his “riffs.” But although these sections may perhaps be treated as creative writing, even in sections that maintain a relatively steady academic stance, there are lazy factual errors. What, for example, are we to make of this: Comprehension (understanding of meaning) and comprehensiveness (wholeness of the One) are intertwined. From one confused point of […]
[…]is presented to the interactor from the perspective of this character. Janet Murray notes that “[T]he lesson of Zork is that the first step in making an enticing narrative world is to script the interactor” (Murray 1997, 79). It is indeed essential to put the interactor into a situation where there is a reason to act, a reason to type something, but the “script” that is needed for the interactor in interactive fiction is more akin to the classic AI concept of a script (e.g., the basic knowledge of how to act when we enter a restaurant wanting to eat […]