Multisensory Research 26 Supplement (2013) 118 brill.com/msr Poster Presentation Perceptual ambiguity — perception and processing of spatially discordant/concordant audiovisual stimuli Jan Bennemann 1 , ∗ , Philipp Benner 2 , Claudia Freigang 1 , Wiktor Mlynarski 2 , Marc Stöhr 1 and Rudolf
Claudia Freigang, Wiktor Mlynarski, Marc Stöhr, Rudolf Rübsamen, Jan Bennemann and Philipp Benner
simple and material suppositions in mental language leads to the possibility of ambiguities within human thought itself, which he—Spade—took to be at odds with what mental language is supposed to be for Ockham, namely a logically ideal language. 8 Ockham, indeed, holds that a sentence with a second
Agnieszka Solska and Arkadiusz Rojczyk
we have conducted. The general discussion of the findings emerging from the experiment is presented in Section 5 and is followed by concluding remarks in Section 6. 2. The Sources of the Garden Path Effect 2.1. Local Ambiguities The interpreting problems encountered by
The narrative of Rosemary’s Baby (Roman Polanski, 1968) hinges on a central hesitation between pregnancy-induced madness and the existence of Satanism. Accordingly, the monstrous element is embodied in both the real and the supernatural: Rosemary’s husband Guy (John Cassavetes) is responsible for her victimisation through rape in either explanation. However, I will argue that the inherent ambiguity of the plot makes it difficult to place him as such a figure typical to the archetypal horror binaries of normality/monster, human/inhuman. By displacing generic convention, the film complicates the issue of monstrosity, making the depiction of female experience of marriage central to the narrative and offering the possibility of the real being of greater significance than the supernatural.
Previous writing has tended to concentrate on Rosemary (Mia Farrow) and her pregnancy; this analysis centres on Guy and, through detailed consideration of Cassavetes’s performance and its placement within the mise-en-scène, demonstrates that he changes almost as much as Rosemary does. The chapter focuses on the film’s depiction of rape, during Rosemary’s nightmare and after it, in order to demonstrate how the notion of performance reveals Guy’s monstrousness and the difficulties this represents in our engagement with him.
© Koninklijke Brill NV, Leiden, 2011 DOI: 10.1163/157254311X579622 Exchange 40 (2011) 235-256 brill.nl/exch Religion, Development and Insecurity: Looking for Root Causes in An Ambiguous Relationship Peter Kanyandago Uganda Martyrs University P O Box 5498, Kampala, Uganda pkanyandago
David H. Aaron
Please note that Biblical Ambiguities was previously published by Brill in hardback (ISBN 90 04 12032 7), still available)
Dissolution and Metamorphosis in the Postmodern Sublime
This book examines the articulations of both the sublime and the grotesque in three postmodern texts. Looking at novels by Nicole Brossard and Morgan Yasbincek, and the performance work of The Women’s Circus, Wawrzinek illuminates the ways in which these writers and performers restructure the spatial and temporal parameters of the sublime in order to allow various forms of highly contingent transcendence that always necessarily remain in relation to the grotesque body. Ambiguous Subjects illustrates how the sublime and the grotesque can co-exist in a manner where each depends on and is inflected through the other, thus enabling a notion of individuality and of community as contingent, but nevertheless very real, moments in time.
Ambiguous Subjects is essential reading for anyone interested in aesthetics, continental philosophy, gender studies, literary theory, sociology and politics.
place, what was meant by an Islamic government. On the contrary: since Khomeynī did not comment often and only ambiguously, many turned to his most important disciple, Motahharī. Motahharī, whom Hamid Dabashi describes as the chief ideologist of the Islamic Revolution of Iran, largely represented Nāʾīnī
David H. Aaron
mutashābihāt) appears twice with the sense of “ambiguous” or “similar.”