John Bender Knihy

Time belongs to a handful of categories (like form, symbol, cause) that are genuinely transdisciplinary. Time touches every dimension of our being, every object of our attention -- including attention itself. It therefore can belong to no single field of study. Of course, this universalist view of time is not itself universal but rather is a product of the modern age, an age that conceived of itself as the "new" time. Time has thus gained new importance as a theme of general research with the "post-modern turn" now manifest in many areas of intellectual endeavor, especially in the humanities and social sciences. "Chronotypes" are models or patterns through which time assumes practical or conceptual significance. Time is not given but (as the subtitle indicates) fabricated in an ongoing process. Chronotypes are themselves temporal and plural, constantly being made and remade at multiple individual, social, and cultural levels. They interact, they change over time, and they have histories, whose construal is itself an act of temporal construction. This book -- an interdisciplinary collaboration of philosophers, historians, literary critics, and anthropologists -- examines the ways individuals, societies, and cultures make sense of time by constructing it in diverse patterns.

Exploring the intersection of film language and literary analysis, John Bender utilizes Gombrich's insights on perception to examine pictorial effects in literature. By analyzing Spenser, whom he refers to as "the painter of poets," Bender proposes a theory that distinguishes between descriptive and pictorial elements in poetry, offering a fresh perspective on how visual techniques can enhance literary expression.

Known for their stunning aerial displays, the Birmingham Roller pigeon excels in performing intricate rotations during competitions. These domesticated birds are judged on their ability to fly in unison, showcasing both duration and style in their performances, making them a favorite among pigeon enthusiasts.

die Autoren eröffnen in ihrem Buch eine neue Sicht auf Bild und Wort beziehungsweise artikulierte und dichte Systeme im Sinne Goodmans, die sie zu einem instruktiven Diagrammkonzept zusammenführen. Diagramme sind Amalgame des Erkennens. Sie sind aber auch innerweltlich vorfindbare Gegenstände, mit denen kognitiv gearbeitet wird. Diagrammatisches Denken eröffnet Querverweise und ermöglicht so eine relationale, vom Erkennenden aktiv betriebene Urteilsbildung. Es führt zu einem Wissen, das konkret und prozesshaft ist.