Charles A. Carpenter
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813034058
- eISBN:
- 9780813038254
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034058.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book offers a new perspective on one of the most puzzling questions faced by Shaw scholars—how to reconcile the artist's individualist leanings with his socialist Fabian ideals. The book does ...
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This book offers a new perspective on one of the most puzzling questions faced by Shaw scholars—how to reconcile the artist's individualist leanings with his socialist Fabian ideals. The book does this by viewing Shaw as a maverick whose approach was impossible to duplicate and grew out of his unique artistic temperament, his outlook, and his vocation. Shaw's activities in promoting the Fabians' goals of advancing social democracy were highly distinctive. He effectively used calculated irritation as an attention-getting tactic; he relied on devices that he had formulated as a creative rhetorician, rather than on the academic principles that were second nature to most of his fellow Fabians; and he devised and championed the use of indirect means to “persuade the world to take our ideas into account in reforming itself.”Less
This book offers a new perspective on one of the most puzzling questions faced by Shaw scholars—how to reconcile the artist's individualist leanings with his socialist Fabian ideals. The book does this by viewing Shaw as a maverick whose approach was impossible to duplicate and grew out of his unique artistic temperament, his outlook, and his vocation. Shaw's activities in promoting the Fabians' goals of advancing social democracy were highly distinctive. He effectively used calculated irritation as an attention-getting tactic; he relied on devices that he had formulated as a creative rhetorician, rather than on the academic principles that were second nature to most of his fellow Fabians; and he devised and championed the use of indirect means to “persuade the world to take our ideas into account in reforming itself.”
C. U. M. Smith, Eugenio Frixione, Stanley Finger, and William Clower
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199766499
- eISBN:
- 9780199950263
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199766499.003.0011
- Subject:
- Neuroscience, History of Neuroscience
This chapter outlines the views about physical or natural responses from ancient Greek philosophers until the revolutionary medical theories that were introduced by Giorgio Baglivi and Francis ...
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This chapter outlines the views about physical or natural responses from ancient Greek philosophers until the revolutionary medical theories that were introduced by Giorgio Baglivi and Francis Glisson. It studies Baglivi's claim that fibers composing the organs—particularly the muscles—are directly responsive to irritation. It shows that the Scientific Revolution that occurred during the Renaissance had deeply affected the understanding of living matter in a deep and very basic way: Organs were all composed of fibers, despite their differences in form and function. Gottfried Leibniz is credited as being the first one to have held this view.Less
This chapter outlines the views about physical or natural responses from ancient Greek philosophers until the revolutionary medical theories that were introduced by Giorgio Baglivi and Francis Glisson. It studies Baglivi's claim that fibers composing the organs—particularly the muscles—are directly responsive to irritation. It shows that the Scientific Revolution that occurred during the Renaissance had deeply affected the understanding of living matter in a deep and very basic way: Organs were all composed of fibers, despite their differences in form and function. Gottfried Leibniz is credited as being the first one to have held this view.
Lamotte Robert H.
- Published in print:
- 1996
- Published Online:
- March 2012
- ISBN:
- 9780198523345
- eISBN:
- 9780191724527
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198523345.003.0016
- Subject:
- Neuroscience, Sensory and Motor Systems
A localized irritation of the skin, if sufficiently potent, produces a remarkable change in the quality of mechanically evoked sensations in a large area surrounding the injury. In the case of a ...
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A localized irritation of the skin, if sufficiently potent, produces a remarkable change in the quality of mechanically evoked sensations in a large area surrounding the injury. In the case of a particularly noxious stimulus—a burn, a cut, or crush—the skin becomes hyperalgesic: normally painful stimuli such as a pinprick elicit abnormally intense and prolonged sensations of pain (punctate hyperalgesia), and the threshold for pain may be lowered so that normally innocuous stimuli such as a light touch are painful. The unpleasant, abnormal sensory states (dysaesthesiae) of hyperalgesia and hyperknesis are qualitatively very different as illustrated by the different sensations and reactions in response to the same stimuli. In hyperalgesic skin, a prickly hair elicits pain as does light stroking with a cotton swab. In contrast, when the same stimuli are applied to hyperknesic skin, they evoke sensations of itch and reactions of scratching the stimulated area. The dysaesthesiae of hyperalgesia or hyperknesis when elicited within the area of cutaneous irritation are called ‘primary’. Those evoked by stimuli delivered outside this primary area are termed ‘secondary’. This chapter discusses the contributions of primary cutaneous peripheral nerve fibres to the cutaneous dysaesthesiae of secondary hyperalgesia and secondary hyperknesis.Less
A localized irritation of the skin, if sufficiently potent, produces a remarkable change in the quality of mechanically evoked sensations in a large area surrounding the injury. In the case of a particularly noxious stimulus—a burn, a cut, or crush—the skin becomes hyperalgesic: normally painful stimuli such as a pinprick elicit abnormally intense and prolonged sensations of pain (punctate hyperalgesia), and the threshold for pain may be lowered so that normally innocuous stimuli such as a light touch are painful. The unpleasant, abnormal sensory states (dysaesthesiae) of hyperalgesia and hyperknesis are qualitatively very different as illustrated by the different sensations and reactions in response to the same stimuli. In hyperalgesic skin, a prickly hair elicits pain as does light stroking with a cotton swab. In contrast, when the same stimuli are applied to hyperknesic skin, they evoke sensations of itch and reactions of scratching the stimulated area. The dysaesthesiae of hyperalgesia or hyperknesis when elicited within the area of cutaneous irritation are called ‘primary’. Those evoked by stimuli delivered outside this primary area are termed ‘secondary’. This chapter discusses the contributions of primary cutaneous peripheral nerve fibres to the cutaneous dysaesthesiae of secondary hyperalgesia and secondary hyperknesis.
Charles A. Carpenter
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813034058
- eISBN:
- 9780813038254
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034058.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
Compared to other Fabians, Shaw relied heavily on attention given to his personality, his appearance, to his ideas, and, most importantly, his verbalizing. One of the fundamental aspects of Shaw's ...
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Compared to other Fabians, Shaw relied heavily on attention given to his personality, his appearance, to his ideas, and, most importantly, his verbalizing. One of the fundamental aspects of Shaw's perspective was revealed when he told Beatrice Webb in 1925 that the need arises for new thought that would raise the awareness. Shaw attempted to further his intention to irritate as such measures would draw attention to relevant matters. Irritation, particularly scandalizing, frustrating, or shocking, was one of the common results of Shaw's actions since the unresolved ending of the permeative strategy could be associated with irritation. This chapter highlights the irritation at the beginning of compositions that would initiate or provoke the attention of listeners and readers.Less
Compared to other Fabians, Shaw relied heavily on attention given to his personality, his appearance, to his ideas, and, most importantly, his verbalizing. One of the fundamental aspects of Shaw's perspective was revealed when he told Beatrice Webb in 1925 that the need arises for new thought that would raise the awareness. Shaw attempted to further his intention to irritate as such measures would draw attention to relevant matters. Irritation, particularly scandalizing, frustrating, or shocking, was one of the common results of Shaw's actions since the unresolved ending of the permeative strategy could be associated with irritation. This chapter highlights the irritation at the beginning of compositions that would initiate or provoke the attention of listeners and readers.
Thorsten Fitzon
- Published in print:
- 2011
- Published Online:
- April 2015
- ISBN:
- 9780199569366
- eISBN:
- 9780191808265
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199569366.003.0002
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Goethe's evaluation of Pompeii in the Italian Journey reflects the two emotions of irritation caused by this unique archaeological encounter with antiquity, and of excitement about the discovered ...
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Goethe's evaluation of Pompeii in the Italian Journey reflects the two emotions of irritation caused by this unique archaeological encounter with antiquity, and of excitement about the discovered artefacts. These are kept separate and divided into two narrative strands describing one and the same experience. This chapter traces how Goethe was able to overcome the initial irritation with Pompeii using three elements of Pompeian wall painting: ornament, polychromy, and the central figured panel. This development in his thought can be seen by contrasting the opposing descriptions in the Italian Journey with his examination of Pompeii in his essays on art and reviews of Wilhelm Ternite and Wilhelm Zahn's colour plates.Less
Goethe's evaluation of Pompeii in the Italian Journey reflects the two emotions of irritation caused by this unique archaeological encounter with antiquity, and of excitement about the discovered artefacts. These are kept separate and divided into two narrative strands describing one and the same experience. This chapter traces how Goethe was able to overcome the initial irritation with Pompeii using three elements of Pompeian wall painting: ornament, polychromy, and the central figured panel. This development in his thought can be seen by contrasting the opposing descriptions in the Italian Journey with his examination of Pompeii in his essays on art and reviews of Wilhelm Ternite and Wilhelm Zahn's colour plates.
