Subject Index Vol. 70, 2004
O KelberM. StorrA. SibaevDaniel A. WeiserTakahiro KudoSatoru NagataYo AoyagiRyuyo SuzukiHironori MatsudaYoshikazu OhtsukaToshiaki ShimizuKo OkumuraYuichiro YamashiroKetil StørdalJørgen JahnsenBeint S. BentsenBjørn MoumMichael SchepkeHisashi NakayamaHideki MasudaHiroshi MiyakeTadatoshi TakayamaEise YokoyamaMitsuaki OkayamaRyoichi TsubouchiHikaru NishioShinichi KatoKoji TakeuchiRichard LeaVivienne HopkinsJ. HastletonLars-Erik SvedbergJ. SchirraLesley A. HoughtonP.J. WhorwellHerbert SchneiderChristoffel van RensburgStephan SchmidtNazimuddin AbooHeli MäkeläEmma NauclérB. HallerbäckMaura CorsettiJan TackB GökeH.D. Allescher
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Subject cataloguing is considered more intellectually intriguing than the descriptive cataloguing. Quality of subject catalogues have been the area of interest for researchers. The present study attempted to analyse the subject catalogue records from four university libraries in Karnataka. The result showed that the subject access to the holdings of the university libraries need to be improved. Subject cataloguers have to pay immediate attention in improving the subject access.
Subject access
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Hu Feng subject view is series absorbs under his realism literature theory,has contained the subject advance inhis subject view thought.This article tries by Hu wind subject view thought origin as well as other is connected Wen Lunanalysis again annotation the subject advance this misunderstands many when idea,from creation process,the experiencetwo angles explores the subject advance feasibility and necessity.At same time,this article has also discussed Huwind subject view deficiency.
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Journal Article 1985 Subject Index Get access Bulletin of the Entomological Society of America, Volume 32, Issue 2, Summer 1986, Pages 127–128, https://doi.org/10.1093/besa/32.2.127a Published: 01 June 1986
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Many English grammarians, at home and abroad, think that there is not only the imperative with the subject of the second person, but the both one with the subject of the first and the third person. Some grammarians believe that the subject of any imperative is the addressee. The author analyzes the subject of the imperative from the semantics and thinks that the subject of any imperative is virtually in the second person.
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이 글은 영화 〈퍼스트 리폼드〉를 라깡과 지젝의 관점에서 접근하여 분석한 글이다. ‘애국 전통’에 따라 대를 이어 군복무에 충성하던 〈퍼스트 리폼드〉의 주인공 툴러 목사는 아들을 이라크에서 잃은 것을 계기로 환상이 가로질러지면서 공백을 대면하게 된다. 툴러는 이전의 상징계로 되돌아가는 대신 조그만 시골교회에 몸을 의탁한 채 고통과 허무의 삶을 견딘다. 이런 그가 교회 신도를 통해 실재계적 사건이라 할 수 있는 ‘신비한 매직 여행’을 겪게 되면서 이후 환경 운동을 위해 ‘자폭 소명’(suicidal calling)을 받은 주체로 다시 태어나게 된다. 이로 인해 그는 담임목사임에도 불구하고 자신의 교회에서 자폭하려는 ‘욕망’을 포기하지 않는 충동의 주체로 살아간다. 이 글은 환상이 가로질러지고 공백을 대면하게 된 상황을 주체의 ‘빈곤’으로, 실재계적 사건을 통해 새로운 주체로 태어나 자신의 욕망을 포기하지 않고 추구하는 상황을 주체의 ‘충만’이라 명명하면서 주인공 툴러의 삶과 변화를 라깡과 지젝의 관점으로 분석한다. 이 과정에서 주이상스, 정신분석학의 윤리, 증환 등과 같은 개념들의 적용도 타진해 본다. 또한 이 영화가 팬데믹 상황에 처한 우리에게 주는 메시지도 간단하게나마 살펴본다.
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Subject setup reflects university’s developing ideals and direction,so an explore of subject setup in university is avail.On the basic of an investigation of 90 three different type university,we get some conclusions about subject setup.In addition,quality and quantity of subject,subject out and in the catalogue,and entering and leaving mechanism of subject have to be considered further.
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Subject and subject′s construction are the core questions for higher education′s reform. Subject are the basic ken in shchools and graduate shchools, it includes subject′s systems info, the reins and attitude for subject, subject′s ideas frame, science skills. Subject′s constructing must depend on these four factors,it includes four taches: subject founding , subject organising, subject consolidating, subject developing. Teaching, science researching, subject practicing are the route of subject′s construction. It must pay attention to the criterion and innovation of subject , practicing-learning-studying′s coalescent, thinking′s freedom.
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Abstract Aristotleistotle ‘s C’ategories1 classifies entities by using two predication relations, being ‘said of’ a subject and being ‘in’ a subject.2 Four kinds of entity emerge from this classification: (i) things that are neither ‘said of nor ‘in’ a subject; (ii) things that are ‘said of a subject but not ‘in’ a subject; (iii) things that are both ‘said of’ a subject and ‘in’ a subject; and (iv) things that are ‘in’ a subject but not ‘said of’ a subject.3
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The nationally-recognized Susquehanna
Chorale will delight audiences of all
ages with a diverse mix of classic and
contemporary pieces. The ChoraleAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂA¢AÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂs
performances have been described
as AÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂA¢AÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂemotionally unfiltered, honest
music making, successful in their
aim to make the audience feel,
to be moved, to be part of the
performance - and all this while
working at an extremely high
musical level.AÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂA¢AÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂA Experience choral
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Whoever reflects upon the development and reasoning of pedagogical thoughts and actions faces the problematic subject. ‘The’ subject seems to figure as the basis of it all. Whilst all other key terms and categories are constantly open to negotiation, the ‘subject’ presents itself as self-evident rather than as an entity to be argued at length. Yet, some questions remain unanswered. Why is this the case? Furthermore, what kind of subject do we refer to? In this article the central issues concerning ‘The Subject and Pedagogy’1) as well as first findings of this ongoing research by the author are being discussed. The main focus is not on the results. What is of crucial importance with regard to the following text are the allusions to the apories which accompany any paradigm of the subject. This holds true of every single stage: the subject of philosophy, the subject of pedagogy and the pedagogues’ subject.
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