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For in this context, time is not formulated as a movement in which the relation of a given moment to the transient properties of futurity, presentness, and pastness inevitably changes.
In the stories in Extraordinary Engines, pastness is generally used to mark the difference between the nineteenth century and the twenty-first through the use of obsolete settings and social forms, such as the gentleman's club ("Elementals"; "Hannah"; "Speed, Speed the Cable") and the ladies' society ("Lady Witherspoon's Solution"), or through markers of cultural change, like attitudes about race ("American Cheetah"), gender ("Machine Maid"), and class ("Static").
It is functionally complex because the auxiliary that marks the subject is in the present tense while the participle marks pastness, so there is not a one-to-one mapping between form and meaning.
He revels in the pastness of the past, and its reverberations on the present, taking for granted the redemptive quality of retrospection.
Positioning the reality of the historical past under each of the "great classes" of the Same, the Other, and the Analogue, Ricoeur (1984:36) has found a way "to think more clearly what remains enigmatic in the pastness of the past".
59) The "humanity," however, is found in imagining the pastness of the present.
10) Note that the crucial point is not the content of the events judged against a specific standard of objectivity, but a) the conception of events ordered in a lineal sequence which cannot be inverted, and b) the definitive pastness of events which can be effective in the present only if mediated across time by historical agents, acts of remembering, and long lasting consequences within a spatiotemporal framework which is the same one the people of today live in.
Eliot ("the history sense involves a perception, not only of the pastness of the past, but of its presence") and Cezanne ("One does not substitute oneself for the past; one merely adds a new link to the chain").
The habitual mode of representation employed by Kakah Ramat brings pastness into juxtaposition with the present; the past is made actual in the present as tradition (once again) becomes incorporated into the participants' bodily dispositions.
But, on the other hand, there were the quixotic collectors who genuinely loved, were intrigued by, and excited by the pastness of the antiques.
In contrast, the georgic points to the present, alternating between a tenseless imperative mood and a mythological mode in which pastness is rendered inoperable as a concept.
The first extasis is Dasein's Gewesenheit, its pastness or its already-having-been.
The term "by implication" is meant to indicate the main difference between the finiteness-bound fission and the aspectual fission in forms: the temporal reference of the set of verbs used with a perfective verb stem point to the fulfilment part of a wish ("future/modality effect") or the target state of a two-state verb ("resultative/completion with pastness effect")--a fission which is accidentally operative due to the characteristics of the different sets of verbs involved without exhibiting an oppositional distribution in forms.
Ibson quotes Susan Sontag, who cautioned that "a photograph is only a fragment, and with the passage of rime the moorings become unstuck," while the image falsely juxtaposed "drifts away into a soft abstract pastness, open to any kind of reading.
inherited voice of pastness, enabling both individuality and