"Il ruolo e le funzioni del Tax Director in azienda"Fabio Ghiselli
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Dal Quaderno AIAF n. 170/2016, "Il sistema di controllo interno ed il monitoraggio dei rischi fiscali". La versione integrale del Quaderno puĂČ essere chiesta direttamente all'AIAF.
Commissioner Bechara Choucair Keynote at the National Tobacco Control Conference in Washington, DC on December 3, 2015 discussing Chicago's Tobacco Policies.
Short Story
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Short Story Essay example
Lecture 18 - The Turn to Speculative FictionPatrick Mooney
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Eighteenth lecture for my students in English 192, "Science Fiction," summer 2013 at UC Santa Barbara.
Course website: http://patrickbrianmooney.nfshost.com/~patrick/ta/m13/
Lecture 18: »Du muĂt dein leben Ă€ndern«Patrick Mooney
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Eighteenth lecture for my students in English 165EW, "Life After the End of the World," winter 2013 at UC Santa Barbara.
Course website: http://patrickbrianmooney.nfshost.com/~patrick/ta/w13/
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Discussion Forum InstructionsPost a response to all four prompt.docxfelipaser7p
Â
Discussion ForumÂ
Instructions:
Post a response to all four prompts below.
Participation is worth 30% of your grade. Active participation in the weekly discussion is expected.Â
You must meet the minimum word count for each post to get full credit
.
All posts must be completed byÂ
Sunday
 at 11:59 p.m
.
No makeups are allowed.
Use only the assigned readings to respond to the discussion posts
.
Your post must include at least one quote from each text used to receive full credit.
CLASSMATE POST POST 2
I have to say, that honestly, I found Edgar Allan Poeâs storyÂ
The Fall of the House of Usher
 interesting, but not engaging.  Iâm not sure if it was because there were some distractions during the reading (which I read again), or because the old style language is so difficult to follow at times.  Perhaps it was a little of both.  I definitely liked the theme of the story; being very dark and psychologically dreary. I think that the reason Poeâs work is still popular is because he excelled so greatly at creating a setting and theme that most people donât regularly experience in their life. No doubt, from time to time, the average person feels creeped out or sad, or sees an old decrepit house. However, the way Poe paints things is exceptionally vivid, but in such a gray and colorless manner. My favorite part of the story was when he was creating the setting, at the very beginning.   Poeâs first line is âDuring the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usherâ (Poe, 2013, p.702). Just that first sentence contains at least nine words which set the stage for a very depressing story: dull, dark, soundless, oppressively, alone, singularly, dreary, shades, melancholy. If anybody were to read just those words, they would immediately be taken to a rather dark mindset. And he managed to use them all at once! Overall, I did enjoy the story, though; particularly the end, when the house crumbled.
(WC295)
References
Poe, E. (2013). The fall of the house of Usher. In N. Baym, W. Franklin, P.F. Gura, J. Klinkowitz, A. Krupat, R.S. Levine ... P.B. Wallace (Eds.),Â
The Norton anthology of American literature
 (Shorter 8th ed.) (pp. 702-714). New York, NY: Norton. (Original work published 1839).
Post 2
: Reply to a classmate regarding post 1; be sure to offer a new quote or idea to keep the conversation flowing! Be sure to quote, cite, and reference from the text(s) using appropriate APA format. Your post must be at least 150 words.
CLASSMATE POST POST 4
After readingÂ
The Story of an Hour
 by Kate Chopin, andÂ
Sympathy
 by Paul Laurence Dunbar, I noticed a similar theme: that of feeling imprisoned. Both writers convey a deep sense of unhappiness at being oppressed, which is unde.
Conducted by Quiz Club NITW on 16th March 2023. Themed on fun facts and amazing fundas related to Anime. The set above consists of questions from entire quiz.
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Artificial Intelligence in Christian Thought and Practicenatematias
Â
Slides from a talk given at Stone Hill Church on November 3, 2018.
If you are interested to learn more you can read our report and discussion guide here: https://medium.com/ai-and-christianity/artificial-intelligence-in-christian-thought-and-practice-20ec8635a94f
Authoritarian and Democratic Data Science in an Experimenting Societynatematias
Â
How will the role of data science in democracy be transformed as software expands the publicâs ability to conduct our own experiments at scale? In the 1940s-70s, debates over authoritarian uses of statistics led to new paradigms in social psychology, management theory, and policy evaluation. Today, large-scale social experiments and predictive modeling are reviving these debates. Technology platforms now conduct hundreds of undisclosed experiments per day on pricing and advertising, and the algorithms that shape our social lives remain opaque to to the public. Democratic methods for data science may offer an alternative to this corporate libertarian paternalism.
In this talk, hear about the history and future of democratic social experimentation, from Kurt Lewin and Karl Popper to Donald Campbell. Youâll also hear about CivilServant, software that supports communities to conduct their own experiments on algorithms and social behavior online.
http://cmsw.mit.edu/event/nathan-matias-authoritarian-democratic-data-science-experimenting-society/
Gratitude: Sermon at Sunday Assembly Boston, October 18, 2015natematias
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On Sunday, October 18, I gave a sermon on the topic of gratitude at the Boston gathering of Sunday Assembly, a non-theist church. Here are my slides from the talk.
Promising and Problematic Projects with Gender Datanatematias
Â
Classifying people by gender, whether manually or automatically, can offer valuable opportunities to see and address inequities in society. On the other hand, it can also create problems and risks. In this talk, I presented projects that highlight the power and problems of gender data.
Presentation at the Gender Data 4 Change workshop, hosted by the Center for Civic Media, Datakind, and Microsoft in November 2014.
In this talk, I offered an overview of the history and my current work designing systems to crowdsource gender diversity.
Presentation at the Gender Data 4 Change workshop, hosted by the Center for Civic Media, Datakind, and Microsoft in November 2014.
Oliver Hauser on the Behavioural Insights Team, a talk at the Berkman Center ...natematias
Â
How can policymakers conduct randomized trials and incorporate them into their policymaking? Over the summer, Oliver Hauser, a PhD student at Harvard, worked at the Behavioural Insights Team in London, sometimes called the "nudge unit." Yesterday at the Cooperation Working Group that I co-facilitate, Oliver shared with us the work that the nudge unit has done before opening up the conversation for discussion
Networked Tactics for Gender Representation In The Newsnatematias
Â
Slides from a talk I gave at the MIT Knight Civic Media Conference on my thesis, which expands our ability to measure and change gender diversity in the media.
Collaborators:
- @dearsarah
- @ireneros
- @therealprotonk
- @objectgroup
- Sophie Diehl
Full list of 40 collaborators here:
http://civic.mit.edu/blog/natematias/research-is-cooperation-the-40-people-who-made-my-thesis-a-reality
Timelines for Case-Work Collaboration with Citizensnatematias
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Saw a great demo by the e-GovPlus people while I was in HT09
So I gave a talk about it at BarCamp Transparency Oxford.
The E-Gov Plus site is: http://www.egovplus.dk/
J. Nathan Matias and David Williams propose an approach to comparison of spatial hypertext collections which avoids becoming entangled in complexities of version management and merging.
2. Change Blindness Demo: Gradual Change
Used in Simons, D.J., Franconeri, S.L., and Reimer, R.L. (2000) âChange blindness in the absence of a visual
disruptionâ, Perception 29: 1143â1154.
what changes in this video?
3. Franz Kafka, Das SchloÎČ
Da blieb Barnabas stehen. Wo waren sie? Gieng es nicht mehr weiter?
WĂŒrde Barnabas K. verabschieden? Es wĂŒrde ihm nicht gelingen. K.
hielt Barnabas' Arm fest, daĂ es fast ihn selbst schmerzte. Oder sollte
das Unglaubliche geschehen sein, und sie waren schon im SchloĂ oder
vor seinen Toren? Aber sie waren ja, soweit K. wuĂte, gar nicht
gestiegen. Oder hatte ihn Barnabas einen so unmerklich ansteigenden
Weg gefĂŒhrt? âWo sind wir?â fragte K. leise, mehr sich als ihn.
Then Barnabas stopped. Where were they? Werenât they going on?
Would Barnabas take his leave? He wouldnât be able to. K. held
Barnabasâ arm so tightly that he himself almost felt the pain. Or should
the inconceivable have occurred, and they were already in the Castle or
before its gates? But as far as K. was aware, they hadnât climbed at all.
Or had Barnabas led him on such an imperceptibly climbing path?
âWhere are we?â K. asked quietly, more to himself than to Barnabas.
Das SchloÎČ, ed. Malcolm Pasley (New York: Schocken, 1982), 50-1
4. Franz Kafka, Der ProceĂ
Da erinnerte sich K. daĂ er das Weggehn des Aufsehers und
der der WĂ€chter gar nicht bemerkt hatte, der Aufseher hatte
ihm die drei Beamten verdeckt und nun wieder die Beamten
den Aufseher. Viel Geistesgegenwart bewies das nicht und K.
nahm sich vor, sich in dieser Hinsicht genauer zu beobachten.
Then K. remembered that he hadnât noticed at all the
departure of the inspector or that of the guards, the inspector
had hidden the three clerks from him and then the clerks in
turn the inspector. That did not testify to great presence of
mind, and K. resolved to be more careful in this regard in
future.
Der ProceĂ, ed. Malcolm Pasley (New York: Schocken, 1990), 28-9
5. âwe enact the world by skillful explorationâ (NoĂ« forthcoming, 18).
âwe enact the world by skillful explorationâ
Alva NoĂ« (2005), âReal presenceâ, Philosophical Topics 33: 244
7. Franz Kafka, Der ProceĂ
Jemand muĂte Josef K. verleumdet haben, denn ohne daĂ er etwas Böses getan
hÀtte, wurde er eines Morgens verhaftet. Die Köchin der Frau Grubach, seiner
Zimmervermieterin, die ihm jeden Tag gegen acht Uhr frĂŒh das FrĂŒhstĂŒck brachte,
kam diesmal nicht. Das war noch niemals geschehn. K. wartete noch ein
Weilchen, sah von seinem Kopfkissen aus die alte Frau die ihm gegenĂŒber wohnte
und die ihn mit einer an ihr ganz ungewöhnlichen Neugierde beobachtete, dann
aber, gleichzeitig befremdet und hungrig, lÀutete er. Sofort klopfte es und ein
Mann, den er in dieser Wohnung noch niemals gesehen hatte trat ein. [âŠ] âWer
sind Sie?â fragte K. und saĂ gleich halb aufrecht im Bett.
Someone must have falsely accused Josef K., because without his having done
anything wrong, one morning he was arrested. His landlady Frau Grubachâs cook,
who brought him his breakfast at about eight oâclock every morning, didnât come
this time. That had never happened before. He waited a little while longer, saw
from his pillow the old woman who lived opposite and who was watching him
with a quite uncharacteristic curiosity, but then, at once disconcerted and hungry,
he rang the bell. Instantly there was a knock at the door, and a man whom he had
never seen in the house before came in. [âŠ] âWho are you?â K. asked, and
immediately half sat up in bed.
Der ProceĂ, ed. Malcolm Pasley (New York: Schocken, 1990), 7
8. Pilot Study, Bristol Grammar School, December 2006
Franz Kafka, The Castle
Chapter 1: Arrival
It was late evening when K. arrived. The village lay deep in snow. There was nothing
to be seen of the castle hill, fog and darkness surrounded it, not even the faintest
glimmer of light hinted at the great castle. For a long time K. stood on the wooden
bridge that leads from the country road to the village and looked up into the apparent
emptiness.
[âŠ]
This is the opening paragraph of Kafkaâs final, unfinished novel, The Castle.
On the separate paper provided, please draw as well as you can the image this
passage conjures up for you.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19. Pilot Study, Bristol Grammar School, December 2006
Please rate on a scale of 1 to 5 your reactions to the text, by placing a number after each
question to indicate your response.
1 = no, definitely not ----------------------------------------------------------- 5 = yes, definitely
1. Is this description realistic?
2. Can you imagine clearly the scene that is described?
3. Is your image of the scene seen from a particular point of view?
4. Is your image of the scene seen from the point of view of the character in the text?
5. Does the scene seem visually and spatially logical to you?
6. Do you identify with the character in the text?
7. Does the passage make a strong impact on you?
8. Is the passage written in a âliteraryâ style?
9. Are you keen to find out what happens next?
10. Compared to other fiction that you read, does the passage give you more of a mental image of
what is described?
11. Compared to other fiction that you read, does the passage emotionally affect you more?
12. Compared to other fiction that you read, does this passage force you to work harder to create
a mental image of what is described?
20. Pilot Study, Bristol Grammar School, December 2006
Which of the following statements best describes how you imagine the scene?
Please tick one.
1. My image of the scene is perfectly clear and as vivid as normal vision.
2. My image of the scene is clear and reasonably vivid.
3. My image of the scene is moderately clear and vivid.
4. My image of the scene is vague and dim.
5. I have no image at all of the scene, I only âknowâ that I am thinking of it.
Please add in the space below any further comments on your impressions of the
text or of the scene it conjures up for you.
21. Kafkaesk/Kafkaesque (adj.)
in der Art der Schilderungen Kafkas; auf rÀtselvolle Weise
bedrohlich
(Duden, 1999)
(of a situation, atmosphere, etc.) impenetrably oppressive,
nightmarish, in a manner characteristic of the fictional world
of Franz Kafka
(Oxford English Reference Dictionary, 2002)
23. MY CURRENT RESEARCH
Investigating the cognitive realisms of
Realism and Modernism
through
attention, agency, emotion, and memory
emily.troscianko@sjc.ox.ac.uk
24. An Empirical Study on Reader Responses
Thank you for agreeing to take part in this study. You will be reading a short story (of around
1,300 words) divided into 34 short segments of up to four sentences. I would like you to
respond orally, in English, to each segment. Please read a segment and then describe any and
all aspects of your reading experience: any thoughts, feelings, interpretations, evaluations,
personal memories, ideas or images that are conjured up for you by what you read. It will be
helpful if you can give some indication of the segment you are currently responding to, for
instance by quoting a few words of it. You need not respond to any given segment if you feel
no inclination to do so. If after reading the whole story you would like to say anything more
general about your experience, please do.
Please use the down-arrow on the keyboard to begin reading, and to move on to the next
segment when you are ready.
After you have read the story there will be three supplementary questions for you to answer.
Please come to ask me now if anything is unclear â or at any subsequent point if there is any
problem.
Otherwise, please now say your name clearly.
And now, please press the down-arrow if you are ready to begin reading.
26. Ein Beduiner, hoch und weiĂ, gieng an mir vorĂŒber, er hatte die Kamele versorgt
und ging zum Schlafplatz.
27. Ich warf mich rĂŒcklings ins Gras, ĂŒber mir das ungeheuere Firmament, ich wollte
schlafen, ich konnte nicht, das Klagegeheul eines Schakals in der Ferne, ich saĂ
wieder aufrecht.
28. âRede nicht so lautâ, sagte ich, âes schlafen Araber in der NĂ€he.â
29. âDu hast recht, Herrâ, sagte er, âwir lassen sie bei ihrem Beruf, auch ist es Zeit
aufzubrechen. Nun gesehen hast du sie. Wunderbare Tiere, nicht wahr? Und wie
sie uns hassen!â
(The End)
(please press the down-arrow again when you have said all you want to)
30. Additional questions
Thank you for reading the story. There are now three questions for you to
answer. Please introduce your answers by saying âquestion oneâ, âquestion twoâ,
and âquestion 3â respectively.
31. Question 1:
Do you remember having read the story before? If so, can you name the story or
say anything else about it?
32. Question 2:
If you have not read the story before, can you make a guess at the author and/or
period or genre of the text?
33. Question 3:
Please say briefly what each of these terms means to you, if anything:
a) surrealist
b) the Absurd
c) Kafkaesque
d) realistic
34. Thatâs it!
Thank you!
Please say if you would like to be sent the results of the experiment once it is
completed.
Please now leave everything as it is, and complete the two questionnaires on
paper.
When you have completed them, please leave them here, and come to let me
know youâve finished.
Thank you again, immensely, for your time and your invaluable help.
35. Sample responses 1
1. Short sentences. Lots of sleeping.
3. Sleeping again, and âSchakaleâ â reminds me of Schakale und Araber.
4. Distances are coming closer into you â itâs claustrophobic.
8. âfauchendâ â reminds me of my cat. Again [âŠ?], the claustrophobia of them
circling around him.
10. Thereâs so much sleeping! â âes schlafen Araberâ
11. Strange with the animals talking to the man â itâs like being in an odd dream. But
itâs so normal to him.
13. Thatâs a horrible image of the dog breathing quickly â it makes your heart beat
faster when you read it. And you get scared by their mentioning taking the blood, and
that will be the end of the fight â you worry about whatâs going to happen.
[âŠ]
21. Horrible bodily images, âKnochenâ, âKlagegeschreiâ.
22. They want purity, well itâs not a very pure way of getting it. Dirt and colours and â
oh, the smells that are evoked â itâs all disgusting.
23. ââŠmit dieser Schere mit Hilfe deiner alles vermögenden HĂ€nde die HĂ€lse durchâ â
thatâs awful. Itâs really revolting. It makes you feel a bit sick to imagine him having to
do that. And itâs ridiculous that heâs supposed to do it with nail scissors that are rusty.
But they think itâs so simple; itâs not simple. Iâm starting to see them as ridiculous, the
animals.
36. 24. Thatâs nice, to have another human in the picture; it was getting a bit odd, a bit too
strange and unnerving. I think I feel a bit relieved that the Arab manâs come and
confirmed that these dogs are a bit crazy â I donât know whatâs true or not, but itâs a
feeling of relief.
[âŠ]
30. Oh, itâs horrible images of blood and the neck cutting through the throat,
âSchlagaderâ und ârasende Pumpeâ and so much blood. ââŠzuckte jede Muskelâ â ah.
Iâve got a lump in my throat â it hurts â I find it really disgusting, what theyâre doing.
31. (sighs deeply) I canât stand this image of this camel being torn apart, lying there in a
pool of blood, it really, itâs really really disturbing me; I canât actually concentrate on
anything else apart from this image.
32. Iâm actually finding it difficult to read the next passage, because I just see this camel,
and the blood, and itâs disgusting, and itâs unfair.
34. Why âwunderbare Tiereâ, why? (sighs) Itâs really tiring; itâs tiring to read that. My
head hurts and I have a lump in my throat, and I donât really understand what Iâve just
read, I just have horrible images of blood and tearing bodies apart and Iâd have to read it
again to really actually take in whatâs just happened.
37. Sample responses 2
[âŠ]
26. Thatâs absurd! Why are these scissors always walking with them? I feel I should
realize something by now which I havenât realized â something, it seems like this
statement is mean to clarify things, like the end of a fairytale. But the Arabic guy
seems to be really friendly [âŠ]
27. So they approach everyone, he says, and tell everyone this big story; but why these
scissors? [âŠ] but heâs very sympathetic â heâs saying, but we like them, theyâre just
clowns, and everythingâs fine; thatâs very relaxing in the end, very calming-down, in a
way; but why is there this camel â is that just changing the topic?
28. Aha, so we have a corpse here, and they want to eat now, and is it that theyâre
going to be more â are they going to comply more now, given that theyâll have some
food? âmit dem Leib den Boden streifendâ â that sounds really depressed and really â
they failed again, and this camel, is that the same one he fed a couple of sentences
ago? Probably not â so this just seems to serve as a device to make the Schakals accept
their defeat.
29. So they indeed admit defeat: they want to get rid of the Arabs, but the corpse is
just far too attractive; and thatâs interesting: that seems to say, you can solve a
tremendous conflict just by finding something that people find more important to share
â if the Arabs today in Israel would forget about their conflict, because they were more
caring about football, then the situation would be solved; and I donât know if thatâs
realistic, but at least it is in this case.
38. [âŠ]
30. So he starts sucking and biting the corpse, and that actually sounds really
disgusting; itâs not the Arabs who seems to be disgusting â heâs like a vampire, he
approaches them straightaway, and he knows what heâs doing: heâs like a
professional killer, almost [âŠ]
31. Thatâs sweet! Thatâs a strange feeling â that sounds really like the conflictâs
over, the children were rebellious, but as soon as you give them some chocolate
they all start complying again, and so it seems theyâre all busy now, and
everyoneâs fine.
[âŠ]
39. Categories and dimensions derived from subjectsâ
responses
1. Anticipation/excitement
2. Association
3. Description
4. Discomfort/fear
5. Frustration/annoyance
6. Identification (empathy)
7. Moral judgement/shock
8. Recognition of inconsistency
9. Recognition of pattern
10. Relief/pleasure
11. Speculation/extrapolation
12. Surprise
13. Sympathy/pity
14. Uncertainty/confusion
Positive-Negative
Cognitive-Emotional