Confidence intervals and significance tests for a single trial

Confidence intervals are developed for the location parameter of a continuous, symmetric, unimodal distribution in the casev where only a single observation from the distribution is available. These intervals are similar to those given by Abbott and Rosenblatt (1963), but shorter. The result is extended to include distributions which can be standardized to have unit scale. The procedure is exemplified for the normal distribution and the power of one- and two-sided significance tests are computed under normality.     

Intertextuality at Work: Prince Andrei Kurbskii in Contemporary Russian Literature

This paper notes how each character in Olesha’s novel Envy is tied to certain colours and how these associations mirror the oppositions between colours laid out in Vasilii Kandinskii’s theory of colour. First the paper outlines the genesis of Kandinskii’s ideas on colour and describes his theory as spelled out in On the Spiritual in Art and Point and Line to Plane. This is followed by a discussion of how Olesha could have come into contact with Kandinskii’s works. Finally, I turn to the use of colour in Envy.     

Shadowing history: National narratives and the persistence of the everyday

The issue this paper wishes to address is how history, as encoded in historiography of history-writing, is actually based upon its capacity to conceal, disguise and indeed suppress the everyday. This is especially true when you consider that most history is really driven by the nation state and that far from envisaging a history free or rescued from the nation, most history-writing ends up reinforcing it. In other words, history’s primary vocation has been to displace the constant danger posed by the surplus of everyday life, to overcome its apparent ‘trivia’, ‘banalities’ and untidiness in order to find an encompassing register that will fix meaning. With Hegel, narrative was given the role of supplying the maximal unity by which to grasp the meaning of history. What immediately got privileged was, of course, the nation state in the making of world historical events or and ultimately class, subjects who can claim world historical agency. By the same measure, the surplus or messy residues of modern life, especially its immensely staggering complexities, its endless incompletions and repetitions – all irreducible – are repressed or in some instances the microcosmic is sometimes mobilized to reinforce macrocosmic meaning. (This has frequently been called history from below and what Germans have called Alltagsgeschichte.) What I would like to do is explore the category of everydayness, ushered in with the masses and the appearance of the subaltern, as a minimal unity that provides its own principle of historical temporality that easily challenges the practice of history-writing as we know it.     

莎士比亚作品主题的多样性

在莎士比亚的戏剧中,无论是悲剧、喜剧还是历史剧都体现出其主题的多样性。这种多样性来自于莎士比亚很强的处理主题的自我意识,他采用一般到特殊的模式,有意识地避免对择选素材的设限归类。从公众话题转向个人事件,创造喜剧的美学价值。作品具有重复的多样性。主人公看似重复,实则不同,如一系列女性形象,国王形象,弄臣形象都很典型。传统意象的继承运用加上单词复指与修辞学编码的运用,以此来引出具有根本意义的主题。