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はてなキーワード: disgustとは
https://www.repository.cam.ac.uk/items/528f479f-fd3c-43fd-9463-7c2923560573
ある人の嗅覚倫理に関する論文だけど、文献だけで匂いが影響を与えると書いてるから女性に学位を与えるのは無駄だと言われる。
論文書くなら、裁判官にセンサーを取り付けるなり、何人かの被験者にルールを守った上で反応を調べるとかやりようはあったはず。
アタリマエのことを調べるというのは裁判での証拠提出のときに役立つからもっと調べてほしい。
けど、統計学的手法を駆使するなどして、裁判官が9割型認める内容でないと価値がない。
contemporary relevance. I suggest that smell very often invokes identity in a way that signifies an individual’s worth and status in an inarguable manner that short-circuits conscious reflection. This can be accounted for by acknowledging olfaction’s strongly affective nature, which produces such strong bodily sensations and emotions that reflexivity is bypassed in favour of a behavioural or cognitive solution that assuages the intense feeling most immediately. Olfactory disgust, therefore, tends to result in rejection, while harmful forms of olfactory desire may result in sublimation or subjugation. My thesis is particularly attentive to tensions and ambivalences that complicate the typically bifurcated affective spectrum of olfactory experiences, drawing attention to (dis)pleasurable olfactory relations that have socio-political utility. I argue that literary fiction is not only an arena in which olfactory logics can be instantiated, but also a laboratory in which possibilities for new kinds of relations and connections can be fostered and tested. Chapter One explores how smell can be used to indicate class antipathies, partly as they relate to homelessness, beginning with George Orwell’s seminal non-fiction text, The Road to Wigan Pier (1936), before considering Iain Sinclair’s The Last London (2017) and Bong Joon Ho’s Parasite (2019). In Chapter Two I explore the fantastical, idealistic, and utopic thinking that surrounds olfaction, which presents smell as fundamentally non-human, by addressing J. M. Coetzee’s Disgrace (1999), Virginia Woolf’s Flush (1933), Rachel Yoder’s Nightbitch (2021), and Laura Jean McKay’s The Animals in That Country (2020). Chapter Three focuses on the intersectional olfactory dimensions of ‘misogynoir’—the coextensive anti-Black racism and misogyny that Black women experience—and considers Toni Morrison’s Tar Baby (1981), Bernice McFadden’s Sugar (2000) and Raven Leilani’s Luster (2020). In Chapter Four, I conceptualise an oppressive olfactory logic, which is used against women and girls in order to legitimise their harassment or abuse, drawing primarily on Vladimir Nabokov’s Lolita (1955), but also Patrick Süskind’s Perfume (1985). Chapter Five discusses two forms of olfactory desire—perversion and queerness—which have separate moral valences. I address J. M. Coetzee’s The Master of Petersburg (1994), Ann Quin’s Berg (1964), and Sam Byers’ Come Join Our Disease (2020), and argue for fiction’s role in reorienting readers’ habitual relations to olfaction.
2024-06-25
米CBS
Japan "sushi terrorism" prank videos on social media spark outrage, and sympathy, in Japan
https://www.cbsnews.com/news/japan-sushi-terrorism-prank-videos-social-media-outrage-and-sympathy/
米TIME
‘Sushi Terrorism’ is the Viral Video Trend Spreading Food Safety Horror in Japan
https://time.com/6252073/japan-sushi-viral-video/
Licking things at sushi train restaurants, the latest viral Japanese trend
https://www.washingtonpost.com/world/2023/02/02/japan-sushi-tero-licking-video-prank/
Wave of ‘sushi terrorism’ grips Japan’s restaurant world
https://www.theguardian.com/world/2023/feb/03/wave-of-sushi-terrorism-grips-japans-restaurant-world
Watch: 'Sushi terrorists' lick restaurant diners' food for internet fame
英BBC
Japanese enraged by sushi diner food prank videos
https://www.bbc.com/news/world-asia-64508029
Viral ‘sushi terrorism’ social media trend sparks outrage and disgust among diners
https://www.independent.co.uk/life-style/sushi-terrorism-conveyor-belt-japan-pranks-b2275486.html
紙辞書じゃなくて電子辞書や英辞郎ってもっと進化してもいいのにと思う
英和辞書で調べるとabc順に近い単語が並ぶけど、そんな感じで似た意味の単語が並ぶ辞書が欲しい
類義語辞典では、persuade 説得する、言い聞かす、説き伏せる、それぞれの意味の類義語がヒットするけど、それをもっと発達させて、似た意味の単語が網目状に広がってヒットするの
軽蔑する scorn を引くと、嫌悪するdetest もヒットする。そんな感じ。紙の類義語辞典も、結局はあいうえお順だったりabc順だけど意味やイメージの繋がりでヒットする辞書。
detestで思い出すのは嫌悪disgust、disgust で思い出すのは嫌になるdisplease 、と個人的に頭の中で繋がっている単語同士ってあるじゃん？いまのビックデータとかよくわかんないやつ使えば、みんなの頭の中で繋がってる単語の繋がりが分かると思うんだよ。
あと、自分はconscious とconscienceを混同しがちなんだけど、みんなが間違え方なそう言う単語は注釈で出たりする。
類義語辞典って電子辞書のデータとしてもあんまり種類ないし、アプリもないし、和英類義語辞典となると、古いのばかりしかないけど、最近の人は使わないの？論文書く分には英辞郎で十分って主義なのか？
Woho. Anglers are allowed two salmon per day with a minimum size for Chinook at 24 inches or larger. Salmon seasons from May 2016 to April 30, 2017 are currently being developed.
Last weekend Prowler Charters here in Bandon took clients out bottomfishing. Fishing for rockfish was excellent, but very few ling cod were taken. Strong ocean currents made for a fast drift which makes the conditions tough. Wayne Butler, the captain of the Miss Chief, told me that the depth at the Bandon bar was much deeper than last year. This winter's large rain event naturally flushed out the entrance, which makes bar crossings much safer. Anglers surf fishing out at Bullards Beach State Park reported good pinkfin surf perch action last week. Live sand shrimp or Berkley Gulp sand worms in camo colors have been working best. Perch fishing has been good up on the beaches in Coos Bay. Anglers are also catching pinkfin and striped perch along the Coos Bay south jetty. Boaters are catching rockfish inside the bay near the No. 7 buoy and the train trestle bridge
But while pundits have occasionally contorted themselves into logical pretzels to explain away Ford’s casual racism and misogyny — “He was just drunk!” “He always fights for the little guy!” — none has ever been able to explain away his deliberate and calculated anti-LGBT statements and actions.
Ford never hid anti-LGBT animus. From his earliest days on council, when he opposed funding small grants to diversity and AIDS-prevention campaigns, he made it explicit that his opposition stemmed from disgust with LGBT people, not from a desire to protect the public purse.Superman grany przez Cavilla to ten sam poziom, co w Człowieku ze Stali - moim zdaniem Cavill bardzo się stara, żeby jak najciekawiej zagrać Supermana, ale to i tak jedna z najnudniejszych postaci w całym komiksowym uniwersum, więc niektóre wysiłki pozostają niezauważone. Moim zdaniem to wina postaci i fani muszą się do tego przyzwyczaić.
Trzecią postacią, która ma szanse zaprezentować nam się trochę dłużej na ekranie jest oczywiście “ten zły”, czyli Lex Luthor, który grany przez Eisenberga kojarzył się raczej z o wiele bardziej szalonym Zuckerbergiem z The Social Network, niż komiksowym czarnym charakterem. Być może się czepiam, ale gdyby Luthor się w tym filmie nie przedstawił, nie miałbym pojęcia kim właściwie jest ten rudy gość, który z jakiegoś powodu postanowił być bardzo złośliwy.
he astonishments of the quasi-Biblical clashes and catastrophes in the director Zack Snyder’s “Man of Steel” left me impatient to see his “Batman v Superman: Dawn of Justice.” The earlier film conveyed an awed and even terrified sense of the colossal, a delight in the cinematic ability to realize wrenching destruction and, at the same time, to shiver at the very imagination of it. Snyder turned the superhero universe around on itself, constructing backstories and out-there stories of an apocalyptic force; it was silly but potent, shallow but thrilling. Perhaps Snyder’s new film is the victim of great (or any) expectations, but “Batman v Superman: Dawn of Justice” remains literally Earth-bound, and this fair planet is where Snyder bumps up against the limits of his vision.
Where “Man of Steel” opens big, with an intergalactic origin story that has the heightened tone of pseudo-scripture, the first big set piece in “Batman v Superman” is a catastrophe from home, a virtual replay of the 9/11 attack on the World Trade Center, with Bruce Wayne (Ben Affleck) looking on with horror and hatred as the tower of Wayne Industries collapses (vertically) into a blinding gust of light-gray powder—as a result of the battle waged by Superman (Henry Cavill) against the Kryptonian usurper General Zod.
But while pundits have occasionally contorted themselves into logical pretzels to explain away Ford’s casual racism and misogyny — “He was just drunk!” “He always fights for the little guy!” — none has ever been able to explain away his deliberate and calculated anti-LGBT statements and actions.
Ford never hid anti-LGBT animus. From his earliest days on council, when he opposed funding small grants to diversity and AIDS-prevention campaigns, he made it explicit that his opposition stemmed from disgust with LGBT people, not from a desire to protect the public purse.Superman grany przez Cavilla to ten sam poziom, co w Człowieku ze Stali - moim zdaniem Cavill bardzo się stara, żeby jak najciekawiej zagrać Supermana, ale to i tak jedna z najnudniejszych postaci w całym komiksowym uniwersum, więc niektóre wysiłki pozostają niezauważone. Moim zdaniem to wina postaci i fani muszą się do tego przyzwyczaić.
Trzecią postacią, która ma szanse zaprezentować nam się trochę dłużej na ekranie jest oczywiście “ten zły”, czyli Lex Luthor, który grany przez Eisenberga kojarzył się raczej z o wiele bardziej szalonym Zuckerbergiem z The Social Network, niż komiksowym czarnym charakterem. Być może się czepiam, ale gdyby Luthor się w tym filmie nie przedstawił, nie miałbym pojęcia kim właściwie jest ten rudy gość, który z jakiegoś powodu postanowił być bardzo złośliwy.
he astonishments of the quasi-Biblical clashes and catastrophes in the director Zack Snyder’s “Man of Steel” left me impatient to see his “Batman v Superman: Dawn of Justice.” The earlier film conveyed an awed and even terrified sense of the colossal, a delight in the cinematic ability to realize wrenching destruction and, at the same time, to shiver at the very imagination of it. Snyder turned the superhero universe around on itself, constructing backstories and out-there stories of an apocalyptic force; it was silly but potent, shallow but thrilling. Perhaps Snyder’s new film is the victim of great (or any) expectations, but “Batman v Superman: Dawn of Justice” remains literally Earth-bound, and this fair planet is where Snyder bumps up against the limits of his vision.
Where “Man of Steel” opens big, with an intergalactic origin story that has the heightened tone of pseudo-scripture, the first big set piece in “Batman v Superman” is a catastrophe from home, a virtual replay of the 9/11 attack on the World Trade Center, with Bruce Wayne (Ben Affleck) looking on with horror and hatred as the tower of Wayne Industries collapses (vertically) into a blinding gust of light-gray powder—as a result of the battle waged by Superman (Henry Cavill) against the Kryptonian usurper General Zod.
That start gives off a strange whiff of competition with—or emulation of—Marvel’s irrepressibly successful “Avengers” films, the first of which, in particular, is an unabashed post-9/11 allegory. (The connection is surprisingly direct. One of the climactic moments of “Batman v Superman”—a leap from the ground that vaults through the atmosphere and into outer space—is a virtual duplication, both dramatically and visually, of a similar climactic feat in “The Avengers.”) In Snyder’s new film, Superman appears, from the start, as a hopeless naïf, a battler for good who doesn’t admit to his own capacity to do incidental evil, a blinkered warrior who deploys his nearly infinite powers according to his unquestioned moral intuition rather than to the prudent calculation of results.
O Wonder Woman, która zgodnie z obietnicami zadebiutowała w tym filmie mogę w sumie napisać tylko tyle, że… do tej roli wybrano świetną aktorkę. Przynajmniej z wyglądu, bo po tych strzępkach dialogów, które pojawiają sie na ekranie z jej udziałem ciężko się zorientować kim właściwie jest ta pani, która w pewnym momencie pojawia się z tarczą i mieczem u boku Supermana i Batmana.
http://www.chatakatka.sk/mega-hqtvdownload-batman-v-superman-dawn-of-justice-full-movie-hdq/
http://www.chatakatka.sk/mega-hqtvdownload-batman-v-superman-dawn-of-justice-full-movie-hdq/
