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INSCRIPTION, civil law. An engagement which a person, who makes a solemn accusation of a crime against another, enters into, that he will suffer the same punishment, if he has accused, the other falsely, which would have been inflicted upon him had he been guilty. Code, 9, 1, 10; Id. 9, 2, 16 and 17.

INSCRIPTION, evidence. Something written or engraved.
     2. Inscriptions upon tombstones and other proper places, as rings, and the like, are held to be evidence of pedigree. Bull. N. P. 233 Cowp. 591; 10 East, R. 120 13 Ves. 145 Vin. Ab. Ev. T. b. 87: 3 Stark. Ev. 116.

A Law Dictionary, Adapted to the Constitution and Laws of the United States. By John Bouvier. Published 1856.
References in periodicals archive ?
(14) Understood as vibrant in this sense, snow becomes visible as possessed of self-organizational, transactional, and inscriptive agency because of its entanglement with digital infrastructure rather than in spite of it.
Foucault is right, then, to highlight the dissipation of this form of direct sovereign power as a type of governmentality, as the contemporary logic of power is one less of being ruled by an authority figure and more 'self-disciplining' oneself to an interlocking array of socially inscriptive discourses and practices.
Such an assumption on Clarke's part demonstrates, once again, how women's bodies were both a site of intervention and also an inscriptive surface "on which laws, morality, values, [and] power [were] inscribed" (Grosz 1995, 33).
The short-lived genre of the 1920s Rebus-Film, Paul Leni's animated cross-word puzzles that opened and closed some of the early matinee sessions in Berlin, invites comparisons with Nabokov's lifelong fascination with ciphers, secret codes, esoteric inscriptive combinations involving hidden patterns.
That inscriptive, or reinscriptive, dimension--something Shakespeare evokes repeatedly in his threshold scenes--arises because the social field isn't a mutual space, a world, or even a collectivity, it's an infinitude in relation to which any claim to descriptive exteriority becomes the measure of a renewed absorption.
Here and there, humans are selected, grouped, and prejudged according to hidden/de-individualised 'scientific' schemes of bodily normality/a-normality grounded on race, gender, (dis)ability and class normative presuppositions and inscriptive categories (or infrastructural normativities).
This leads into an analysis of works of graphic fiction (specifically those of Ben Katchor, Luc and Fracois Schuite, Leo Leonhard and Otto Jagersberg), which Sussman reads as a weather map of inscriptive possibilities from one historical moment or epistemological configuration to another--as he explains, in Leonhard and Jagersberg's Russel in Komikland, for example, Hieronymus Bosch's apocalyptic landscapes are combined with the gaudy colours of contemporary advertising (Sussman 2011: 79).
One particularly instructive form of inscriptive practice is the movement notation designed by Rudolf von Laban (1971): whereas other forms of notation attempt to show what a dancer looks like to an external audience, Laban sought to represent the forces internal to the performers themselves, designing a set of instructions on how to achieve a form rather than simply describe what it looks like.
While sensory ethnography no doubt privileges the sensitivity (or receptiveness) of human bodies, Pink's discussion of the relationality of bodies and contexts clears the way for an ethnography of "things" (Bennett, 2010) alert to the inscriptive force of objects, spaces, and "actants" in the organization of social life.
Central to this investigation is the interplay of the signature and the inscriptive practices that help to call forth and call away the subject that the signature endeavors to name.
The inscriptive or commemorative value of mourning as the belated experience of trauma within the Canadian context is the centre of the article by Elodie Rousselot, "Turmoil, Trauma, and Mourning in Jane Urquhart's The Whirlpool" Rousselot revises the use of postmodern techniques in the novel in order to debunk the biased presentation of traumatic events in Victorian literature.
Piper is most interested in works at the moment their bibliographic history dovetails with content that foregrounds media, communication, and inscriptive exchange--as in the "little pocket book" of Jeanie Deans in The Heart of Midlothian or the etched tombstones attended to by Old Mortality.