foregrounding


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fore·ground

 (fôr′ground′)
n.
1. The part of a scene or picture that is nearest to and in front of the viewer.
2. See forefront.
tr.v. fore·ground·ed, fore·ground·ing, fore·grounds
To place in the foreground; call attention to: "He is currently at work on a trilogy of pieces ... which foreground the Algerian War" (Eleanor Heartney).
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Noun1.foregrounding - the execution of a program that preempts the use of the processing system
priority processing - data processing in which the operations performed are determined by a system of priorities
References in periodicals archive ?
Voss examines an archive of about sixty pamphlets published between 1590 and 1594 offering "news" from the civil war in France and foregrounding the figure of the Protestant king, Henry of Navarre.
The memorability of a lecture may be explained in part using linguistic foregrounding theory, arguably the cornerstone of stylistic analysis.
Section 2 consists of some background information on course LING 131, before a brief review in section 3 of the basic tenets of foregrounding theory as proposed by Mukarovsky, and developed in the work of, amongst others, Leech (A Linguistic Guide to English Poetry), Van Peer ("The Stylistic Theory of Foregrounding," Stylistics and Psychology), and Douthwaite.
Middleton maintains that Morrison, by foregrounding the spoken language in her novels, stimulates the reader's memory to "see how the survival of cultural consciousness, or nomos, is preserved in a highly literate culture" (29).
Mounted on the 100th anniversary of Olmsted's retirement, as if to test his prediction that it would take his parks a century to mature, "Viewing Olmsted" presents a critical survey - its title foregrounding the act and apparatuses of vision, and its selection of three idiosyncratic photographers yielding deliberately disparate views of the landscape architect's work.
Examining illustrations, marginal annotations, liminary texts, and layout, Armstrong finds that the Poitiers editions tend to respect the labyrinthine aspects of the text, while the Paris editions seem more interested in foregrounding traditional moral themes.
Doyle divides her five authors into three categories based on their novels' "narrative tendencies": "late Romantic" (Toomer and Joyce), in which the novels mock the ideal of "pure" maternity by foregrounding racially and sexually transgressive mother figures and allowing their alienated voices to be heard; "interruptive" (Ellison), in which the narrator attempts repeatedly to excise the mother figure and, in doing so, to disembody himself, producing a gap-ridden narrative structure; and "intercorporeal" (Woolf and Morrison), in which the narration begins with the mother's body but then moves outward through the objects of the material world inhabited by the mother and other characters to construct a non-mother-centered embodiment.
While each of these narrative strategies succeeds in foregrounding the race mother's role in reproducing racial and sexual borders, Doyle indicates that the "intercorporeal" narratives provide the most significant rethinking of the split between the material and the intellectual worlds.
it is ft foregrounding of tentativeness and open-endedness that significantly amounts for liminality in the texts of contemporary black male writers.