Paul C. Gutjahr
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199740420
- eISBN:
- 9780199894703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199740420.003.0021
- Subject:
- Religion, Church History
Chapter twenty-one tells the story of the changing nature of the Biblical Repertory. Upon his return from Europe, Hodge decides to rename and change the name of this periodical, attempting to make it ...
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Chapter twenty-one tells the story of the changing nature of the Biblical Repertory. Upon his return from Europe, Hodge decides to rename and change the name of this periodical, attempting to make it appeal to a wider audience. Popularizing the journal failed, but the Repertory did become a major theological voice within American Presbyterian circles.Less
Chapter twenty-one tells the story of the changing nature of the Biblical Repertory. Upon his return from Europe, Hodge decides to rename and change the name of this periodical, attempting to make it appeal to a wider audience. Popularizing the journal failed, but the Repertory did become a major theological voice within American Presbyterian circles.
Francesca Aran Murphy
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199219285
- eISBN:
- 9780191711664
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199219285.003.0003
- Subject:
- Religion, Theology
This chapter is about arguments for the existence of God. It shows how grammatical Thomists like Herbert McCabe and Denys Turner make proving that God exists into a matter of proving that it is ...
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This chapter is about arguments for the existence of God. It shows how grammatical Thomists like Herbert McCabe and Denys Turner make proving that God exists into a matter of proving that it is rational to question whether God exists. Their leading question, ‘why is there something rather than nothing?’ assumes rather than proves that the world is contingent: it takes us around the ‘story’ of God's existence from the inside of faith, and does not refer to any specific creative action of God. Circulating thus within human psychological acts, the grammatical Thomist argument is focussed on the act of questioning rather as a movie holds our attention by repeatedly posing new questions, causing us to suspend disbelief but not to credit it with real agency. The way in which story Barthians use the ‘ontological argument’ makes the Biblical stories about God into an evidential basis of God's existence. Robert Jenson's ‘story Thomism’ takes Thomistic and Barthian narrative theology to a logical conclusion by making ‘God’ a character within a wider story, whose plot requires ‘contingent’ and ‘Creator’ characters.Less
This chapter is about arguments for the existence of God. It shows how grammatical Thomists like Herbert McCabe and Denys Turner make proving that God exists into a matter of proving that it is rational to question whether God exists. Their leading question, ‘why is there something rather than nothing?’ assumes rather than proves that the world is contingent: it takes us around the ‘story’ of God's existence from the inside of faith, and does not refer to any specific creative action of God. Circulating thus within human psychological acts, the grammatical Thomist argument is focussed on the act of questioning rather as a movie holds our attention by repeatedly posing new questions, causing us to suspend disbelief but not to credit it with real agency. The way in which story Barthians use the ‘ontological argument’ makes the Biblical stories about God into an evidential basis of God's existence. Robert Jenson's ‘story Thomism’ takes Thomistic and Barthian narrative theology to a logical conclusion by making ‘God’ a character within a wider story, whose plot requires ‘contingent’ and ‘Creator’ characters.
Rolf Niedermeier
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780198566076
- eISBN:
- 9780191713910
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198566076.003.0007
- Subject:
- Mathematics, Combinatorics / Graph Theory / Discrete Mathematics
This chapter presents one of the most basic and most important techniques for developing fixed-parameter algorithms: data reduction and problem kernelization. It starts with some basic definitions ...
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This chapter presents one of the most basic and most important techniques for developing fixed-parameter algorithms: data reduction and problem kernelization. It starts with some basic definitions and facts, in particular defining the notion of reduction to a problem kernel (kernelization for short). After having presented some simple examples, the chapter continues with several specific kernelization results, including problem kernels for problems such as Maximum Satisfiability, Cluster Editing, Vertex Cover, 3-Hitting Set, and Dominating Set in Planar Graphs. The chapter concludes with some initial results on lower bounds for problem kernel sizes and a general summary.Less
This chapter presents one of the most basic and most important techniques for developing fixed-parameter algorithms: data reduction and problem kernelization. It starts with some basic definitions and facts, in particular defining the notion of reduction to a problem kernel (kernelization for short). After having presented some simple examples, the chapter continues with several specific kernelization results, including problem kernels for problems such as Maximum Satisfiability, Cluster Editing, Vertex Cover, 3-Hitting Set, and Dominating Set in Planar Graphs. The chapter concludes with some initial results on lower bounds for problem kernel sizes and a general summary.
Rolf Niedermeier
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780198566076
- eISBN:
- 9780191713910
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198566076.003.0008
- Subject:
- Mathematics, Combinatorics / Graph Theory / Discrete Mathematics
This chapter presents the second very basic design technique for fixed-parameter algorithms: depth-bounded search trees. It starts with simple observations and some basic definitions and facts, ...
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This chapter presents the second very basic design technique for fixed-parameter algorithms: depth-bounded search trees. It starts with simple observations and some basic definitions and facts, including recurrences and branching vectors as a tool for analysing search tree sizes. It continues giving several specific search tree results, including outlines of problems such as Cluster Editing, Vertex Cover, Hitting Set, Closest String, and Dominating Set in Planar Graphs. Moreover, it discusses how to interleave search tree and kernelization procedures to further speed up computation, and it proposes a way to generate automatically search trees (also analysing their sizes) using Cluster Deletion as an illustrative example.Less
This chapter presents the second very basic design technique for fixed-parameter algorithms: depth-bounded search trees. It starts with simple observations and some basic definitions and facts, including recurrences and branching vectors as a tool for analysing search tree sizes. It continues giving several specific search tree results, including outlines of problems such as Cluster Editing, Vertex Cover, Hitting Set, Closest String, and Dominating Set in Planar Graphs. Moreover, it discusses how to interleave search tree and kernelization procedures to further speed up computation, and it proposes a way to generate automatically search trees (also analysing their sizes) using Cluster Deletion as an illustrative example.
John Bodel
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265062
- eISBN:
- 9780191754173
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265062.003.0013
- Subject:
- Classical Studies, European History: BCE to 500CE
Since the appearance in 1975 of John Jory's Key Word in Context index to volume VI of CIL, computer applications and databases have had a major influence on epigraphic studies. While an initial ...
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Since the appearance in 1975 of John Jory's Key Word in Context index to volume VI of CIL, computer applications and databases have had a major influence on epigraphic studies. While an initial optimism diminished somewhat once the scale of the task in their creation became apparent, a great deal has been achieved under three headings: three major databases are now established within the federal organisation Electronic Archive of Greek and Roman Epigraphy, the Heidelberg Datenbank (post CIL texts), for non-Christian Rome and for Christian Rome; imaging using x-ray fluorescence, text mapping and computer-aided reconstructions of incomplete texts; and the editing of texts by EpiDoc, with Extensible Markup Language, Text Encoding Initiative and Unicode, successfully applied to the Vindolanda Writing Tablets and the Aphrodisias Inscriptions.Less
Since the appearance in 1975 of John Jory's Key Word in Context index to volume VI of CIL, computer applications and databases have had a major influence on epigraphic studies. While an initial optimism diminished somewhat once the scale of the task in their creation became apparent, a great deal has been achieved under three headings: three major databases are now established within the federal organisation Electronic Archive of Greek and Roman Epigraphy, the Heidelberg Datenbank (post CIL texts), for non-Christian Rome and for Christian Rome; imaging using x-ray fluorescence, text mapping and computer-aided reconstructions of incomplete texts; and the editing of texts by EpiDoc, with Extensible Markup Language, Text Encoding Initiative and Unicode, successfully applied to the Vindolanda Writing Tablets and the Aphrodisias Inscriptions.
Nicholas Cook
- Published in print:
- 2007
- Published Online:
- September 2008
- ISBN:
- 9780195170566
- eISBN:
- 9780199871216
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195170566.003.0003
- Subject:
- Music, Ethnomusicology, World Music
Music editing formed a key part of Schenker's programme to restore the values and practices of classical musical culture. Taking as its starting point Schenker's treatise on ornamentation (1903), ...
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Music editing formed a key part of Schenker's programme to restore the values and practices of classical musical culture. Taking as its starting point Schenker's treatise on ornamentation (1903), this chapter pursues an extended comparison between his work and the contemporary Viennese debate about ornamentation in the visual arts and particularly architecture: the aim is to set Schenker's thought in its broad cultural context and to locate the tension between its modernist and conservative dimensions. A similar tension can be found in the architectural and critical practice of Adolf Loos, while key aspects of Schenker's thought resonate with the writing of the art historian Aloïs Riegl.Less
Music editing formed a key part of Schenker's programme to restore the values and practices of classical musical culture. Taking as its starting point Schenker's treatise on ornamentation (1903), this chapter pursues an extended comparison between his work and the contemporary Viennese debate about ornamentation in the visual arts and particularly architecture: the aim is to set Schenker's thought in its broad cultural context and to locate the tension between its modernist and conservative dimensions. A similar tension can be found in the architectural and critical practice of Adolf Loos, while key aspects of Schenker's thought resonate with the writing of the art historian Aloïs Riegl.
Kenneth Hamilton
- Published in print:
- 2007
- Published Online:
- May 2008
- ISBN:
- 9780195178265
- eISBN:
- 9780199870035
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195178265.003.0006
- Subject:
- Music, Theory, Analysis, Composition
This chapter analyses the evolving attitudes regarding strict adherence to the musical score or otherwise, aided by a discussion of the development of editing, of Urtext editions, and of the piano ...
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This chapter analyses the evolving attitudes regarding strict adherence to the musical score or otherwise, aided by a discussion of the development of editing, of Urtext editions, and of the piano from the late 18th- to the 20th-century. It is argued that musicians today often treat a musical score with an unhistorical and pedantic reverence unlikely to have been the norm during the time most standard-repertoire scores were themselves written.Less
This chapter analyses the evolving attitudes regarding strict adherence to the musical score or otherwise, aided by a discussion of the development of editing, of Urtext editions, and of the piano from the late 18th- to the 20th-century. It is argued that musicians today often treat a musical score with an unhistorical and pedantic reverence unlikely to have been the norm during the time most standard-repertoire scores were themselves written.
Richard Barrios
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195377347
- eISBN:
- 9780199864577
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377347.003.0015
- Subject:
- Music, Popular
Numerous factors accounted for the precipitous decline in musicals starting in mid-1930. The stock market crash and the Pathé studio fire in 1929 were dire omens, and the overabundance of backstage ...
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Numerous factors accounted for the precipitous decline in musicals starting in mid-1930. The stock market crash and the Pathé studio fire in 1929 were dire omens, and the overabundance of backstage films and unsuitability of filmed revues and operettas played a prominent role. Songs were cut from a number of (former) musicals such as The Life of the Party, while some major projects were aborted shortly before shooting. Most calamitous was MGM's The March of Time, a lavish and shapeless revue that was tinkered with incessantly and finally abandoned, a symbol of the hubris and miscalculation of the era.Less
Numerous factors accounted for the precipitous decline in musicals starting in mid-1930. The stock market crash and the Pathé studio fire in 1929 were dire omens, and the overabundance of backstage films and unsuitability of filmed revues and operettas played a prominent role. Songs were cut from a number of (former) musicals such as The Life of the Party, while some major projects were aborted shortly before shooting. Most calamitous was MGM's The March of Time, a lavish and shapeless revue that was tinkered with incessantly and finally abandoned, a symbol of the hubris and miscalculation of the era.
Richard Barrios
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195377347
- eISBN:
- 9780199864577
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377347.003.0006
- Subject:
- Music, Popular
A rundown of the individual elements and artists that would join together to form the musical film. To create the songs, studios bought music publishers and hired songwriters to create lower-common ...
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A rundown of the individual elements and artists that would join together to form the musical film. To create the songs, studios bought music publishers and hired songwriters to create lower-common denominator versions of Broadway and pop hits. Music arrangements and sound recording slowly improved, as did photography and editing. Two-color Technicolor was hugely popular, then became a liability through its limited palette and loss of quality control. The personnel drew from both stage veterans and film people: directors such as Lubitsch and Mamoulian, stage and opera stars like Jolson and Lawrence Tibbett, and silent-film performers with acceptable voices, such as Bebe Daniels and Gloria Swanson.Less
A rundown of the individual elements and artists that would join together to form the musical film. To create the songs, studios bought music publishers and hired songwriters to create lower-common denominator versions of Broadway and pop hits. Music arrangements and sound recording slowly improved, as did photography and editing. Two-color Technicolor was hugely popular, then became a liability through its limited palette and loss of quality control. The personnel drew from both stage veterans and film people: directors such as Lubitsch and Mamoulian, stage and opera stars like Jolson and Lawrence Tibbett, and silent-film performers with acceptable voices, such as Bebe Daniels and Gloria Swanson.
Daniel Apollon and Claire Belisle (eds)
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038402
- eISBN:
- 9780252096280
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038402.001.0001
- Subject:
- Literature, Criticism/Theory
This book examines how transitioning from print to a digital milieu deeply affects how scholars deal with the work of editing critical texts. On one hand, forces like changing technology and evolving ...
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This book examines how transitioning from print to a digital milieu deeply affects how scholars deal with the work of editing critical texts. On one hand, forces like changing technology and evolving reader expectations lead to the development of specific editorial products, while on the other hand, they threaten traditional forms of knowledge and methods of textual scholarship. Using the experiences of philologists, text critics, text encoders, scientific editors, and media analysts, the book ranges from philology in ancient Alexandria to the vision of user-supported online critical editing, from peer-directed texts distributed to a few to community-edited products shaped by the many. It discusses the production and accessibility of documents, the emergence of tools used in scholarly work, new editing regimes, and how the readers' expectations evolve as they navigate digital texts. The goal: exploring questions such as, what kind of text is produced? Why is it produced in this particular way? The book provides digital editors, researchers, readers, and technological actors with insights for addressing disruptions that arise from the clash of traditional and digital cultures, while also offering a practical roadmap for processing traditional texts and collections with today's state-of-the-art editing and research techniques thus addressing readers' new emerging reading habits.Less
This book examines how transitioning from print to a digital milieu deeply affects how scholars deal with the work of editing critical texts. On one hand, forces like changing technology and evolving reader expectations lead to the development of specific editorial products, while on the other hand, they threaten traditional forms of knowledge and methods of textual scholarship. Using the experiences of philologists, text critics, text encoders, scientific editors, and media analysts, the book ranges from philology in ancient Alexandria to the vision of user-supported online critical editing, from peer-directed texts distributed to a few to community-edited products shaped by the many. It discusses the production and accessibility of documents, the emergence of tools used in scholarly work, new editing regimes, and how the readers' expectations evolve as they navigate digital texts. The goal: exploring questions such as, what kind of text is produced? Why is it produced in this particular way? The book provides digital editors, researchers, readers, and technological actors with insights for addressing disruptions that arise from the clash of traditional and digital cultures, while also offering a practical roadmap for processing traditional texts and collections with today's state-of-the-art editing and research techniques thus addressing readers' new emerging reading habits.
