Hartry Field
- Published in print:
- 2001
- Published Online:
- November 2003
- ISBN:
- 9780199242894
- eISBN:
- 9780191597381
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199242895.001.0001
- Subject:
- Philosophy, General
This is a collection of papers, written over many years, with substantial postscripts tying them together and giving an updated perspective on them. The first five are on the notions of truth and ...
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This is a collection of papers, written over many years, with substantial postscripts tying them together and giving an updated perspective on them. The first five are on the notions of truth and truth‐conditions, and their role in a theory of meaning and of the content of our mental states. The next five deal with what I call ‘factually defective discourse’—discourse that gives rise to issues about which, it is tempting to say that, there is no fact of the matter as to the right answer; one particular kind of factually defective discourse is called ‘indeterminacy’, and it gets the bulk of the attention. The final bunch of papers deal with issues about objectivity, closely related to issues about factual defectiveness; two deal with the question of whether the axioms of mathematics are as objective as is often assumed, and one deals with the question of whether our epistemological methods are as objective as they are usually assumed to be.Less
This is a collection of papers, written over many years, with substantial postscripts tying them together and giving an updated perspective on them. The first five are on the notions of truth and truth‐conditions, and their role in a theory of meaning and of the content of our mental states. The next five deal with what I call ‘factually defective discourse’—discourse that gives rise to issues about which, it is tempting to say that, there is no fact of the matter as to the right answer; one particular kind of factually defective discourse is called ‘indeterminacy’, and it gets the bulk of the attention. The final bunch of papers deal with issues about objectivity, closely related to issues about factual defectiveness; two deal with the question of whether the axioms of mathematics are as objective as is often assumed, and one deals with the question of whether our epistemological methods are as objective as they are usually assumed to be.
Charles S. Chihara
- Published in print:
- 1991
- Published Online:
- November 2003
- ISBN:
- 9780198239758
- eISBN:
- 9780191597190
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0198239750.001.0001
- Subject:
- Philosophy, Logic/Philosophy of Mathematics
A continuation of the study of mathematical existence begun in Ontology and the Vicious‐Circle Principle (published in 1973); in the present work, Quine's indispensability argument is rebutted by the ...
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A continuation of the study of mathematical existence begun in Ontology and the Vicious‐Circle Principle (published in 1973); in the present work, Quine's indispensability argument is rebutted by the development of a new nominalistic version of mathematics (the Constructibility Theory) that is specified as an axiomatized theory formalized in a many‐sorted first‐order language. What is new in the present work is its abandonment of the predicative restrictions of the earlier work and its much greater attention to the applications of mathematics in science and everyday life. The book also contains detailed discussions of rival views (Mathematical Structuralism, Field's Instrumentalism, Burgess's Moderate Realism, Maddy's Set Theoretical Realism, and Kitcher's Ideal Agent account of mathematics), in which many comparisons with the Constructibility Theory are made.Less
A continuation of the study of mathematical existence begun in Ontology and the Vicious‐Circle Principle (published in 1973); in the present work, Quine's indispensability argument is rebutted by the development of a new nominalistic version of mathematics (the Constructibility Theory) that is specified as an axiomatized theory formalized in a many‐sorted first‐order language. What is new in the present work is its abandonment of the predicative restrictions of the earlier work and its much greater attention to the applications of mathematics in science and everyday life. The book also contains detailed discussions of rival views (Mathematical Structuralism, Field's Instrumentalism, Burgess's Moderate Realism, Maddy's Set Theoretical Realism, and Kitcher's Ideal Agent account of mathematics), in which many comparisons with the Constructibility Theory are made.
Manuel Iturralde
- Published in print:
- 2021
- Published Online:
- May 2021
- ISBN:
- 9780197266922
- eISBN:
- 9780191938184
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266922.003.0007
- Subject:
- Law
In both criminology and the sociology of punishment there has been a rebirth of the political economy of crime and punishment, where the relationship between these phenomena and levels of inequality ...
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In both criminology and the sociology of punishment there has been a rebirth of the political economy of crime and punishment, where the relationship between these phenomena and levels of inequality within a given society is a key aspect, to assess the transformation and features of the crime control fields of contemporary societies and to relate them to different typologies. This chapter will discuss and problematize this perspective through the analysis of Latin American crime control fields. Considering the flaws of general typologies, usually coming from the global north, the chapter will stress the need for a more detailed comparative analysis of the penal state and the institutional structures, dynamics and dispositions present in every jurisdiction, in both the global north and south, that have a direct impact on penal policy and its outcomes.Less
In both criminology and the sociology of punishment there has been a rebirth of the political economy of crime and punishment, where the relationship between these phenomena and levels of inequality within a given society is a key aspect, to assess the transformation and features of the crime control fields of contemporary societies and to relate them to different typologies. This chapter will discuss and problematize this perspective through the analysis of Latin American crime control fields. Considering the flaws of general typologies, usually coming from the global north, the chapter will stress the need for a more detailed comparative analysis of the penal state and the institutional structures, dynamics and dispositions present in every jurisdiction, in both the global north and south, that have a direct impact on penal policy and its outcomes.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0014
- Subject:
- Music, History, American
Annie Get Your Gun, for which Herbert and Dorothy Fields wrote the book, became the most popular and successful stage work Dorothy ever worked on. A number of famous people ...
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Annie Get Your Gun, for which Herbert and Dorothy Fields wrote the book, became the most popular and successful stage work Dorothy ever worked on. A number of famous people associated with the show have, in interviews, disclosed their own point of view on the making and meaning of this musical. This chapter, more than the others, is larded with quotations, not all taken at face value, in an attempt to get a multidimensional view of the work.Less
Annie Get Your Gun, for which Herbert and Dorothy Fields wrote the book, became the most popular and successful stage work Dorothy ever worked on. A number of famous people associated with the show have, in interviews, disclosed their own point of view on the making and meaning of this musical. This chapter, more than the others, is larded with quotations, not all taken at face value, in an attempt to get a multidimensional view of the work.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0015
- Subject:
- Music, History, American
This chapter focuses on the remaking of Dorothy and Herb Fields' Broadway musicals into films. The same year Universal released Mexican Hayride, it released Up in Central Park. As far as one can ...
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This chapter focuses on the remaking of Dorothy and Herb Fields' Broadway musicals into films. The same year Universal released Mexican Hayride, it released Up in Central Park. As far as one can infer from the advertising trailer, the success of the stage version was the basis for marketing the film: after “over 1,000 performances,” here was a “picture everybody can enjoy.” In fact, Up in Central Park played on Broadway for 504 performances; the “over 1,000” may have been standard Hollywood inflation, or perhaps it counted regional performances as well. Annie Get Your Gun triumphed as one of the most popular films of 1950. Although its production budget was enormous — around $3 million — it still made money for MGM. Starting in 1951, Dorothy Fields wrote lyrics for several films that were not remakes of Broadway plays.Less
This chapter focuses on the remaking of Dorothy and Herb Fields' Broadway musicals into films. The same year Universal released Mexican Hayride, it released Up in Central Park. As far as one can infer from the advertising trailer, the success of the stage version was the basis for marketing the film: after “over 1,000 performances,” here was a “picture everybody can enjoy.” In fact, Up in Central Park played on Broadway for 504 performances; the “over 1,000” may have been standard Hollywood inflation, or perhaps it counted regional performances as well. Annie Get Your Gun triumphed as one of the most popular films of 1950. Although its production budget was enormous — around $3 million — it still made money for MGM. Starting in 1951, Dorothy Fields wrote lyrics for several films that were not remakes of Broadway plays.
Laurent Lellouch, Rainer Sommer, Benjamin Svetitsky, Anastassios Vladikas, and Leticia F. Cugliandolo (eds)
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199691609
- eISBN:
- 9780191731792
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199691609.001.0001
- Subject:
- Physics, Theoretical, Computational, and Statistical Physics
The book is based on the lectures delivered at the XCIII Session of the ´Ecole de Physique des Houches, held in August, 2009. The aim of the event was to familiarize the new generation of Ph.D. ...
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The book is based on the lectures delivered at the XCIII Session of the ´Ecole de Physique des Houches, held in August, 2009. The aim of the event was to familiarize the new generation of Ph.D. students and postdoctoral Fellows with the principles and methods of modern lattice field theory, which Is set to resolve fundamental, non-perturbative questions about QCD without uncontrolled approximations. The emphasis of the book is on the theoretical developments that have shaped the field in the last two decades and that have turned lattice gauge theory into a robust approach to the determination of low energy hadronic quantities and of fundamental parameters of the Standard Model. By way of introduction, the courses of the school began by covering lattice theory basics (P. Hernández), lattice renormalization and improvement (P. Weisz and A. Vladikas) and the many faces of chirality (D.B. Kaplan). A later course introduced QCD at finite temperature and density (O. Philipsen). A broad view of lattice computation from the basics to recent developments was offered in the corresponding course (M. Lüscher). The students learned the basics of lattice computation in a hands-on tutorial (S. Schaefer)---a first at Les Houches, Extrapolations to physical quark masses and a framework for the parameterization of the low-energy physics by means of effective coupling constants has been covered in the course on chiral perturbation theory (M. Golterman). A course in heavy-quark effective theories (R. Sommer), an essential tool for performing the relevant lattice calculations, covered HQET from its basics to recent advances. A number of shorter courses rounded out the school and broadened its purview. These included recent applications to flavour physics (L. Lellouch) the nucleon--nucleon interation (S. Aoki) and a course on physics beyond the Standard Model (T. Appelquist and E.T. Neil).Less
The book is based on the lectures delivered at the XCIII Session of the ´Ecole de Physique des Houches, held in August, 2009. The aim of the event was to familiarize the new generation of Ph.D. students and postdoctoral Fellows with the principles and methods of modern lattice field theory, which Is set to resolve fundamental, non-perturbative questions about QCD without uncontrolled approximations. The emphasis of the book is on the theoretical developments that have shaped the field in the last two decades and that have turned lattice gauge theory into a robust approach to the determination of low energy hadronic quantities and of fundamental parameters of the Standard Model. By way of introduction, the courses of the school began by covering lattice theory basics (P. Hernández), lattice renormalization and improvement (P. Weisz and A. Vladikas) and the many faces of chirality (D.B. Kaplan). A later course introduced QCD at finite temperature and density (O. Philipsen). A broad view of lattice computation from the basics to recent developments was offered in the corresponding course (M. Lüscher). The students learned the basics of lattice computation in a hands-on tutorial (S. Schaefer)---a first at Les Houches, Extrapolations to physical quark masses and a framework for the parameterization of the low-energy physics by means of effective coupling constants has been covered in the course on chiral perturbation theory (M. Golterman). A course in heavy-quark effective theories (R. Sommer), an essential tool for performing the relevant lattice calculations, covered HQET from its basics to recent advances. A number of shorter courses rounded out the school and broadened its purview. These included recent applications to flavour physics (L. Lellouch) the nucleon--nucleon interation (S. Aoki) and a course on physics beyond the Standard Model (T. Appelquist and E.T. Neil).
Frederick Nolan
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195102895
- eISBN:
- 9780199853212
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195102895.003.0008
- Subject:
- Music, Popular
Lorenz Hart, Richard Rodgers, and Herbert Fields had been working intermittently on a show called Winkle Town, in which a fellow invents an electronic system that renders electric wires obsolete and ...
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Lorenz Hart, Richard Rodgers, and Herbert Fields had been working intermittently on a show called Winkle Town, in which a fellow invents an electronic system that renders electric wires obsolete and tries to sell the idea to the city fathers of the eponymous town. Taking their chutzpah in both hands, they decided to ask their old pal Oscar Hammerstein II for help. When the triumvirate got through with it, the story had turned into a satire on Tin Pan Alley called The Jazz King. To their delight, Lew Fields not only liked the play but decided to put it into production. The authorship of the play was attributed to Herbert Richard Lorenz, a pseudonym which seems to have succeeded in fooling hardly anyone. The critics split: Woollcott liked the show, and Quinn Martin thought it “tremendously funny.” However vitriol-tongued George Jean Nathan put an end to the newborn career of Herbert Richard Lorenz.Less
Lorenz Hart, Richard Rodgers, and Herbert Fields had been working intermittently on a show called Winkle Town, in which a fellow invents an electronic system that renders electric wires obsolete and tries to sell the idea to the city fathers of the eponymous town. Taking their chutzpah in both hands, they decided to ask their old pal Oscar Hammerstein II for help. When the triumvirate got through with it, the story had turned into a satire on Tin Pan Alley called The Jazz King. To their delight, Lew Fields not only liked the play but decided to put it into production. The authorship of the play was attributed to Herbert Richard Lorenz, a pseudonym which seems to have succeeded in fooling hardly anyone. The critics split: Woollcott liked the show, and Quinn Martin thought it “tremendously funny.” However vitriol-tongued George Jean Nathan put an end to the newborn career of Herbert Richard Lorenz.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.001.0001
- Subject:
- Music, History, American
Dorothy Fields was best known as a lyricist, one of the few women who played a central role in the great period of American popular song from 1920 to 1960. Fields first became prominent writing the ...
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Dorothy Fields was best known as a lyricist, one of the few women who played a central role in the great period of American popular song from 1920 to 1960. Fields first became prominent writing the lyrics for Cotton Club shows in Harlem in the late 1920s and 1930s, and her most successful collaboration was with the great songwriter Jerome Kern. Her role as a music creator in a world dominated by men makes a fascinating and unusual story — with particular interest for woman today. Dorothy Fields first famous lyrics for the Cotton Club show songs include “I Can't Give You Anything But Love, Baby,” and “On the Sunny Side of the Street.” Her most successful collaboration with the great songwriter Jerome Kern was on three 1930s films, including the incomparable Swing Time with Rogers and Astaire, which produced such classic songs as “The Way You Look Tonight” and “A Fine Romance.” Fields also collaborated with such prominent composers as Sigmund Romberg, Fritz Kreisler, Harold Arlen, Burton Lane, Arthur Schwartz, and Cy Coleman. Her lyrics were colloquial and urbane, sometimes slangy and sometimes sensuous. Her role as a music creator in a world dominated by men makes a fascinating and unusual story—with particular interest for woman today. This book further discusses Fields in relation to other women songwriters and lyricists of the time.Less
Dorothy Fields was best known as a lyricist, one of the few women who played a central role in the great period of American popular song from 1920 to 1960. Fields first became prominent writing the lyrics for Cotton Club shows in Harlem in the late 1920s and 1930s, and her most successful collaboration was with the great songwriter Jerome Kern. Her role as a music creator in a world dominated by men makes a fascinating and unusual story — with particular interest for woman today. Dorothy Fields first famous lyrics for the Cotton Club show songs include “I Can't Give You Anything But Love, Baby,” and “On the Sunny Side of the Street.” Her most successful collaboration with the great songwriter Jerome Kern was on three 1930s films, including the incomparable Swing Time with Rogers and Astaire, which produced such classic songs as “The Way You Look Tonight” and “A Fine Romance.” Fields also collaborated with such prominent composers as Sigmund Romberg, Fritz Kreisler, Harold Arlen, Burton Lane, Arthur Schwartz, and Cy Coleman. Her lyrics were colloquial and urbane, sometimes slangy and sometimes sensuous. Her role as a music creator in a world dominated by men makes a fascinating and unusual story—with particular interest for woman today. This book further discusses Fields in relation to other women songwriters and lyricists of the time.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0001
- Subject:
- Music, History, American
This chapter focuses on the show business career of Dorothy's father Lew Fields. Fields and childhood friend Joe Weber first developed was a patchwork of entertaining bits—songs, dances, and humor, ...
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This chapter focuses on the show business career of Dorothy's father Lew Fields. Fields and childhood friend Joe Weber first developed was a patchwork of entertaining bits—songs, dances, and humor, both verbal and physical. For five years, until 1889, they moved around the country as members of assorted traveling variety shows. In 1890, when they were twenty-three, Weber and Fields felt ready to produce and manage their own traveling show. By May 1896, Weber and Fields were playing at the Olympia Theater on Broadway between Forty-fourth and Forty-fifth Streets. Their success was a reaffirmation of the belief that the team could entertain audiences not only on the Lower East Side where they had spent their childhood or touring across the nation where they had spent much of their adolescence, but also on Broadway.Less
This chapter focuses on the show business career of Dorothy's father Lew Fields. Fields and childhood friend Joe Weber first developed was a patchwork of entertaining bits—songs, dances, and humor, both verbal and physical. For five years, until 1889, they moved around the country as members of assorted traveling variety shows. In 1890, when they were twenty-three, Weber and Fields felt ready to produce and manage their own traveling show. By May 1896, Weber and Fields were playing at the Olympia Theater on Broadway between Forty-fourth and Forty-fifth Streets. Their success was a reaffirmation of the belief that the team could entertain audiences not only on the Lower East Side where they had spent their childhood or touring across the nation where they had spent much of their adolescence, but also on Broadway.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0008
- Subject:
- Music, History, American
This chapter focuses on the end of the partnership between Dorothy Fields and Jimmy McHugh and her collaborations with other composers. By 1936, despite their many songwriting successes, Fields and ...
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This chapter focuses on the end of the partnership between Dorothy Fields and Jimmy McHugh and her collaborations with other composers. By 1936, despite their many songwriting successes, Fields and McHugh had ceased to be a team. After an eight-year partnership, they never wrote another song together. If there was acrimony in their breakup, McHugh was too much of a gentlemen and Fields too much of a lady to discuss these matters publicly.Less
This chapter focuses on the end of the partnership between Dorothy Fields and Jimmy McHugh and her collaborations with other composers. By 1936, despite their many songwriting successes, Fields and McHugh had ceased to be a team. After an eight-year partnership, they never wrote another song together. If there was acrimony in their breakup, McHugh was too much of a gentlemen and Fields too much of a lady to discuss these matters publicly.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0009
- Subject:
- Music, History, American
This chapter focuses on Dorothy's collaborations with Jerome Kern. When Dorothy Fields began working with Kern, she gained not only a new collaborator but a second family and a new approach to ...
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This chapter focuses on Dorothy's collaborations with Jerome Kern. When Dorothy Fields began working with Kern, she gained not only a new collaborator but a second family and a new approach to integrating songs with dramatic works. Jimmy McHugh was a gifted musician, but Kern was a man of the theater. His Princess shows, some of which Dorothy saw when she was a girl, inspired many songwriters, including Rodgers and Hart and George Gershwin.Less
This chapter focuses on Dorothy's collaborations with Jerome Kern. When Dorothy Fields began working with Kern, she gained not only a new collaborator but a second family and a new approach to integrating songs with dramatic works. Jimmy McHugh was a gifted musician, but Kern was a man of the theater. His Princess shows, some of which Dorothy saw when she was a girl, inspired many songwriters, including Rodgers and Hart and George Gershwin.
Elinor S. Shaffer
- Published in print:
- 2004
- Published Online:
- January 2012
- ISBN:
- 9780197263181
- eISBN:
- 9780191734595
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263181.003.0008
- Subject:
- Literature, Criticism/Theory
By the end of the eighteenth century, European countries sought new functions for biographies. As the appetite and scope for more facts increased, and the need for reshaping them into a matter of ...
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By the end of the eighteenth century, European countries sought new functions for biographies. As the appetite and scope for more facts increased, and the need for reshaping them into a matter of national pride became the imperative, the writing of life found new models. This chapter discusses the formation of new models of Victorian biography. In the early nineteenth century, James Field Stanfield wrote a full-scale book on biography and Karl von Morgenstern coined the term Bidungsroman. Both formulated the terms in which biography and novel were to be in close proximity, both in likeness and difference. According to Stanfield, biography must assist in understanding the human character. It should aim to elucidate the range of human possibilities and to impart improvements in education and conduct. Stanfield argued that biography is a serious history wherein the historian is obliged to tell the truth, although at the same time there is a need for censorship in order to protect certain parts of the audience who should be edified by their reading. In these Victorian biographies, the aim was for the improvement of the individual and of the human race; hence certain latitude for the discussion of negative examples is allowed to impart moral illustrations. However, the dominant theme in Victorian biographies was negative representations of living persons. As the Victorian biographies dwindled, a new ideal form, Bidungsroman, unified the clash of unvarnished fact and edification, and closed the gap between novel and biography.Less
By the end of the eighteenth century, European countries sought new functions for biographies. As the appetite and scope for more facts increased, and the need for reshaping them into a matter of national pride became the imperative, the writing of life found new models. This chapter discusses the formation of new models of Victorian biography. In the early nineteenth century, James Field Stanfield wrote a full-scale book on biography and Karl von Morgenstern coined the term Bidungsroman. Both formulated the terms in which biography and novel were to be in close proximity, both in likeness and difference. According to Stanfield, biography must assist in understanding the human character. It should aim to elucidate the range of human possibilities and to impart improvements in education and conduct. Stanfield argued that biography is a serious history wherein the historian is obliged to tell the truth, although at the same time there is a need for censorship in order to protect certain parts of the audience who should be edified by their reading. In these Victorian biographies, the aim was for the improvement of the individual and of the human race; hence certain latitude for the discussion of negative examples is allowed to impart moral illustrations. However, the dominant theme in Victorian biographies was negative representations of living persons. As the Victorian biographies dwindled, a new ideal form, Bidungsroman, unified the clash of unvarnished fact and edification, and closed the gap between novel and biography.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0016
- Subject:
- Music, History, American
This chapter focuses on Dorothy's life and career in the early 1950s. Between 1950 and 1954, in addition to writing lyrics for four movies, she worked on three Broadway musicals. Arms and the Girl ...
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This chapter focuses on Dorothy's life and career in the early 1950s. Between 1950 and 1954, in addition to writing lyrics for four movies, she worked on three Broadway musicals. Arms and the Girl (1950), A Tree Grows in Brooklyn (1951), and By the Beautiful Sea (1954) were all set between fifty and two hundred years in the past. That is, all of these musicals continue in the Americana tradition of the Fieldses' two previous musicals, Up in Central Park and Annie Get Your Gun.Less
This chapter focuses on Dorothy's life and career in the early 1950s. Between 1950 and 1954, in addition to writing lyrics for four movies, she worked on three Broadway musicals. Arms and the Girl (1950), A Tree Grows in Brooklyn (1951), and By the Beautiful Sea (1954) were all set between fifty and two hundred years in the past. That is, all of these musicals continue in the Americana tradition of the Fieldses' two previous musicals, Up in Central Park and Annie Get Your Gun.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0018
- Subject:
- Music, History, American
This chapter begins by detailing the personal losses experienced by Dorothy in 1958, namely the death of Michael Todd in a plane crash on March 22; the death of her brother and collaborator, Herb ...
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This chapter begins by detailing the personal losses experienced by Dorothy in 1958, namely the death of Michael Todd in a plane crash on March 22; the death of her brother and collaborator, Herb Fields on March 24, due to a heart attack at age sixty; and the death of her husband just a few months later. It then describes her return to Broadway via the musical Sweet Charity in 1966.Less
This chapter begins by detailing the personal losses experienced by Dorothy in 1958, namely the death of Michael Todd in a plane crash on March 22; the death of her brother and collaborator, Herb Fields on March 24, due to a heart attack at age sixty; and the death of her husband just a few months later. It then describes her return to Broadway via the musical Sweet Charity in 1966.
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0019
- Subject:
- Music, History, American
This chapter focuses on the later life and career of Dorothy Fields. Dorothy's last three musicals were separated by long intermissions. There were seven years between Redhead and Sweet Charity and ...
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This chapter focuses on the later life and career of Dorothy Fields. Dorothy's last three musicals were separated by long intermissions. There were seven years between Redhead and Sweet Charity and another seven years between Sweet Charity and Seesaw, her final musical, written in collaboration with Cy Coleman. Dorothy died unexpectedly on March 28, 1974. The New York Times listed heart attack as the cause of death.Less
This chapter focuses on the later life and career of Dorothy Fields. Dorothy's last three musicals were separated by long intermissions. There were seven years between Redhead and Sweet Charity and another seven years between Sweet Charity and Seesaw, her final musical, written in collaboration with Cy Coleman. Dorothy died unexpectedly on March 28, 1974. The New York Times listed heart attack as the cause of death.
Paul Horwich
- Published in print:
- 2010
- Published Online:
- February 2010
- ISBN:
- 9780199268900
- eISBN:
- 9780191708459
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199268900.003.0003
- Subject:
- Philosophy, Metaphysics/Epistemology, Philosophy of Language
Having arrived (in Chapter 2) at the conclusion that minimalism is the most plausible of the alternative deflationary accounts, this chapter bolsters that plausibility by responding to a series of ...
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Having arrived (in Chapter 2) at the conclusion that minimalism is the most plausible of the alternative deflationary accounts, this chapter bolsters that plausibility by responding to a series of important criticisms that has been directed at central proposal (that ‘true’ is implicitly defined by the equivalence schema, ‘(p) is true ↔ p’ ). After clarifying this proposal and after summarizing the case in favor of it, the various criticisms are articulated and defused. These concern (i) whether minimalism can accommodate the truth of untranslatable foreign sentences (Field); (ii) whether it makes truth dependent on every other concept (Gupta); (iii) whether there aren't several concepts, other than truth, that equally well satisfy ‘(p) is Φ ↔ p’ (Gupta); (iv) whether people who reject some (or all) instances of the equivalence schema might nonetheless understand the word ‘true’ perfectly well (Richard); (v) whether instances of the schema are even so much as intelligible (Davidson); and (vi) whether ‘meaning’ and ‘proposition,rs should not be explained in terms of truth, rather than the other way around (Davidson). Adequate responses to these challenges yield an improved formulation of the minimalist conception.Less
Having arrived (in Chapter 2) at the conclusion that minimalism is the most plausible of the alternative deflationary accounts, this chapter bolsters that plausibility by responding to a series of important criticisms that has been directed at central proposal (that ‘true’ is implicitly defined by the equivalence schema, ‘(p) is true ↔ p’ ). After clarifying this proposal and after summarizing the case in favor of it, the various criticisms are articulated and defused. These concern (i) whether minimalism can accommodate the truth of untranslatable foreign sentences (Field); (ii) whether it makes truth dependent on every other concept (Gupta); (iii) whether there aren't several concepts, other than truth, that equally well satisfy ‘(p) is Φ ↔ p’ (Gupta); (iv) whether people who reject some (or all) instances of the equivalence schema might nonetheless understand the word ‘true’ perfectly well (Richard); (v) whether instances of the schema are even so much as intelligible (Davidson); and (vi) whether ‘meaning’ and ‘proposition,rs should not be explained in terms of truth, rather than the other way around (Davidson). Adequate responses to these challenges yield an improved formulation of the minimalist conception.
Mark Weston Janis
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579341
- eISBN:
- 9780191722653
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579341.003.0006
- Subject:
- Law, Public International Law, Legal History
The era between the American Civil War and World War I, 1865-1914, was the most optimistic period of all for the American tradition of international law. This chapter explores the late 19th-century ...
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The era between the American Civil War and World War I, 1865-1914, was the most optimistic period of all for the American tradition of international law. This chapter explores the late 19th-century penchant for the science and codification of the law of nations, an aspiration inspired in part by Jeremy Bentham. After a brief word about Bentham, it introduces two great American codifiers of the time — Francis Lieber and David Dudley Field — and then the important digester of American international law, Francis Wharton. Finally, looking at the German/English scholar, Lassa Oppenheim, it considers the fate of the ‘science of international law’ and asks whether science or codification has significantly improved the efficacy of international law.Less
The era between the American Civil War and World War I, 1865-1914, was the most optimistic period of all for the American tradition of international law. This chapter explores the late 19th-century penchant for the science and codification of the law of nations, an aspiration inspired in part by Jeremy Bentham. After a brief word about Bentham, it introduces two great American codifiers of the time — Francis Lieber and David Dudley Field — and then the important digester of American international law, Francis Wharton. Finally, looking at the German/English scholar, Lassa Oppenheim, it considers the fate of the ‘science of international law’ and asks whether science or codification has significantly improved the efficacy of international law.
Budhaditya Chattopadhyay
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781474474382
- eISBN:
- 9781399501668
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474474382.001.0001
- Subject:
- Film, Television and Radio, Film
The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental ...
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The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and its production. The aim of this book is to question classical assumptions about sound in film and media arts (e.g., image-based relationships) and shift the focus towards the site and its sonic environment, whose presence is often carefully constructed in a film or media artwork’s diegetic world as a vital narrative strategy. The emphasis on site in the book enables an informed investigation of an essentially anthropogenic process of the sonic environment’s mediation and (re)production. Sonic environments are inhabited, experienced, exploited and transformed every day, their corporeality augmented by human agency in mediated forms. The human agency of sonic environments is crucial to unwrap in order to understand cultural expectations from the audiovisual media; greater awareness is required of narration, depiction, communication and artistic production approaches and affordances harnessed through media technologies. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.Less
The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and its production. The aim of this book is to question classical assumptions about sound in film and media arts (e.g., image-based relationships) and shift the focus towards the site and its sonic environment, whose presence is often carefully constructed in a film or media artwork’s diegetic world as a vital narrative strategy. The emphasis on site in the book enables an informed investigation of an essentially anthropogenic process of the sonic environment’s mediation and (re)production. Sonic environments are inhabited, experienced, exploited and transformed every day, their corporeality augmented by human agency in mediated forms. The human agency of sonic environments is crucial to unwrap in order to understand cultural expectations from the audiovisual media; greater awareness is required of narration, depiction, communication and artistic production approaches and affordances harnessed through media technologies. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.
Mary Leng
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199280797
- eISBN:
- 9780191723452
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199280797.003.0003
- Subject:
- Philosophy, Logic/Philosophy of Mathematics, Metaphysics/Epistemology
This chapter discusses Hartry Field's attempt to respond to the indispensability argument by showing how to dispense with mathematics in formulating our best scientific theories. It is pointed out ...
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This chapter discusses Hartry Field's attempt to respond to the indispensability argument by showing how to dispense with mathematics in formulating our best scientific theories. It is pointed out that Field does not want to stop us from using mathematics in our scientific theorizing, but rather, that he wishes to explain the use of mathematics as a ‘theoretical juice extractor’, which allows us to draw out the consequences of our non‐mathematical assumptions. Objections to Field's programme are considered, including objections to the logical assumptions made by his account of applications, and objections to his claim that mathematics can always be dispensed with. While these objections are not conclusive, it is noted that mathematical assumptions may be valuable enough to remain present in even our best formulations of our scientific theories. Hence the book's project, to consider the case for anti‐platonism on the assumption that mathematics is indispensable to empirical science.Less
This chapter discusses Hartry Field's attempt to respond to the indispensability argument by showing how to dispense with mathematics in formulating our best scientific theories. It is pointed out that Field does not want to stop us from using mathematics in our scientific theorizing, but rather, that he wishes to explain the use of mathematics as a ‘theoretical juice extractor’, which allows us to draw out the consequences of our non‐mathematical assumptions. Objections to Field's programme are considered, including objections to the logical assumptions made by his account of applications, and objections to his claim that mathematics can always be dispensed with. While these objections are not conclusive, it is noted that mathematical assumptions may be valuable enough to remain present in even our best formulations of our scientific theories. Hence the book's project, to consider the case for anti‐platonism on the assumption that mathematics is indispensable to empirical science.
Patricia A. Cahill
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199212057
- eISBN:
- 9780191705830
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199212057.003.0007
- Subject:
- Literature, Drama, 16th-century and Renaissance Literature
This epilogue argues that analysis of war dramas must account for the ways in which performances, through their aesthetic elements, bears witness to experiences of confusion and bewilderment. It ...
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This epilogue argues that analysis of war dramas must account for the ways in which performances, through their aesthetic elements, bears witness to experiences of confusion and bewilderment. It focuses on the question of traumatic address in Richard III, a play that turns attention in its last act to the forms of modern warfare and to discourses of abstraction that are not unlike those under consideration in the first half of this volume. Departing from traditional readings of the play's ending, the epilogue suggests that Shakespeare's interest in the disposition of space and the forward march of time is deeply bound up with its aesthetics of discontinuity and disorientation. By focusing on the ghosts who appear on Bosworth Field, it proposes that the play, through its destabilizing representations of space and time, ultimately presents audiences with an experience not unlike Richard's own uncanny meeting with the past.Less
This epilogue argues that analysis of war dramas must account for the ways in which performances, through their aesthetic elements, bears witness to experiences of confusion and bewilderment. It focuses on the question of traumatic address in Richard III, a play that turns attention in its last act to the forms of modern warfare and to discourses of abstraction that are not unlike those under consideration in the first half of this volume. Departing from traditional readings of the play's ending, the epilogue suggests that Shakespeare's interest in the disposition of space and the forward march of time is deeply bound up with its aesthetics of discontinuity and disorientation. By focusing on the ghosts who appear on Bosworth Field, it proposes that the play, through its destabilizing representations of space and time, ultimately presents audiences with an experience not unlike Richard's own uncanny meeting with the past.
