Parker, Robert (2023). Religion in Roman Phrygia. From Polytheism to Christianity. Oakland: University of California Press

Fractional Brownian Motions, Fractional Noises and Applications

Nuclear power’s costs and perils

On a Non-Parametric Analogue of the Information Matrix

Legal Essays in Tribute to Orrin Kip McMurray. Edited by Max Radin and A. M. Kidd. University of California Press, Berkeley, California, and Cambridge University Press, Cambridge, England. 1935. x and 694 pp. (30s. net.) - Volume 6 Issue 1

Journal Article Leopold, A. Starker. Wildlife of Mexico: the game bdhds and mammals. Univ. California Press, Berkeley and Los Angeles. Pp. xiii + 568, 194 figs., 2 color plates. 23 November 1959. Price, $12.50. Get access Leopold A. Starker.Wildlife of Mexico: the game bdhds and mammals. Univ. California Press, Berkeley and Los Angeles. Pp. xiii + 568, 194 figs., 2 color plates. 23 November 1959. Price, $12.50. Richard H. Manville Richard H. Manville Search for other works by this author on: Oxford Academic Google Scholar Journal of Mammalogy, Volume 41, Issue 2, 20 May 1960, Pages 288–289, https://doi.org/10.2307/1376387 Published: 20 May 1960

Revisiting the Plague in the Age of Galileo

Explaining a few discoveries

Christianity in South Africa: A Political, Social and Cultural History. Edited by Richard Elphick and Rodney Davenport. Perspectives on Southern Africa 55. Berkeley: University or California Press, 1997. xxxii + 479 pp. 19.95 paper. - Volume 68 Issue 2

Youthful idealism, institutional ambition, and Cold War sensibilities all helped shape the Michigan Memorial–Phoenix Project, the University of Michigan’s tribute to fallen World War II soldiers.

The HXR self-consistent-field method of Cowan [ R. D. Cowan , The Theory of Atomic Structure and Spectra ( U. California Press, Berkeley, Calif., 1981)] including some relativistic effects was used to calculate a detailed set of weighted oscillator strengths for 3s23p2–3s3p3, 3s23p2–3s23p3d, and 3s23p2–3s23p4s transitions of the silicon sequence for the elements potassium through titanium. Ab initio HXR values of Slater parameters were adjusted by means of a least-squares optimization process in order to fit calculated eigenvalues of the Hamiltonian matrix with the experimental energy levels. The predicted location of the 3s3p3 S52∘ level along the sequence is discussed.

Seven lines in the K-like transition array 3p63d–3p53d2 were observed for each of the spectra Cu xi to Mo xxiv (except for Rb and Sr) in radiation from impurity-doped tokamak and laser-generated plasmas. Wavelengths in the range of 70–112 A, measured with an uncertainty of ±0.005 A, are given. These are compared with calculations obtained with the relativistic Hartree–Fock code of Cowan [ CowanR. D., The Theory of Atomic Structure and Spectra ( U. California Press, Berkeley, Calif., 1981)]. From these comparisons, predicted values for the wavelengths of Rb and Sr were obtained, with an uncertainty of ±0.01 A.

Melodramatist of the Middle Border:Hamlin Garland's Early Work Reconsidered Keith Newlin Keith Newlin University of North Carolina—Wilmington Notes 1. "Why Hamlin Garland Finds Wider Fields in the Drama Than in the Writing of Novels," New York Times (April 11, 1909), sec. v, p. 4. Miller of Boscobel was staged by the Donald Robertson Players in two tryouts in Madison and Appleton, Wisconsin, on January 29 and 30, and then in Fullerton Hall at the Art Institute of Chicago on February 3. 2. Garland published only one of these plays, the single-tax melodrama Under the Wheel (The Arena, 2 [1890], 182-228), subsequently revised as the novel Jason Edwards (1892). The remainder of his plays exist in various stages of completion in the Hamlin Garland Collection, Doheny Library, University of Southern California. 3. Mark William Rocha, "The Feminization of Failure in American Historiography: The Case of the Invisible Drama in the Life of Hamlin Garland," diss. University of Southern California, 1988, p. 6. 4. Donald Pizer, Introduction to Main-Travelled Roads (Columbus: Merrill, 1970), p. xiii. Subsequent citations will appear in the text as MTR. 5. Thomas A. Bledsoe, Introduction to Main-Travelled Roads (1954); repr. in The Critical Reception of Hamlin Garland, 1891-1978, ed. Charles L. P. Silet, Robert E. Welch, and Richard Boudreau (Troy: Whitston, 1985), p. 190. 6. Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction, 1790-1860 (New York: Oxford Univ. Press, 1985), p. xi. 7. Hamlin Garland, A Son of the Middle Border (1917; repr. New York: Colliers, 1917), pp. 343-44. 8. Hamlin Garland, Roadside Meetings (New York: Macmillan, 1930), pp. 39-40. 9. Garland's autograph manuscript of this lecture is extant in the Hamlin Garland Collection, Doheny Library, University of Southern California. Lloyd Arvidson has compiled and published a guide to the collection, Hamlin Garland: Centennial Tributes and a Checklist of the Hamlin Garland Papers in the University of Southern California Library, USC Library Bulletin no. 9 (Los Angeles: Univ. of Southern California Press, 1962). Subsequent citations to unpublished letters, notebooks, and manuscripts in this collection will appear in the text with Arvidson's citation numbers. I am grateful to the University of Southern California for permission to quote from Garland's papers. "Edwin Booth as a Master of Expression" (#584a) has recently been edited and made available in Mark Rocha's dissertation. Part One of Rocha's study summarizes and comments briefly upon all of Garland's play manuscripts; Part Two is a selected edition of Garland's dramatic criticism and the text of Rip Van Winkle. Subsequent citations to the Booth lecture are to Rocha's edition and will appear in the text. 10. Garland, A Son, p. 307. Garland's extensive notes on Taine fill two notebooks, dated 1884 (#11) and 1884-85 (#12). 11. Garland, A Son, pp. 306-7. 12. Hippolyte Taine, History of English Literature, Vol. 1, trans. H. van Laun (Philadelphia: David McKay, n.d.), p. 19. 13. Taine, p. 23. 14. Donald Pizer, Hamlin Garland's Early Work and Career (Berkeley: Univ. of California Press, 1960), p. 9. 15. The manuscript of Love or the Law was typed with the uppercase typewriter Garland used 1886-1888. I have not preserved the idiosyncrasies of Garland's typewriter in my transcriptions. Garland was also inconsistent in the conventions of underlining staging cues, enclosing dialogue within quotation marks, and placing periods and commas within quotation marks. I have therefore regularized my transcriptions but have not corrected his punctuation, spelling, and use (and disuse) of the apostrophe. 16. Garland later expanded this scene into "The Huskin'," the first of a series of sketches entitled "Boy Life on the Prairie," and published in the American Magazine, 7 (Jan. 1888), 299-303. Garland then reworked this sketch into chapter 16, "The Corn Husking," of Boy Life on the Prairie (1899). 17. Garland was apparently quite serious about becoming an actor and proposed a collaboration with James Whitcomb Riley in which Garland would act the lead: "How would it do for you and I to write a play? Did I speak of this before? I have a good plan of a new one. 'The McTurgs...

Geology of the Olduvai Gorge: A study of sedimentation in a semi-arid basin: R.L. Hay. Univ. California Press, London, 1976, 203 pp. £ 15.75

This fine monograph is really a preliminary, and a necessary, one to a study of the comparatively little known association connections of various cortical areas as determined by cyto-architectural and myelo-architectural investigations. Obviously an accurate knowledge of the afferent projection systems is a necessary basis for an anatomic study of the association systems by which impulses received by the cortex are, so to speak, spread to other cortical regions or mechanisms. As the author points out, such knowledge has not been attained as yet. The two principal problems in attaining such knowledge are, first: disclosing the anatomic identity of functionally distinct afferent paths from their peripheral receptor organs to their cortical terminations and, second, establishing the internal organization of the afferent paths. Only after these problems have found a satisfactory solution can an attack be made on the following question: By what paths and mechanisms are the impulses streaming into

The Arts inVictorian Literature: AnIntroduction STEFANO EVANGELISTA and CATHERINE MAXWELL University of Oxford andQueen Mary,University ofLondon Overthepastforty years orso there hasbeena steady increase inattention to theVictorian arts,and significant conferences havehelpedfoster continuing discussion, bringing together literary scholars,culturalcommentators, art historians, and musicologists.1 Interest in material culture has also generated newwaysof exploring thecomplexlinksbetween literature and arthistory, contributing to theongoing redefinition of therelationship between objects, criticism, and literary texts.2 However, thiscollection aimsto do something slightly different, beingfocused notmerely ontheVictorian arts butontheway thattheartsingeneral maketheir markonVictorian literature. Thisincludes therepresentation, treatment, ordiscussion ofthearts inVictorian literary texts, theinterchange betweenliterary and otherartforms, thecreative dialogue between practices ofwriting, reading, viewing, andhearing, andanalysis ofhow theartsinform thework ofparticular literary figures. Thuswhilereaders will find accounts ofspecifically Victorian artworks suchasillustrations ofDickens's work and thepaintings and designs ofthePre-Raphaelites, they willalsofind discussions of howleadingwriters and commentators of theperiodviewed antiquesculpture, Renaissance painting, andRussian music, orusedtheseand other artforms toconsider issues suchastheroleofthefemale artist oroperatic primadonna,thedifferent meansof musicalappreciation, and therelations between thearts. 1 Examples of academic studiesof thisfieldinclude TheSunis God:Painting, Literature andMythology inthe Nineteenth Century, ed. byj. B. Bullen (Oxford:Clarendon Press,1989)^. B. Bullen, ThePre-Raphaelite Body:Fearand DesireinPainting, Poetry, and Criticism (Oxford: Clarendon Press, 1998); Victorian Literature andtheVictorian Visual Imagination, ed. by Carol T. Christand John O.Jordan (Berkeley:Universityof California Press, 1995); Kate Flint,The Victorians andtheVisual Imagination (Cambridge: Cambridge University Press,2000); Lynda Nead, The HauntedGallery: Painting, Photography, Filmc. igoo (New Haven, CT: Yale UniversityPress,2007);Jonah Siegel, DesireandExcess:TheNineteenth-Century Culture ofArt(Princeton,NJ: PrincetonUniversityPress, 2000); Julia Thomas, Pictorial Victorians: The Inscriptions of Valuein Word andImage(Athens: Ohio UniversityPress, 2004); PhyllisWeliver,Women Musiciansin Victorian Fiction: Representations ofMusic,Science andGender inthe Leisured Home (Aldershot: Ashgate, 2001); The Figureof Music in Nineteenth-Century BritishPoetry, ed. by Phyllis Weliver (Aldershot:Ashgate2005); Phyllis Weliver,TheMusicalCrowd inEnglish Fiction, 1840-igio: Class,Culture andNation (Basingstoke:Palgrave Macmillan, 2006). 1The mostrecentstudyof thefieldfromthepointof view of materialaestheticsis thecollectionIllustrations, Opticsand Objectsin Nineteenth-Century Literary and VisualCultures, ed. by Luisa Calè and Patrizia Di Bello (Basingstoke:Palgrave Macmillan, 2010). 2 TheArts in Victorian Literature: AnIntroduction In spiteofthediverse nature ofthesefourteen essays, wehavebeenstruck bythemanyinterconnections. Withthisinmindwe haveresisted theobvious temptation toclassify theessays intogroups according totopics suchaspainting, sculpture, andmusic, opting instead fora broadly chronological sequencethat emphasizes morelocalizedconnections with regard tospecific writers, themes, motifs, and ideas.Byrefusing thegratification of easyclassifications, sucha sequence asksreaders towork a little harder, butwehopethat thereward comes ina larger andricher setofproductive interfiliations. Readingtheessays, itis hard not to noticethe way thatcertainnamesrecur:Tennyson, Ruskin, Swinburne, Pater, andVernon Lee areperhapsthemostevident, followed by others suchas GeorgeEliot,Hawthorne, Gautier, andWhistler. Someofthese areunsurprising - itwouldbe oddnottofind Ruskin mentioned frequently in a volume ofthis kind, although hisappearances hereas a commentator onthe Crystal Palace,asintheessay by JonahSiegel, orasanadvocate for the'suggestive , visionary, andeclectic' inBurne-Jones, asdiscussed byColinCruise, areless thanfamiliar, reminding us thathe resists easycategorization. It isfitting that Swinburne, whoinhiscentenary year(2009)hasbeenthesubject ofrenewed discussion, should occupy a prominent position aslyric singer andas influential aesthetic criticin therespective essaysby ElizabethHelsinger and Stefano Evangelista aswellasfeature inincidental discussions byCatherine Maxwell and Lene 0stermark-Johansen. However, it is perhapsSwinburne's immediate successor andinheritor, Walter Pater, whomaybe saidtobe thetutelary genius ofthis collection. Pater's leading questions inthePreface to TheRenaissance are onesthatin their appealto theindividual's subjective tastes and preferences strike especially resonant chords for modern readers andcritics: What isthis song orpicture, this engaging personality presented inlife orina book, to me? What effect doesitreally produce onme? Doesitgive mepleasure? andifso,what sort ordegree ofpleasure? Howismy nature modified byitspresence, andunder its influence?3 Several oftheessays inthis volume engage with these seminal questions asked byPater, which areattheheart ofa widespread desire torethink thedynamics andvalueoftheencounter with artinthenineteenth century. Pater's emphasis onpleasure rather thanutility ordidacticism, andhisbelief intheprime roleof thesenses (hearing andtouchas wellas sight) inshaping ourknowledge ofthe arts haveexercised a formative influence onwriters andcritics that stretches well intothetwentieth century. Aestheticism and itslegaciesare topicsthathave attracted a substantial amount ofattention inrecent years.4 Butwhilea large 3WalterPater,TheRenaissance: Studies inArtandPoetry, ed. byDonald L. Hill (Berkeley: University of California Press,1980),pp. xix-xx (emphasisoriginal). 4 See, forexample,Richard Dellamora, Masculine Desire:TheSexualPolitics of Victorian Aestheticism (Chapel Hill: University of North Carolina Press, 1990); Dennis Denisoff, Aestheticism and Sexual Parody,1840-1940 STEFANOEVANGELISTA & CATHERINEMAXWELL 3 numberof our contributors engage withvariousaspectsof Aestheticism, and thusimplicitly deal withthematterof subjectiveinterpretation, theissueof the shapingintelligence or imaginationof theviewer, reader,or hearercan be...