Provenance and Deception: Tracking Counterfeit Luther Pamphlets in Wittenberg

Due to antiquated technologies (calculation methods, regulations, lighting and luminaire concepts, production techniques) current outdoor lighting causes a lot of problems like light pollution, glare, energy waste etc. New types of luminaires, and in consequence new outdoor lighting concepts, can be created by combining advanced calculation methods for optical surfaces with recent production technologies and novel light sources such as short arc metal halide lamps. Light emitted from this small Etendue light sources can precisely be redirected by 3D-curved surfaces manufactured with injection molding, milling and aluminium metallization. The required optical design may use techniques like complex surface calculations and 3D-Tailoring. An innovative concept based on the latest findings in visual perception research is to focus the light of such short arc light sources onto a facetted secondary mirror which provides the desired illuminance distribution on a facade or a public place. These systems are designed to fulfill lighting requirements as well as providing visual comfort. Thus lamps with improved color rendering, luminous efficacy and increased lifetime are used and glare is minimized by splitting the reflector into many facets (light spot decomposition). A few examples of realized projects will be presented where such complex facetted surfaces are used to reach a special quality of light. Using novel techniques like 3D-Tailoring, each facet can be designed to individually create the desired (e.g. uniform) illuminance distribution on the target surface - in this case, a large facade. For this particular application, we chose to impose a square boundary for each facet, in order to tile the rectangular aperture of the secondary mirror without compromising efficiency.

In the debate at the end of the Enlightenment over the place of armed forces and war in society, Johannes [von] Müller's Histories of the Swiss attracted attention as a work of historical interpretation and as a political statement. Müller's idealization of the free "people in arms" is contrasted with Clausewitz's argument that ideals and self-interest contrary to the ideals may be expressed simultaneously by individuals and societies, both qualities made historically effective by people's innate willingness to use violence. Müller's and Clausewitz's positions are paradigmatic of views that continue to influence historical interpretations and political expectations to this day.

Reviewed by: Readex America's Historical Imprints: Early American Imprints Series I: Evans (1639–1800) Helen Hunt (bio) Readex America's Historical Imprints: Early American Imprints Series I: Evans (1639–1800) Supplement from the American Antiquarian Society Readex America's Historical Imprints: Early American Imprints Series I: Evans (1639–1800) Supplement from the Library Company of Philadelphia Taken together, the Early American Imprints Series I: Evans supplements from the American Antiquarian Society (AAS and the Library Company of Pennsylvania (LCP) add 3,400 texts printed from 1652 to 1800 to the Readex America's Historical Imprints database. The sheer size of these supplements is impressive; these thousands of texts offer a wealth of information reaches into every corner of early American life. The breadth of these supplements represents one of its main strengths, complemented by the excellent organization and the high-quality images. Both databases are organized in the same manner. The texts can be sorted by the standard categories of author, place of publication, and language, but the databases also benefit from an extensive genre list, detailed subject categories, and a history of printing feature that sorts by bookseller, printer, and publisher. The subject list has two levels and includes everything from honeybees to gynecology to fairy tales. These subjects make the database very easy to browse, enabling users to easily discover new texts. The extensive subject list and types of works available lend themselves to undergraduate exploration of this archive, if students were, for example, to have an assignment that asked them to browse the archive and find a text [End Page 923] that relates to main themes of their class and report their findings in some way. Exploration of this archive takes advantage of one the best features of this database: its potential to ground familiar literary narratives in the wide-ranging, everyday world of writing in early America. The databases purport to include "newly discovered" works printed in America (AAS: 2,300 from 1652 to 1800; LCP: 1,100 from 1670 to 1800). "Newly discovered" should be taken with a grain of salt. It does not necessarily mean entirely new texts, though there must be virtually unknown material in the three thousand entries, but local, specific imprints of texts that exist in other places. For example, the fiction lists do not reveal a hitherto unknown American novel, but they do show American printings of fiction published first in England and France. The idea of "newly discovered" can perhaps best be understood by considering the three texts under the subject "Labor—Slavery" in the AAS supplement. One, Anthony Benezet's "Notes on the Slave Trade," published in Philadelphia in 1783, strongly condemns the American slave trade and attempts to inspire the reader with "a suitable abhorrence for that detestable practice of trading in our Fellow Creatures" and probably is the first version of this text (2). Benezet was born in France, but he emigrated with his Huguenot family to join the Quakers in Philadelphia when he was eighteen, where he became an abolitionist. There is also a 1784 version of John Welsey's Thoughts upon Slavery, first published in London in 1774, with a preface from its Philadelphia printer Enoch Story justifying its printing and praising legislative efforts to abolish slavery. These two texts demonstrate local engagement with international colonial issues, and they could inspire class discussion on the international context of slavery, immigration, and the transatlantic print trade. But the most interesting text in this subject might be "A Negro Song: They Lightened Their Labour by Songs, Verified by the Duchess of Devonshire, Composed by Benjamin Carr" from 1800. Carr was a composer born in London who moved to the US in 1793 and became a prominent part of the Philadelphia musical community. The song lyrics represent Black women taking pity on a lost, weakened white man, caring for him and singing, "Ah! the white man shall our pity share." The tension between race, power, and sympathy in the text only grows more complicated when the text's history and the Duchess of Devonshire's involvement are taken into account. Carr's composition was apparently inspired by Mungo Parke's Travels, when Parke traveled down the...

Creative Practice through Teleconferencing in the Era of COVID-19

Since the year of 1606, on the immense dome's retaining ring in St. Peter's in Rome, there is one of the Western world's largest inscriptions. The aesthetic impact of the colossal blue letters on a golden background is overwhelming. It is a spectacular example of colossal epigraphy in one of the Europe of those times most public places, made in the classical Roman imperial and early-Christian medium of mosaic. It is ”language in architecture”, the language being that of the Western Church, at the same time the international language of Europe in Early Modern Times, which is Latin. The inscription reads: TU ES PETRUS ET SUPER HANC PETRAM AEDIFICABO ECCLESIAM MEAM…TIBI DABO CLAVES REGNI COELI…”And I tell you that you are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it. I will give you the keys of the kingdom of heaven…”The words are from the Bible, more precisely from the Gospel of St. Matthew. There, Jesus says them to Simon Peter, the elected amongst the twelve Apostles. Those are the founding words of Church and Papacy. In St. Peter's, however, they are taken out of their original context. They run around the vast dome of Michelangelo's cupola. Their new context, then, produces a new function and role, a new impact, and a new meaning: addressing Peter as if he were present, they mark his hidden tomb under the cupola. They denote the hidden body of the fisherman and Apostle from Galilea who by the middle of the first century had come to Rome from the Eastern parts of the Empire, he, Peter, the first Pope, of whom tradition said that he had been crucified here and had been buried on the Vatican hill. They denote that place under the dome where there had been the centre of an immense cult of his tomb from the second century onwards, that place which in the fourth century Constantine made the centre of a gigantic imperial basilica, even before towards the end of the century Christendom would rise to the status of state religion of the Roman Empire; that place, which Bramante made the centre of his radical new planning of New St. Peter's and which finally was crowned by Michelangelo's cupola.The words of the inscription are not only addressed to the historical Peter. Papacy is not a dynasty. From the fifth century onwards its theory follows a legal ”figura” of Roman law: Each Pope is the direct successor, that is the direct universal heir of Saint Peter. Hence, as ritual provides, at the beginning of every Papal Mass, when the Pope approaches the altar over Saint Peter's tomb, the words ”Tu es Petrus” are intoned.The colossal inscription addressing the historical Peter and every single one of his successors was unveiled in 1606. At the same time, its existence reflects one of the deepest breaks in the history of Western civilisation. In 1606 the words ”Tu es Petrus” are not least polemical. They are directed against Protestantism which does not share the belief in Peter, for which the Pope is not the head of the Church, for which Jesus with the words ”Tu es Petrus” did not found the papacy - against Protestantism vehemently opposing the cult of Saint Peter's tomb and his relics.This historical situation of the year 1606 is the starting point of my paper entitled ”The Role and Impact of the Word in Post-Reformation Christian Art” which on the case of the inscriptions of St. Peter's intends to exemplify the themes of this conference, namely ”Art”, ”Ritual”, ”Religion”, ”Material Culture” and ”Spiritual Beliefs” and their interaction at the time.

SHORTER PAPERS Stephen C. Jett University of California, Davis Suggestions for Improving Reference Citations in Geographical Publication Most geographical publications employ the traditional system of footnotes for citation of references. However, because footnotes present difficulties in typing, are costly to set in type, and are often difficult to trace back through a maze of ibid.'s, op. cit.'s, and loc. cit.'s, several disciplines have adopted simplified systems of citation. One partial solution has been to put all footnotes into a single section following the text. A second type of simplification, adopted by disciplines such as geology, botany, and anthropology, involves in-text citations, giving in parentheses the name of the author, the date of his publication, and the page number(s ) referred to. An example is: (Bowman 1911: 129-30). An alphabetical listing of the authors and references cited follows the text. This system not only provides a complete and easy-to-use method of citation but also furnishes, in one place, a complete and uninterrupted bibliography of the references cited; it is much easier to search such a list for articles of interest than to leaf through a text, looking for pertinent footnotes. A further disadvantage of footnotes is diat, in addition to fulfilling their primary function of providing references, they are often used to give supplementary or parenthetical information. Actually, except when dealing with historical or literary texts, any such footnote that is not important enough to include in the body of the text should, in most cases, be omitted. However, the fact remains that footnotes are often so used, and upon seeing in the text a reference to a footnote, the reader tends to be distracted from the main stream of the passage and to glance down at the foot of the page, often finding only an ibid, or some equally uninformative footnote. 141 142association of pacific coast geographers The simplified, in-text type of citation described above also has disadvantages. A citation such as (Harshbarger, Repenning, and Irwin 1957: 59-60) also interrupts the flow of the text. In addition, it takes up valuable space. For these reasons, the following compromise system of citation is proposed: 1. Utilization of a post-text alphabetical bibliography, but with the addition of consecutive numbers, one number preceding each reference. 2. In-text citations, consisting of the number of the reference, a colon, and the page number(s) cited: (9:6). If, in a particular instance, it should be deemed desirable to mention the author, title, or date at this point, it would be done as part of the text and not as part of the citation. In the bibliography, it is desirable to give as much information as is useful but to use no more space than necessary. The following style is proposed: 1. Bryan, Kirk 1941. Pre-Columbian Agriculture in the Southwest, as Conditioned by Periods of Alluviation. Annals of the Association of American Geographers, 51: 3: 219-42 The full title of the article and the full name of the periodical or series should be given. Because of potential ambiguity or difficulty of interpretation, abbreviations should be avoided except in the case of unusually long bibliographies in which abbreviations can be used for periodical titles if a listing of the full titles with the equivalent abbreviations appears above the bibliography. Following the title of the serial is the volume number ( or equivalent), a colon, the number (s) of any further subdivision(s) such as number, part, etc., and another colon, followed by tìie page numbers of the article (given in the most compact form possible, as 1123-9). In the case of book titles the name of the publisher should be included. Place of publication could be omitted, since this information is seldom of use and can normally be obtained, if desired, by referring to a listing of publishers or periodicals. It might be informative, however, to give the number of pages of monographs and non-serial items as well as of articles. In the case of additional bibliographic listings by the same author, a short line can be substituted for the author's name in all listings other than the first. ...

درگزین یا به‌عبارتی «شهر درجزین»، یکی از محوطه‌های مهم استان همدان در شهرستان رزن، متعلق به دوران اسلامی (از دوره‌ی سلجوقی تا پایان عصر صفوی) است. این منطقه به‌دلیل قرارگیری در یکی از دروازه‌های ورودی استان همدان، در طول تاریخ از اهمیت ویژه‌ای برخوردار بوده است. پژوهش حاضر براساس شیوه‌ی تاریخی-تحلیلی و مبتنی‌بر داده‌های میدانی باستان‌شناسی و اسناد و مدارک مکتوب کتابخانه‌ای انجام شده است. با توجه به اهمیت درگزین، وجود برخی اطلاعات مستند از معماری و آثار فرهنگی این شهر، ضرورت مطالعه‌ی هدفمند باستان‌شناسی را طلب می‌نمود؛ بنابراین کاوش باستان‌شناسی این محوطه‌ در سال 1391 ه‍.ش. برای واکاوی تحولات دوران اسلامی این ناحیه و شناخت دستاوردهای فرهنگی، هنری و اجتماعی شهر درگزین با اهداف و پاسخ به پرسش اصلی پیش‌رو انجام پذیرفت: باتوجه به موقعیت جغرافیایی مناسب و شرایط استراتژیکی درجزین و قرارگیری این ناحیه در حدفاصل مراکز سکونتی و حکومتی دشت‌های غربی و شرقی دوران مختلف اسلامی ایران، مانند: دشت زنجان، قزوین در ناحیه‌ی شمال‌غربی، ساوه و ری در نواحی شمال‌شرقی، و کرمانشاه و همدان در نواحی غربی و نیز با توجه به دوره‌های فرهنگی اسلامی آن، ظهور و حیات تاریخی درجزین چه تأثیری بر حیات و بقاء تاریخی و سیاسی ادوار مختلف سلجوقی تا صفوی را برعهده داشته است؟ شهر درگزین در مقاطعی از تاریخ، نقش با اهمیتی داشته است؛ به‌طوری‌که گاهی عظمت و شرح قلعه و اوضاع شهر با مناطقی مانند دیاربکر (در عراق) قیاس شده است. در دوره‌ی سلجوقی وزیرانی از این ناحیه بر منصب وزارت تکیه‌زده و توانسته‌اند در تاریخ ایران نقش‌آفرینی نمایند. به‌نظر می‌رسد که حضور این افراد در دستگاه اداری بر توسعه‌ی این منطقه از دوره‌ی سلجوقی به‌بعد براساس شواهد و متون تاریخی مؤثر واقع شده است. با استناد به متون تاریخی و جغرافیایی، این عوامل موجب شده تا درگزین در دوره‌ی صفوی نقش مهم‌تری در درگیری‌های عثمانی و صفوی (نیمگاه اول قرن 10 ه‍.ق.) ایفا نماید؛ چون تصرف منطقه‌ی همدان با تصرف درگزین ساده‌تر می‌نموده است؛ برای نمونه، «شاه اسماعیل صفوی» در جنگ چالدران برای تجدید قوای خود به درگزین همدان عقب‌نشینی کرد. دلایل این مدعا، دست‌به‌دست شدن قلعه‌ی درگزین در هنگام یورش قوای عثمانی به غرب ایران با ترسیم سه نقاشی از این شهر بوده است. این نقاشی‌ها و نمونه‌های آثار موجود و یافته‌های کاوش می‌تواند برای ادامه شناخت دقیق‌تر ماهیت درجزین رهنمون نماید.

The contemporary meaning of street music in Istanbul, especially after the 1990s, was shaped by a global context that linked it to hegemonic struggles in the urban public space. Until then, the term street music was either not used at all or did not have its contemporary meaning. Consequently, the studies on street music often overlooked music practices occurring on the streets prior to the 1990s or tended to express doubt about their status as street music, arbitrarily including some while excluding the others. To address this problem, this study aims to identify and historicize the discourses of street music by delving into the practices and groups associated with street music before its explosion in the 1990s. The categorical content analysis method is used to analyze the data set obtained from historical texts, films, and secondary sources on the history of street music. Four distinct socio-historical contexts of street music were identified: music in public places such as picnic areas, meadows, and promenades; street vendors who are accompanied by music; outdoor music associated with drinking binges; and neighborhood performances. Immigrant groups, Gypsy and non-Muslim entertainment musicians, and immigrant musicians coming from rural areas who are associated with âşık (minstrel) tradition are notable actors. Three dominant themes of historical discourses to interpret and classify the street music are identified: The street musician as a wandering urban folk artist, the street musician as a member of a low-status group, and the street musician as an outsider. These themes contributed to historicizing the discourses around street music, identifying its socio-historical context prior to its explosion in the 1990s, and illuminating the contemporary meaning of street music shaped thereafter.

Grown-Ups and Fanboys Kevin Harley Sabin, Roger. Adult Comics: An Introduction. London and New York: Routledge, 1993. It’s a long and sordid tale, the history of adult comics. This particular hotbed of intrigue has everything for the perfect television mini-series; suspense, prejudice, passion, censorship, homophobia, Anglo-American cultural relations, exploitation of creative individuals by massive and all-powerful media industries—even, gasp, communism. One wonders why the TV version has yet to be made. In its absence, Roger Sabin’s Adult Comics sets itself the formidable task of presenting this largely untold tale. Sometime in the mid-1980s, the British media suddenly became aggitated over the phenomenon of so-called ‘adult comics.’ Many argued that comics were laying claim to a hitherto absent literary legitimacy, largely through the use of the term “graphic novel” to denote the departure these “new comics” made from the supposedly childish orientations of their predecessors. The media response to this ostensible trend was divided between approval and outrage, but nearly everyone adhered to a suitably comic-book language of wild hyperbole. Among enthusiasts, the general attitude was one of terrific excitement about comics that—wow!—used cats and mice to tell the story of the Holocaust, or—gasp!— looked closely at both the politics and psychoses of superheroes, when the industry was presumed to have hitherto kept its heroes’ reputations untarnished. What’s more, these things called “graphic novels” were full-color, fully painted works of art which—hey!—you did not need to feel ashamed to read in a public place, even if you did look as if you were scouring the porn shelf to get to them (Sabin 72). It was finally safe for comics’ fans to come out and admit to their unspoken love. Others, however, were more hostile. David Lister set the resurgence of comic book popularity in the context of The Novel’s imminent death.1 Given the supposedly three minute culture in which “we” live, a visually based narrative media (as if television weren’t bad enough!) could only signal a turn for the worse. Lister refused to allow comics to hide behind the cloak of the term “graphic novel,” since this was of course an attempt to disguise the fact that the things were still “merely . . . a diverting entertainment for children.” One can readily set this whole debate over adult comics during the mid-80s in the general context of a series of debates over what constitutes culture. As Sabin notes, the growing popularity of Cultural Studies within British universities, and the faddishness of applying the term “postmodern” to anything that might be seen as challenging high/low culture boundaries, provided a perfect context for the adult comics hype to generate both excitement and outrage amongst its many commentators. Add to this the widely circulating arguments about whether visual literacy could be considered equal to textual literacy, and it is easy to see why the spark over comics briefly became a fire. Stepping in before the embers get cold, Sabin offers Adult Comics primarily as a “primer-textbook” for university teachers who know little about the medium and its histories, but might consider including comics on their syllabi. After all, as a medium it lends itself to all manner of disciplines, perfect fodder for the interdisciplinary age. Media studies, popular culture studies, literature, art history, and even history itself, could all be suitable disciplinary venues for the teaching of comics. Many comics offer themselves as history texts, and many flaunt such a high level of aesthetic-theoretical sophistication that their gradual assimilation into the hallowed halls of academia should not really surprise anybody. In his effort to seize on the moment of comics’ potential legitimization, Sabin casts himself in the role of demythologiser, trampling all over the rubbish that the mainstream British press has been churning out ever since comics became an issue. The death of the novel? Well, popular novels still sell pretty well. The first adult comics? They’ve been going strong since the nineteenth-century, mate, and other countries accepted them long before the English and American press leapt on the bandwagon. The collapse of high/low culture boundaries? A story as...

In the year A.D. 137 the council of the city of Palmyra in Syria agreed to revise and publish the tariff and regulations according to which dues were levied on goods brought into and exported from the city and services provided within it. This was done in order to avert in future the disputes that had arisen between the tax collectors and the merchants, tradesmen and others from whom the taxes were due, and to make the situation absolutely clear the council ordered to be inscribed and displayed in a public place both the new regulations and the old ones which they superseded. The result is one of the most important single items of evidence for the economic life of any part of the Roman empire, and, especially in the taxable services mentioned in the regulations, a vivid glimpse also of the social life of a great middle-eastern city. In ordering the publication both of the old and the new regulations, the council also caused to be preserved crucial evidence for the development of the administrative position of Palmyra in the Roman empire, the old regulations being an accumulation of pronouncements and agreements affecting the city over a period of many years. And lastly, being inscribed both in Greek and in the dialect of Aramaic used in Palmyra and its region, the inscription is an important document in the relations between Classical and local cultures in an eastern province of the empire.

This paper advocates for the adoption of freedom of panorama in the European Union. The term “freedom of panorama” (FoP) refers to an unconditional copyright exception vis-a-vis works of architecture and sculpture placed permanently in public places. The current lack of uniformity with respect to copyright exceptions at the EU level has proven problematic to end-users, service providers and other intermediaries. It has also frustrated the ultimate goal of promoting a single internal market throughout Europe, and safeguarding freedom of expression and free movement of services throughout the EU.The current system does not harmonize copyright exceptions throughout the EU. Rather, each Member State is free to adopt copyright exceptions as it sees fit. The result is a heavily fragmented system that leaves businesses and users with the necessity to individually deal with each Member State and rights holder concerned. A mandatory exception for FoP would play a key role in guaranteeing freedom of expression, access to education and the free movement of digital services in the internal single market.FoP is critical for ensuring freedom of expression and access to education. Additionally, the growth of net companies that rely on user generated conduct (UGC), such as through YouTube, Wikipedia and blogs, has led to the constant fear among most EU citizens of violating copyright law. This reiterates the need for a FoP exception that covers both commercial and non-commercial uses. Furthermore, many new cross-border educational initiatives in Europe do not fall within the “non-commercial educational and scientific research purposes” exempted under the current InfoSoc Directive. Some national systems that broadly extend the education exception to uses that fall outside the “non-commercial” definition do not extend the exception to online uses.The EU Copyright Directive should be re-written to include a mandatory FoP provision, as is already the case in the national law of EU Member States such as the United Kingdom and Germany, as well as third countries like Brazil. This solution would also comply with copyright-protective countries’ call – among them Italy, Spain and France – for such an exhaustive list. This solution would provide clear direction to Member States without becoming an overly lengthy and unwieldy document.Several problems remain with this approach. First, there has been reticence on the part of the European Court of Human Rights to protect FoP from a freedom of expression standpoint when the images’ use was commercial. Second, there is the possibility for Member States to use trademark law, cultural heritage law, or other national laws to get around a mandatory FoP exception. The uses of trademark and cultural heritage law do not pose a significant barrier to a mandatory FoP exception at present. However, the reforms ultimately decided upon must take into account the possibility of the use of this law to frustrate the Directive’s objectives.The HEC-NYU EU Public Interest Clinic (the “Clinic”) presents its justifications for a mandatory FoP exception below. We also include an annex and model legislation that addresses many of the deficiencies of current EU law.

The Digital Miscellanies Index:Mapping an Evolving Poetic Culture Abigail Williams (bio) The Digital Miscellanies Index, http://digitalmiscellaniesindex.org, is a three-year project designed to create a freely available online database of approximately fourteen hundred poetic miscellanies published during the course of the eighteenth century. Funded by the Leverhulme Trust, it is led by [End Page 165] Dr. Abigail Williams and Dr. Jennifer Batt, and is based at the Faculty of English Language and Literature, University of Oxford. Oxford University Computing and Library Services, in collaboration with Gnostyx Research, created and developed the database. It is due for completion in the summer of 2013. Its contents are based on a comprehensive new bibliography of eighteenth-century poetic miscellanies compiled by Michael F. Suarez, SJ. The Value of Miscellanies Critical trends of the past thirty or so years have seen a huge rise in interest in non-canonical, little-known, yet often highly important, areas of poetry. Many poems were published individually, but they went on to enjoy an afterlife in the miscellany culture of the period. Poetic miscellanies are vital to understanding the diversity of eighteenth-century literary culture, reflecting fashions, popular taste, and the literary market. They were the form in which many ordinary people would have read poetry, and they offer insights into readers and consumers of the past. As one of the most visible points of contact between the shaping of the literary canon and the commercial demands of print culture, they represent a particularly important and popular mediation of poetry. Yet they have been largely neglected, because of their bewildering number and variety: though there were several thousand published between 1700-1800, the contents of most of these are relatively unknown. In his influential New Oxford Book of Eighteenth-Century Verse (1984), Roger Lonsdale asserts that "we still know very little" about "the landscape of eighteenth-century poetry" (xxxv) because of our ignorance of the innumerable poetic miscellanies of the period. Almost thirty years later, we do not know much more about the specific contents of these miscellanies, and so their significance remains untapped. Scholarship concerned with poetic reception still relies largely upon the same handful of anthologies and miscellanies for evidence of popularity of individual poems or authors, particularly with regard to well-known collections like Robert Dodsley's six-volume Collection of Poems by Several Hands (1748-58) or Thomas D'Urfey's Pills to Purge Melancholy (1719). It is impossible to map the development of the literary canon and the changing nature of eighteenth-century poetics using such a tiny sample as an index of popular taste. [End Page 166] The Value of a Database The Digital Miscellanies Index will, where possible, record every poem in every surviving miscellany from 1700-80, enabling researchers to ask very precise questions about texts, readers, and publishers, and to use that information to map the often unpredictable shape of eighteenth-century poetic culture. The combination of bibliographical and statistical data it will provide will enable scholars to consider the extent to which the apparent popularity of individual poems and authors is a product of commercially driven textual transmission. It will also allow users to investigate the relationship between readership and poetic taste. Each miscellany will be categorized under fields such as format, price, place of publication, and gender of author, and the bibliographical information recorded about each compilation will enable researchers to see how the variables of gender, region, and class have an effect on the reception and consumption of literature in the period. We have recently moved the data out of a relational database, and used it to populate an eXist database, which is augmented with a full-text search index. This will enable significant flexibility in the representation of the material we have captured. User results will be readily available for future data mining and data visualization, and by capturing the data in Extensible Markup Language (XML), we anticipate the long-term affordability and sustainability of the project. The Digital Miscellanies Index will effectively allow us to construct a data-driven reception history of British poetry in this period. It is already producing results that challenge long-held assumptions about the nature of...

The article focuses on the textual history of the Ruthenian translation of the Czech book entitled Lucidář (Lucidarius), a medieval encyclopedic treatise consisting of the student’s questions and the teacher’s answers, which was most widespread in the Cyrillic manuscript tradition of the Polish-Lithuanian Commonwealth (the Grand Duchy of Lithuania and the Kingdom of Poland). This translation was made in 1636 from a non-extant edition (*Olomouc, 1622) and is represented by at least nine manuscript copies: five of them have been published and other four still remain practically unknown (kept at St. Petersburg and Yaroslavl). The latest manuscript copy of the early 19th century, which is of Ukrainian origin and is now kept in the collection of T. V. Kibalchich (St. Petersburg, National Library of Russia, Main Collection of the Manuscript Books (f. 550), Q.I.910, 21 f.), contains interpolations from three printed sources: Ioannikiy Galyatovsky’s Ključ razuměnija (Kyiv, 1659 or Lviv, 1663 or 1665), Cyril Tranquillion-Stavrovetsky’s Zercalo bogoslovija (Pochaiv, 1618 or Univ, 1692), andthe Chronicle by Dimitry of Rostov (Moscow, 1799–1800). These interpolations testify to the textual development of the Ruthenian translation of the Czech Lucidarius at the very end of its manuscript tradition. In the manuscript, the sources of these interpolations are explicitaly named without indicating the year and place of publication. The present article aims to establish the methods applied by an anonymous scribe to his printed sources and to identify the editions used by the compiler.

This chapter describes the use of video screenings in public places as a strategy to change the illegal situation of community media in Brazil. Through the theoretical interpretation of “Repórteres de Bairro” (Neighborhood Reporters), a media literacy project in Rio de Janeiro from 1994 to 2000, it shows how a set of production and screening techniques labeled “street television” were used to enhance collective and individual identities in an intertwined process.KeywordsCommercial TelevisionVideo ProductionBroadcasting CommunicationPublic TelevisionDiscursive AnalysisThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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