Editorial History Research Articles

Areal Delineation of Home Regions from Contribution and Editing Patterns in OpenStreetMap

The type of data an individual contributor adds to OpenStreetMap (OSM) varies by region. The local knowledge of a data contributor allows for the collection and editing of detailed features such as small trails, park benches or fire hydrants, as well as adding attribute information that can only be accessed locally. As opposed to this, satellite imagery that is provided as background images in OSM data editors, such as ID, Potlatch or JOSM, facilitates the contribution of less detailed data through on-screen digitizing, oftentimes for areas the contributor is less familiar with. Knowing whether an area is part of a contributor’s home region or not can therefore be a useful predictor of OSM data quality for a geographic region. This research explores the editing history of nodes and ways for 13 highly active OSM members within a two-tiered clustering process to delineate an individual mapper’s home region from remotely mapped areas. The findings are evaluated against those found with a previously introduced method which determines a contributor’s home region solely based on spatial clustering of created nodes. The comparison shows that both methods are able to delineate similar home regions for the 13 contributors with some differences.

Cultural Capital, Language and National Identity in Imperial Spain by Lucia Binotti (review)

BINOTTI, LUCIA. Cultural Capital, Language and National Identity in Imperial Spain. Woodbridge, UK: Tamesis, 2012. x + 207 pp.In an effort to recontextualize the recurrent debate about the existence, nature, and scope of a Spanish Renaissance, Lucia Binotti brings an interdisciplinary perspective to bear on a broad range of practices and artifacts which contributed to the specific contours of sixteenth-century Spanish culture, while also identifying the formative points of contact between Spain and the epicenter of Renaissance activity and thought, Italy. Binotti's Cultural Capital, Language and National Identity in Imperial Spain positions itself at the intersections of renewed interest in both the material production of Renaissance culture and early modern thought about language as a rhetorical and epistemological medium. In doing so, it incorporates historiography, intellectual history, cultural materialism, and linguistic and literary analysis, a program that mirrors the complex constellation of practices that characterize early modern Spanish culture.Of special interest to Binotti is the process by which the Renaissance, in Spain as in Italy, though with different outcomes, arose as the result of specific commercial, artistic, and intellectual practices which sought to establish the grounds for their own authority, circulation, and consumption. Binotti fruitfully builds off of Paula Findlen's work on the role of the creation of cultural capital in producing a material, intellectual, and artistic Renaissance in Italy, but does so not simply by describing a parallel procedure in Spain; rather she shows how the political relationship between Spain and Italy enabled concrete practices of cultural appropriation and exploitation which instigated and gave form to what would become the Renaissance in Spain.The is divided into two parts. Part one, Patronage, Audiences and Cultural Markets, explores how the cultural conditions of the Italian Renaissance were transposed into the Spanish context, only to be reshaped by local concerns into a unique cultural configuration. In chapter one, Binotti examines the commercial triumph of Italian translations of Spanish sentimental fiction in the sixteenth century. The shifting formation of the Italian elites found, in works like Carcel de amor and La historia de Grisel y Marbella, the representation of the conventionalized and ritualized discourse of courtly life and values which reflected and codified this diverse yet exclusive readership's own evolving self-image. In this context, Binotti identifies the entrepreneurial use of the printing press (17), the material transformation of the text, and the editorial emphasis on linguistic purity as crucial elements in the commercial and cultural success of these Spanish texts in Italy. This success manifests itself both in the editorial history of the works and in their role as intertexts for the works of Castiglione and Ariosto, a role Binotti examines in some detail.Chapter two continues the story of the Italian appropriation and transformation of Spanish texts, but turns from textual analysis to an account of the editorial and publishing practices through which Spanish texts were furnished with cultural authority and presented to readers as canonical, first in Italy and then in Spain. Binotti describes how Italian editors and publishers established concrete formal identifiers which would confer on texts both literary and artifactual canonicity, marking them as appropriate for consumption and collection by the social and political elites of Italy. She then locates the translation and publication, by Spaniards living in Italy, of Ariosto's Orlando furioso within this set of practices, stressing the new edition's institutional physiognomy as a book (76) and affirming the role of such formal traits as typography and the inclusion of reader-oriented paratexts in the process by which the procedures and objectives of Italian Renaissance culture were imposed on Spanish texts in a way that would then allow for their domestication in the upper echelons of Spain's own cultural milieu. …

3D Timeline: Reverse engineering of a part‐based provenance from consecutive 3D models

AbstractWe present a novel tool for reverse engineering of modeling histories from consecutive 3D files based on a timeline abstraction. Although a timeline interface is commonly used in 3D modeling packages for animations, it has not been used on geometry manipulation before. Unlike previous visualization methods that require instrumentation of editing software, our approach does not rely on pre‐recorded editing instructions. Instead, each stand‐alone 3D file is treated as a keyframe of a construction flow from which the editing provenance is reverse engineered. We evaluate this tool on six complex 3D sequences created in a variety of modeling tools by different professional artists and conclude that it provides useful means of visualizing and understanding the editing history. A comparative user study suggests the tool is well suited for this purpose.

Wikipedia As a Tool for Disseminating Knowledge of (Agro)Biodiversity

The dissemination of knowledge about (agro)biodiversity is a strategic factor in communicating the urgent need to defend and protect biological diversity. Although this can be carried out with various media, in recent years social media (or “Web 2.0”) have begun to assume a prominent role. Of the Web 2.0 services, Wikipedia (Wikimedia Foundation, San Francisco, CA) is one of the most powerful and interesting tools, for several reasons, being collaborative by nature, free of charge, multilingual, and accessible online; in addition, anyone can update the materials therein. Within the framework of the regional project “Rural Development Programme 2007-2013,” our research group, responsible of the collection of historical information and morphological characterization of several vegetable crops considered to be at risk of genetic erosion, proposed the use of Wikipedia as a dissemination tool. The objective of this study was to show how to add/modify articles in Wikipedia for online divulgation and to demonstrate its validity by analyzing some data (pageviews, editing history, and the impact of Wikipedia as a referral toward the project’s institutional website) related to the Wikipedia articles that were added/modified. The article about the landrace variety Carota di Polignano carrot (Daucus carota), created from scratch, received more than 15,000 pageviews in less than 2 years. Referrals from Wikipedia increased the visits to the institutional website by 30%, whereas the bounce rate decreased by 15%. Wikipedia may be a good tool to improve the dissemination of knowledge about (agro)biodiversity either online or offline, and the addition in Wikipedia’s pages of scientific journal references and of links to projects’ website may strengthen the diffusion of scientific knowledge.

William Blake and the Digital Humanities: Collaboration, Participation, and Social Media by Roger Whitson, Jason Whittaker

Roger Whitson and Jason Whittaker. William and the Humanities: Collaboration, Participation, and Social Media. New York: Routledge, 2013. Pp. 211. $93.56. In this study, Roger Whitson and Jason Whittaker do an excellent job of describing in popular culture (Whittaker's forte) and in social media: Twitter, Flickr, Wikipedia, and YouTube (Whitson's). Chapter 1 focuses on Virtual Blake, offering its core theorization of the virtual and then tracking editions of from Blake's lifetime to digital media, especially William Archive. Chapter 2 focuses specifically on editions and adaptations of Blake's The Tyger, while Chapter 3, on Jerusalem, describes the uptake in popular culture, particularly rock music and political organizations, of Blake's Hymn Jerusalem from Milton. Chapter 4, Digital Creativity: Teaching William in the Twenty-First Century, describes the process of using Twitter to teach and asking students to use software programs to create a final project that appropriates Blake's work to create a meme of sorts. Chapter 5 purports to discuss Blake and His Online Audiences, but what it really does is demonstrate how digital media make it possible to trace and characterize Blake's audience, even though the uses of are not always digital (e.g., poems by Chamber music organizations, articles in newspapers). By contrast, Chapter 6, Folksonomies and Machine Editing: William Blake's New Aesthetic on Flickr, Wikipedia, and YouTube, does describe digital uses of Blake's work. This chapter explores how the semantic web will make use of rdf triples, metadata about each of its resources that could link disparate digital resources into one big giant billion-editor of Blake's work, resulting in a text constituted by the Internet as a whole. Excellent concerning the relationship of to popular culture and digital media studies, this book calls for discussion because it purports more largely to bring a message from Humanities (DH) to traditional disciplines of English literature and history: [W]e suggest ... that the humanities and literary studies should practice what calls 'self-annihilation.' We should, in other words, abandon institutional and embrace experimentation (25). Even given that Blake's version of might not be as destructive as the term suggests, these are fighting words. book as a whole attempts to delineate a way forward for literary studies, a way that they imagine DH to be leading us, and opposes academic to the spirit of collaboration. In this review essay, I will deal with DH's relation to traditional literary studies first, looking especially at the history of editing and the impact of collaboration on current editing practices, asking whether DH in fact preaches self-annihilation to the humanities as currently constituted. I will conclude by discussing disciplinary egos and their relation to expertise. Part of the that Whitson and Whittaker imagine has to do with changing what humanists do: we should be, instead of merely interpreting and critiquing, producing digital media. kind of digital productions they advocate are enabled by Web 2.0 and semantic web technologies, to which this book provides a good introduction. But there are distinctions to be made. Many of the new social media allow users to shape the content of any particular web site and/or text, whereas other editions may simply gather all available digital resources made by myriad hands distributed across the Internet. Older web sites tend to be more like the Archive, presenting what is essentially a digital edition of a printed text, its digitization allowing users to perform some things with greater ease. It is much easier, for example, to search Blake's illuminated books for images of bats using the Archive than it is to fly all over the globe looking at all of his illuminated books housed in various collections to find those images. …

Ranking Wikipedia article's data quality by learning dimension distributions

As the largest free user-generated knowledge repository, data quality of Wikipedia has attracted great attention these years. Automatic assessment of Wikipedia article’s data quality is a pressing concern. We observe that every Wikipedia quality class exhibits its specific characteristic along different first-class quality dimensions including accuracy, completeness, consistency and minimality. We propose to extract quality dimension values from article’s content and editing history using dynamic Bayesian network (DBN) and information extraction techniques. Next, we employ multivariate Gaussian distributions to model quality dimension distributions for each quality class, and combine multiple trained classifiers to predict an article’s quality class, which can distinguish different quality classes effectively and robustly. Experiments demonstrate that our approach generates a good performance.

Little Women: An Annotated Edition by Louisa May Alcott ed. by Daniel Shealy, and: Marmee and Louisa: The Untold Story of Louisa May Alcott and Her Mother by Eve LaPlante, and: My Heart Is Boundless: Writings of Abigail May Alcott, Louisa’s Mother ed. by Eve LaPlante (review)

Reviewed by: Little Women: An Annotated Edition by Louisa May Alcott ed. by Daniel Shealy, and: Marmee and Louisa: The Untold Story of Louisa May Alcott and Her Mother by Eve LaPlante, and: My Heart Is Boundless: Writings of Abigail May Alcott, Louisa’s Mother ed. by Eve LaPlante Gregory Eiselein (bio) Little Women: An Annotated Edition, by Louisa May Alcott. Edited by Daniel Shealy. Cambridge, MA: Belknap P of Harvard UP, 2013. Marmee and Louisa: The Untold Story of Louisa May Alcott and Her Mother, by Eve LaPlante. New York: Free P, 2012. My Heart Is Boundless: Writings of Abigail May Alcott, Louisa’s Mother, edited by Eve LaPlante. New York: Free P, 2012. The study of Louisa May Alcott, her writings, and her extraordinary cultural context reached a high point of sorts in the previous decade, with the publication of the brilliant and sympathetic Eden’s Outcasts: The Story of Louisa May Alcott and Her Father (2007) by John Matteson, a dual biography about the intertwined lives of Louisa and Amos Bronson Alcott. That book won acclaim from academic and popular audiences and later collected the Pulitzer Prize in biography. Then came more, including the PBS documentary Louisa May Alcott: The Woman Behind “Little Women” (2009) directed by Nancy Porter, and its biographical book tie-in authored by Harriet Reisen. The current decade in Alcott scholarship has had its ups—Richard Francis’s Fruitlands: The Alcott Family and Their Search for Utopia (2010), a beautifully written and astonishingly well-researched account of the utopian community where the Alcotts lived in the early 1840s—but also some downs, such as Susan Cheever’s misguided and sometimes factually inaccurate Louisa May [End Page 279] Alcott: A Personal Biography (2010). Still, new discoveries and work on Alcott and her family continue to generate popular and academic interest. The 2012–13 academic year saw the publication of three important and genuinely engrossing contributions to our understanding of Alcott and her writing, books that attest to our enduring fascination with this author and her most famous novel, Little Women. The most recent of these volumes is Daniel Shealy’s Little Women: An Annotated Edition. President of the Louisa May Alcott Society and Professor of English at the University of North Carolina at Charlotte, Shealy is a widely admired and prolific Alcott scholar, who has edited or coedited eleven books about his subject—everything from her Journals and Selected Letters to her Fairy Tales and Fantasy Stories to The Alcott Sisters’ Letters from Europe, 1870–1871 and more. His extensive experience editing Alcott’s texts and devotion to scholarship about her work in many ways make Shealy the ideal scholar to prepare an annotated edition of Little Women. His new edition of this beloved novel does not disappoint. In one respect, this Annotated Edition is just the latest in a complex history of the novel’s various versions, from the original Roberts Brothers printing of the first part in October 1868 to the present, as Shealy knows as well as anyone. In other respects, however, this new volume seems to capture and encompass many key parts of the novel’s long textual and cultural history. The “Note on the Text” explains in a concise way the history of the first edition published in two volumes in 1868–69 by Roberts Brothers, as well as its editing and repackaging as a lavishly illustrated Christmas book in 1880 and as a more compact “regular edition” the following year. Shealy chooses the text of the original edition as the basis for his own, “since later changes made by Roberts Brothers clearly work against the spirit of the novel” (xi). Still, his Annotated Edition also includes a partial list of textual variants (599–606), a piece of back matter that identifies some of the most interesting changes made and illustrates the differences between the original edition and the less slangy and more refined text of 1880–81. These are not the only versions of Little Women that Shealy makes part of his own edition, however. In an introduction (1–29) that quietly synthesizes a great deal of research, we learn about the novel in its prehistory with illustrations...

“Poscia, più che ‘l dolor, poté ‘l digiuno”: Translation and Interpretation in Inferno XXXIII

ANYONE who has read or taught Dante Alighieri's Divina Commedia in translation has been faced with the vital question of which edition to select. This choice is not made easy by the great abundance of English editions of one of literature's most translated texts. Although the profusion of translations, nearly all completed within the last two centuries, (1) pales in comparison with the 700-year history of Italian editions, the texts vary tremendously in structure, style, and accuracy. Such differences reflect not only historical shifts of translation methodology and theory over time but also the individual translator's understanding and interpretation of the original text. The choices that the translator makes can have a profound effect on the experience of the casual reader as well as the more committed student or scholar. The most dramatic example of the translator's influence over Dante's text is found, perhaps not surprisingly, in the famously controversial Inferno XXXIII, line 75: Poscia, piu che 'l dolor, pote 'l digiuno. In this article, I examine a wide range of English renderings of this line and ponder their implications. (2) The resulting exploration underscores the power of the translated word and its influence over not only the interpretation of the original text but also, perhaps more significantly, our ability to confront uncomfortable cultural realities. The notoriously ambiguous line 75 concludes Count Ugolino's account of his horrific death in what later became known as Pisa's Torre della fame. In Dante's Hell, Ugolino is bound by ice together with Archbishop Ruggieri, the man who had betrayed and then imprisoned him, causing his death. Their bodies are frozen below the surface, merged into one rigid form, with heads exposed and Ugolino's teeth eternally gnawing at the skull and nape of his captor's neck. Ostensibly, Ugolino inhabits this circle of Hell for the sin of treachery, but his tale does not include the narration of this offense. Instead, Ugolino describes how he was locked into the tower with his sons and grandsons--who are represented by Dante as children although, historically, they were adults at the time--and eventually left to starve to death. This is one of the most memorable passages to any reader of the Inferno, with the suffering of the children vividly narrated and then followed by their macabre offer: telling their father to unmake them by stripping them of their flesh, to eat them in order to relieve his own pain. Ugolino did not act on their proposition, and one by one the children died of starvation. His condemned spirit relates how he alone remained, crawling over the bodies of his descendants in despair, concluding his tale with the verse, Poscia, piu che 'l dolor, pote 'l digiuno. After uttering these words, Ugolino buries his teeth once again into his adversary's skull. What exactly does Ugolino mean by these words? Did Dante intend to say that although grief did not kill him, hunger did so? Or was he implying that hunger overcame the reticence of grief and sorrow, driving Ugolino to eat the flesh of his deceased offspring before he, himself, died? The controversy has raged for centuries, with strong and sometimes heated arguments on both sides. (3) I will not attempt to give a definitive answer to this much-debated issue; my interest lies instead in the question of what the translators believed when they translated and/or commented upon the line and how their opinions may or may not be reflected in the end result. The very first English text based on the Divina Commedia was, fittingly, Chaucer's paraphrase of the Ugolino story in the Monk's Tale, dating from c. 1370. Ugolino's episode later became the most widely translated of the Commedia (Crisafulli 12), and he reappeared as a popular figure in many loosely translated fragments from the 18th century, reflecting the era's fascination with the macabre (De Sua 9). (4) Following the first translation of the entire Commedia by Henry Boyd in 1785, the floodgates opened and one translation followed another, among them the first American version, published by Henry Wadsworth Longfellow in 1867. …

Targeted genome editing

Genome editing with engineered nucleases is an emerging technology that enables manipulation of targeted genes in many organisms and cell lines. To date, two types of engineered nucleases have been developed. Zinc finger nucleases (ZFNs), which first emerged in 1996, have a long and successful history of genome editing. Transcription activator-like effector nucleases (TALENs), on the other hand, have been recently developed as a more user-friendly engineered nuclease, because TALENs are easy to construct in-house and the target site may be selected in any gene. Using these engineered nucleases, targeted gene disruptions have been achieved successfully in cultured cells and various organisms. Furthermore, gene correction or targeted gene addition have been reported mainly in cultured cells, and also in several organisms. Surprisingly, a third genome editing technology, known as CRISPR/Cas system, suddenly emerged in 2013 and efficient genome editing using this system was reported in various organisms. In this way, genome editing technology is now becoming the most exciting field in life sciences and important for developmental biology. We thought that it is a good timing to publish a special issue focusing on targeted genome editing. We hope this issue will provide general information on available techniques and materials for developmental biologists.

К истории русских и немецких Примечаний к Ведомостям (1728–1742)

This article is devoted to the well-known, but not well-studied, Notes on the St. Petersburg Gazette – the first Russian periodical, published in two languages at the Academy of Sciences of St. Petersburg. The author reconstructs the editorial history of the Notes and shows the prominent role which the influential administrator of the Academy, J.D. Schumacher, played for this magazine over the whole period of its publication. Furthermore she considers the genre tradition of German periodicals the editors of the Notes must have followed in their journalistic project, and describes the practice of publishing numerous essays translated for the Notes from the English moral weeklies.

Estudio de variantes y adiciones del Laberinto de Fortuna

Este artículo es la introducción y estudio de la edición crítica de Las XXIV (ID 4672, ID 6076, ‘Como durmiendo con la pesada’), ‘segunda adición’ al Laberinto de Fortuna de Juan de Mena. En este estudio se abordan los problemas de transmisión de Las XXIV y cómo a partir de las tradiciones manuscritas e impresas se pretende que tres composiciones formen un solo cuerpo: Al muy prepotente don Juan el segundo (ID 0092, Laberinto de Fortuna), La Flaca barquilla (ID 1808, tres coplas, ‘primera adición’) y Como el que duerme con la pesada (ID 4672, ID 6076, Las XXIV, ‘segunda adición’). El estudio de los enlaces entre las tres composiciones, la edición de ID 1808, el estudio de: las variantes, los componentes de la glosa (resúmenes, vocabulario e intertextualidad), así como de la historia editorial de la transmisión de Las XXIV, completan el estudio.

Inverse image editing

We study the problem of inverse image editing , which recovers a semantically-meaningful editing history from a source image and an edited copy. Our approach supports a wide range of commonly-used editing operations such as cropping, object insertion and removal, linear and non-linear color transformations, and spatially-varying adjustment brushes. Given an input image pair, we first apply a dense correspondence method between them to match edited image regions with their sources. For each edited region, we determine geometric and semantic appearance operations that have been applied. Finally, we compute an optimal editing path from the region-level editing operations, based on predefined semantic constraints. The recovered history can be used in various applications such as image re-editing, edit transfer, and image revision control. A user study suggests that the editing histories generated from our system are semantically comparable to the ones generated by artists.

The Impact of the New Translation of The Second Sex: Rediscovering Beauvoir

The Impact of the New Translation of <i>The Second Sex</i>: Rediscovering Beauvoir

The Impact of the New Translation of The Second Sex: Rediscovering Beauvoir

The Impact of the New Translation of <i>The Second Sex</i>: Rediscovering Beauvoir

WHAD: Wikipedia historical attributes data

This paper describes the generation of temporally anchored infobox attribute data from the Wikipedia history of revisions. By mining (attribute, value) pairs from the revision history of the English Wikipedia we are able to collect a comprehensive knowledge base that contains data on how attributes change over time. When dealing with the Wikipedia edit history, vandalic and erroneous edits are a concern for data quality. We present a study of vandalism identification in Wikipedia edits that uses only features from the infoboxes, and show that we can obtain, on this dataset, an accuracy comparable to a state-of-the-art vandalism identification method that is based on the whole article. Finally, we discuss different characteristics of the extracted dataset, which we make available for further study.

Hugo-Wolf-Werkverzeichnis (HWW): Thematisch-chronologisches Verzeichnis der musikalischen Werke Hugo Wolfs by Margret Jestremski (review)

REFERENCE Hugo-Wolf-Werkverzeichnis (HWW): Thematisch-chronologisches Verzeichnis der musikalischen Werke Hugo Wolfs. By Margret Jestremski. (Catalogus Musicus 19.) Kassel: Barenreiter, 2011. [xxxiv, 698 p. ISBN 9783761819890. i198.] Music examples, illustrations, bibliography, indexes.In their recently released Oxford History of Western Music, College Edition (New York: Oxford University Press, 2013), Richard Taruskin and Christopher H. Gibbs note that Hugo Wolf is remembered today almost exclusively for his extraordinary contribution to the [lied] (Taruskin and Gibbs, 793). That they make no attempt to explain the nature of this contribution seems to be symptomatic of the current evaluation of Wolf's historical stature. In his Music in Western Civilization (Boston: Schirmer Cengage, 2010), Craig Wright merely references Wolf in passing, and whereas previous editions of the Norton Anthology of Western Music had included a Wolf song, the fifth and sixth (ed. J. Peter Burkholder and Claude V. Palisca [New York: W. W. Norton, 2006 and 2010]) do not, although an excerpt of one appears in the two editions of the textbook they accompany. Despite this implied reassessment of Wolf's historical significance, scholars are still exploring his music. While some, most notably Susan Youens (see, for instance, Hugo Wolf and His Morike Songs [Cambridge: Cambridge University Press, 2000]) tease out the diverse layers of meanings in the texts and music of his lieder, others continue to interrogate his chromatic harmonies. In one of the most recent forays, Matthew BaileyShea analyzes two songs using Robert Bailey's concept of the double tonic complex; see Hexatonic and the Double Tonic: Wolf 's Christmas Rose, Journal of Music Theory 51, no. 2 (Fall 2007): 187-210.Given that the lied dominates Wolf's output, it is not surprising that the scholarly literature emphasizes this genre. Nevertheless there are other works and other approaches that need to be explored. Unlike most Wolf scholars, Margret Jestremski has concentrated on source studies. Her monograph Hugo Wolf Skizzen und Fragmente: Untersuchungen zur Arbeitsweise (Hildesheim: Olms, 2002), which is based on her dissertation, disproves the myth that Wolf composed in fits of inspiration-a notion that originated with Wolf's friends and supporters. In addition to cataloguing the manuscript material and discussing some of the sketches of Wolf's lieder, Jestremski explores the compositional histories of the String Quartet in D minor (HWW 111, 1878-84, revised 1885) and the Intermezzo for String Quartet (HWW 113, 1882-86). Her article 'In the Heat of Creativity'? Strategies in Hugo Wolf's Compositional Process (Musicologica Austriaca 26 [2007]: 101-12) provides an English-language overview of some of her findings. Jestremski's most recent volume, Hugo-Wolf-Werkverzeichnis (HWW): Thematischchronologisches Verzeichnis der musikalischen Werke Hugo Wolfs, represents the culmination of her extensive examination of the sources for Wolf's compositions.Unlike many other catalogs, the Hugo-Wolf-Werkverzeichnis is not organized by genre. Instead, all the completed works and fragments are arranged in chronological order, with each work assigned a HWW number from 1 to 169. The main catalog, which spans almost 600 pages, begins with a fragment of an E[musical flat]-Major Piano Sonata from 1875 and ends with a movement for a projected III. Italienische Serenade, of late 1897. The dates for each composition are drawn from Wolf's autographs or the correspondence of the composer with his associates. These dates often represent the completion of a work, and, where relevant, the subsequent historical overview notes the time period of the entire creative process. The catalog is followed by a series of five short appendices describing the sketchbooks; other single sketches, composition plans, and lost works; arrangements of works by other composers; copies of works by other composers; and works falsely attributed to Wolf. …

History Compass

History CompassVolume 11, Issue 5 p. 1-2 Editorial History Compass First published: 30 May 2013 https://doi.org/10.1111/hic3.12063AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume11, Issue5Special Issue: Special Issue on The Historiographical Legacies of David UnderdownMay 2013Pages 1-2 RelatedInformation

An updated overview of research published in the International Marketing Review

PurposeThe purpose of this paper is to analyze the 29 years of research published in International Marketing Review (IMR) since its inception.Design/methodology/approachA brief editorial history of the journal is chronicled, and its output is discussed. Special attention is focused upon journal content, authorship analysis, and methodological issues.FindingsThe authors find: IMR publishes articles that often focus on export and global marketing, with consumer behavior and branding being the fastest growing content areas; IMR's frequent contributors consist of world renowned experts in international marketing and business and have become more diverse; and the authors of IMR use a wide variety of data collection and analysis methods.Research limitations/implicationsThe authors conclude that IMR exhibits the characteristics of a mature and leading journal in the field of international business. To assist IMR in maintaining its significant impact on marketing scholarship, the paper outlines some possible directions for the future.Originality/valueThis article analyzes the 29 years of research published in International Marketing Review (IMR) since its inception. To assist IMR in maintaining its significant impact on marketing scholarship, it also outlines some possible directions for the future.

Modeling Wikipedia admin elections using multidimensional behavioral social networks

Wikipedia admins are editors entrusted with special privileges and duties, responsible for the community management of Wikipedia. They are elected using a special procedure defined by the Wikipedia community, called Request for Adminship (RfA). Because of the growing amount of management work (quality control, coordination, maintenance) on the Wikipedia, the importance of admins is growing. At the same time, there exists evidence that the admin community is growing more slowly than expected. We present an analysis of the RfA procedure in the Polish-language Wikipedia, since the procedure’s introduction in 2005. With the goal of discovering good candidates for new admins that could be accepted by the community, we model the admin elections using multidimensional behavioral social networks derived from the Wikipedia edit history. We find that we can classify the votes in the RfA procedures using this model with an accuracy level that should be sufficient to recommend candidates. We also propose and verify interpretations of the dimensions of the social network. We find that one of the dimensions, based on discussion on Wikipedia talk pages, can be validly interpreted as acquaintance among editors, and discuss the relevance of this dimension to the admin elections.

Posterior Priorities: James and Wilde and Then Some

Monopolizing the Master: Henry James and the Politics of Modern Literary Scholarship by Michael Anesko Stanford University Press, 2012. 248 pages Oscar's Shadow: Wilde, Homosexuality, and Modern Ireland by tibhear Walshe Cork University Press, 2011. 149 pages Jesse Matz Henry James himself would have made quite a tale of it. A photograph in Michael Anesko's gripping Monopolizing the Master shows James biographer Leon Edel smiling before Sargent's portrait ofJames, flaunting the very same topaz ring James himself is wearing. Edel got the ring as a gift in appreciation of his service to the James family after the 1953 publication of the first volume of his James biography. His exaltation--The ring fits my finger--the same one HJ wore it on--as if it were made for it--could have been basis for a Jamesian story of semi-gothic perfidy, but Edel's more general ambition--to take all HJ as my province and tell all corners I am doing Everything! (187)--bespeaks a truly Jamesian scoundrel. Anesko tells the whole fascinating story. Bad enough as a tale of scholarly misconduct, it is worse as a story of what bad scholarly practices have meant for the history of sexuality. To earn the trust of the Jameses, Edel helped keep Henry James in the closet, and, after the fourth volume of his biography belatedly broke the news in 1969, Edel also helped guard against scholars searching for information might have enhanced his rather minimalist version of Jarnes's homosexuality. Compare Micheal mac Liamrnoir, who wrote and performed in The Importance of Being Oscar, the 1960 play singlehandedly began the rehabilitation of Oscar Wilde. Founder of the Gate Theatre, and openly gay as early as 1928 when he moved to Dublin with his life partner, Hilton Edwards, mac Liammoir risked life and limb to redeem Wilde's reputation. Although The Importance of Being Oscar downplayed Wilde's sexu alit it initiated a series of liberalizing ventures would include one-man Wilde shows, public advocacy, and An Oscar of No Importance, mac Liam-moir's 1968 memoir, which candidly celebrates Wilde as that magician whose name was my secret for evermore (63). Sharing secret at the same time Edel shared the secret ofJames's homosexuality, mac LiammOir was a very different sort of successor. Both men chose to embody their idols, but whereas mac Liammoir helped heroicize Wilde's homosexuality, Edel played the villain, putting himself and his own interests first. In the years between Henry James's death and 1969, his family made every effort to suppress information about his sexuality. Scholars and editors wanting to publish or even to discuss his work had to comply with restrictions set by a succession of family executors for whom -discretion was essential. Percy Lubbock had to agree not to include James's gushingly amorous dotings upon younger men in the edition of letters published in 1920. That edition simply stripped many letters of language the James family found embarrassing--a remarkable violation in the history of scholarly editing but one was simply standard over the years James's descendants controlled his legacy. Edel's involvement only made things worse. Shrewdly aware of how best to exploit the family's concerns, Edel used them to consolidate his own power over James's legacy: convincing first the nephew and then others he alone could truly be trusted to guard James's papers against indiscretion, Edel established what he came to call his priorities--his foremost rights to everything having to do with Henry James. For years, other scholars were kept from looking at James material in the Houghton Library; turned back at the library desk by unique prohibitions against access and permissions. By the same token, because Edel helped keep James's sexuality a secret only in order to maintain control over James's legacy, only because secrecy endeared him to the Jameses, he was eager to go public when he stood to gain by it. …