Longest Section Research Articles

Setting the optimal length to be scanned in rows of vines by using mobile terrestrial laser scanners

Mapping the leaf area index (LAI) by using mobile terrestrial laser scanners (MTLS) is of significance for viticulture. LAI is related to plant vigour and foliar development being an important parameter for many agricultural practices. Since it may present spatial variability within vineyards, it is very interesting monitoring it in an objective repeatable way. Considering the possibility of using on-the-go sensors such as MTLS within an agricultural plot, it is necessary to set a proper length of the row to be scanned at each sample point for a reliable operation of the scanner. Three different row length sections of 0.5, 1, and 2 m have been tested. Data analysis has shown that models required to estimate LAI differ significantly depending on the scanned length of the row; the model required to estimate LAI for short sections (0.5 m) is different from that required for longer sections (1 and 2 m). Of the two models obtained, we recommend using MTLS for scanning row length sections of 1 m because the practical use of the sensor in the field is simplified without compromising the results (there is little variation in the model when the row length section changes from 1 to 2 m). In addition, a sufficient number of sampling points is obtained to support a map of the LAI. Linear regression models using as explanatory variable the tree area index, obtained from the data provided by the scanner, are used to estimate the LAI.

Approaches to Teaching Chaucer’s “Canterbury Tales.” ed. by Peter W. Travis, Frank Grady

Reviewed by: Approaches to Teaching Chaucer’s “Canterbury Tales.”ed. by Peter W. Travis, Frank Grady David Raybin Peter W. Travis and Frank Grady, eds. Approaches to Teaching Chaucer’s “Canterbury Tales.” 2nd ed. New York: The Modern Language Association of America, 2014. Pp. xi, 243. $24.00. The title of Peter Travis and Frank Grady’s volume declares its goals, its value, and its audience. The book is designed for those who seek advice about teaching the Canterbury Tales, and, as one might expect from its seasoned editors, it offers a great deal of learned counsel. Travis and Grady have gathered thirty-five able contributors, authored the book’s introduction, and provided essential editorial matter, all the while keeping the tome sleek and affordable. Their efforts are to be commended. Approaches to Teaching Chaucer’s “Canterbury Tales”is divided into two parts: the editors’ concise exposition of “materials” available to teachers of the Canterbury Tales, and a collection of thirty-five “approaches” that span the scope of traditional and contemporary thinking about Canterbury Talespedagogy, followed by a brief “Afterword.” I found the individual contributions more or less congenial to my thinking, but to offer subjective evaluations of what are by design brief essays multiplicitous in their perspectives would be to miss the point of so inclusive a volume. As Chaucer sagely observed, “Diverse folk diversely they demed” ( SqT, 202), and given the enormous variety of the contributions, different readers are likely to find different chapters helpful in thinking about their own pedagogy. I direct my attention to describing the range of what readers will discover in the volume. The “materials” tallied by Travis and Grady in nineteen succinct pages include popular editions (Middle English, translations, and anthologies, as suggested by an extensive survey of Chaucer instructors); recommended reading suitable for undergraduates; teaching aids (websites, audio and visual materials, and electronic and multimedia [End Page 377]resources); and a basic instructor’s library of background studies, reference works, and essential criticism. To be sure, the editors assigned themselves an impossible task. In the current unstable marketplace, some of the material is already outdated: The Riverside Chauceris no longer available in the United States, videos and other electronic resources have been abandoned and superseded (the Chaucer Studio recordings being a much appreciated exception), and many websites are maintained sporadically if at all (the Middle English Dictionaryand Harvard Chaucer Page continuing as welcome exceptions). Moreover, readers are likely to question some of the editors’ decisions as to which collections, critical studies, and approaches are essential: much fine scholarship is left unmentioned. This said, Travis and Grady have performed a valuable service in consolidating an abundance of detailed and specific information into under twenty easily readable pages. The substance of the volume lies in its thirty-five three- to six-page essays on critical “approaches,” which the editors have organized into five sections, introduced by a “Survey of Pedagogical Approaches.” “Chaucer’s Language” includes contributions by Peter G. Beidler, William Quinn, Howell Chickering, Jane Chance, Tara Williams, and Andrew Cole, each of whom explains the practical value in some form of close reading. Most helpful to my mind are the two essays that treat Chaucer as poet: Quinn’s elegant survey of Chaucer’s various verse forms, and Chickering’s clean, simple account of how he teaches Chaucer’s prosody. The ten chapters in “Individual Tales and Fragments” span the Canterbury Talesto constitute the book’s longest section. The section is headed by Robert J. Meyer-Lee’s pithy exploration of the manuscript bases and interpretive consequences for the opposed approaches to tale order promoted by Lee Patterson (the work is “structurally whole”) and Derek Pearsall (“Chaucer’s design for its structure” was “manifestly provisional”) (67). An assortment of ethically directed models on how instructors may promote students’ intellectual involvement with the substance of the Talesis offered in essays by Roger A. Ladd and Alexander L. Kaufman (both on The General Prologue’s middle-class professions), Nicole Nolan Sidhu (on confronting Fragment I’s “obscene comedy”), Michael Calabrese (on the centrality of The Man of Law’s Tale), Emma Lipton (on teaching marriage post-Kittredge), Travis (on the...

Sam’s Book as Symbolic Metaphor for Loss

The present manuscript aims to explore the attitude and emotion/motivation of the author/agent, David Ray, necessary for the creation of Sam’s Book, the creation of his symbolic Metaphor for Loss through a close look at the speaker/agent as defined by Burke within the technical form of the poems. The paper is divided into four sections that give the methods of the analysis in the introduction, give the author’s use of language throughout the poems, give examples of the author’s memory of events, and in the last and longest section give the author’s motivations and the observer/ critic’s conclusions about the creation of the poems.

Not Magic but Work: An Ethnographic Account of a Rehearsal Process by Gay McAuley (review)

Reviewed by: Not Magic but Work: An Ethnographic Account of a Rehearsal Process by Gay McAuley D. Ohlandt Not Magic but Work: An Ethnographic Account of a Rehearsal Process. By Gay McAuley. Theatre: Theory–Practice–Performance series. Manchester: Manchester University Press, 2012; pp. 256. Riffing on Tolstoy’s famous opening line, a colleague once quipped that rehearsals with mediocre directors were all alike, but rehearsals with extraordinary directors were each extraordinary in their own way. At the time, I could not help but wonder: How would we even know? Rehearsals—mediocre or extraordinary—are notoriously closed to “outsiders,” so the only comparisons that most theatre artists, students, and scholars can make are among rehearsal processes in which they have participated, which is an extremely limited sample set for even the most prolific artists. Not Magic but Work is the capstone on more than three decades of Gay McAuley’s efforts to answer the question of how theatre scholars, students, and artists could know what happens in rehearsals they are not attending. For three months in 2007, McAuley was granted nearly unrestricted access to observe, document, analyze, and write about the rehearsal and production process for Company B at Belvoir Street Theatre’s production of Michael Gow’s play Toy Symphony, a new Australian play being premiered by one of Sydney’s major professional theatre companies, directed by Neil Armfield and starring Richard Roxburgh. Her having that kind of access to rehearsals with this company speaks not only to her career of building relationships and trust with theatre artists in Australia, but also to the integrity of the process, and the ethics, of rehearsal ethnography that McAuley has pioneered. Not Magic but Work is subtitled an “ethnographic account,” and McAuley does not use the term lightly, positioning herself as a participant observer and frequently referencing ethnographic and anthropological theory to frame her analysis. The book is not, however, a primer on rehearsal ethnography; only the first half of the introduction introduces ethnographic theory (in particular, Clifford Geertz’s concept of “thick description”) or the history of rehearsal studies. It is also not a big-picture survey of rehearsal or even a case study used to support broad assertions of how rehearsal works or how theatre is made; it is, rather, a study of rehearsal as a culturally embedded and frequently ritualized set of social interactions by which meaning is negotiated and significance is assigned. McAuley divides her account into two sections, the better “to achieve an appropriate balance between detailed description of the daily work processes and commentary on the larger social and cultural processes within which they are located and to which they contribute” (28). The first, longer section is a chronological description of one company’s rehearsal process of one play from the first read through to opening night, presenting McAuley’s detached, yet sophisticated observations about the participants, the processes, and the physical and ideological context of the work that the artists are doing at various stages of rehearsal. Her own academic training in languages and literature (French and German) grounds the literary-analytic approach of her analysis. Semiotics is a clear influence in many of McAuley’s previous articles, as well as in her 2000 book Space in Performance: Making Meaning in the Theatre in which she uses data from rehearsal observations to track and analyze how gestures, objects, and spaces in theatre become meaningful. Her fluency with semiotics strongly influences which incidents she highlights and how she organizes the details in this book. She titles her chapter on days 15–19 of rehearsal “The Sign Systems Come Together” and departs from a day-by-day account to discuss instead how the props, costumes, entrance and exit points, and sound and music cues were incorporated during these days. Her use of thick description often transforms what could become a tedious amount of detail into analysis that can offer new insight to even a seasoned rehearsal participant. In her chapter titled “Runs and Notes (Days 20–27),” for example, McAuley muses on the many different uses of the word run—“both a verb and a noun”—in theatre rehearsals. A run done during scene work is “qualitatively different...

Optimizing Selection of Lateral-Re-Entry Wells Through Data-Driven Analytics

This article, written by JPT Technology Editor Chris Carpenter, contains highlights of paper SPE 170702, “Optimizing the Selection of Lateral-Re-Entry Wells Through Data-Driven Analytics,” by Andrei S. Popa, SPE, Chevron, prepared for the 2014 SPE Annual Technical Conference and Exhibition, Amsterdam, 27–29 October. The paper has not been peer reviewed. A new intelligent model that successfully learns from high-dimensional data and effectively identifies high-production areas and optimum lateral-re-entry candidates is presented. The model is entirely data driven and uses Wang-Mendel (WM) rules extraction, fuzzy logic (FL), pattern recognition, and Voronoi mapping. The authors applied their model to a large field with thousands of wells and multiple production layers, finding that it outperformed previous methodologies significantly. Introduction This paper demonstrates the application of data-driven-modeling technology to a relatively new domain, petroleum engineering—in particular, to production-opportunity identification and well-work optimization. The Kern River field is the single largest producing onshore heavy-oil asset in North America. The structure is homoclinal, dipping southwest into the basin, with nine distinctive productive formations. The field has been produced with vertical wells through a combination of primary recovery and thermal enhanced recovery. The horizontal-well program was initiated in the Kern River field in 2007; because of its success, the program witnessed a significant growth year after year. An intelligent approach using fuzzy logic was introduced in 2012, which allowed identification of new horizontal-well opportunities previously missed by conventional methodology. More than 500 horizontal wells have been drilled in the field. This large number of wells provided an ideal data set for extracting reservoir knowledge for future optimization. Observation and Project Opportunity The average Kern River production per vertical well is currently under 7 BOPD. Analytics run on production data showed that more than 3,900 wells produce less than 3 BOPD, while approximately 2,200 produce below 1 BOPD. This observation creates a significant opportunity for production improvement. The large amount of poorly performing vertical wells contrasted with the success of the horizontal wells and led to the idea of reusing the existing wellbores by drilling lateral sections into zones with remaining opportunity. If successful, these new lateral drills would not only improve production output but also would help drain remaining reserves more efficiently. These sidetracks were named “re-entry laterals.” Re-entry-lateral sidetracks are directionally drilled high-angle sections (15°/100-ft dogleg severity) aiming at maximizing reservoir-contact area. The wells are completed with slotted liners and penetrate several target sands offering higher well exposure to each formation intersected. In contrast to the horizontal wells, which can reach horizontal sections of 2,000 ft or greater, the reentry laterals would extend no more than 400–500 ft at very high angle (85°) into formations. As with horizontal-well placement, lateral-re-entry wells are intended to target the remaining hot oil existing at the base of high-quality sand formations. Thus, the horizontal sections of the wells could penetrate multiple formations for a significantly longer section compared with vertical entries, thus maximizing the formation exposure to the well. For a discussion of the technological background of this project, including discussions of the WM method, FL systems, and Voronoi diagrams, please see the complete paper.

Accounting for meaning: On §22 of David Foster Wallace's The Pale King

Abstract The Pale King (2011) is David Foster Wallace's iconic portrait and parody of a modern workplace that is also, not accidentally, an accounting institution – namely, the United States Internal Revenue Service. Many reviewers summarize its topic as boredom – of work in general, and tax accounting in particular. However, its longest section is a nearly one hundred-page, first-person narrative of how one Chris Fogle found his “calling” in accounting, including an accidental encounter with a professor who deemed it to be nothing less than “heroic.” Examined through the lens of ethical criticism, §22 of The Pale King is an important text for examining moral questions about what makes work meaningful and whether we have obligations to perform it ourselves and provide it to others. Through the lens of literary critical theory, it can also be read as a commentary on the meaningfulness (or meaninglessness) of accounting and what its methods imply about what has meaning and value in work and life.

James McHenry: Forgotten Federalist by Karen E. Robbins (review)

James McHenry: Forgotten Federalist. By Karen E. Robbins. (Athens: University of Georgia Press, 2013. Pp. 333. Cloth, $34.95.)Reviewed by James H. BroussardThis is an excellent political biography. More than that, it can serve as a model for anyone attempting a similar project. It is grounded in a thorough knowledge of the various McHenry manuscript collections and secondary works on Maryland and national politics of the period as well as the recent scholarship on race relations, the family, and class (in its eighteenth-century manifestation), especially the code of the gentleman.For a person of such importance in the first dozen years of the republic, it is surprising that McHenry had to wait 100 years for his first substantial biography, Bernard C. Steiner's The Life and Correspondence of James McHenry, Secretary of War under Washington and Adams (Cleveland, OH, 1907). Although Steiner's was a good effort for its time, it has required another full century for this second, and much superior, biography to come forth.Robbins divides her work into four sections, the first of which is chiefly about McHenry's experiences in the Revolution. She tells us nothing of McHenry's upbringing in Ireland-perhaps nothing is known-and begins the story with his emigration to the colonies in 1771 at age seventeen. Like Benjamin Franklin, he consciously made himself into a gentleman, starting with an education at Newark Academy, poetry writing, and a medical apprenticeship with Benjamin Rush, through whom he met many leaders of the growing resistance to the British government.When war came, McHenry joined Washington's army outside Boston as a surgeon's mate, rose to full surgeon, and was captured during the fall of New York to General Howe. Soon exchanged and back in the army, he became an aide to Washington and then to Lafayette, at the rank of major. During the war McHenry developed an intense respect for Washington and a close relationship with Hamilton, but he also cultivated Maryland's political leaders, and after Yorktown was elected to the state senate.The second part of the book follows McHenry's career in Maryland and national politics in the 1780s. In two separate five-year terms as senator, McHenry proposed a state bank and public schools (unsuccessfully), supported the Impost of 1781, and denounced pro-debtor measures; and simultaneously served, from 1783 to 1785, as a delegate to Congress. There he generally sided with the nationalists who wanted to strengthen congressional powers, although he was quick to defend Maryland's local interests when required. As a member of the Constitutional Convention in 1787, he made only minor contributions to the final document but vigorously supported Maryland's ratification.In the 1790s, Maryland was among the two or three most competitive states politically, electing 27 Federalists and 25 Republicans to the first seven congresses. If the Federalists were to have any chance at a longterm governing majority, this was precisely the kind of state they would have to win on a regular basis. Despite McHenry's gentlemanly dislike of spirit, Robbins shows him to be a leading party organizer, recommending patronage appointments to federal offices and working to offset Republican strength in Baltimore.The book's third and longest section is of most value for students of national politics, being a firmly argued and well-supported defense of McHenry's time as secretary of war. …

The Oxford Handbook of American Drama

The Oxford Handbook of American Drama

Lectures on quantum mechanics

In his book “Lectures onQuantumMechanics”, StevenWeinberg presents thematerial he has covered in a one-year course on quantum mechanics. In his preface, he states that each section of his book roughly corresponds to a seventy-five-minute lecture, indicating that the book is a near representation of the course as he has given it. After having reviewed this book, I am certain that the students had a very good course. The first two chapters begin with a review of the history of the experimental and theoretical problems with classical physics, the subsequent introduction of the uncertainty principle, the Schrodinger equation, the probabilistic interpretation of the wave function, the solution of the Schrodinger equation for the Coulomb potential with a discussion of the energy levels and wave functions for the hydrogen atom. In Chapter 3, Weinberg formulates the general principles of quantum mechanics, associatingobservable physical quantitieswithHermitianoperatorswhose eigenvalues and eigenvectors determine the expectation values of the corresponding observables. Symmetries are associated with unitary operators transforming states, and the effect of an infinitesimal symmetry transformation on any observable is determined by the commutator of the symmetry generator with the operator associated with the observable, a fact made use of extensively throughout these lectures. Weinberg is sufficiently uneasy about the use of a quantum mechanical state vector solely as an algorithm for calculating probabilities that he devotes the longest section in the book to a discussion of various attempts to “derive” the Born rule within the framework of quantum mechanics, concluding that “today there is no interpretation of quantum mechanics that does not have serious flaws.” In Chapter 4, Weinberg presents a lucid and thorough treatment of space-time symmetries and internal symmetries, both continuous and discrete, and of symmetry

Perhaps the Heart is Constant After All by Mary Dorcey (review)

Reviewed by: Perhaps the Heart is Constant After All by Mary Dorcey Tracy Youngblom Perhaps the Heart is Constant After All, by Mary Dorcey, pp. 92. Cliffs of Mo-her: Salmon Poetry, 2012. Distributed by Dufour Editions, Chester Springs, PA. $21.95. Mary Dorcey is an accomplished poet; her sixth collection Perhaps the Heart is Constant After All shows her poetic maturity in its dedication to a central theme, its sense of rhythm, and in the arresting images of the poems themselves. It is a beautiful collection, and as most successful books demonstrate, its seeming effortlessness is testament to the work and skill behind the writing. The title poem, the sole poem in the book’s first section, introduces one surprising variation on what Dorcey will name, late in the book, “the wonder of other.” Though the title suggests faithfulness, the poem embodies that faithfulness ironically: “it / makes no difference who we love. . . . It’s always the same love [End Page 142] is / it not?” The title poem praises the constancy of feeling and sensation of the heart, not the object of affection—the emotions themselves, not those feelings directed toward one particular lover. Because the poem is phrased not in declarations but in questions, it ironically suggests the opposite; though “it makes no difference who we lust for,” the poem ends with the particulars of one affair—“a certain night, a scented // Road, the scarred river, the lamp-lit bridge”—and its hopes for eventual forgetfulness of “that lie” undercut the insistence that what matters is the feelings themselves, not the person or the betrayal. The “wonder of other” here is complex, a fitting beginning to a book that explores several “others.” In a variety of voices and perspectives, Dorcey continues to present the “wonder of other.” The second section depicts a more traditional sense of sexual love, where the speaker begs “touch me with your eyes” and heralds the pleasures of the flesh, “my lips at your throat” and “your tongue [that] scrawls / the letters of your name.” In the beautiful lyrical fourth section (also the longest section in the book), the “other” is the poet’s dying mother; these poems chronicle that wonder with sensitivity and humor. The mother’s presence is so strong that it “gave existence to” even rooms and objects. While her mother is in a care facility, they continue to talk and bicker: “every so often you check me: that’s wrong / you say. It’s not, I answer.” In the next poem, the mother and daughter discuss the mother’s acceptance of her impending death because of a sense of purpose in her life: “A cog / in the wheel? I suggest. No—a link in the chain.” Death itself is figured as a sort of natural wonder in this section: “slow and steady as coal / shoveled comes the rasp of your breath // As you haul uphill a life’s last freight”; the mother in her moment of death is figured as “A small bird / testing the air for / a morsel.” The poems of the final section acknowledge grief and mourning, yet do so with a sense of wonder about it: “I see you as a bird— . . . I gaze at you / and marvel / that you ever / stood here, / wrong footed— / earth bound.” Even in the poem “Absence,” a catalog of ways the poet misses her mother, the tone is vibrant; written in the first person, and in the present tense, though it echoes with the idea of grief, yet the tone is not abject, but tender: “Have I said that I miss the touch / of your eyes? / And miss the way they turn from me / so that I can say look at me— / and wait until you do.” The most innovative way Dorcey extends the theme is through her figuring of nature; she extols the “wonder of other” in the natural world, the way nature often connects, by way of image, to the “other” or beloved in the human world. In “Sepia,” for instance, a boat on the river captures the speaker’s attention and reminds her of her lover: “fading sunlight / stipples your hair.” In “Elm,” a poem in the section about...

Izabrane Pesme by Vasa Mihailovi

Dunya Mikhail The Iraqi Nights Kareem James Abu-Zeid, tr. New Directions Dunya Mikhail reprises the role of Scheherazade in her collection of poems that thread together ancient history and current events. Her poetry seeks to confront death through stories of grief and love and look beyond to a brighter future despite the presence of destruction. Kat Meads 2:12 a.m. Stephen F. Austin State University Press In this humorous collection of personal essays, Kat Meads takes readers on a series of adventures hosted by her own insomnia. Guests experience journeys ranging from the swamps of North Carolina to the Atomic Testing Museum. An accomplice in travel and thought, 2:12 a.m. accompanies us on what would otherwise be a solitary journey through thought, time, and space (see WLT, Nov. 2013, 55–56). Nota Bene arranged in three sections: Metaphysics , The Politics of Resistance, and The Future Looms. The complexity of her thoughts and subtle mood changes make her poems a pleasure to read. They are not without humor—as in the poem “Time Sits Heavily,” which opens, “In the middle of the night, it becomes apparent / that your brain is leaking. This is a symptom, surely / but not the first.” The poems have a delightful sense of wondering what is real—if what we see is truly reliable—and questions the durability of relationships and the parts we are assigned. She is at home with the constellations and the classical gods. Time is echoed again and again in her work: the brevity of our lives, the mysterious appearances time marks in our spans, the importance of the sun, moon, dawn, and dusk—as rivers run, wheels turn. Lerman’s search for unity, meaning , becoming, and order is breathtaking in its reach. We are invited to join her in this universal quest and rejoice when there are closures or glimpses of understanding in our modern life. The poet uses the pronouns “you,” “she,” and “we” to the exclusion of “I”; her poems remind one of the definition of poetry by Octavio Paz: “Poetry is not what words say but what is said between them, that which appears fleetingly in pauses and silences.” Lerman, recipient of a Guggenheim Fellowship and a poetry fellowship from the National Endowment for the Arts, shows us that the common often grants glimpses of the mystery of living—illusory truths, the universal aspects just beyond our human ability and understanding. Her poems beg multiple readings. Carol Smallwood Mt. Pleasant, Michigan Vasa Mihailović. Izabrane Pesme. Belgrade. Tanesi. 2013. isbn 9788681567708 With 131 mostly prose poems in six named sections, we get a clear picture of the Serbian American poet Vasa Mihailović (now eighty-eight years of age), who emigrated to the United States after being a prisoner of war in Italy and Germany during World War II. He taught Slavic literature at UNC Chapel Hill for many years before he retired. He has published eleven books of prose poetry, two of haiku poetry, four collections of short stories , translations of ex-Yugoslavian authors, several anthologies, a memoir , and numerous reviews for World Literature Today. The first section, “Frescoes Written by Life,” is filled with observations about Serbian monasteries , as in “Ravanica,” where children abandoned by their parents are taken care of by nuns, or in “Bogorodica Ljeviška,” where the visitors “take off a piece of its wall because they believe in its healing for women who November–December 2014 • 67 reviews cannot get pregnant.” The second section, “Ave Patria,” returns to Serbian history and events from the perspective of an emigrant who dreams of returning to his idealized homeland but, when he does, cannot find anyone to communicate with and returns to the US disappointed. In the section “From Spring into Winter,” he observes nature and different seasons, followed with a section of love poems for an unidentified love, presumably his deceased wife, whom he misses. He recalls Mozart’s “Eine kleine Nachtmusik,” which they listened to when they first met. In the section “Memories ,” he returns to childhood, his old house, his father playing a melody for him on a violin, and the passing of his mother. The final, longest section, “Images and...

Cantar de Mio Cid by de Alberto Montaner (review)

Reviewed by: Cantar de Mio Cid by de Alberto Montaner George D. Greenia Cantar de Mio Cid. Edición, estudio y notas de Alberto Montaner. Con un ensayo de Francisco Rico. Madrid: Real Academia Española, 2011. Pp. 1179. ISBN 978-84-8109-908-9. The Real Academia Española has launched a new Biblioteca Clásica series of 111 authoritative editions starting with the Cantar de Mio Cid. Alberto Montaner, surely the greatest living expert on Spain’s national epic, has established himself as the Ramón Menéndez Pidal of his generation, and this edition proves that Montaner’s encyclopedic mastery of history, literature, and philology matches Pidal’s and with perhaps even greater discernment. It is a big book, and big books can be worrisome for two reasons: their encyclopedic weight may dampen fresh inquiry, and there’s always the risk that authors simply seize the chance to publish everything they have that’s even remotely pertinent. But for all its heft, Montaner’s massive volume is chaste in its selection (the end bibliography alone could have been five times its size), measured in its judgments, helpful in demonstrating new directions for research, and judicious in weighing and incorporating the torrent of critical commentary done before him. Montaner has long since established himself as an authority in Semitic studies, his actual doctoral field, and brought his knowledge to bear in highly original contributions to the epic of the Cid, as in his masterful Guerra de Šarq Al’andalus: Las batallas cidianas de Morella [End Page 600] (1084) y Cuarte (1094) (with Alfonso Boix Jovaní, 2005). His expertise in medieval Latin documents has produced the nearly definitive edition and study of the Carmen Campidoctoris (with Ángel Escobar, 2001). He has also written exhaustive historical studies, publications on medieval codicology, and even Iberian heraldry, Montaner being the driving force behind the weighty journal Emblemata: Revista Aragonesa de Emblemática. This RAE edition is a natural successor to the one Montaner and editor Francisco Rico produced for the Crítica series (first issued Barcelona, 1993). The heart of the volume is prefaced by a modest presentation of the work for the new reader followed by a meticulous edition with textual clarifications and perceptive interpretative notes, both vast and precise (1–218). Rico’s subtle and eloquent appreciation of the Cantar de Mio Cid as a literary and historical masterpiece (221–55) is reproduced from twenty years ago, while Montaner’s notes and extensive complementary essays (257–560) are scrupulously updated to account for the latest assessments of “La composición del Cantar de Mio Cid,” “El poema épico y su contexto,” “Constitución interna del Cantar,” and so on, while yet another set of critical apparatus spans an even longer section (561–1035). Modern line drawings to explain clothing and artifacts, maps, bibliography and indices complete the volume (1037–79). One example of Montaner’s care and good judgment may be found on the sections discussing the final verses of the sole surviving copy, lines 3731–35, an essay which has almost doubled in length since he framed the Crítica edition. This passage of the Cantar de Mio Cid, which contains the only internal statement on the date of composition, apparently 1207 of the Common Era: “En era de mill et ·C·C· x·L·v· años” (or 1245 of the Spanish Era, which adds 38 years of Roman rule in Iberia), has generated over a century of heated theories and contradictory scenarios. Menéndez Pidal preferred to read a dappled space close to the extant characters as revealing the ghost of an additional “C” rendering the date as 1307, closer to the style of handwriting the manuscript in fact displays, but which makes many other internal features and references, such as the relative novelty of pendant seals and an economy based on minted currency, deliberate archaisms on the part of the poet. Montaner thoughtfully addresses diplomatic issues and the physical qualities of the Vivar codex starting with a dispassionate report on how the manuscript was mistreated with damaging reactive baths to help a nineteenth-century editor better read faded traces of ink. But in the sixteenth century...

The Teller’s Tale: Lives of the Classic Fairy Tale Writers ed. by Sophie Raynard (review)

Reviewed by: The Teller’s Tale: Lives of the Classic Fairy Tale Writers ed. by Sophie Raynard Susan Redington Bobby (bio) The Teller’s Tale: Lives of the Classic Fairy Tale Writers. Edited by Sophie Raynard. Albany: State University of New York Press, 2012. The Teller’s Tale offers biographies of European authors and editors of fairy tales in one convenient and meticulously researched collection. Sophie Raynard’s brief introduction explains that the anthology “rectifies false data, adds new information, and provides a reliable historical context for Europe’s fairy tales” (3). Further, when documentation is deficient, essayists fill in the gaps through inference by taking into account known facts related to the social, cultural, and historical record. The result is an intriguing mix of fact with the occasional bit of conjecture rounding out each author’s life story, in the most comprehensive collection of biographies to date of this set of writers. Raynard has organized the essays both chronologically and thematically, describing how the circumstances of each author’s life, such as origin, class, education, occupations, and personal interests, affected the fairy tales he or she published. The six sections are titled “Emergence” (Straparola and Basile); “Elaboration” (Perrault and the Conteuses Précieuses); “Exoticism” (Galland); “Didacticism” (de Beaumont); “Traditionalization” (Naubert, the Grimms, and Bechstein); and “Sentimentalization” (Andersen). The sections addressing more than one author’s work begin with an introductory essay describing the historical period and defining the characteristics of the fairy tales that were penned; sections covering just one writer embed this material in the biographical sketch. Each essay contains explanatory endnotes, a list of secondary sources, and an all-inclusive list of the authors’ works, categorized neatly. Having come across much less detailed biographies [End Page 370] of many of these writers, I was struck by the sheer profusion and variety of works published; coupled with the biographical essays, the lists of published works prove unequivocally that these were very serious authors with literary careers. In addition to the fairy tales, they were creators of poetry, various novel types, dramatic compositions, correspondence, memoirs, travel books, translations, literary criticism, devotional writings, and many other sorts of publications. In fact, while Raynard correctly refers to her subjects as “classic fairy-tale authors and editors” (1), clearly the emphasis here is on authorship over editorial contributions. The essays are written by an impressive array of critics with significant prior contributions to the fields of folklore and fairy tale studies, lending weighty expertise to the volume. While an anthology with such a diverse group of writers could risk losing coherence due to competing voices and writing styles, that is not the case here, as the essays blend seamlessly. Surely Raynard’s editing, translation, and adaptation skills must be praised, for I had to remind myself that each piece was written by a different author. The introductory essays included with the longer sections also contribute to the book’s continuity and are an integral link between the eras, deftly explaining how the fairy tale evolved over time as it was affected by historical and cultural events. As noted in the introduction, a few biographies have some serious gaps in documentation. The approach to this conundrum is nothing short of fascinating, as writers of those sections use inference to attempt to sleuth out the missing details. What I liked about these sections is that the reader has no trouble discerning fact from speculation. In fact, the authors state exactly what led them to their conclusions while admitting that in some cases, we can never know the full story. Ruth Bottigheimer is like a detective at a literary crime scene, leaving no stone unturned in her investigation of evidence that might shed light on missing pieces in a particular writer’s story. For example, she interprets Straparola’s wary facial expression in an official portrait published in Pleasant Nights (1551; 1553) as a reflection of allegations of plagiarism against him, while later she cites the lack of a new portrait in reprints of the collection as probable evidence that Straparola died in 1555 or 1556, also known plague years in Venice. In Nancy Canepa’s essay on Giambattista Basile, she utilizes autobiographical references in...

Mediating indigeneity: Ho-Chunk ‘Indian News’ as a critique of the legacies of settler colonialism

This article examines the legacies of settler colonialism discussed in the writings of Frisk Cloud, one of four Ho-Chunk men who published Indian News columns – a relatively early project of Indigenous media activism – in local newspapers in Wisconsin during the 1930s and 1940s. The first section of the article examines the origins of Frisk Cloud's column in 1939, when he was recruited to write ‘Indian News’ for his local newspaper and thus took up a ‘vernacular’ mode of Indigenous writing already popular in the region. The column offered him a public voice that he used to deliver critical commentary on key issues impacting Ho-Chunk lives. The second and longer section focuses on the content of the articles Cloud published over the next three years, showing how he used this forum to tell his readers about the experience of settler colonialism with which his community struggled and contextualized these struggles within a long history of indigenous dispossession in the area. Through his Indian News column, Frisk Cloud created a portrait of the human and ecological catastrophe produced by White settlement, making visible an alternative perspective on settler colonialism rooted in everyday indigenous experience. His career offers an historical perspective on the emergent nature and the critical intellectual agenda of recent indigenous media projects.

Dilemma of interpreting the Tisza space in regional dimensions

This study deals with the evaluation of an especially important area, since the Tisza river is the basis of the spatial organisation of the Great Plain, the main spatial structural axis of Eastern Hungary and also its ecologic corridor of continental significance. The Tisza is a river which connects five countries to each other and it has an enormous catchment area. Its longest section can be found in Hungary. Two million people live directly in the spatial environment of the river. The safety and favourable quality of life of these people have to be provided. This is a great challenge from the aspect of regional development, economic, technological improvement, the acceleration of innovation processes, as well as the establishment of natural and environmental harmony.

Beyond Bartleby and Bad Faith: Thinking Critically with Sartre and Deleuze

This essay argues that important critical and political perspective can be gained on Deleuze's famous essay, ‘Bartleby; or, The Formula’ by viewing it as an attempt to move beyond the Sartrean framework of ‘bad faith’. The argument comprises four sections. In section one, I contextualise Deleuze's essay in terms of contrasting readings of Bartleby, from a prior account by Georges Perec, to contemporary accounts indebted to Deleuze, from Hardt and Negri's Empire to Gisèle Berkman's recent L'Effet Bartleby. The argument of this section is that a problematically reductive image of Bartleby has emerged in the wake of Deleuze's essay, but that this can be challenged in favour of a more nuanced and politically significant reading by contextualising the essay as an attempt to overcome bad faith. In section two, I develop this by drawing out the nature and relevance of the threat posed by bad faith through a focus on Sartrean, Deleuzian and Badioucan critiques of Bartleby, before arguing, in section three, that attention to the concept of a ‘logic of presuppositions’ developed in Deleuze's essay shows how bad faith can be overcome. These sections all build towards the fourth and longest section, which draws out the wider political significance of what it means to overcome bad faith. To do so, I pay attention to how logics of presupposition function in Bartleby's story, and consider Deleuze's essay in relation to his work on ‘control societies’ and ‘collective assemblages of enunciation’.

Allen Tate: A Study in Southern Modernism and the Religious Imagination by Joseph Kuhn

345 Book Reviews Allen Tate: A Study in Southern Modernism and the Religious Imagination. Joseph Kuhn. Series Filologia 32. Adam Mickiewicz UP, 2009. 524 pp. $45.00 paper. IT MAY COME AS A SURPRISE TO SEE A RECENT AND LENGTHY STUDY OF THE work of Allen Tate and his influence on Southern letters emerge from Poland. Joseph Kuhn is a professor in the School of English at Adam Mickiewicz University (whose press is the publisher). We who have been engaged in what Lewis Simpson called “Southern self-interpretation” take for granted much that is perhaps unfamiliar to those outside the South. Yet a shift in perspective can teach us things we ourselves are inclined to overlook. It is one of the numerous merits of Kuhn’s book that it poses questions that might not occur to a self-interpreter to ask and highlights relationships that familiarity has kept us from probing. For this reason alone, the book makes interesting reading, though it does a great deal more. After an introduction entitled “A Model of Order,” in which Kuhn explores the implications of the Old South as “a metaphor of spiritual and artistic community,” he offers four stages in the sources, development, maturation, and influence of Tate’s thought: “Beginnings in New England,” “The Two Masters,” “A Modernist Metaphysical: Tate’s Poetry,” and “The Historical Imagination.” The first section offers a good example of what commentators on Southern literature seem to have overlooked: the neo-medievalism of that class of scholars in the nineteenth century called the “Boston Brahmins,” in particular that of Henry Adams, who represented “an awkward paternity” for both T. S. Eliot and Tate. Kuhn has some very acute observations about the crisis of historical relativism that Adams addressed but failed to solve. Nevertheless, his writings provided an important,ifambiguous,precedentfor“traditionalistmodernism.”Eliot, a combination of collateral Brahmin through his New England ancestry and quasi-Southerner because of Missouri’s uncertain regional status, depicted Adams’s dilemma in his “Gerontion,” which Kuhn analyzes at some length and then goes on to explore this intellectual context and make a convincing case for its relevance. In the second section, he further examines the main components of Tate’s inheritance from his two principal literary mentors, Eliot and Ransom. He focuses on the modernist version of traditionalism proposed by the former and the “curious theology” presented by the latter in his God Without Thunder, showing in each instance how Tate built on 346 Mississippi Quarterly and—in Ransom’s case especially—modified their ideas. He challenges the notion that Tate was simply a Southern version of Eliot. In a detailed reading of Ransom’s book, he shows how the disciple diverged significantly from the master, who nevertheless showed him a way to rethink the importance of religion in culture and society and of religious myth as a critical concept—key elements in the thought of all three men. Kuhn warns that this “religious imagination” does not designate mere piety but a longing for the transcendent and the tensions, ironies, and conflicts that arise from such a quest for the whole. The central and, by far, longest section is the third, devoted to a number of close readings of individual poems, early and late, as well as to Tate’s novel, The Fathers. The organization of these pages is thematic in basis but broadly chronological. Throughout his book, Kuhn draws on key passages from the poetry and prose, reinforcing and exploring their nuances by constantly placing them in new contexts. He draws on the rich array of philosophical and literary theory at his command, from Augustine, Aquinas, and Abelard toRicoeur,Levinas,andDerrida,tosay nothing of a host of other contemporary thinkers on whom he draws tellingly to illustrate how enduring are the questions that Tate confronted during his lifetime. Those who know the poetry well will discover many insightful interpretations of individual passages and whole poems. The fourth part of the book is given over to three “Tateians”: Richard Weaver, Lewis Simpson, and Walker Percy. Kuhn does not mean to imply that these three men were necessarily disciples. Rather, he sees in them a continuation of the main concerns of a man...

Sectional Versus Intact Evaluations of Four Versions of a Chopin Étude

The purpose of this study was to determine how evaluations of four intact performances of a Chopin étude (Op. 25, No. 9, Butterfly), differing in quality, related to evaluations of each performance’s sections. We presented each performance as five excerpts: (a) opening phrase, (b) first half, (c) second half, (d) coda, and (e) intact. We then presented 10 of the 20 excerpts a second time to assess listener reliability. Results revealed an interaction between performer and ratings: Ratings of intact performances were significantly higher than were ratings of component sections for the two best performances. For the other two performances, however, ratings of intact excerpts were significantly lower than ratings of component sections. Nonsignificant factors were sections and listener background. Data indicate that ratings of longer sections (first and second halves) were more closely tied to intact performance ratings than were shorter sections (opening phrase and coda). Correlational data revealed that piano majors were marginally more reliable than nonpiano majors.

Fugitive Justice: Runaways, Rescuers, and Slavery on Trial , and: Fugitive Slave on Trial: The Anthony Burns Case and Abolitionist Outrage (review)

Reviewed by: Fugitive Justice: Runaways, Rescuers, and Slavery on Trial, and: Fugitive Slave on Trial: The Anthony Burns Case and Abolitionist Outrage Arthur T. Downey (bio) Fugitive Justice: Runaways, Rescuers, and Slavery on Trial. By Steven Lubet. (Cambridge, Mass.: Belknap Press of Harvard University Press, 2010. Pp. 367. Cloth, $29.95.) Fugitive Slave on Trial: The Anthony Burns Case and Abolitionist Outrage. By Earl M. Maltz. (Lawrence: University Press of Kansas, 2010. Pp. 174. Cloth, $34.95; paper, $17.95.) Four days after adopting its Ordinance of Secession, the same South Carolina Convention issued its Declaration of the Immediate Causes Which Induce and Justify the Secession of South Carolina from the Federal Union. The underlying principle was "the law of compact," according to which, if one party to a contract "fails to perform a material part of the agreement," the aggrieved party is released from its obligation. The "proof " that fourteen northern states failed to meet their obligations under Article IV of the Constitution—requiring the rendition of fugitive slaves—was laid out [End Page 90] in the declaration's longest section. Because of this failure regarding fugitive slaves, the compact was "deliberately broken" and South Carolina was released from its obligations. In his first inaugural, lawyer Lincoln destroyed South Carolina's "law of compact" argument—all the parties to the contract, he said, had to agree to its rescission. Then, he jumped headlong into the fugitive slave issue, about which, he acknowledged, there was "much controversy." He urged his northern listeners to abide by the fugitive slave law, rather than hope it might be found unconstitutional. Lincoln reminded the South that, if the sections separated, the North would no longer surrender fugitive slaves as it did, however imperfectly. There was much at stake in how the Fugitive Slave Act was interpreted, not only in southern statehouses and at the White House but in courtrooms throughout the North. The two works under review here bring new attention to the topic. Steven Lubet's Fugitive Justice is essential to exploring the issues surrounding the implementation of the Fugitive Slave Act. Of the 191 known proceedings under that act, the author selected three fugitive slave trials: the 1851 "Christiana slave riot" trial in Pennsylvania (the largest treason trial in U.S. history); the dramatic 1854 Boston trial of the escaped slave Anthony Burns; and, finally, the 1858-59 trials in Ohio of thirty-seven Oberlin rescuers of a Kentucky fugitive. Lubet, who directs the Bartlit Center for Trial Strategy at Northwestern University Law School, carefully traces the changing nature of defense counsels' strategy, as it evolved from an acceptance of the legitimacy of the Fugitive Slave Act (Christiana), to acceptance of resistance (Burns), to flat-out disobedience based on a "higher law" (Oberlin). The enactment of the Kansas-Nebraska Act of 1854 influenced this change, for if the slave-owning South was no longer barred from westward expansion, why should abolitionists feel bound by the fugitive slave law that had been the key part of the Compromise of 1850? Along the way, Lubet explains how antebellum trial practice differs from today's, in that judges enjoyed great latitude in their jury charges, defendants were disqualified from testifying on their own behalf, and defense lawyers had no opportunity to obtain witness statements in advance. He puts the reader in the position of a juror, a prosecutor, a judge, and defense counsel, and succeeds in making the issues human and real. Readers might have found it useful had he included the text of the Fugitive Slave Act of 1850, and the author might have spent more time on the March 1859 case Ableman v. Booth, which exposed all the issues with fugitive slave rendition, but these are minor quibbles. [End Page 91] Earl M. Maltz focuses exclusively on the Boston trial of Anthony Burns in Fugitive Slave on Trial. The book is a departure for Maltz, a constitutional scholar at Rutgers Law School, and scholarly readers will miss the footnotes. The author brings his talents to bear in presenting the broad context of the Burns case. While he covers the same ground as Lubet, Maltz digs deeper into the fate of the federal commissioner...

‘To be ashamed.’ On the meaning and theological fruit of a phenomenology of negative self-awareness

Over the course of this presentation, I will simply work through each of the elements of my title. I will first explain what phenomenology is. Then I will make some phenomenological remarks about shame – that is the longest section. Then I will have a brief summary of what was achieved, in which I will present a thesis – or better, a generalizing supposition – regarding what one experiences about human self-awareness in the phenomenon of shame. Then, finally, I will turn to the theological fruit.