Scene Division Research Articles

Research on Over-the-Horizon Perception Distance Division of Optical Fiber Communication Based on Intelligent Roadways.

With the construction and application of more and more intelligent networking demonstration projects, a large number of advanced roadside digital infrastructures are deployed on both sides of the intelligent road. These devices sense the road situation in real time through algorithms and transmit it to edge computing units and cloud control platforms through high-speed optical fiber transmission networks. This article proposes a cloud edge terminal architecture system based on cloud edge cooperation, as well as a data exchange protocol for cloud control basic platforms. The over-the-horizon scene division and optical fiber network communication model are verified by deploying intelligent roadside devices on the intelligent highway. At the same time, this article uses the optical fiber network communication algorithm and ModelScope large model to model inference on real-time video data. The actual data results show that the StreamYOLO (Stream You Only Look Once) model can use the Streaming Perception method to detect and continuously track target vehicles in real-time videos. Finally, the method proposed in this article was experimentally validated in an actual smart highway digital infrastructure construction project. The experimental results demonstrate the high application value and promotion prospects of the fiber optic network in the division of over the horizon perception distance in intelligent roadways construction.

Reading Walter Scott’s Dramas

Abstract An active supporter of the theatre in Edinburgh and London, Walter Scott also extensively edited and commented on plays both ancient and modern. As a dramatist he wrote five original works, though he never achieved anything like the success he found with poetry and fiction. Only The House of Aspen, a Tragedy and Auchindrane; or, The Ayrshire Tragedy were staged, briefly, during the author’s lifetime. Written in collaboration with the actor Daniel Terry in 1817–1818, The Doom of Devorgoil, a Melo-drama was eventually rejected. Seemingly not even offered to theatres, Halidon Hill was published as a standalone work in 1822. A single-scene piece, Macduff’s Cross, appeared in a miscellany to fulfil an obligation to Joanna Baillie. Against the backdrop of Scott’s admitted failures as a dramatist, this essay examines the five playtexts in print, paying particular attention to different forms of residual theatricality still traceable in the works. Reading the plays entails due consideration of performance-focused paratexts, as well as scene divisions and speech prefixes, alongside a range of textual interruptions, emotionally descriptive stage directions, bookish motifs, and other print-centric devices.

Control Strategy for Energy-Storage Systems to Smooth Wind Power Fluctuation Based on Interval and Fuzzy Control

The anti-peak shaving characteristics of wind power is an important factor that limits the consumption of wind power. The use of the space-time translation capability of a battery energy storage system is one of the effective means for promoting wind power consumption. Thus, this study proposes an energy storage system smoothing wind power fluctuation control strategy considering wind power consumption to improve the utilization level and economy of an energy storage system. First, the statistical characteristics of wind power are analyzed, and the scene division principle of a multiscenario regulation of an energy storage system is formulated using a correlation coefficient. On this basis, the charging and discharging intervals of the energy storage system in each scenario are determined by comprehensively considering the wind power and the time domain distribution law of load. Then, the control strategy of energy storage system based on inter-zone control is proposed based on the division of charging and discharging intervals. During the charging interval, smoothing the upward fluctuation of wind power or reducing the amount of abandoned wind power is aimed at storing electricity. During the discharge interval, electricity is released to smooth the downward fluctuation of wind power. Finally, considering the real-time state of charge and wind power consumption of the energy storage system, a method of charging and discharging power correction based on fuzzy control is proposed. Taking the actual data of a wind farm as an example, a test is performed on a simulation platform of a combined wind storage power generation system to verify the feasibility and superiority of the proposed control strategy.

Delineation of cultivated land parcels based on deep convolutional networks and geographical thematic scene division of remotely sensed images

Extraction of cultivated land information from high spatial resolution remote sensing images is increasingly becoming an important approach to digitization and informatization in modern agriculture. The continuous development of deep learning technology has made it possible to extract information of cultivated land parcels by an intelligent way. Aiming at fine extraction of cultivated land parcels within large areas, this article builds a framework of geographical thematic scene division according to the rule of territorial differentiation in geography. A deep learning semantic segmentation network, improved U-net with depthwise separable convolution (DSCUnet), is proposed to achieve the division of the whole image. Then, an extended multichannel richer convolutional features (RCF) network is involved to delineate the boundaries of cultivated land parcels from agricultural functional scenes obtained by the former step. In order to testify the feasibility and effectiveness of the proposed methods, this article implemented experiments using Gaofen-2 images with different spatial resolution. The results show an outstanding performance using methods proposed in this article in both dividing agricultural functional scenes and delineating cultivated land parcels compared with other commonly used methods. Meanwhile, the extraction results have the highest accuracy in both the traditional evaluation indices (like Precision, Recall, F1, and IoU) and geometric boundary precision of cultivated land parcels. The methods in this article can provide a feasible solution to the problem of finely extracting cultivated land parcels information within large areas and complex landscape conditions in practical applications.

A Wild Night in Toledo

A Wild Night in Toledo

Visualizing textual similarity of Shakespearean suspect texts: An examination of the Henry VI plays

Abstract The relationship between Shakespeare’s First Folio and early printings, published in his lifetime, has been a matter of dispute for centuries. A computer program that I have developed visualizes the fluctuating quality of textual correspondences between Folio texts, Henry the Sixth, Part Two and Three, and texts that have been suspected as memorial reconstructions of the Folio, The First Part of the Contention and The True Tragedy of Richard Duke of York. The memorial reconstruction hypothesis assumes increased similarity between the two texts when an alleged actor–reporter is on the stage or speaking and vice versa. The visualization of similarity between two texts, based on the Dice similarity metric, does not show a strong association between the fluctuation of similarity and actor–reporter factors, which challenges the memorial reconstruction hypothesis on statistical grounds. In addition, the distribution of line-by-line similarity scores suggests scene division is a considerable explanatory factor for fluctuating similarity, which is not inexplicable, considering the practice of collaborative writing in the early modern playhouse.

Dense crowd counting based on adaptive scene division

With the rapid development of computer vision and artificial intelligence, crowd counting has attracted significant attention from researchers and many well-known methods were proposed. However, due to interocclusions, perspective distortion, and uneven crowd distribution, crowd counting is still a highly challenging task in crowd analysis. Motivated by granular computing, a novel end-to-end crowd counting network (GrCNet) is proposed to enable the problem of crowd counting to be conceptualized at different levels of granularity, and to map problem into computationally tractable subproblems. It shows that by adaptively dividing the image into granules and then feeding the granules into different counting subnetworks separately, the scale variation range of image is narrowed and the the adaptability of counting algorithm to different scenarios is improved. Experiments on four well-known crowd counting benchmark datasets indicate that GrCNet achieves state-of-the-art counting performance and high robustness in dense crowd counting.

Heterogeniczność przestrzenna postaw wyborczych mieszkańców gminy Szadek w wyborach europejskich i parlamentarnych w 2019 roku

W artykule zaprezentowano dysproporcje postaw wyborczych mieszkańców gminy Szadek podczas głosowań w 2019 r. Wybory, które odbyły się w zeszłym roku, miały charakter zarówno ponadnarodowy (wybory do Parlamentu Europejskiego), jak i krajowy (wybory parlamentarne). Zachowania wyborcze, które uwzględniono w pracy, obejmowały poparcie dla poszczególnych partii oraz frekwencję. Artykuł jest próbą odpowiedzi na pytanie, czy tradycyjny model podziału polskiej sceny politycznej (oś interesów i oś wartości) jest nadal zauważalny na obszarach miejsko-wiejskich, charakteryzujących się określonymi cechami historyczno-kulturowymi.

Faust: A Tragedy, Part I by Johann Wolfgang von Goethe

Reviewed by: Faust: A Tragedy, Part I by Johann Wolfgang von Goethe Jessica C. Resvick Johann Wolfgang von Goethe, Faust: A Tragedy, Part I, trans. Eugene Stelzig (Lewisburg, PA: Bucknell Univ. Press, 2019). Pp. 246, $19.95 paper. “Given that there have been many English translations of Part I, and that there are several currently in print, why yet another one?” (viii). Eugene Stelzig poses this seemingly thorny question at the outset of his new translation of Goethe’s Faust. (This was a smart acquisition for the Bucknell University Press, which also puts out the series New Studies in the Age of Goethe.) Stelzig answers his question in a few different ways, but each time returns to the revivifying effects of translation: “The spirit of Goethe’s dramatic poem continues to speak to us in new and changing ways, as we and our world continually change, and thus new translations are always necessary to bring to light anew its almost inexhaustible power” (viii). The renewing potential of translation—indeed, of any act of cultural transmission—lies at the heart of so many of Goethe’s works, and Stelzig has succeeded in crafting a vibrant English version of this masterpiece. [End Page 225] With his short Translator’s Note, Stelzig addresses his motivations for retranslating Faust and highlights some of the most salient formal features of his translation. He stresses his flexible use of rhyme, rightly noting that consistent rhyming would have imposed a formal rigidity onto the text, distorting it in the process. The variable use of rhyme enables Stelzig to render the text in a freely flowing manner, and, by using rhyme more frequently as the drama progresses, he pulls the reader deeper and deeper into the work. The increasing frequency of rhyme tracks the building dramatic intensity, such that even those who have read the drama countless times before will be reluctant to put it down. As a minor point of criticism, Stelzig has curiously little to say about this delightful effect in his Translator’s Note. He offers perfunctory explanations for his focus on rhyme, but the reader is left wanting more detailed reflections on the remarkable effects of his formal choices. Stelzig’s language is crisp and lucid, and rarely does the reader stall at individual formulations, as Faust does when translating the Gospel of John (“Already I’m stuck! Who will help me onward?,” v. 1437). For the reader who indeed needs to be helped onward, the Introduction and Explanatory Notes provide clarification and context. The Introduction offers a brief overview of Goethe’s intellectual biography and includes sections covering the Faust legend, the genesis of Goethe’s text, and the major formal and thematic components of the latter. Stelzig also helpfully lists six contemporary Faust translations in a separate appendix, which will aid those who wish to compare versions. (As a warning to readers wishing to undertake such a comparison: both empty lines and stage directions are, for some reason, counted in the line numbering, so one must work from scene divisions.) A few examples give a sense of the texture of Stelzig’s own translation. One of his most memorable uses of rhyme comes in his rendering of the wager between Faust and Mephistopheles: “If ever I lie down and repose on a bed of ease, / Then you can take me as you please!” (vv. 1989–90). Contrast this with Atkins (“If on a bed of sloth I ever lie contented, / may I be done for then and there!”) or Greenberg (“If ever you see me loll at ease, / Then it’s all yours, you can have it, my life!”).1 Another happy formulation comes in the “Prelude in the Theater,” where Stelzig’s internal rhyme (“Thus don’t spare me on this day / Either fine scenery or stage machinery,” vv. 246–47) captures the spirit of a line that in the original emerges rhythmically. Stelzig also draws attention in his Translator’s Note to his efforts with the various songs, remarking that in his mixing of rhyme, assonance, and alliteration he has “tr[ied] at least to suggest the poetic brilliance and variety of Goethe’s language” (ix). To focus on one...

Decision-Making for the Autonomous Navigation of Maritime Autonomous Surface Ships Based on Scene Division and Deep Reinforcement Learning.

This research focuses on the adaptive navigation of maritime autonomous surface ships (MASSs) in an uncertain environment. To achieve intelligent obstacle avoidance of MASSs in a port, an autonomous navigation decision-making model based on hierarchical deep reinforcement learning is proposed. The model is mainly composed of two layers: the scene division layer and an autonomous navigation decision-making layer. The scene division layer mainly quantifies the sub-scenarios according to the International Regulations for Preventing Collisions at Sea (COLREG). This research divides the navigational situation of a ship into entities and attributes based on the ontology model and Protégé language. In the decision-making layer, we designed a deep Q-learning algorithm utilizing the environmental model, ship motion space, reward function, and search strategy to learn the environmental state in a quantized sub-scenario to train the navigation strategy. Finally, two sets of verification experiments of the deep reinforcement learning (DRL) and improved DRL algorithms were designed with Rizhao port as a study case. Moreover, the experimental data were analyzed in terms of the convergence trend, iterative path, and collision avoidance effect. The results indicate that the improved DRL algorithm could effectively improve the navigation safety and collision avoidance.

Cell Scene Division and Visualization Based on Autoencoder and K-Means Algorithm

For the network service construction and optimization of wireless cell, the effective scene division is an important basis for formulating more accurate network construction schemes and optimization strategies. The traditional cell scene division method is manually divided according to the single-dimensional business indicators, but there are some problems such as the inaccuracy of division and the inability to visualize. In this paper, we propose a cell scene division and visualization method based on autoencoder and K-means algorithm. We train an autoencoder network to conduct the dimension reduction of the wireless perception key quality indicator (KQI) data of cells, and then use elbow method and K-means algorithm to cluster the dimension-reduced data precisely. Through statistical analysis and comparison of indicators of cells in different classes obtained by clustering, we finally achieve accurate cell scene division and visualization.

Stratified Object-Oriented Image Classification Based on Remote Sensing Image Scene Division

The traditional remote sensing image segmentation method uses the same set of parameters for the entire image. However, due to objects’ scale-dependent nature, the optimal segmentation parameters for an overall image may not be suitable for all objects. According to the idea of spatial dependence, the same kind of objects, which have the similar spatial scale, often gather in the same scene and form a scene. Based on this scenario, this paper proposes a stratified object-oriented image analysis method based on remote sensing image scene division. This method firstly uses middle semantic which can reflect an image’s visual complexity to classify the remote sensing image into different scenes, and then within each scene, an improved grid search algorithm is employed to optimize the segmentation result of each scene, so that the optimal scale can be utmostly adopted for each scene. Because the complexity of data is effectively reduced by stratified processing, local scale optimization ensures the overall classification accuracy of the whole image, which is practically meaningful for remote sensing geo-application.

Continuous Narration through Scenic Depictions. The Apollonius pictus

A unique narrative pictorial cycle survives in the Apollonius pictus, an Ottonian copy of a Late Antique illustrated romance, the Historia Apollonii. The fragment of the cycle depicts a continuous narration from the perspective of the romance’s storyteller who was careful to maintain the linearity of time and space when retelling the adventurous story of King Apollonius and his family. The contaminated text of this fragmentary manuscript underwent at least two steps of transition which transformed the depictions to an extent which is difficult to asses. Instead of the individual depictions, however, I focus on their cyclic cohesion which likely fossilized the essence of a Late Antique illustrated model. As an experimental method, I analyzed the pictorial cycle of the Apollonius pictus as a cycle of scenes by the dramatic scene division. I demonstrate that the pictorial cycle carefully follows division by action space and tends to depict dialogues separately. Time to time the illustrator conflates more sce...

Acceleration of ray tracing method using predictive evaluation and GPGPU technology

Abstract Ray tracing is one of computer graphics methods for achieving the most realistic outputs. Its main disadvantage is high computation demands. Removal of this disadvantage is possible using parallelization due to the fact that the ray tracing method is inherently parallel. Solution presented in this article uses GPGPU (general-purpose computing on graphics processing units) technology and a predictive evaluation for the acceleration of ray tracing method. The CUDA C was selected as a GPGPU language and it was used for a conversion of a raytracer core. The main reason for choosing this language was usage of the Tesla C1060 graphics card. The predictive evaluation of a scene was based on the fact that total computation time increases proportionally with resolution. This evaluation allows selection of the optimal scene division for the parallel ray tracing. In tests, proposed GPGPU solution reached accelerations up to 28.3× comparing to CPU.

Scene Division in Titus Andronicus

THE modern editor of early modern drama is often faced with the task of dividing a play into scenes, as subdivisions of either pre-existing acts signalled in the earliest printed text(s) or as part of act and/or scene divisions introduced to otherwise undivided texts; for the most part editorial consensus prevails and disagreement over the number of scenes in a play or the placing of scene divisions, though hardly unknown, is comparatively rare. In the case of Titus Andronicus there is one such consensus over scene division in the second act, specifically the pivotal moment in the play where Bassianus is murdered by Tamora’s sons, Demetrius and Chiron, his killers with their mother’s encouragement then abducting Lavinia to rape and mutilate her. It is with this event, a reciprocal act of revenge for Titus’s killing of Tamora’s other son, Alarbus, in the opening scene, that the play sets in train the ensuing conflict. However, in this case the editorial tradition, built on consensus dating from the early eighteenth century, is open to challenge.

A Holonic Approach to Shakespeare: The Digital Reference System (DRS)

Prefatory RemarksWhen hypertext was made available on the Internet after 1994 it shaped the concepts of public domain and free access. The web server and browsing system that Tim Berners-Lee and Robert Cailliau designed, determined the future digital, editorial and cultural developments for traditional audiences and digital natives alike. They quickly became the generalized interface tools and thus contributed to today's editorial standards. As they helped to create this innovative environment called the Internet, they also helped to establish many standards such as URL, URI, HTTP HTML or XML, which provided interoperability amongst different platforms and allowed internationalization.Shakespeare's texts became part of the interoperable and open network environment which took off after Grady Ward compiled and distributed a public domain version of the Complete Works of William Shakespeare, the so called Moby Shakespeare, which has been credited as being the most widely distributed version of Shakespeare 's Works in the world. The concepts such as free use, fair use and worldwide distribution, including many practical any platform-applications significantly increased the added value of the emergent digital environment, providing the opportunity to encode, transcode, clone and distribute the best Shakespearean file(s) in digital environment. Gary Taylor and Ian Lancashire have already discussed this issue from an ontological point of view, so we spare the reader a repetition of their arguments.From a computational perspective, and after analyzing both the functionality and quality of the Moby Project, we can say that the main advantage of Grady Ward's proposal is that it allows Internet users to easily access the complete unabridged works of Shakespeare in a digital format (plain text or as TXT), which has produced many important technological advances since it was first published. The disadvantage is that, as David Greetham (348) pointed out, Grady Ward adds nothing to the editorial methodology because as a would-be editor he used as the most authoritative text the famous Globe Edition (1886) edited by W.G. Clark and W.A. Wright. This ideal out-of-copyright edition did not improve upon the computational modern spelling edition of the Riverside Shakespeare's Complete Works by Marvin Spevack (digitized with the IBM 7094 in 1969), nor Trevor Howard-Hill's old spelling concordances (generated with the English Electric KDF9 also in 1969), nor the First Folio facsimile published by Sir Sidney Lee in 1902, which continues to be the most used and popular digital text available for free downloading from the Internet.1In the context of this debate, we undertook an in-depth study of a series of different accessories (also called para-textual elements), which have been added throughout time in most of the standard editions, for example the main functional/dramatic characteristics of textual divisions, character headings, stage directions, etc. We compared the main elements of the sequential line numbering (SLN) system with the famous through line numbering (TLN) system. Having detected their most important inadequacies for today's digital use, which we discuss in the present paper, we developed our own system, which we called either the key line numbering (KLN) or the digital reference system (DRS), depending on what aspect of the proposal we want to stress.Standard Abbreviations for Play-TitlesEach time we want to cite, quote or even concord any verse, line or word of any of Shakespeare's plays we usually make use of traditional and accepted devices such as a sigil (commonly named abbreviation or textual identifier) for the plays' title (Tit. for Titus Andronicus', HAM for Hamlet), followed by act and scene division (I.i. or Il.iii.) and line numbers (I.ii.124-127). We have studied exhaustively almost all existing Shakespearean editions to establish the abbreviation methods used throughout time and decided what could be improved to make these textual identifiers more standard, international, bibliographical and digital. …

L'Ecriture du spectacle: les didascalies dans le theatre europeen aux XVIe et XVIIe siecles

Véronique Lochert has produced a richly documented, interdisciplinary, multi-dimensional work of vast proportions. A book about stage directions in the written form of early modern European drama, L'Écriture du spectacle might, initially, seem to have a very precisely delimited subject. But one of the fascinations of Lochert's topic is exactly its unfathomability. Who are stage directions for? Variously, readers, directors, actors, censors. Their destinataires change according to historical period, country, printer, dramatist, prevailing aesthetic. And what are stage directions? We think of them as the italicized words in printed drama. But they have taken many forms. They have been the non-italicized words in printed drama when it was usual to italicize characters' speeches. They appear in the words spoken by characters and are known as implicit stage directions. They have been the words in red ink (the rubrics) in some manuscripts. They have been footnotes and marginal notes. And when the tradition is not (as it is in most early editions of Shakespeare) to mark character exits with the stage direction ‘exit’ or ‘exeunt’ but to indicate the start of a new scene on the page with a new list of characters present, scene divisions themselves become a kind of stage direction, as, arguably, do lists of dramatis personae and, where they exist, arguments (plot summaries, sometimes printed at the start of plays or acts of plays). Lochert casts her net wide, not only in the interpretation of her subject, but also in her broad chronological and geographical sweep: despite the title, she ranges from the late Middle Ages to the eighteenth century and she is equally conversant with English, French, Italian, and Spanish drama. She divides her material into five parts. The first is a historical and theoretical survey, which throws into prominence the recurrent tension between word- and spectacle-based approaches to the dramatic text. The second looks specifically at how stage directions can help actors, whilst the third is about readers. The fourth looks at the different ways in which stage directions have been presented typographically and stylistically. The fifth turns to the interaction between explicit and implicit stage directions. If stage directions, as we know them, have become much more abundant since the eighteenth century, Lochert's book admirably reveals their intriguingly complex roles in early modern dramatic writing. One reason she offers for their increasing success is the opportunity for tyranny they can offer the dramatist. As Voltaire so bullyingly said: ‘Quelque mauvais que soit mon ouvrage, il m'appartient: les comédiens doivent le réciter comme je l'ai fait et non comme ils veulent.’

A realistic structure model for large-scale surface leaving radiance simulation of forest canopy and accuracy assessment

The radiosity-graphics model (RGM) is an important branch of computer simulation modelling for the vegetation bidirectional reflectance distribution function (BRDF). As the radiosity method is based on a global solving technique, the RGM can only deal with limited numbers of polygons, and has only been used for small-scale flat terrain scenes. However, the land surface is generally rugged, so it is necessary to extend the RGM to simulate the surface leaving radiance of the forest canopy at a large scale with complex topography. The methodology adopted in this paper is: (1) virtual forest scene generation combined with a digital elevation model; (2) scene division method, shadowing effect correction and multiple scattering calculation; (3) merging the simulated sub-scene bidirectional reflectance factors (BRFs) to get the whole-scene BRF. The paper compares this new method with other models by choosing a large-scale conifer forest scene with a GAUSS terrain from RAMI3 (http://rami-benchmark.jrc.it). Multi-angle imaging spectroradiometer (MISR) data are used to validate the extended RGM in a Picea crassifolia forest area at a satellite pixel scale in the field campaign in Gansu Province, China. The root mean square error and correlation coefficient between the simulated BRF and the MISR BRF are 0.018 and 0.98, respectively. The uncertainty and error sources of the large-scale RGM model are thoroughly analysed.

Caesar's Gift: Playing the Park in the Late Seventeenth Century

London's royal parks figure prominently in seventeenth-century English Comedy. While critics of Caroline Drama debate the political significance of park scenes, writers on Restoration Comedy focus on their potential either for sexual carnival or collective healing in the aftermath of the Great Fire. Such attention neglects the profoundly political changes that befell the parks during the period 1642-1676: changes in appearance, use and cultural symbolism that determined dramatic representations of them. The performance of park scenes understood in such a context helps in turn to articulate a new concept of the peripatetic in literary studies.

Re-Presenting Ben Jonson: Text, History, Performance by Martin Butler (review)

MLR, 96.I, 2001 MLR, 96.I, 2001 work, Kahan is furtherforced to argue that Samuel Ireland'scorrespondencewith the mysterious 'Mr H', the owner of the chest in which the documents were supposedlyfound, was a fabrication, designed to be used in evidence (even though it was not published),and that William-Henry'sconfessionsand strangebehaviour were all part of the deception. This is not convincing, to say the least, and in any case it does not stop Kahan from quoting from 'tainted' documents. Indeed, a contradictory attitude towards Ireland's own accounts is maintained throughout: having trumpeted his preference for verifiable facts against the self-serving propaganda of the Irelands (fatherand son), Kahan then ceaselessly quotes from and refersto Irelandsenior'sdiaryand Irelandjunior's Confessions with no caveat at all. While it is useful to know that Vortigern was recopied severaltimes by members of the Irelandfamilyfor the stage, this does not prove that the copyistsknew it was a forgery;while we must be gratefulto have more of the archivalresourcesbrought into play, we cannot yet dispense with those earlier accounts by Mair, Grebanier, and Schoenbaum which Kahan patronizingly demotes while continuing to cite them as sources. UNIVERSITY OFLIVERPOOL PAULBAINES Re-Presenting BenJonson.Text,History,Performance. Ed. by MARTINBUTLER.(Early Modern Literaturein History)Basingstoke:Macmillan;New York:St Martin's Press. I999. xii+ 255 pp. ?45. This collection, ably introduced by Martin Butler, contains James Knowles's annotated text of Jonson's newly-discovered Entertainment at Britain'sBurseand a seriesof papersoriginallypresentedin 1995at the Universityof Leeds.The punning title points both to the immediate concern of that occasion (developing guidelines for a replacement to Herford and the Simpsons'monumental Oxford edition) and to the broaderissueof how to representJonson to modern readers. As prolegomena to the projectedCambridgeedition ofJonson's worksunderthe general editorshipof Butler, Ian Donaldson, and David Bevington, severalof these essays deal with the principles to be employed in a modern, and modernized, printed version with a complementary electronic database for old-spelling texts, manuscriptfacsimiles,Jonson allusions,and stage history. More importantly,they reviseour understandingofJonson's texts in the same way that recent biographical studieshave complicated our view of his careermoves and patronage connections. While Butler's introduction, Bevington's rationale for a new edition, David L. Gants's piece on the 1616 Workes, and Kevin Donovan's on EveiyMan Outof His Humour acknowledge the Folio'srevolutionarycontributionto modern strategiesof textual legitimation,they also identifyproblemsposed by an uncriticaldependence on its 'authorized' version of Jonson's works. Using modern bibliographic techniques to examine the sequence of press work and the press variants in the Folio, Gants shows thatJonson's involvement in proof-reading declined progressively as the printing went forward and that hundreds of variants in spelling and punctuation should be attributed to the compositors. Butler, Bevington, and Donovan question the value of the Folio as a copy-text for the two Every Manplays, Sejanus, the earlymasques,and TheNewInn,sincethe Quartoseitheroffersignificant alternative versions or point to controversial histories that are suppressed in the Folio. In an interestingpairing, Donovan's argument for privileging the Every Man OutQuarto because its scene divisions are closer to Jonson's original dramatic intentions is followed by Helen Ostovich's perceptive analysis of the Paul's Walk sequence in Act nIIScene I (split into six scenes in the Folio) as a carefully work, Kahan is furtherforced to argue that Samuel Ireland'scorrespondencewith the mysterious 'Mr H', the owner of the chest in which the documents were supposedlyfound, was a fabrication, designed to be used in evidence (even though it was not published),and that William-Henry'sconfessionsand strangebehaviour were all part of the deception. This is not convincing, to say the least, and in any case it does not stop Kahan from quoting from 'tainted' documents. Indeed, a contradictory attitude towards Ireland's own accounts is maintained throughout: having trumpeted his preference for verifiable facts against the self-serving propaganda of the Irelands (fatherand son), Kahan then ceaselessly quotes from and refersto Irelandsenior'sdiaryand Irelandjunior's Confessions with no caveat at all. While it is useful to know that Vortigern was recopied severaltimes by members of the Irelandfamilyfor the stage, this does not prove that the copyistsknew it was a forgery;while we must...