1. Why?

Author(s):  
Glen Van Brummelen

‘Why?’ considers some of the mathematical problems faced by scientists in the past: Hipparchus of Rhodes trying to predict the times of eclipses; Maurice Bressieu, the 16th-century French mathematician and humanist, calculating the height of a tower; and Lord Kelvin trying to predict ocean tide behaviour. Each of these scientists was faced with the same difficulty: the mathematical tools they had at their disposal were not up to the task of quantifying the phenomenon they were studying. This is the problem at the heart of trigonometry: how can we bring together geometry and computation to solve real physical problems? Today, examples of bridges between geometry and measurement are everywhere.

2020 ◽  
Vol 8 (10) ◽  
pp. 254-258
Author(s):  
Nilofer Shakir ◽  

The events in the novel Moth smoke, by Mohsin Hamid are based in Lahore, Pakistan. The writer takes us back in time to the Lahore of the Mughal era. He highlights a turbulent period in Mughal history when the ageing Monarch, Shah Jahan was distressed over the question of succession to the throne. A Sufi saint had predicted that his younger son Aurangzeb would become the king. The writer discusses the political tension of the times. The drive for succession involved a series of diplomatic moves and strategies which the four Mughal Princes adopted to survive the political storm that was generated by the conflicts related to the war of succession. The novel focuses on the late 90s in Lahore. Mohsin Hamid draws a parallel between the political disturbance in the 16th century and the Lahore of present times. The Lahore of the late 90s is in the grip of serious political and social crises. The hostility gripping the two countries of the subcontinent, India and Pakistan is portrayed through the nuclear tests conducted first by India and immediately afterwards by Pakistan in 1998. He focuses on the disintegration of the country and highlights the rampant corruption, drugs, and class wars. The intrigues and conspiracies hatched in the court and harems of Emperor Shah Jahan bordered on the lust for power or supremacy. The novel highlights the impulses, dreams and ambitions which motivate the actions of the characters in the two different time zones and how they finally lead to defeat and death.


2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Marie Radepont ◽  
Jean-Philippe Échard ◽  
Matthias Ockermüller ◽  
Hortense de la Codre ◽  
Oulfa Belhadj

Abstract A key issue in understanding artefacts from the past is the loss of readability of the signs they may have borne. The two 16th-century musical instruments studied here—rare Italian violins made by Andrea Amati (c.1505-1577) in Cremona—bear remains of painted heraldic emblems, which are barely legible and thus remained undeciphered until today. They are exemplary representatives of this research question, indeed combining various types of losses, which are widely encountered on archaeological artefacts: they are now incomplete (parts are missing, surfaces are abraded) and the paint matter itself, of which the signs are made, has altered. In this study, the complete original outlines and geometrical subdivisions of the shields are deduced from calculations based on the conventional heraldic construction practices of the times. Also, in situ elemental imaging of the shield areas—here using scanning X-ray fluorescence (XRF) spectroscopy— brings two types of information: (i) the nature of pigments, allowing to deduce the initial colours of the paints not discernable to the eye, whether abraded or discoloured; (ii) the spatial distribution of these pigments and colours inside the shield. This multi-approach method leads to the unprecedented revelation of a combination of symbols (tinctures of fields, emblematic ornaments, and their relative spatial distribution), all having meanings in heraldic language. The reconstructed coats of arms appear to be pointing to a very specific nine-year period (1559–1568) of the life of the queen Elisabeth (Isabel) of Valois, spouse of Philip II of Spain. We suggest that this approach, combining an imaging spectroscopic technique and a geometrical study of remaining decors, here providing new insights into the musical history at the Court of Spain, may be used to enhance the readability of a wide range of writings, signs and symbols on artefacts from the past.


Author(s):  
Michael Germana

Chapter 5 treats Ellison’s music criticism as an expression of his commitment to durational time and a critique of cultural forms like bebop that, in Ellison’s estimation, lend form to a discontinuous present. Rather than suggest, as many critics have, that Ellison was simply nostalgic for danceable swing music or hostile toward emerging musical forms, this chapter shows that Ellison’s primary criticism of bebop is that it formalizes a discontinuous sense of time and thereby affirms an historical view of the past structured by an analogous, sequentially static sense of time. Ellison’s problem with bebop, in other words, is neither musicological nor sociological, but temporal. Folk jazz and the blues, by contrast, affirm a durational view of time in the form of a “pocket” or groove entirely unlike the spatialized groove of history described in Invisible Man. In short, Ellison finds in musical grooves antidotes to the groove of history.


BJHS Themes ◽  
2020 ◽  
Vol 5 ◽  
pp. 15-37
Author(s):  
Karine Chemla

AbstractThis essay approaches the knowledge required to write up and use instructions with a specific method. It relies on specific procedures taken from the Chinese canon The Nine Chapters on Mathematical Procedures (九章算術), which, in the author's view, was completed in the first century CE. These procedures enabled readers to do things. To analyse the type of knowledge required to produce these texts of procedures and to use them, the essay puts into play two layers of commentary. The ancient layer was written between the third and the seventh centuries, whereas the later layer was composed between the eleventh and the thirteenth centuries. The author shows that these two layers of commentary read the same text of procedure differently, using different approaches and understanding it differently. The author also shows how the two layers of commentary use mathematical problems to approach a procedure, even though problems are used differently in the two contexts. This illustrates how, in different contexts, actors interpreted the same instructional text differently, both with respect to what the text meant and with respect to how one could make sense of it.


2015 ◽  
Vol 1 ◽  
Author(s):  
Francesco Spampinato

During the past few years, New York has seen the restaging of two groundbreaking underground art exhibitions, originally organized in 1980 by Lower East Side-based collective Colab: The Real Estate Show and The Times Square Show. The former, which took place illegally on New Year’s Eve in a vacant, city-owned building at 125 Delancey Street—and was shut down by the police after few hours—was restaged in Spring 2014 at four Downtown venues: James Fuentes Gallery, Cuchifritos, The Lodge Gallery, and ABC No Rio. The latter was organized in a disused Times Square massage parlor and restaged in Fall 2012 at Hunter College’s Bertha and Karl Leubsdorf Art Gallery.


2018 ◽  
Vol 70 (3) ◽  
pp. 285-306 ◽  
Author(s):  
Rebecca Schneider
Keyword(s):  
The Past ◽  

2006 ◽  
Vol 1 (1) ◽  
pp. 3-39 ◽  
Author(s):  
Patrick O’Brien

This essay has been written to serve as a prolegomenon for a new journal in Global History. It opens with a brief depiction of the two major approaches to the field (through connexions and comparisons) and moves on to survey first European and then other historiographical traditions in writing ‘centric’ histories up to the times of the Imperial Meridian 1783–1825, when Europe’s geopolitical power over all other parts of the world became hegemonic. Thereafter, and for the past two centuries, all historiographical traditions converged either to celebrate or react to the rise of the ‘West’. The case for the restoration of Global History rests upon its potential to construct negotiable meta-narratives, based upon serious scholarship that will become cosmopolitan in outlook and meet the needs of our globalizing world.


Author(s):  
Michaela Sibylová

The author has divided her article into two parts. The first part describes the status and research of aristocratic libraries in Slovakia. For a certain period of time, these libraries occupied an underappreciated place in the history of book culture in Slovakia. The socialist ideology of the ruling regime allowed their collections (with a few exceptions) to be merged with those of public libraries and archives. The author describes the events that affected these libraries during and particularly after the end of World War II and which had an adverse impact on the current disarrayed state and level of research. Over the past decades, there has been increased interest in the history of aristocratic libraries, as evidenced by multiple scientific conferences, exhibitions and publications. The second part of the article is devoted to a brief history of the best-known aristocratic libraries that were founded and operated in the territory of today’s Slovakia. From the times of humanism, there are the book collections of the Thurzó family and the Zay family, leading Austro-Hungarian noble families and the library of the bishop of Nitra, Zakariás Mossóczy. An example of a Baroque library is the Pálffy Library at Červený Kameň Castle. The Enlightenment period is represented by the Andrássy family libraries in the Betliar manor and the Apponyi family in Oponice. 


2021 ◽  
pp. 185-192
Author(s):  
Ekaterina Karavaeva

The article explores the motif of love in a totalitarian society in Anchee Min’s novel “Wild Ginger”. Though an American citizen, Anchee Min belongs to a group of modern Chinese-American writers whose interests focus around the past of her home country China. Childhood and teenage years which Min spent in Communist China provided her with a lot of material for her later novels. In Wild Ginger through a classic plot of love triangle the writer approaches the motif of love in the times of Cultural Revolution. The author examines love as a relationship between a man and a woman, and as a religious feeling and communist ideology. Grotesque becomes the main literary device. Over-exaggeration bordering on incredibility expresses the author’s rejection of the surrounding reality. Intertwining comical and tragical situations, the novels brings the reader to a conclusion that love is the only means of attainting personal freedom and maturity in a totalitarian society.  


2015 ◽  
Vol 5 ◽  
pp. 155-230 ◽  
Author(s):  
Andrzej Kompa

In a nutshell: 1. I believe that Ekloge Chronographias of George Syncellus and Chronographia of Theophanes the Confessor should be treated as a single project, undertaken in turn by two authors; 2. There are important stylistic differences between the two parts, noticeable in the fragments, in which the authors deliver some editorial remarks or disclose their personal opinions; from a wider selection of such phrases, references to the past or future such as ‘as I have mentioned/as I said/as have been said/as we demonstrated above, etc.’, being diverse and individual, are especially helpful. 3. This observation is of great use not only for the texts analysed here, it may be used to confirm authorship of many other texts. 4. As for George and Theophanes, the TLG search of such structures in all extant classical Greek and Byzantine output confirms the statement nr 1, with clauses like ὡς προέφην/καθὼς καὶ προέφην/ὡς προέφημεν/καθὼς προέφημεν both rare in the whole preserved corpus, and relatively often used by the author of Chronographia. The style of the proemium of Chronographia fits the rest of the work and differs from Ekloge Chronographias. 5. Precise analysis of a wider group of similar clauses shows that Ekloge Chronographias and Chronographia were written by two different authors; Chronographia was created by one author, distinctive and independent, no matter how reproductive at the same time he was. I see no convincing arguments not to call this author Theophanes. Some later and partial editiorial interventions to Chronographia, conceivable (rubrics?) and in some instances even certain, do not challenge this view. 6. Only a few entries from the initial parts of Chronographia fit more the George’s work; their style and content bear much more similarities with Ekloge (in AM 5796, 5814, 5818, 5827, 5828). These paragraphs, George’s aphormai, probably in form of loose notes, were inserted to Chronographia by its author the same way as he used his sources for the subsequent parts; they did not reach beyond the times of Constantine I. 7. I do not dismiss the message of the proemium to the Chronographia as it is much more credible than the discussion, sometimes hypercritical, on the vitae and the scraps of the Confessor’s biography. I see no reason not to believe that the idea established and developed by George was then taken over by his friend; the differences result from the independent work of the former and then of the latter, presumably with only rudimentary guidance at the beginning. 8. The ‘genuine friendship’, the crucial relation between the two authors is still the most useful key to understand the history of the tripartita – therefore, I analyse it in the final part of the paper.


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