scholarly journals Evolution of the most common English words and phrases over the centuries

2012 ◽  
Vol 9 (77) ◽  
pp. 3323-3328 ◽  
Author(s):  
Matjaž Perc
Keyword(s):  
Twentieth Century ◽  
Sixteenth Century ◽  
Large Scale ◽  
World Wide ◽  
Preferential Attachment ◽  
Self Organization ◽  
Written Text ◽  
The Past ◽  
Steady Growth ◽  
Language Statistics

By determining the most common English words and phrases since the beginning of the sixteenth century, we obtain a unique large-scale view of the evolution of written text. We find that the most common words and phrases in any given year had a much shorter popularity lifespan in the sixteenth century than they had in the twentieth century. By measuring how their usage propagated across the years, we show that for the past two centuries, the process has been governed by linear preferential attachment. Along with the steady growth of the English lexicon, this provides an empirical explanation for the ubiquity of Zipf's law in language statistics and confirms that writing, although undoubtedly an expression of art and skill, is not immune to the same influences of self-organization that are known to regulate processes as diverse as the making of new friends and World Wide Web growth.

“Big History” Old and New: Presuppositions, Limits, Alternatives

2015 ◽  
Vol 9 (2) ◽  
pp. 306-326 ◽  
Author(s):  
Allan Megill
Keyword(s):  
Nineteenth Century ◽  
Sixteenth Century ◽  
Large Scale ◽  
Innovative Approach ◽  
Human History ◽  
Comparative History ◽  
Historical Knowledge ◽  
The Past ◽  
History Of ◽  
Big History

In recent years David Christian and others have promoted “Big History” as an innovative approach to the study of the past. The present paper juxtaposes to Big History an old Big History, namely, the tradition of “universal history” that flourished in Europe from the mid-sixteenth century until well into the nineteenth century. The claim to universality of works in that tradition depended on the assumed truth of Christianity, a fact that was fully acknowledged by the tradition’s adherents. The claim of the new Big History to universality likewise depends on prior assumptions. Simply stated, in its various manifestations the “new” Big History is rooted either in a continuing theology, or in a form of materialism that is assumed to be determinative of human history, or in a somewhat contradictory amalgam of the two. The present paper suggests that “largest-scale history” as exemplified in the old and new Big Histories is less a contribution to historical knowledge than it is a narrativization of one or another worldview. Distinguishing between largest-scale history and history that is “merely” large-scale, the paper also suggests that a better approach to meeting the desire for large scale in historical writing is through more modest endeavors, such as large-scale comparative history, network and exchange history, thematic history, and history of modernization.

scholarly journals Polish presence on Belarusian lands in the twentieth century: the experience of interaction between historians of the two countries 2017–2020

2021 ◽  
pp. 497-509
Author(s):  
Yuriy A. Borisenok ◽  
Keyword(s):  
Twentieth Century ◽  
Large Scale ◽  
State Universities ◽  
Eastern European ◽  
The Past ◽  
Political Relations ◽  
Scientific Project ◽  
Serial Publication ◽  
The University ◽  
The Military

In 2017–2020 The Center for Eastern European Studies of the University of Warsaw has published four voluminous volumes of the serial edition “Poles in Belarus” edited by the historian Tadeusz Gawin. The books reflect the results of a large-scale Polish-Belarusian scientific project, in the course of which Polish and Belarusian historians focused their attention on the problems of history that are urgent for both countries, first of all, of the twentieth century. In particular, separate volumes and scientific conferences preceding them were devoted to the Polish and Belarusian ideas of state independence in 1918–2018 and the military action of 1920 against the backdrop of political changes in the twentieth century. The uniqueness of the serial publication is that historians from Belarusian state universities and research institutes actively participated in it; this practice, in the context of a sharp deterioration in Polish-Belarusian political relations, has already become a thing of the past.

EMIGRANTS “MEMORY STORIES” OF ROMUALD WERNIK

2019 ◽  
pp. 349-357
Author(s):  
Oleksii Sykhomlynov
Keyword(s):  
Twentieth Century ◽  
Large Scale ◽  
Literary Texts ◽  
The Past ◽  
Political Events ◽  
Historical Figure ◽  
Broad Concept ◽  
New Type ◽  
The Creation ◽  
Negative Feelings

Nostalgic discourse is an important feature of the Polish boundary and emigration literature of the twentieth century. This is a large-scale and widespread trend. She is an appeal to memories and nostalgic poetics. We can talk about a certain discourse of the past memoirism, which is understood as a norm and strategy used in the creation of text or expression-statement. The basis of creative interpretation in this case are cultural and social models, which become the norm, point of reference, the basis of the text or statement, which have certain genre features. The tragic experience of social and political events of the twentieth century: the loss of small homelands and the breakdown of ties with the broad concept of “ideological homeland”, caused the emergence of a new type of literature, full of poetics of memoirs. “Memory-nostalgia” becomes one of the main thematic and artistic components of the literature of the frontier, illustrating the emergence of nostalgic discourse, a certain norm and strategy for the creation of literary texts that have specific features and are found in poetry, prose or essay in the ethno-cultural model of literature polish-ukrainian frontier. Memoirs – this is a subjective understanding of certain historical events or biographies of a particular historical figure, carried out by the writer in an artistic form with the use of his true documents of his time, a deep correlation of his own spiritual experience with the inner world of his heroes. Nostalgia is a type of vulnerability that appears today in the literature more often than any other, and is a specific form of perception of reality and the way of world perception. Today, the “literature of exiles” often refers to the theme “lost paradise of childhood”, people are tired of their youth and the place where the artist’s socialization took place. This is the essence of the nostalgic worldview. There is awareness of the irretrievability of the past, but it does not cause negative feelings, only generates a sweet pain of memories. In this context, an interesting example of nostalgic prose is the works of Romuald Wernik, an emigrant, writer from the Polish-Ukrainian borderland, historian of art, political publicist.

The ‘Taste for Tudors’ since 1940

1960 ◽  
Vol 7 ◽  
pp. 167-183
Author(s):  
Lacey Baldwin Smith
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Sixteenth Century ◽  
Welfare State ◽  
The Past ◽  
Military Security ◽  
The Welfare State

Professor F. J. Fisher wrote in 1940 that the twentieth century has been ‘busily recreating the sixteenth century in its own image’. Historical re-evaluation is always in part narcissistic. Two world wars have left their scars on our view of history and, if nothing else, have given us insights into the Tudor age which, like our own, faced ideological wars of survival. The quest for economic and military security and the dream of the welfare state have led the twentieth century to forsake not only the ethical and institutional standards of the nineteenth century but also to deny its interpretation of history. The ancient shibboleths, the familiar landmarks of Tudor history, and the comfortable generalizations about despotism, mercantilism, and ‘new monarchy’ are all being swept aside by a generation of historians who claim greater understanding of the past.

Hucbald’s Fifths and Vaughan Williams’s Mass

2020 ◽  
pp. 326-339
Author(s):  
Deborah Heckert
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Sixteenth Century ◽  
New Music ◽  
Very Old ◽  
The Past ◽  
Historical Images ◽  
Mass In G ◽  
Changing Attitudes

In a Musical Times review of a 1923 performance of Vaughan Williams’s Mass in G minor in Birmingham, H. C. Colles made the comment that “there hasn’t been so many parallel fifths since Hucbald.” This is just one blatant medievalist moment in a review that firmly places the Mass within a tangled web of historical images and associations. Colles’s description of the Mass evokes historicism by utilizing imagery related to the medieval cathedral and drawing on the well-rehearsed sixteenth-century/Tudor tropes prevalent during these years. More interestingly, Colles also identifies an inherent anti–nineteenth century, antiromantic sentiment underpinning the Mass, underlining his view that this work was something both very new and very old and not a throwback to a Victorian neo-Gothicism. Using Vaughan Williams’s Mass and its reception as a case study, this chapter explores the new musical medievalism current during the first decades of the twentieth century to outline changing attitudes toward the music of the past. This chapter argues that the cosmopolitan nature of Victorian medievalism was transformed into an aesthetic that worked both with nationalist agendas and with modernist ideologies in a manner that ultimately created a connection between “old” and “new” music and disenfranchised romantic, nineteenth-century forbears.

Some Questions of International Law in the European War

1916 ◽  
Vol 10 (1) ◽  
pp. 12-41 ◽  
Author(s):  
James W. Garner
Keyword(s):  
Twentieth Century ◽  
International Law ◽  
Large Scale ◽  
Loss Of Life ◽  
Neutral State ◽  
The Past ◽  
Single Instance ◽  
The Press ◽  
History Of ◽  
Naval Operations

The history of the naval operations of the present war is quite without parallel, not only on account of the large number of enemy merchant vessels that have been destroyed without warning and the consequent loss of life of both neutral and non-combatant persons, but also because of the destruction on a large scale of ships of neutral Powers. According to the press dispatches, about one hundred and fifty neutral merchantmen, American, Danish, Dutch, Greek, Italian, Norwegian, Portuguese, and Swedish, have already been sunk by one or another belligerent—in most cases by German cruisers and submarines. The merchant marines of Denmark, Holland, Norway, and Sweden have been the heaviest sufferers. In a few cases the destruction was the resuit of error due to the alleged inability of the captor to distinguish the markings of the vessel, but in the majority of cases the reason alleged was that the ships were carrying contraband of war. In view of the extensive and unprecedented scale upon which this practice has been resorted to during the present War, the conditions under which the destruction by belligerents of neutral merchant vessels is permissible, if at all, well merit consideration in the light of international law and practice. Mr. Thomas Baty, an English authority of high standing, writing in 1911, thus states the practice of the past: It is surely very remarkable, that in all the history of war up to the twentieth century not a single instance can be adduced of a neutral ship’s being destroyed on the high seas. Surely it is most significant that despite the utmost temptations and the fiercest stress of conflict, belligerents uniformly and scrupulously abstained from the least interference with neutral vessels, beyond ascertaining their characters and bringing them into port. French, Americans, Spaniards, Dutch, Danes—strict navy men and lax privateers—polished admirals and rough desperadoes—none of them dared send to the bottom a ship wearing the flag of a neutral state.

scholarly journals Garaituen bizipenen berreraiketa Armendarizen Silencio roto filmean

2021 ◽  
Vol 26 (50) ◽  
pp. 105-124
Author(s):  
Ander Goikoetxea Pérez
Keyword(s):  
Twentieth Century ◽  
Historical Memory ◽  
Narrative Construction ◽  
Written Text ◽  
The Past ◽  
Knowing That ◽  
Palabras Clave ◽  
The Subject ◽  
New Perspective ◽  
Siglo Xx

LaburpenaAzken hamarkadetan, zinema iraganeko dokumentu bihurtu da testu idatzian eta dokumentu ofizialetan jasotako informazioa osatzeko iturri gisa. Baina XX. mendean eztabaida luzeak izan dira gai honen inguruan, zineak eta historiografiak mesfidantzaz begiratzen bait zioten elkarri. Gaur egun, ordea, autore gehienak ados daude zinema iraganeko dokumentua dela esatean. Zentzu horretan, iraganean girotutako film bati ezin zaio exijitu erabat zehatza eta egiazkoa izatea, baizik eta beti egiazkoa izatea. Silencio rotoren bidez, Armendarizek makiaren borroka antifaxista gogoratzen du. Lan honetan aipatutako filmaren eraikuntza narratiboaren hiru elementu nagusiak (pertsonaia, akzioa eta gatazka) identifikatuz eta aztertuz makiaren irudikapena aztertu nahi da. Beste autore batzuek Silencio roto filma aztertu dutela jakinda, lan honek ikuspegi berri batetik heldu nahi dio gaiari, aurreko ikerketen osagarri gisa: zuzendariak 40ko hamarkadako gerrillaren testuinguruan islatu dituen emakume garaituen bizipen basatiak.Gako-hitzak: fikzioa; frankismoa; oroimen historikoa; ikus-entzunezko narratiba; indarkeriaResumenEn las últimas décadas el cine se ha convertido en un documento del pasado como fuente para completar la información contenida en el texto escrito y en los documentos oficiales. No obstante, desde el siglo XX se han producido largas discusiones sobre este tema, ya que el cine y la historiografía se miraban desconfiadamente. En la actualidad, sin embargo, la mayoría de los autores coinciden en que el cine es un documento del pasado. En este sentido, a una película ambientada en el pasado no se le puede pedir que sea absolutamente exacta y veraz, sino que sea siempre sincera. Con Silencio roto, Armendáriz recuerda la lucha antifascista del maqui. En este trabajo se pretende analizar la representación del maqui mediante la identificación y análisis de los tres elementos principales de la construcción narrativa de la película: personajes, acción y conflicto. Sabiendo que otros autores han estudiado dicha película, este trabajo pretende abordar el tema desde una nueva perspectiva como complemento a investigaciones anteriores: las vivencias brutales de las vencidas que el director ha reflejado en el contexto de la guerrilla de los años 40.Palabras-clave: ficción; franquismo; memoria histórica; narrativa audiovisual; violenciaAbstractIn recent decades, cinema has become a document of the past as a source to complete the information contained in the written text and official documents. But since the twentieth century there have been long discussions on this subject, since the cinema and historiography were looked distrustfully. At present, however, most of the authors agree that cinema is a document of the past. In this sense, a film set in the past cannot be asked to be absolutely accurate and truthful, but is always sincere. With Silencio roto, Armendáriz recalls the antifascist struggle of the machine. This paper aims to analyze the representation of the machine by identifying and analyzing the three main elements of the narrative construction of the reference film: characters, action and conflict. Knowing that other authors have studied this film, this paper aims to address the subject from a new perspective, as a complement to previous research. Thus, the director has retaken the question of the guerrilla of the 40's, taking into account the brutal experiences of the defeated.Keywords: fiction; Francoism; historical memory; audiovisual narrative; violence

Nine Centuries of Man

2017 ◽  
Keyword(s):  
Twentieth Century ◽  
Diverse Range ◽  
Gender Expectations ◽  
Court Records ◽  
The Past ◽  
Wide Range ◽  
Police Reports ◽  
Late Twentieth ◽  
Scottish History ◽  
Late Twentieth Century

What did it mean to be a man in Scotland over the past nine centuries? Scotland, with its stereotypes of the kilted warrior and the industrial ‘hard man’, has long been characterised in masculine terms, but there has been little historical exploration of masculinity in a wider context. This interdisciplinary collection examines a diverse range of the multiple and changing forms of masculinities from the late eleventh to the late twentieth century, exploring the ways in which Scottish society through the ages defined expectations for men and their behaviour. How men reacted to those expectations is examined through sources such as documentary materials, medieval seals, romances, poetry, begging letters, police reports and court records, charity records, oral histories and personal correspondence. Focusing upon the wide range of activities and roles undertaken by men – work, fatherhood and play, violence and war, sex and commerce – the book also illustrates the range of masculinities that affected or were internalised by men. Together, the chapters illustrate some of the ways Scotland’s gender expectations have changed over the centuries and how, more generally, masculinities have informed the path of Scottish history

Modernism Under Review: Hugh Kenner's The Pound Era

2010 ◽  
Vol 5 (2) ◽  
pp. 181-194
Author(s):  
Marjorie Perloff
Keyword(s):  
Twentieth Century ◽  
First World War ◽  
World War ◽  
The Past ◽  
The First World War ◽  
Anglo American ◽  
First World

This essay offers a critical re-assessment of Hugh Kenner's The Pound Era. It argues that Kenner's magisterial survey remains important to our understanding of Modernism, despite its frankly partisan viewpoint. Kenner's is an insider's account of the Anglo-American Modernist writing that he takes to have been significant because it sought to invent a new language consonant with the ethos of the twentieth century. The essay suggests that Kenner's impeccable attention to the Modernist renovation of language goes beyond formalism, since, for him, its ‘patterned energies’ (a term derived from Buckminster Fuller's theory of knots) relate Modernism to the larger complex of artefacts within which it functions and, beyond these, to what he takes to be the great works of the past and to the scientific-technological inventions of the present. But the essay also points out that Kenner's is an eccentric canon, which makes no room for Forster, Frost, Lawrence, or Stevens. Furthermore, Kenner's emphasis on the First World War as a great cultural rupture, while plausible, works less well for Joyce and Williams than it does for Pound and Eliot.

Profilometry. Using Corneo-scleral topography for scleral lens fitting

The Eye ◽  
2019 ◽  
Vol 21 (128) ◽  
pp. 19-22
Author(s):  
Gregory DeNaeyer
Keyword(s):  
Ocular Surface ◽  
World Wide ◽  
Contact Lenses ◽  
The Past ◽  
The World ◽  
The Future ◽  
The Way

The world-wide use of scleral contact lenses has dramatically increased over the past 10 year and has changed the way that we manage patients with corneal irregularity. Successfully fitting them can be challenging especially for eyes that have significant asymmetries of the cornea or sclera. The future of scleral lens fitting is utilizing corneo-scleral topography to accurately measure the anterior ocular surface and then using software to design lenses that identically match the scleral surface and evenly vault the cornea. This process allows the practitioner to efficiently fit a customized scleral lens that successfully provides the patient with comfortable wear and improved vision.

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