Книги: "Text lines"

1

Etshalom, Yitzchak. Between the lines of the Bible, Genesis: Recapturing the full meaning of the biblical text. Brooklyn, NY: Urim Publications, 2015.

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2

Edgington, Shawn Marie. Read between the lines: A humorous guide to texting with simplicity and style. Dallas, Tex: Brown Books, 2010.

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3

Townsend, A. A. R. Analog line-of-sight radio links: A test manual. Englewood Cliffs, NJ: Prentice Hall International, 1987.

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4

Parthé, Kathleen. Russia's dangerous texts: Politics between the lines. New Haven: Yale University Press, 2004.

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5

Parthé, Kathleen. Russia's dangerous texts: Politics between the lines. New Haven, CT: Yale University Press, 2005.

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6

Spencer, Herb. Creating wealth to change your lifestyle: The complete text on government protected tax liens. Woodland Hills, CA: Capital Growth Tax Liens, 2000.

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7

Ezquerro, Milagros, and Julien Roger. Le texte et ses liens: Cultures et littératures hispano-américaines = El texto y sus vinculos. Paris: Indigo & côté-femmes, 2006.

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8

Victoria. Office of the Auditor-General. Test calls made to non-emergency ambulance telephone lines. Melbourne]: Victorian Auditor-General's Office, 2000.

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9

Aurel, Stein. Sir Aurel Stein's Limes report: The full text of M.A.Stein's unpublished Limes report (his aerial and ground reconnaissances in Iraq and Transjordan in 1938-39). Oxford: B.A.R., 1985.

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10

Aurel, Stein. Sir Aurel Stein's Limes report: The full text of M.A.Stein's unpublished Limes report (his aerial and ground reconnaissances in Iraq and Transjordan in 1938-39). Oxford: B.A.R., 1985.

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11

Tehranipoor, Mohammad H. Test and Diagnosis for Small-Delay Defects. New York, NY: Springer Science+Business Media, LLC, 2011.

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12

Feltes, N. N. Extraordinary texts (lands and lines): Re-sitting the Donnelly murders, Lucan, 1880. [Toronto, Ont.]: Faculty of Law, University of Toronto, 1993.

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13

Brillenburg Wurth, Kiene, and Ann Rigney. The Life of Texts. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463720830.

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This innovative introduction to literary studies takes 'the life of texts' as its overarching frame. It provides a conceptual and methodological toolbox for analysing novels, poems, and all sorts of other texts as they circulate in oral, print, and digital form. It shows how texts inspire each other, and how stories migrate across media. It explains why literature has been interpreted in different ways across time. Finally, it asks why some texts fascinate people so much that they are reproduced and passed on to others in the form of new editions, in adaptations to film and theatre, and, last but not least, in the ways we look at the world and act out our lives. The Life of Texts is designed around particular issues rather than the history of the discipline as such. Each chapter concentrates on a different aspect of 'the life of texts' and introduces the key debates and concepts relevant to its study. The issues discussed range from aesthetics and narrative to intertextuality and intermediality, from reading practices to hermeneutics and semiotics, popular culture to literary canonisation, postcolonial criticism to cultural memory. Key concepts and schools in the field have been highlighted in the text and then collected in a glossary for ease of reference. All chapters are richly illustrated with examples from different language areas.

14

Aurel, Stein. Sir Aurel Stein's Limes report: The full text of M.A. Stein's unpublished Limes report (his aerial and ground reconnaissances in Iraq and Transjordan in 1938-39) edited and with a commentary and bibliography. Oxford, England: B.A.R., 1985.

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15

L. Bouke van der Meer. Liber linteus zagrabiensis =: The linen book of Zagreb : a comment on the longest Etruscan text. Louvain: Peeters, 2007.

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16

unknown. Between the Lines 11: Student Text (Softcover). Nelson Canada ELHI, 2001.

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17

Henson, Lance. Strong Heart Song: Lines from a Revolutionary Text. West End Press, 1997.

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18

Sharma, A. K. Text Book of 3-D Coordinate Systems and Straight Lines. Discovery Publishing House, 2005.

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19

Puett, Michael. Text and Commentary. Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199356591.013.8.

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This essay traces the notions of text, authorship, and commentary in the early Chinese literary tradition, exploring how the notions were debated and redefined from the fourth century bce to the fourth century ce in an endless process of accretion, in which poetic lines were utilized in new ways and stories were constantly varied according to context. The analysis shows how the texts of the classical period emerged together with the commentaries to them and literary production in the early period developed out of contested visions of how to define text and commentary, author and interpreter; it opens up comparative possibilities for thinking through the development of other early literary traditions as well.

20

Morris, Richard. Cursor Mundi: A Northumbrian Poem of the XVth Century: Part V: Text, lines 23827-end, Appendices (Early English Text Society Original Series). Early English Text Society, 2006.

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21

The feature of the expert, glorious king: Teaching on the three lines that strike the key points root text and commentary by Dza Patrul. Kathmandu: Padma Karpo Translation Committee, 2008.

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22

The feature of the expert, glorious king: Teaching on the three lines that strike the key points : root text and commentary by Dza Patrul. Kathmandu: Padma Karpo Translation Committee, 2009.

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23

Lombardi, Elena. Women as Text, Text as Woman. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198818960.003.0004.

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This chapter explores an ancient cultural theme: the links between women and textuality, involving images of female nudity (‘the naked truth’) and of clothing and make up (ornatus). It begins by exploring the mechanics of reading as a homoerotic exchange between a male author and a male reader through the guise of a personified female text, and it documents the evolution of such a theme in the age of Dante, with the flourishing of a rather independent form of female lyric textuality. In creating an embodied text that moves about, speaks, cries out in joy or sorrow, but also writes and reads itself, and, most importantly, opens itself up to the plurality of interpretation, poets promote a very nuanced image of textuality, which defies gender barriers and stereotypes. Eventually such ‘live’ texts, with their fertility, come to challenge the all-male myth of poetic generation and the masculinity of authority.

24

Murgatroyd, Paul. Introduction (1–55). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0003.

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This chapter provides the Latin text and a literal English translation of the introduction to Juvenal’s tenth satire and a detailed critical appreciation of those lines (1-55), paying particular attention to poetic aspects such as style, sound, rhythm, diction, imagery, vividness and narrative technique, and also assessing the humour, wit, irony and the force and validity of the satirical thrusts. Questions of text are considered as well, where they are of substantial importance. This chapter considers how effectively these lines perform their introductory function, on top of announcing the poem’s main theme (prayer) and main thesis (humans pray for the superfluous, the meaningless and the pernicious), and how well organized they are.

25

David, Hilda, and Francis Jarman, eds. Text Wars. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199499076.001.0001.

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Discourse is a battlefield, and texts (in the broadest sense) are the weapons in its battles. Contemporary India has become a major battleground in these “text wars”, and there is no end in sight to the dangerous, semi-literate tinkering with centuries of intellectual advance that is currently being indulged in by puritanical revisionists. If they succeed, India will be redefined by having its institutions forced into line with what can best be described as a crude nationalist agenda. This book is divided into three parts: a general section, and then two India-focused parts, one with literary texts, the other with essays on politics, society and culture. It tackles questions of free expression, communication, censorship and social pressure, but also problems of social and media responsibility.

26

Bennett, Pete, and Julian McDougall. Doing Text. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325031.001.0001.

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This volume re-imagines the study of English and media in a way that decentralises the text (e.g. romantic poetry or film noir) or media formats/platforms (e.g. broadcast media/new media). Instead, the authors work across boundaries in meaningful thematic contexts that reflect the ways in which people engage with reading, watching, making, and listening in their textual lives. In so doing, the volume recasts both subjects as combined in a more reflexive, critical space for the study of our everyday social and cultural interactions. Across the chapters, the authors present applicable learning and teaching strategies that weave together art works, films, social practices, creativity, 'viral' media, theater, TV, social media, videogames, and literature. The culmination of this range of strategies is a reclaimed 'blue skies' approach to progressive textual education, free from constraining shackles of outdated ideas about textual categories and value that have hitherto alienated generations of students and both English and media from themselves.

27

Parthe, Kathleen F. Russia's Dangerous Texts: Politics Between the Lines. Yale University Press, 2010.

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28

Parthe, Kathleen F. Russia's Dangerous Texts: Politics Between the Lines. Yale University Press, 2004.

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29

Shamma, Yasmine. Joe Brainard’s Collaged Spaces. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808725.003.0003.

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Brainard was not only an illustrator and friend to many New York School poets, he was also an avid letter writer, collage artist, miniature artist, cartoonist, and serious poet. How is contemporary poetry involved in an overlooked dialogue with collage art? This chapter suggests a general tendency towards assembly across the disciplines of text and image which govern both first- and second-generation New York School aesthetics. This chapter showcases how Brainard’s work instigates and propels the collaged poetry of The New York Schools from the real and influential side-lines of their poems? This examination of Brainard’s work argues that though his work sat in the margins of New York School poetry, it informingly lined, bound, and shaped the spatial poetics of this avant-garde American school.

30

Ramsay, Stephen. The Turing Text. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036415.003.0004.

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This chapter delves deeper into the terms of programming as variety of textual activity, in an attempt to unite the reductive calculus of computation to the broader act of critical narrative. Programming, which algorithmic criticism reframes as the enactment of a critical reading strategy, undergirds all of the meditations presented in the previous chapter. Thus, using the Turing test as a guide, this chapter attempts to locate the theoretical components that would allow computer-assisted criticism to be situated within the broader context of literary study. It demonstrates how at the heart of the Turing test lies a brilliant, if unsuccessful, attempt to move attention away from the “how” of imperative process toward the results of rhetorical persuasion.

31

Krawatzek, Félix. Interpreting Text as Discourse or Using Text as Data. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826842.003.0002.

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This chapter presents a new multi-level investigation of discourse that combines network analysis with qualitative content analysis. This book is the first to employ this method for multi-linguistic comparative research. The chapter first develops an understanding of discourse, which seeks to address some of the challenges discourse analysis has faced. It then describes the sources, the sampling procedure, the process of qualitative content analysis, and the logic of the applied coding scheme. A final section introduces details of the discourse network analysis, which combines the unique insight of qualitative interpretation, and the structural insights derived through the rigour of network analysis. This combination can pre-empt some of the concerns that critics have voiced about new quantitative approaches to analysing text. Its added value lies in the identification of clusters in the network, which point to discursive formations that structure meaning.

32

Tucker, Amy. Blurred Lines. Edited by Jay Williams. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199315178.013.35.

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Where writers like James, Howells, and Wharton disdained illustrations, regarding them as a distraction from the psychological realism of their fiction, Jack London welcomed the visual embellishment. He recognized how pictures helped sell books and magazines. Throughout his career he lobbied for favorite artists and criticized others, argued for the usefulness of pictures as reading guides and marketing tools, and requested pieces of original artwork for his private collection. His motivation, however, wasn’t strictly commercial. The discursive and visual elements surrounding any publication inevitably leave their impress on our experience of the work. In London’s case, they suggest a more collaborative relationship between texts and paratexts than has previously been recognized. Equally important, they point to a postmodern self-referentiality that becomes increasingly pronounced as London’s career progresses.

33

Carr, Benjamin. Selected Secular and Sacred Songs. Edited by Eve R. Meyer. A-R Editions, 1986. http://dx.doi.org/10.31022/a015.

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As a versatile performer, distinguished teacher, and prolific composer and publisher, Benjamin Carr made major contributions to the vocal repertoire and to the elevation of musical taste in early America. His songs are noted for their graceful melodic lines and sensitivity to the text, especially in the settings of poetry by Shakespeare and Scott.

34

Connolly, Joy. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198818489.003.0012.

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Throughout her life, Hannah Arendt was deeply and energetically engaged with Greek and Roman ideas, which she saw as sparking new, vital thinking about modern problems. The contemporary artist Tino Sehgal creates artworks out of dialogue that encourage participants to develop new lines of thought and conversation, in keen awareness of their evolving spatial and temporal relationship with one another. This chapter argues that Arendt and Sehgal build a new model for what we now typically call ‘classical reception’—a method of creative, purposive conservation that remembers Greek and Roman texts in their historical specificity even as it focuses on generating novel thought in and for the present time. In their view, to think is to think with—another person, another text, another culture—a treatment of thought as dialogue and, as I argue, an ethics of reading.

35

Fingleton, Jack. Cricket Crisis: Bodyline and Other Lines. Pavilion Bks., 1985.

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36

Camper, Martin. Ambiguity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677121.003.0002.

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Chapter 2 examines disputes over ambiguity, in which interpreters argue over a single linguistic form that evokes distinct alternative meanings. The chapter classifies three types of ambiguity according to contemporary linguistic theory, details common lines of argument for supporting interpretations of ambiguities, and explains the differences between interpreting an ambiguity as unintentional versus intentional. The chapter offers an extended rhetorical analysis of the controversy surrounding Phillis Wheatley’s 1768 poem “On Being Brought from Africa to America,” which has been criticized as an expression of racial self-hatred. Literary critics in defense of Wheatley have argued the poem contains intentional ambiguities that covertly express Wheatley’s anti-racist and slavery views. This case illustrates that arguers can claim a text contains a coded message by uncovering additional meanings through its ambiguities. The various examples in the chapter highlight the important role ambiguity plays in shifting our interpretations of texts and their authors.

37

Oldfield, Paul. Interpretation and Audience. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198717737.003.0003.

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This chapter establishes the interpretative methodology underpinning how medieval urban panegyric can be utilized. It examines the hybrid nature of the sources and the blurred lines between fiction, fact, and hyperbole encountered within many of the sources. It also demonstrates how urban panegyric should not be viewed as detached from the urban world as a result of its authors (who were often ecclesiastics) and their often conservative and formulaic language. Instead it emphasizes how many authors of these texts were embedded within urban culture and how the intertextual borrowings in their text, drawn from earlier works, were re-adapted for contemporary purposes. Thus, these works reflect valuable resources for understanding the urban experience. Moreover, this chapter suggests that panegyric had a wider audience than previously imagined as a result of rising literacy rates, changes in cultural consumption, material symbols, performance, new indicators of civic consciousness, and participation in urban government.

38

Hegland, Frode, ed. The Future of Text ||. Future Text Publishing, 2021. http://dx.doi.org/10.48197/fot2021.

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The second anthology of perspectives on the future of text, one of our most important mediums for thinking and communicating. Foreword by the founder of the modern Library of Alexandria, Ismail Serageldin. With astounding developments in computer special effects in movies and the emergence of powerful AI, text has developed little beyond spellcheck and blue links. In this work we look at myriads of perspectives to inspire a rich future of text through contributions from academia, the arts, business & tech. Ismail Serageldin • Frode Hegland • Alexandra Saemmer • Ann Bessemans • Barbara Tversky • Robert E. “Bob” Horn • Bob Stein • Brendan Langen • Daniel Berleant • Daveed Benjamin • Erik Vlietinck • Fabian Wittel & David Felsmann • Fabio Brazza • Faith Lawrence • Imogen Reid • Jad Esber • Jamie Joyce • Jay Hooper • Jeffrey Chan • Jessica Rubart • Joe Devlin • John Hockenberry • Jonathan Finn • Karl Hebenstreit, Jr. • Kyle Booten • Lesia Tkacz • Luc Beaudoin • Mark Anderson • Megan Ma • Niels Ole Finnemann • Peter Wasilko • Philippe Bootz • Rafael Nepô • Richard A. Carter • Rob Haisfield • Sam Brooker • Sam Winston • Sarah Walton • Stephen Fry • Tim Brookes • Vinton G. Cerf • Yohanna Joseph Waliya This is a Future of Text initiative, along with the software Author & Reader: www.augmentedtext.info

39

Cline, Erin M. The Analects: A Guide. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190863111.001.0001.

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The Analects (Lunyu) is not only a collection of the teachings of Kongzi (Confucius) that describes how to follow the Way; it is a sacred text. This book examines why we ought to regard the Analects as a sacred text and what it means to do so. It explores what distinguishes sacred texts from other texts, and explores the history of the Analects and how it has been regarded in the Chinese tradition and in East Asia more broadly, from its composition and compilation to the evolution of its enduring status and influence. It also examines the content of the Analects concerning the sacred, including rituals, Tian (“Heaven”), de (“moral power”), different kinds of spirits, and its presentation of Kongzi not just as a teacher but also as an exemplar. It argues that we find a deep concern in the Analects with things we might call sacred, spiritual, or religious, but that are part of our everyday lives. All of these things, together, offer good reasons to study the Analects as a sacred text.

40

Prochnow, Herbert V., and Herbert V. Prochnow Jr. Jokes, Quotes and One Liners. HarperCollins Publishers Ltd, 1995.

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41

Prochnow, Herbert V., and Herbert V. Prochnow Jr. Jokes, Quotes and One Liners. HarperCollins Publishers Ltd, 1995.

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42

Moss, T. Rorschach Test Card 10: Lined Note Book. Independently Published, 2020.

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43

Rokison, Abigail. Shakespeare’s Dramatic Verse Line. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0024.

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Using examples from Shakespeare’s early, middle, and late plays and from his Tragedies, Comedies, and Histories, this chapter charts developments and explores patterns in Shakespeare’s dramatic verse line across the genres and time span of his writing career. It examines incidences of end-stopping and enjambment, mid-line breaks, shared, short, and long verse lines, considering the ways in which these relate to the subject matter of scenes and may function as a means of reflecting a character’s emotional or mental state. The chapter draws on evidence from Renaissance prosodic accounts, printed texts, theatrical papers, and evidence relating to early modern theatre practice and considers the ways in which the features of the dramatic line are interpreted by modern theatre practitioners.

44

Staff, Learningexpress. Reading Between The Lines. LearningExpress, LLC, 2002.

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45

Murgatroyd, Paul. Power (56–113). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0004.

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This chapter provides the Latin text and a literal English translation of the section on prayers for power in Juvenal’s tenth satire and a detailed critical appreciation of those lines (56-113), paying particular attention to poetic aspects such s sound, style, rhythm, diction, imagery, vividness and narrative technique, and also assessing humour, wit, irony and the force and validity of the satirical thrusts. Questions of text are considered as well, where they are of substantial importance. This chapter shows how this section highlights the destructiveness of prayers for power and presents a long, densely packed and wide-ranging attack on power from its highest to its lowest form, with a particularly pointed and vivid depiction of the downfall of Sejanus.

46

ISINT performance validation test report. [Cleveland, Ohio]: National Aeronautics and Space Administration, Glenn Research Center, 1999.

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47

Center, NASA Glenn Research, ed. ISINT performance validation test report. [Cleveland, Ohio]: National Aeronautics and Space Administration, Glenn Research Center, 1999.

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48

Albala, Ken. Cookbooks as Historical Documents. Edited by Jeffrey M. Pilcher. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199729937.013.0013.

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Historians use cookbooks as primary source documents in much the same way they use any written record of the past. A primary source is a text written by someone in the past, rather than a secondary source which is commentary by a historian upon the primary sources. As with any document, the historian must attempt to answer five basic questions of provenance and purpose if possible. Who wrote the cookbook? What was the intended audience? Where was it produced and when? Why was it written? There are ways the historian can read between the lines of the recipes, so to speak to answer questions that are not directly related to cooking or material culture but may deal with gender roles, issues of class, ethnicity and race. Even topics such as politics, religion and world view are revealed in the commentary found in cookbooks and sometimes embedded in what appears to be a simple recipe. The most valuable of cookbooks and related culinary texts also reveal what we might call complete food ideologies.

49

Leigh, Michele. Reading between the Lines. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0004.

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This chapter examines the caprices and idiosyncrasies of conducting research in the era of silent cinema by drawing on the case of early Russian film industry, and particularly the A. Khanzhonkov and Company film studio. To this end, the chapter looks at women working not only as actresses but also as screenwriters, directors, and editors in the early years of Russian cinema. One such woman was Antonina Nikolaevna Khanzhonkova, the first wife of studio owner Alexander Khanzhonkov. Sifting through a variety of historical texts and sources, the chapter attempts to flesh out the details of Khanzhonkova. What it discovered is a scarcity of information about Khanzhonkova and other female film workers. It argues that women are not receiving the acknowledgements and credits for their labor; that men are unjustly being given or taking credit for the work of their female counterparts; and that historians unwillingly or willfully perpetuate the crime by repeating the suppression of women's contributions to the film industry.

50

Johnson, Peter. R.G. Collingwood. Thoemmes Press, 1998. http://dx.doi.org/10.5040/9781350276338.

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R.G. Collingwood’s ideas are often considered difficult to locate in the main lines of 20th century philosophy. Some have read Collingwood as anticipating the later Wittgenstein, others have concentrated exclusively on the internal coherence of his thought. As the first introductory book on this major modern philosopher, Peter Johnson examines his work through direct engagement with his arguments. The text takes the form of a conversation with Collingwood on the topics that interested him: philosophy and method; philosophy of mind; language and logic; the historical imagination; art and expression; action; and metaphysics and life.

Книги з теми "Text lines"

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