The Maximum Modulus Set of a Polynomial

We study the maximum modulus set, M(p), of a polynomial p. We are interested in constructing p so that M(p) has certain exceptional features. Jassim and London gave a cubic polynomial p such that M(p) has one discontinuity, and Tyler found a quintic polynomial p̃ such that M(p̃) has one singleton component. These are the only results of this type, and we strengthen them considerably. In particular, given a finite sequence α1, α2,…, αn of distinct positive real numbers, we construct polynomials p and p̃ such that M(p) has discontinuities of modulus α1, α2,…, αn, and M(p̃) has singleton components at the points α1, α2,…, αn. Finally we show that these results are strong, in the sense that it is not possible for a polynomial to have infinitely many discontinuities in its maximum modulus set

Variations on a theme of Hardy concerning the maximum modulus

In 1909, Hardy gave an example of a transcendental entire function, $f$, with the property that the set of points where $f$ achieves its maximum modulus, $M(f)$, has infinitely many discontinuities. This is one of only two known examples of such an entire function. In this paper we significantly generalise these examples. In particular, we show that, given an increasing sequence of positive real numbers, tending to infinity, there is a transcendental entire function, $f$, such that $M(f)$ has discontinuities with moduli at all these values. We also show that the transcendental entire function lies in the much studied Eremenko–Lyubich class. Finally, we show that, with an additional hypothesis on the sequence, we can ensure that $f$ has finite order

Johannes Klatt, Librarian for Oriental Manuscripts at the Royal Library in Berlin from 1872 to 1892

The article is a revised and expanded extract of Flügel, Peter (2016) 'Life and Work of Johannes Klatt'. In: Flügel, Peter and Krümpelmann, Kornelius, (eds.), Jaina-Onomasticon. Wiesbaden: Harrassowitz, pp 9-164

Women of the 1913 Armory Show : their contributions to the development of American modern art.

This dissertation is the first comprehensive study of women’s involvement in the 1913 Armory Show as financial backers, art collectors, and artists. The Association of American Painters and Sculptors organized this seminal exhibition, which represents a pivotal change in the course of artistic developments in the early twentieth century. For the first time in American history, the public could view contemporary works of art created by both Europeans and Americans in a huge exhibition. Due to the new abstract work on display, the show sparked controversy and debates about art and challenged both American artists and collectors to reconsider artistic production and consumption. The Armory Show has been celebrated over the past century as a watershed moment in the history of art. However, most of the art historical discourse has championed the work of the men artists and organizers to the exclusion of women, thus portraying the Armory Show as a gendered event and thereby rendering women’s participation in the development of American modern art as negligible. This study reveals that women participated in the Armory Show as critical financial backers, influential art collectors shaping visual culture, and artists who exhibited their work alongside their male colleagues. The purpose of this dissertation is to reclaim the valuable work of women who were ardent supporters and producers of modern art and whose lives intersected at this colossal event. Before, during, and after the Armory Show, women were highly visible participants in modern society, moving into public spheres that empowered them as creators of cultural capital at a transitional time in history. The inclusion of these women and their work is needed to tell a complete story of both the Armory Show and the development of modern art in this country

Life and Work of Johannes Klatt

The name of Johannes Emil Otto Klatt (1852-1903), Classical and Oriental philologist, Custodian at the Königliche Bibliothek in Berlin, and pioneer of Jaina Studies, has almost entirely disappeared from the records of 19th century intellectual history; despite the fact that, between 1873 and 1892, as librarian and bibliographer, he became one of the pivotal figures in Oriental Studies. Klatt was one of a handful of scholars, coalescing around his teacher Albrecht Friedrich Weber (1825-1901) of the Friedrich-Wilhelms-Universität in Berlin, who together with Johann Georg Bühler (1837-1898) in Bombay and Surat effectively established Jaina Studies as an academic field. Klatt is not mentioned in any of the many recent studies on the history of Oriental research, not even in those dedicated to the history of Oriental Studies in Germany, few of which touch on Jaina Studies at all. At the occasion of the posthumous publication of Klatt’s magnum opus, the Jaina-Onomasticon, which Walther Schubring (1881-1969) praised as one of the principal accomplishments of 19th century Jaina research, the time has come to rediscover its author and his still relevant work; not merely for posterity, but also as a paragon and tool for the ongoing exploration of South Asian history and culture. The essay offers a re-appreciation of Klatt's work and serves an an introduction to the edition of the Jaina-Onomasticon

HES - HEZ

OnLine Card Catalogue drawer 0187 (HES - HEZ). 1055 cards

Words, Music, Memory: An exploration of four soprano song cycles by Lori Laitman based on poetry by victims of the Holocaust

This Doctor of Musical Arts document is an exploration of the four soprano song cycles by Lori Laitman based on text settings from victims of the Holocaust, with a specific focus on the compositional and performance devices that both underpin the power of words to bear witness to lived experience and ensure the process of musical commemoration as an act of historical preservation. Lori Laitman (b. 1955) has composed ten distinct song cycles commemorating victims of the Holocaust, of which four are included in this study – I Never Saw Another Butterfly, In Sleep the World is Yours, The Ocean of Eternity, and The Secret Exit. Following the introduction and purpose (where the need for the study, guiding questions, project design, and delimitations are explored), this document undertakes an in-depth review of existing English language song cycles for solo voice based on poetry, prose, or witness experiences from the Holocaust. The study continues with the life history and the origins of the poetry of the witnesses Laitman honors in these four song cycles (Hana Volavková and the children of the Terezín ghetto, Selma Meerbaum-Eisinger, Anne Ranasinghe, and Nelly Sachs) and reviews the background, musical style, and other Holocaust works of Lori Laitman. This document analyzes Laitman’s use of four specific musical devices (tessitura and range, instrumentation, use of text, and use of dissonance) to memorialize the witnesses and demonstrate why she selected the soprano voice versus another voice type. The research was conducted by examining existing scholarly work on both Laitman and the Holocaust victims and personal interviews with the composer and the musicians involved in the origin of the pieces. By interviewing the composer and many of the premiere artists, this document seeks to understand the role of artists in the commemorative process, particularly how art songs can honor Holocaust victims. An accompanying traveling museum exhibit, “Words, Music, Memory: (Re)presenting Voices of the Holocaust,” opened with the lecture-recital