Placing the Academy: Essays on Landscape, Work, and Identity

Twenty-one writers answer the call for literature that addresses who we are by understanding where we are--where, for each of them, being in some way part of academia. In personal essays, they imaginatively delineate and engage the diverse, occasionally unexpected play of place in shaping them, writers and teachers in varied environments, with unique experiences and distinctive world views, and reconfiguring for them conjunctions of identity and setting, here, there, everywhere, and in between.https://digitalcommons.usu.edu/usupress_pubs/1019/thumbnail.jp

Aspects of the collocational analysis of meaning with special reference to some Biblical Hebrew anatomical idioms

Although the biblical data presented can be properly assessed only by a Hebraist/Old Testament exegete, I have attempted to make the work a little more accessible to linguistic scientists without specialization in Hebrew through provision of English glosses of Hebrew passages (rarely of more than a biblical verse in length). Typically these glosses are from NEB, although where NEB's rendering does not closely match the Hebrew sequence (e.g., if NEB omits certain Hebrew phrases because they would be redundant or cumbersome in English, or adopts substantial emendations of NT, or is, in my opinion, erroneous in respect of a particular translation) I have utilized JB, or, occasionally, AV. Italicized sequences (narking expressions not directly expressed in the Hebrew original) in AV (and in the translation of Rash!) are not thus distinguished in my quotations, and I have used 'Lord' for AV and NEB 'LORD'. NEB has been chosen as the primary source because at a semantic, if not a stylistic, level it provides an 'idiomatic' translation, and because its emendations are easy to trace (through Brockington's work). The few tines that I wish to make a translation point particularly strongly or where I feel none of the forementioned translations to be adequate I provide my own glosses. Such renderings, unlike those quoted from other sources, are not accompanied by a citation of source. Within glosses words representing a collocation or other expression being discussed are capitalized. BHK/S is used as the source of quotations from the Hebrew Bible, although its division of cola is not displayed; the caesura (athnach) is sometimes indicated by the use of a new line, or, if only one line of text is displayed, by a double space within this line. In 'citation-forms' of Hebrew text, we utilize a 'plene' orthography. Chapter and verse references are always to the Hebrew Bible. ..

On the probabilistic continuous complexity conjecture

In this paper we prove the probabilistic continuous complexity conjecture. In continuous complexity theory, this states that the complexity of solving a continuous problem with probability approaching 1 converges (in this limit) to the complexity of solving the same problem in its worst case. We prove the conjecture holds if and only if space of problem elements is uniformly convex. The non-uniformly convex case has a striking counterexample in the problem of identifying a Brownian path in Wiener space, where it is shown that probabilistic complexity converges to only half of the worst case complexity in this limit

First grade reading materials of high interest level for children from the ages of seven through twelve.

Thesis (Ed.M.)--Boston Universit

Sixty original plays for primary grades

Thesis (Ed.M.)--Boston Universit

The Haunting of L.S. Lowry: Class, Mass Spectatorship and the Image at The Lowry, Salford, UK

In a series of momentary encounters with the surface details of The Lowry Centre, a cultural venue located in Salford, Greater Manchester, UK, this article considers the fate of the image evoked by the centre’s production and staging of cultural experience. Benjamin’s notion of ‘aura’ as inimical to transformations of art and cultural spectatorship is explored, alongside its fatal incarnation in Baudrillard’s concept of ‘simulation’. L.S. Lowry, I argue, occupies the space as a medium: both as a central figure of transmission of the centre’s narrative of inclusivity through cultural regeneration, and as one who communes with phantoms: remainders of the working-class life and culture that once occupied this locale. Through an exploration of various installations there in his name, Lowry is configured as a ‘destructive character’, who, by making possible an alternative route through its spaces, refuses to allow The Lowry Centre to insulate itself from its locale and the debt it owes to its past