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This dissertation examines the problem of concurrency control in collaborative editing, both synchronous and asynchronous. Change orientation is identified as a key strategy to address undo, offline operation, and merging of variants.This book defines a new, change-oriented model for collaborative updating of sequences, particularly suited to the problem of collaborative text editing. The model, Palimpsest, addresses document locations in terms of the operations that affect them. A new distinction is introduced between dynamic editing operations, which share structure between different versions of a document, and static operations which accurately represent state changes, but are not updated when other operations are undone. Palimpsest provides a model of the effects of non-sequential undo and merge for the dynamic operations sequence operations move and copy. These operations have not been supported in previous models of concurrent update.
Looks at this US firm's portfolio of work and includes colour photography and critical essays.
The 'Palimpsests' volume will contain thirteen chapters divided into five sections. The first section consists on a single overview study by Finbarr Barry Flood that addresses recognizing palimpsests in architectural contexts. The second section, entitled Monuments Inscribed, contains three studies that take what might be called a traditional approach. Each of them examines textual palimpsests added to the interior and exterior of buildings well after the completion of their construction. The third section, entitled Building Transformations, contains three studies that each present the palimpsestual transformation of built architecture. These studies address the transformation of either the original monument or the palimpsestual addition to it. The fourth section, called Site Transformations, considers how a palimpsest is used to transform not a single building, but rather a site as a whole. The final section, entitled Restoration and Rewriting, looks critically at the role of restoration as a process of rewriting in the remaking of older architectural monuments. The Palimpsests volume concludes with summary remarks and outlines directions for future research into monuments and sites as palimpsests, emphasizing the longue duree biography as the primary mode for monument and site studies.
The Archimedes Palimpsest is the name given to a Byzantine prayer-book which was written over a number of earlier manuscripts. This volume provides colour images and transcriptions of three of the texts recovered from it. Pride of place goes to the treatises of Archimedes, including the only Greek version of Floating Bodies, and the unique copies of Method and Stomachion. This transcription provides many different readings from those made by Heiberg from what he termed Codex C in his edition of the works of Archimedes of 1910-1915. Secondly, fragments of two previously unattested speeches by the Athenian orator Hyperides, which are the only Hyperides texts ever to have been found in a codex. Thirdly, a fragment from an otherwise unknown commentary on Aristotle's Categories. In each case advanced image-processing techniques have been used to create the images, in order to make the text underneath legible.
The metaphor of the palimpsest has been increasingly invoked to conceptualize cities with deep, living pasts. This volume seeks to think through, and beyond, the logic of the palimpsest, asking whether this fashionable trope slyly forces us to see contradiction where local inhabitants saw (and see) none, to impose distinctions that satisfy our own assumptions about historical periodization and cultural practice, but which bear little relation to the experience of ancient, medieval or early modern persons. Spanning the period from Constantine’s foundation of a New Rome in the fourth century to the contemporary aftermath of the Lebanese civil war, this book integrates perspectives from scholars typically separated by the disciplinary boundaries of late antique, Islamic, medieval, Byzantine, Ottoman and modern Middle Eastern studies, but whose work is united by their study of a region characterized by resilience rather than rupture. The volume includes an introduction and eighteen contributions from historians, archaeologists and art historians who explore the historical and cultural complexity of eastern Mediterranean cities. The authors highlight the effects of the multiple antiquities imagined and experienced by persons and groups who for generations made these cities home, and also by travelers and other observers who passed through them. The independent case studies are bound together by a shared concern to understand the many ways in which the cities’ pasts live on in their presents.
In the Cities of Coin and Spice and In the Night Garden introduced readers to the unique and intoxicating imagination of Catherynne M. Valente. Now she weaves a lyrically erotic spell of a place where the grotesque and the beautiful reside and the passport to our most secret fantasies begins with a stranger’s kiss.… Between life and death, dreaming and waking, at the train stop beyond the end of the world is the city of Palimpsest. To get there is a miracle, a mystery, a gift, and a curse—a voyage permitted only to those who’ve always believed there’s another world than the one that meets the eye. Those fated to make the passage are marked forever by a map of that wondrous city tattooed on their flesh after a single orgasmic night. To this kingdom of ghost trains, lion-priests, living kanji, and cream-filled canals come four travelers: Oleg, a New York locksmith; the beekeeper November; Ludovico, a binder of rare books; and a young Japanese woman named Sei. They’ve each lost something important—a wife, a lover, a sister, a direction in life—and what they will find in Palimpsest is more than they could ever imagine.
This volume explores ways in which the literary trope of the palimpsest can be applied to ethnic and postcolonial literary and cultural studies. Based on contemporary theories of the palimpsest, the innovative chapters reveal hidden histories and uncover relationships across disciplines and seemingly unconnected texts. The contributors focus on diverse forms of the palimpsest: the incarceration of Native Americans in military forts and their response to the elimination of their cultures; mnemonic novels that rework the politics and poetics of the Black Atlantic; the urban palimpsests of Rio de Janeiro, Marseille, Johannesburg, and Los Angeles that reveal layers of humanity with disparities in origin, class, religion, and chronology; and the palimpsestic configurations of mythologies and religions that resist strict cultural distinctions and argue against cultural relativism.
In her analysis of some of the most interesting and important children’s literature from Central America and the Caribbean, Ann González uses postcolonial narrative theory to expose and decode what marginalized peoples say when they tell stories to their children—and how the interpretations children give these stories today differ from the ways they have read them in the past. González reads against the grain, deconstructing and critiquing dominant discourses to reveal consistent narrative patterns throughout the region that have helped children maneuver in a world dominated by powerful figures—from parents to agents of social control, political repression, and global takeover. Many of these stories are in some way lessons in resistance and survival in a world where “the toughest kid on the block,” often an outsider, demands that a group of children “play or pay,” on his terms. González demonstrates that where traditional strategies have proposed the model of the “trickster” or the “paradoxically astute fool,” to mock the pretensions of the would-be oppressor, new trends indicate that the region’s children—and those who write for them—show increasing interest in playing the game on their own terms, getting to know the Other, embracing difference, and redefining their identity and role within the new global culture. Resistance and Survival emphasizes the hope underlying this contemporary children’s literature for a world in which all voices can be heard and valued—the hope of an authentic happy ending.