In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Greek Writing from Knossos to Homer: A Linguistic Interpretation of the Origin of the Greek Alphabet and the Continuity of Ancient Greek LiteracyMichael WeissRoger D. Woodard. Greek Writing from Knossos to Homer: A Linguistic Interpretation of the Origin of the Greek Alphabet and the Continuity of Ancient Greek Literacy. New York and Oxford: Oxford University Press, 1997. xiv = 287 pp. Cloth, $65.Woodard's is an important (...) and groundbreaking work which has put the question of the origin of the Greek alphabet in a new light. His thesis is that scribes literate in the Cypriot syllabary were responsible for the first Greek adaptation of the alphabet, and in order to demonstrate this thesis Woodard must investigate the spelling principles of the Mycenaean and Cypriot syllabic scripts. Although his initial chapters devoted to these scripts may at first seem irrelevant to the reader interested in the origin of the alphabet, they do turn out to be crucial for his theory.Woodard first describes the principles of the syllabic alphabets. Since neither Linear B nor the Cypriot syllabary was originally designed for the representation of the Greek language, both systems are relatively inefficient. In particular the representation of consonant clusters presented a problem for both syllabaries, for which a number of spelling strategies were devised. In Linear B the first consonant of a consonant cluster is either not written at all—e.g., ka–ko [khalkos], a strategy Woodard calls "partial spelling"—or the first consonant of the cluster is spelled with a dummy vowel copying the vowel of the syllable to the right: e.g., a–ko–ro [agros]. This type of spelling Woodard calls "plenary spelling." In Cypriot an internal consonant cluster is spelled either with "regressive spelling," whereby the first consonant of the cluster is expressed with a sign containing a dummy vowel copying the vowel immediately to the left—e.g., a–ra–ku–ro [argurō]—or with "progressive spelling," whereby the first consonant of the cluster is expressed with a sign containing a dummy vowel copying the vowel immediately to the right: e.g., pa–ti–ri [patri]. Cypriot progressive spelling is essentially identical to Linear B plenary spelling. Furthermore, Cypriot regressive spelling is used for precisely those internal clusters which are represented in Linear B with partial spelling.Trying to explain which factor(s) determine(s) whether a cluster will be spelled with, on the one hand, partial spelling in Linear B and regressive spelling in Cypriot or, on the other hand, with plenary spelling in Linear B and progressive spelling in Cypriot has been a long–standing project of Greek linguistics. In chapter 3 Woodard deals with the various theories which attempt to explain these different spelling strategies as the result of different syllabifications of consonant clusters. The simplest of the theories examined explains [End Page 163] partial/regressive spelling as indicating that the first consonant of the cluster closed the preceding syllable and the second consonant opened the following syllable. In other words, partial/regressive spelling is an indication of heterosyllabicity. Plenary/progressive spelling, on the other hand, is taken to indicate that the entire cluster began the following syllable; that is, clusters which are spelled in the plenary/progressive fashion are tautosyllabic. But, as Woodard rightly observes, the syllabifications needed to justify such a theory—e.g., de–so–mo to be syllabified [de–smois]—are abundantly contradicted by the metrical evidence of both later Greek and Vedic, which show that clusters of the type [–sm–] made position and therefore must have been heterosyllabic. If such clusters were heterosyllabic both in PIE, as the Vedic evidence suggests, and in later Greek, they must have had the same syllabification in Mycenaean. More sophisticated versions of syllable–based theories have tried to get around this problem in a variety of ways. The delicate versions of Ruijgh and Morpurgo Davies attempt to explain plenary spellings of the de–so–mo type as reflecting "orthographic syllabification" which arises through spelling in full those internal consonant clusters which are also spelled in full in word initial position. But even these versions, despite their partial agreement with the doctrines of the Greek grammarians, fail in... (shrink)

The Qurʾān was taught in the letter method for many years. After the names of the letters in the Arabic alphabet are memorized in this method, the teaching of origins and signs begins. The syllabic method was developed over time as an alternative to this method, and the letters were taught directly with their superior vowel signs without memorizing their names. Unlike these two methods, the sound-based alif ba method has begun to be used in recent years. This method (...) coincides with the primary literacy teaching method based on the sounds thatwere adopted in Turkish teaching since 2005. Basic principles such as teaching the letters one-by-one, following the sound learning stages in teaching each sound, conducting the lessons in class, reading the syllables and words formed with the learned letters from the first day are adopted in both teaching methods. The purpose of the present study was to find out how the Qurʾān can be taught by applying the sound-based alif ba method and to draw attention to the original aspects of this method for learning the Qurʾān with the right sounds. Since the correct teaching of the Qurʾān is closely related to the teacher’s content knowledge and teaching skills, the alif ba that will be used and the method to be applied are important in reaching the target more systematically and faster. The case study design was used in the study in which the qualitative method was employed. The primary data of the study were Sound-Based Alif ba, for which I was the project assistant of, and the book with the title A New Approach in Teaching the Qurʾān: Sound based Alif baand Tajwīd Method, which was an editorial book of which I was one of the authors, and the thirty-episode series We Are Children and We Are Reading the Qurʾān, published on Diyanet TV, for which I was the production coordinator. Also, to see the applicability of the method, interviews were conducted with eight instructors who used Sound-Based Alif ba in their lessons. The study received ethical approval from Ankara Social Sciences University Rectorate Social and Human Sciences Research and Scientific Publication Ethics Committee on 8 July 2021 with the decision no 12450. The main thing in the sound-based alif ba method is the correct vocalization of the Qurʾān. The letters in alif ba are arranged differently from the classical alphabet order and are divided into six groups considering the frequency of occurrence in the Qurʾān and the degree of difficulty of origins. Each letter is taught in a separate lesson with the support of the ḥarakas and the sukūn (such as اَلْ, اِلْ, اُلْ). During the teaching, attention is paid to the sound learning steps, and the student is expected to feel the sound of the letter to be learned, distinguish it from other letter sounds, and then pronounce it from the correct origin as much as possible. In the sound-based alif ba method, the teaching of the shape of the letter is done after the sound of the letter is pronounced. During the teaching of the shapes of the letters, the part of the letter that does not change when written within a word is emphasized, and the writing is used so that the shape of the letter can be placed in the mind of the student. In the sound-based alif ba teaching, reading from the Qurʾān is done in every lesson, starting from the teaching of the first letter. During the teaching of alif ba, educational games, question-answer, and narration methods are used, primarily with the taʿlīm method. In this way, the teaching of Sound-Based Alif ba is spread over a period of 40 lessons. The study findings showed that the sound-based alif ba method has similar characteristics with the sound-based primary literacy teaching method; however, Arabic has its own unique aspects with its language structure. Among these originalities, which is adopted in the teaching of letters, firstly teaching the letter with the sukūn and with the support of movable ا and then showing the shape of the letter is carried out. As a matter of fact, the teachers have the opinion that this vocalization method, which is adopted, facilitates the learning of the correct sounds, and that teaching the letters in line with the sound learning steps increases the efficiency of the lesson. Although most of the instructors pointed out to the positive aspects of teaching tajwīd sounds in alif ba, one of the instructors did not find it necessary. The opinions of the teachers showed that the sound-based alif ba method can be applied efficiently in online lessons, but the teacher-student relation is affected negatively when compared to the classroom setting. All of the instructors said that the materials used in the lessons and demonstration and educational game methods increased the quality of the course, and that the We Are Children We Are Reading the Qurʾān program is an important resource for them. (shrink)

Unlike other writing systems that are readily classifiable as alphabetic or syllabic in their structure, the Indic Devanagari script (of which Hindi is an example) has properties of both syllabic and alphabetic writing systems. Whereas Devanagari consonants are written in a linear left-to-right order, vowel signs are positioned nonlinearly above, below, or to either side of the consonants. This fact results in certain words in Hindi for which, in a given syllable, the vowel precedes the consonant (...) in writing but follows it in speech. The current research exploited this property of the script to examine when the disparity between spatial and temporal sequenc- ing would incur a processing cost and the implications of the findings from naming speed, accuracy, and writing order for the level at which words in Devanagari are segmented. The results support a partly phonemic and partly syllabic level of segmentation, consistent with the structural hybridity of the script. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Alcaics In Exile: W. H. Auden’s “In Memory Of Sigmund Freud”Rosanna WarrenOn September 23, 1939, Sigmund Freud died in exile in London, a refugee from Nazi Austria. Within a month, Auden, who had been living in the United States since January of that year, wrote a friend in England that he was working on an elegy for Freud. 1 The poem appeared in The Kenyon Review early in 1940. (...) A stately public ode, the poem mourns not only the death of a publicly significant individual, but the collapse of a world. Hitler had overrun Austria, Czechoslovakia, Poland; assaults on Jews had intensified; England and France had just declared war on Germany. There would be, indeed, many who would have to be mourned:When there are so many we shall have to mourn, when grief has been made so public, and exposed to the critique of whole epoch the frailty of our conscience and anguish,of whom shall we speak?...Someone encountering this poem for the first time, on the page or in the ear, might be pardoned for puzzling over its form. It sounds prosy. It seems to have some recognizable English cadences, pentameters (“[inline-graphic 01]”), tetrameters (“ ”), and even trimeters (“ ”). But the pattern seems unruly, with some [End Page 111] lines stretching out beyond five traditional beats, and ignoring any iambic order: “turned elsewhere with their disappointment as he.” Groping for a more satisfactory principle of organization, a reader with some knowledge of versification may be moved to count syllables. Such a reader will discover that the poem is indeed organized syllabically in lines of 11, 11, 9, and 10 syllables. “Aha,” says the reader, alert to Auden’s intimacy with Classical civilization: “A Horatian ode. Not inappropriate for a formal elegy.” Reflecting further, and leafing through the pages of Horace, that reader will find, or remember, that two thirds of Horace’s odes are in these quatrains, the alcaic stanza. Auden, it appears, has composed his elegy in some version of the meter of Alcaeus, the 7th century b.c.e. Greek poet whose stanza became second nature to Horace. And we cannot enter the world of Auden’s poem without asking, why alcaics? And how do they work here?“In Memory of Sigmund Freud” is sometimes said to be Auden’s first syllabic poem. 2 Others demur, proposing both earlier and later examples. 3 Whatever the spats about dating Auden’s early syllabic practice, scholars conventionally agree that his turn toward syllabic composition reflects his evolving interest in a discursive poetry; in the poet as a private intelligence with a public voice; and in the work, respectively, of Horace and Marianne Moore. Having identified the poem as syllabic, many critics move on to heftier topics like psychoanalysis versus Marxism, Auden more than most poets having laid himself open to an overridingly thematic criticism of Big Ideas. But if, having acknowledged the influence of Horace and Moore in Auden’s refusal of English iambic lyricism here, we stay with the question of meter, we are led back to the older progenitor, Alcaeus, a great poet of exile, whose stanza Auden adopts and adapts. I shall ask how it affects our reading to observe that the stanza itself has a genealogy, and brings its expressive burden to bear on Auden’s poem.“In Memory of Sigmund Freud” relies on a counterpoint of two metrical systems, the largely iambic accentual/syllabic system, traditional in English since Wyatt, and a flattened version of Greek quantitative meter, which was a musical notation of syllable length. For Auden, whose great prosodic facility was almost a handicap, the problem was, “not how to write in iambics but how not to write in them from automatic habit.” 4 Throughout his poetic life, he reached for cadences to interrupt the “natural” iambics, sometimes recalling the Old English alliterative beat, and often turning to ballads and popular tunes for rhythmical variation. By the late thirties, he was not only disillusioned [End Page 112] with the Spanish Civil War and his role as quasi-Socialist bard, but was seeking new compositional principles as well. Free verse was not an alternative: his ear required an evident... (shrink)

There has often been criticism of the use which was made by certain sociologists toward the beginning of the century (Lévy-Bruhl in particular) of the adjective “primitive” to characterize the level of culture of peoples whom we formerly called “savage.” The term “archaic” perhaps creates fewer difficulties, but its etymology nevertheless involves the inconvenience of intimating that the societies in question might be closer to the origins than ours. Certain anthropologists, attempting to find an objective criterion which would permit us (...) to draw a line of demarcation between the so-called primitives and ourselves, use the term “peoples without writing” to designate the former—that is, they refer to a technique. It is true that there might be good grounds for specifying this criterion. Indeed, graphic representation can consist of rudimentary signs such as one sees on the messagesticks of the Australians or in the sketched stories, such as those with which the North American Indian covered animal skins. We can speak of writing from the moment that definite characters of precise conventional meaning appear; but from the pictogram to the abstract sign there are still many transitions. For example, in the pre-Columbian epoch, the writing system of the Aztecs “constituted a compromise between the ideogram, phonetism, and simple drawing.” Egyptian hieroglyphics were not yet totally freed from their pictographic origins. In the evolution which led to our modern system, the first step was taken when syllabic representation was adopted. But writing ceased to be reserved for specialists and truly became a widespread institution when the alphabet was invented; and that discovery, made no doubt toward the year 1800 b.c. by the Semitic peoples, came more than three thousand years after the first step. In general, the term “peoples without writing” does not in itself specify that it must be understood as meaning “peoples without an alphabet”; thus there is some doubt about civilizations like that of the Aztecs, endowed with a rather elaborate pictographic system. There would be good reason, moreover, to ask ourselves if the technique of writing really constitutes a reliable criterion for establishing a distinction between societies which stagnate in archaism and those which open up to history. Certain writers, such as Marcel Griaule or M. Gurvitch, would be inclined to refute it and to seek other technical criteria, such as the use of machines or reference to creative characteristics. (shrink)

New Publications on Nietzsche’s Musical Aesthetics and Philosophy of Music. The significance of music in Nietzsche’s aesthetic writings is undisputed. However, the question of the role that music played in Nietzsche’s thought and writing process still yields divergent answers which are not free of speculative interpretations. New publications on Nietzsche’s aesthetics of music cover a wide range of themes: from the significance that the syllabic rhythms of Greek antiquity held for Nietzsche to the relationship between sounds and language (...) in poetic texts, for example, and the processes to which Nietzsche applied himself as a composer of music. This makes it very clear that music is not simply a complementary element to express what cannot be said in language, nor is it a form of relief from the tragic perception of life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THIS MESSAGE IS FOR YOU. MAYBE. by Joseph Agassi There is a mood often enough conjured in science fiction literature to be familiar to every fan, the mood of seemingly intentional yet probably remdom contact between two individuals across immense space-time expanses. The hero of a complicated chase story has lost contact with the mother planet, has long ago leuided on a strange pleuiet, emd there, right now, just (...) walking across the plaza he sees a huge poster, with a piece of commercial advertisement or some similar message of purely local import printed on it. The poster is decorated with an arabesque which puzzles him, quickens his pulse, intrigues him, fascinates him — until it hits him insteinteuneously in full force: the arabesque is a message, written in his own native language, telling him how to reestablish contact. The story, as I say, has many veurietnts. And it has, it seems, a very widespread appeal. It is couched in terms of adventure stories, but its mood is not diat of adventure. The mood is more of die one associated with the idea of the eterned return, die idea of timelessness or of time standing still (and space vanishing), the idea the western philosophies usually associate with the ideas of Nicholas, the Renaissance mystic bishop ofCusa, though it is a recurrent idea in many cultures, of the identity of the vanishingly smedl and the infinitely large. Indeed, the meeting of the message and the recipient is symbolized by the meeting of the infinite line and the point of vanishing length. Whence this universality? I suppose it is a fact of biological nature. Think of the scent a living thing, be it a fish or em emtelope, leaves behind to contact a possible mate. It is a few complex molecules in a sea of molecules of astronomical numbers: just this room contains more molecules than you can imagine. And the animal follows a long tortuous path to find its mate. According to Willietm Craig and Konrad Lorenz, an animal does not have the slightest clue what it is after. Even while building a nest it has no complete 95 96Philosophy and Literature picture of its task. In each of its stages it goes after diverse kinds of things, yet it knows not which things, let alone their inborn rigidly fixed sequence. Yet the animal in charge of a tetsk, whether of finding a mate or of finding a twig for a nest, will be resdess — say Craig and Lorenz — and move about, and try to read the message in any piece of arabesque, until one day one piece of arabesque will med«: sense and enable its finder to complete die next step in the mysterious complex task and open up die search for the next message, the next step further along die unfolding series of preordained ordeals that life is strewn widi. Consider writing proper, like my writing this message for you right now. We do not know the background to literacy, much less its actual origins, except that these were far from unique: though many cultures eire illiterate or have acquired literacy from more evolved neighbors, mere eire many places on earth where literacy evolved independently. Yet even here we see a sequence: many independent ideographic scripts, some ofthem evolving into syllabic scripts and one or two of these evolving into an alphabet proper. How and why, we do not know. There is room for speculation, though. It is hard to imagine how the very first writer conceived of the very first message he wrote without consulting his recipient first. There are a few possible explemations here. First, that writer and recipient are one: writing was a form ofmemorizing, or ofconsigning matters to memory more stable than that of the human brain — the granite rock, for instance. The ancient Egyptian god of literacy was the god of memory. Primitive shepherds use knots in their rope and cuts on their sticks as aides memoire, as bookkeeping of sorts, and scholars consider these the origins of writings. This is evidenced by the runic writings of the Norse, whose letters are images of sticks with cuts on them. Yet runic writing is alphabetic and... (shrink)

The Basotho of Lesotho and South Africa speak the same language, namely Sesotho. However, the two countries do not use the same orthography when writing Sesotho. This orthographic representation and its variations pose a significant challenge when Bible translators translate it into Sesotho. It also presents difficulties to readers of the Bible in South Africa when they have to read the Bible written in Lesotho orthography for the first time or to Lesotho readers who encounter Sesotho written in South (...) African orthography. The two orthographies are independent but complementary. The Lesotho orthography is older than the South African. It differs in the choice of letters and the marking of initial syllabic nasals and (to a much lesser extent) in written word division and the use of diacritics on vowels to distinguish some ambiguous spellings. Contribution: This article provides a historical examination of the problem beginning with the first efforts by French missionaries to write the language in the 19th century, the separate but interrelated development of the two orthographies in Lesotho and South Africa and the current impasse concerning a unified orthography. The analysis will include an examination of the linguistic issues involved, the sociolinguistic topics (including politics, education and religion) and various possible scenarios for resolving the problem will be considered. (shrink)

Ontologies are being used increasingly to promote the reusability of scientific information by allowing heterogeneous data to be integrated under a common, normalized representation. Definitions play a central role in the use of ontologies both by humans and by computers. Textual definitions allow ontologists and data curators to understand the intended meaning of ontology terms and to use these terms in a consistent fashion across contexts. Logical definitions allow machines to check the integrity of ontologies and reason over data annotated (...) with ontology terms to make inferences that promote knowledge discovery. Therefore, it is important not only to include in ontologies multiple types of definitions in both formal and in natural languages, but also to ensure that these definitions meet good quality standards so they are useful. While tools such as Protégé can assist in creating well-formed logical definitions, producing good definitions in a natural language is still to a large extent a matter of human ingenuity supported at best by just a small number of general principles. For lack of more precise guidelines, definition authors are often left to their own personal devices. This paper aims to fill this gap by providing the ontology community with a set of principles and conventions to assist in definition writing, editing, and validation, by drawing on existing definition writing principles and guidelines in lexicography, terminology, and logic. (shrink)

Luisa Capetillo has been heralded as the first feminist writer of Puerto Rico. She authored four books and embodied her emancipatory philosophical commitments, but has received scant philosophical attention. In this paper I recover the philosophy of Capetillo as part of a Latin American and Caribbean philosophical tradition centered on radical praxis places sexuality at the centerfold of class politics. At the intersection between gender equity and class emancipation Capetillo advocated for the liberatory possibilities of education, which served as the (...) key to unlearning the social norms that engendered the marginalization of working people and working women. (shrink)

Volume 11, Issue 1-2, January–December 2024.

Rendant compte des travaux récents dans le champ de l’étude sociales des sciences (Social Studies of Knowledge), de la critique féministe des sciences et des cultural studies, cet article revient sur leurs apports et sur la façon dont ils lisent l’histoire des transformations biomédicales (très) contemporaines, notamment dans les domaines de la reproduction et de la sexualité. Les SSK, en particulier, proposent une lecture complexe et riche des relations humains/techniques et de la façon dont les relations sociales et de genre (...) s’y trouvent engagées. S’interrogeant sur la coïncidence de certaines de ces approches (participant du « tournant descriptif » dans les sciences sociales) avec des transformations économiques et sociales plus vastes (la reconfiguration de soi via les biotechnologies comme promesse individuelle en contexte néolibéral), l’article propose de mettre en évidence ce qu’un renouveau de l’approche historienne pourrait apporter en propre : redonner à voir l’épaisseur des contextes scientifiques et sociaux de production de certaines technologies, dire l’historicité des enjeux sociaux et de genre, produire de nouveaux récits attentifs aux enjeux normatifs, politiques et économiques. (shrink)

Poetry -- Drama -- Philosophy -- History -- Fables, Novels, and Speeches.

The construction of content standards has become one of the most politicized processes in K-12 public education as those who determine the value of knowledge(s) also shape who retains or gains political power (Placier, Walker, & Foster, 2002; Sleeter, 2002; Heilig, Brown, & Brown, 2012). In this study, authors examine the process of crafting secondary social studies standards in the state of Missouri. Findings indicate that common sense was deployed in three areas: committee selection, standards writing, and committee decorum. (...) As a result, the standards generated through this process served to reify the neoconservative/neoliberal status quo and failed to include reference to content beyond the scope of traditional knowledge, values, and intentions of conservative social studies. Authors also call for the adoption of a critical common sense which insists that the status quo of old-fashioned common sense is challenged. (shrink)

This is an important new critical analysis of Derrida's theory of writing, based on close readings of key texts. It reveals a dimension of Derrida's thinking that has been neglected in favor of those "deconstructionist" cliches favored by much recent literary criticism. Christopher Johnson highlights the special character of Derrida's philosophy that comes from his contact with contemporary natural science and with systems theory. This study casts new light on an exacting set of intellectual issues facing philosophy and critical (...) theory today. (shrink)

Daniel Whistler argues that Hemsterhuis' philosophy matters and that its exclusion from the canon of modern philosophy has been unjust. This is not just because of its influence on later thinkers, but is primarily because Hemsterhuis' philosophy contains a rich assemblage of ideas and philosophical practices.

It has been widely acknowledged that exemplifi cation plays a very signifi cant role in foreign language learning. Many studies have been conducted on dictionary examples, but little attention has been paid to how examples can assist a specifi c group of foreign learners engaged in a specifi c learning activity. The present study is intended to fi ll this gap by investigating how to optimize examples in English learners’ dictionaries to help Chinese learners with writing in English. The (...) functional theory of lexicography will be employed in this study. This investigation will be carried out in two stages. The fi rst one consists in identifying the lexicographic needs of foreign learners engaged in the task of English writing and consulting dictionary examples. The second stage is a demonstration of some proposals for exemplifi cation in learners’ dictionaries through model articles. The purpose of this study is to give new insights into exemplifi cation in learners’ dictionaries for future lexicographic research and practice. (shrink)

This text gives examples of how a different kind of human experience may be explored, and how the methods used for investigating phenomena may contribute to the process of human understanding.

This dissertation argues that, since authority is inevitable and indispensable in effective teaching, we need more theory and research on how teachers can use authority more constructively in teaching rather than their trying to avoid using authority or simply ignoring its existence in the classroom. Since the teacher's discourse is the key to the traditional teacher's authority in the classroom, changing the teacher's discourse therefore becomes the key issue in talking about teachers' authority. ;In the larger social context, radical educationists' (...) criticism of the dominant discourse is progressive and revolutionary. However, I disagree with radical educationists that replacing the teaching of alternative discourses with the teaching of other discourses is a means of changing the traditional classroom and the traditional teacher's authority. First, teaching is always "symbolic imposition" , and a change of content does not completely change the basic institutional function of teaching and therefore does not change the traditional teacher's authority, for, as J. Hillis Miller points out, form and style can be equally oppressive as content. Second, since alternative discourses such as deconstruction, feminism, multiculturalism, and radical theories are all responses to the dominant discourse and are therefore parasitic upon it, avoiding teaching the dominant discourse not only leaves an irretrievable gap in students' education but also impedes students' development of critical literacy and thus disempowers them. ;Informed by Richard Rorty's edifying philosophy and his notions of normal and abnormal discourse, I argue that the teaching of first-year college writing can be conceived as a process of helping students move from their Abnormal Discourse I to Abnormal Discourse II by way of normal discourse . I propose that teachers play an edifying role in the writing class through a two-level interaction among the three discourses so as to turn the teacher's authority into enabling constraints that will enhance students' development of critical literacy. (shrink)

Historians Against History was first published in 1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. Professor Noble examines the basic philosophy and writing of six American historians, George Bancroft, Frederick Jackson, Charles A. Beard, Carl Becker, Vernon Louis Parrington, and Daniel J. Boorstin, and finds in them a common tradition which he calls anti-historical. He argues that this viewpoint is founded in (...) the frontier interpretation of American history, that American historians have served as the chief political theorists and theologians of this country since 1830, and that their writings can be interpreted as Jeremiads designed to preserve a national covenant with nature. (shrink)

Like the other major journals, ANALYSIS can accept less than 10% of submissions. So standards are fierce. Many submissions are ruled out of court for being badly argued or for re-inventing the wheel or for being plain boring. But a fair proportion end up on the rejection pile simply because they are badly written. I saw far too much bad prose (to be sure, some of the prose that gets published is not exactly wonderful: I assure you that a lot (...) that doesn't get published is very much worse). (shrink)