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Medium 9780253356413

Appendix 2: Codicological Description of New Haven, Yale Law School, Lillian Goldman Law Library MssG +St11 no. 1

Rosemarie McGerr Indiana University Press ePub


This manuscript has 392 vellum leaves, approximately 180 mm by 250 mm in size. Small holes appear in a few leaves (e.g., fols. 100 and 116). Truncated decoration in the outer and top margins of several leaves resulted from trimming during preparation for binding (plates 1 and 2). One paper pastedown appears at the front of the codex (plate 22). One paper flyleaf and a paper pastedown appear at the end of the codex. Modern pencil leaf numbers appear in the upper-right corners on 389 of the leaves, with 3 leaves missing numbers (between leaves 37 and 38, 64 and 65, and 282 and 283). The leaves of the manuscript are organized into 50 quires with the following structure: 1(1+8), 2(8) –42(8), 43(4-1), 44(8)–49(8), 50(6+2). In the final quire, fols. 383 and 389 are tipped in.


Pricking for ruling remains visible in the bottom of fols. 2–9 (plates 7 and 8), the top of fol. 343 (plate 14), and the top and side margins of fols. 382–89 (plates 16–18). Most leaves during the statutes text show light brown ink ruling for a single column of text, with additional ruling for running heads in the top margin and ruling for regnal year notations in the outer margins (plates 10–13). Pencil ruling for the same layout appears on fols. 222r–224v and 246r– 253v. The rulings appear slightly closer together on fols. 230–237. Similar light ink ruling appears during the treatises and subject index that precede the statutes proper (plates 7–9). During the subject index to the statutes, there are also vertical rulings for the subject headings. Up through fol. 381v, the text block is ruled for 38 lines; thereafter, the ruling is darker and less regular, with the number of lines of text varying from 34 to 38 (plates 16–18).

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Medium 9780253008053

1. Alone with God: Wiesel's Writings on the Bible

Edited by Steven T Katz and Alan Rosen Indiana University Press ePub



BETWEEN 1976 AND 2004, Elie Wiesel published four books devoted partly or wholly to biblical retellings: Messengers of God in 1976, Five Biblical Portraits in 1981, Sages and Dreamers in 1991, and Wise Men and Their Tales in 2004.1 While, properly speaking, impossible to view in isolation from his other output of this period, this material in fact forms a meaningful chapter in the history of Jewish biblical interpretation, in addition to being writing that touches the soul. Around the time the last book was published, Wiesel, along with Harvard-based biblical scholar Frank Moore Cross Jr., participated in a joint interview for Biblical Archaeology Review conducted by its editor, Hershel Shanks.2 Cross was the quintessence of the historical-critical scholar, immersed in ancient Near Eastern epigraphy and Northwest Semitic pagan poetry, committed to archaeological research and scientific historical method. Here counterposed to him, as it were, was the Jewish storyteller, still bearing within himself the yeshiva bokher: the perspective of the Eastern European Jewish village—suspicious of “biblical criticism,” steeped in the rabbinic worldview, and cherishing the naive vision of childhood. (Wiesel's upbringing and education were in fact more complex than this profile implies, but I'll let this conception prevail for now.) “I'm interested,” said Wiesel in the interview, “in [the Bible's] layers of meaning, but my relation to it is much more an emotional one. It's been my passion almost from my youth. I want to go back to the child I used to be, and to read with the same naiveté.”3 Cross, for his part, spoke of the rabbinic realm, what he called “late Judaism,” as a place where “you can't even swing a cat without hitting three demons and two spirits.” (In this respect, I should add, he found it similar in outlook to the New Testament.)4

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Medium 9780253015976

7 Reading “Beur” Film Production Otherwise: The Poetics of the Human and the Transcultural

Edited by Frieda Ekotto and Kenneth W H Indiana University Press ePub

Safoi Babana-Hampton

IN HIS ANALYSIS of the cinema verité of the 1960s both in Europe and Quebec, especially as practiced by French filmmaker and ethnologist Jean Rouch, Italian filmmaker Paolo Pasolini, and Quebecois filmmaker Pierre Perrault, Gilles Deleuze proposes a new viewpoint from which to understand the distinction of fiction versus truth or subjective versus objective: “Objective and subjective images lose their distinction, but also their identification, in favor of a new circuit where they are wholly replaced, or contaminate each other, or are decomposed and recomposed” (149). As a consequence, Deleuze continues, “the cinema can call itself cinéma-vérité, all the more so because it will have destroyed every model of the true so as to become creator and producer of truth: this will not be a cinema of truth but the truth of cinema” (151, my emphasis). As Deleuze’s lines suggest, the conventional boundaries governing our understanding of the two notions of “truth” and “fiction” collapse and disappear in favor of a new notion of “truth” as being primarily a construct, or a situated act of formalizing human experience. This act characterizes the very essence and raison d’être of the cinematic enterprise, whose field of application Deleuze extends even to works traditionally defined as documentary reportages or ethnographic investigations, such as those produced by Rouch and Perrault (149). Deleuze thus develops a view of the cinematic work as a visual field within which the poetic, the lyrical, and the aesthetic as well as the documentary and ethnographic elements are intertwined and interdependent and cross-fertilize each other in order to depict a multilayered reality or lived experience. All these considerations of the cinematic work are deeply inscribed in his conception of the artist, of whom he offers the following definition: “What the artist is, is creator of truth, because truth is not to be achieved, formed, or reproduced; it has to be created. There is no other truth than the creation of the New” (146–47).

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Medium 9781857547658

Overwhelmed by Aura

Iain Bamforth Carcanet Press Ltd. PDF

Overwhelmed by Aura

A’ P

There is a famous profile portrait of him, gaunt-cheeked, old and slightly gibbous, the face luminously pale above the black coat and trousers, the monumental line of which is broken only by the soft blur of the hand. It is an ash-and-clinker picture, as weighty and dark as Whistler’s famous painting of his mother. It dates from the last year of his life, , when he was known to every selfrespecting surrealist, if not to the public: the picture was taken by the young American photographer Berenice Abbott in her studio on the rue du Bac; her boyfriend, Man Ray, had been neighbour to the photographer in his little trois-pièces at  bis rue CampagnePremière, a spartan, utile studio-apartment which turns up in many of his prints. Atget was in the retail trade. The sign on his door read simply: ‘Documents pour artistes.’

His first biographer had problems finding out anything at all about the earlier life of Eugène Atget. Born in modest circumstances at Libourne in Gascony in , he was brought up in

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Medium 9780253356437

One Popular Culture and the Politics of Memory

Alvin H. Rosenfeld Indiana University Press ePub

Most people willingly deceive themselves with a doubly false faith: they believe in eternal memory (of men, things, deeds, peoples) and in rectification (of deeds, errors, sins, injustice). Both are sham. The truth lies at the opposite end of the scale: everything will be forgotten and nothing will be rectified. All rectification (both vengeance and forgiveness) will be taken over by oblivion. No one will rectify wrongs; all wrongs will be forgotten.


We say “Holocaust” as if there were an established consensus on the full range of historical meanings and associations that this term is meant to designate. In fact, no such consensus exists. The image of the Holocaust is a changing one, and just how it is changing, who is changing it, and what the consequences of such change may be are matters that need to be carefully and continually pondered. Such reflection will be undertaken here on the basis of the following assumptions:


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Medium 9780253019059

Hometown & Family

Edited and with an Introduction by Owen Indiana University Press ePub

Back to the Midwest and its long, sad wind—and to a story about a little boy and some wild roses, and a blue racer and a whipping.

CEDAR RAPIDS, Ia.—It was soon after crossing into Iowa, coming south, that I gradually became conscious of the wind.

I don’t know whether you know that long, sad wind that blows so steadily across the thousands of miles of Midwest flat lands in the summertime. If you don’t, it will be hard for you to understand the feeling I have about it. Even if you do know it, you may not understand. Because maybe the wind is only a symbol.

But to me the summer wind in the Midwest is one of the most melancholy things in all life. It comes from so far, and it blows so gently and yet so relentlessly; it rustles the leaves and the branches of the maple trees in a sort of symphony of sadness, and it doesn’t pass on and leave them still; no, it just keeps coming, like the infinite flow of Old Man River.

You could, and you do, wear out your lifetime on the dusty plains with that wind of futility blowing in your face. And when you are worn out and gone, the wind, still saying nothing, still so gentle and sad and timeless, is still blowing across the prairies, and will blow in the faces of the little men that follow you, forever. That is it, the endless of it; it is a symbol of eternity.

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Medium 9780253372048

21. Results of Pendulum Experiments

Peirce, Charles S. Indiana University Press PDF



Results of Pendulum Experiments

P 168: American Journal of Science and Arts,

3rd ser. 20 (October 1880): 327

The following are the results obtained from observations made by me, for the U. S. Coast and Geodetic Survey, at four important stations, for the purpose of comparing the lengths of the seconds pendulum, together with reductions to the sea-level and to the equator. In making the last reduction I have assumed the ellipticity to be = 1:293, which is the latest result from measurements of arcs.





At station.

At sea-level.

At equator.













The differences of the figures in the last column from OP991, a value conveniently near their mean, when reduced to oscillations per diem are: Hoboken +0?01; Paris +0?58; Berlin -0?59; Kew

H-0?36. The following are the residuals of former observations according to Clarke (Geodesy, p. 349).

New York + 0^20; Paris -3?29; Kew +2?89.

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Medium 9780253372086

49. Keppler

Charles S. Peirce Indiana University Press PDF



Winter 1892

Houghton Library

Johann Keppler it was who discovered the form of the planets’ paths in coursing round the sun and the law of their varying speed. This achievement, by far the most triumphant unravelment of facts ever performed,—cunninger than any deciphering of hieroglyphics or of cuneiform inscriptions—occupied its author’s whole time from October

1600 to October 1604, and the greater part of four years more. That fairylike town Prague was the scene of these studies and there in April

1609 was published the immortal Commentaries on the Motions of the

Star Mars. To gain any idea of a scientific research, one must look with one’s own eyes and brain at the things with which it deals. Now the year

1892 happens to be a good one for watching Mars, and if the reader will from his own naked-eye observations set down upon a star-map (say upon the figures in the Century Dictionary) the course of the planet from the third week in March to the end of the year, as it traverses the constellations Sagittarius, Capricornus, and Aquarius, the true greatness of Keppler will begin to dawn upon him. For the telescope was only invented in the very year in which Keppler’s book was published; so that he had before him only naked-eye observations, and saw only what anybody may see.

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Medium 9780253015723

5 Diaspora as Tragicomedy: Vidal Benvenist’s Efer and Dina

David A. Wacks Indiana University Press ePub

By the turn of the fifteenth century, the anxieties expressed by Shem Tov Ardutiel over assimilation and pressures to convert to Catholicism had been realized dramatically. The violent pogroms of 1391 affected nearly every Jewish community in the Iberian Peninsula. Thousands of Sepharadim converted to Catholicism in their wake, creating for the first time a substantial class of conversos, the presence of which would eventually inspire the estatutos de limpieza de sangre (the statutes of blood purity) and finally the expulsion of Jews from Castile-León and Aragon. The communities were very much preoccupied with dealing with the events at hand, and things were only to go from bad to worse with the Disputation of Tortosa in 1413–1414, a public religious debate that culminated in the conversion of many of the Jewish notables of Aragon.1 Benvenist’s Efer and Dina, written sometime between these two events, is at once a moralizing treaty, a medieval gender novella, and a biting social parody. It was a carnivalesque literary release valve in a time when increasing assimilation and pressure to convert were putting unprecedented strain on the social fabric of Sephardic life. Benvenist’s text, the story of a tragically mismatched May-December marriage, is a moral allegory, a wake-up call to the Jewish communities of Aragon to shun materialism, resist the temptation to convert, and cleave to traditional values. Yet at the same time, and much as is true of Shem Tov ben Isaac Ardutiel of Carrión, Benvenist is, despite his religious and political message, a member of a linguistic and vernacular cultural community that includes both Christians and Jews. He participates in the vernacular culture of the times that include popular lyric, tales, proverbs, and so forth. Given that he was one of the few Jews of his day who could both read and write Latin, it is not at all unlikely that he was familiar with Latin and Romance literatures as well. His warning message to the Sepharadim of his day is delivered in a Hebrew that bears the marks of his experience as such. He makes use of a number of themes, conventions, motifs, and narremes that are prevalent in the vernacular culture of the day.2

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Medium 9780253015976

8 Revealing the Past, Conceptualizing the Future On-Screen: The Social, Political, and Economic Challenges of Contemporary Filmmaking in Morocco

Edited by Frieda Ekotto and Kenneth W H Indiana University Press ePub

Valérie K. Orlando

THIS ESSAY OFFERS an analysis of Morocco’s contemporary cinematic industry and focuses on films produced and distributed from 1999 to the present.1 In the last decade, notably since 1999 and the death of King Hassan II, which ended “Les Années de plomb” (the Lead Years, 1963–99), Morocco has transformed itself, socioculturally and politically.2 These transformations have been shown in film and on television. Both have proved to be the media of choice for depicting the sociocultural and political issues in contemporary Moroccan society. Encouraged by the more openly democratic climate fostered by young King Mohammed VI (popularly known as “M6”), men and women filmmakers explore the sociocultural and political debates of their country while also seeking to document the untold stories of a dark past. The themes they present to audiences explore some of today’s most pressing questions in Moroccan society. Topics of films fluctuate between restoring suppressed or obfuscated memories and critiquing contemporary sociocultural challenges. Certain films tell the stories of the past that have not been told until recently. The themes include the torture and imprisonment of countless victims during the Lead Years, the exodus of thousands of Jews to Israel in the early 1960s, and the hard realities of the present, such as domestic violence, acute rural poverty, and the dismal plight of street children. In today’s cinematic oeuvre, no subject is too controversial. Filmmakers seek to describe a country that has come to be known as “Le nouveau Maroc” (the New Morocco), a term fraught with conflict. Often schizophrenic in how it views itself, Morocco is a nation caught in debate over unanswered questions that persist from its past while it strives to plot new strategies for moving forward.

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Medium 9780253211903

8. On the Logic of Drawing History from Ancient Documents, Especially from Testimonies (1901)

Edited by the Peirce Edition Project Indiana University Press ePub


MS 690. [Published in CP 7.164–231 and HP 2:705–62. Only the first half of the document is printed here. It was written in October and November 1901, with the financial support of Francis Lathrop, whose secretary had the manuscript typed. Peirce made a number of revisions in the typescript, and the present text, transcribed from the manuscript, incorporates those revisions.] In this monograph, Peirce argues that even though Hume’s method of balancing the veracity of a witness against the improbability of his narrative may be defended in certain cases, it is not generally applicable and is rarely used by historians. The probabilities generally relied on by historians are subjective—“mere expressions of their preconceived notions”—and are completely unreliable. Peirce claims that what is needed for scientific history is a method that does not turn on either estimates of probability or degrees of belief. He recommends the general method of experimental science. Peirce gives a sustained discussion of the logic of science, outlining many nuances of the different kinds of reasoning, including two types of deduction (corollarial and theorematic) and three types of induction. Peirce gives a detailed account of the economic and other factors that must be brought to bear on the selection of historical hypotheses.

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Medium 9780253012265


Jennifer M Bean Indiana University Press ePub

Anupama Kapse

The mirror is, after all, a utopia, since it reflects a placeless place.

Michel Foucault, “Of Other Spaces”

ONE OF THE most useful insights of scholarship that considers the conversion of 35mm films to 3D is the reminder that the latter’s appearance is not a mere novelty. Such revivals are not, as Kristen Whissel points out, a way of rescuing a seemingly threatened (U.S.) film industry in view of the coming of newer and more profitable technologies of viewing and consuming visual media. Rather, 3D is better approached as a practice that “has migrated across a broad range of platforms and media, including television, smart phones, photography, tablets, video games, and live theatrical performances.”1 Which is to say that the spatial vision of 3D—its direct, tactile address to the spectator, its mutations of time and space, its loosening of the film frame—is not a phenomenon that emerged in the crisis of the fifties, as is commonly believed. Rather, such attempts need to be understood within an archaeology of media forms that have, since the late nineteenth and early twentieth century, continued to relay moving images in a variety of spatial formats which include the history of binocular and stereoscopic vision.

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Medium 9780253016140

5 All the Way with Adlai

Ray E. Boomhower Indiana University Press ePub

ON SUNDAY, FEBRUARY 3, 1952, JOHN BARTLOW MARTIN AND his wife, Fran, took their daughter, Cindy, to dinner in downtown Chicago at the Pump Room at the Ambassador East Hotel to celebrate her tenth birthday, which fell on February 5. Later that evening the family adjourned to the apartment of a friend, well-to-do Chicago attorney Louis A. Kohn, whom Martin had met through his friendship with two other lawyers, John Voelker and Raymond Friend. Kohn had been an important part of the team that had elected Adlai Stevenson to the Illinois governorship in 1948 and had been encouraging Martin to edit a book of speeches Stevenson had made as governor that would also include a long biographical introduction about the Democratic Party’s rising star. “I presumed he [Kohn] hoped to use the book in Stevenson’s forthcoming campaign for reelection as governor,” Martin recalled.1

During that winter, however, there were many political pundits who believed that Stevenson might run for the presidency, as President Harry Truman, beset by abysmal ratings in public opinion polls (only 32 percent of Americans approved of the job he was doing), seemed unlikely to run for re-election. Although Stevenson had used Martin’s story about the Centralia mine disaster to attack his opponent, incumbent Dwight H. Green, in the 1948 gubernatorial campaign, Martin had never before met Stevenson, whose fifty-second birthday was also on February 5. Stevenson joined the gathering at Kohn’s apartment and he and Cindy together cut a birthday cake made by Kohn’s wife. “I remember feeling awed by him,” said Cindy Martin Coleman years later. “He was, after all, the governor of the state of Illinois.” She still remembered how happy he seemed and his “smiling eyes.”2

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Medium 9781857547658

Believing in Architecture: Berlin since

Iain Bamforth Carcanet Press Ltd. PDF

Believing in Architecture

B  

Rubble Berlin. People keep mislaying things in Berlin, even the city itself. While every European city offers the historian a biography

(the history of Europe is, in large part, the history of its cities),

Berlin, since , has acquired an archaeology, too. Some of its layers are made of compressed nightmare, deposits of sordid misery and not just the eerie atmospheres of the ‘weird tales’ that made E.T.A. Hoffmann famous in the days when Berlin was a most respectably enlightened regional capital. A couple of weeks ago I stood with my son flying a kite on the top of a large sandy hill in the Grünewald area, between Berlin and Potsdam. The hill is called Teufelsberg. The only incline for miles, it offers a superb vantage point across the city from Spandau and Reinickendorf in the north to Tempelhof and Kopenick in the south. In winter it becomes a ski resort. But Devil’s Mountain is no ordinary hill: pipes, bricks, tiles and other detritus can be seen poking out from beneath its sand and scrub. This -metre-high heap is the derelict body of prewar Berlin; this is the city carted away brick by brick at war’s end by the famous ‘rubble women’.

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Medium 9780253010575

2 He Butchered His Wife Because of Witchcraft and Adultery: Crime Tabloids, Moral Panic, and the Remaking of the Moroccan Cop

Jonathan Smolin Indiana University Press ePub

Crime Tabloids, Moral Panic, and the Remaking of the Moroccan Cop

In September 1993, only months after the Tabit Affair, people walking down the city boulevards discovered a jarring new form of media awaiting them at the newsstands. Sitting next to the daily press and weekly magazines, which had returned to their stoic reporting style soon after Tabit’s trial, were large color tabloids spread out on the sidewalks boasting covers with grisly crime-scene photographs and shocking bold headlines. The words “He Butchered His Wife Because of Witchcraft and Adultery,” for example, were placed below a horrific color image of the female victim’s bloodied and mutilated face. “He Stabbed His Friend to Death for Three Cents” appeared above a large color photograph of the killer pointing a knife toward a man, demonstrating for the police—and public—exactly how he committed the murder. The bold headline “Murder, American Style” introduced a large color image of the victim, a middle-aged man on his back after rigor mortis set in. “The Police Put Their Hands on Wide Prostitution Network” was printed next to a photograph of seven seemingly respectable women, all in traditional Moroccan clothes, under arrest. Never before had the Moroccan public seen real-world daily violence and moral degradation spread out on the cover of a newspaper, let alone with such dramatic color photographs and bold sensational headlines. For decades, crime was a topic hidden from the public eye. Now, all of a sudden, it was splashed on the front pages of these tabloids for anyone walking by the newsstands to see.

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