This book explores the question of whether software should be patented. It analyses the ways in which the courts of the US, the EU, and Australia have attempted to deal with the problems surrounding the patentability of software and describes why it is that the software patent issue should be dealt with as a patentable subject matter issue, rather than as an issue of novelty or nonobviousness. Anton Hughes demonstrates that the current approach has failed and that a fresh approach to the software patent problem is needed. The book goes on to argue against the patentability of software based on its close relationship to mathematics. Drawing on historical and philosophical accounts of mathematics in pursuit of a better understanding of its nature and focusing the debate on the conditions necessary for mathematical advancement, the author puts forward an analytical framework centred around the concept of the useful arts. This analysis both explains mathematics’, and therefore software’s, nonpatentability and offers a theory of patentable subject matter consistent with Australian, American, and European patent law.
Discover the fascinating (and sometimes downright odd!) ways that people and nations celebrate the holiday season and share this festive compendium's unique traditions together with family and friends. Do you know that in Guatemala there's a "Burn the Devil" tradition to kick off the Christmas season, where revelers gather to set fire to devil-piñatas? In Sweden, a popular figure in Christmas traditions is the Yule Goat, a rowdy, menacing character who demands gifts. And in Japan, a big bucket of Kentucky Fried Chicken has become the classic Christmas Day feast. These and many other global Christmas traditions are featured here in this delightful book. From decorations and activities to feasts and special treats, there's a wide range of both lovely and unusual traditions from around the globe.
The Encyclopedia of Theoretical Criminology in zwei Bänden ist zweifelsohne das aktuellste Referenzwerk der theoretischen Kriminologie. Fachlich geprüfte Beiträge internationaler Experten machen den Leser mit wegweisenden Theorien, Konzepten und Schlüsselfiguren vertraut. Das Nachschlagewerk präsentiert klassische und zeitgenössische Themen zu den wichtigen Straftatbeständen, Zusammenhängen, fachspezifische (Soziologie, Biologie und Psychologie) und fachübergreifende Erklärungen zu Kriminalität, Kriminalitätsrate und Fragestellungen aus der Rechtssoziologie.
Collecting diverse critical perspectives on the topic of play—from dolls, bilboquets, and lotteries, to writing itself—this volume offers new insights into how play was used to represent and reimagine the world in eighteenth-century France. In documenting various modes of play, contributors theorize its relation to law, religion, politics, and economics. Equally important was the role of “play” in plays, and the function of theatrical performance in mirroring, and often contesting, our place in the universe. These essays remind us that the spirit of play was very much alive during the “Age of Reason,” providing ways for its practitioners to consider more “serious” themes such as free will and determinism, illusions and equivocations, or chance and inequality. Standing at the intersection of multiple intellectual avenues, this is the first comprehensive study in English devoted to the different guises of play in Enlightenment France, certain to interest curious readers across disciplinary backgrounds.
Uncovering the role of literature, late imperialism, and the rise of new models of internationalism as integral to the invention of Global English, this book focuses on three key figures from the “Vocabulary Control Movement” - C.K. Ogden, Harold Palmer, and Michael West - who competed for market share for their respective language teaching systems - Basic English, the Palmer Method, and the New Method - through battles over word lists and teaching methods in the 1920s and 30s. Drawing on archives from the Carnegie Corporation and considering language teaching in eight global sites, this book analyzes how a series of conferences in New York and London resolved their conflicts and produced a consolidated, international standard form of English. As a postcolonial approach to the development of the field of English Language Teaching, it reveals how these language debates were proxy battles over an idealized global subject: an urban, secular, consumer moving seamlessly between the tribal and global, speaking both mother tongues and an international lingua franca, Global English. Featuring analysis of the primary texts of each of the three key figures in this book as well as close readings of their readers, which featured adaptations of well-known literary texts from writers like Poe, Dickens, Wordsworth, Milton and Wells, it recovers a neglected history of English as it was redefined as an international language through anti-colonial resistance in the peripheries and transatlantic power struggles in the metropole during the interwar period.
During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres. These plays mixed sentimental moments and comic interludes of domestic melodrama with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain’s promulgation of imperial ideology — and its role in constructing and maintaining class, gender, and racial identities — have given discussions of melodrama force and momentum. The plays included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays’ nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices — acting, audiences, staging, lighting, special effects — are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further.
The Reception of Northrup Frye takes a thorough accounting of the presence of Frye in existing works and argues against Frye's diminishing status as an important critical voice.
Alfred de Musset, 1810-1857, was a French Romantic dramatist, novelist, and poet. Musset was a prolific writer, and Aaron J. Clarke takes a lovely selection of poetry to translate for his readers. Translating the prose of Alfred de Musset is an audacious task but Clarke is not shy to a literary challenge. Alfred de Musset coalesces dulcet tones with elegant prose and Clarke captures this tone and beauty in his translations. Clarke makes significant effort to ensure each word, each line, is translated with care. The page for page comparison allows for an accessible comparison of the French to English translation. Through his translations, Clarke offers his readers a chance to delve into the enchanting works of Musset.
Anne Wetzell Armstrong adored her adopted hometown. Born in Grand Rapids, Michigan, she moved with her family to the “West End” (Fort Sanders) area of Knoxville, Tennessee, in the 1880s, a pivotal decade for a city just getting past the trauma of the Civil War and becoming an economically diverse and culturally cosmopolitan center. Author of The Seas of God (1915), set in a thinly disguised Knoxville (called “Kingsville”), Armstrong was privileged, unconventional, and modern. She was divorced (she later married an Armstrong of Knoxville’s Bleak House), a single mother, and worked—not only as a teacher at Knoxville Girls High School but also in personnel with National City Company of New York and in industrial relations at Eastman Kodak. Her second novel, This Day and Time (1930), is regarded as the first fictional work to treat Appalachia realistically. Journalist John Gunther’s 1946 description of Knoxville as the “ugliest city I ever saw in America” served as the impetus for Armstrong to pen a memoir of a city she remembered quite differently. Sophisticated and witty, Of Time and Knoxville provides lively, sometimes scandalous sketches of such well-known Knoxville figures as Lizzie Crozier French, Armstrong’s mentor and a leader in the woman’s suffrage movement; Perez Dickinson, businessman and owner of the socially popular Island Home farm (and cousin of Emily Dickinson); and Mary Boyce Temple, clubwoman, philanthropist, and socialite, whose home is preserved as the last extant single-family residence in downtown Knoxville. Complemented by Linda Behrend’s excellent introduction and meticulous annotations, this distinctive memoir also delivers an unusual picture of Knoxville’s beloved Market Square and vividly depicts fin de siècle Knoxville, with its great food at hotel restaurants and lively events at dance halls. Armstrong also details the tragic Flat Creek train wreck of 1889, which seriously injured her own father and led to his death five years later. Of Time and Knoxville is a must-read for lovers of Knoxville, Victorian America, women’s history, and memoir.