Geeze
The citizenry isn't paying anything, unless they're UC students at a campus who contracts with Mindawn or another service, AND the citizen student elects to pay for a subscription to one or more services.
All UC did was negotiate a favorable deal; individual schools can offer it to students, who pay, as they choose.
Mindawn does more than offer music to download--it allows the university and students to upload.
Also, Mindawn is not the only service UC negotiated deals with; CdGix is another.
1. No money was spent, in the sense you mean.
2. UC just negotiated agreements with vendors to offer a competitive price to UC schools--individual schools would then decide whether or not they wanted to sign on.
3. Students would then decided if they wanted to pay the fee for any service; the school merely negotiated deals.
4. In other words, students who want the service would pay for it--albeit at a very good price negotiated for them by UC.
No money was spent; UC as a system just negotiated favorable terms; signing on is up to individual schools. And you'll note that Mindawn could also provide a way for schools to share their own content--there's a lot of student and faculty created music on campus.
You're missing part of reason to be interested in Mindawn; yes, it's super that Mindawn supports Linux and Mac OS X--but don't forget universities have content as well, and a lot of it is music. Mindawn provides a way for university folk to share content--if any UC schools decide to sign on. UC as a system just negotiated favorable terms; signing on is up to individual schools.
One of the benefits of Del.icio.us is that often the popularity of a particular link tells you something about its quality as a data source--but even better, since you can subscribe a a given user's bookmarks, you can use the link poster as another, more accurate, guide to data validity.
I'd also like to point out for Mac OS users, that Buzz Andersen's free Cocoalicious is quite nifty, since it works even when the Del.iciou.us server is unavailable, and that Brent Spiner's news reader/aggregator NetNewsWire works well with Deli.icio.us, in part due to the magic of AppleScript, in part because one of its features allows you to subscribe to tag feeds from Del.iciou.us, Flickr, and Technorati.
I asked Jackson that question hoping for a genuine, informed response. His was neither.
I was unimpressed enough by his answer that I blogged about it here.
That said, Mac users should use anti-virus software, and be aware that some day something nasty will happen. And in the meantime, Macs are still a possible vector for infecting other platforms.
Err, well, no, there's not a lot of Welsh allusion in Rawn and Lackey. There's far more pseudo-new-age-generic Celtic-which-is-really-Irish, than there is Welsh.
Even that's Celt
ic filtered through the likes of John and Caitlin Matthews, which means it has more in common with Matthew Arnold than Pedair Cainc y Mabinogi.
And anyone who thinks the Celts were matriarchic needs to put the pipe down.
Any profits go to the Science Fiction Writers of America's Emergency Medical Fund. You can also download a free e-book from Embiid in a variety of formats for Windows, Palm, etc. Buying Atlanta Nights in no way allows PublishAmerica, or the writers, to profit.
PublishAmerica encourages, even deliberately misleads, writers to think that their books will be edited, and that they will be widely distributed in bookstores and that they will be purchased by libraries. None of these things actually happen. The books are crudely formatted, not edited, and the rudimentary spell check tends to introduce errors. Most bookstores won't accept PublishAmerica books because PublishAmerica doesn't accept returns. Most libraries won't order the books because PublishAmerica, unlike a legitimate publisher, doesn't provide Library of Congress CIP data, used by most library purchasing and cataloging systems. Essentially, PublishAmerica profits by charging between fifteen and twenty bucks, in most cases, for what are usually rather thin books, roughly five books more than the standard pricing, and encouraging authors to buy their own books and sell them themselves.
Signing the contract would have left the writers open to accusations of fraud.
Probably the best discussion of Atlanta Nights is at Making Light, the web log of Teresa Nielsen Hayden, noted Tor editor and one of the collaborators on Atlanta Nights. See here and here
You need to get out more; SF has been taught in the classroom, meaning both K-12 and higher education, since the seventies, at least. Ray Bradbury's "When the Rains Came," "The Martian Chronicles," Asimov's "Robots" stories, Ursula LeGuin's Lathe of Heaven and hosts of others' works are frequently anthologized in the readers used for grades 8-12. SF is a staple course at colleges all over, to the point where it's now common to offer seminars on specific authors--Stephenson among them. I can think of about fifteen of my peers writing dissertations on SF.
Though Tolkien is and was certainly a crucial scholar of Beowulf, it was his largely because of his essay "The Monstor and the the Critics," which changed the face of Beowulf criticism, not for his translation of Beowulf, which is still not yet published, though Michael Drout has written about it.
If you want to hear a bit of Old English from the beginning of Beowulf, and see the first page of the original manuscript (well, an image of it!) go here. You'll need the free QuickTime plugin from Apple.
The idiocy of this remark amazed me. While I have no doubt that students will be having Gilgamesh and Beowulf rammed down their craw in a thousand years time I very much doubt the Heaney translation will be much remembered (except perhaps by a snarky comment in a preface to Potter!).
Actually, the Heaney translation is rather firmly entrenched since it's been included in the seventh edition of the Norton Anthology of English Literature . This two volume textbook, somewhat unfortunately, is the standard historical anthology of English literature in North America, and, to some extent, shapes the canon. Heaney's translation was originally commissioned by W.W. Norton for the anthology; I doubt they'll replace it soon. The previous prose translation by Donaldson was included in the first edition in 1962.
Beowulf is truly a treasure, though the original tale is completely besmirched by the Pearl Poet (its accredited author).
I think you're misremembering. The Pearl Poet, also called the Gawain Poet is the anonymous fourteenth century Middle English author, we think, of Pearl, Sir Gawain and the Green Knight, Cleanness, all of which are in the same manuscript. There's no connection with Beowulf.
It is more valued as an example of the need of Christianity to impress its belief structure into even the oral traditions of the pagan people.
That's certainly not why I,or most scholars or lovers of poetry and tales value Beowulf; it is at best a gross oversimplification of what is really a complex anthology of tales, surrounding an epic. It's a good story, there are some lovely passages of poetry, and some rather complex issues; the idea of the Christian/verus pagan elements is not something one spends a great deal of time on--indeed, it was just such attitudes that inspired Tolkien to write his "The Monstors and the Critics," possibly the first close reading of Beowulf as a work of art on its own terms.
That's why I'm really looking forward to his translation as well as his commentary. Tolkien understands the way Anglo-Saxon poetry works, as I think Heaney does, but Heaney was too concerned with smuggling in Irish bits. And yes, I admire the Heaney translation, but to introduce new references like Amazons where there is nothing like it in the orginal is not the work of a translator.
Yes; that's the more likely association/source for the word "ent" as used by Tolkien. There's a Middle English cognate, "imp" which means both a mischievous sprite and a graft. There's an otherworldly tree described as an "ympe" tree in the Middle English poem Sir Orfeo, which Tolkien knew very well since he translated and taught it.
The 'ettin" used in Beowulf is transformed to "etayn" in Middle English and refers to giants.
I suspect that his Beowulf translation and notes may be something he did as teaching preparation--he routinely taught the OE tutorials and lectures, and we know that his Sir Orfeo and Sir Gawain and the Green Knight translations grew out of his preparations for teaching the poems in the original language. Generally when you read these texts as graduate students a lot of the time in class or tutorial is spent on looking at the language and the literary devices used in the poems--and Tolkien was known for this aspect of pedagogy. You can get a hint of what he might do if you look at his work on the Finnsburgh fragment, the poem within the poem that the scop performs in Heorot in Beowulf.
Tolkien did in fact translate i>Sir Gawain and the Green Knight, as well as the Middle English poems Pearl and Sir Orfeo. They are in fact fine translations, and personally I prefer them to the standard translations in English literature anthologies, which are usually by Boroff or Loomis.
But Tolkien also created an edition of Sir Gawain and the Green Knight, still the standard scholarly edition (and now reedited by Davis) though there are a couple of recent alternatives, also good. It's not an easy poem to read, even if you've worked in Middle English or Chaucer before--SGGK is in an obscure Northern dialect. It's well worth the effort though, and perfect for this time of year. You can hear a bit here if you've got QuickTime installed.
No, there's no copyright violation. There's only one badly burned Beowulf manuscript, though there's now a wonderful CD-ROM digital facsimile (out of print at the moment). Tolkien would have used the standard "edition"--a transcription of the text with a glossary and some commentary, by Klaeber.
Tolkien's translation should be interesting--I suspect it might be in poetry and that he'll try to copy the Anglo-Saxon poetic line, which is based on alliteration. In crude terms, each line of poetry in Beowulf is really two half lines, with a caesura or pause between them. The two lines are linked by alliteration--at least one stressed syllable in the first half-line will alliterate with two in the second half-line. Any vowel alliterates with anyother vowel. There are five basic "stress" patterns, and some scholars associate these patterns with moods.
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Geeze The citizenry isn't paying anything, unless they're UC students at a campus who contracts with Mindawn or another service, AND the citizen student elects to pay for a subscription to one or more services. All UC did was negotiate a favorable deal; individual schools can offer it to students, who pay, as they choose.
Mindawn does more than offer music to download--it allows the university and students to upload. Also, Mindawn is not the only service UC negotiated deals with; CdGix is another.
1. No money was spent, in the sense you mean. 2. UC just negotiated agreements with vendors to offer a competitive price to UC schools--individual schools would then decide whether or not they wanted to sign on. 3. Students would then decided if they wanted to pay the fee for any service; the school merely negotiated deals. 4. In other words, students who want the service would pay for it--albeit at a very good price negotiated for them by UC.
No money was spent; UC as a system just negotiated favorable terms; signing on is up to individual schools. And you'll note that Mindawn could also provide a way for schools to share their own content--there's a lot of student and faculty created music on campus.
You're missing part of reason to be interested in Mindawn; yes, it's super that Mindawn supports Linux and Mac OS X--but don't forget universities have content as well, and a lot of it is music. Mindawn provides a way for university folk to share content--if any UC schools decide to sign on. UC as a system just negotiated favorable terms; signing on is up to individual schools.
One of the benefits of Del.icio.us is that often the popularity of a particular link tells you something about its quality as a data source--but even better, since you can subscribe a a given user's bookmarks, you can use the link poster as another, more accurate, guide to data validity. I'd also like to point out for Mac OS users, that Buzz Andersen's free Cocoalicious is quite nifty, since it works even when the Del.iciou.us server is unavailable, and that Brent Spiner's news reader/aggregator NetNewsWire works well with Deli.icio.us, in part due to the magic of AppleScript, in part because one of its features allows you to subscribe to tag feeds from Del.iciou.us, Flickr, and Technorati.
I asked Jackson that question hoping for a genuine, informed response. His was neither. I was unimpressed enough by his answer that I blogged about it here. That said, Mac users should use anti-virus software, and be aware that some day something nasty will happen. And in the meantime, Macs are still a possible vector for infecting other platforms.
Err, well, no, there's not a lot of Welsh allusion in Rawn and Lackey. There's far more pseudo-new-age-generic Celtic-which-is-really-Irish, than there is Welsh.
Even that's Celt
ic filtered through the likes of John and Caitlin Matthews, which means it has more in common with Matthew Arnold than Pedair Cainc y Mabinogi.And anyone who thinks the Celts were matriarchic needs to put the pipe down.
Any profits go to the Science Fiction Writers of America's Emergency Medical Fund. You can also download a free e-book from Embiid in a variety of formats for Windows, Palm, etc. Buying Atlanta Nights in no way allows PublishAmerica, or the writers, to profit.
PublishAmerica encourages, even deliberately misleads, writers to think that their books will be edited, and that they will be widely distributed in bookstores and that they will be purchased by libraries. None of these things actually happen. The books are crudely formatted, not edited, and the rudimentary spell check tends to introduce errors. Most bookstores won't accept PublishAmerica books because PublishAmerica doesn't accept returns. Most libraries won't order the books because PublishAmerica, unlike a legitimate publisher, doesn't provide Library of Congress CIP data, used by most library purchasing and cataloging systems. Essentially, PublishAmerica profits by charging between fifteen and twenty bucks, in most cases, for what are usually rather thin books, roughly five books more than the standard pricing, and encouraging authors to buy their own books and sell them themselves.
Signing the contract would have left the writers open to accusations of fraud. Probably the best discussion of Atlanta Nights is at Making Light, the web log of Teresa Nielsen Hayden, noted Tor editor and one of the collaborators on Atlanta Nights. See here and here
You need to get out more; SF has been taught in the classroom, meaning both K-12 and higher education, since the seventies, at least. Ray Bradbury's "When the Rains Came," "The Martian Chronicles," Asimov's "Robots" stories, Ursula LeGuin's Lathe of Heaven and hosts of others' works are frequently anthologized in the readers used for grades 8-12. SF is a staple course at colleges all over, to the point where it's now common to offer seminars on specific authors--Stephenson among them. I can think of about fifteen of my peers writing dissertations on SF.
Though Tolkien is and was certainly a crucial scholar of Beowulf, it was his largely because of his essay "The Monstor and the the Critics," which changed the face of Beowulf criticism, not for his translation of Beowulf, which is still not yet published, though Michael Drout has written about it.
If you want to hear a bit of Old English from the beginning of Beowulf, and see the first page of the original manuscript (well, an image of it!) go here. You'll need the free QuickTime plugin from Apple.
That's why I'm really looking forward to his translation as well as his commentary. Tolkien understands the way Anglo-Saxon poetry works, as I think Heaney does, but Heaney was too concerned with smuggling in Irish bits. And yes, I admire the Heaney translation, but to introduce new references like Amazons where there is nothing like it in the orginal is not the work of a translator.
>In Dutch, "ent" means graft.
Yes; that's the more likely association/source for the word "ent" as used by Tolkien. There's a Middle English cognate, "imp" which means both a mischievous sprite and a graft. There's an otherworldly tree described as an "ympe" tree in the Middle English poem Sir Orfeo, which Tolkien knew very well since he translated and taught it.
The 'ettin" used in Beowulf is transformed to "etayn" in Middle English and refers to giants.
I suspect that his Beowulf translation and notes may be something he did as teaching preparation--he routinely taught the OE tutorials and lectures, and we know that his Sir Orfeo and Sir Gawain and the Green Knight translations grew out of his preparations for teaching the poems in the original language. Generally when you read these texts as graduate students a lot of the time in class or tutorial is spent on looking at the language and the literary devices used in the poems--and Tolkien was known for this aspect of pedagogy. You can get a hint of what he might do if you look at his work on the Finnsburgh fragment, the poem within the poem that the scop performs in Heorot in Beowulf.
Tolkien did in fact translate i>Sir Gawain and the Green Knight, as well as the Middle English poems Pearl and Sir Orfeo. They are in fact fine translations, and personally I prefer them to the standard translations in English literature anthologies, which are usually by Boroff or Loomis.
But Tolkien also created an edition of Sir Gawain and the Green Knight, still the standard scholarly edition (and now reedited by Davis) though there are a couple of recent alternatives, also good. It's not an easy poem to read, even if you've worked in Middle English or Chaucer before--SGGK is in an obscure Northern dialect. It's well worth the effort though, and perfect for this time of year. You can hear a bit here if you've got QuickTime installed.
No, there's no copyright violation. There's only one badly burned Beowulf manuscript, though there's now a wonderful CD-ROM digital facsimile (out of print at the moment). Tolkien would have used the standard "edition"--a transcription of the text with a glossary and some commentary, by Klaeber.
Tolkien's translation should be interesting--I suspect it might be in poetry and that he'll try to copy the Anglo-Saxon poetic line, which is based on alliteration. In crude terms, each line of poetry in Beowulf is really two half lines, with a caesura or pause between them. The two lines are linked by alliteration--at least one stressed syllable in the first half-line will alliterate with two in the second half-line. Any vowel alliterates with anyother vowel. There are five basic "stress" patterns, and some scholars associate these patterns with moods.