G. H. Schuberts Vorlesungsreihe Ã¼ber die Nachtseite der Naturwissenschaft ist wegen ihres Inhalts und wegen der Rolle, die sie in der deutschen Kultur und Politik wÃ¤hrend der Zeit der napoleonischen Beherrschung gespeilt hat, ein aufschlussreiches Erzeugnis der romantischen Wissenschaft. Schuberts Versuch, der den natÃ¼rlichen Erscheinungestets unvoreingenommen gerecht werden wollte, hat eine Vision der Natur und der Geschicht zur Folge gehabt, die den Deutschen eine neue Hoffnung auf die Zukunft ihres Vaterlandes erÃ¶ffnet hat. Schuberts Vorlesungen liefern dem Historiker Ã¼berdies einen fasinierenden (...) Blick auf die gesellschaftliche Resonanz der Naturwissenschaft in dem ersten Jahrzehnt des neunzehnten Jahrhunderts. (shrink)
: In 2000, the Romanian journal Paideia published a series of essays to commemorate the fiftieth anniversary of the death of John Dewey. Three articles--by Peter Hlebowitsh, then the editor of Education and Culture; Daniel Tanner, then the president of the John Dewey Society; and WilliamSchubert, past president of the JDS-- were prepared and translated into Romanian for publication. Paideia editor Nicolae Sacalis has contributed an article describing Dewey's influence in Romania. In "The Writings of John Dewey (...) in Romania: Policy and Pedagogy," Sacalis describes the interest in pragmatism of the Romanian intellectuals of the 1920s and 1930s and how Dewey's writings became important to the government's education leaders and school practitioners. Dewey's popularity was so great that a comprehensive overview of his work was published to honor and acknowledge his eightieth birthday. The writings of Dewey were silenced thereafter but not forgotten. His works reappeared in the 1970s for a new generation of Romanian educators, and since the 1989 revolution, his writings have received even greater popularity, leading to the commemoration of his death by Paideia. (shrink)
Ancient Egypt, by L. Bull.--Ancient Mesopotamia, by E.A. Speiser.--Ancient Persia, by G.G. Cameron,--Ancient Israel, by M. Burrows.--The Hellenistic Orient, by C.B. Welles.--Earliest Christianity, by E. Dinkler.--Patristic Christianity, by R.H. Bainton.--Early Islam, by J. Obermann.--The twentieth-century West and the ancient Near East, by P. Schubert.
Fluted Logic is essentially first-order predicate logic deprived of variables. The lack of variables results in reduced expressiveness. Nevertheless, many logical problems that can be stated in natural language, such as the famous Schubert's Steamroller, can be rendered in fluted logic. Further evidence of the expressiveness of fluted logic is its close relation to description logics. Already it has been shown that fluted logic is decidable and has the finite-model property. This paper shows that fluted logic has the exponential-model (...) property and that deciding satisfiability is NEXPTIME-complete. It is shown further that fluted logic is 'nice, that is, it shares with first-order predicate logic the interpolation property and model preservation properties. (shrink)
A paradigm shift occurred in musical culture in the early nineteenth century, whereby revered old works—newly called “classics”—began to rival contemporary ones as the guiding authority over taste. This article explores the less well-known composers found on programs in the period when classical repertories were becoming established. A kind of professional collegiality developed during this period on concert programs among pieces of diverse age and taste, reaching far beyond the iconic composers (now seen by most of us to have been (...) Haydn, Mozart, Beethoven, Schubert, Schumann, and Mendelssohn). Many of the “other” composers came from Italy, France, or Britain and became famous for opera selections and songs, some termed “popular,” and a substantial number of their pieces were performed throughout the nineteenth century. The present-day narrative of music history has canonic blind spots for composers then widely performed—Louis Spohr, Thomas Arne, Giovanni Viotti, Etienne-Nicolas Méhul, George Onslow, Louise Farrenc, and Robert Franz, for example. To understand musical life of that time, it is necessary to rethink the language of canon and canonization. The concept of canonization and the concept of the masterpiece have narrowed musical thinking harmfully. We need to look back at the fruitful collegiality that existed between canonic and contemporary music in the early nineteenth century, involving as it did a wide array of composers and tastes not yet bound by rigid assumptions about supposed “levels” of taste. (shrink)