Explore the vast range of titles available.

Intended for practical use in the Anglican liturgy but even more deeply invested in their physical status as a book, Smart's 1765 Psalms of David invert the private, ecstatically spiritualized stylizations of Jubilate Agno . Smart's strange and compulsive rendering of Psalm CXIX explores the limits of the earlier poem's engagements with the echoic potential of the phoneme, confining the sound that it exalts to the material and specifically typographical space thereby shown to generate it. I argue that this technique echoes the sonic architecture of Horace Walpole's exactly contemporary Castle of Otranto , linking Smart's Psalm CXIX to the acousmatic pretenses that became a signature of gothic literary form.

This article proposes that motivic Black vernacular musical topics, which typically coalesce at the musical surface, can also serve as progenitors for deeperlevel tonal structure. Building on the work of Rae Linda Brown, Horace Maxile Jr., and Samuel Floyd Jr., I demonstrate this approach through an analysis of the second movement of Florence Price's Piano Sonata in E minor (1932). My analysis highlights pitch relationships—particularly motivic pendular thirds, a Black topic which Maxile Jr. (2022) describes as two pitches that \"pivot around a central pitch (most likely a tonic), the third above the central pitch being major or minor, the third below minor\"—and ways in which deeper-level structures develop from these surfacelevel pendular motifs. The second part of the article then frames my analysis through Price's heritage as a woman of mixed racial background, and her experiences as a Black composer in the twentieth century.

A bstract We present a fully consistent implementation of electroweak and strong radiative corrections to single W hadroproduction in the POWHEG BOX framework, treating soft and collinear photon emissions on the same ground as coloured parton emissions. This framework can be easily extended to more complex electroweak processes. We describe how next-to-leading order (NLO) electroweak corrections are combined with the NLO QCD calculation, and show how they are interfaced to QCD and QED shower Monte Carlo. The resulting tool fills a gap in the literature and allows to study comprehensively the interplay of QCD and electroweak effects to W production using a single computational framework. Numerical comparisons with the predictions of the electroweak generator HORACE, as well as with existing results on the combination of electroweak and QCD corrections to W production, are shown for the LHC energies, to validate the reliability and accuracy of the approach.

This article argues that the literary contexts of Horace's Odes 3.13, especially archaic Greek poetry, have been relatively neglected by scholars, who have focussed on identifying the location of the fons Bandusiae and on understanding the significance of the sustained description of the kid sacrifice. This study presents a more holistic interpretation of the ode by exploring Horace's interactions with previously unnoticed (Alcaeus, frr. 45 and 347) and underappreciated (Hes. Op. 582–96) archaic Greek poetic intertexts, which also offer a fresh perspective on earlier debates. Horace's use of Alcaeus’ fr. 45, a key intertext, firmly places the fons Bandusiae within the literary landscape of Horace's Sabine estate, and offers a structural and argumentative model for Odes 3.13; further, Alcaean and Hesiodic allusions also suggest that the kid is sacrificed as a surrogate for Horace for keeping him safe. These conclusions are used to offer a new interpretation of the ode on metapoetic, political and philosophical levels, and to explore how these different aspects of the ode interact with Horace's other odes.

Shrill Fortune strikes the king uncrowned, bereft, shriek-laughs to plant that crown on one unknown. Conflicts of Interest The author declares no conflict of interest. MDPI and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.

Horace Basil Barlow, Fellow of the Royal Society, winner of the Australia Prize, the Royal Medal of the Royal Society and the Schwartz Prize of the Society for Neuroscience, died on 5 July 2020 at the age of 98, 10 days after suffering a stroke. As news spread among his former students and collaborators, one phrase recurred again and again in the messages of nostalgic reflection: ‘the end of an era’.

In his Odes, the poet Horace wrote “Dulce et decorum est pro patria mori”. (sweet and honourable it is to die for one's country). Yet there are many soldiers who do not die an “honourable” death, and return from war deeply scarred both psychologically and physically. That is what happens to Jess, the lead character of Ugly Lies the Bone, a play written by Lyndsey Ferrentino and directed by Indhu Rubasingham at the National Theatre in London.

Merton and Barber take their readers from Horace Walpole, who coined the word in 1754 after the \"oriental\" fairy tale The Travels and Adventures of Three Princes of Serendip, to George W. Merck of the pharmaceutical giant Merck and Co., who used it in an article in Chemical & Engineering News in 1946 and made it a buzzword in the 1950s with an ad that claimed, \"No field of human endeavor illustrates better than chemistry the story of The Three Princes of Serendip.\" Think of the disagreements today between Catholics and Protestants over the relationship between grace and sacramental efficacy. In the book on serendipity, in which he offers many instances of happy accidents in his own life, Merton cites Merck, whose daughter Judith married Buechner, who had been an undergraduate at Princeton and spent ten years as chaplain at Phillips Exeter Academy, which is where, decades later, I would be asked the question to which my response was \"grace and serendipity.\" [...]decades after that, one of the Buechners' grandsons, a son of the dedicatee of that book and someone who had already met my future wife, became one of my favorite students at Princeton-this shortly after I'd talked about Buechner with another Princeton denizen, someone who was both the grandmother of my wife-to-be and my future godmother, a woman whose late husband, the aforementioned Robert W. Jenson, was a theologian of a different, far less liberal, stripe.

This brief poem (Hor. Carm. 1.30) is by turns enigmatic (what is the purpose of Horace's prayer to Venus?) and slightly incoherent (why should both Horace and Glycera be praying to Venus? Are they praying for the same thing or for different things? Either has its problems). A further problem is that, if Horace intended uocantis in line 2 for a genitive, the text as it stands misleads the first-time reader, contrary to Horace's normal practice of authorial kindness toward such readers. The way to deal with this is to take uocantis as accusative (‘those calling on you with much incense’) and to insert an ‘and’ in the text to connect sperne and transfer: sperne dilectam Cypron et uocantīs | ture te multo Glycerae decoram | transfer in aedem (‘reject your beloved Cyprus and your incense-offering devotees and move to Glycera's beautiful shrine’). If this is right, it addresses the incoherencies under which the usual interpretation labours.

What follows is an experiment in reading practice. I propose that we read some key passages of the Aeneid and the Metamorphoses in the active pursuit of acrostics and telestics, just as we have been accustomed to read them in the active pursuit of allusions and intertexts; and that we do so with the same willingness to make sense of what we find. The measure of success of this reading practice will be the extent to which our understanding of these familiar and well-studied texts can be usefully enriched by our interpretation of our discoveries (or rediscoveries). These will include an undiscovered authorial signature NASO in the ‘second proem’ of the Metamorphoses ; an unnoticed self-referential response to Horace with NITIDO at the centre of Ovid's epic and a similarly self-referential AVSVM at the centre of Virgil's epic; in the Aeneid we will also find glances to Aratus with LEPTE and an Aratean anagram on Aeneas’ shield; and two new acrostics connecting Dido, Ajax and Lavinia.