The vision of Sir Launfal, A fable for critics, and The commemoration ode,

Mode of access: Internet.

A manual of biblical bibliography comprising a catalogue, methodically arranged, of the principal editions and versions of the Holy Scriptures, together with notices of the principal philologers, critics, and interpreters of the Bible /

"This volume constitutes the bibliographical appendix to the second volume of the author's [8th ed., 1839] Introduction to the critical study and knowledge of the Holy Scriptures." The bibliographical appendix was omitted from the 10th and later London editions.

The Elizabethan dramatists as critics /

Includes bibliographical references and index.

Four Irish plays : Mixed marriage, The magnanimous lover, The critics, [and] The orangeman.

Mode of access: Internet.

The scowcroft critics.

Mode of access: Internet.

Influences and advice of theatrical consumption. A study about the effect of the theatre critics and other instances of evaluation in the habits of theatre attendance

This article analyses the influence that different criticism stages of proceedings exert in the habits of theatre attendance. The study is based on the survey carried out specifically for this research in which 210 people, who attended a theatrical representation, were interviewed in three different theatres in the city of Valencia. The study has revealed the mouth to mouth importance in the decision of attending the theatre and its stronger influence on the audiences who less frequently go to theatrical representations. The results obtained have also made clear the existence of a narrow relation between the advice effect of the theatre critics and the patterns of attendance to the theatre, just like its bigger influence between theatres with commercial orientation and those which are addressed to the broad audiences.

The body, the device, the sleepwalkers. On the spinozian uses of experience as a critics of the cartesian concept of freedom

In this paper I discuss one of the most significant strategies in Spinoza’s theoretical approach against those that entrave its understanding in a very powerful way. As well as Descartes, Spinoza uses the inmediate or unreflexive experience for developing his conception of free will or the distinction between body and soul, but he does so in order to prove that the experience is useful to demonstrate some purely anti-Cartesian thesis that express the core principles of Spinozism.

Liberating the Issue of Present Days. About the Foucaltian Critics of Inflationary Speeches on the Present as “Mass Society” and “Estatalized Space”

With this article we pretend to contribute, in a really modest way, to the liberation of a tenacious image of our society: which operates as an ideological basis of a group of current socio-political pseudocritics, with great success and diffusion. For this we will undertake the exposition and the analysis of the development group of Naissance de la biopolitique in which Foucault accomplishes the critic of all that number of inflationary speeches that represent our society like a “mass society” and a “estatalized space”. Facing these vague and disproportionate forms of consideration, the foucaltian critic, in its exquisite attention to what happens nowadays, it should reveal how our societies function as systems that optimize the difference –radically nominalists-, in which it is produced, beyond any phantasmatic of the oppressor and invasive estate, a regretion of the legal-estate structures that articulate the socio-politic groups, in benefit of the reconstitution and the social tissue as a communitarian network, suitable for the dynamics of market competence that characterise our enterprise societies. That will open to a new idea of the critic, and to a displacement of its object and objectives.

The Use of Proof Planning Critics to Diagnose Errors in the Base Cases of Recursive Programs

This paper reports the use of proof planning to diagnose errors in program code. In particular it looks at the errors that arise in the base cases of recursive programs produced by undergraduates. It describes two classes of error that arise in this situation. The use of test cases would catch these errors but would fail to distinguish between them. The system adapts proof critics, commonly used to patch faulty proofs, to diagnose such errors and distinguish between the two classes. It has been implemented in Lambda-clam, a proof planning system, and applied successfully to a small set of examples.

A Comparison of two Proof Critics: Power vs. Robustness

Proof critics are a technology from the proof planning paradigm. They examine failed proof attempts in order to extract information which can be used to generate a patch which will allow the proof to go through. We consider the proof of the $quot;whisky problem$quot;, a challenge problem from the domain of temporal logic. The proof requires a generalisation of the original conjecture and we examine two proof critics which can be used to create this generalisation. Using these critics we believe we have produced the first automatic proofs of this challenge problem. We use this example to motivate a comparison of the two critics and propose that there is a place for specialist critics as well as powerful general critics. In particular we advocate the development of critics that do not use meta-variables.

Critics of Human Rights from a Historical Perspective

Implementation of human rights is often criticized because it is perceived as being imposed on the rest of the world. In this case, human rights start to be seen as a sole abstraction, an empty word. What are the theoretical arguments of these critics and can we determine any historical grounds for them? In this paper, I will try to point at similar critics after the French Revolution – like that of the Historical School and Hegel – and try to show if some of these critics are still relevant. And I will compare these critics with contemporary arguments of cultural relativists. There are different streams and categorizations of human rights theories in today’s world. What differentiates them is basically the source of the human rights. After the French Revolution, the historical school had criticized the individuation and Hegel had criticized the formal freedom which was, according to him, a consequence of the Revolution. In this context Hegel drew a distinction between real freedom and formal freedom. Besides the theory of sources, the theories of implementation such as human rights as a model of learning, human rights as a result of an historical process are worth attention. The crucial point is about integrating human rights as an inner process and not to use them as a tool for intervention in other countries, which we observe in today’s world. And this is the exact point why I find the discussion of the sources more important. This discussion can help us to show how the inner evaluation of a society makes the realization of human rights possible and how we can avoid the above mentioned abstraction and misuse.

Tricking up the suburb

The following article arises from the projects submitted for the 2004 Awards fo the Western Australian Chapter of the Australian Institute of Landscape Architects, for which we were judges, together with Craig Burton of CAB Consulting and Natalie palleros of Tierra Design. This article is an attempt to understand some dominant trends that emerged from viewing a range of new suburban developments. Suburban developments dominated the awards and seemed to characterise much of the work being done by landscape architects in the west. It is easy to be critical of contemporary landscape architecture in Perth, as the projects presented were mostly the same in that their scope of design activity was restricted to the decorative rather than the structural. However, as critics, we feel it is important to initate a conversation about what has been presented as the best of the profession, in order to begin to understand the current state of the profession.

The studio sans frontières : the open-studio as an answer to the challenges of teaching contemporary art

Since at least the 1960s, art has assumed a breadth of form and medium as diverse as social reality itself. Where once it was marginal and transgressive for artists to work across a spectrum of media, today it is common practice. In this ‘post-medium’ age, fidelity to a specific branch of media is a matter of preference, rather than a code of practice policed by gallerists, curators and critics. Despite the openness of contemporary art practice, the teaching of art at most universities remains steadfastly discipline-based. Discipline-based art teaching, while offering the promise of focussed ‘mastery’ of a particular set of technical skills and theoretical concerns, does so at the expense of a deeper and more complex understanding of the possibilities of creative experimentation in the artist’s studio. By maintaining an hermetic approach to medium, it does not prepare students sufficiently for the reality of art making in the twenty-first century. In fact, by pretending that there is a select range of techniques fundamental to the artist’s trade, discipline-based teaching can often appear to be more engaged with the notion of skills preservation than purposeful art training. If art schools are to survive and prosper in an increasingly vocationally-oriented university environment, they need to fully synthesise the professional reality of contemporary art practice into their approach to teaching and learning. This paper discusses the way in which the ‘open’ studio approach to visual art study at QUT endeavours to incorporate the diversity and complexity of contemporary art while preserving the sense of collective purpose that discipline-based teaching fosters. By allowing students to independently develop their own art practices while also applying collaborative models of learning and assessment, the QUT studio program aims to equip students with a strong sense of self-reliance, a broad awareness and appreciation of contemporary art, and a deep understanding of studio-based experimentation unfettered by the boundaries of traditional media: all skills fundamental to the practice of contemporary art.