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The Tarzan Series of Edgar Rice Burroughs
I The Tarzan Series of Edgar Rice Burroughs: Lost Races and Racism in American Popular Culture James R. Nesteby Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree in Doctor of Philosophy August 1978 Approved: © 1978 JAMES RONALD NESTEBY ALL RIGHTS RESERVED ¡ ¡ in Abstract The Tarzan series of Edgar Rice Burroughs (1875-1950), beginning with the All-Story serialization in 1912 of Tarzan of the Apes (1914 book), reveals deepseated racism in the popular imagination of early twentieth-century American culture. The fictional fantasies of lost races like that ruled by La of Opar (or Atlantis) are interwoven with the realities of racism, particularly toward Afro-Americans and black Africans. In analyzing popular culture, Stith Thompson's Motif-Index of Folk-Literature (1932) and John G. Cawelti's Adventure, Mystery, and Romance (1976) are utilized for their indexing and formula concepts. The groundwork for examining explanations of American culture which occur in Burroughs' science fantasies about Tarzan is provided by Ray R. Browne, publisher of The Journal of Popular Culture and The Journal of American Culture, and by Gene Wise, author of American Historical Explanations (1973). The lost race tradition and its relationship to racism in American popular fiction is explored through the inner earth motif popularized by John Cleves Symmes' Symzonla: A Voyage of Discovery (1820) and Edgar Allan Poe's The narrative of A. Gordon Pym (1838); Burroughs frequently uses the motif in his perennially popular romances of adventure which have made Tarzan of the Apes (Lord Greystoke) an ubiquitous feature of American culture. -
Handbook of Formal Languages
Handbook of Formal Languages von Grzegorz Rozenberg, Arto Salomaa 1. Auflage Handbook of Formal Languages – Rozenberg / Salomaa schnell und portofrei erhältlich bei beck-shop.de DIE FACHBUCHHANDLUNG Springer 1997 Verlag C.H. Beck im Internet: www.beck.de ISBN 978 3 540 60420 4 Contents of Volume 1 Chapter 1. Formal Languages: an Introduction and a Synopsis Alexandru Mateescu and Arto Salomaa ............................ 1 1. Languages, formal and natural ................................. 1 1.1 Historical linguistics ...................................... 3 1.2 Language and evolution ................................... 7 1.3 Language and neural structures ............................ 9 2. Glimpses of mathematical language theory ...................... 9 2.1 Words and languages ..................................... 10 2.2 About commuting ........................................ 12 2.3 About stars ............................................. 15 2.4 Avoiding scattered subwords .............................. 19 2.5 About scattered residuals ................................. 24 3. Formal languages: a telegraphic survey ......................... 27 3.1 Language and grammar. Chomsky hierarchy ................. 27 3.2 Regular and context-free languages ......................... 31 3.3 L Systems............................................... 33 3.4 More powerful grammars and grammar systems .............. 35 3.5 Books on formal languages ................................ 36 References ..................................................... 38 Chapter -
Tarzan the Untamed
TARZAN THE UNTAMED I am grateful to see my grandfather’s works made available in the Edgar Rice Burroughs Authorized Library, the first-ever uniform editions of his entire literary catalog. Now readers everywhere can enjoy these timeless stories of wonder and adventure in a way they have never been presented before. These new editions represent the ultimate ERB experience, featuring magnificent cover art and frontispieces by legendary artist Joe Jusko, forewords and afterwords by noted authors and celebrities, and a bounty of rare and previously unpublished treasures straight from the archives of Edgar Rice Burroughs, Inc., in Tarzana, California. Whether a reader is new to my grandfather’s works or has spent a lifetime enjoying them as I have, the Edgar Rice Burroughs Authorized Library opens a unique window into extraordinary worlds of imagination, standing as an unparalleled landmark in an already historic legacy. John Ralston Burroughs Tarzan® Series Tarzan the Invincible Tarzan of the Apes Tarzan Triumphant The Return of Tarzan Tarzan and the City of Gold The Beasts of Tarzan Tarzan and the Lion Man The Son of Tarzan Tarzan and the Leopard Men Tarzan and the Jewels of Opar Tarzan’s Quest Jungle Tales of Tarzan Tarzan the Magnificent Tarzan the Untamed Tarzan and the Forbidden City Tarzan the Terrible Tarzan and the Foreign Legion Tarzan and the Golden Lion Tarzan and the Madman Tarzan and the Ant Men Tarzan and the Castaways Tarzan, Lord of the Jungle Tarzan and the Tarzan Twins Tarzan and the Lost Empire Tarzan: The Lost Adventure (with Tarzan at the Earth’s Core Joe R. -
Tarzan the Censored
TARZAN THE CENSORED by Jerry L. Schneider Forward In "Edgar Rice Burroughs: Master of Adventure" by Richard A. Lupoff, the author stated that the Ballantine Books' versions of the Tarzan series were edited (evidently for political correctness), not the "all complete and unabridged" as Ballantine stated on the paperbacks. So, armed with the earliest hardcover editions that I owned in my collection (McClurg, A. L. Burt, Grosset & Dunlap, Burroughs Inc., and Canaveral Press) and post 1969 Ballantine editions, I scanned through them for discrepancies and changes. There were changes from the early hardcovers that I found in some of the paperbacks. Some of the books in the Tarzan series were edited for "political correctness" with regards to ethnicity dialects and derogatory terms. Hard to read dialects (or hard to typeset) were changed to an easier form (i.e. hit's changed to it's, heat to eat, and hour to our), while extremely derogatory terms such as Jew (see Tarzan and the Golden Lion) and nigger were altered or eliminated (not for the betterment of the story as the alteration in the words has lessened the impact the originals imparted to the reader—the level of anger toward the character who spoke the words has been lessened). The term "black" remained in place in some books but removed from others—no rhyme or reason to the changes. Esmeralda's original dialect in "Tarzan of the Apes" remained in place through 1969, then edited downward to an easier and friendlier version. Because of these changes, an in-depth look at the various editions of "Tarzan of the Apes" is shown below, while the other books in the Tarzan series are only compared by using an early hardcover version and the first version that was edited, usually the Ballantine edition. -
Tarzan's Quest
Tarzan's Quest By Edgar Rice Burroughs Tarzan's Quest 1. THE PRINCESS SBOROV "My dear Jane, you know everyone." "Not quite, Hazel; but one sees everyone in the Savoy." "Who is that woman at the second table to our right?—the one who spoke so cordially. There is something very familiar about her—I'm sure I've seen her before." "You probably have. Don't you remember Kitty Krause?" "O-oh, yes; now I recall her. But she went with an older crowd." "Yes, she's a full generation ahead of us; but Kitty'd like to forget that and have everyone else forget it." "Let's see—she married Peters, the cotton king, didn't she?" "Yes, and when he died he left her so many millions she didn't have enough fingers to count 'em on; so the poor woman will never know how rich she is." "Is that her son with her?" "Son, my dear! That's her new husband." "Husband? Why, she's old enough to—" "Yes, of course; but you see he's a prince, and Kitty always was— er—well, ambitious." "Yes, I recall now—something of a climber; but she climbed pretty high, even in aristocratic old Baltimore, with those Peters millions." "But she's an awfully good soul, Hazel. I'm really very fond of her. There isn't anything she wouldn't do for a friend, and underneath that one silly complex of hers is a heart of gold." "And kind to her mother! If anyone ever says I'm good-hearted, I'll —" "S-sh, Hazel; she's coming over." The older woman, followed by her husband, swooped down upon them. -
Back to the Stone Age
BACK TO THE STONE AGE But Jason Gridley shook his head. “The rest of you go on,” he said. “I will remain in Pellucidar until I have solved the mystery.” Von Horst, von Horst— where are you now, Bill? Can you see that endless sun on high— can you sing those jazz- tune songs you loved and hear me calling? Or are your BACK TO THE STONE AGE dusty bones in some killer-cat’s lair and a ghost voice your only answer? PROLOGUE HE tale of the pioneer flight of the giant Zeppe - Tlin O-220 has already been told. In the Log Book of Great Adventures, written deep in red, have been inscribed the perils and privations, the victories and defeats, of those gallant companions from this land of ours who braved the mysteries of Pellucidar. Pellucidar — mocked by smug scientists who blind themselves to the proofs that our Earth is a hollow sphere, containing a habitable world within its interior! Pellucidar — scorned and derided by timid savants who fear to see beyond their own knotted brows, scoffing that here is no great opening at the frozen poles, that only two plus two makes four! But there were men of broader vision, of deeper un - derstanding, in that prize crew of the Zeppelin O-220; One was a tall man with mighty shoulders who walked with a cat’s soft tread; as Lord Greystoke he was known in London, though the creatures of the tropic wild called him Tarzan of the Apes. A second was Jason Gridley, the American explorer who financed the expedition. -
A Complete Bibliography of Publications in the Journal of Computer and System Sciences
A Complete Bibliography of Publications in the Journal of Computer and System Sciences Nelson H. F. Beebe University of Utah Department of Mathematics, 110 LCB 155 S 1400 E RM 233 Salt Lake City, UT 84112-0090 USA Tel: +1 801 581 5254 FAX: +1 801 581 4148 E-mail: [email protected], [email protected], [email protected] (Internet) WWW URL: http://www.math.utah.edu/~beebe/ 26 May 2021 Version 1.04 Title word cross-reference (s; t) [1475]. 0(n) [1160]. 1 [270]. 1 − L [1371, 924]. 12n2 [450]. 2 [3525, 3184, 2191, 1048, 3402, 1500, 3364, 2034, 2993, 834, 2473, 3101]. f2; 3g [2843]. #09111 [1814]. #AM01053M 2pn 1=3 − 2 O(n ) [1862, 1877, 1904]. #better 5X8 els [1856]. 2 [2353]. 2 [445]. 2 [1977]. 3 #better 5X8 els.pdf [1856]. #BIS [3184]. [1920, 2242, 2827, 2374, 1961, 2825, 3240, · #BIS-hardness #CSP 1071, 1133]. 43 [3620]. 4 Log2N [655]. 5=4 [3184]. ∗ 0 #econdirectM [1612]. 8 [2998]. =? [1433]. [858]. [2696, 2908, 2500, 3508]. 1 ∗ NP [1893]. #HA03022M [1860, 1875]. [1625, 3418, 1085]. [1523]. [3194]. NP[O(log n)] p ⊆ PH #HA05062N [1876]. #HA05062O [2235]. [995]. 2 [2235]. [1849, 1861]. #HA06043M [1501]. 2 [3418]. H [1565]. a [426, 289]. [1892, 1871, 1889]. #HA08111M [1846]. A[P (x); 2x; x + 1] [500]. Ax = λBx [377]. b · #P [1195, 3598, 1261, 1264]. [3253]. β [3444]. [3418]. d #praise 5X8 els.pdf [1832]. [2527, 1362, 3256, 3563]. δ [3553]. `p [2154]. #sciencejobs N [1802]. [1551, 2617, 1864, 1693]. g [3312]. h [1019]. K [1320, 2756, 191, 3494, 1300, 1546, 3286, #P [1373]. -
The EATCS Award 2020 Laudatio for Toniann (Toni)Pitassi
The EATCS Award 2020 Laudatio for Toniann (Toni)Pitassi The EATCS Award 2021 is awarded to Toniann (Toni) Pitassi University of Toronto, as the recipient of the 2021 EATCS Award for her fun- damental and wide-ranging contributions to computational complexity, which in- cludes proving long-standing open problems, introducing new fundamental mod- els, developing novel techniques and establishing new connections between dif- ferent areas. Her work is very broad and has relevance in computational learning and optimisation, verification and SAT-solving, circuit complexity and communi- cation complexity, and their applications. The first notable contribution by Toni Pitassi was to develop lifting theorems: a way to transfer lower bounds from the (much simpler) decision tree model for any function f, to a lower bound, the much harder communication complexity model, for a simply related (2-party) function f’. This has completely transformed our state of knowledge regarding two fundamental computational models, query algorithms (decision trees) and communication complexity, as well as their rela- tionship and applicability to other areas of theoretical computer science. These powerful and flexible techniques resolved numerous open problems (e.g., the su- per quadratic gap between probabilistic and quantum communication complex- ity), many of which were central challenges for decades. Toni Pitassi has also had a remarkable impact in proof complexity. She in- troduced the fundamental algebraic Nullstellensatz and Ideal proof systems, and the geometric Stabbing Planes system. She gave the first nontrivial lower bounds on such long-standing problems as weak pigeon-hole principle and models like constant-depth Frege proof systems. She has developed new proof techniques for virtually all proof systems, and new SAT algorithms. -
Tarzan on Film Free
FREE TARZAN ON FILM PDF Scott Tracy Griffin | 224 pages | 05 Aug 2016 | Titan Books Ltd | 9780857685681 | English | London, United Kingdom Tarzan () - IMDb From Coraline to ParaNorman check out some of our favorite family-friendly movie picks to watch this Halloween. See the Tarzan on Film gallery. The movie is about the life of Tarzan. Tarzan was a small orphan who was raised by an Tarzan on Film named Kala since he was a child. He believed that this was his family, but on an expedition Jane Porter is rescued by Tarzan. He then finds out that he's human. Now Tarzan must make the decision as to which family he should belong to Written Tarzan on Film Extron. They rewrote the whole legend. But Disney Tarzan on Film an unerring way of doing that. Anyone remember Pocahontas? They even changed Cinderella, Snow White, and every other Disney Masterpiece sitting on your shelves, so why does it matter that this, too, was changed? It matters on several different levels, but the most important reason it matters is because Disney, in their positioning among the children's entertainment market, is in the unique position to actually teach these legends, these snippets Tarzan on Film history, these morals and ethics, to the children of their audiences, rather than proffering sugar-coated, merchandized over-glorifications in exchange for the great American dollar. That having been said, this is still an entertaining introduction to the legend, but I highly suggest "Greystoke: The Legend of Tarzan, Lord of the Apes,"directed by Hugh Hudson. It is the most faithful adaptation I've ever seen, and a highly enjoyable adventure, which carries a PG rating and is Tarzan on Film for most ages to view. -
Tarzán, Y El Imperio Perdido
Edgar Rice Burroughs Tarzán, y el imperio perdido I Nkima danzaba excitadamente sobre el hombro moreno y desnudo de su amo. Parloteaba y chillaba mirando alternativamente a Tarzán a la cara, como interrogándole, y después hacia la jungla. -Algo se acerca, bwana -dijo Muviro, subjefe de los waziri-. Nkima lo ha oído. -Y Tarzán -declaró el hombre mono. -El oído del gran bwana es tan fino como el de Bara, el antílope prosiguió Muviro. -Si no lo hubiera sido, Tarzán hoy no estaría aquí dijo el hombre mono con una sonrisa-. No habría llegado a la edad adulta si Kala, su madre, no le hubiera enseñado a emplear todos los sentidos que Mulungu le dio. -¿Qué es lo que se acerca? -preguntó Muviro. -Un grupo de hombres -respondió Tarzán. -Tal vez no son amistosos -sugirió el africano-. ¿Aviso a los guerreros? Tarzán miró alrededor del pequeño campamento donde una veintena de hombres luchadores estaban preparando su colación nocturna y vio que, como era costumbre entre los waziri, tenían sus armas preparadas y a mano. -No -dijo-. Creo que será innecesario, ya que esta gente que se acerca no viene con sigilo como lo haría un enemigo, ni su número es tan grande como para que les temamos. Pero Nkima, pesimista nato, esperaba lo peor, y a medida que el grupo se acercaba su nerviosismo iba en aumento. Bajó de un salto del hombro de Tarzán al suelo y dio varios brincos; luego, volvió junto a Tarzán, le cogió el brazo y trató de hacerle poner en pie. -¡Corre, corre! -gritó en el lenguaje de los monos-. -
Arto Salomaa
Arto Salomaa A Pioneer of Science from Turku Arto Salomaa, A Pioneer of Science 1 / 52 Arto Arto Salomaa, A Pioneer of Science 2 / 52 Turku Cathedral Arto Salomaa, A Pioneer of Science 3 / 52 Proud of his native Turku, in particular of native \Turku language" Never left Turku permanently Proud of Finnish Sauna, in particular of his Salosauna Jealous of those who have never seen \lousy white stuff" Arto & Turku Born in Turku, 1934 Arto Salomaa, A Pioneer of Science 4 / 52 Never left Turku permanently Proud of Finnish Sauna, in particular of his Salosauna Jealous of those who have never seen \lousy white stuff" Arto & Turku Born in Turku, 1934 Proud of his native Turku, in particular of native \Turku language" Arto Salomaa, A Pioneer of Science 4 / 52 Proud of Finnish Sauna, in particular of his Salosauna Jealous of those who have never seen \lousy white stuff" Arto & Turku Born in Turku, 1934 Proud of his native Turku, in particular of native \Turku language" Never left Turku permanently Arto Salomaa, A Pioneer of Science 4 / 52 Jealous of those who have never seen \lousy white stuff" Arto & Turku Born in Turku, 1934 Proud of his native Turku, in particular of native \Turku language" Never left Turku permanently Proud of Finnish Sauna, in particular of his Salosauna Arto Salomaa, A Pioneer of Science 4 / 52 Arto & Turku Born in Turku, 1934 Proud of his native Turku, in particular of native \Turku language" Never left Turku permanently Proud of Finnish Sauna, in particular of his Salosauna Jealous of those who have never seen \lousy white stuff" Arto Salomaa, A Pioneer of Science 4 / 52 Roots in Turku Arto and his father J.E. -
Mark Tapson Interview
Title Here A Korak in Pal-ul-don Article at erblist.com ETERNAL FRIENDS A Love of Fantastic Fiction The Mark Tapson Interview STEVE ALLSUP Copyright 2007 Tangor, Kaor! Well, I have something I think you will really enjoy here. I am forwarding to you the Mark Tapson interview-- Kotan interviews Jadon after 38 years! I sent these questions to Mark and he has put together some truly excellent responses! I really am pleased with his answers. I hope that you can post this on the Korak in Pal-ul-don page, which I promised Mark we would do. He has even included a photo if you wish to post it with the interview. I have mentioned Mark frequently during my time on the listserv, and here at last is the ultimate from one of my oldest and dearest friends. He reveals all concerning his thoughts on Tarzan and fantasy. Here is my proposed title, if you like this or wish to change it a bit: THE MARK TAPSON INTERVIEW: Jadon discusses with Kotan (Korak) the deep mysteries of Tarzan and Conan Note: Editor changed title. 1 Title Here Introduction Mark Tapson is currently working as a screenwriter in Los Angeles while living temporarily in Australia with his new bride, Anna. Over the years he has worked in a wide variety of occupations invol- ving many areas of life, and for many years was the founding leader of the Samba-Reggae group Oju Oba, popular in the San Francisco area. I first be- came friends with Mark around the age of seven, when we lived on the same street and attended the same school in second grade.