Author: Subrata Dasgupta File Type: pdf By the end of the 1960s, a new discipline named computer science had come into being. A new scientific paradigm--the computational paradigm--was in place, suggesting that computer science had reached a certain level of maturity. Yet as a science it was still precociously young. New forces, some technological, some socio-economic, some cognitive impinged upon it, the outcome of which was that new kinds of computational problems arose over the next two decades. Indeed, by the beginning of the 1990s the structure of the computational paradigm looked markedly different in many important respects from how it was at the end of the 1960s. Author Subrata Dasgupta named the two decades from 1970 to 1990 as the second age of computer science to distinguish it from the preceding genesis of the science and the age of the InternetWorld Wide Web that followed. This book describes the evolution of computer science in this second age in the form of seven overlapping, intermingling, parallel histories that unfold concurrently in the course of the two decades. Certain themes characteristic of this second age thread through this narrative the desire for a genuine science of computing the realization that computing is as much a human experience as it is a technological one the search for a unified theory of intelligence spanning machines and mind the desire to liberate the computational mind from the shackles of sequentiality and, most ambitiously, a quest to subvert the very core of the computational paradigm itself. We see how the computer scientists of the second age address these desires and challenges, in what manner they succeed or fail and how, along the way, the shape of computational paradigm was altered. And to complete this history, the author asks and seeks to answer the question of how computer science shows evidence of progress over the course of its second age. *

Author: Jennifer L. Airey File Type: pdf The Politics of Rape Sexual Atrocity, Propaganda Wars, and the Restoration Stage is the first full-length study to examine representations of sexual violence on the Restoration stage. By reading theatrical depictions of sexual violence alongside political tracts, propaganda pamphlets, and circulating broadsides, this study argues that authors used dramatic representations of rape to respond to and engage with late-century upheavals in British political culture. Beginning with an examination of rape scenes in English Civil War propaganda, The Politics of Rape argues that Roundhead authors described acts of rape and atrocity to demonize their enemies, the Irish, the Catholics, and the Cavaliers. After the Restoration, propagandists and playwrights on each side of every political conflict would follow suit, altering the rhetoric of sexual violence in response to each new moment of political upheaval The Restoration of Charles II, the Second and Third Anglo-Dutch Wars, the Popish Plot, the Exclusion Crisis, the Glorious Revolution, and the accession of William and Mary. The study offers an intensive look at British propaganda culture, gathering together a wealth of understudied pamphlet texts, and identifying a series of stock figures that recur throughout the century The demonic Irishman, sexually violent villain of the 1641 Irish Rebellion tracts the debauched Cavalier, the secretly Catholic royalist rapist the poisonous Catholic bride, the malignant consort who encourages the rapes of Protestant women the cannibal father, the evil patriarch who rapes his daughters-in-laws before ingesting his own sons as a symbol of monarchical overreach and the ravished monarch, the male rape victim whose sexual violation protests his political disenfranchisement. The study also traces the appearance of these figures on the British stage, examining well-known works by Dryden, Rochester, Behn, Lee, and Shadwell, alongside lesser-known plays by Orrery, Howard, Settle, Crowne, Ravenscroft, Pix, Cibber, and Brady. The Politics of Rape thus offers a new method for understanding of the geo-political implications of theatrical sexual violence. **