The Digital Humanities is a comprehensive introduction and practical guide to how humanists use the digital to conduct research, organize materials, analyze and publish fi ndings. It summarizes the turn toward the digital that is reinventing every aspect of the humanities among scholars, libraries, publishers, administrators and the public. Beginning with some defi nitions and a brief historical survey of the humanities, the book examines how humanists work, what they study, how humanists and their research have been impacted by the digital and how, in turn, they shape it. It surveys digital humanities tools and their functions, the digital humanists' environments and the outcomes and reception of their work. The book pays particular attention to both theoretical underpinnings and practical considerations for embarking on digital humanities projects. It places the digital humanities fi rmly within the historical traditions of the humanities and in the contexts of current academic and scholarly life.
The marvellous jump recorded in this epigram has naturally given rise to much controversy. Intimately connected with it is the equally disputed question of the meaning of the terms σκάμμα, τὰ ἐσκαμμένα, and Βατήρ as applied to the long jump.Most of the discussion on this point might have been avoided if scholars had considered the whole of the evidence and not confined their attention to one or two passages. The discussion has mostly turned upon the words of Pindar (Nem. v. 19, 20) μακρά μοι δὴ αὐτόθεεν ἅλμαθ´ ὑποσκάπτοι τις, and upon the scholiast's note on this passage. In J.H.S. vol. i. 213 Prof. Percy Gardner gave the following explanation: ‘After every leap a fork was drawn across to mark the length, so that he who leaps beyond all marks distances his rivals.’ In J.H.S. vol. ii. p. 218 Mr. Myres suggested that ‘the σκάμμα might be a line drawn for the jumper to jump at like the handkerchief or piece of paper sometimes used in the present day.’ He further suggested that the three lines seen on the B.M. vase B 48 represented the ἐσκαμμένα. Both these gentlemen have I believe since altered their views, but as statements bearing the authority of their names are always liable to be repeated without further investigation, the errors still persist.
The combination of boxing and wrestling known as the pankration was a development of the primitive rough and tumble. To get his opponent down and by throttling, pummelling, biting, kicking, to reduce him to submission is the natural instinct of the savage or the child. But this rough and tumble is not suitable for an athletic competition: it is too dangerous and too undisciplined. To the early Greeks, athletics were the recreation of a warrior class, they were not the serious business of life or even a profession, and in an age of real warfare the warrior's life was too valuable to be endangered for sport. Moreover, without some form of law athletic competitions are impossible, and in the growth of law the simpler precedes the more complex Hence it was only natural that particular forms of fighting, such as boxing and wrestling, should be systematized first, and so made suitable for competitions before any attempt was made to reduce to law the more complicated rough and tumble of which they both formed parts. Wrestling and boxing were known to Homer, but not the pankration, and Greek tradition was following the natural order of evolution in assigning the introduction at Olympia of wrestling to the 18th, of boxing to the 23rd, and of the pankration to the 33rd Olympiad.
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