http://tags.library.upenn.edu/tag/tags PennTags Feed http://tags.library.upenn.edu/makerecord/url/41409 http://tags.library.upenn.edu/makerecord/url/41409 <p>Exploiting annotations through ILS</p> <p>interoperability</p> http://tags.library.upenn.edu/makerecord/voyager/39923 http://tags.library.upenn.edu/makerecord/voyager/39923 <div class="mlacite">Schuler, William E. . <span style="text-decoration: underline;">Avoiding overgeneration in translation with isomorphic synchronous TAGs / William E. Schuler. </span> series 1997. <br />Call#: Van Pelt Library QA03 1997 .S386 <br />Call#: Engineering Library ENGR QA03 1997 .S386 <br />Call#: Van Pelt Library Diss. POS1997.36 <br />Call#: Engineering Library ENGR Diss. POS1997.36</div> <p><br /></p%Pr http://tags.library.upenn.edu/makerecord/url/38178 http://tags.library.upenn.edu/makerecord/url/38178 http://tags.library.upenn.edu/makerecord/voyager/36707 http://tags.library.upenn.edu/makerecord/voyager/36707 <div class="mlacite"><span style="font-size: small;">Hollywood as historian : American film in a cultural context / edited by Peter C. Rollins. 0813114861 : series Lexington, Ky. : University Press of Kentucky, c1983. <br /></span></div> <p><span style="font-size: small;">The chapter entitled &ldquo;Fighting Words&rdquo; discusses Charlie Chaplin&rsquo;s intentions for his film &ldquo;The Great Dictator&rdquo;.&nbsp; The film was Chaplin&rsquo;s first sound film.&nbsp; Not wanting to alter his classic silent &lsquo;tramp&rsquo; character, Charlie found the opportunity in this entry into sound to preserve his beloved character and talk to his audience for the first time.&nbsp; &ldquo;As Hitler I could harangue the crowds in jargon and talk all I wanted to,&rdquo; wrote Charlie in his autobiography.&nbsp; &ldquo;A Hitler story was an opportunity for burlesque and pantomime.&rdquo; Charlie exposed Hynkel (representing Hitler) in exactly this fashion.&nbsp; For most of the film, Hynkel&rsquo;s words amount to nothing more than gibberish.&nbsp; When the dictator speaks intelligibly, the audience still senses malevolent babble.&nbsp; </span></p> <p><span style="font-size: small;"><br />The chapter supports the thesis as it illustrates Chaplin&rsquo;s intentions to mock Hitler his film.&nbsp; It also demonstrates the striking contrast between the dictator and the barber.&nbsp; The dictator appears foolish as a result of Chaplin&rsquo;s work while the barber remains relatively silent and pure (until the end).&nbsp; After developing these distinct characters for two hours, Charlie utilizes his first sound film to let out his own voice in the final speech, bashing hate and calling the soldiers to unite in the name of democracy and peace.&nbsp; <br /></span></p> http://tags.library.upenn.edu/makerecord/voyager/36538 http://tags.library.upenn.edu/makerecord/voyager/36538 <p><span style="font-size: small;">Mast, Gerald. The Comic Mind: Comedy and the Movies. Indianapolis: Bobbs-Merrill, 1973. <br /></span></p> <p><br /><span style="font-size: small;">In the Chapter &ldquo;Chaplin: Sound Films&rdquo;, Gerald Mast analyses a few of the comedic moments in Chaplin&rsquo;s &ldquo;The Great Dictator&rdquo; and how this comedy effectively criticizes the Nazi regime.&nbsp; Mast compares Hynkel&rsquo;s globe scene (see tag on World War II and the American Film) to the scene immediately following of the barber shaving a customer.&nbsp; Mast discusses the ridiculous slapstick nature of the globe scene and the fast yet precise nature of the shaving scene and illustrates the contrast between the dictators fixation on world domination to the barbers human work.&nbsp; Mast also refers to Hynkel&rsquo;s ludicrous speeches in which the dictator flails his arms about wildly and barks so vehemently the microphone cracks and seems to melt in his hands.&nbsp; During these speeches, Hynkel pauses intermittently to pour water down his&nbsp; blazing throat and down his pants.&nbsp; <br /><br />This chapter directly supports the thesis as it demonstrates how Chaplin utilizes slapstick comedy to attack the Nazi regime.&nbsp; The succession of the globe scene to the shaving scene demonstrates how the barber succeeds where the dictator fails. Additionally, the contrast is made more stiking as the barber succeeds in the shave using a sharp blade, while the dictator's dellusion of grandeur comes to a crashing halt as the globe of the world explodes in his face.&nbsp; Mast also conjectures the Hynkel&rsquo;s &ldquo;wet&rdquo; speech scene reveals how Hynkel&rsquo;s private parts are burning as much as his throat suggesting that the Nazi propaganda has more to do with sexual energy and gibberish than with meaningful ideas.&nbsp; <br /></span></p> http://tags.library.upenn.edu/makerecord/voyager/36632 http://tags.library.upenn.edu/makerecord/voyager/36632 <div class="mlacite"><span style="font-size: small;"> Insdorf, Annette. Indelible shadows : film and the Holocaust 3rd ed. Cambridge University Press, Cambridge: 2003. </span></div> <div class="mlacite"><br /></div> <div class="mlacite"><span style="font-size: small;">In the Chapter &ldquo;Black Humor&rdquo; Annette Insdorf discusses how the element of humor can be effectively utilized to bring illumination to the Holocaust that is not possible with a more serious approach.&nbsp; Insdorf analyses Hynkel&rsquo;s grandiose speech scene in which he flails his arms about as he snarls wildly into the microphone.&nbsp; She notes the ubiquitous salutes that are reminiscent of the Nazi salutes.&nbsp; Hynkel seems to salute several times per minute, and the audience is equally as excessive with their salutes.&nbsp; Even the statues, including the conventionally armless Venus de Milo, salute. Insdorf points out that these basic sight gags not only amuse the audience but also serve a deeper purpose in suggesting that the art and culture in Germany has been polluted into the Nazi image. Insdorf also recognizes Chaplin&rsquo;s clever use of the double cross to represent the swastika throughout the film.&nbsp; She comments that the double cross symbol is &ldquo;an all-too-perfect mark for what Hitler was doing to Germany&rdquo;.&nbsp; </span></div> <div class="mlacite"><span style="font-size: small;"><br />This chapter directly supports the thesis as it demonstrates how Chaplin effectively uses humor to criticize the Nazi regime.&nbsp; The reshaped statues are an exceptional example of Chaplin&rsquo;s skill in demonstrating the pollution of the Third Reich on all aspects of German life.&nbsp; Chaplin masterfully deforms the Nazi swastika into a double cross.&nbsp; This use of a switched object indicates Hitler&rsquo;s betrayal of Germany.&nbsp; <br /></span><br /></div> <p>&nbsp;</p> http://tags.library.upenn.edu/makerecord/url/36437 http://tags.library.upenn.edu/makerecord/url/36437 <p><span style="font-size: small;">Gilman, Sander. "Is Life Beautiful? Can the Shoah Be Funny? Some Thoughts on Recent and Older Films". <cite>Critical Inquiry</cite>, Vol. 26 No. 2. (Winter, 2000): 279-30.</span></p> <p><span style="font-size: small;">There has been a good deal of debate regarding how filmmakers and other artists should represent the Shoah (Holocaust).&nbsp; In this article, Sander Gilman discusses how the Shoah has been represented in the arts, focusing on comedy and film.&nbsp; Charlie Chaplin&rsquo;s film &ldquo;The Great Dictator&rdquo; uses comedy to attack the Third Reich and to represent the beginnings of the Shoah.&nbsp; Gilman asks whether the terror during of the Shoah and the Nazi regime can be understood through such comedy.&nbsp; &ldquo;The Great Dictator&rdquo; was one of the first comic films to deal with the Nazis and their treatment of the Jews.&nbsp; While the film touches on the initial stages of the Shoah, it was made before the real horror and genocide began; the satire&rsquo;s main target is the Nazi Regime.&nbsp; Gilman asserts that laughter is appropriate in films like &ldquo;The Great Dictator&rdquo; that deal with the Nazi regime as the enemy, leaving out the horrors of the Holocaust.&nbsp; In effect, this targeted treatment of the regime assures the viewer that they are stronger than the Nazis.&nbsp; <br /><br />This article agrees with the thesis as it argues that the use of comedy in &ldquo;The Great Dictator&rdquo; effectively undermines the Nazi regime.&nbsp; More than that, Gilman addresses one of the principal criticisms of the film, namely the incompatibility of laughter and the events of the Holocaust.&nbsp; Critics often claim that the use of comedy in the film lessens the horrors that took place.&nbsp; Viewing &ldquo;The Great Dictator&rdquo; today may give us this impression.&nbsp; However, as Gilman discusses, Chaplin was ignorant of the extent of Nazi terror simply because the film was produced pre-Shoah. Indeed, post World War II, Chaplin asserted that &ldquo;had I known of the actual horrors of the German concentration camps, I could not have made The Great Dictator; I could not have made fun of the homicidal insanity of the Nazis.&rdquo; In the historical context of the film&rsquo;s production, the film accurately and effectively utilizes laughter to challenge the Third Reich.&nbsp; </span></p> <p>&nbsp;</p> http://tags.library.upenn.edu/makerecord/url/28707 http://tags.library.upenn.edu/makerecord/url/28707 http://tags.library.upenn.edu/makerecord/url/17628 http://tags.library.upenn.edu/makerecord/url/17628 http://tags.library.upenn.edu/makerecord/url/14222 http://tags.library.upenn.edu/makerecord/url/14222 http://tags.library.upenn.edu/makerecord/url/2470 http://tags.library.upenn.edu/makerecord/url/2470 <p>Argues for the usefulness of collaborative tagging, and highlights the known problems with free tagging. Points to some obvious, and some more controversial ways of limiting problems of inter-tagger inconsistency and meaningless distinctions. </p><p>&nbsp;</p><p>In this article we look at what makes folksonomies work. We agree with the premise that tags are no replacement for formal systems, but we see this as being the core quality that makes folksonomy tagging so useful. We begin by looking at the issue of &quot;sloppy tags&quot;, a problem to which critics of folksonomies are keen to allude, and ask if there are ways the folksonomy community could offset such problems and create systems that are conducive to searching, sorting and classifying. We then go on to question this &quot;tidying up&quot; approach and its underlying assumptions, highlighting issues surrounding removal of low-quality, redundant or nonsense metadata, and the potential risks of tidying too neatly and thereby losing the very openness that has made folksonomies so popular.</p> http://tags.library.upenn.edu/makerecord/url/11794 http://tags.library.upenn.edu/makerecord/url/11794 http://tags.library.upenn.edu/makerecord/url/11456 http://tags.library.upenn.edu/makerecord/url/11456 http://tags.library.upenn.edu/makerecord/url/11455 http://tags.library.upenn.edu/makerecord/url/11455 Wired article<br /> http://tags.library.upenn.edu/makerecord/url/10474 http://tags.library.upenn.edu/makerecord/url/10474 <div class="mlacite">&quot;Microfinance institutions and efficiency.&quot; <span style="text-decoration: underline">Omega</span> [0305-0483] 35.2 (2007). 131-. </div> http://tags.library.upenn.edu/makerecord/voyager/10473 http://tags.library.upenn.edu/makerecord/voyager/10473 <div class="mlacite"><span style="text-decoration: underline">Microfinance : perils and prospects / edited by Jude L. Fernando. </span> [0415328748 (hb) ] London ; New York : Routledge, 2006. <br />Call#: Van Pelt Library HG178.3 .M5343 2006</div><br /> <br /> http://tags.library.upenn.edu/makerecord/url/10439 http://tags.library.upenn.edu/makerecord/url/10439 http://tags.library.upenn.edu/makerecord/url/9414 http://tags.library.upenn.edu/makerecord/url/9414 <p>from the infosthetics blog - &quot;semantically ordered tag clouds that resemble self-organizing maps. the size of the text &amp; the color brightness of the background represent the frequency of the different terms. this technique has been applied to visualize the keywords present in website favorites, or the tags used by different del.ico.us users for the same web pages.&quot;</p><p>&nbsp;tags clouds developed by <a href="http://der-mo.net/">Moritz Stefaner</a></p> http://tags.library.upenn.edu/makerecord/url/9413 http://tags.library.upenn.edu/makerecord/url/9413 from writely<br /> http://tags.library.upenn.edu/makerecord/url/4913 http://tags.library.upenn.edu/makerecord/url/4913 http://tags.library.upenn.edu/makerecord/url/4828 http://tags.library.upenn.edu/makerecord/url/4828 http://tags.library.upenn.edu/makerecord/url/1429 http://tags.library.upenn.edu/makerecord/url/1429 TagCloud is an automated <a target="_blank" href="http://en.wikipedia.org/wiki/Folksonomy">Folksonomy</a> tool. Essentially, TagCloud searches any number of RSS feeds you specify, extracts keywords from the content and lists them according to prevalence within the RSS feeds. Clicking on the tag's link will display a list of all the article abstracts associated with that keyword. http://tags.library.upenn.edu/makerecord/url/458 http://tags.library.upenn.edu/makerecord/url/458 Here The Search Guy claims that inconsistency in assigning keywords is the problem with tagging, and I would say that that same inconsistency is the whole reason why tags are useful <strong>in some instances</strong>. Because if I'm looking for something that I've already found, I want to be able to search for it in the context that I remember it, and not in some arbitrary other context that someone else imagined. It's not a replacement for subject headings in most cases, but is another way of keeping information.<br /> http://tags.library.upenn.edu/makerecord/url/463 http://tags.library.upenn.edu/makerecord/url/463 This is a new browser, based on the Firefox model, that incorporates tagging and feeds into its structure. I wonder how hard it will be to add extensions. <br /> http://tags.library.upenn.edu/makerecord/url/509 http://tags.library.upenn.edu/makerecord/url/509 Useful article explaining how to use connotea and why you might want to.<br /> http://tags.library.upenn.edu/makerecord/url/451 http://tags.library.upenn.edu/makerecord/url/451 <p>Now this is different. Take a PDF, put it thru this service, get a printed book. Of course it comes at a cost.</p><p>A 300 page PDF would cost $12.50, 100 pages would be $7.50.<br /> </p><p>From the PrintFu website:</p> <blockquote> <p> PrintFu is a super easy to use system that will take your large (more than 25 page) PDF files, print them double sided, bind them using a comb binder (or 3 hole drill if the document contains more than 700 pages). We then ship the manual the same day. Delivery date is usually 2-3 days</p> </blockquote> <p> Pretty cool...<br /> </p>