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The Book of Mormon is filled with parallelisms, a form of ancient poetry. The poetic patterns serve, as they do in the Bible, to structure and emphasize messages, define and expand them, and make them more memorable. One form of parallelism, chiasmus, has been extensively studied; the Book of Mormon has an abundance of chiasmus, as well as other forms of parallelism. The prophets of the Book of Mormon were inspired in their stylistic choices, employing word combinations that greatly expand our understanding of what they had to say. In the process, they used more than 25 different types of parallelism--and those forms were transmitted to us through the translation of the Book of Mormon from its ancient language into English (and subsequently into other languages).Poetic Parallelisms in the Book of Mormon: The Complete Text Reformatted gives us the entire Book of Mormon in a new format. Parts of the book are presented in narrative form (which typically doesn't use parallelisms), but this volume also arranges in their poetic form 325 instances of chiasmus and hundreds of additional parallel structures.Reading the Book of Mormon in this format will heighten our understanding and deepen our appreciation of this marvelous book of scripture.

Noegel here examines instances of Janus parallelism in the Hebrew Bible with particular attention to the book of Job, and with excursuses on the device in other ancient Near Esatern literatures. The author finds the punning device integral to the book of Job, serving a referential function. Within the context of dialogue and debate, the polysemous statements resemble a poetry contest among the participants (Job, his friends, and Elihu). The book also treats the relationship between wordplay and wisdom literature; polysemy as preserved in the Greek, Aramaic, Latin, and Syriac translations; and the impact of Janus parallelism on textual criticism and the unity of the book of Job.

Poetic Parallelisms in the Book of Mormon: The Complete Text Reformatted comprises the entire text of the Book of Mormon formatted into historical narrative or paralletistic forms. All of these forms and figures are designed to present the central message of the Book of Mormon Jesus Christ and his gospel in an unforgettable, understandable, artistic, and fascinating way.

Noegel here examines instances of Janus parallelism in the Hebrew Bible with particular attention to the book of Job, and with excursuses on the device in other ancient Near Esatern literatures. The author finds the punning device integral to the book of Job, serving a referential function. Within the context of dialogue and debate, the polysemous statements resemble a poetry contest among the participants (Job, his friends, and Elihu). The book also treats the relationship between wordplay and wisdom literature; polysemy as preserved in the Greek, Aramaic, Latin, and Syriac translations; and the impact of Janus parallelism on textual criticism and the unity of the book of Job.

The Book of Mormon is filled with parallelisms, a form of ancient poetry. The poetic patterns serve, as they do in the Bible, to structure and emphasize messages, define and expand them, and make them more memorable. One form of parallelism, chiasmus, has been extensively studied; the Book of Mormon has an abundance of chiasmus, as well as other forms of parallelism. The prophets of the Book of Mormon were inspired in their stylistic choices, employing word combinations that greatly expand our understanding of what they had to say. In the process, they used more than 25 different types of parallelism--and those forms were transmitted to us through the translation of the Book of Mormon from its ancient language into English (and subsequently into other languages).Poetic Parallelisms in the Book of Mormon: The Complete Text Reformatted gives us the entire Book of Mormon in a new format. Parts of the book are presented in narrative form (which typically doesn't use parallelisms), but this volume also arranges in their poetic form 325 instances of chiasmus and hundreds of additional parallel structures.Reading the Book of Mormon in this format will heighten our understanding and deepen our appreciation of this marvelous book of scripture.

Is there poetry in the Bible? Does it have rhyme or meter? How did ancient Hebrew writers compose their works? James Kugel's provocative study provides surprising new answers to these age-old questions. Biblical "poetry" is not a concept native to the Bible itself, he proposes, and the idea that the Bible is divided into prose and verse is merely an approximation of the reality of biblical style. Arguing that the Bible presents a continuum of speech heightened in varying degrees by different means, Kugel sets out to describe Hebrew's high style on its own terms. He also offers a thorough history of the idea of biblical poetry, starting with Philo of Alexandria and Josephus in the first century C.E. and charting its development through the Church Fathers, medieval Jewish writers, the Christian Hebraists of the Renaissance, and on into modern times. The story of how each age understood the nature biblical poetry, Kugel concludes, is a key to understanding the Bible's place in the history of Western thought.

This book precisely formulates and simplifies the presentation of Instruction Level Parallelism (ILP) compilation techniques. It uniquely offers consistent and uniform descriptions of the code transformations involved. Due to the ubiquitous nature of ILP in virtually every processor built today, from general purpose CPUs to application-specific and embedded processors, this book is useful to the student, the practitioner and also the researcher of advanced compilation techniques. With an emphasis on fine-grain instruction level parallelism, this book will also prove interesting to researchers and students of parallelism at large, in as much as the techniques described yield insights that go beyond superscalar and VLIW (Very Long Instruction Word) machines compilation and are more widely applicable to optimizing compilers in general. ILP techniques have found wide and crucial application in Design Automation, where they have been used extensively in the optimization of performance as well as area and power minimization of computer designs.

This book precisely formulates and simplifies the presentation of Instruction Level Parallelism (ILP) compilation techniques. It uniquely offers consistent and uniform descriptions of the code transformations involved. Due to the ubiquitous nature of ILP in virtually every processor built today, from general purpose CPUs to application-specific and embedded processors, this book is useful to the student, the practitioner and also the researcher of advanced compilation techniques. With an emphasis on fine-grain instruction level parallelism, this book will also prove interesting to researchers and students of parallelism at large, in as much as the techniques described yield insights that go beyond superscalar and VLIW (Very Long Instruction Word) machines compilation and are more widely applicable to optimizing compilers in general. ILP techniques have found wide and crucial application in Design Automation, where they have been used extensively in the optimization of performance as well as area and power minimization of computer designs.

ILP is the methodology for execution of multiple instructions per cycle. It is now desirable to modern processors for better performance. It has been observed that ILP is greatly forced by branch instructions. The main idea behind this concept is to use a step beyond the prediction of common branch and permitting the architecture to have the information about the CFG (Control Flow Graph) components of the program to have better branch decision for ILP. The navigation bandwidth of prediction mechanism depends upon the degree of ILP. It can be increased by increasing control flow prediction in procedural languages at compile time. The code generation for parallel register share architecture involves some issues that are not present in sequential code compilation and is inherently complex. To resolve such issues, a consistency contract between the code and the machine can be defined and a compiler is required to preserve the contract during the transformation of code. To achieve high level parallelism at faster clock speed it is necessary to require distribution of processor resource and avoiding primitive that require single cycle global communication.

For years scholars of biblical poetry have defined parallelism as the simple correspondence of one verse, phrase, or word with another. In this book, Adele Berlin approaches biblical parallelism as a linguistic phenomenon, as a complex interplay among all aspects of language. Her goal is to get at the basics of what biblical parallelism is and how it works. Berlin's examination of the grammatical, lexical, semantic, phonetic, structural, and psychological aspects of parallelism yields an elegantly simple model that reveals the complex workings of this phenomenon. Her book will be a valuable guide for both scholars and students of biblical poetry.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 2.31

This refereed volume arose from the editors' recognition that physical scientists, engineers, and applied mathematicians are developing, in parallel, solutions to problems of parallelization. The cross-disciplinary field of scientific computation is bringing about better communication between heterogeneous computational groups, as they face this common challenge. This volume is one attempt to provide cross-disciplinary communication. Problem decomposition and the use of domain-based parallelism in computational science and engineering was the subject addressed at a workshop held at the University of Minnesota Supercomputer Institute in April 1994. The authors were subsequently able to address the relationships between their individual applications and independently developed approaches.

For years scholars of biblical poetry have defined parallelism as the simple correspondence of one verse, phrase, or word with another. In this book, Adele Berlin approaches biblical parallelism as a linguistic phenomenon, as a complex interplay among all aspects of language. Her goal is to get at the basics of what biblical parallelism is and how it works. Berlin's examination of the grammatical, lexical, semantic, phonetic, structural, and psychological aspects of parallelism yields an elegantly simple model that reveals the complex workings of this phenomenon. Her book will be a valuable guide for both scholars and students of biblical poetry.

Unread book in perfect condition.

Is there poetry in the Bible? Does it have rhyme or meter? How did ancient Hebrew writers compose their works? James Kugel's provocative study provides surprising new answers to these age-old questions. Biblical "poetry" is not a concept native to the Bible itself, he proposes, and the idea that the Bible is divided into prose and verse is merely an approximation of the reality of biblical style. Arguing that the Bible presents a continuum of speech heightened in varying degrees by different means, Kugel sets out to describe Hebrew's high style on its own terms. He also offers a thorough history of the idea of biblical poetry, starting with Philo of Alexandria and Josephus in the first century C.E. and charting its development through the Church Fathers, medieval Jewish writers, the Christian Hebraists of the Renaissance, and on into modern times. The story of how each age understood the nature biblical poetry, Kugel concludes, is a key to understanding the Bible's place in the history of Western thought.

Is there poetry in the Bible? Does it have rhyme or meter? How did ancient Hebrew writers compose their works? James Kugel's provocative study provides surprising new answers to these age-old questions. Biblical "poetry" is not a concept native to the Bible itself, he proposes, and the idea that the Bible is divided into prose and verse is merely an approximation of the reality of biblical style. Arguing that the Bible presents a continuum of speech heightened in varying degrees by different means, Kugel sets out to describe Hebrew's high style on its own terms. He also offers a thorough history of the idea of biblical poetry, starting with Philo of Alexandria and Josephus in the first century C.E. and charting its development through the Church Fathers, medieval Jewish writers, the Christian Hebraists of the Renaissance, and on into modern times. The story of how each age understood the nature biblical poetry, Kugel concludes, is a key to understanding the Bible's place in the history of Western thought.

Published here in the original German and French, along with an English translation, the correspondence between Albert Einstein and Elie Cartan includes letters written between 1929 and 1932, after which time Einstein abandoned his unified field theory based on absolute parallelism.Originally published in 1979.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Published here in the original German and French, along with an English translation, the correspondence between Albert Einstein and Elie Cartan includes letters written between 1929 and 1932, after which time Einstein abandoned his unified field theory based on absolute parallelism.Originally published in 1979.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

• Golden Sepia: For old film look with the addition of a warm golden tone. • Diamond cut from crystal-clear, water-white optical glass, Schneider filters are ground and polished to a precise flatness and plane-parallelism (exact parallel relationship between front and back filter surfaces). Then, to ensure perfection, this is verified by a laser interferometer. Schneider filters are then checked with a densitometer for consistent density, and tested with a spectrophotometer for proper light transmission. It's due to this ultra-high consistency, that allows cinematographers to swap like filters mid-shoot with no discernible variation in color or effect. What's more, the unprecedented purity, color saturation and repeatability of Schneider filters virtually eliminate the need for lab color timing correction. • Schneider filters stand up to the most rigorous demands on set or location. Manyfeature Schneider's specially formulated hard anti-reflective (AR) coating to resist flaking, peeling and scratching. This proprietary coating also reduces light loss and flare to less than 1% per surface, compared to untreated glass that has a light loss of 4% per surface. Schneider screw-on filters feature virtually jam-proof brass precision mounting rings, while unmounted Schneider laminated filters are protected against delamination and edge-chipping by Schneider's unique Edge Seal, which also reduces edge reflection and edge flare. • The common perception among photographers and cinematographer's is that filters should not be used in front of long length lenses, due to the critically short depth of field of these lenses. This belief is often confirmed when poorly made glass or plastic-resin filters are placed in front of a long lens, and the degradation of the image is visible simply by looking through the viewfinder. This degradation is caused by poor quality control, low-quality glass and poor glass grinding and polishing techniques used in the manufacture of such filters. Schneider filters have no such problems, and can be used in front of even the longest lens.