This book is a concise history of the use and interpretation of time, written by one of the foremost historians in Europe today. Arno Borst examines the various ways that time has been calculated by numbers and measured by instruments through the ages, from the "computus" - an ancient method of determining times and dates - to the present-day computer. In a wide-ranging discussion, he analyses the classical Greek concepts of divine, natural and human time; the universal time of ancient Rome; the Easter cycle of the Middle Ages; the development of the mechanical clock in the fourteenth and fifteenth centuries; early modern chronology; and twentieth-century data processing. Borst argues that although many centuries and countless different instruments - sundials, horologia, abaci, astrolabes, calendars, and calculating machines - separate the "computus" from the modern computer, each generation throughout the ages has had to answer the same question: how can we make the best use of our available time to improve our lives? The computer, he suggests, is merely a new instrument employed for an ancient purpose. Lively and accessible, The Ordering of Time will be welcomed by students and researchers in social and cultural history, the history of science and mathematics, as well as anyone interested in the history of time and numbers.
In Medieval Worlds: Barbarians, Heretics, and Artists, medieval historian Arno Borst offers at once an imaginatively narrated tour of medieval society. Issues of language, power, and cultural change come to life as he examines how knights, witches and heretics, monks and kings, women poets, and disputatious university professors existed in the medieval world. Clearly interested in the forms of medieval behavior which gave rise to the seeds of modern society, Borst focuses on three in particular that gave momentum to medieval religious, social, and intellectual movements: the barbaric, heretical, and artistic. Borst concludes by reflecting on his own life as a scholar and draws out lessons for us from the turbulence of the Middle Ages.
This book is a concise history of the use and interpretation of time, written by one of the foremost medievalists in Europe today. Arno Borst examines the various ways that time has been calculated by numbers and measured by instruments over several centuries, from the computus—an ancient method of determining times and dates—to the present-day computer. In a wide-ranging discussion, he analyzes the classical Greek concepts of divine, natural, and human time; the universal time of ancient Rome; the Easter cycle of the Middle Ages; the development of the mechanical clock in the fourteenth and fifteenth centuries; early modern chronology; and twentieth-century data processing. Borst argues that although many centuries and countless different instruments—sundials, horologia, abaci, astrolabes, calendars, and calculating machines—separate the medieval computus from the modern computer, each generation has had to answer the same question: how can we make the best use of our available time to improve our lives? The computer, he suggests, is merely a new instrument employed for an ancient purpose. Lively and accessible, The Ordering of Time will be welcomed by students and researchers in social and cultural history, the history of science and mathematics, as well as anyone interested in the history of time and numbers.
In the current era of evidence-based medicine, clinical epidemiology is increasingly being recognized as an important tool in the critical appraisal of available evidence and the design of new studies. This book is a comprehensive resource that introduces the reader to the basics of clinical epidemiology. It explores the principles and methods that can be used to obtain quantitative evidence on the effects on interventions and on the diagnosis, etiology, and prognosis of disease.
Clearly interested in the forms of medieval behavior which gave rise to the seeds of modern society, Borst focuses on three in particular which gave momentum to medieval religious, social, and intellectual movements: the "barbaric," "heretical," and "artistic." Borst uses the etymologies and subjective meanings of these terms to organize his work, moving from the subject of barbaric vitality, to heretical sensitivity, to artistic virtuosity.
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