This book is a self-contained, practical introduction how to use FeatureIDE for modeling and implementing variable systems. In particular, readers learn how to analyze domains using feature models, specify requirements in form of configurations, and how to generate code based on conditional compilation and feature-oriented programming. Given the interactive style of the book, readers can directly try out the open-source development environment. All code examples are available in the standard distribution on GitHub and can immediately been used for individual modifications. Each part of the book is presented as a step-by-step tutorial and additionally illustrated using an ongoing example of elevator control software written in Java. Written by the core development team of FeatureIDE, this book is suitable for students using a tool for deepening the theoretical foundations of variability modeling and implementation, and as a reference for practitioners needing a stable and scalable tool for industrial applications. FeatureIDE is the most used open-source tool for feature modeling and has been continuously improved since 2004. The success of FeatureIDE is due to being a vehicle for cutting-edge product-line research by still providing an easy-to-use and seamless integration into Eclipse.
Thomas D. Grant examines the Great Debate over state recognition, tracing its eclipse, and identifying trends in contemporary international law that may explain the lingering persistence of the terms of that debate. Although writers have generally accepted the declaratory view as more accurate than its old rival, the judicial sources often cited to support the declaratory view do not on scrutiny do so as decisively as commonly assumed. Contemporary doctrinal preference requires explanation. Declaratory doctrine, in its apparent diminution of the role state discretion plays in recognition, is in harmony, Grant asserts, with contemporary aspirations for international law. It may seem to many writers, he believes, that international governance functions better in a conceptual framework that reduces the power of states to legislate what entities are states. Grant proceeds from this analysis of the contemporary status of the old debate to ask what questions now take center stage. In place of doctrine, Grant argues, process is the chief issue concerning recognition today. Whether to recognize unilaterally or in a collective framework; whether to acknowledge legal rules or to let recognition be controlled by political calculus—as Grant points out, such questions concern how states recognize, not the theoretical nature of recognition. This is an important analysis for scholars and researchers of international law and relations and contemporary European politics.
In this novel in Thomas Kinkade and Katherine Spencer’s heartwarming series, it’s the most wonderful time of the year, and Cape Light has received two special Christmas guests... James Cameron, a minister who runs a mission in Central America, has decided to spend the holidays in Cape Light. But when his car collides with another car, a hint of trouble befalls this close-knit community. No one is hurt, but out-of-towner Leigh Baxter is forced to stay in town until her car is fixed. What she doesn’t expect, however, is that the charm of this beautiful seaside hamlet and its citizens will soon win her over—and that she will fall in love with James, who has so generously welcomed her into his life. But will James accept Leigh in his heart once her dark secrets come to light? In the meantime, Jessica and Sam Morgan’s relationship is put to the test. More than anything else this Christmas, they want a baby to call their own. But soon they’ll discover that life’s most precious gifts often come in unexpected packages...
We All Giggled tells the stories of two families that came together when the author’s parents met and married in 1945. The Hüglins had lost most of their fortune in the course of two world wars, and the Wachendorff s had survived the Nazi years despite their Jewish ancestry. The families’ roots are traced back to a vineyard in southern Germany, a jail in Geneva, the Conservatory in St. Petersburg, and the hometown of a Jewish merchant in Silesia. This engaging book centres on the author’s recollections of his grandparents, his parents, and his own growing up in postwar Germany in an environment of bourgeois stability and comfort. As the author chronicles his family’s ups and downs and abiding love for music, food, and art across several generations, a rich tapestry of anecdotes unfolds—about opera singers, restaurants, and travels, and about family relations, romance, and the kind of “impromptu reactions to people, places, and situations that often result in uncontrollable giggles.”
Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Religious liberty is usually examined within a larger discussion of church-state relations, but Thomas Kselman looks at several individuals in Restoration France whose high-profile conversions fascinated their contemporaries. Exploring their reasons and the repercussions they faced, Kselman demonstrates how this expanded sense of liberty informs our secular age.
Although beloved by performers and audiences alike, music scholars have generally viewed J.S. Bach's Ich hatte viel Bekümmernis in meinem Herzen (Cantata 21) as one of the composer's weaker compositions. In Tears into Wine, renowned Bach scholar Eric Chafe challenges the scholarly consensus, arguing that Cantata 21 is an exceptionally carefully designed work, and that it displays a convergence of musical structure and theological purpose that is paradigmatic of Bach's sacred work as a whole.
Examines a series of British ethical theorists from the late 19th century to the mid-20th century who shared the view that moral judgements can be objectively true, have a distinctive subject matter, and are known by direct insight.
Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
This book offers the first in-depth study of experimental and popular music scenes in Beirut, looking at musicians working towards a new understanding of musical creativity and music culture in a country that is dominated by mass-mediated pop music, and propaganda. Burkhalter studies the generation of musicians born at the beginning of the Civil War in the Lebanese capital, an urban and cosmopolitan center with a long tradition of cultural activities and exchanges with the Arab world, Europe, the US, and the former Soviet Union. These Lebanese rappers, rockers, death-metal, jazz, and electro-acoustic musicians and free improvisers choose local and transnational forms to express their connection to the broader musical, cultural, social, and political environment. Burkhalter explores how these musicians organize their own small concerts for ‘insider’ audiences, set up music labels, and network with like-minded musicians in Europe, the US, and the Arab world. Several key tracks are analyzed with methods from ethnomusicology, and popular music studies, and contextualized through interviews with the musicians. Discussing key references from belly dance culture (1960s), psychedelic rock in Beirut (1970s), the noises of the Lebanese Civil war (1975-1990), and transnational Pop-Avant-Gardes and World Music 2.0 networks, this book contributes to the study of localization and globalization processes in music in an increasingly digitalized and transnational world. At the core, this music from Beirut challenges "ethnocentric" perceptions of "locality" in music. It attacks both "Orientalist" readings of the Arab world, the Middle East, and Lebanon, and the focus on musical "difference" in Euro-American music and culture markets. On theoretical grounds, this music is a small, but passionate attempt to re-shape the world into a place where "modernity" is not "euro-modernity" or "euro-american modernity," but where possible new configurations of modernity exist next to each other.
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