Chipped stone tools termed perforators and gravers are characterized by projections. Although the implied function of these tool types differs, there are no guidelines for classifying perforators and gravers based on their morphology. Consequently, researchers classify these tools differently, which precludes meaningful comparisons of the frequencies of these types between assemblages. A use-wear study confirmed the hypothesis that specimens with a thin projection and a sharp distal angle often had perforation use wear. Specimens with graver use wear were characterized by a range of projection perimeters and distal angles. We recommend that specimens with a projection perimeter of 20 mm or less and a distal angle of 40 degrees or less be classified as perforators and those with greater dimensions as gravers. This will achieve a consistent classification system for perforators and gravers, although it must be recognized that these type names may not be indicative of the function of individual specimens.

This paper evaluates the back-and-forth between Mayo, Howson, and Achinstein over whether classical statistics commits the base-rate fallacy. I show that Mayo is correct to claim that Howson’s arguments rely on a misunderstanding of classical theory. I then argue that Achinstein’s refined version of the argument turns on largely undefended epistemic assumptions about “what we care about” when evaluating hypotheses. I end by suggesting that Mayo’s positive arguments are no more decisive than her opponents’: even if correct, they are unlikely to compel anyone not already sympathetic to the classical picture.

This article re-thinks the development of Paul’s thought between 1 and 2 Corinthians. Instead of the traditional developmental interpretation of Paul that emphasizes the differences between 1 Cor 15:35–57 and 2 Cor 5:1–5, I argue that a discernable development is to be found between 1 Cor 12:13 and 2 Cor 4:7–12. I demonstrate significant parallels between the two latter texts in terms of topic, argumentation, and the conceptual structure on which Paul’s argumentation is built. Based on the parallels, I argue that 1 Cor 12:13 conceptually allows for the innovative idea of “ongoing transformation,” which is formulated in 2 Cor 3:18, and provides the conceptual structure of “double body-containers” in 2 Cor 4:7–12 to expound this new idea. In the context of 2 Corinthians, responding to opponents’ challenge against the apostle’s physical weakness in sufferings, Paul goes on to develop the idea of ongoing transformation further by transforming mortality. Mortality becomes a form of human participation in God’s cosmic war and is considered constructive to the ongoing transformation of the inner person and the complete transformation in the future.

This article examines the work of the composer Michelle Lou through its affective and formal mechanisms. I propose that Lou’s work has consistently retained a fundamental and specific orientation towards the listener, which I describe as distance or proximity. In addressing three works spanning eight years – Opening (2008), untitled three-part construction (2014) and HoneyDripper (2016) – I show how the idea of distance informs and is articulated through orchestration, gestural and phrasal construction, scenography and form, and thus frames one’s experience of sound, spatiality, memory, time and perception. While the sounds and materials employed by Lou are often formally cold and sonically abrasive, I argue that her work ultimately implicates and invites the listener in as a crucial element of its sonic ecology, even enacting a sort of phenomenological care over the listener.

In this article we present the results of two geophysical surveys conducted at Cahokia Mounds State Historic Site. The goal was to reveal neighborhood settlement patterns at two locales located on the periphery of “Downtown” Cahokia—the densely populated administrative core—and to further understand the type and chronological affiliation of these settlements. We compared structure length and width ratios from Rattlesnake West and the Rouch Mound Group with datasets from the Cahokia and East St. Louis precincts as a proxy for chronological affiliation to understand changes to neighborhood density over time. Using noninvasive techniques to illuminate population density and neighborhood configurations, we gained a more detailed understanding of how Cahokia's communities and neighborhoods chose to adopt the building style and infrastructure of Cahokia's Downtown Precinct.

This article classifies individual lexemes in Chinese dialects into four categories: popular, learnèd, colloquial, and literary. Popular and learnèd refer to the origins of a word: whether it has been transmitted orally or learned in an educational context. Colloquial and literary refer to usage. The traditional Chinese terms for distinguishing character readings, wén 文 and bái 白, literally ‘written’ and ‘spoken’, do not correspond neatly to the four categories that are proposed here. This article illustrates the differences between all six terms, mainly by using standard Mandarin and Běijīng dialect, and secondarily by using words from Mĭn and other dialects.

An exploration of the ethical issues surrounding assisted dying, in the form of a dialogue.

Egon Wellesz’s Eastern Elements in Western Chant (1947, repr. 1967) is outdated but topical in that the resemblances he adduced between Eastern and Western chant continue to invite explanations. An assessment of his book and research since then on the topics of simple vs. complex melody, melodic resemblance, historical frameworks, musical communities and Semitic antecedents of Christian chant lead to the conclusion that the comparative study of medieval Christian chant repertories and of Jewish melodies from post-medieval sources cannot be shaped by simplistic assumptions, such as that simpler melodies are earlier or more primitive than more complicated ones, or that Christian practices must have had Jewish origins. Nor can melodies that resemble each other be assumed to be historically related. Studies of oral traditions show that what is transmitted is often a more abstract contour that can be realised in more than one way. Most importantly, no music can be studied apart from the community that makes or made it, and musical evidence must be interpreted within a framework of verifiable historical fact, especially when contacts between different communities are alleged.