This essay partly gives a brief survey of the status of the Canzoniere in nineteenth-century Engl... more This essay partly gives a brief survey of the status of the Canzoniere in nineteenth-century England when the collection was finally translated in full into English, and partly traces the significance of Laura in English literature after eighteenth-century biographies had transformed her from a vague Platonic ideal into a real, existing woman. The essay therefore traces the complex interrelationship between biography, translation, fiction and poetry and the ongoing dialogue with Petrarch in such highly self-conscious writers as Byron, Foscolo, Collins and Christina Rossetti. For centuries Petrarch's note about Laura's death in his Virgil manuscript has been the object of much scholarly interest. The manuscript, now in the Biblioteca Ambrosiana in Milan, would appear to have been very easily accessible in the nineteenth century when a young English visitor devoted her very special interest to it. 1 The visitor was none other than Mrs Anna Jameson (1794-1860) who by the mid nineteenth century had become one of the most popular female art critics in England. In a chapter on Petrarch and Laura in her book The Loves of the Poets of 1829, she describes her visit to the Ambrosiana: Gushing up like the waters of an intermittent fountain, there was a sudden flow of feeling and memory came over my heart:-I stood for some moments silently contemplating the name of LAURA, in the pale, half-effaced characters traced by the hand of her lover, that name with which his genius and his love have filled the earth. Confused thoughts of the mingling of vanity and glory,-of the 'poco polvere che nulla sente', and the immortality of deified beauty were crowded in my mind. When all were gone, I turned back, and gave the guide a 1 Petrarch's Virgil manuscript also came top of the list when, in 1863, the young poet A.C. Swinburne advised his sister Alice on what to see in Milan: "But at Milan you will have enough to do. 1st, the Ambrosian Library, where there is a Virgil illuminated or painted in small by Simone Menni (?) for Petrarca;"
hat an antithetical mind!-tenderness, roughness-delicacy, coarseness-sentiment, sensuality-soarin... more hat an antithetical mind!-tenderness, roughness-delicacy, coarseness-sentiment, sensuality-soaring and groveling, dirt and deity-all mixed up in that one compound of inspired clay!-Lord Byron Independent component analysis (ICA) is a statistical method used to discover hidden factors (sources or features) from a set of measurements or observed data such that the sources are maximally independent. Typically, it assumes a generative model where observations are assumed to be linear mixtures of independent sources, and unlike principal component analysis (PCA), which uncorrelates the data, ICA works with higher-order statistics to achieve independence. An intuitive example of ICA can be given by a scatter-plot of two independent signals s 1 and s 2. Figure 1(a) shows a plot of the two independent signals (s 1 , s 2) in a scatter plot. Figure 1(b) and (c) shows the projections for PCA and ICA, respectively, for a linear mixture of s 1 and s 2. PCA finds the orthogonal vectors u 1 , u 2 but does not find independent vectors. In contrast, ICA is able to find the independent vectors a 1 , a 2 of the linear mixed signals (s 1 , s 2) and is thus able to restore the original sources. A typical ICA model assumes that the source signals are not observable, are statistically independent, and are non-Gaussian, with an unknown but linear mixing process. Consider an observed M-dimensional random vector denoted by x = (x 1 ,. .. x M) T , which is generated by the ICA model: x = As, (1)
This essay partly gives a brief survey of the status of the Canzoniere in nineteenth-century Engl... more This essay partly gives a brief survey of the status of the Canzoniere in nineteenth-century England when the collection was finally translated in full into English, and partly traces the significance of Laura in English literature after eighteenth-century biographies had transformed her from a vague Platonic ideal into a real, existing woman. The essay therefore traces the complex interrelationship between biography, translation, fiction and poetry and the ongoing dialogue with Petrarch in such highly self-conscious writers as Byron, Foscolo, Collins and Christina Rossetti. For centuries Petrarch's note about Laura's death in his Virgil manuscript has been the object of much scholarly interest. The manuscript, now in the Biblioteca Ambrosiana in Milan, would appear to have been very easily accessible in the nineteenth century when a young English visitor devoted her very special interest to it. 1 The visitor was none other than Mrs Anna Jameson (1794-1860) who by the mid nineteenth century had become one of the most popular female art critics in England. In a chapter on Petrarch and Laura in her book The Loves of the Poets of 1829, she describes her visit to the Ambrosiana: Gushing up like the waters of an intermittent fountain, there was a sudden flow of feeling and memory came over my heart:-I stood for some moments silently contemplating the name of LAURA, in the pale, half-effaced characters traced by the hand of her lover, that name with which his genius and his love have filled the earth. Confused thoughts of the mingling of vanity and glory,-of the 'poco polvere che nulla sente', and the immortality of deified beauty were crowded in my mind. When all were gone, I turned back, and gave the guide a 1 Petrarch's Virgil manuscript also came top of the list when, in 1863, the young poet A.C. Swinburne advised his sister Alice on what to see in Milan: "But at Milan you will have enough to do. 1st, the Ambrosian Library, where there is a Virgil illuminated or painted in small by Simone Menni (?) for Petrarca;"
hat an antithetical mind!-tenderness, roughness-delicacy, coarseness-sentiment, sensuality-soarin... more hat an antithetical mind!-tenderness, roughness-delicacy, coarseness-sentiment, sensuality-soaring and groveling, dirt and deity-all mixed up in that one compound of inspired clay!-Lord Byron Independent component analysis (ICA) is a statistical method used to discover hidden factors (sources or features) from a set of measurements or observed data such that the sources are maximally independent. Typically, it assumes a generative model where observations are assumed to be linear mixtures of independent sources, and unlike principal component analysis (PCA), which uncorrelates the data, ICA works with higher-order statistics to achieve independence. An intuitive example of ICA can be given by a scatter-plot of two independent signals s 1 and s 2. Figure 1(a) shows a plot of the two independent signals (s 1 , s 2) in a scatter plot. Figure 1(b) and (c) shows the projections for PCA and ICA, respectively, for a linear mixture of s 1 and s 2. PCA finds the orthogonal vectors u 1 , u 2 but does not find independent vectors. In contrast, ICA is able to find the independent vectors a 1 , a 2 of the linear mixed signals (s 1 , s 2) and is thus able to restore the original sources. A typical ICA model assumes that the source signals are not observable, are statistically independent, and are non-Gaussian, with an unknown but linear mixing process. Consider an observed M-dimensional random vector denoted by x = (x 1 ,. .. x M) T , which is generated by the ICA model: x = As, (1)
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