50,695 research outputs found
Class of 1925, the Almond High School
No full textCommencement announcement for the Almond High School in the community of Almond, in Swain County, North Carolina belonging to James Stevenson Woodard
James Luna: Mimesis and Ritual
No full textThis essay by Richard William Hill is included in the exhibition catalogue for TURTLE/Television Island Exhibit, featuring the work of James Luna and ssipsis, at USM Art Gallery, Gorham, September 24 - November 10, 2010, curated by Carolyn Eyler. "They live on opposite shores of this continent natives call TURTLE ISLAND. James Luna, internationally recognized performance and installation artist and member of the Puyoukitchem [Luiseño] tribe based in La Jolla, California; and ssipsis, a Penobscot author and the only woman birch bark artist from Maine, challenge us with their art and activism" -- Cover. "final article publishe
James Bond: international man of gastronomy
No full textThis article is concerned with the representation of food and drink in Ian Fleming’s James Bond novels. In particular, it examines how the author uses Bond’s culinary knowledge and habits of consumption as an important constituent of his hero’s character. Similarly, the food choices of other characters, notably villains, are shown to be linked, by Fleming, to core aspects of their identity − principally their ethnicity. Bond’s impulse to observe and classify, very much in evidence in the novels’ food sequences, is examined in terms of the texts’ construction of Bond as a skilled identifier of signs
Richard Dorson (interview)
No full textThis interview is included in the American Folklore Society Oral History Project held at the Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. In this item, Richard M. Dorson is interviewed by Richard Reuss at the American Folklore Society annual meeting in Nashville, Tennessee for the American Folklore Society Oral History Project. Biography/History note: Richard M. Dorson, folklorist, author, and educator, was born in New York City in 1916 and died in 1981. He earned his B.A., M.A. and Ph.D. at Harvard University and taught at Harvard and Michigan State University before becoming professor of history and folklore at Indiana University where he founded its Folklore Institute in 1963 and became the first director and first chair of the Folklore Department at Indiana University in 1978. This collection consists of 1 sound tape reel (40 min.) : analog, 7 1/2 ips, 2 track, mono. ; 7 in. It was originally recorded on November 2, 1973 at the American Folklore Society annual meeting in Nashville, Tennessee by Richard Reuss on a Sony audiocassette. This is a first-generation copy
EXPORT DEMAND FOR U.S. ALMONDS: IMPACTS OF U.S. EXPORT PROMOTION PROGRAMS
No full textThe purpose of this study was to estimate the impact of the major factors affecting the export demand for U.S. almonds in Asia and the E.U. which together import about 93% of U.S. almond exports. The primary objective pertained to the impacts of federal promotion programs on the foreign demand for U.S. almonds. Based on previous literature, a single-equation framework was specified for estimation of the almond model. Based on promotion elasticities, impacts on almond export revenue from promotion were evaluated. The marginal return per dollar to decreasing promotion expenditures for almonds was $47.74 for Asia, reflecting prudent promotion expenditures for more efficient utilization of promotion funds as the Asian market for U.S. almonds approaches maturity. The E.U. appears to be a mature market for U.S. almond exports with no detectable responsiveness to promotion expenditures. Thus, simple reminder-type promotion activities for this market may be sufficient.Demand and Price Analysis, Marketing,
Folder 9: Schwiderski, Richard Craig v. State of Texas 2, 1979-1984
No full textPhotocopy of a section of an article written by New York author Richard Reeves and titled 'Too Late to Kill the Messenger' and dated 1979, and argues for the role of media during violent situations
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Sculptural Thinking in Fashion
No full textHuman thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. The paper concludes by drawing together the two sections
Spiritual voyage, performed in the ship Convert, under the command of Capt. Godly-Fear, from the port of Repentance-Unto-Life, to the haven of Felicity, on the continent of Glory. An allegory. By the late Rev. Edmund Botsford, A.M. A new edition, revised, corrected and improved. To which is prefixed, a sketch of the life of the author, by the late Rev. Richard Furman, D.D
No full textW. RileyA spiritual voyage, performed in the ship Convert, under the command of Capt. Godly-Fear, from the port of Repentance-Unto-Life, to the haven of Felicity, on the continent of Glory. An allegory. By the late Rev. Edmund Botsford, A.M. A new edition, revised, corrected and improved. To which is prefixed, a sketch of the life of the author, by the late Rev. Richard Furma
Sculptural Thinking in Fashion
No full textHuman thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. The paper concludes by drawing together the two sections
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