7,831 research outputs found
Austin Allen, Percussion
No full textVibraphone Impromptu No. 3 / Austin Allen; Weapon Wheel / Quinn Mason; Marimba Quartet / Alex Shawver; Take That / William Albright; Valse Brillante / George Hamilton Green; Arr. Bob Becker; Waiting for What / Austin Allen; Hushabye Mountain / Robert Sherman; Richard Sherma
Cotesia urabae Austin & Allen 1989
No full textCotesia urabae Austin & Allen, 1989 Fig. 31 A–B Cotesia urabae Austin & Allen, 1989: 171 (holotype, ♀, ANIC). Cotesia urabae – Austin & Dangerfield 1992: 22. Diagnosis Cotesia urabae can be separated from all other species of Cotesia currently described from Australia and Papua New Guinea by the following combination of characters: T1 broadening consistently posteriorly, almost wedge shaped; scutellar disk smooth with small punctures associated with setae; mesosoma not dorsoventrally flattened; hind coxa and metasoma as dark; ocelli normal sized, ocular-ocellar line/ posterior ocellus diameter <2.4; fore wing vein r normally longer than, occasionally of similar length to 2RS; hind tibia with only a very small darkened patch, mainly in dorsal view. Material examined Paratype AUSTRALIA • ♀; South Australia, Waite Agricultural Research Institute lab colony; Jan. 1986; G.R. Allen leg.; ex. Uraba lugens; WINC. Distribution SA (record from original description), Tas (record from Muirhead et al. 2006; Rowbottom et al. 2013), New Zealand (introduced, see Avila et al. 2015). Host Uraba lugens Walker, 1866 (Noctuidae), solitary (record from original description). Remarks As this species is only recently described and the description is relatively complete, here we provide only new characters or measurements relevant to the diagnosis, and refer otherwise to the description in Austin & Allen (1989).Published as part of Fagan-Jeffries, Erinn P. & Austin, Andrew D., 2020, Synopsis of the parasitoid wasp genus Cotesia Cameron, 1891 (Hymenoptera: Braconidae: Microgastrinae) in Australia, with the description of seven new species, pp. 1-70 in European Journal of Taxonomy 667 on pages 56-58, DOI: 10.5852/ejt.2020.667, http://zenodo.org/record/389932
Austin Papers: Series III, 1829
No full textCopy of transcript for a letter from Daniel J. Toler and Allen Reynold to Stephen F. Austin concerning lands purchased by Toler and Reynold from Peter Kerr
The Chromascope
No full text1945 yearbook for Austin College, an annual publication of Austin College
George Allen, Austin Hendrickson, and Jon Mueller, 1944
No full textMarquette football players George Allen, Austin Hendrickson, and Jon Mueller, 1944
Marriage record of Brounson, Allen L. and Austin, Amelia
No full textMarriage license for Allen L. Brounson and Amelia Austin. R.D. Lewis was the officiant
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Entrepreneurial city : race, the environment, and growth in Austin, Texas, 1945-2011
No full texttextThe primary concern of this dissertation is to give historical perspective to the idea of the creative city and the creative, or "new," "knowledge," or "postindustrial" economy that has produced this new form of urban space. Austin, Texas, one of the developed world's premiere creative cities, is used as a test case. Like many urban scholars, I focus on the manifestation of the city as a unique material expression of the capitalist order, and also on the city as a symbolic discourse that has helped to generate its material conditions, including consistent socioeconomic unevenness. In broad outline I am interested in the forces of capitalism that cause cities and regions to grow. I begin with a basic question asked by geographer Allen J. Scott: "How do competitive advantages (including capacities for creativity) of cities emerge, and how might they be enhanced by public action?" In the case of Austin, I argue that the city's competitive advantage was engendered by an ethos that valued free market competition and a focus on the dual economic engines of technology and leisure which city and university leaders identified during World War Two. Austin's economic ideology, which consciously eschewed fordist modes of production in favor of knowledge-based growth associated with the University of Texas, was poised to blossom when macroeconomic ruptures forced massive restructuring associated with globalization during and after the 1970s. The city's inherent advantage as a site of surplus knowledge production for Texas and the Southwest created a highly paid, educated labor market that business people and politicians viewed as the core element of a non-industrial city. Even before the 1970s Austin was well on its way to economic growth through technological accumulation and modes of production that took advantage of skilled labor markets. The creative city thus has a history that must be understood before policy is adopted based on non-transferable conditions of growth.American Studie
Thomas Rotch accounts payable, Kendal 1811-1818
No full textAustin Allen presents his bill to Thomas Rotch for labor from 1811 through 1814, 9.66 10" x 7.75
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Pointing Fingers: Examining The Tech Boom’S Effects On San Francisco And Austin
No full textIn Pointing Fingers: Examining the Tech Boom’s Effects on San Francisco and Austin, Allen surveys the effects that the technology driven economy has had on San Francisco, California and Austin, Texas. These effects are analyzed with two foci: increasing housing costs and the state of homelessness. After examining the effects the technology boom bas had on San Francisco, Allen moves to survey Austin with the same foci: increasing housing costs and the sate of homelessness. Ultimately, the thesis seeks to understand the differences between the two cities, given that many Austinites fear that their city will become “another San Francisco.” To summarize, Allen finds that because of the city’s significant infrastructure differences, the rate at which housing prices increased in San Francisco will not be mirrored in Austin. However, in regard to the second foci, Allen notes that if we fail to continue making strides towards curbing or ending homelessness in Austin, we may face the a similar population of homeless in Austin due to lack of affordable housing and drug addiction
Tropical ginsberg: the resonance of Allen Ginsberg on the Tropicália
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010Through a dialogical relation between poems and song lyrics, and the socio-political contexts which surrounded these texts, this research discusses the resonance that North American poet, Allen Ginsberg, had over the Brazilian musical movement, the Tropicália. The corpora are the poems "Howl" (1956), "America" (1956), "Supermarket in California" (1955), "Sunflower Sutra" (1955), "Song" (1954), and "Wild Orphan" (1952), written by Allen Ginsberg, and the songs "Batmacumba" (1968), composed by Caetano Veloso, and Gilberto Gil, "Baby" (1968), composed by Caetano Veloso, "Geléia Geral" (1968), composed by Gilberto Gil and Torquato Neto, "Alegria, Alegria" (1967), composed by Caetano Veloso, and "Domingo no Parque" (1967), composed by Gilberto Gil. The main theoretical and critical parameters of this research include: Mikhail Bakhtin and his reflections on intertextuality; James J. Farrell, who believes that the American counterculture began with the Beats; Claudio Willer, who stresses the importance of Allen Ginsberg to the Beat movement, as well as to the birth of the American counterculture; Christopher Dunn, who emphasizes the historical, social, and political relevance of the Tropicália; and Celso Favaretto, who discusses in depth the complexity of most of the Tropicália songs. Based on such parameters, this research suggests that the life and work of Allen Ginsberg had great resonance over the creation of the Tropicália.Através de uma relação dialógica entre poesia e letras de música e o contexto sócio-político que circundava tais textos, este estudo discute a ressonância que o poeta Norte Americano, Allen Ginsberg, teve sobre o movimento musical Brasileiro, a Tropicália. A corpora são os poemas "Howl" (1956), "America" (1956), "Supermarket in California" (1955), "Sunflower Sutra" (1955), "Song" (1954), e "Wild Orphan" (1952), escritos por Allen Ginsberg, e as músicas "Batmacumba" (1968), composta por Caetano Veloso, e Gilberto Gil, "Baby" (1968), composta por Caetano Veloso, "Geléia Geral" (1968), composta por Gilberto Gil e Torquato Neto, "Alegria, Alegria" (1967), composta por Caetano Veloso, e "Domingo no Parque" (1967), composta por Gilberto Gil. Os principais parâmetros teóricos e críticos desta pesquisa incluem: Mikhail Bakhtin e suas reflexões sobre intertextualidade; James J. Farrell, que acredita que a contracultura Americana começou com os Beats; também em Claudio Willer, que salienta a importância de Allen Ginsberg no movimento Beat e no nascimento da contracultura Americana; Christopher Dunn, que enfatiza a relevância histórica, social e política da Tropicália; e Celso Favaretto, que discute em profundidade a complexidade da grande maioria das músicas da Tropicália. Baseando-se em tais parâmetros identificados, esta dissertação sugere que a vida e obra de Allen Ginsberg tiveram grande ressonância sobre a criação da Tropicália
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