704 research outputs found
Replacement of Cakile edentula with Cakile maritima in New South Wales and on Lord Howe Island
No full textTwo species of Cakile (Brassicaceae) have been introduced to Australia and the genus has been a common feature on the beaches of NSW for over 130 years; Cakile edentula has been present for at least 148 years (in NSW since about 1870), while Cakile maritima arrived approximately 114 years ago, (in NSW since about 1969). Collections at CANB and NSW confirm that since around 1970 plants more like Cakile maritima have almost entirely replaced Cakile edentula along the NSW coast. A similar phenomenon is reported for Lord Howe Island
'Pilings of Thought Under Spoken': The Poetry of Susan Howe, 1974-1993.
No full textPhDThis thesis discusses the poetry published by contemporary American poet Susan
Howe over a period of almost two decades. The dissertation is chiefly concerned with
articulating the relationship between poetic form, history, and authority in this body
of' work. Howe's poetry dredges the past for the linguistic effects of patriarchy,
colonialism and war. My reading of the work is an exploration of the ways in which a
disjunctive poetics can address such historical trauma. The poems, rather than
attempting to reinstate voices lifted from what Howe has called "the dark side of
history", are a means of reflecting the resistance that the past offers to contemporary
investigation. It is the effacement, and not the recovery, of history's victims, that is
discernible in the contours of these highly opaque texts. Notions of authority are most
often addressed in the poetry through the figure of paternal absence, which has a
threefold function in the work, serving to represent social authority, an aporetic
conception of divinity and an autobiographical narrative. Alongside the antiauthoritarian
currents in the writing - critiques, for example, of the doctrine of
Manifest Destiny or of scapegoating versions of femininity - my thesis stresses Howe's
engagement with negative theology and with a strain of American Protestant
enthusiasm that has its roots in 17th century New England. The dissertation explores
the dissonance caused by the co-existence in the poetry of elements of political dissent
and religious mysticism. Finally, I consider Howe's engagement with literary history
and authors such as Shakespeare, Swift, Thoreau and Melville. The manner in which
Howe deploys the words of others in her work, I argue, allows for a mixture of textual
polyphony and a more conventional notion of authorial 'voice'
The Book of the Fair; an Historical and Descriptive presentation of the World's Science, Art, and Industry as viewed through the Columbian Exposition at Chicago in 1893; The Twenty-First Chapter: Fine Arts
No full textpage, page 674; includes illustration of interior of Palace of Fine Arts, the International Rotunda of Sculpture and detail of "Death Arresting the Hand of the Sculptor" by Daniel C. Frenc
Howe–Moore type theorems for quantum groups and rigid -tensor categories
No full textWe formulate and study Howe–Moore type properties in the setting of quantum groups and in the setting of rigid -tensor categories. We say that a rigid -tensor category has the Howe–Moore property if every completely positive multiplier on has a limit at infinity. We prove that the representation categories of -deformations of connected compact simple Lie groups with trivial center satisfy the Howe–Moore property. As an immediate consequence, we deduce the Howe–Moore property for Temperley–Lieb–Jones standard invariants with principal graph . These results form a special case of a more general result on the convergence of completely bounded multipliers on the aforementioned categories. This more general result also holds for the representation categories of the free orthogonal quantum groups and for the Kazhdan–Wenzl categories. Additionally, in the specific case of the quantum groups , we are able, using a result of the first-named author, to give an explicit characterization of the central states on the quantum coordinate algebra of , which coincide with the completely positive multipliers on the representation category of .</jats:p
Go Big or Go Home: Priorities for the Canada-EU Economic and Trade Agreement
No full textA comprehensive economic and trade agreement (CETA) between Canada and the European Union (EU) is both desirable and possible. For Canada, an agreement with the EU is a strategic opportunity to significantly diversify the market for its high-value-added goods, services and skills, to increase the attractiveness of its economy for investors, and to make a statement that it is ready to engage with other important trade partners on reducing barriers to mutually beneficial trade and investment. This is important in light of both the failure of the Doha round of WTO talks and the existence of other important trade negotiations undertaken by Canada’s key trade partners.International Economic Policy, comprehensive economic and trade agreement (CETA), Canada, European Union (EU)
Mending Canada's Employment Insurance Quilt: The Case for Restoring Equity
No full textUnder the current Employment Insurance (EI) system, long-lasting EI benefits are more easily accessed in regions with high unemployment rates than in regions with low unemployment rates where workers face tighter restrictions to access short-lived benefits. This complicated screening procedure, intended to better support the various circumstances facing unemployed workers across the country, creates a number of undesirable consequences: the most glaring being pockets of high, chronic unemployment. The goals and intentions of the EI regime should be simplified to better address the needs of Canada’s unemployed workers.Social Policy, Canada, employment insurance (EI), EI reforms
Change is in the Cards: Competition in the Canadian Debit Card Market
No full textAs new entrants arrive in Canada’s debit card market, rule changes are needed to ensure a level playing field, and to enhance the potential benefits of competition for consumers and merchants. In a study released today, the author assesses the implications of the rapidly changing debit payment landscape. Bergevin makes recommendations for action to ensure that consumers and merchants are protected and that the system can evolve to serve them even better.financial services, debit card market, VISA, MasterCard, Interac
New Dance Works 1, 2007
No full textabstract: The ASU School of Dance presents New Dance Works 1 October 11 - 14 with works by dance MFA candidates Christina Harrison, Nicole Manus, and Emily Wright performed at the Dance Studio Theatre.tableOfContents: Video: Part 1 close
Ode the the Blues Nudes (00:00 - 05:28)
- Christina Harrison (Choreographer, Lighting Designer, Set Designer, Dancer)
- Allison with one (Music)
- Mark C. Ammerman (Lighting Designer, Set Designer)
- Jacqueline Babcock (Costume Designer)
- Amanda Franco (Dancer)
- Marha E. Howe (Dancer)
The Road Home (05:31 - 14:19)
- Melissa Rolnick (Choreographer)
- Michael Brooks (Music)
- Kronos Quartet (Music)
- Mark C. Ammerman (Lighting Designer)
- Nicole Manus (Dancer)
Not Yet (14:30 - 31:39)
- Emily Wright (Choreographer, Videographer)
- Hammock (Music)
- Waterdeep (Music)
- 100 Portraits (Music)
- Adrienne Turner (Spoken Text)
- Robert Kaplan (Sound Designer)
- Carolyn Koch (Lighting Designer)
- Sara Parish (Costume Designer)
- Mark C. Ammerman (Set Designer)
- Samantha Basting (Dancer)
- Sara Jean Malan-McDonald (Dancer)
- Jessica Mumford (Dancer)
- Janie Ross (Dancer)
- Kristin Tovson (Dancer)
- Julia A. Vessey (Dancer)
- Holly Wooldridge (Dancer)
- Avery Yanez (Dancer)
Video: Part 2 close
The Musical Joke: a table duet (00:09 - 09:22)
- Nicole Manus (Choreographer)
- Wolfgang Amadeus Mozart (Music)
- Jordan Richman (Musician, violin I)
- Stephen Helms (Tillery (Musician, violin II)
- Carolyn Koch (Lighting Designer)
- Galina Mihaleva (Costume Designer)
- Lindsey Bauer (Dancer, violin I)
- Samantha Basting (Dancer, violin II)
Sonata (09:36 - 14:55)
- Karen Schupp (Choreographer)
- Johann Sebastian Bach (Music)
- Carolyn Koch (Lighting Designer)
- Galina Mihaleva (Costume Designer)
- Emily Wright (Dancer)
The Defining Line (15:10 - 28:25)
- Christina Harrison (Choreographer)
- Dustin O'Halloran (Music)
- Mark C. Ammerman (Lighting Designer)
- Jacqueline Babcock (Costume Designer)
- Erica Downes (Dancer)
- Amanda Franco (Dancer)
- Martha E. Howe (Dancer)
- Jean Kelley (Dancer)
- Beverly Kerr (Dancer)
- David Trujillo (Dancer)
Video: Part 1 wide
Ode the the Blues Nudes (01:05 - 06:34)
- Christina Harrison (Choreographer, Lighting Designer, Set Designer, Dancer)
- Allison with one (Music)
- Mark C. Ammerman (Lighting Designer, Set Designer)
- Jacqueline Babcock (Costume Designer)
- Amanda Franco (Dancer)
- Marha E. Howe (Dancer)
The Road Home (06:35 - 15:24)
- Melissa Rolnick (Choreographer)
- Michael Brooks (Music)
- Kronos Quartet (Music)
- Mark C. Ammerman (Lighting Designer)
- Nicole Manus (Dancer)
Not Yet (15:36 - 32:41)
- Emily Wright (Choreographer, Videographer)
- Hammock (Music)
- Waterdeep (Music)
- 100 Portraits (Music)
- Adrienne Turner (Spoken Text)
- Robert Kaplan (Sound Designer)
- Carolyn Koch (Lighting Designer)
- Sara Parish (Costume Designer)
- Mark C. Ammerman (Set Designer)
- Samantha Basting (Dancer)
- Sara Jean Malan-McDonald (Dancer)
- Jessica Mumford (Dancer)
- Janie Ross (Dancer)
- Kristin Tovson (Dancer)
- Julia A. Vessey (Dancer)
- Holly Wooldridge (Dancer)
- Avery Yanez (Dancer)
Video: Part 2 wide
The Musical Joke: a table duet (00:03 - 09:06)
- Nicole Manus (Choreographer)
- Wolfgang Amadeus Mozart (Music)
- Jordan Richman (Musician, violin I)
- Stephen Helms (Tillery (Musician, violin II)
- Carolyn Koch (Lighting Designer)
- Galina Mihaleva (Costume Designer)
- Lindsey Bauer (Dancer, violin I)
- Samantha Basting (Dancer, violin II)
Sonata (09:19 - 14:37)
- Karen Schupp (Choreographer)
- Johann Sebastian Bach (Music)
- Carolyn Koch (Lighting Designer)
- Galina Mihaleva (Costume Designer)
- Emily Wright (Dancer)
The Defining Line (14:46 - 28:01)
- Christina Harrison (Choreographer)
- Dustin O'Halloran (Music)
- Mark C. Ammerman (Lighting Designer)
- Jacqueline Babcock (Costume Designer)
- Erica Downes (Dancer)
- Amanda Franco (Dancer)
- Martha E. Howe (Dancer)
- Jean Kelley (Dancer)
- Beverly Kerr (Dancer)
- David Trujillo (Dancer)Originally created October 11-14, 200
The human-dog relationship in early medieval England and Ireland (c. AD 400-1250)
No full textThis thesis aims to explore the human-dog relationship in early medieval England and Ireland (c. AD 400-1250) and so develop an improved understanding of how people perceived and utilised their dogs. In 1974, Ralph Harcourt published a seminal paper reviewing the metrical data for archaeological dog remains excavated from British antiquity. Nearly forty years on, many more dog bones have been excavated and recorded. His results from the Anglo-Saxon period illustrated that the degree of skeletal variability had reduced after the end of the Roman occupation, with an increase in the average size. He also observed two distinct groups in the estimated shoulder height measurements.The key areas that have been considered include: dog functionality, morphology, and treatment. Influences that may have led to changes in people’s perception of dogs during this time period have been examined. Differences between England and Ireland are assessed, but variation in recording methods has meant the data obtained on the Irish dogs were limited. An interdisciplinary approach has been taken, combining archaeological, historical and anthrozoological information. New evidence has shown that humans’ relationships with dogs were more complex and varied than previous research would suggest, especially in the treatment of dogs at their death. This was particularly evident in England, where a change in the burial location of dogs was observed from the end of the seventh century, and could be linked to the development of Christianity and its negative teachings towards the dog. More metrical data from English sites have shown that the two distinct groups observed in Harcourt’s Anglo- Saxon results were no longer apparent
Dungeons, gratings, and black rooms: A defense of double-anchoring theory and a reply to Howe et al. (2007)
No full textThe double-anchoring theory of lightness (P. Bressan, 2006b) assumes that any given region belongs to
a set of frameworks, created by Gestalt grouping principles, and receives a provisional lightness within
each of them; the region’s final lightness is a weighted average of all these values. In their critique,
P. D. L. Howe, H. Sagreiya, D. L. Curtis, C. Zheng, and M. S. Livingstone (2007) (a) show that the
target’s lightness in the dungeon illusion (P. Bressan, 2001) and in White’s effect is not primarily
determined by the region with which the target is perceived to group and (b) claim that this is a challenge
to the theory. The author argues that Howe et al. misinterpret grouping for lightness by equating it with
grouping for object formation and by ignoring that lightness is determined by frameworks’ weights and
not by what appears to group with what. The author shows that Howe et al.’s empirical findings, together
with those on grating induction and all-black rooms that they cite as problematic, actually corroborate,
rather than falsify, the double-anchoring theory
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