90,743 research outputs found
Chris Calkins grilling up a steak
No full textDr. Chris Calkins, a meat scientist, grilling a flat iron steak
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Chris Aldrete, Louis Tellez, and two men (photograph)
No full text(L. to R.): Chris Aldrete, Louis Tellez, and two men
Conversation with Dr Chris Millard
No full textIn this episode, Prof Ian Sabroe and Dr Dieter Declercq talk with Dr Chris Millard about the challenges and benefits of interdisciplinary research, the history of medical labels, and the question of value in the humanities.
Chris Millard is a Lecturer in the Department of History at the University of Sheffield. He has worked on the history of psychiatric and clinical categories such as ‘self-harm’, ‘attempted suicide’, ‘illness deception’ and ‘child abuse’. Chris is currently writing a history of Munchausen Syndrome and Munchausen Syndrome by Proxy (now called ‘fabricated or induced illness’), and attempting to write history that takes adequate account of personal experiences. Chris teaches on the history of psychiatry, the history of emotions, and the history of ideas of ‘parity of esteem for mental health’. He has collaborated with Prof Ian Sabroe supervising projects across the medicine / humanities divide on postnatal depression, physician accounts of illness, clinical uncertainty and physician error
C.S. Lewis Chapel: Chris Armstrong
No full textDr. Chris Armstrong speaks on work and vocation for C.S. Lewis Chapel.
Chris R. Armstrong (PhD, Duke University) is founding director of Opus: The Art of Work - an institute for faith and vocation at Wheaton College. A church historian, Chris also serves on the biblical and theological studies faculty at Wheaton. He has written the forthcoming Medieval Wisdom for Modern Christians: Finding Authentic Faith in a Forgotten Age with C.S. Lewis (Baker Academic/Brazos Press, May 2016) and Patron Saints for Postmoderns (InterVarsity Press, 2009). Chris serves as senior editor of Christian History and founding senior editor of the Patheos Faith and Work Channel. He blogs at https://gratefultothedead.wordpress.com
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Attorney Chris Aldrete, Attorney James de Anda, and other forum members at a reception (photograph)
No full text(L. to R.) Attorney Chris Aldrete, Attorney James de Anda, and other forum members at a reception
Chris Calkins inspecting a flat iron steak
No full textDr. Chris Calkins inspecting a flat iron steak. The flat iron steak quickly became popular because of its flavor, tenderness, and the ease with which it took up marinades. The Nebraska discovery found its way onto the menus of many fine restaurants
Performance: Chris Belden
No full textIn this audiovisual recording from Friday, April 1, 2005, as part of the 36th Annual UND Writers Conference: “Hope/Illusion,” Chris Belden reads his two short stories “Tales of Rita” and “R&R and performs his original songs “Around She Goes,” “By Request,” “Catch Kiss Kill,” “Looks Like Love,” “300.02,” “Goodnight Again,” and “Love In the Time of Caller ID.” Belden also discusses how he began writing fiction and music.
Introduced by Darin Kerr
goodall-chris/Sphagnum-Paper: Data and R. Scripts for Sphagnum paper
No full textData and R. Scripts for Sphagnum pape
Fledge, Chris R. (SC 1135)
No full textFinding aid only for Manuscripts Small Collection 1135. Letter sent from Chris R. Fledge to Linda Lee, Louisville, Kentucky, in which he talks about his family and military life during the Persian Gulf War
Come to Daddy? Claiming Chris Cunningham for British Art Cinema
No full textTwenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham's work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism
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