4,730 research outputs found
Mutations in multidomain protein MEGF8 identify a Carpenter syndrome subtype associated with defective lateralization
No full textCarpenter syndrome is an autosomal-recessive multiple-congenital-malformation disorder characterized by multisuture craniosynostosis and polysyndactyly of the hands and feet; many other clinical features occur, and the most frequent include obesity, umbilical hernia, cryptorchidism, and congenital heart disease. Mutations of RAB23, encoding a small GTPase that regulates vesicular transport, are present in the majority of cases. Here, we describe a disorder caused by mutations in multiple epidermal-growth-factor-like-domains 8 (MEGF8), which exhibits substantial clinical overlap with Carpenter syndrome but is frequently associated with abnormal left-right patterning. We describe five affected individuals with similar dysmorphic facies, and three of them had either complete situs inversus, dextrocardia, or transposition of the great arteries; similar cardiac abnormalities were previously identified in a mouse mutant for the orthologous Megf8. The mutant alleles comprise one nonsense, three missense, and two splice-site mutations; we demonstrate in zebrafish that, in contrast to the wild-type protein, the proteins containing all three missense alterations provide only weak rescue of an early gastrulation phenotype induced by Megf8 knockdown. We conclude that mutations in MEGF8 cause a Carpenter syndrome subtype frequently associated with defective left-right patterning, probably through perturbation of signaling by hedgehog and nodal family members. We did not observe any subject with biallelic loss-of function mutations, suggesting that some residual MEGF8 function might be necessary for survival and might influence the phenotypes observed
Raymond Mace
No full textRaymond Mace learned many songs from father, Alden Mace, a lumberman who worked near Osborn, ME. Mace lived in SW Harbor since 1910 and worked as a carpenter for most of his adult life. His father sang a few songs for Fannie H. Eckstorm that appeared in British Ballads from Maine.https://digitalcommons.library.umaine.edu/songstorysamplerartists/1038/thumbnail.jp
William Morris and Edward Carpenter: back to the land and the simple life, 1880-1910
No full textThis thesis focuses on the influence of William Morris and Edward Carpenter on
aspects of the back-to-the-land and simple-life movements between the years 1880-
1910. Specifically, it seeks to define and explore the convergence and divergence of
both writers' return-to-nature ideology, and considers their influence on the
development of particular groups, who represented some of the multiplicity of backto-
the-land ideas and experiments current during this period. The thesis is divided
into three main parts; the intellectual framework for the study is broad, and takes into
account the historical context, the cultural significance and the character of the
material in each section.
The first part of the thesis undertakes an expository evaluation of key texts
from Morris's and Carpenter's political journalism, lectures and imaginative writing,
examining how both writers developed an appropriate language to convey their
social and political ideals. The critical method employed uses detailed textual
analysis, identifying and discussing the individual qualities of Morris's and
Carpenter's back-to-the-land writing, and reflecting on the differing emphases of
their utopian rhetoric. The second part of the research explores the take-up of
Morris's and Carpenter's ethos in four diverse and little known late-nineteenthcentury
journals, concerned with simple-life issues and a return to the land, namely
Seed-time, The New Order, Land and Labor and Land and People. It employs the
thinking of Pierre Bourdieu and Mikhail Bakhtin to establish an appropriate balance
between critical theory and empirical study. Lastly using a historical and descriptive
method the thesis uses archival material to examine the nature and extent of both
writers' influence on two Cotswold back-to-the-land experiments - the Whiteway
Colony and the Chipping Campden Guild of Handicraft. These provide a particular
opportunity to consider and compare the practical outcomes of return-to-the-land and
simple-life ideologies.
The study extends scholarship in this area by significantly re-appraising the
relationship between Morris's and Carpenter's back-to-the-land writing, and reinstating
Carpenter as a germinal influence. It also increases our understanding of the
values and function of the journals in the study, and establishes an insight into the
wider cultural assimilation of both writers' ideals
Colonel W. T. Carpenter, Dr. Raymond Paty, and Colonel L. P. Hodnette
No full textThis is a portrait of Colonel W. T. Carpenter, professor of Military Science and Tactics, University President Dr. Raymond Paty, and Colonel L. P. Hodnette around 1945
You’ve wed, you've wed, said the house to the house carpenter.
No full textvoiceCollected by Raymond Whittier For M.C. Parler Transcribed by Linda Humphrey
Sung by:
Irene Sargent West Fork, Arkansas December 3, 1960 Reel 303 Item 12
The House Carpenter
You’ve wed, you've wed, said the house to the house carpenter. You've wed, you've wed, said he.
I've just returned from the salt water sea,
And all for the sake of thee,
And all for the sake of thee.
If you'll forsake your house carpenter,
And go along with me,
I have seven ships a-sailing on the sea,
And they each have seven slaves,
And they each have seven slaves.
If I forsake my house carpenter,
What would you support me on?
I have seven ships a-sailing on the sea,
And they're laden down with gold,
And they're laden down with gold.
She dressed her baby up so neat,
And laid it on the bed,
Saying lay there, lay there you sweet little babe,
And keep you father company,
And keep you father company.
They had not been sailing but 'bout two weeks,
I'm sure it was not three,
When this fair maiden began to weep,
And she wept most bitterly,
And she wept most bitterly.The House Carpenter continued
What are you weeping for my love?
Are you weeping for my gold?
Or weeping for the house carpenter You never will see no more?
That you never will see no more?
I'm neither weeping for your gold,
Or neither for your store.
I'm weeping for my sweet little babe,
That I never will see no more,
That I never will see no more.
They had not been sailing but 'bout three weeks,
I'm sure it was not four,
When the ship sprang a leak and it sank to the deep, And it sank to rise no more,
It sank to rise no more.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Raymond Williams and the limits of cultural materialism
No full textCultural materialism has become an influential discipline in recent
years, particularly so in 'Renaissance' studies, but also more generally in
'English', as well as departments defined as practising 'cultural' or
'communications' studies. The phrase is usually linked with the name of
Raymond Williams, but a cursory examination of Williams's own work
quickly establishes that it is a phrase he rarely uses, and only schematically
attempts to define. The thesis therefore takes the form of an investigation into
the way cultural materialism has come to be understood, by examining in
detail the trajectory of Raymond Williams's theoretical development, and how
his own engagement with various theoretical positions has helped to set
'limits' on the meaning of cultural materialism.
Chapters 1 and 2 deal with some of Williams's earliest work,
particularly Reading and Criticism, as a way of investigating how reasonable
it is to tag him as a 'Left-Leavisite', arguing that Leavis's undoubted
influence is resisted (though not entirely rejected) from a very early stage. The
first chapter considers in detail Leavis's work at Cambridge, the influence of
Eliot, and the significance of the 'Organic Community'. Chapter 2, which is
based around a comparative analysis of Williams's and Leavis's readings of
Dickens, argues that Williams rejects the 'organic community' in favour of his
'knowable community'. Chapters 4 and 5 deal with specific 'theoretical'
issues: the first, based around a reading of Terry Eagleton's critique of
Williams's use of the Marxist metaphor of 'base and superstructure', shows
some of the problems which arise from Williams's cultural model, as well as
suggesting refinements; the second deals with the influence of Volosinov's
theories on Williams. Chapter 6 comes out of Williams's readings of the
'Country-House' poems in The Country and the City, showing how his
practice of literary criticism relies on an acceptance of 'ideology' apparently
denied in his more 'theoretical' writings. This analysis is extended as a result
of investigations into the 'De L'Isle' manuscripts relating to the Penshurst
estate. Chapter 7 argues that it is possible to see the work of Fredric Jameson
as developing Williams's cultural materialism into Jameson's debates on
postmodernism.
In the Introduction and Conclusion, I have taken the opportunity to
look briefly at the activity of cultural materialism as it has developed since
Raymond Williams's death in 1988. The Introduction emphasizes what I see
to be important methodological differences between 'cultural materialism'
and 'new historicism'; the Conclusion deals with the continuing debate over
the value of a cultural materialist approach by considering the 'appropriation'
of Shakespeare
Photo essay on Raymond Strout, a carpenter and blood wormer, who lives on his Si
No full textPhoto essay on Raymond Strout, a carpenter and blood wormer, who lives on his Silent Prayer Ranch in Harrington. Strout talks of the hard work of digging blood worms, and how blood worm diggers like elbow air and the freedom the job provides
Raymond Gervais : 3 x 1
No full text"Raymond Gervais 3 X 1 traces and elucidates the important or little-known moments in the practice of Raymond Gervais, an artist who has explored the notion of the aural imagination since the mid 1970s. An erudite author, Gervais joins forces here with Nicole Gingras, a researcher and curator interested in what connects sound, image, and words. The first major publication on the work of a conceptual artist questioning whether thought is acoustic" -- p. [4] of cover
- …
