1,056 research outputs found
The hymns and responds of John Sheppard
No full textThe Office hymns and responds of John Sheppard make up the major part of his compositional output. With few exceptions, very little music for the Office by other composers remains, so his work is of especial interest. Biographical details about Sheppard are scant, but he was closely associated with two important musical institutions: Magdalen College, Oxford, where he was informator choristarum, and the Chapel Royal, where he served as a Gentleman. The liturgy of the church had a profound effect upon musical composition and this study considers the music in its historical context. The background to Magdalen College and the Chapel Royal is considered and the development of the Office respond is traced. Sheppard's technique of composition and the problems associated with editing and interpreting this music are discussed
Unfinish: The Politics of Literary Experiment in Robert Sheppard
No full textIncluding contributions from major contemporaries and younger scholars, this book situates the remarkable writing life of one of Britain's most imaginative poets
Twitters for a Lark: Poetry of the European Union of Imaginary Authors
No full textAn anthology of fictional European poets, written collaboratively by a team of real writers for a project created, curated and edited by Robert Sheppard, Emeritus Professor at Edge Hill University.
I have co-written (with Robert Sheppard) two poems by the imaginary author Hermes, along with his biographical note, for this anthology of imaginary authors
54/11/04 Sheppard Drama Set To Unfold
No full textJurors solemnly take a tour of the Sheppard home in Bay Village, Ohio. Author describes the rooms they visited.https://engagedscholarship.csuohio.edu/newspaper_coverage/1360/thumbnail.jp
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L.A. Rebellion: Creating a New Black Cinema
No full textSymposium Review by Samantha Noelle Sheppard of L.A. Rebellion: Creating a New Black Cinema. Taking place on Saturday, November 12, this one-day symposium was enveloped within the the L.A. Rebellion: Creating a New Black Cinema series, which opened October 7 and will end on December 17, at the UCLA Film & Television Archive’s Billy Wilder Theater at UCLA ’s HammerMuseum. The film series is co-curated byAllyson Nadia Field, UCLA Film & TelevisionArchive Director Jan-Christopher Horak, UCLA Film & Television Archive Head of Public Programs Shannon Kelly, and Jacqueline Stewart
Spatters and Lies:Contrasting Forensic Cultures in the Trials of Sam Sheppard, 1954-66
No full textThis article focuses on the contrasting forensic regimes involved in the celebrated 1955 trial and 1965 re-trial of Dr Sam Sheppard for the murder of his wife Marilyn. The first regime cohered around the Cleveland Coroner Dr Sam Gerber, who took charge of the scene investigation, conducted a highly publicized inquest, and provided sensational trial testimony which included his claim to have recognized the pattern of a ‘surgical instrument’ impressed on Marilyn’s bloody pillow. A second regime began to develop in the weeks following Sheppard’s conviction and centered on the eminent Berkeley criminologist Paul Leland Kirk. Kirk provided an alternative, but equally striking, reading of the blood evidence: where Gerber saw qualitative, holistic shapes, Kirk deployed a pioneering (and since celebrated) exercise in spatial reasoning based on the emerging discipline of blood spatter analysis. The acquittal of Sheppard at his 1965 retrial could be seen as an instance of modern forensic technique as a catalyst for justice – with analytical and objective methods overcoming judgements based on mere common sense and local interest. I argue that this simple story obscures the more interesting – and surprising – route taken by those seeking to establish Sheppard’s innocence in the decade following his incarceration. In this campaign it was the polygraph rather than spatter analysis, and the detective writer Erle Stanley Gardner and the flamboyant defence attorney F Lee Bailey rather than Kirk, that took center stage. This twist enables critical reflection on the inherently complex relationship between forensic knowledge and the broader context in which it is produced and deployed.<br/
Spatters and Lies:Contrasting Forensic Cultures in the Trials of Sam Sheppard, 1954-66
No full textThis article focuses on the contrasting forensic regimes involved in the celebrated 1955 trial and 1965 re-trial of Dr Sam Sheppard for the murder of his wife Marilyn. The first regime cohered around the Cleveland Coroner Dr Sam Gerber, who took charge of the scene investigation, conducted a highly publicized inquest, and provided sensational trial testimony which included his claim to have recognized the pattern of a ‘surgical instrument’ impressed on Marilyn’s bloody pillow. A second regime began to develop in the weeks following Sheppard’s conviction and centered on the eminent Berkeley criminologist Paul Leland Kirk. Kirk provided an alternative, but equally striking, reading of the blood evidence: where Gerber saw qualitative, holistic shapes, Kirk deployed a pioneering (and since celebrated) exercise in spatial reasoning based on the emerging discipline of blood spatter analysis. The acquittal of Sheppard at his 1965 retrial could be seen as an instance of modern forensic technique as a catalyst for justice – with analytical and objective methods overcoming judgements based on mere common sense and local interest. I argue that this simple story obscures the more interesting – and surprising – route taken by those seeking to establish Sheppard’s innocence in the decade following his incarceration. In this campaign it was the polygraph rather than spatter analysis, and the detective writer Erle Stanley Gardner and the flamboyant defence attorney F Lee Bailey rather than Kirk, that took center stage. This twist enables critical reflection on the inherently complex relationship between forensic knowledge and the broader context in which it is produced and deployed.<br/
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MISAME
No full textRecording of Alcides Lanza's Sensors IV performed in 1984 by the McGill Concert Choir, conducted by Christopher Reynolds. The tape was realized at the Composer's studio (SHELAN Studio) and McGill University EMS in Montreal, QC, Canada. The piece explores different techniques of vocal wiring, especially the relationship of semantics, languages, and memory. The word "Memory" constitutes the entire text for the piece - using letter sound, recombinations of the word, and adding syllables from other languages that share similar etymology. Recording of the word "memories" -- Meg Sheppard's voice -- is used in the realization of the piece
Do We Really Need Both BEKK and DCC? A Tale of Two Covariance Models
No full textLarge and very large portfolios of financial assets are routine for many individuals and organizations. The two most widely used models of conditional covariances and correlations are BEKK and DCC. BEKK suffers from the archetypal "curse of dimensionality" whereas DCC does not. This is a misleading interpretation of the suitability of the two models to be used in practice. The primary purposes of the paper are to define targeting as an aid in estimating matrices associated with large numbers of financial assets, analyze the similarities and dissimilarities between BEKK and DCC, both with and without targeting, on the basis of structural derivation, the analytical forms of the sufficient conditions for the existence of moments, and the sufficient conditions for consistency and asymptotic normality, and computational tractability for very large (that is, ultra high) numbers of financial assets, to present a consistent two step estimation method for the DCC model, and to determine whether BEKK or DCC should be preferred in practical applications.Conditional correlations, Conditional covariances, Diagonal models, Forecasting, Generalized models, Hadamard models, Scalar models, Targeting.
Do We Really Need Both BEKK and DCC? A Tale of Two Covariance Models
No full textLarge and very large portfolios of financial assets are routine for many individuals and organizations. The two most widely used models of conditional covariances and correlations are BEKK and DCC. BEKK suffers from the archetypal "curse of dimensionality" whereas DCC does not. This is a misleading interpretation of the suitability of the two models to be used in practice. The primary purposes of the paper are to define targeting as an aid in estimating matrices associated with large numbers of financial assets, analyze the similarities and dissimilarities between BEKK and DCC, both with and without targeting, on the basis of structural derivation, the analytical forms of the sufficient conditions for the existence of moments, and the sufficient conditions for consistency and asymptotic normality, and computational tractability for very large (that is, ultra high) numbers of financial assets, to present a consistent two step estimation method for the DCC model, and to determine whether BEKK or DCC should be preferred in practical applications.
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