115 research outputs found
Lockheed Martin Dedication Ceremony of the John C. Stennis Space Center
No full textLockheed Martin Dedication Ceremony of the John C. Stennis Space Center with Roy Estess, Bill Hansen, Ronnie Musgrove, Trent Lott, Gene Taylor, and Roderick Pullman
Review of \u3ci\u3eHe Was Some Kind of a Man: Masculinities in the B Western\u3c/i\u3e by Roderick McGillis
Get PDFIt takes something of a masochist to watch close to two hundred B westerns, but Roderick McGillis claims to have done that in researching this book. For those of you who are not film history buffs, a B movie was a cheap, relatively short (sixty to seventy-five minutes), formulaic genre film made to be the second half of a double feature. A lot of B movies were westerns because they were cheap and popular, particularly with boys and young men. They had their own stars, many of whom moved on to television, which killed the B movie: Roy Rogers, Gene Autry, Tex Ritter, William Boyd (Hopalong Cassidy), Bob Steele, and Johnny Mack Brown. John Wayne began in B westerns but graduated to the top of the bill in John Ford\u27s Stagecoach. Like author Roderick McGillis, I remember when B westerns were a staple of early afternoon television programming on just about every local channel. I also recall realizing by the time I was ten that these films, though bearing different titles, were so limited by generic conventions they were sometimes hard to tell apart: white hats versus black hats, the same set and stock footage, the inevitable chase on horseback, the climactic fight between hero and villain. For McGillis, the nostalgia for a mythic, morally unambiguous American past communicated by these movies reinforces his own nostalgia for them as a crucial part of his boyhood
Polyphony and the anxiety of influence in the fiction of Henry James
Get PDFJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
The Nova Scotia Teachers Union, 1961-1973
Get PDFiv, 150 leaves : charts ; 28 cm.Bibliography: leaves 146-150.Online version unavailable; print version available from Patrick Power Library.This thesis is a study of the Nova Scotia Teachers Union (NSTU) in its dual role as a professional interest group and as a bargaining agent. The thesis deals with the degree of success with which the NSTU has performed these interdependent roles since 1961.
Throughout the thesis, material is brought to bear on the internal structure of the Union, internal and external communication and the need for recognized legitimacy, all of which determine the effectiveness of a professional interest group. The functions of the NSTU as a bargaining agent, although related to its functions as an interest group, are analyzed separately by examining the effectiveness of the Union in negotiating salaries and fringe benefits.
The ability of the NSTU to accomplish its primary goal, the advancement and elevation of the status of the teaching profession, is revealed. Impediments to Union progress such as structural inadequacies and poor bargaining procedures are also examined as well as the proposals for change designed to alleviate the impediments.
Possible future alternatives with respect to Union structure and the bargaining process are examined and the recommendations of the author presented
On English Pygmies and Giants: the Physical Stature of English Youth in the late-18th and early-19th Centuries
Get PDFThe physical stature of lower- and upper-class English youth are compared to one another and to their European and North American counterparts. The height gap between the rich and poor was the greatest in England, reaching 22 cm at age 16. The poverty-stricken English children were shorter for their age than any other European or North American group so far discovered, while the English rich were the tallest in their time: only 2.5 cm shorter than today’s US standards. Height of the poor declined in the late-18th century, and again in the 1830s and 1840s conforming to the general European pattern, while the height of the wealthy tended rather to increase until the 1840s and then levelled off
On English Pygmies and Giants: the Physical Stature of English Youth in the late-18th and early-19th Centuries
Get PDFThe physical stature of lower- and upper-class English youth are compared to one another and to their European and North American counterparts. The height gap between the rich and poor was the greatest in England, reaching 22 cm at age 16. The poverty-stricken English children were shorter for their age than any other European or North American group so far discovered, while the English rich were the tallest in their time: only 2.5 cm shorter than today’s US standards. Height of the poor declined in the late-18th century, and again in the 1830s and 1840s conforming to the general European pattern, while the height of the wealthy tended rather to increase until the 1840s and then levelled off.Height; Biological Standard of Living; Anthropometry; Inequality; Industrial Revolution
The effect of vasopressin on sodium and potassium salts in the blood of adrenalectomized and intact rats, 1957
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Landscape-painter as landscape-gardener : the case of Alfred Parsons R.A.
Get PDFIn 2 vols.Available from British Library Document Supply Centre-DSC:DXN016830 / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo
Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art
Get PDFScholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer
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