3,051 research outputs found
ICarbS, Volume 2, Issue 1
No full textContents
General Grant and Mark Twain by John Y. Simon / 3
Ben L. Reitman, M.D.: Portrait of a Pseudo-Anarchist by Paul E. Kuhl / 11
Brian O\u27Nolan: The Privacy of His Mind by Miles Orvell / 23
Borstal Revisited by Corey Phelps / 39
James Joyce and James Stephens: The Coincidence of the Second of February by Alan M. Cohn / 61
James Joyce Collections at Morris Library by Steven P. Lund and
Alan M. Cohn / 67
Illustrations
Line drawing of Samuel Clemens by Werner Mertz / 4
Samuel Clemens to Julia Dent Grant, 3 February 1886 / 6-8
Irish Times (dummy) crowns Myles King of Ireland / 24
Manuscript of O\u27Nolan article on James Joyce / 28
Typescript of O\u27N alan light poem on Ezra Pound / 32
Manuscript opening for The Courteous Borstal / 40
Typescript from Behan\u27s Bridewell Revisited / 48
Behan typescript, Deliverance / 54
James Stephens\u27 Sarasvati / 62
Minuette, with comments by Stephens / 64
John Sullivan, James Joyce and James Stephens in Paris / 6
Alan Moore Comics as Performance, Fiction as Scalpel
No full textEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Intro -- Contents -- Preface and Acknowledgments -- Introduction -- CHAPTER 1. Formal Considerations on Alan Moore's Writing -- CHAPTER 2. Chronotopes: Outer Space, the Cityscape, and the Space of Comics -- CHAPTER 3. Moore and the Crisis of English Identity -- CHAPTER 4. Finding a Way into Lost Girls -- Conclusion -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- ZEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
A model driven IDE for M-industries’ Alan
No full textWhile software is becoming increasingly important in our world, software development is also advancing with an increasing pace. One of the reasons is the increase in available information, which triggered the birth of a new programming paradigm: Model Driven Development (henceforth MDD). Though this can shorten the development time and make it easier, there is no real support for this method, and also no fully developed environment. This is where M-industries' Alan is key. A new MDD platform, but with no editor support. That was the initial scope of our project: create an editor capable of supporting Alan. This was no easy task, and so some preliminary research was done, which evaluates existing web-based editors based on the requirements set by us. The main development phase consisted of agile programming cycles where the targets and tasks were subject to changes. This enabled us to focus on creating an intrinsically correct system instead of a fully featured one that needs a lot of patching and cleaning. The result was a well rounded, integrated IDE that has powerful Alan specific features, but may lack some more basic editor features. The IDE was not only developed to aid in model driven development, but was actually developed itself in a model driven way, using M-industries' platform. This allowed for a deep integration with Alan, where the language definition became part of the IDE. To do this, the concept of an "editor state" was introduced, which proved to be an essential an powerful concept for creating an editor for model driven development.Software TechnologyElectrical Engineering, Mathematics and Computer Scienc
Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
No full textThe thesis critically evaluates Jacques Derrida's conferral of the rights of reality on writing, focussing on his theory of an arche-text in light of the speculative nature of this theory. The theory is initially considered in the context of Derrida's elucidation of the usurpatory status of writing within the Platonic and Nietzschean texts. This consideration reveals an admission of writing's usurpatory status by both writers while at the same time demonstrating their awareness of the intrinsically speculative nature of this view, the significance of writing lying in its ability to exteriorise the radically indeterminate status of consciousness m relation to reality rather than its ability to displace consciousness or reality The analyses, therefore, not only bring the Derridean hypothesis of a repressive or phonocentric metaphysical episteme into question but also exhibit the historical and philosophical role of potentiality in relation to writing, writing's ultimate significance lying in its capacity to exteriorise our existence as a mode of potentiality. Accordingly, in the second half of the thesis the Derridean theory of writing is countered with a specifically Aristotelian theory of the text as it is exhibited in the prose of Samuel Beckett, an author whose significance lies in his close alignment with Derridean theory within contemporary criticism. It is demonstrated that this identification has obviated an awareness of the significance of potentiality within the Beckettian text, his work consequently being appraised in the previously neglected context of Aristotelian metaphysics
Interview with Alan Pisarski, January 2015
No full textThis document contains the content of an oral history interview and is part of a series of interviews conducted by the Alan M. Voorhees Transportation Center (VTC). These interviews are personal, experiential, and interpretative, reflecting the memories and associations of individuals. All reasonable attempts are made to ensure accuracy, but statements should not be interpreted as facts endorsed by Rutgers University, the Edward J. Bloustein School, or VTC. The associated website also contains links to other resources, but does not endorse or guarantee their content
Draft Genome Sequence of Micrococcus luteus (Schroeter) Cohn (ATCC 12698)
No full textThe actinobacterium Micrococcus luteus can be found in a wide variety of habitats. Here, we report the 2,411,958-bp draft genome sequence of the type strain M. leuteus (Schroeter) Cohn (ATCC 12698). Characteristic of this taxa, the genome sequence has a high G+C content, 73.14%
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Alan R. Stowers writes Dr. Hector P. Garcia about the latter's recent visit to CCSU campus (correspondence)
No full textAlan R. Stowers, Director of the Corpus Christi State University Public Information Office, sends Dr. Hector P. Garcia copies of the campus newspaper's article about his latest talk on campus and informs him that his comments have been passed along to the author
Alan Bennett's The History Boys
No full textThis article explores Alan Bennett’s The History Boys, as a contemporary play, which manages to
be highly entertaining and at the same time educationally enriching. While not written for
adolescents, they have flocked to see the play onstage. Among other topics, the author focuses on
the different methods of teaching history of three teachers at a secondary school in the North of
England in the 1980s. Dramatic conflict and humour derive from the way the author pits against
each other the view of history held by his teacher-protagonists, often throwing the students into a
state of intellectual confusion. Which teacher are they to believe? Through a close reading of the
play, it would appear that the spectator, including an adolescent spectator, is left free. He or she can
choose to identify with one of the teachers and the view of history she or he is purporting, or simply
watch the play, appreciating the challenging intellectual debate it sets forth
The construction of Karen Karnak: The multi-author-function
No full textThis thesis is situated within the comparatively recent developments of Web 2.0 and the emergence of interactive WikiMedia, and explores the mode of authorship within a Read/Write culture compared to that of a Read/Only tradition. The hypothesis of this study is that the role of the audience has become merged with the author, and as such, represents new functions and attributes, distinct from a more conventional concept of authorship, in which the roles of audience and author are more separate. Read/Write and participatory culture, as defined by this study, is focused on collaboration, and includes the influences of D.I.Y. culture, Open-Source practices and the production of text by multiple authors. Multi-authorship presents a re-thinking of several concepts which support the notion of the individual author, since the focus of multi-authorship is not on attribution and ownership of a finished text, but on the continued malleability of a text. Modes of multi-authorship, demonstrated in the use of the pseudonyms Alan Smithee and Karen Eliot, represent declarative authors whose names signify multiple origins, whilst concurrently indicating a distinct body of work. The function of these names form an important context to this study, since primary research involves the construction of an experimental mode of multi-authorship utilising WikiMedia technology and the interaction of thirty nine participants, who are invited to create a body of work under the collective pseudonym Karen Karnak. The data generated by this experiment is analysed using aspects of Michel Foucault's author-function to identify and determine power structures inherent in the WikiMedia context. The interplay of power structures, including concepts such as identity, ownership and the body of work, affect the resulting mode of authorship and contribute to the construction of Karen Karnak, suggesting further areas of research into the emerging multi-author
How to tell the difference between production and consumption : a case study in Doctor Who fandom
No full textA television series is tagged with the label "cult" by the media, advertisers, and network executives when it is considered edgy or offbeat, when it appeals to nostalgia, or when it is considered emblematic of a particular subculture. By these criteria, almost any series could be described as cult. Yet certain programs exert an uncanny power over their fans, encouraging them to immerse themselves within a fictional world.In Cult Television leading scholars examine such shows as The X-Files; The Avengers; Doctor Who, Babylon Five; Star Trek; Xena, Warrior Princess; and Buffy the Vampire Slayer to determine the defining characteristics of cult television and map the contours of this phenomenon within the larger scope of popular culture.Contributors: Karen Backstein; David A. Black, Seton Hall U; Mary Hammond, Open U; Nathan Hunt, U of Nottingham; Mark Jancovich; Petra Kuppers, Bryant College; Philippe Le Guern, U of Angers, France; Alan McKee; Toby Miller, New York U; Jeffrey Sconce, Northwestern U; Eva ViethSara Gwenllian-Jones is a lecturer in television and digital media at Cardiff University and co-editor of Intensities: The Journal of Cult Media.Roberta E. Pearson is a reader in media and cultural studies at Cardiff University. She is the author of the forthcoming book Small Screen, Big Universe: Star Trek and Television
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