6,049 research outputs found
Current Status of Lichen Diversity in Iowa
No full textCompilation of available herbarium records, as well as additional collections, lead to an estimate of 6,108 identified lichen specimens collected in Iowa that are included in the Iowa Lichens Database. Approximately 35% of the Iowa lichen accessions were collected prior to 1960, while -65% were collected after 1960. These accessions correspond to 448 species reported for Iowa. Of these 448 species, 42 species of macrolichens appear to be rare or extirpated, based on the criterion of no collection records after 1960. Searches for one of these potentially rare or extirpated lichens, Lobaria pulmonaria, have, thus far, been unsuccessful, and the available evidence supports the conclusion that this lichen species is extirpated from Iowa.This article is published as Colbert, James T. "Current status of lichen diversity in Iowa." Journal of the Iowa Academy of Science: JIAS 118, no. 1 (2011): 16-23.</p
Grace and Truth Vindicated, Or The Way to Heaven Manifested, From Scripture and Experience / By John Green, Late Curate of Thurnscoe, in Yorkshire
No full textVorlageform der Veröffentlichungsangabe: London: Printed by H. Cock, in Bloomsbury-Market; for the Author at his House in Great St. Andrew's Street, near the Seven Dials; and fold by G. Woodfall, near Charing-Cross; T. Trye, near Grey's- Inn-Gate; and T. James, under the Royal Exchang
Seal, James T.
No full textSee entry in Colbert County, volume 1, page 54: https://digital.archives.alabama.gov/digital/collection/voter1867/id/98
Butler, James T.
No full textSee entry in Colbert County, volume 1, page 38: https://digital.archives.alabama.gov/digital/collection/voter1867/id/97
Harland, Jas. [James] T.
No full textSee entry in Colbert County volume 1, page 41: https://digital.archives.alabama.gov/digital/collection/voter/id/80
Seal, James T.
No full textSee entry in Colbert County, volume 2, page 53: https://digital.archives.alabama.gov/digital/collection/voter1867/id/105
Martin, James T.
No full textSee entry in Colbert County, volume 2, page 25: https://digital.archives.alabama.gov/digital/collection/voter1867/id/102
A critical comparison of William James and Søren Kierkegaard on religious belief
No full textThis thesis is a critical comparison of the accounts of religious belief proposed byWilliam James and Søren Kierkegaard. Both James and Kierkegaard greatly emphasizethe subjective aspects of religious belief. In view of this fact, surprisingly littlecomparative work has been done in this area. I contribute to this literature in two ways.Firstly, I make a brief assessment of what James knew of Kierkegaard’s work.Secondly, I draw four comparisons between Kierkegaard and James. In Chapter One Iexamine the claim that Kierkegaard proposes a pragmatist account of faith of the kindthat James sets out in his essay The Will To Believe. I argue that this claim rests on amisunderstanding of Kierkegaard’s argument that to have faith is to take a risk. In thefollowing chapter I discuss James’s and Kierkegaard’s views on formal proofs for theexistence of God. Both philosophers reject the notion that faith can be based on suchproofs. I distinguish between their positions, and argue in favour of Kierkegaard’s. Inthe third chapter I compare Kierkegaard’s and James’s accounts of religious experience.James views religious experiences as a special kind of evidence for the existence ofGod. For Kierkegaard it is a mistake to view religious experiences as evidence. Suchexperiences should be understood in relation to the concept of religious authority. In thefinal chapter I examine Kierkegaard’s conception of faith as a life-view. I argue that forKierkegaard a life-view is a fundamental perspective on one’s existence. I compare thisconception with James’s concept of philosophical temperament and in relation to hisdiscussion of the sick soul
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames'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
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