800 research outputs found
Geoacoustic inversion in shallow water
No full textSIGLEAvailable from British Library Document Supply Centre-DSC:DXN032260 / BLDSC - British Library Document Supply CentreGBUnited Kingdo
Messiaen’s Debussy: modes of interpretation in tome VI of Traité de rythme, de couleur, et d’ornithologie
No full textMessiaen devoted Tome VI of his posthumous Traité de rythme, de couleur, et
d’ornithologie to analyses of Claude Debussy’s music. Though Debussy’s influence has
long been a cliché of Messiaen’s biography, the significance of Tome VI lies not in its
ability to elucidate the mechanisms of influence, but rather in the way it discloses
interpretive lenses that Messiaen employed to engage with his predecessor’s work. Based on the assumption that analysis is a fundamentally hermeneutic activity, I examine the tools that Messiaen uses to conceptualize Debussy’s music, and I demonstrate how these modes of interpretation are often bound up with broader conceptions of musical structure and meaning essential to Messiaen’s own music. The dissertation addresses three types of interpretation found in Tome VI: technical
approaches to musical structure, extramusical approaches to water imagery, and the
frequent interpolation of poetic quotations within analysis. First, I explore how
Messiaen’s personal theories of compositional technique shape his interpretation of
altered dominant harmonies, rhythmic variation, and “the rhythm of dynamics” in Tome
VI. Next, I examine Messiaen’s references to water imagery in Debussy’s music, noting a combination of a priori, programmatic, topical, and metaphoric modes of interpretation.
Of all his water descriptions, Messiaen’s metaphor for shocking rhythmic contrast—“the
stone in the water”—reflects a compositional perspective most directly, as striking
durational oppositions play analogous expressive roles in his birdsong settings and
depictions of divine breakthrough. In the final section, I speculate on the interpretive role
of quotations from poetry throughout the volume, for which I infer three hermeneutic
functions: the intertexts elevate the perceived significance of the music, ground musical
details within preexistent narratives, and provide imagery through which the reader can
assess musical details described in adjacent passages. My reading of the poems as
interpretive tools provides a model for interpreting Messiaen’s own music through the
lens of scripture quotations that precede many of his works. By reconstructing these
diverse modes of interpretation, the dissertation forms a picture of Messiaen as a dynamic
interpreter who engages with Debussy’s music through many of the same hermeneutic perspectives that inform his compositional approach.Ph. D.Includes bibliographical referencesIncludes vitaby Timothy Benjamin Cochra
Public worship and practical theology in the work of Benjamin Keach (1640-1704)
No full textThe late seventeenth century was a critical and fruitful period
for the Particular Baptists of England. Severely persecuted following
the Restoration, toleration in 1689 brought its own perils.
Particular Baptists were fortunate in having several strong leaders,
especially the London trio of Hanserd Knollys, William Kiffin, and
Benjamin Keach. Such a small and severely persecuted group as the
Baptists could afford little time for academic pursuits, thus of
necessity most of their theology was practical in nature.
Benjamin Keach (1640-1704) was the most outstanding practical
theologian among the English Particular Baptists of the late
seventeenth century. This dissertation is a study of Keach, in
particular his writings on public worship and practical theology.
Although Keach was a prolific author, he has been almost completely
neglected by scholars.
After a biographical sketch of Keach, this study considers his
writings on public worship and practical theology. In the area of
worship, Keach made two outstanding contributions: First, he was the
most vocal apologist for Baptist views on Baptism of his period.
Secondly, and more importantly, his hymn writing and defense of hymn
singing broke new ground, not just for Baptists, but for English
Protestantism, in general. In addition to his contributions in these
areas, he also dealt with the laying on of hands and the sabbath day
worship controversy.
Keach's contributions to practical theology fall into two main
groups: his writings that concern religious education and those that
deal with polity. In addition to these, Keach's vigorous advocacy of
a high Calvinist soteriology are also considered under the rubric of
practical theology. Keach's most important (although not his most
positive) contribution in this area were his soteriological writings.
Although well within the bounds of orthodoxy, some of the tendencies
in Keach's soteriology were taken up by the following generation of
Baptist leaders and developed into a stultifying hyper-Calvinism that
handicapped Baptist evangelism and missions.
In the conclusion, Keach's contributions to a theory of practical
theology are considered
Holocene Relative Sea-Level Changes from Near-, Intermediate-, and Far-Field Locations
No full textHolocene relative sea-level (RSL) records exhibit spatial and temporal variability that arises mainly from the interaction of eustatic (land ice volume and thermal expansion) and isostatic (glacio- and hydro-) factors. We fit RSL histories from near-, intermediate-, and far-field locations with noisy-input Gaussian process models to assess rates of RSL change. Records from near-field regions (e.g., Antarctica, Greenland, Canada, Sweden, and Scotland) reveal a complex pattern of RSL fall from a maximum marine limit due to the net effect of eustatic sea-level rise and glacio-isostatic uplift with rates of RSL fall as great as -69 ± 9 m/ka. Intermediate-field regions (e.g., mid-Atlantic and Pacific coasts of the United States, Netherlands, Southern France, St. Croix) display variable rates of RSL rise from the cumulative effect of isostatic and eustatic factors. Fast rates of RSL rise (up to 10 ± 1 m/ka) are found in the early Holocene in regions near the center of forebulge collapse. Far-field RSL records exhibit a mid-Holocene highstand, the timing (between 8 and 4 ka) and magnitude (between <1 and 6 m) of which varies among South America, Africa, Asia and Oceania regions.Peer reviewe
Long-Term High-Temperature Stability of Functionalized Graphene Oxide Nanoplatelets in Arab-D and API Brine
No full textPartially reduced graphene oxide (prGO) was covalently functionalized with a zwitterionic polymer polyzwitterionic polymer to afford a composite material with excellent dispersibility and long-term stability in high salinity brines including standard API and Arab-D found in deep oil reservoirs. When heated at 90 °C, the dispersions remained stable in excess of 140 days. These results suggest the utility of imidazolium-based polymers for brine stabilization as well as the use of diazonium containing polymers for a “grafting-to” approach to nanocarbon functionalization.Saudi Aramco (MIT Energy Initiative)Massachusetts Institute of Technology. Institute for Soldier NanotechnologiesCamille & Henry Dreyfus Foundation. Postdoctoral Program in Environmental Chemistry (Fellowship
A new breed of publisher: towards open global sharing
No full textThis presentation was given at the Publishing in Libraries Conference at the College at Brockport, State University of New York on March 20, 2015 as part of a panel discussion entitled 'The repository as publisher: opportunities and challenges in a dual role', with Benjamin Hockenberry, Jessica Clemons, and Timothy Deliyannides. The presentation gives an overview of the evolution of the publishing program at the University of Pittsburgh beginning with the dissemination of new scholarly content through author self-archiving repositories and leading to the publication of scholarly peer-reviewed journals with partners located around the world. Pitt's journal publishing program is detailed. The presentation highlights the library's unique perspective, values, and commitment to openly sharing scholarly research in all its forms worldwide
A New Breed of Publisher: Towards Open Global Sharing
No full textFrom the session: The Repository as Publisher: Opportunities and Challenges in a Dual Role.This presentation was given at the Publishing in Libraries Conference at the College at Brockport, State University of New York on March 20, 2015 as part of a panel discussion entitled 'The repository as publisher: opportunities and challenges in a dual role', with Benjamin Hockenberry, Jessica Clemons, and Timothy Deliyannides. The presentation gives an overview of the evolution of the publishing program at the University of Pittsburgh beginning with the dissemination of new scholarly content through author self-archiving repositories and leading to the publication of scholarly peer-reviewed journals with partners located around the world. Pitt's journal publishing program is detailed. The presentation highlights the library's unique perspective, values, and commitment to openly sharing scholarly research in all its forms worldwide.SUNY BrockportPublishing in Librarie
Absent Look. Edouard Manet and Timothy Clark’s Theory of Modernism
No full textThe paper considers issues of interpretation of Edouard Manet’s oeuvre in the context of the Modernist theory of art. The focus is on the Anglo-American theoretical tradition. The author traces the evolution of Modernist conceptions in the American study of art (from Formalism to “New Art History”). Emphasis is given to Timothy Clark’s “Painting of Modern Life: Paris in the Art of Manet and His Followers” (1984) and its evaluation from the Post-Structuralist point of view. The author concentrates on the key metaphors and mythological constructs of Clark’s text (flatness, literalness, the society of the spectacle, ideology, class, uncertainty, and resistance to interpretation). T. J. Clark’s theory of modernism is analyzed in connection with reductionist and negativist strategies in the modern humanities. T. J. Clark’s attitude to the Formalist tradition and Clement Greenberg’s heritage is examined. The main Marxist conceptions, developed in the works of Marx, Benjamin, and Adorno (alienation, reification, fetishism), have their analogies in aestheticism, formalism and modernism. This is the reason why Clark’s interpretation quite naturally supplements the existing scientific literature on the subject. Specific attention is given to the semiotic element in Clark’s Marxism. The author speaks of the advantages of Manet’s interpretation in Jacques Derrida’s vocabulary of notions (absence / presence, différance, and deconstruction). Particular importance is paid to Manet’s links to Primitivist strategies and eighteenth-century art. The author comes to the conclusion that Marxism can be interpreted as a cultural phenomenon and Modernist hypertext. According to this logic, Clark transforms Marxist theory into a system of metaphors projecting it onto concrete artistic material. The paper is part of the author’s project investigating the origins of modernist / avant-garde art
Benjamin Britten: Composer as Conductor and the Art of Self Interpretation
No full textabstract: In the triumvirate of composer-performer-listener, while the listener always wins, the performer is the interpreter through which the listener experiences the writings of the composer. When the composer and performer are combined, however, a unique situation arises: the link from the composer to the listener becomes a direct line and the composer becomes his/her own interpreter. Such is the case with Benjamin Britten. Britten conducted almost his entire repertoire in recordings for Decca (the exceptions being Paul Bunyan, Owen Wingrave, and Death in Venice). A comparative analysis of the recordings of four of Britten's works, the Serenade for Tenor, Horn, and Strings, Op. 31; Albert Herring, Op. 39; Spring Symphony, Op. 44; and the Nocturne, Op. 60, shows that despite his complaints about performers not following his tempo markings, Britten often deviated from them himself, tending slower. Britten also occasionally added additional rubato, ritardandi, and accelerandi to his works. Additionally, a discrepancy regarding a pitch in the "Prelude" of the Serenade comes to light. Video of Britten conducting the Nocturne in rehearsal with the Canadian Broadcasting Company (CBC) Vancouver provides additional insight into his methodology. Benjamin Britten succeeded as a composer-conductor, and his catalogue of recordings provides essential primary reference material when studying his works.Dissertation/ThesisD.M.A. Music 201
The modernist angel: Art at the Limits of the Human in D. H. Lawrence, H. D. and Mina Loy
No full textPhDThe subject of this thesis is a figure that might provisionally be called the *modemist
angel'. Focusing on modernist literature, and more particularly on the work of D. H.
Lawrence, H. D. and Mina Loy, it aims to isolate from the many angels found in all periods
and all types of art a historically specific and intellectually coherent paradigm: an angel of
and for its modernist times. A figure of precisely this type could be said to exist in the
form of Walter Benjamin's 'angel of history'. Critics who address the question of the
modern angel in texts by Franz Kafka and Rainer Maria Rilke often do so in conjunction
with the problem posed by the angel of history. Beginning with a chapter on Benjamin,
this thesis nevertheless follows a different trajectory. Over five chapters, it explores a
modernist landscape formed not only by Lawrence, H. D. and Loy, but also by European
and American writers such as A. R. Orage, Allen Upward, Ezra Pound, Wallace Stevens,
Havelock Ellis, Edward Carpenter, Sigmund Freud and Friedrich Nietzsche. Although the
angel that emerges from this investigation might, in some respects, be said to anticipate
Benjamin's later version, this figure is also very different, standing for a project that is
distinctively, and recognisably, modernist in nature. He/she (the sex of the modernist
angel is often open to question) represents an attempt to reconcile the divine
responsibilities of the artist with the material and gendered conditions of being,
specifically of being human, in the modem world. This thesis looks again at the clash of
intellectual paradigms in the early-twentieth century - notably, the confrontation of the
Romantic view of art as a superhuman or sacred undertaking with the psychoanalytical or
evolutionary idea that all human endeavour is underpinned by sub-human motives - and
suggests the angel as a new and instructive figure through which to think the perilous
limits between the human and the divine in modernist literature
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