1,359 research outputs found
Who’s “The King of Cuckooz”? Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas, Part I
No full text“The King of Cuckooz” by the acclaimed Australian poet Kenneth Slessor opensthe five-poem sequence The Atlas as well as Cuckooz Contrey (1932), the collection in which it debuted. Like each of The Atlas poems, “The King of Cuckooz” begins with a quote from a prominent seventeenth-century map-maker; in this case, Robert Norton (d. 1635)—the English engineer, gunner, writer, and surveyor. Slessor not only alludes to Norton’s 1620 plan of Algiers throughout the poem, but imagines his narrator assuming Norton’s (highly fictionalized) persona. This article, part of the first full-scale examination of Slessor’s ambitious but poorly understood sequence, begins by considering what critics have said about “The King of Cuckooz,” traces its development in Slessor’s poetry notebook, and details the complex relationships between his poem, Norton’s map, and a particularly lyrical description of that map in an ephemeral catalogue of atlases and maps. Slessor modeled his King of Cuckooz on Barbarossa/Kheir-ed-din (ca. 1478–1546), Algiers’ most charismatic corsair and pasha. But what Norton meant by “The Kingof Cuckooz Contrey” eluded Slessor. By focusing on Norton’s participation in the British expedition against Algiers (1620–1621), tracking down memoirs of foreign officials and former captives in Ottoman Algiers, scouring old maps for “Cuckooz,”and cobbling together the astonishing exploits of the Berber Kingdom of Koukou/Cucco through Norton’s day and beyond—my paper will make the “unknown” known in its strangely poetic reality
Introduction to Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas
No full textThis is the first of seven articles comprising a book-length treatment of The Atlas by the acclaimed Australian poet and journalist Kenneth Slessor (1901–1971). Hisreputation as Australia’s first modernist poet and pioneer of her national poeticidentity began with his 1932 collection Cuckooz Contrey, which opened with one ofthe most original interpretations of cartography in verse: the five-poem sequence The Atlas. Fascinated by maps and navigators’ tales, Slessor began each poem withthe title of a map or an atlas by a cartographer prominent during Europe’s “goldenage of cartography,” and then alluded to that particular work throughout thepoem. The sequence celebrates the cartographic achievements of the seventeenthcentury while imaginatively recreating the worlds portrayed in very differentmaps, including Robert Norton’s plan of Algiers (“The King of Cuckooz”), JohnOgilby’s road maps (“Post-roads”), Joan Blaeu’s plan-view of Amsterdam (“DutchSeacoast”), John Speed’s world map (“Mermaids”), and a map of the West Indies,supposedly by Nicolas or Adrien Sanson, featuring buccaneers and a seafight (“TheSeafight”). Yet none of these maps appears in Slessor’s collections or critical studiesof his work. Nor have his poems been juxtaposed with the atlases, maps, or rarecatalogue of maps that inspired them.I plan to fill these gaps in six future issues of Cartographic Perspectives. Fivewill begin with an Atlas poem—reprinted in its entirety and in the order ofits appearance within the sequence. Analysis of the poem’s content will befollowed by discussion of its introductory quote or epigraph, which Slessor (ashis poetry notebook makes clear) found in the map catalogue. Next comes anexamination of both the cartographer and the map highlighted in the epigraph.By reproducing the map as well as the catalogue’s description of the map, eacharticle will uncover the cartographic connections between Slessor’s publishedpoem and its manuscript versions, its map(s), and the map catalogue. AnEpilogue will round out my series by exploring the unique atlas-like structure ofSlessor’s sequence and identifying the likely author of the catalogue that Slessorcreatively transformed into The Atlas.My Introduction, the only part of the series published in this issue, providesthe background for what will become the first extended examination of The Atlas. Opening with a brief biography of Slessor as poet, journalist, and man-about-Sydney, it surveys Cuckooz Contrey before turning to The Atlas, which debuted inthat collection. The effort that Slessor lavished on his sequence and on masteringthe period in which it is set are revealed throughout the notebook in whichhe drafted all five poems. Reviewing his corpus shows that The Atlas uniquelycombines strategies apparent in Slessor’s earlier and later poems, includinghis emphasis on the arts and the use of illustrations to heighten his poetry’sallure. The Introduction presents the maps created to illustrate his poetry,especially Strange Lands, made by the famously controversial Norman Lindsayand featured as the frontispiece of Cuckooz Contrey. Slessor’s poetic allusionsto maps lead to the magnificent nautical library in which he may have foundthe inspiration for The Atlas. Yet, as the second half of this article demonstrates,that library collection has proved one of many challenges to producing thisgroundbreaking study
La senda cosmológica y alquímica de siete colores (haft rang) en el Haft paykar de Niẓāmī Ganǧawī (m. ca. 570-610/1174-1222)
No full textA partir de una miniatura perteneciente a una magnífica Antología de Iskandar (Persia, Šīrāz, 1410-11, folio 66v; Lisboa, Fundación Calouste Gulbenkian), se analiza la cosmología, el simbolismo de los siete colores (haft rang) y la progresión alquímica en el relato místico Haft paykar (Siete princesas) del poeta persa Abū Md. Ilyās b. Yūsuf Niẓāmī Ganǧawī (m. ca. 570-610/1174-1222). Esta senda de transmutación interior por medio de los colores (cc.:pp.: negro: HP26:180-181; amarillo: HP27:196-197; verde: HP28:214; rojo: HP29:234; azul: HP30:266-267; sándalo: HP31:291 y blanco: HP32:315) finaliza, en sintonía con la tradición irania (mazdeísmo, zoroastrismo, sabiduría iluminativa išrāqī), con el color blanco, símbolo de la pureza del alma y la iluminación.From a miniature belonging to a magnificent Iskandar Anthology (Persia, Šīrāz, 1410-11, folio 66v; Lisbon, Calouste Gulbenkian Foundation), the cosmology, the symbolism of the seven colors (haft rang) and the alchemical progression are analyzed in the mystical tale Haft paykar (Seven princesses) by the Persian poet Abū Md. Ilyās b. Yūsuf Niẓāmī Ganǧawī (d. ca. 570-610 / 1174-1222). This inner path of transmutation through colors (ch.:pp.: black: HP26:180-181; yellow: HP27:196-197; green: HP28:214; red: HP29:234; blue: HP30:266-267; sandalwood: HP31:291 and white: HP32:315) ends, in tune with the Iranian tradition (Mazdeism, Zoroastrianism, išrāqī illuminative wisdom), with the color white, symbol of the purity of the soul and enlightenment
IO Islamic 1548. Haft Gulshan, An Autograph of Muḥammad Hâdî Kâmwarkhân's Compendium of Indian History
No full text<p>IO Islamic 1548. Haft Gulshan, An Autograph of Muḥammad Hâdî Kâmwarkhân’s Compendium of Indian History</p>
IO Islamic 1548. Haft Gulshan, An Autograph of Muḥammad Hâdî Kâmwarkhân's Compendium of Indian History
No full text<p>IO Islamic 1548. Haft Gulshan, An Autograph of Muḥammad Hâdî Kâmwarkhân’s Compendium of Indian History</p>
Linking the Beck Depression Inventory (BDI-I) and the Depression Subscale from the Depression Anxiety Stress Scale-21 (DASS-D)
No full textThe Beck Depression Inventory (BDI-I) and depression subscale from the Depression Anxiety Stress Scale-21 (DASS-D) are two common measures of depressive symptoms. The aim of the present study was to use unidimensional item response theory (IRT) and equipercentile linking methods to produce score cross-walk tables so that the BDI-I and DASS-D could be compared. A sample of college students (N=455; 75% female, 21% White) completed both the BDI-I and the DASS-D simultaneously. Methodology outlined by the PROsetta Stone project (Choi et al., 2021) was used to link the BDI-I and DASS-D using data from this sample. A separate validation sample of individuals recruited from Amazon mTurk (N=136) was used to further test the accuracy of instrument linking methods. Results suggested that the BDI-I and DASS-D were sufficiently unidimensional to be linked, and that IRT-based methods with fixed parameter calibration produced the most accurate score cross-walk tables
ALD-Haftvermittler zur Erhöhung der Haft- bzw. Klebfestigkeit
No full textZur Erhöhung der Haft- und Klebfestigkeit von Niedrigenergie-Polymeren wie PTFE, PP und PE werden plasmabasierte Aktivierungen (Realisierung von dangling bonds) und Modifizierungen (Realisierung von functional groups) verwendet. Die Effizienz dieser Modifizierungen liegt für technisch raue Oberflächen bei ca. 10%, d. h. nur jedes zehnte C-Atom wird aktiviert oder modifi-ziert, weil sowohl LP- (Low Pressure) als auch AP- (Atmospheric Pressure) Plasmen nicht topo-graphietreu wirksam werden. Zudem ist die Lebensdauer der Aktivierung bzw. Modifizierung oft sehr kurz, liegt im Bereich von wenigen Minuten bis zu mehreren Stunden, d.h. zeitnahe Beschich-tung oder Verklebung in Prozessfolge sind unabdingbar.
Im Projekt „HARFE - Haftung, Reproduzierbarkeit, Festigkeit“ soll untersucht werden, in wie weit diese Defizite mittels Atomlagenabscheidung (ALD: Atomic Layer Deposition) vorbeschichteten Polymeren minimiert werden können. ALD-Prozesse sind zum einen topographietreu, zum anderen sowohl ohne als auch mit Plasmaunterstützung realisierbar
Un cas de ‘vérisme’ littéraire timouride : Le conte du mercredi dans les Haft Manẓar de ‘Abd Allāh Hātifī
No full textCet article analyse une histoire faisant partie des Haft Manẓar [Les Sept scénarios] de ‘Abd Allāh Hātifī (mort en 1521). Il s’agit d’une réponse littéraire aux Hasht Bihisht [Les Huit paradis] d’Amīr Khusrau de Delhi, traitant la célèbre histoire des trois fils du roi de Serendip qui connut une grande fortune en Occident grâce à la traduction en italien de Cristoforo Armeno et, à sa suite, celle de Horace Walpole. La version de Hātifī offre à cet auteur l’occasion d’introduire des éléments réalistes d’un grand intérêt qui peuvent être considérés comme de véritables témoignages de la société timouride de son époque.A case of Timurid literary ‘verism.’ The Tale of Wednesday in the Haft Manzar by ‘Abd Allāh Hātifī This article analyses a novel which is part of the Haft Manẓar [The Seven Belvederes] written by ‘Abd Allāh Hātifī (d. 1521). This work is a literary remake of a novel in the Hasht Bihisht [The Eight Paradises] of Amīr Khusraw of Delhi who was devoted to the three sons of the king of Serendib, a tale who had a great success in the West thanks to the Italian translation by Cristoforo Armeno and later by the work of Horace Walpole. Hātifī’s version introduces various realistic elements which could be considered as a real historical evidence of the Timurid society of that time.Пример Тимуридского литературного «веризма». Сказка о Среде в Хафт Манзарах по Абд Аллах Хатифи Данная статья анализирует роман, который является частью Хафт Манзара [Семь сценариев], написанного Абд Аллах Хатифи (ум. 1521 г.). Эта работа является литературным ремейком одной из новелл из Хашт Бихиште [Восемь раев] Амира Хусроу из Дели, который был предан трём сыновьям короля Серендиба. Рассказ имел большой успех на западе благодаря переводу на итальянский язык Кристофором Армено, а позже – работам Хораса Волпоул. В своей версии Хатифи предоставляет разные реалистичные элементы, которые могут быть восприняты в качестве настоящих исторических свидетельств об обществе Тимуридов того времени
haft-helf
No full texthaft275. helf in the St. Joseph's usageDNE-cit JH FEB 1973Not UsedNot usedWithdrawn[see 'helf']Checked by Jordyn Hughes on Mon 20 Apr 2015, stamped but not use
Knowledge Management - En studie av faktorer för implementering av IT-stödd Knowledge Management i en organisation
No full textI denna uppsats undersöker vi vilka faktorer som påverkar en organisation när det gäller dess kunskapshantering (Knowledge Management). De frågor vi har ställt är: * Vilka faktorer påverkar en organisation när de skall managera sin kunskapsutveckling? * På vilket sätt påverkar dessa faktorer kunskapsutvecklingen? * Kan modern informationsteknologi hjälpa kunskapsutvecklingen i det studerade företaget? De verktyg som används vid arbetet är framförallt intervjuer, observationer och analys av sekundär data. De slutsatser vi har tagit av det material vi har haft tillgång till är att storlek, tid, resurser och motivation är kritiska faktorer för en organisations kunskapsutveckling
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