1,227 research outputs found
CCD polarimetry as a probe of regions of recent star-formation
No full textChapter 1 of this thesis details the incorporation of a Charged Coupled Device (CCD) detector system with the Durham Imaging Polarimeter. The details include the physical characteristics of the device and the electronics and software associated with the device control and data storage. The introduction of the CCD detector system haa made necessary the inclusion of a super-achromatic half-wave plate in the polarimeter which has an inherent variability in its optic axis. Chapter 2of this work describes fully how suitable corrections for this effect can be made, and derives "first order" results. The CCD performance is examined in comparison with the detector used previously and hence the veracity of the new results is established. Chapter 3 is a relevant summary of the status of the astronomy of the immediate regions of recent star-formation. Chapter 4 describes multicolour polarimetry of NGC2261/R Mon covering the period 1979 to 1986. The data conclusively proves that the polarisation of R Mon must be due to effects close to R Mon (~ 14 astronomical units). This is evident because of the dynamic timescale of the variations of the polarisation of R Mon and the anomalous band of polarisations seen across the head of the nebula. The interpretation presented is an extension of the Elsasser and Staude (1978) method of polarising objects embedded within the confines of a nearly edge-on disk. Detailed polarisations within the main nebula body provide evidence for this extended interpretation and also for an extensive helical magnetic field which may extend into the disk. Also it is seen that R Mon must still be "shrouded" in material preventing light from directly reflecting in the main nebula body. It is not thought that the variations in the region close to R Mon are due to planetary bodies but to accretion from the disk. The results of this re-interpretation of the polarising mechanism are tentatively applied to other similar objects
Contemporary Art and Transitional Justice in Northern Ireland: The Consolation of Form
No full textAbstract
Contemporary artworks in Northern Ireland are explored here as critical constellations, in Walter Benjamin’s sense, that engage the cultural processes of transition through their problematisation of it. It is argued that the artworks become sites in which the assumptions of transition are opened up for critical reflection, requesting attention to the foreclosing of the meanings of memory, of past-and-future, of community. A mode of critical questioning of the present renders the present problematic not in terms of exclusions nor with reference to a past that cannot or will not be erased, but in terms of the present’s inability to be conceived through a linear conception of time. That is, the past and its relation to both the present and to the future are set in oscillation as artworks explore the complex temporalities of a present self-consciously attempting to narrate itself away from the past. The artworks, ‘without the bigotry of conviction’ as Seamus Deane put it, suggest that the task of dealing with the past is flawed wherever the past is conceived as a history that can be rendered present to be judged by subjects who are thereby placed beyond it. That is the illusion of a present ‘no-time’ that dovetails with the desires of commercial enterprise and neo-liberal conceptions of freedom. If this suggests an unceasing restlessness, the consolation is that this questioning does take a form, not as judgement or political decision but as artworks which by definition, remain open to reinterpretation and new understandings. These issues are discussed with reference to the work of four artists in Northern Ireland: the paintings of Rita Duffy, the photography and installation work of Anthony Haughey, and the sculptural works of Philip Napier and Mike Hogg
Zechariah 9-14 as the substructure of 1 Peter’s eschatological program
No full textThe principal aim of this study is to discern what has shaped the author of 1 Peter to regard Christian suffering as a necessary (1.6) and to-be-expected (4.12) component of faithful allegiance to Jesus Christ. Most research regarding suffering in 1 Peter has limited the scope of inquiry to two particular aspects—its cause and nature, and the strategies that the author of 1 Peter employs in order to enable his addressees to respond in faithfulness. There remains, however, the need for a comprehensive explanation for the source that has generated 1 Peter’s theology of Christian suffering. If Jesus truly is the Christ, God’s chosen redemptive agent who has come to restore God’s people, then how can it be that Christian suffering is a necessary part of discipleship after his coming, death and resurrection? What led the author of 1 Peter to such a startling conclusion, which seems to runs against the grain of the eschatological hopes and expectations of Jewish restoration ideology?
This thesis analyzes the appropriation of shepherd and fiery trials imagery,
and argues that the author of 1 Peter is dependent upon Zechariah 9-14 for his
theology of Christian suffering. Said in another way, the eschatological program of
Zechariah 9-14, read through the lens of the Gospel, functions as the substructure
for 1 Peter’s eschatology and thus its theology of Christian suffering.
In support of this hypothesis, this study highlights the fact that Zechariah 9-
14 was available and appropriated in early Christianity, in particular in the Passion
Narrative tradition; that the shepherd imagery of 1 Pet 2.25 is best understood
within the milieu of the Passion Narrative tradition, and that it alludes to the
eschatological program of Zechariah 9-14; that the fiery trials imagery found in 1
Peter 1.6-7 and 1 Pet 4.12 is distinct from that which we find in Greco-Roman and OT
wisdom sources, and that it shares exclusive parallels with some unique features of
the eschatological program of Zechariah 9-14; that Zechariah 9-14 offers a more
satisfying explanation for the modification of Isa 11.2 in 1 Pet 4.14, the transition
from 4.12-19 to 5.1-4, why Peter has oriented his letter with the term διασπορά,
and why he has described his addresses as οἶκος τοῦ θεοῦ; and finally that 1 Peter
contains an implicit foundational narrative that shares distinct parallels with the
eschatological program of Zechariah 9-14.
We can conclude that 1 Peter offers a unique vista into the way in which at
least one early Christian witness came to understand and to communicate the fact
that Christian suffering was a necessary feature of faithful allegiance to Jesus Christ
Frenzied Philology - Paul Celan, Peter Szondi and Hermeneutic Practice during the Goll Plagiarism Affair
No full text264 pagesMy dissertation, 'Frenzied Philology: Paul Celan, Peter Szondi, and Hermeneutic Practice during the Goll Plagiarism Affair' investigates the philological efforts that Paul Celan, with prominent literary scholars first and foresmost Peter Szondi, mounted in response to plagiarism allegations against Celan between 1959 and 1972. Based on readings of published and archival documents, including in the archives of Paul Celan and Peter Szondi at the Deutsches Literaturarchiv Marbach, the Walter Jens Archive at the Akademie der Künste in Berlin, and the institutional archives at the Freie Universität Berlin, my project maps the debate that ensued in major language feuilletons after Claire Goll had published a letter in 1959 accusing Celan of having plagiarized from her late husband, the French-German surrealist poet Yvan Goll. My analysis reveals that the plagiarism debate became the platform for a literary criticism that contested Paul Celan’s place within German language poetry tradition. Against this tendency, Celan formed alliances with a number of German and French philologists and scholars, most prominently with the Jewish literary scholar Peter Szondi, whose combined effort markedly intervened into the reception of his poetry, even beyond the plagiarism debate. The need to validate the authenticity of Celan’s poetry through the use of philological, empirically cogent tools posed a particular challenge to his critic-allies who also wanted to remain faithful to Celan’s own poetics, which developed a form of speaking of history without recourse to representational models. I argue that these critical interventions develop a non-historicist critical form of reading that becomes aligned with the poem’s temporality. In an exemplary reading of Celan’s poetry, Peter Szondi’s Celan-Studien, this alignment compels Szondi the author to reevaluate and experiment with the rhetorical registers of interpretative writing and begin to harness its own textuality
Post-war British working-class fiction with special reference to the novels of John Braine, Alan Sillitoe, Stan Barstow, David Storey and Barry Hines
No full textThis study is about British working-class fiction in the post-war period.
It covers various authors such as Robert Tressell, George Orwell, Walter Greenwood, Lewis Grassic Gibbon and DH Lawrence from the early twentieth century; writers traditionally classified as 'Angry Young Men' like John Osborne, Arnold Wesker, Shelagh Delaney, John Wain and
Kingsley Amis; and working-class novelists like John Braine, Stan Barstow, David Storey, Alan Sillitoe and Barry Hines from the 1950s and 1960s.
Some of the main issues dealt with in the course of this study are language, form, community, self/identity/autobiography, sexuality and relationship with bourgeois art. The major argument centres on two questions: representation of working-class life, and the
relationship between working-class literary tradition and dominant ideologies.
We will be arguing that while working-class fiction succeeded in challenging and rupturing bourgeois literary tradition, on the level of language and linguistic medium of expression for example, it utterly failed to break away from dominant, bourgeois modes of literary production in relation to form, for instance.
Our argument is situated within Marxist approaches to literature, a political and aesthetic position from which we attempt an analysis and an evaluation of this working-class literary tradition. These critical approaches provide us also with the theoretical tool to define the political perspective of this tradition, and to judge whether it was confined to a descriptive mode of representation or
located in a radical, political outlook
OIMB Term Photo: Summer 1998
No full textSummer 1998
Back Row: Ezra Sage, Danny Draper, Amy Pinson, Lynda Shapiro, Kambiz Tahmaseb, Kim Truesdell, Anthony Spitzack, Barbara Butler, Pat Hatzel, Peter Ellis, Terrin Ricehill, SeanPaul Berube, Mike Marshall, Chris Cziesla, Larry Draper.
3rd Row: Sara Grostick, Kathryn Bath, Anne Maiwald, Jessica Hockstein, Eric Milbrandt, Brook Terwilliger, Katie Jacobs, Ilene Eberly, Shana Pennington, Jeff Goddard, Paula Neill, Jessica Miller, Daniel Webster.
2nd Row: Lara Andrijasevich, Scott Nelson, Christopher Garner, Stine Brown, Barry Costa Pierce, Heather Hanson, Peter Hazelton, P. Thomas Pinit, Samantha Katterman, Katrin Herzog, Laura Humpal, Tyler Lewis, Troy Mutchler, Marie DesLauriers, Steve Fradkin.
Front Row: Sara Gilstrap, Mike King, Nora Terwilliger, Agnieszka Adamczewska, Patrick Baker, Jan Hodder, Walter Weare, Jenna Burd, Amy Puls, Mark Weissinger, Stephanie Patapoff, Dani Hill, Dan Calvert, Alan Sadro, Heidi Wilcox, Mandi Howard, Johnell Mituniewicz, Kiza Gates
Rahel Sanzara Collection circa 1920s-1979 Bulk dates: 1926-1935
No full textThis collection consists mainly of correspondence sent from Berlin banker and businessman Walter Davidsohn to his wife, actress and writer Rahel Sanzara, in the late 1920s and early 1930s. The letters discuss the political, economic, and cultural state of Germany, France, and Switzerland at the time along with personal matters. In addition to the couple’s correspondence are letters from notable German writers and editors to Cleveland State University professor Klaus-Peter Hinze regarding Rahel Sanzara and the writer Ernst Weiss.BERLIN: 12/10/2001: Agreed to send microfilms to Berlin, but not original documentsRahel Sanzara (1894-1936) was the pseudonym for Johanna Bleschke, an actress, dancer, and novelist. She is perhaps best known for her novel Das verlorene Kind (The Lost Child), published in 1926. In 1927, she married the Jewish banker Walter Davidsohn (born 1895). Although they maintained an apartment in Berlin where Davidsohn's business was based, the couple lived apart for extended periods. Davidsohn spent more and more time in France in the 1930s and immigrated to the United States in 1935. Sanzara suffered illnesses during the late 1920s and the 1930s, and she died in Germany in 1936.The author Ernst Weiss (1882-1940) committed suicide in Paris in 1940. Rahel Sanzara acted in productions of his dramas.See Inventory list.ProcesseddigitizedMann, Golo ; Seghers, Anna ; Ehrenstein, Albert ; Fischer, Grete ; Richter, Hans Werne
Musikstädte as real and imaginary soundscapes: urban musical images as literary motifs in twentieth-century German modernism
No full textPhDThis study examines German literary images of musical life as part of the wider sound identity of the modern German city at the turn of the twentieth century. Focussing on a forty-year period from 1890 to 1930, synonymous with the emergence of the modern German metropolis as an aesthetic object, the project assesses, compares and contrasts how musical life in the Musikstädte was perceived and portrayed by writers in an increasingly noisy urban environment. How does urban musical life influence and condition city writings? What are the differences and similarities between the writings on various musical cities? Can an urban textual sound identity be derived from these differences and similarities? The approach employed to answer these questions is a new, cross-disciplinary one to urban sound in literature, moving beyond reading the key sounds of the urban soundscape using urban musicology, sensorial anthropology and cultural poetics towards a literary contextualisation of the urban aural experience.
The literary motifs of the symphony, the gramophone and urban noise are put under the spotlight through the analysis of a wide range of modernist works by authors who have a special relationship with music. At the centre of this analysis are the Kaffeehausliteratur authors Hermann Bahr, Alfred Polgar and Peter Altenberg, the then Munich-based author Thomas Mann and the lesser known René Schickele. The analysis of these particular works is framed in the music-geographical context of the Musikstadt and literary underpinnings of this topos, ranging from Ingeborg Bachmann to Hans Mayer and, once again, Thomas Mann. In analysing these texts, the methodological approach devised by Strohm, who identifies the blending of a range of urban sounds as a definition of urban space and identity, is applied. His ideas combine historical literary
analysis, musical history and urban sociology. They are rarely used in the analysis of the auditory environment.Arts and Humanities Research Council
Westfield TrustWestfield Trust Studentship
Arts and Humanities Reseach Council (AHRC
La politique d'abord. Ritratto di peter Chotjewitz
No full textAt the beginning of the 60. the new avant-garde of the Group 63 theorized both the existence of “two avant-garde”, and essential connection between ideology and language. An ideological revolution had to also involve a revolution of the artistic language and therefore a linguistic choice, a narrative and poetological strategy, was as such also a political one. We can consider work of Peter Chotjewiz (1934 -2010) under the sign of the famous sentence of Walter Benjamin: “The fascism has operated the aestheticizacion of politics, the communism responds with the politicization of art” Since its debut the work of Peter Chotjewitz has been characterized by the search of the "popular" and linguistic experimentation. These two poles, the “legibility” and “comprehensibility” of the text and the original narrative perspective are never melted completely and they are present in unequal measure in his works. The author has always defined he-self as “a realist”; confirming his radical wish to pinpoint the political and social reality even if he has always used all the narrative techniques of our century: the fictitious biography, the novel-document, the montage of different materials. German translator of the Work of Dario Fo, Peter Chotjewitz knew very well the Italian culture and history. The tone of his narrative is always ironic and sarcastic
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