3,761 research outputs found
RoMEO Studies 4: An analysis of Journal publishers' Copyright Agreements
No full textThis article is the fourth in a series of six emanating from the UK JISC-funded RoMEO Project (Rights Metadata for Open archiving). It describes an analysis of 80 scholarly journal publishers’ copyright agreements with a particular view to their effect on author self-archiving. 90% of agreements asked for copyright transfer and 69% asked for it prior to refereeing the paper. 75% asked authors to warrant that their work had not been previously published although only two explicitly stated that they viewed self-archiving as prior publication. 28.5% of agreements provided authors with no usage rights over their own paper. Although 42.5% allowed self-archiving in some format, there was no consensus on the conditions under which self-archiving could take place. The article concludes that author-publisher copyright agreements should be reconsidered by a working party representing the needs of both partie
RoMEO Studies 3: How academics expect to use open-access research papers
No full textThis paper is the third in a series of studies emanating from the UK JISC-funded RoMEO Project (Rights Metadata for Open-archiving). It considers previous studies of the usage of electronic journal articles through a literature survey. It then reports on the results of a survey of 542 academic authors as to how they expected to use open-access research papers. This data is compared with results from the second of the RoMEO Studies series as to how academics wished to protect their open-access research papers. The ways in which academics expect to use open-access works (including activities, restrictions and conditions) are described. It concludes that academics-as-users do not expect to perform all the activities with open-access research papers that academics-as-authors would allow. Thus the rights metadata proposed by the RoMEO Project would appear to meet the usage requirements of most academics
Optimization and Evaluation of Metabolite Extraction Protocols for Untargeted Metabolic Profiling of Liver Samples by UPLC-MS
No full textA series of six protocols were evaluated for UPLC-MS based untargeted metabolic profiling of liver extracts in terms of reproducibility and number of metabolite features obtained. These protocols, designed to extract both polar and nonpolar metabolites, were based on (i) a two stage extraction approach or (ii) a simultaneous extraction in a biphasic mixture, employing different volumes and combinations of extraction and resuspension solvents. A multivariate statistical strategy was developed to allow comparison of the multidimensional variation between the methods. The optimal protocol for profiling both polar and nonpolar metabolites was found to be an aqueous extraction with methanol/water followed by an organic extraction with dichloromethane/methanol, with resuspension of the dried extracts in methanol/water before UPLC-MS analysis. This protocol resulted in a median CV of feature intensities among experimental replicates of <20% for aqueous extracts and <30% for organic extracts. These data demonstrate the robustness of the proposed protocol for extracting metabolites from liver samples and make it well suited for untargeted liver profiling in studies exploring xenobiotic hepatotoxicity and clinical investigations of liver disease. The generic nature of this protocol facilitates its application to other tissues, for example, brain or lung, enhancing its utility in clinical and toxicological studies.<br/
sj-docx-1-jbd-10.1177_01650254221121842 – Supplemental material for What do I want to be? Predictors of communal occupational aspirations in early to middle childhood
No full textSupplemental material, sj-docx-1-jbd-10.1177_01650254221121842 for What do I want to be? Predictors of communal occupational aspirations in early to middle childhood by Marte Olsen, Maria I. T. Olsson, Elizabeth J. Parks-Stamm, Marie Kvalø, Kjærsti Thorsteinsen, Melanie C. Steffens and Sarah E. Martiny in International Journal of Behavioral Development</p
Elizabeth Maconchy - ACE157.6
No full textMaconchy says she writes best for the viola as this is her favourite stringed instrument. Working with Nicholas Logie. Logie playing 1 of 5 Sketches for Solo Viola (1984). Actor reciting Gerard Manley Hopkins’s Pied Beauty over views of countryside. Maconchy talking about her love of poetry, some of which she likes to set to music. Maconchy’s setting of Pied Beauty (1976). Countryside, seashore and sky views. Maconchy on her Irish background and Irish literature, in particular J. M Synge’s prose versions of Petrarch’s sonnets, three of which she used in My Dark Heart (1981). Irish seascapes, fishing boats, etc. My Dark Heart sung over. Rodney Bennett on how Maconchy’s music combines intellectuality and passion. Nicola LeFanu on her mother’s hard work. MacNaghten on Maconchy’s need to write music. Maconchy on composers being engaged in a "continuous exploration". She agrees with W H Auden’s inaugural address at Oxford where he said he never wrote from experience. She doesn’t want to stop composing. Credits
Acquiring minds want to know: plagiarism- a victim speaks out
No full textjournal articleAcquiring Minds Want to Know column: "With all the talk of plagiarism lately, I thought it was time to hear the story of an author who was a victim of plagiarism, a viewpoint that has yet to be presented in ATG
The construal of bishop's ideational profile in flores raras e banalíssimas and rare and commonplace flowers: a corpus-based translation study
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009.This study carried out at the interface of SFL/Translation/corpus-based methodologies investigates the Ideational profile of Elizabeth Bishop in two texts in translation relationship: Flores Raras e Banalíssimas (Oliveira, 1995) e Rare and Commonplace Flowers (trans. Besner, 2002). Its objective is to examine, by means of the categories of the Transitivity System in its experiential component, the Participant =Bishop' and the Processes in which they are inscribed. The pattern of use of the lexical item 'Bishop' is analyzed with a view to observing what kind of Participant is realized by the lexical items related to it and how this Participant can be associated with representations of the American poet both in the textualization (Brazilian Portuguese text) and retextualization (North-American text). The methods for such an investigation were divided into: (i) corpus design, building and processing assisted by WordSmith Tools' suite of programs (Scott, 1999) and (ii) manual corpus analysis complementing automated analysis drawing on the grammar of Processes and Participants. Although results collected from the quantitative analysis show similarities of transitivity patterns in both texts (Bishop is construed as an active Participant involved in Material Processes (43%)), new language configurations emerge in the qualitative analysis. In 10 cases, the Participant Bishop is textualized as Senser and retextualized as Carrier. Such choices of Bishop being a Carrier Participant in the North-American text construes a representation associated with Relational Processes of being, construing a passive Participant in the target context
The transcription and notation of Elizabeth Fry's journal 1780-1845
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis proposes to explain the production of Fry's journal and make available to researchers a full transcription of the autobiographical journal of Elizabeth Fry. This journal tells Fry's life story in an episodic diary format that encapsulates the last forty-eight years of her life. The justification for the production of the transcription and the motivation behind It: The thesis will investigate the importance of Fry's Journal in the evolution of the diary genre. It will justify the huge undertaking entailed in making a full transcription of Fry's journal and will discuss the condition of the journal books and their different locations. How these factors contributed to the delay in producing a transcription earlier will be considered. What motivated Fry to write her journal and what influenced her to continue the process unabated for all her adult life? The reasons Fry had originally given for her journal production changed as her journal evolved and her life priorities changed. I will investigate the destruction of Fry's early journal books and her reasoning behind such editorial interference and her motivation for keeping others. Finally this section will close with an analysis of Fry's journal in order to establish what class within the diary genre it belongs. Dyslexia and its effect on Fry's journal text and the editorial procedures adopted: This part of this thesis discusses the indicators of dyslexia within the journal text and their
effect on the journal's production. I explain the resulting methodology adopted to alleviate the destructive effect that dyslexia had on the journal text. I have limited the editorial interventions undertaken when producing the transcription as I wished to maintain the integrity of Fry's journal. The final part of the thesis evaluates Fry's journal by making a
comparison with a contemporary journal. The journal I used for comparison was written by
Deborah Darby, a woman who shared many of Fry's life experiences. This thesis will
establish Fry's journal as belonging to that elite group of great diarists that includes Pepys. The appendices: these consist of a short biography of Fry with a published work explaining her role in the founding of modern nursing. A glossary of Quakers and the Gurney family terminology and finally a bibliography and the first two books, from Fry's journal with notes
Elizabeth Maconchy
No full textBusts, paintings and statues of composers. Music over. People listening on headphones. None of them knows who wrote what they’re listening to, when it was written, what nationality it is. Elizabeth Maconchy working on a score. Maconchy at work, by herself and with other musicians. Richard Rodney Bennett talking about Maconchy and his early dealings with her. Maconchy talking about her life and career. Photographs of her and her family. Film of Dublin where her family moved after First World War. View of Albert Hall from the Royal College of Music where she went in her teens. Interiors of the RCM. Photographs of Charles Wood and Ralph Vaughan Williams who was a great influence. Pathetone item Sir Henry Wood and members of the B.B.C. Symphony Orchestra in Vaughan Williams "Serenade to Music"; Maconchy VO. Photograph of Bela Bartok, another strong influence. Photograph of Maconchy. She talks about going in for the Mendelssohn scholarship, and Sir Hugh Allen’s comments on her not getting it. Photograph of her and her husband. Family sitting in garden; Maconchy’s, daughter Nicola LeFanu, did win the scholarship. Poster for 1935 Prague contemporary music festival; 1939 programme from the Smetana Hall including Maconchy’s Piano Concerto. Programme for 1930 Promenade Concert, including Maconchy’s The Land; some of the press coverage of this. Talks about the prejudice outside college against female composers. Photographs of Elisabeth Lutyens, Iris Lemare, Anne MacNaghten who started their own concerts. MacNaghten at the Mercury Theatre, London, talking about the concerts.String Quarter No.1 (1933) played by the Lindsay String Quartet. Maconchy and her daughter in the garden. MacNaghten VO about her being ill with tuberculosis and having to live in a hut in the garden as part of the treatment, which cut her off from the rest of the musical world. MacNaghten thinkis this helped her develop her own individuality. News cutting, photographs of Maconchy with her daughter. String Quarter No.1 (1933) played by the Lindsay String Quartet. MacNaghten talking about their concerts. Photographs of some of the women involved, of women factory and railway workers, revolutionary posters. Photograph of Igor Stravinsky, photographs of the Russian ballet. MacNaghten talks about these as influences and about British "isolationism".String Quarter No.12 (1979) played by the Lindsay String Quartet. Maconchy VO likes her music to be "an impassioned argument"; she believes she has worked this out with her string quartets which have been crucial to her musical development. String Quarter No.12 (1979) played by the Lindsay String Quartet. Occasional Maconchy VO. Maconchy on the process of composition, and working on a new piece at the piano. The plan must be conscious but the unconscious will take over after that. She writes slowly after much deliberation. Composing is a "selfish" occupation and doesn’t make much money, at least in the early years. William LeFanu, Maconchy’s husband, reminisces about an event in 1930, when Gustav Holst came to hear a rehearsal and encouraged him to keep her composing. Wind Quintet (1982), played by the Albion Ensemble. Brief Maconchy VO on her work for wind instruments. Maconchy on contemporary music, some of which she likes, but some she believes to be very poor. Family in the garden. She’s particularly interested in the work of her daughter, Nicola, and her son-in-law, David Lumsdaine. Maconchy trying a piece at the piano with her daughter. Nicola LeFanu saying that she had only recently realised that it was often considered odd for a woman to be a composer. Talking about her mother playing partly completed pieces to her. Music for Strings (1983) which LeFanu says is structured quite differently to previous works. Images of Wells Cathedral where the piece is being played by the Wells Cathedral Chamber Orchestra Rodney Bennett says that Maconchy composes "practical" music as she understands the mechanics of playing the instruments she writes for. The youth orchestra and more Music for Strings. Maconchy says she writes best for the viola as this is her favourite stringed instrument. Working with Nicholas Logie. Logie playing 1 of 5 Sketches for Solo Viola (1984). Actor reciting Gerard Manley Hopkins’s Pied Beauty over views of countryside. Maconchy talking about her love of poetry, some of which she likes to set to music. Maconchy’s setting of Pied Beauty (1976). Countryside, seashore and sky views. Maconchy on her Irish background and Irish literature, in particular J. M Synge’s prose versions of Petrarch’s sonnets, three of which she used in My Dark Heart (1981). Irish seascapes, fishing boats, etc. My Dark Heart sung over. Rodney Bennett on how Maconchy’s music combines intellectuality and passion. Nicola LeFanu on her mother’s hard work. MacNaghten on Maconchy’s need to write music. Maconchy on composers being engaged in a "continuous exploration". She agrees with W H Auden’s inaugural address at Oxford where he said he never wrote from experience. She doesn’t want to stop composing. Credits
Authors' attitudes to, and awareness and use of, a university institutional repository.
No full textThis article reports the findings of an author study at Cranfield University. The study investigated authors' publishing behaviours, attitudes, concerns, and their awareness and use of their institutional repository (IR), Cranfield QUEprints. The findings suggest that despite a reasonable amount of advocacy many authors had not heard of QUEprints and were not aware of its purpose. Once explained, all authors saw at least one benefit to depositing a copy of their work to QUEprints, but many were unsure how to deposit, preferring to depend on the Library to do the work. The authors voiced few concerns or conditions regarding the inclusion of their work in QUEprints, but felt that it would be an extra, inconvenient step in their workload. This research led to the development of the Embed Project which is investigating how to embed the IR into the research process and thereby encourage more authors to deposit their work
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