1,667 research outputs found
Electrosynthesis in systems of two immiscible liquids and a phase transfer catalyst
No full textThis thesis examines the effect upon yield of the electrolysis parameters for anodic aromatic substitution in two phase systems using phase transfer catalysis. The mechanism of such roactiona was also studied. Product yields from acotoxylation of 1,4-dimethoxybenzene are shown to be dependent upon (i) ratio of nucleophilo to substrate (in the organic phase) (ii) current density (iii) charge passed. The optimum conditions are 1,4-dimethoxybenzene (4 mmoles) in CH2C12 (40 cm3), AcOH (0.18 moles), NaOAc (0.18 moles) and BuiNHSOi (4 mmoles) in sat. Na2S04 (sq. 40 cm3) i - 32.5 mA cm-2 Q - 2F/mole organic yield 87%, current yield 61%. Other acyloxylations of 1,4-dimethoxybenzene and acetoxylotions of other aromatic substrates are also reported. The yield of cyanonaphthalene is shown to be dependent upon (1) and (ii) above. However, (iii) is less important. The optimum conditions are C1SHS (0.02 moles) in CH2C12 (100 cm3), NaCN (0.06 moles) and BusN+Na+SO42- (0.03 moles) in sat. Na2SO4 (sq. 100 cm 3), 1 - 20 mA Cm 2 Q -1.5 F/Mol 100% organic yield 67% current yield. The yield of chloronaphthalene is shown to be dependent upon (i), (ii) and (iii) above. Complexation of the chloride with ZnC12 improves organic yields from 56% to 92%. The optimum conditions are C1SHs (0.01 moles) in CHZC12 (100 cm3), ZnC12 (0.15 moles), NaCl (0.3 moles) and Bu4NH80i (0.01 moles) in sat. Na2S04 (sq. 100 cm3) 1 = 48.7 mA cm Q - 1F/mol organic yield 74% current yield 56%.</p
Steven Millhauser, 23rd annual ODU Literary Festival
No full textSteven Millhauser is the author of the Pulitzer Prize-winning novel, Martin DressIer (1996), which was also a finalist for the National Book Award. In his most recent novella, Enchanted Night (1999), he captures the suspended dreams and desires of a sweltering summer night in southern Connecticut.
He is also the author of the critically acclaimed The Knife Thrower and Other Stories (1998) and Edwin Mullhouse: The Life and Death of an American Writer. Walter Clemons in Newsweek called Edwin Mullhouse a major debut. Richard Locke in Life said it was Astounding and delightful. . . enormously funny and moving. . . a thoroughly original, brilliant first novel. The New York Times Book Review said it soars with the breath-held clarity of true fiction. Critics have declared that Millhauser’s work has a resonance and fairy tale allure. According to Kirkus, he is that rarity in American fiction: the writer who keeps getting better and better. He teaches at Skidmore College in Saratoga Springs, New York
The invisible artist: Arrangers in popular music (1950-2000): Their contribution and techniques
No full textThis thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel University.This thesis is based on the research conducted by the author for the series,
Richard Niles' History of Pop Arranging, seven thirty-minute documentary
programmes for BBC Radio 2, researched, written and presented by the author and
broadcast in 2003. It also draws on interviews conducted by the author (and other
research) between 2002 and 2007 both for the radio series and for this thesis and on
the author's experience as a professional arranger in popular music working with
many of the genre's significant recording artists including Paul McCartney, Ray
Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James
Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve
Lipson, Steve Mac and Steve Anderson.
It will be argued that the role of the arranger in popular music has often been
undervalued and that during a critical period of popular music history (1950-2000)
arrangers played a significant part in the evolution of musical content. This thesis is,
to the best of the author's knowledge, the first time (apart from the above mentioned
documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on
record liner notes or in books or articles concerning popular music. A considerable
amount of research has been necessary to determine who wrote many of the
arrangements considered herein. Motown's Berry Gordy purposely kept the names of
musicians and arrangers off the records because he feared others might 'poach' the
trademark 'Motown Sound'. Other record labels considered the job of the arranger to
be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and
spontanaeity they wished to promote. Some producers and recording artists disliked
sharing credit for their work. Motown arranger David Van dePitte told the author that
arranging was "thankless and anonymous - a very service-oriented profession where
others often take credit for what you've done." Arranging has therefore remained an
intrinsically unseen art created by 'invisible' artists. By analyzing many recordings,
revealing the techniques and concepts they have used in their work to create popular
records, arrangers and their art will be made more 'visible'
The Southeastern Librarian, Vol.29, No.04, Winter 1979
No full text1 electronic record. 63 pages. Scanned from original document.
Contents Include: Ellis E. Tucker- Editor's Page- 191, Helen D. Lockhart- From the President's Desk- 193, Letters to the Editor- 195, Elliot R. Horton- Nominating Committee Requests Help- 197, Charlotte Folk- The Researcher Researched: An Interview with Richard B. Harwell- 199, Ron Ecker- The Archives of Ancient Ebla- 207, Boyd Childress- Library History and College Catalogs- 210, Michael McDavid- Beyond Faculty Status: Creating a Library Constitution- 218, Ideas, Concepts, and Practices- 221, John David Marshall- Librarian's Bookshelf- 222, SELA Chronicle-231, Steven B. Schoenly- Index to Volume XXIX, 1979- 239, Index to Advertisers- 220The Southeastern Librarian, Vol.29, No.04, Winter 1979. Periodical
The Duchess of Suffolk
No full textWith the inaugural edition of the Early Modern Drama Texts series, Richard Dutton and Steven K. Galbraith illuminate the only surviving work of playwright and actor Thomas Drue. First performed by the Palsgrave’s Men at the Fortune Theater in 1624, The Duchess of Suffolk dramatizes the exile of Protestant noblewoman Katherine Willoughby (1519–80) during the reign of Catholic Queen Mary I (1516–58). Drawing from popular accounts in works by John Foxe and Thomas Deloney, Drue created a narrative of exaggerated peril, as the Duchess and her companions are chased across the continent. The embellished history evokes many iconic figures of the Reformation, from the celebrated Oxford Martyrs Hugh Latimer, Thomas Cranmer, and Nicholas Ridley to Bishop Edmund Bonner, whose infamous reputation had earned him the soubriqet “bloody Bonner.” A tragicomic history, The Duchess of Suffolk still resonated when it was written and performed in early seventeenth-century England some seventy years later.With this volume, Dutton and Galbraith provide a critical apparatus that situates The Duchess of Suffolk in historical context and suggests an explanation for its continued resonance. They account for the play’s censorship in 1624 by detailing how it evoked contemporary parallels to the controversial foreign policy of King James I. More specifically, the editors offer an introduction that includes a historical overview of the author, staging, printing, and reception. Facing facsimiles of the original are pages with the updated text, complete with annotations to clarify language and staging details. This edition of The Duchess of Suffolk will have something to offer to early modern drama scholars as well as scholars of book history
Food and eating in fiction since 1950 with particular reference to the writing of Angela Carter, Doris Lessing, Michele Roberts and Alice Thomas Ellis.
No full textPhDEating is a fundamental activity. What people eat, how and with whom, what
they feel about food, what they do or do not want to eat and why - even who
they eat - are of crucial significance in any reading of human behaviour.
In this thesis, I consider the diverse and complex uses of food and eating
in fiction since 1950, especially that written by women. I argue both that food
and eating carry much of the meaning of a novel or story and that the acts of
cooking, feeding and eating depicted are inseparable from issues of power and
control: individually, interpersonally, culturally, politically.
My discussion centres on the writing of Angela Carter, Doris Lessing,
Michele Roberts and Alice Thomas Ellis. Drawing on psychoanalytic theory,
sociology, anthropology, Foucault, Bakhtin and others, the thesis aims to
construct an interdisciplinary perspective which both resists reductive
interpretations and emphasises the centrality, complexity and diversity of food
and eating in literature in our culture.
I begin with an examination of the ambiguities of maternal feeding and
nurturing, moving on to explore the links between appetite, eating and sexuality.
I explore cannibalism and vampirism as manifestations of oppression, but also as
indicating insatiable emptiness and transgressive appetite. The body itself is
crucial, and my argument considers the paradox of not eating as
control/enslavement, also tracing self-starvation as a positive route towards
wholeness and connection. The last part of my argument focuses on social
eating, examining conventions, rituals and food itself in connection with power
relations, and finally considers how we might truly speak of food and eating in
the context of society as a whole
Pitch structure in Morton Feldman's compositions of 1952:
No full textDuring the year 1952, Morton Feldman composed only a few works, each of which possesses several similarities: each work is scored for the piano, each work was premiered by David Tudor, each is rather modest in proportions, and most importantly, each shares a very similar pitch structure with the others, both
in terms of the particular sonorities that Feldman employs and in terms of how these sonorities are juxtaposed and progress throughout each composition. This essay will show how Feldman, during this early stage of his career, was using a unified pitch language, and furthermore, how one can perceive his pitch structures not only as isolated sonic events, but with clear and integrated relationships to each other. The primary compositions that will be the focus of the paper are Piano Piece 1952, Intermission 5 and Extensions 3. The essay will be in the form of a comparative analysis, using set theory to draw relationships between the pitch structures in each composition.Ph.D.Includes bibliographical references (p. 46-47)by Paul Steven Undreine
Effect of sintering time and composition of sintering aids on the core-rim microstructure and material properties of spark plasma sintered silicon carbide
No full textSilicon carbide is an industrial ceramic used for many applications. Due to its complicated crystal structure, many different types exist and can be made to have a “core-rim” microstructure in individual grains. In this work, SiC samples were processed via a co-precipitation and spark plasma sintered to examine the core-rim microstructure by altering the sintering time when spark plasma sintered, the additive amounts, and the polytype composition. Samples were characterized via density, hardness, FESEM, XRD, and Raman analysis depending on the type of samples. The density and hardness of samples showed that the samples for the dwell time studied were densified but the ones of varying polytype were not. The hardness generally increased with longer sintering dwell times, whereas the density measurements were too similar to discern any appreciable difference between samples. The extent of the core-rim structure as seen from FESEM images had a large variability, but preliminary results hint at less core-rim features with longer dwell times. The XRD results were typical of the materials present in the sample and showed a SiO2 phase.M.S.Includes bibliographical referencesIncludes vitaby Steven E. Bagiensk
Is the debt crisis history? Recent private capital inflows to developing countries
No full textThe outlook for economic development for an important group of middle-income countries has again been buoyed by substantial private capital inflows in the 1990s. As in the 1970s, this development has been met with cautious optimism. It is generally accepted that these countries need resource transfers from the rest of the world to support capital formation and growth. It is also generally accepted that these private capital flows make the allocation of resources more efficient. But there is concern that a rapid reversal of market sentiment could impose considerable adjustment costs on these same economies. The authors try to quantify what many consider to be the main reasons debtor countries have access to capital markets again: (a) Domestic policy reform in the debtor countries. (b) Debt and debt service reduction, usually associated with Brady Plan restructuring. (c) Changes in the external market, such as changes in interest rates in industrial countries. They argue that a useful barometer for access to new loans is the market value of existing sovereign debt. It follows that a quantitative analysis of the factors that caused the market value of sovereign debts to rise rapidly after 1989 would also improve understanding of the forces behind the renewed access to international capital. Empirical historical evidence suggests that fiscal reform, privatization, and debt reduction are useful in explaining relative improvements in the standing of debtor countries in international credit markets. Debtor countries with strong reform programs, in other words, are better prepared to withstand deterioration in the external environment. But the reduction in dollar interest rates since 1989 appears to be the chief factor in the debtor countries'renewed access to international loans. The authors estimate the effect of increases in dollar interest rates and conclude that the typical debtor country remains vulnerable to increases in interest rates that are well within the range of recent experience.Economic Theory&Research,Environmental Economics&Policies,Banks&Banking Reform,Strategic Debt Management,Financial Intermediation
It's a True Kinda Love: Steven Universe and How Its LGBTQ Characters Shows a Positive Representation of Gender Non-Conforming Identities and Lesbian Relationships
No full textThe author has granted permission for their work to be available to the general public.This research effort analyzed different representations of queerness, mainly same-sex relationships and gender non-conforming identities, in Steven Universe through the different characters in the show. It examined the representations of LGBTQ (Lesbian, Gay, Bisexual, Transgender and Queer) characters for children to watch, due to most LGBTQ youth facing homelessness because of their identity, along with isolation from friends and family, as well as harassment from their peers in school. Using different theoretical perspectives from queer theorists Judith Butler and Cathy Cohen we can discover themes in Steven Universe that correlate with the theoretical concepts, mainly the analysis of nonnormative identities that the show depicts. A content analysis of forty selected episodes with twenty episodes depicting important queer moments throughout the show was conducted, in contrast of 20 episodes that did not contain queer content will be conducted to determine if queer content is prevalent within Steven Universe. The findings illustrated positive representations of lesbian relationships, characters that challenge gender norms, or even blur the gender binary, and safe spaces for queer individuals in the show.Sociolog
- …
