26,789 research outputs found
Project The Future - The Projections
No full text'Project The Future' is a concept album designed, composed and written by Adam de Paor-Evans under the name The Projections. It is a reflective album containing eleven songs which critically position eleven narratives within contemporary themes of: racism and race denial, financial and personal struggle, intellectual trajectories within hip hop, personal loss, and paranoia.
The album is a reification of The Projections' collaborative work, and de Paor-Evans worked with five producers from the UK and Germany to craft this album which was released on vinyl through B-Line Recordings, UK in 2016. Limited runs with artwork by de Paor-Evans were made to promote the release.
https://www.discogs.com/The-Projections-Project-The-Future/release/888282
ADAM SMITH'S OPTIMISTIC TELEOLOGICAL VIEW OF HISTORY
No full textAdam Smith's four-stage theory provides the framework for his writings on history. The fourth stage is the commercial epoch; the culmination of history in this stage is a key component in the conventional interpretation of Adam Smith as a prophet of commercialism. In two historical case studies Smith shows the capacity of commercial society to regenerate itself. This potent capacity suggests that commercial society is inevitable. At a certain point in time it also overcomes the major obstacles to its permanence. Smith's philosophy of history anticipates the end of history views of Kant and Hegel.Political Economy,
How Might Adam Smith Pay Professors Today?
No full textAdam Smith’s proposal for paying professors was intended to induce increased faculty knowledge. If students have imperfect information about what they learn, and universities can only imperfectly measure the input of faculty time in student learning, publications may be used to measure faculty knowledge. If professors’ ability to publish is positively related to their ability to produce student learning, which universities can imperfectly measure, publications may be necessary to attract more able professors. Since research signals faculty knowledge, schools that do not value publications per se could require higher publication standards and pay higher wages than schools that value only publications.
ADAM SMITH'S VIEW OF HISTORY: CONSISTENT OR PARADOXICAL?
No full textThe conventional interpretation of Adam Smith is that he is a prophet of commercialism. The liberal capitalist reading of Smith is consistent with the view that history culminates in commercial society. The first part of the article develops this optimistic interpretation of Smith's view of history. Smith implies that commercial society is the end of history because 1) it supplies the ends of nature that he identifies; 2) it is inevitable; and 3) it is permanent. The second part of the article shows that Smith has some dark moments in his writings where he seems to reject completely such teleological notions. In this more civic humanist mood he confesses that commercial society does not supply the ends of nature, nor is it inevitable, nor is it permanent. Both views exist in Smith and the commentator is forced to choose between passages in Smith's work in order to support a particular interpretation of the former's view of history.Political Economy,
Amanda Evans' Graduate Recital
No full textOriginal Format: CassetteComposers in the graduate recital: Wolfgang Amadeus Mozart; Johann Sebastian Bach; Charles Gounod; George Frederick Handel; Hugo Wolf; Thomas Arne; Claude Debussy; Lee Hoiby; Adam Guettel; Kurt WeillRecital: Sopran
Adam Bede: Author, Narrator and Narrative
No full textReaders of novels seem to have a natural, almost instinctive, tendency to perceive the voices of the author and the omniscient narrator as being one and the same. This tendency is even stronger when the narrator is blatantly intrusive, frequently inserting his own opinions into the objective narrative material of the novel. And although there are certainly some novelists who truly intend their narrative voices to be perceived as their own, this is not the case with George Eliot in Adam Bede.
In analyzing the narrative voice in this particular novel, I was struck by the almost total agreement, on the part of the critics, that there is a distinction in Eliot\u27s work between the author and the narrator. In fact, Barbara Hardy goes one step further and makes a case for a third category, discriminating between characters who tell their stories, the narrator who does everything but tell his or her story, and the reticent author whose name never appeared on the cover or title-page.! For the purposes of this study, I will be using categories which are basically parallel to Hardy\u27s, though my third category differs somewhat: (1) the author - Mary Ann Evans, (2) the narrator - George Eliot, and (3) the narrative itself.
Any serious student of English literature knows that \u27George Eliot\u27 is the pseudonym for Mary Ann Evans, but the fact was hardly common knowledge to the readers of Adam Bede in 1859. The newly-published novel was an immediate success, selling thirteen thousand copies in the first year, and two thousand copies in the first month alone. A comment by Elizabeth Gaskell, the Victorian novelist and biographer of Charlotte Bronte, humorously reflects both the mystery of the author and the popularity of the novel: \u27I have had the greatest compliment paid me I ever had in my life. I have been suspected of having written Adam Bede\u27.2 While I do not wish to elaborate on the historical facts surrounding the mystery of the author hiding behind this pen name, it is important to try to understand why Mary Ann Evans chose to let George Eliot narrate Adam Bede, rather than speaking through her own authorial voice.
The use of pseudonyms has been fairly common practice throughout the history of English literature, particularly among female writers who felt the need to disguise themselves behind a man\u27s name. Just a decade earlier, the Bronte sisters had published novels and a book of poetry in the names of Acton, Currer and Ellis Bell. Pseudonyms create a situation in which the relationship between the author and the work is reserved, and the fiction creates a reality, rather than reality creating fiction. Or as Michael Ginsburg explains it, \u27The author who chooses to use a pseudonym wants to upset the normal relationship according to which he is the father of his works; he wants to be himself an offspring of his own imagination
Adam Bede: Author, Narrator and Narrative
No full textReaders of novels seem to have a natural, almost instinctive, tendency to perceive the voices of the author and the omniscient narrator as being one and the same. This tendency is even stronger when the narrator is blatantly intrusive, frequently inserting his own opinions into the objective narrative material of the novel. And although there are certainly some novelists who truly intend their narrative voices to be perceived as their own, this is not the case with George Eliot in Adam Bede.
In analyzing the narrative voice in this particular novel, I was struck by the almost total agreement, on the part of the critics, that there is a distinction in Eliot\u27s work between the author and the narrator. In fact, Barbara Hardy goes one step further and makes a case for a third category, discriminating between characters who tell their stories, the narrator who does everything but tell his or her story, and the reticent author whose name never appeared on the cover or title-page.! For the purposes of this study, I will be using categories which are basically parallel to Hardy\u27s, though my third category differs somewhat: (1) the author - Mary Ann Evans, (2) the narrator - George Eliot, and (3) the narrative itself.
Any serious student of English literature knows that \u27George Eliot\u27 is the pseudonym for Mary Ann Evans, but the fact was hardly common knowledge to the readers of Adam Bede in 1859. The newly-published novel was an immediate success, selling thirteen thousand copies in the first year, and two thousand copies in the first month alone. A comment by Elizabeth Gaskell, the Victorian novelist and biographer of Charlotte Bronte, humorously reflects both the mystery of the author and the popularity of the novel: \u27I have had the greatest compliment paid me I ever had in my life. I have been suspected of having written Adam Bede\u27.2 While I do not wish to elaborate on the historical facts surrounding the mystery of the author hiding behind this pen name, it is important to try to understand why Mary Ann Evans chose to let George Eliot narrate Adam Bede, rather than speaking through her own authorial voice.
The use of pseudonyms has been fairly common practice throughout the history of English literature, particularly among female writers who felt the need to disguise themselves behind a man\u27s name. Just a decade earlier, the Bronte sisters had published novels and a book of poetry in the names of Acton, Currer and Ellis Bell. Pseudonyms create a situation in which the relationship between the author and the work is reserved, and the fiction creates a reality, rather than reality creating fiction. Or as Michael Ginsburg explains it, \u27The author who chooses to use a pseudonym wants to upset the normal relationship according to which he is the father of his works; he wants to be himself an offspring of his own imagination
Studies into the detection of buried objects (particularly optical fibres) in saturated sediment. Part 3: experimental investigation of acoustic penetration of saturated sediment
No full textThis report is the third in a series of five, designed to investigate the detection oftargets buried in saturated sediment, primarily through acoustical or acoustics-relatedmethods. Although steel targets are included for comparison, the major interest is intargets (polyethylene cylinders and optical fibres) which have a poor acousticimpedance mismatch with the host sediment. This particular report provides a briefhistorical overview of sediment propagation models has been presented. Two theorieshave been covered: the Biot-Stoll theory; and wave scattering from random roughsurfaces. The debate surrounding the observations of, so-called, anomalous acousticpenetration has also been discussed.This series of reports is written in support of the article “The detection by sonar ofdifficult targets (including centimetre-scale plastic objects and optical fibres) buriedin saturated sediment” by T G Leighton and R C P Evans, written for a Special Issueof Applied Acoustics which contains articles on the topic of the detection of objectsburied in marine sediment. Further support material can be found athttp://www.isvr.soton.ac.uk/FDAG/uaua/target_in_sand.HTM
Review of the genus Tricheops Newman (Coleoptera: Cerambycidae: Cerambycinae) with description of two new species from Western Australia
No full textEvans, Brenda, Ślipiński, Adam (2016): Review of the genus Tricheops Newman (Coleoptera: Cerambycidae: Cerambycinae) with description of two new species from Western Australia. Zootaxa 4137 (4): 569-577, DOI: http://doi.org/10.11646/zootaxa.4137.4.
While the Scottish people may be on the brink of the unknown, the Welsh continue to prefer familiarity
No full textHas the Scottish independence debate and the narrowing of the opinion polls ahead of the referendum stirred desire for an independence referendum in Wales? Adam Evans looks at how the polls have changed over time, finding the Welsh are still showing little appetite for independence
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