193 research outputs found
Letter From Anne Byron to Mr Colman
No full textabstract: Concerning Anne Byron's switch of an appointment with Mr Colman from tomorrow to today.Condition: Foxing and glue residue.Curator's Note: Handwritten note at top reads "Lady Byron."Creation Date Details: Date of 8 April 1845 not written by Byron. Assumed to have been written by Mr Colman, the recipient of the letter
Exploring Narrative Therapy : Arthur Ransome’s Old Peter’s Russian Tales and Pamela Colman Smith’s Annancy Stories
No full text本論はイギリス人児童文学作家アーサー・ランサムによる『ピーターおじいさんの昔話』と、タロット画家として有名なイギリス生まれのパメラ・コールマン・スミスによる『アナンシ物語』は両作家にとっての「ナラティブセラピー」としての効果があったことを示す論考である。
ランサムは自伝で、どんな本よりも、コールマンの『アナンシ物語』から、物語の技術の多くを学んだと回顧しているが、ランサムとコールマンについての研究はほぼほぼ皆無である。そこで、本論ではランサムがコールマンからどのような影響を受けたのかというリサーチ・クエスチョンに対し、その答えを両作家がある異国の昔話を「語り直し」ていることに着目し、その意味と意義を社会構成主義から派生した心理学療法である「ナラティブセラピー」に見出そうとするものである。
「語り直し」における、聴衆に向けての効果と、語り手自身への効果を考察し、結果的に、ランサムはコールマンから異国の「民話」を「語り直し」自国で伝承していくテクニックとその意義を見出し、のちの「つばめ号シリーズ」へと続く自身の児童文学作家としてのキャリアの道を切り開いていったことを論証する。This paper explores the possibility that Old Peter’s Russian Tales (1916) by English children’s author Arthur Ransome and the Jamaican folklore, Annancy Stories (1899) written by Pamela Colman Smith, a British-born female artist, famous only as a tarot painter, may have served as a form of “narrative therapy” for both authors. Ransome claimed in his autobiography that he learned more about storytelling from Colman’s Annancy Stories than from any other book, but little research has been done on their relationship. This paper investigates the influenceinfluence of Colman on Ransome by examining how both writers retold a foreign folktale, and analyzes its meaning and significance in the context of narrative therapy, a form of psychotherapy based on social constructionism.
Retelling folk tales from different cultures can have a dual impact on both the audience and the storytellers themselves. For the audience, it can be both entertaining and educational, providing exposure to diverse cultures and preserving cultural traditions. Arthur Ransome, for example, was deeply affected by listening to Pamela Colman Smith’s retelling of Anansi stories at weekly salons in London during the early 1900s.
On the other hands, retelling stories from other cultures has therapeutic benefits, helping storytellers reframe their relationship with their country. Colman and Ransome retold Jamaican and Russian folktales, respectively, to overcome personal issues and develop as cultural bridges. Colman established her racial identity and dealt with gender issues through retelling Jamaican folklores, while Ransome found healing during personal struggles, enabling him to question the values of Western culture as an outsider.departmental bulletin pape
[Plays]
No full textAuthor anals.: I. Colman, George, 1732-1794. (13) II. Beaumont, Francis, 1584-1616. III. Jonson, Ben, 1573?-1637. IV. Shakespeare, William, 1564-1616.Binder's title: Colman's plays.Each play has separate title-page and separate paging.Typed title-page inserted in each volume.v. 1. The jealous wife. [1764?]- The clandestine marriage. 1770.- The English merchant. 1767.- Man and wife; or, The Shakespeare jubilee. 1770.- The man of business. 1775.--v. 2. Beaumont, Francis. Philaster; with alterations [by Colman]. 1764.- Shakespeare, William. The history of King Lear; with alterations [by Colman] 1768.- Jonson, Ben. Epicoene; or, The silent woman. With alterations, by George Colman. 1776.- The fairy prince. 1771.- The portrait. 1770.- An occasional prelude. 1776.--v. 3. Polly Honeycombe. 1762.- The musical lady. 1762.- The deuce is in him. 1769.- The Oxonian in town. 1770.- The spleen. 1776.Mode of access: Internet
Contracting arrangements in agribusiness procurement practices in South Africa
No full textContracting arrangements in agribusiness procurement practices in South AfricaProcurement, contracting, agro-processing,
The hydrocyclone for separating light dispersions
No full textVarious new hydrocyclone designs developed by the author for
separating light dispersions from heavier carrying fluids are demonstrated and
their relative efficiencies compared using dispersions of plastic powders in water
and suitable non-dimensional equivalence relations. Detailed measurements of
the flow structure with in these hydrocyclones that have aided design work are also
discussed.
The mixture entering the cylindrical hydrocyclone body
tangentially generates a vortex and due to the centrifugal acceleration in this
vortex the less dense particles migrate towards the axis forming a core. This is
then removed through an axially placed outlet in the upstream end wall of the hydrocyclone
with 5-10% of the total through flow while the remaining particle depleted stream
passes out of the downstream end.
The work investigates the effects upon hydrocyclone
performance of changes in total flow rate, mode of operation, and geometry by
comparing particle concentrations in influent and effluent and the probability
of separation of individual particles, which is calculated from input and
output drop size spectra. From a flow of 60 L/min through an efficient
hydrocyclone of diameter 30 mm with a total head loss of 3.2 bar, it is found
that for particles with a relative differential density of 0.1 in water at 50°C,
99% at 50 µm are separated while 80% are separated at 17 µm and 50% separation
occurs at less than 10 µm.
Measurements of the flow structure within the hydrocyclones
have been made using a Laser Doppler Anemometer and from radial profiles of
axial and tangential velocities particle trajectories have been calculated.
With the application of the hydrocyclone for use with other
mixtures and dispersions in mind, an equivalence relation dependent upon
hydrocyclone Reynolds number is employed by which hydrocyclone performance may
be predicted from standard experimental results. The validity of this
relationship is demonstrated by comparing results from similar geometry
hydrocyclones over a range of sizes with different dispersions and changes in
medium viscosity by using water at various temperatures.</p
Complex scale-free networks with tunable power-law exponent and clustering
No full textThis article is made available through the Brunel Open Access Publishing Fund. It is distributed under a Creative Commons License (http://creativecommons.org/licenses/by/3.0/). Copyright @ 2013 Elsevier B.V.We introduce a network evolution process motivated by the network of citations in the scientific literature. In each iteration of the process a node is born and directed links are created from the new node to a set of target nodes already in the network. This set includes mm “ambassador” nodes and ll of each ambassador’s descendants where mm and ll are random variables selected from any choice of distributions plpl and qmqm. The process mimics the tendency of authors to cite varying numbers of papers included in the bibliographies of the other papers they cite. We show that the degree distributions of the networks generated after a large number of iterations are scale-free and derive an expression for the power-law exponent. In a particular case of the model where the number of ambassadors is always the constant mm and the number of selected descendants from each ambassador is the constant ll, the power-law exponent is (2l+1)/l(2l+1)/l. For this example we derive expressions for the degree distribution and clustering coefficient in terms of ll and mm. We conclude that the proposed model can be tuned to have the same power law exponent and clustering coefficient of a broad range of the scale-free distributions that have been studied empirically.EPSR
パメラ・コールマン・スミスとJ. M. バリー ― タロットカード「愚者」をめぐって―
No full text本稿は、ウェイト＝スミス版タロットの画家パメラ・コールマン・スミスを文化・文学史的に位置づける研究の一環として、J. M. バリーとの関係をタロットカード⚐番「愚者」を通して考察する試みである。
まずは、両者を結ぶ接点として重要なのが、シェイクスピア劇の名女優エレン・テリーであり、20世紀初頭イギリスの文化的ネットワークの中で彼女を媒介とした交流に注目する。その上で、バリーとコールマン・スミスの若年期の喪失体験と、それによって形成された類似した気質や精神的傾向が、それぞれの創作活動にどのような影響を与えたかを明らかにする。特にコールマン・スミスの「愚者」には、作画を監修したオカルティスト、アーサー・エドワード・ウェイトの意向以上に、バリーの影響を読み取ることができる点が重要である。
最終的に、本稿は『ピーター・パン』と「愚者」におけるジェンダー表象とその象徴的意味を分析し、コールマン・スミスが社会規範やジェンダー観に対して込めた解釈を明らかにする。あわせて、バリーとの文化的接点を手がかりに、従来占術的に解釈されてきた「愚者」に新たな意味づけの可能性を提示する。This paper forms part of a broader project that situates Pamela Colman Smith, illustrator of the Waite-Smith tarot deck, within cultural and literary history. It examines her relationship with J. M. Barrie, author of Peter Pan, through the lens of the tarot card “The Fool.”
A key figure linking the two is the celebrated Shakespearean actress Ellen Terry, whose role in early twentieth-century cultural networks created a point of contact between Colman Smith and Barrie. By tracing these connections, the study highlights the overlapping artistic circles in which they moved.
The paper further investigates how formative childhood losses shaped both figures and influenced their creative output. Barrie’s brother’s death and Colman Smith’s early loss of her parents left enduring marks on their personalities and imaginations, producing shared themes of arrested growth and retreat into fantasy. Of particular importance is Colman Smith’s “Fool” card, where Barrie’s influence can be discerned even more strongly than that of Arthur Edward Waite, the occultist who supervised her illustrations of the tarot cards.
Finally, the discussion turns to issues of gender and symbolism in both Peter Pan and “The Fool”. The analysis shows how Colman Smith challenged conventional views of gender by reimagining “The Fool” in ways that resist traditional male-centered depictions. At the same time, this paper proposes a new interpretive dimension: “The Fool” can be read not only as a symbol of innocence and new beginnings but also as an invitation to revisit one’s childhood when confronting present challenges. In this way, by considering Colman Smith’s work alongside Barrie’s, the paper positions “The Fool” card within broader cultural debates in literature, theatre, and early twentieth-century thought.departmental bulletin pape
Alone and Everywhere: Influences on Pamela Colman Smith in her Illustrations of the Rider-Waite Tarot Deck
No full textabstract: The Rider-Waite Tarot deck is arguably the most popular divinatory Tarot deck in use today. This is the deck most new readers learn with, myself included. I began reading the Tarot in late 2015 in an academic setting. I learned on the Rider-Waite deck and have yet to find another deck I would rather read with. The artwork by Pamela Colman Smith is both simple and complex, continuously revealing deeper meanings the more I study it. This is why I decided to research Smith and uncover what influenced her when illustrating these cards. Every image is picked with a purpose, some more obscure than others, especially to someone not well versed in mystic beliefs and history. I was not knowledgeable in any occult beliefs or teachings when I first saw the deck, aside from some Greek imagery. Details such as the T.A.R.O. on the Wheel of Fortune card or the Egyptian creatures on the World card made no sense to me. At first I thought they had little meaning beyond a creative flair by the artist. But these minute details reveal the ties her cards have to world history and the mystic universe. Pamela Colman Smith was a well-known and esteemed artist in the early nineteen-hundreds. However, she is hardly seen or recognized in modern texts. Her biggest legacy, the Rider-Waite Tarot deck hardly gives her any credit. The only evidence of Smith's work is her initials in the bottom right corner of every card. This makes Pamela Colman Smith quite the mysterious woman. Even in life, her colleagues found her an enigma, or a mystic pixie. She worked sporadically, with paints littered about her apartment. Smith was chosen by Waite to work on his new Tarot deck mostly because she was in the right place at the right time. She was a good artist, but not actively sought after for big projects like this. What impacted Smith in illustrating the Rider-Waite deck? Pamela Colman Smith was influenced by her personal art style/life, the Tarot's history, the teachings of the Golden Dawn, and important people in her life when illustrating the Rider-Waite Tarot deck
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