945 research outputs found
Mr. Melvin J. Collier, RWWL AUC, June 2011
No full textThis video is a conversation with Mr. Melvin J. Collier. Mr. Collier talks about his book, "From Mississippi to Africa: A Journey of Discovery". Daniel Le, AUC Woodruff Library, is the interviewer
A vindication of the Reasons and Defence, &c. Part 1. [electronic resource] : Being a reply to the first part of No sufficient reason for restoring some prayers and directions of King Edward Vi's first Liturgy. By the author of the Reasons and Defence.
No full textThe author of the Reasons = Jeremy Collier.Also issued as part of: 'A collection of tracts written by the late Reverend .. Jeremy Collier, ..', London, 1736.With a half-title.Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
Old Cap. Collier and the "speckled hands" conspiracy; or, The Mystery of the first night of the opera / by the author of "Old Cap. Collier."
No full textDistribution and evolution of starspots on the RS CVn binary II Pegasi in 2004
No full textThis work is supported by National Natural Science Foundation of China through grants Nos. 10373023, 10773027 and 11333006, Chinese Academy of Sciences through project KJCX2-YW-T24.We present Doppler images of RS CVn-type binary II Peg based on two data sets obtained in 2004 February and November. In order to improve signal-to-noise ratio and reliability,we apply least-squares deconvolution technique to calculate average profiles from 2032 photospheric absorption lines. Both of the resulting surface images show a wide latitude distribution of starspots. Most spots are concentrated at a high-latitude belt above 60° and a low-latitude belt near equator. The starspots evolved dramatically between two observing runs, which may indicate shorter time-scale evolution in this epoch, especially for low-latitude belt. There is no stable preferred active longitude that can be found in our images. We also find out a possible phenomenon that the intermediate-latitude spot migrated poleward and merged with the high-latitude spot to make it stronger, which may reveal a more complex behaviour of starspots on II Peg. A potential change of orbital ephemeris zero-point was detected. This may imply an orbital period change of II Peg like other active close binaries.Peer reviewe
On Christian Belief: a defence of a cognitive conception of religious belief in a Christian context
No full textOn Christian Belief offers a defence of realism in the philosophy of religion. It argues that religious belief - with particular reference to Christian belief - unlike any other kind of belief, is cognitive; making claims about what is real, and open to rational discussion between believers and non-believers. The author begins by providing a critique of several views which either try to describe a faith without cognitive context, or to justify believing on non-cognitive grounds. He then discusses what sense can be made of the phenomenon of religious conversion by realists and non-realists. After a chapter on knowledge in general, he defends the idea that religious knowledge is very like other knowledge, in being based on reliable testimony, sifted by reason and tested by experience. The logical status of the content of religious belief is then discussed, with reference to Christianity
The Philadelphia mint robbery; or, Old Cap. Collier's curious clew / by the author of "Old Cap. Collier."
No full textA Conversation with Librarian-Editors
No full textIn brief: Ellie Collier interviews several librarian-editors about the publishing process, with a focus on “call for chapters” style books. Introduction: I began working on In the Library with the Lead Pipe in 2008 as a founding editor and author, despite hating to write. The prospect seemed too exciting to let my own dislike of writing […
A Conversation with Char Booth
No full textWelcome to a special audio edition of In the Library with the Lead Pipe. Ellie Collier talks to Char Booth, E-Learning Librarian at the University of California at Berkeley and author of Informing Innovation: Tracking Student Interest in Emerging Library Technologies at Ohio University, a book length research report recently published by ACRL and available [...
The Multisensory Environment (MSE) in dementia care: examining its role and quality from a user perspective
No full text© 2016, © The Author(s) 2016. Background: Multisensory environments (MSEs) for people with dementia have been available over 20 years but are used in an ad hoc manner using an eclectic range of equipment. Care homes have endeavored to utilize this approach but have struggled to find a design and approach that works for this setting. Aims: Study aims were to appraise the evolving concept of MSEs from a user perspective, to study the aesthetic and functional qualities, to identify barriers to staff engagement with a sensory environment approach, and to identify design criteria to improve the potential of MSE for people with dementia. Methods: Data were collected from 16 care homes with experience of MSE using ethnographic methods, incorporating semi-structured interviews, and observations of MSE design. Analysis was undertaken using descriptive statistics and thematic analysis. Results: Observations revealed equipment that predominantly stimulated vision and touch. Thematic analysis of the semi-structured interviews revealed six themes: not knowing what to do in the room, good for people in the later stages of the disease, reduces anxiety, it’s a good activity, design and setting up of the space, and including relatives and care staff. Conclusion: Few MSEs in care homes are designed to meet needs of people with dementia, and staff receive little training in how to facilitate sessions. As such, MSEs are often underused despite perceived benefits. Results of this study have been used to identify the design principles that have been reviewed by relevant stakeholders
The Still Lifes of Edwaert Collier (1642-1708)
No full textDoctoral dissertation Author: Minna Tuominen Title: The Still Lifes of Edwaert Collier (1642 1708)
Among seventeenth-century Dutch still life painters Edwaert Collier is best known for his vanitas paintings. He also painted a considerable number of trompe l oeils. These paintings constitute the primary material for my thesis, along with the biographical records from Breda, Haarlem, Leiden, Amsterdam and London, all places where Collier lived. This research is an examination of the variety of and changes in Collier s production in his sub-genres and of the intriguing questions that his paintings raise. It explores how Collier succeeded in widespread art markets with his speciality in still life painting. This study offers new information on Edwaert Collier s oeuvre, his biography, the value of his still lifes among buyers and his position as an artist.
I have grouped Collier s works into four different themes: the vanitas motif of the overturned crown, the world of knowledge referred to by multiple texts, different modes of self-portraiture and the medium and subjects of trompe l oeil. The complementary approaches this study applies include iconology, studies in representing artist self-awareness, research into the material culture of the seventeenth century, and research into the seventeenth-century art market and art collecting. Contextualizing the depiction of the exchange and growth of wealth in a particular socio-historical situation has been considered as well.
A large number of Collier s preserved paintings (ca 180 registered) suggest continuous production and his willingness to seek out new pictorial solutions for his customers. Collier called upon a wide repertoire of themes derived from the tradition of the vanitas genre in his paintings, but he also managed to create an identifiable style of his own by using a few recognizable compositions and, over time, by including items with new connotations into his still lifes. Changes in his style reflect the trends of his time, which is best seen in his trompe l oeils and their connection to the impact of the English art market. His paintings gained fame among buyers because he merged traditional elements with contemporary sources from the society of his day in his works. In his paintings Collier included various sorts of texts, such as books, newspapers and parliamentary speeches, which together built up a system of citations and commentaries on the arts, religion and politics. Collier elevated his artistic status by representing himself as a learned man and he also signed his paintings in multiple ways. He incorporated his signature in the elements depicted, such as letters and almanacs, and he included his own portrait in his still lifes in such a way that it advertised his talents as a still life painter. Besides himself, Collier portrayed an impressive group of people, who were depicted in drawings, miniatures or prints which were placed conspicuously among the other still life objects or set illusionistically within the trompe l oeil representations. It was a conscious way of drawing attention to a certain ideology or fate which the depicted people represented, and it also positioned the painter himself as an erudite artist in an artistic continuum stretching from antiquity to the time in which he lived. This study presents Edwaert Collier as an active painter who captured various phenomena from his times in his still lifes.Tekijä: Minna Tuominen Väitöskirjatutkimus The Still Lifes of Edwaert Collier (c. 1640 1708) käsittelee hollantilaisen asetelmamaalari Edwaert Collierin taiteellista tuotantoa, jonka laajuudeksi voidaan tänä päivänä arvioida n. 180 teosta. Hänet tunnetaan parhaiten vanitas (lat. turhuus) ja trompe l oeil (ransk. silmän harhautus) -asetelmista. Tarkastelen taiteilijan valitsemien esittämistapojen kautta Collierin taiteilijakuvaa, sen syntymistä ja ylläpitoa, vertailemalla sitä kuvallisen esittämisen keinoihin, joilla taiteilijan asemaa ajan taidemarkkinoilla tuotettiin. Arvioin mitkä olivat Collierin menestymisen taustatekijät ja kuvastrategiset keinot kussakin historiallisessa tilanteessa, jossa hän eli ja johon hän teoksillaan otti kantaa. Lisäksi tutkin, millaisia kannanottoja yhteiskunnasta Collierin taiteessa välittyi. Edwaert Collierin teosten tutkimus tuo uutta tietoa Collierin tuotannosta ja elämänvaiheista, asetelmataiteen arvostuksesta ostajien keskuudessa sekä taiteilijan asemasta.
Collier syntyi Bredassa, siirtyi nuorena Haarlemin kautta Leideniin, ja 1690-luvulla Amsterdamin kautta Lontooseen. Arkistotutkimus näissä kaupungeissa on selvittänyt Collierin elämänkertatietoja, joihin Collier on viitannut myös teoksissaan. Tutkimukseni nojaa teosten analysointiin, jotka olen ryhmitellyt neljään eri teemaan: vanitas -motiivi ylösalaisen kruunun kuvauksena, maalatut tekstit oppineisuuteen viittauksina, omakuvauksen tavat ja trompe l oeil -aiheet ilmaisukeinoina. Käytän tutkimuksessa toisiaan täydentäviä lähestymistapoja, joita ovat ikonologia, taiteilija omakuvien tutkimus, materiaalisen kulttuurin tutkimus sekä 1600-luvun taiteen kaupan ja keräilyn tutkimus. Lisäksi kontekstualisoin teosanalyysejä kuhunkin sosiaalihistorialliseen tilanteeseen.
Tutkimusaineiston valossa Collier näyttäytyy aktiivisena taiteilijana, joka haki vaihtelevaa ostajakuntaansa miellyttäviä maalausratkaisuja kilpailussa porvarillisen taiteen markkinoilla. Collierin vanitas -asetelmien yksityiskohdat, kuten pääkallot, kirjat ja musiikki-instrumentit olivat hänen teostensa lähtökohtina, mutta hänen onnistui luoda itselleen tunnistettava tyyli, riittävästi toistamalla samankaltaisia kompositioita ja toisaalta, sekoittamalla jo tunnettuihin, traditionaalisiin kompositioihin uusilla merkityksillä varustettuja elementtejä, kuten tunnettujen henkilöiden muotokuvia ja uutislehtiä. Muutokset Collierin tyylissä heijastuvat ajan trendeistä, josta parhaimpana esimerkkinä ovat hänen 1690-luvun alun trompe l oeil -teokset. Teosten aiheissa näkyy hänen muuttonsa Lontooseen, sillä teoksiin ilmestyi runsaasti viittauksia englantilaiseen yhteiskuntaan. Collier sisällytti maalauksiinsa runsaasti erilaisia tekstejä, osia kirjoista, sanomalehdistä ja parlamentin puheista, jotka yhdessä muodostavat lainauksien ja kommenttien verkoston milloin taiteesta, uskonnosta tai politiikasta. Collier kohotti omaa taiteellista statustaan sekä esittämällä itsensä oppineena taiteilijana että signeeraamalla teoksensa monin erikoisin tavoin, muun muassa upottamalla nimensä kuvattuihin objekteihin, kuten kirjeisiin vastaanottajaksi tai almanakkoihin omistajaksi. Omakuvissa hän esittää itsensä mainosluontoisesti asetelmamaalarina. Collier maalasi myös muita merkkihenkilöitä kuva-kuvassa tekniikalla, esittämällä heidät illusionistisesti piirroksina, etsauksina, tai miniatyyreinä, esineinä muiden asetelmassa esitettyjen objektien joukossa. Kuvatuista tunnetuimpia ovat Kaarle I ja Erasmus Rotterdamilainen. Tällä tavoin Collier painotti kuvattujen henkilöiden ideologiaa tai yhteiskunnallista asemaa ja kohtaloa, joka samalla osoitti hänen itsensä olevan tietoisesti maalaava, sivistynyt taiteilija. Näin hän myös asetti itsensä kuvataiteiden kaanoniin, jonka paremmuudesta sisartaiteiden joukossa käytiin keskustelua edelleen 1600-luvulla.
Tämä tutkimus todistaa Collierin olleen aikaansa seuraava ja muuntumiskykyinen taiteilija, joka vangitsi useita oman aikansa ilmiöitä asetelmiinsa. Hänen maalauksensa olivat suosittuja ostajien parissa, koska hän yhdisti traditionaalisiin teoksiin helposti tunnistettavia historiallisia tai oman aikansa yhteiskunnallisia merkityksiä kekseliäissä yksityiskohdissa.ei saavutettav
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