26,525 research outputs found
'Pilings of Thought Under Spoken': The Poetry of Susan Howe, 1974-1993.
No full textPhDThis thesis discusses the poetry published by contemporary American poet Susan
Howe over a period of almost two decades. The dissertation is chiefly concerned with
articulating the relationship between poetic form, history, and authority in this body
of' work. Howe's poetry dredges the past for the linguistic effects of patriarchy,
colonialism and war. My reading of the work is an exploration of the ways in which a
disjunctive poetics can address such historical trauma. The poems, rather than
attempting to reinstate voices lifted from what Howe has called "the dark side of
history", are a means of reflecting the resistance that the past offers to contemporary
investigation. It is the effacement, and not the recovery, of history's victims, that is
discernible in the contours of these highly opaque texts. Notions of authority are most
often addressed in the poetry through the figure of paternal absence, which has a
threefold function in the work, serving to represent social authority, an aporetic
conception of divinity and an autobiographical narrative. Alongside the antiauthoritarian
currents in the writing - critiques, for example, of the doctrine of
Manifest Destiny or of scapegoating versions of femininity - my thesis stresses Howe's
engagement with negative theology and with a strain of American Protestant
enthusiasm that has its roots in 17th century New England. The dissertation explores
the dissonance caused by the co-existence in the poetry of elements of political dissent
and religious mysticism. Finally, I consider Howe's engagement with literary history
and authors such as Shakespeare, Swift, Thoreau and Melville. The manner in which
Howe deploys the words of others in her work, I argue, allows for a mixture of textual
polyphony and a more conventional notion of authorial 'voice'
Undertaking Agreement, Edward Howe and William Reid on Behalf of Christopher Eptings, March 6, 1810
No full textThis document is an agreement that Edward Howe and William Reid of Fayette County undertook for Christopher Eptings at the suit of martin Baun and Samuel Perry that Howe and Reid would taken on the debts should Eptings be cast in the suit. The document is signed by Justice of the Peace, Nathan G. S. Hart, and dated march 6th, 1810. This copy of the document was recorded by Robert L. Todd, county clerk.https://scholarsjunction.msstate.edu/fvw-manuscripts-original-manuscripts/1100/thumbnail.jp
Howe, Hudson Martin
No full textBody cremated. Martha Estes Howe - wifehttps://stars.library.ucf.edu/cfm-ch-memoranda-1942/1418/thumbnail.jp
Charles Musser (en collaboration avec Carol Nelson), High-Class Moving Pictures : Lyman H. Howe and the Forgotten Era of Travelling Exhibition, 1880-1920, 1991
No full textBarnier Martin. Charles Musser (en collaboration avec Carol Nelson), High-Class Moving Pictures : Lyman H. Howe and the Forgotten Era of Travelling Exhibition, 1880-1920, 1991. In: 1895, revue d'histoire du cinéma, n°15, 1993. pp. 125-128
Books Reviewed
No full textReview of: The Red Men of Iowa, by A. R. Fulton; The History of Louisiana, by Francois-Xavier Martin, W.W. Howe, and John F. Condon; Missionary Review, by Royal G. Wilder, and Lake Forest University Review
Ex-vivo HRMAS of adult brain tumours: metabolite quantification and assignment of tumour biomarkers
No full textBackground: High-resolution magic angle spinning (HRMAS) NMR spectroscopy allows detailed metabolic analysis
of whole biopsy samples for investigating tumour biology and tumour classification. Accurate biochemical
assignment of small molecule metabolites that are “NMR visible” will improve our interpretation of HRMAS data
and the translation of NMR tumour biomarkers to in-vivo studies.
Results: 1D and 2D 1H HRMAS NMR was used to determine that 29 small molecule metabolites, along with 8 macromolecule signals, account for the majority of the HRMAS spectrum of the main types of brain tumour(astrocytoma grade II, grade III gliomas, glioblastomas, metastases, meningiomas and also lymphomas). Differences in concentration of 20 of these metabolites were statistically significant between these brain tumour types. During the course of an extended 2D data acquisition the HRMAS technique itself affects sample analysis: glycine, glutathione and glycerophosphocholine all showed small concentration changes; analysis of the sample after HRMAS indicated structural damage that may affect subsequent histopathological analysis.
Conclusions: A number of small molecule metabolites have been identified as potential biomarkers of tumour
type that may enable development of more selective in-vivo 1H NMR acquisition methods for diagnosis and prognosis of brain tumours
Nocturne by Mary Howe
No full textNocturne is an exquisite piano piece by an American composer May Howe (1882-1964), written in 1913. Here, Howe creatively weaved together the romantic piano style of Chopin, the impressionistic style of Debussy, and the modes used in Gregorian chants.
From Richmond, Virginia, Mary Howe was born during the Late Victorian era, an era when expectations for men and women musicians differed. While men chose the musical career path they wanted, women were discouraged, as music was to be only an ornament for them. Although keyboard proficiency was a “desirable, attractive, and useful” accomplishment for women, they were not expected to go beyond that. The purpose of women who taught piano was seen solely as providing “pin money.” On stage, a woman performing expressively with a contorted face was considered inappropriate. Major symphony orchestras did not admit women, and this policy of exclusion led talented instrumentalists and conductors to assemble their own all-female orchestras.
Although women could also write their own music, they were underestimated, and it was more acceptable for them to write short pieces and songs. Like other young women during her time, Howe was expected to eventually enter into marriage, maintain a proper home, raise a family, and fulfill community responsibilities. Despite having a family, Mary Howe found time to compose for different mediums including orchestra, ballet, vocal, piano, choral, chamber, and two-piano. Mary Howe once said to her son, “I wish that my name was Martin Howe, and that would eliminate the whole woman question.”
Despite all these biased views on women composers, Howe took every means to promote her works. She was her own publicity agent, and became involved with different women’s organizations that provided strong support for one another. The National League of American Pen Women and The Chamber Music Society of Washington gave Howe avenues to promote her works and interact with other composers. In these organizations, Howe gave solo recitals of her own works and occasionally collaborated with other composers by playing each other’s works. She was also involved in the establishment of the National Symphony Orchestra and even served on the board of what is now the Kennedy Center.
She died in 1964 at the age of 82. Her oeuvre encompasses over 200 compositions that include seven volumes of songs, seventeen choral works, thirteen orchestral works, eleven chamber works, and twelve piano works. As a composer, Howe needed to promote her works, and yet at the same time, she facilitated opportunities for other artists and institutions to flourish. Mary Howe was a real force in the musical life and culture of Washington, DC.
Below is a YouTube link to Nocturne by Mary Howe, which I performed recently at Forbes Center Recital Hall.
https://www.youtube.com/watch?v=zoLAsdDeCE
Jack Alive / Martin Dead : The Location of the "Author" in Jack London\u27s Martin Eden
No full textThis essay is an attempt to read Martin Eden, Jack Londonʼs autobiographical novel, in terms of the inextricable relationship between the author and the protagonist. Critics have often taken the unbalanced plot and the lack of ironic distance between narrator and character in Martin Eden as the technical weakness of London, but this paper argues that the achievement of this novel owes a great deal to the attachment of London to Martin. The unbalanced structure is a necessary product of the severe struggle of the author to kill his romantic alter ego. // Martin, who aspires to win Ruth Morse, tries to cross class boundaries by making a career of a writer. Even after realizing the emptiness of Ruth, who turns out to be nothing but a typical figure of the bourgeoisie, he somehow persists in loving her. The notion underlying here is that, for Martin, love, career and art are fundamentally inseparable. He objects to the aestheteʼs view of Brissenden on account of his separation of art from career. Martinʼs identity and life consist only in the triunity of love/career/art; the alternative is the repudiation of life. Thus, the unnatural delay of his disappointment in love can be regarded as Londonʼs strategy to set the suicide of Martin as the necessary consequence of the story. // By finishing the story and killing Martin, London finally detaches himself from Martin, reconstructs his self, and, unlike Martin, survives as a professional writer. In this sense, Martin Eden is a story about “writerʼs self-reconstruction.
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Letter from Martin Chizzick
No full textCongratulations to Duane Pearsall for receiving the Enterpreneur of the Year award; note on the letter was written by Pearsall and it mentions that Martin, the author of the letter, died in a airplane accident
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