37,790 research outputs found
Morphology of glass fibers in Electronics workers with fiberglass dermatitis - A scanning electron microscopy study
No full textThe 3’-to-5’ exoribonuclease (encoded by HP1248) of Helicobacter pylori regulates motility and apoptosis-inducing genes.
No full textSuccessful treatment with peginterferon and ribavirin in a patient with acute hepatitis C evolving into chronicity
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Fiberglass in Electronics workers with fiberglass dermatitis - A scanning electron microscopy study.
No full textRESTRICTION OF EISENSTEIN SERIES AND STARK-HEEGNER POINTS (Analytic, geometric and -adic aspects of automorphic forms and -functions)
Full text linkThe paper [M.-L. Hsieh and S. Yamana, Restriction of Eisenstein series and Stark-Heegner points, arXiv:2002.11858.] was finished later after the conference. The text of this note has some overlapping with the content in [M.-L. Hsieh and S. Yamana, Restriction of Eisenstein series and Stark-Heegner points, arXiv:2002.11858.].This short note is written based on my talk on a joint work with Shunsuke Yamana [HY20] in the RIMS conference "Analytic, geometric and p-adic aspects of automorphic forms and L-functions" during January 20-24, 2020. The author thanks the organizers for their hospitality during the conference
Not like my mother : truth and the author in creative nonfiction
No full textThis exegesis examines how a writer can effectively negotiate the relationship between author, character, fact and truth, in a work of Creative Nonfiction. It was found that individual truths, in a work of Creative Nonfiction, are not necessarily universal truths due to individual, cultural, historical and religious circumstances. What was also identified, through the examination of published Creative Nonfiction, is a necessity to ensure there are clear demarcation lines between authorial truth and fiction. The Creative Nonfiction works examined, which established this framework for the reader, ensured an ethical relationship between author and audience. These strategies and frameworks were then applied to my own Creative Nonfiction
My Faithful Friend
No full textThe author submitted this entry in the Open Verse Poetry category (Amateur division) for the 2024 On My Own Time (OMOT) Art Show.This was inspired from a situation that one of my family friend was going through. Prayers were offered while looking to God for an answer. This was my reflection of the situation and trust in God
Marking Time: Investigating drawing as a performative process for recording temporal presence and recalling memory through the line, the fold and repetition
Full text linkThis research seeks to identify drawing as an alternative exemplar for investigating memory and temporal presence, while determining its potential as a performative tool for negotiation and transformation, throught the line, fold and repetition. The aim is to position drawing in the dynamics of movement, using the journey as a trope and the physical act of repeating the line to evoke memory and disrupt concepts of linear, orderly time.
The investigation, driven by my ongoing practice and concerns of dislocation and exile, was inspired and informed by Gilles Deleuze's notion of 'becoming' as a fluid in-between. His reading of memory through Henri Bergson (habit and pure) and Marcel Proust(voluntary and involuntary), provided the context for examining drawing's memorial potency along a past-present-future continuum. Deleuze's ontology provided a reflective and reflecive methodology for addressing my own work alongside artists who share similar concerns.
My practice focused on not what the line is but what it can do or be, where drawing is predicated on touch and derived from thought and memory, rather than appearance or observation. Inside the studio and outdoors in the landscape, moving between familiar yet changed places. I marked the paradoxical experience of time, its flows and ruptures. The resulting body of drawings and photographic records offer the principal outcome of this inquiry.
The research findings present drawing as a fluid multiplicity that shifts between the haptic and optic, visible and invisible, control and chance, notation and photography, studio and street, with one often constituting the other. The condition of 'seeing' is not a prerequisite; drawing exists with and without seeing. It resides in a gap between, where time itself unfolds and things are forgotten as well as remembered, liminal and open-ended. This thesis proposes a new theoretical understanding of drawing as generative of memory and a process of continual negotiation and temporal becoming
Novel Excerpt: My Name Is Sweet Thing , Part 1 'Whose Little Girl Am I?'
Full text linkThe night I turned sixteen � in 1979 � I dreamt I swallowed all of my teeth, and Aunt Winnie said it meant disgrace was coming to the family. I forced a laugh but exchanged a concerned look with my cousin, Bernice, as a feeling like ice spread through my abdomen because Aunt Winnie was never wrong
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