10,019 research outputs found
Cummins, James, James M. Hall, and Richard Miller : lecture and poetry reading : baseball; May 9th, 1985
No full textDescription on cassette : Baseball Poetry Reading (Cummins, J. Hall, Richard Miller) May 9, 1985Contents:
All tracks Poetry reading [complete]
James M. Hall:
Track 01
reading Rod Heilman's "'Tis the Season"
Track 02
reading Ernest Thayer's "Casey at the Bat"
James Cummins:
Track 03
reading Grantland Rice's "Casey's Revenge"
Track 04
reading Neil McConlogue's "Casey--Forty Years Later"Digital Projects SAN: Folder and disc location for wav file: 20120625/Disc 2. Folder and disc location for mp3 file: 20120625/Disc 8
Facing the Future: the Changing Shape of Academic Skills Support at Bournemouth University
No full textThis paper explores the potential impact of changes to higher education in England on student expectations, engagement, lifestyles and diversity, and outlines implications for the development of digital literacy within academic skills support at Bournemouth University (BU). We will investigate how tackling resource constraints with organisational change can also enable efficient, centralised provision of support materials that utilise networks to overcome the risk of fragmented support for digital literacy. We will also look at how changing delivery modes for support can accommodate changing student lifestyles whilst tackling a weakness of centralised support for digital literacy: that it can become detached from the student’s subject-focused academic practice. Finally we will explore how involving students in developing support can help us to face changes to student expectations and engagement whilst ensuring that materials are authentic and speak to learners in their own voice
Why Privacy Matters: An Interview with Neil Richards
No full textProfessor Daniel J. Solove discusses the book \u27Why Privacy Matters\u27 and the future of privacy with the author, Professor Neil Richards
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
The invisible artist: Arrangers in popular music (1950-2000): Their contribution and techniques
No full textThis thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel University.This thesis is based on the research conducted by the author for the series,
Richard Niles' History of Pop Arranging, seven thirty-minute documentary
programmes for BBC Radio 2, researched, written and presented by the author and
broadcast in 2003. It also draws on interviews conducted by the author (and other
research) between 2002 and 2007 both for the radio series and for this thesis and on
the author's experience as a professional arranger in popular music working with
many of the genre's significant recording artists including Paul McCartney, Ray
Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James
Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve
Lipson, Steve Mac and Steve Anderson.
It will be argued that the role of the arranger in popular music has often been
undervalued and that during a critical period of popular music history (1950-2000)
arrangers played a significant part in the evolution of musical content. This thesis is,
to the best of the author's knowledge, the first time (apart from the above mentioned
documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on
record liner notes or in books or articles concerning popular music. A considerable
amount of research has been necessary to determine who wrote many of the
arrangements considered herein. Motown's Berry Gordy purposely kept the names of
musicians and arrangers off the records because he feared others might 'poach' the
trademark 'Motown Sound'. Other record labels considered the job of the arranger to
be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and
spontanaeity they wished to promote. Some producers and recording artists disliked
sharing credit for their work. Motown arranger David Van dePitte told the author that
arranging was "thankless and anonymous - a very service-oriented profession where
others often take credit for what you've done." Arranging has therefore remained an
intrinsically unseen art created by 'invisible' artists. By analyzing many recordings,
revealing the techniques and concepts they have used in their work to create popular
records, arrangers and their art will be made more 'visible'
General Correspondence; Mc, 1887-1896
No full textLetters to and from John M. Whitaker: people with surnames beginning with "Mc," (D. M. McAllister; Charles R. McBride; McIntyre, W. J.; Neil Macdonald; James McShields), 1887 - 189
Writing missing voices of sexuality, class and gender back into history through re-imagining the city space
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis examines the fiction of Neil Bartlett, Sarah Waters and Alan Hollinghurst, considering how they write missing voices of sexuality, gender and class back into history through re-imagining the city space. It examines the ways in which traditional, linear narratives and the notion of objectivity in historical discourse are challenged when history is presented through fiction.Waters, Bartlett and Hollinghurst are writing the past from the perspective of the late 20th and early 21st centuries, both employing and subverting traditional narrative genres. They all depict London as a symbolic, liminal space which allows for the voices of marginalized groups to flourish. Their London is a physical but also an imagined city, both grand and squalid, where the official boundaries between public and private space are often blurred.Through depicting their protagonists mapping their own ways around London, the authors all disrupt and destabilize traditional accounts of past events and city dwellers, foregrounding the imagination in the re-telling of history‘s excluded stories
Maximizing Research Impact Through Institutional and National Open-Access Self-Archiving Mandates
No full textNo research institution can afford all the journals its researchers may need, so all articles are losing research impact (usage and citations). Articles made “Open Access,” (OA) by self-archiving them on the web are cited twice as much, but only 15% of articles are being spontaneously self-archived. The only institutions approaching 100% self-archiving are those that mandate it. Surveys show that 95% of authors will comply with a self-archiving mandate; the actual expe-rience of institutions with mandates has confirmed this. What institutions and funders need to mandate is that (1) immediately upon acceptance for publication, (2) the author’s final draft must be (3) deposited into the Institutional Repository. Only the depositing needs to be mandated; set-ting access privileges to the full-text as either OA or Restricted Access (RA) can be left up to the author. For articles published in the 93% of journals that have already endorsed self-archiving, access can be set as OA immediately; for the remaining 7%, authors can email the eprint in re-sponse to individual email requests automatically forwarded by the Repository
Dissimilarity is used as evidence of category membership in multidimensional perceptual categorization: a test of the similarity-dissimilarity generalized context model
No full textIn exemplar models of categorization, the similarity between an exemplar and category members constitutes evidence that the exemplar belongs to the category. We test the possibility that the dissimilarity to members of competing categories also contributes to this evidence. Data were collected from two 2-dimensional perceptual categorization experiments, one with lines varying in orientation and length and the other with coloured patches varying in saturation and brightness. Model fits of the similarity-dissimilarity generalized context model were used to compare a model where only similarity was used with a model where both similarity and dissimilarity were used. For the majority of participants the similarity-dissimilarity model provided both a significantly better fit and better generalization, suggesting that people do also use dissimilarity as evidence
- …
