2,509 research outputs found
African origin of the malaria parasite Plasmodium vivax.
No full textPlasmodium vivax is the leading cause of human malaria in Asia and Latin America but is absent from most of central Africa due to the near fixation of a mutation that inhibits the expression of its receptor, the Duffy antigen, on human erythrocytes. The emergence of this protective allele is not understood because P. vivax is believed to have originated in Asia. Here we show, using a non-invasive approach, that wild chimpanzees and gorillas throughout central Africa are endemically infected with parasites that are closely related to human P. vivax. Sequence analyses reveal that ape parasites lack host specificity and are much more diverse than human parasites, which form a monophyletic lineage within the ape parasite radiation. These findings indicate that human P. vivax is of African origin and likely selected for the Duffy-negative mutation. All extant human P. vivax parasites are derived from a single ancestor that escaped out of Africa
Father Andrew Mullen 1790-1818: a study in early nineteenth century spirituality
No full textThis thesis is laid out in three parts: Part I. The life and death of Andrew Mullen. The life is based, to a large extent, on a long letter to his mother, Catherine Mullen, dated 7 January 1810. The letter gives a definite insight into his spirituality based on his membership of the Archconfraternity of the Blessed Sacrament. There is a hint that he had a premonition of an early death. Part II. The burial of Andrew Mullen and the immediate cult to him This is based on documentary evidence. Part III. Most of this part is a catalogue of testimonies taken from 1993 onwards. Then there is the conclusion on the popular devotion to Andrew Mullen stressing the theological aspect of the subject. In the course of writing the thesis it was decided to separate the documentary evidence from the oral tradition. This was advantageous in developing the thesis, and the documents provided a secure basis for the oral tradition. Two pieces of information were found in March 1997. They are death notices: 2 January 1819, The Leinster Journal and 7 January 1819, The Car low Morning Post. There is a slight discrepancy between the two on the date of his death. Also this discrepancy shows a slight difference from the date of the tombstone
I Wish He Were Here
No full text80.7568.546 – “I Wish He Were Here”: Frank Darley: Joseph A. Nunes: Duffy & Janke: Philadelphia: Minstrel, Ballad, Love Song: 1854: Solo Voice
Recent Decisions
No full textComments on recent decisions by Kenneth K. Konop, Raymond J. Sullivan, Robert E. Duffy, Joseph Yoch, Carl Frankovitch, Joseph Wetli, Harold Tuberty, and Alvin G. Kolski
Recent Decisions
No full textComments on recent decisions by Kenneth K. Konop, Raymond J. Sullivan, Robert E. Duffy, Joseph Yoch, Carl Frankovitch, Joseph Wetli, Harold Tuberty, and Alvin G. Kolski
B.S. Johnson and Maureen Duffy: Aspiring Writers: A Conversation with Maureen Duffy
No full textMaureen Duffy and B.S. Johnson met at King’s College London in 1956 when they both enrolled to read for a degree in English Literature. They became friends and colleagues through their contributions to Lucifer, the college literary magazine and the wider University of London poetry scene. They later joined forces in the Writer’s Action Group and campaigned for public lending rights for authors. Maureen kindly agreed to be interviewed about her relationship with Johnson, but in addition to this her interview sheds light on the socio-political context of British post-war writing. Maureen was born in 1933 in Worthing, Sussex and came to prominence in 1962 with the autobiographical novel That’s How It Was. Although mainly known for her poetry, her prose work has received critical and popular acclaim. Gor Saga (1981) was dramatised and broadcast by the BBC in 1988 as First Born, a three-part mini-series vehicle for Charles Dance. She is also the author of 16 plays for stage, television and radio. Maureen is well known as a humanist and gay rights activist and for her work championing the financial and legal interests of writers. She is currently the President of the Authors Licensing and Copyright Society, and a Fellow and Vice President of the Royal Society of Literature. This interview took place in London in July 2013 and first appeared in the inaugural edition of B.S.J: The B. S. Johnson Journal
Data protection: the challenges facing social networking
No full textThe popularity of social networking sites has increased dramatically over the past decade. A recent report indicated that thirty-eight percent of online users have a social networking profile. Many of these social networking site users (SNS users) post or provide personal information over the internet every day. According to the latest OfCom study, the average adult SNS user has profiles on 1.6 sites and most check their profiles at least once every other day. However, the recent rise in social networking activity has opened the door to the misuse and abuse of personal information through identity theft, cyber stalking, and undesirable screenings by prospective employers. Behavioral advertising programs have also misused personal information available on social networking sites. Society is now facing an important question: what level of privacy should be expected and required within the social networking environment
No-Nonsense Branding A Practical Talk about Building Your Author Brand
No full textYou’ve likely been told that as an author, you are a brand. What does that really mean, and how can you develop your brand to maximize your exposure and appeal? In this presentation, Desireé Duffy from Black Château cuts through the fluff and discusses practical ways to build your brand as an author. Topics include why you need a professional-looking head shot, a well-written bio, the right social media presence, and why your personal brand matters when preparing for your pitch for media interviews and articles
Competing postcolonial temporalities: sovereignty and time in Pakistani fiction
No full textPakistan gained independence from British Colonial rule in 1947, and this moment was marked by a speech from Mohammed Ali Jinnah that laid the rhetorical foundations for the new state’s postcolonial sovereignty. Since Partition, Pakistan and India’s irredentist conflicts have placed territorial concerns at the forefront of discussions of postcolonial sovereignty in South Asia. This thesis seeks to correct this by elucidating the significant temporal dimensions of border sovereignty, emergency rule, and nationalist historiography, and how they impact upon the being-in-time of the postcolonial subject. With reference to Derrida’s essay ‘Declarations of Independence’ and his related concept of democracy to-come, this thesis will interrogate representations of sovereignty and time in Pakistani literary fiction. By highlighting the competing temporalities that are registered in these narratives, it will reveal the blind spots in Jinnah’s future-oriented promise of secular and democratic sovereignty. The thesis explores three intertwined concepts of Pakistan’s postcolonial ‘future’ to explore how they relate to the initial promises of the sovereign state: including national futurity, territorial futurity, and democratic futurity. Utilising the theoretical concept of homogeneous, empty time (Benjamin/Pandey/Anderson), this thesis reads a number of literary texts that both expose and challenge the temporal claims of the state. These texts all register the impact of postcolonial sovereignty on the being-in-time of the Pakistani subject. The first chapter addresses three Partition texts to highlight the incommensurability between the inclusive promises of national sovereignty in Pakistan and the gendered violence of its foundations. It will explore how the state’s rhetoric after Partition often made appeals to communal history and myth, and how this fact is registered in literary and oral narratives of the disorienting moment of Partition. The second chapter reads two recent novels that represent the techniques of sovereignty that are employed in two disputed border regions in Pakistan: Kashmir and FATA. These readings highlight the impact of bureaucratic and military techniques of sovereignty on those at the limits of the postcolonial state. The final main body chapter focuses on Pakistan’s longest period of martial law rule, reading two novels that register the temporal nature of General Zia-ul-Haq’s indefinite suspension of Pakistan’s democratic order. This thesis offers a timely intervention into discussions of postcolonial sovereignty in South Asia that registers the heterogeneous temporalities of minority communities and subaltern subjects. Through a focus on time and sovereignty in literary texts, it seeks to interrupt and undermine the homogeneous, empty time of nationalist historiography in Pakistan
Photographs of Frank Duffy - General Secretary, 1901
No full textFor complete collection information, visit the full finding aid at http://hdl.handle.net/1903.1/1393 Image 1 - Portrait of side view of Frank Duffy, framed in a crocodile-textured frame, marked with a emblem from Bretzman [Photos], Indianapolis. (15 x 22.5 cm.) Image 2 - Back of side portrait of Frank Duffy. Handwritten is "Frank Duffy." (15 x 22.5 cm.) Image 3 - Portrait of Frank Duffy, framed in a crocodile-textured frame, marked with a emblem from Bretzman [Photos], Indianapolis. (15 x 22.5 cm.) Image 4 - Back of image 3, portrait of Frank Duffy. Handwritten is "Frank Duffy Gen'l Sec'y. U.B. of C. and J. of A." Written in pencil is "2 3/4 inches base". Paper attached to the back appears to be instructions from the photography company. (15 x 22.5 cm.) Image 5 - Portrait of Frank Duffy. (10.25 x 15.5 cm.) Image 6 - Back of image 5. It is stamped "Bretzman Photographer. Indianapolis, Ind. [Indiana]". (10.25 x 15.5 cm.) Image 7 - Photograph of Frank Duffy speaking. (15.75 x 10 cm.) Image 8 - Back of image 7, handwritten in pencil or crayon is "Frank Duffy Bull 1 col art Duffy- obit Star City Desk 4/1/54" Stamped is "Jul 12 1955." Image requested for Frank Duffy's obituary in 1955. (15.75 x 10 cm.) Image 9 - Portrait of Frank Duffy. (17.75 x 13 cm.) Image 10 - Back of image 9. Stamped is "Dexheimer-Carlon Studio 912 Odd Fellow Bldg. Indianapolis, Indiana." Handwritten in ink above the stamp is "Please credit." Handwritten is "one halftone 4 3/4" mount on sides flush top and bottom one halftone oval like sample Best only. 107 oval - with line 107 shoot 5.5 cut to 4 3/4 on sides full width sq no time." (17.75 x 13 cm.) Image 11 - Printed celebration with portrait of Frank Duffy. It reads "Another Milestone... Frank Duffy, General Secretary United Brotherhood of Carpenters and Joiners of America July 24, 1901-1943 42 years of service and still fighting for the welfare of those who toil." Handwritten below is "Aug. 1943 - Carpenter". (14.5 x 23 cm.) Image 12 - Back of image 11. Printed articles from The Carpenter, page 13. (14.5 x 23 cm.) Image 13 - Photograph of framed dedication of the Missouri State Council of the United Brotherhood of Carpenters and Joiners of America dedicating the 11th annual convention, May 13-15, 1949, to Frank Duffy in appreciation for his sixty years in the union and on his gaining the title of Secretary Emeritus. (25.5 x 20.75 cm.) Image 14 - Back of image 13. Stamped is "This negative will be kept on file or your convenience. Reorders may be had by simply calling at Bray's Studio giving number on back of photo. Gray's Studio." Handwritten is "One halftone of Frame and contents 100 screen mount on Wood, for Carpenters. 4 1/2"." (25.5 x 20.75 cm.) Image 15 - Portrait of Frank Duffy wearing a tie decorated with triangles. (19.75 x 25.5 cm.) Image 16 - Back of image 15. Stamped is "Noble Bretzman, Photograph." (19.75 x 25.5 cm.) Image 17 - Portrait of Frank Duffy in oval. Underneath is "Frank Duffy, General Secretary, U.B. of C. & J. of A. 1901." (25.5 x 20.5 cm.) Image 18 - Photograph of three men eating at a table, perhaps in the Indianapolis headquarters of the UBCJA. From left is Frank Duffy, Maurice A. Hutcheson, S.P. Meadows. (13 x 17.75 cm.) Image 19 - Portrait of Frank Duffy. (19 x 24 cm.) Image 20 - Photograph of three men behind a table in front of three windows. The center figure is Frank Duffy. (20.5 x 25.5 cm.) Image 21 - Back of image 20. Stamped is "Photo by Murray Perkins Photo News Service Lakeland, Florida." (20.5 x 25.5 cm.) Image 22 - Photograph of three men conversing in formal wear. The center figure is Frank Duffy. (20.75 x 25.25 cm.) Image 23 - Back of image 22. Handwritten is "One halftone, flush sides for Carpenters" and stamped is "Empire Photographers, Inc. 1595 Broadway New York 19, N.Y." (20.75 x 25.25 cm.) Image 24 - Photograph of six men, holding the framed dedication of the Missouri State Council to Frank Duffy. The man on the left is William L. Hutcheson and the third from the left is Frank Duffy. (20.75 x 25.25 cm.) Image 25 - Back of image 24. Stamped is "This negative will be kept on file for your convenience. Reorders may be had by simply calling at Bray's Studio giving number on back of photo. Gray's Studio." Handwritten is "Make one halftone 100 screen mount on wood for Carpenters." (20.75 x 25.25 cm.) Image 26 - Photograph of metal plaque in memory of Frank Duffy, with half-relief of Frank Duffy's head, circa 1955. It reads "In Memory of Frank Duffy General Secretary United Brotherhood of Carpenters and Joiners of America July 24, 1901 to July 31, 1948 A Loving Tribute from New York District Council and Affiliated Local Unions." (20.5 x 25.5 cm.) Image 27 - Back of Image 26. Handwritten in red is "Feb. 56 The Carpenter Duffy Plaque" and in pencil is "Carpenters One 85 line copper halftone deep etch, mount + trim flush." (20.5 x 25.5 cm.) Image 28 - Photograph of ten men standing in front of two metal plaques. The plaque of the left is for William L. Hutcheson and that on the right is for Frank Duffy. From left the men are: O. William Blaier, John R. Stevenson, unknown, unknown, Andrew V. Cooper, Maurice A. Hutcheson, Charles Johnson, Jr., unknown, unknown, Albert E. Fischer. (20.5 x 25.5 cm.) Image 29 - Back of Image 28. Handwritten in red is "Feb. 56 The Carpenters Duffy Plaque." Handwritten in blue is Indianapolis Building Presentation." Handwritten in pencil is "Carpenters One 85 line copper halftone - deep etch mount + trim flush." (20.5 x 25.5 cm.) Image 30 - Photograph of a portrait of Frank Duffy. (20.5 x 25.5 cm.) Image 31 - Back of image 30. Handwritten in blue ink is "Frank Duffy General Secretary, UBCJA 1901-1948." (20.5 x 25.5 cm.) Image 32 - Photograph of William L. Hutcheson and Frank Duffy in front of a building and plants. (20 x 25 cm.) Image 33 - Oval portrait of Frank Duffy. Underneath it reads "Frank Duffy, General Secretary, U.B. of C. & J. of A. 1901." (17.5 x 21.25 cm.) Image 34 - Back of image 33. Handwritten is "General Secretary U.B. of C. + J. of A 1901-". (17.5 x 21.25 cm.) Image 35 - Portrait of Frank Duffy. Photograph by Bretzman 1914. The paper is impressed with "Tiffanytone". (19 x 29 cm.) Image 36 - Portrait of Frank Duffy. (25.5 x 20.5 cm.) Image 37 - Back of image 36. Handwritten reads "Frank Duffy Bull 1 colant [covered] obit [covered] City Desk." Stamped is "Jul 12 1955." Attached is newspaper clipping with the title "Frank Duffy, Retired Union Executive, Dies" and the photograph from image 36. (25.5 x 20.5 cm.) Image 38 - Photograph of scaffolding holding up image of mountains with workers. From set of the film Tin Gods, circa 1926. (20.5 x 25.5 cm.) Image 39 - Back of image 38. Handwritten in ink is "Mr. Duffy, Picture: Tin Gods. Starring, Thomas Meighan Compliments of Joseph F. Darrell Famous Players Lasky Corp." (20.5 x 25.5 cm.) Image 40 - Photograph of film set with scaffolding and buildings in a town, From set of the film Tin Gods, circa 1926. (20.5 x 25.5 cm.) Image 41 - Back of image 40. Handwritten in ink is "Mr. Duffy, Picture: Tin Gods. Starring, Thomas Meighan Compliments of Joseph F. Darrell Famous Players Lasky Corp." (20.5 x 25.5 cm.) Image 42 - Photograph of set from film Tin Gods, circa 1926. Reads "Prod 318 set #10A." (20.5 x 25.5 cm.) Image 43 - Back of image 42. Handwritten in ink is "Mr. Duffy, Picture: Tin Gods. Starring Thomas Meighan Compliments of Joseph F. Darrell Famous Players Lasky Corp. (20.5 x 25.5 cm.) Image 44 - Photograph of set of the film Tin Gods, circa 1926. Reads "Prod 318 Set #10." (20.5 x 25.5 cm.) Image 45 - Back of image 44. Handwritten in ink is "Mr. Duffy, Picture: Tin Gods Starring, Thomas Meighan Compliments of Joseph F. Darrell Famous Players Lasky Corp." (20.5 x 25.5 cm.
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