2,043 research outputs found
'If I should die tonight' poem
No full textHumorous poem copied by Harrison Kerr and written by Benjamin Franklin King ca. 1890. The poem, titled "If I should die tonight," jokes about money owed to the author and the shock he would experience at being repaid upon his death. It was written as a parody of a serious contemporary poem of the same title.
Harrison Henry Kerr (1839-1901), born in North Georgetown, Ohio, served along with his brother, Ezra, as a private in Company D of the 58th Ohio Volunteer Infantry. He was taken prisoner at the Battle of Chickasaw Bayou, Mississippi, on December 29, 1862., and held for three months before being exchanged and returning to his regiment. He was discharged on January 14, 1865. Following the war, he was married to Elizabeth (Rettig) Kerr. The two lived in Cleveland and had one son, Harrison McKinley Kerr. In 1888, he joined the Memorial Post No. 141, Grand Army of the Republic. He is buried in North Georgetown Cemetery
Harrison Forman Diary China, January-May 1942
No full textThis diary written by Harrison Forman begins on January 10, 1942, just one month after the Japanese bombed Pearl Harbor in the United States, meanwhile, the Second Sino-Japanese War continues in China. On horseback, Forman rides through the deserted streets of Changsha (capital of Hunan province, southeastern China) and reports civilians returning home as the Japanese retreat to the north. Forman travels to Hongshan where he witnessed the cremated remains of Japanese soldiers. On January 11, 1942, Forman interviews Jsueh Yueh (Xue Yue), the Chinese Nationalist General and Commander-in-Chief responsible for the victories over the Japanese at the Second and Third Battles for Changsha. General Xue Yue explained the tactics which contributed to success. Forman then travels the Hsiang River by boat, then by train to Hengyang (south central Hunan province, 110 miles south of Changsha, seat of the Nationalist Party military government) and Kwielin (now Guilin) in the northeastern Zhuang Autonomous region of Guangxi southern China. Forman describes supply trucks arriving from Linchow (now Lanzhou) delivering goods for soldiers and civilians. According to Forman, merchants had begun to stockpile goods after the fall of I-ch’ang (now Yichang, an area heavily bombed and taken by the Japanese Army in 1940) and in fear of fighting in Rangoon (now Yangon, Myanmar (Burma)). Forman mentions Kunming in southwestern China, where the U.S. Major General Claire L. Chennault, founder of the volunteer air squadron the Flying Tigers, were guarding against the Japanese forces. Chinese Nationalist Government officials are mentioned, such as T.S. Tsiang (Tsiang Tingfu, historian and diplomat), Wang Wen-hao (Weng Wen-ho, geologist, educator, and Minister of Economy, 1938-1947), and Wu Ting-chang (Wu Dingchang, Minister of Economic Affairs, 1935). Other notable figures mentioned are, Feng Yachsiang (Feng Yuxiang, Christian General and Chiang Kai-shek supporter), Quo Tai-chi (Dr. Quo Tai-chi, first Chinese representative to Britain, 1932-1940; named foreign minister by Central Executive Committee of the Kuomintang, 1941), Kenji Doihara (“Lawrence of Manchuria,” general of Imperial Japanese Army who invaded Manchuria), Emily “Mickey” Hahn (journalist and author), and Charles Boxer (local head of the British Army Intelligence). Forman follows Wendell L. Willkie, U.S. Republican presidential candidate (opposition to Franklin D. Roosevelt), on his trip to China and mentions a list of notable figures, such as Chu Shao-liang (Zhu Shaoliang, general in the National Revolution Army of the Republic of China), Hu Tsung-nan (Hu Zongnan, trusted general of Chiang Kai-shek), Captain Chiang Wei-kuo, Generals Shi Liang-yu, Li Chen-shen, Chang Tso-lin (Zhang Zuolin, warlord of Manchuria, defeated by the Nationalist Kuomintang in 1928), and Hsu Liang-yo. Forman ends his diary at the close of Willkie’s visit, writing about his press colleagues, Francis Lee and Peter Kiang. He tells of the story “Phanton Legions” in the London Daily Express, written by Tommy Chao.The diaries are part of the Harrison Forman Papers 1931-1974 housed at the Special Collections & University Archives, University of Oregon Libraries. UWM Libraries received the dairies on a loan from the Special Collections & University Archives at the University of Oregon Libraries and digitized them to accompany the digital collection of Forman's photographs. The diaries were digitized to provide research materials for the Forman’s negatives scanned as part of the NEH grant project "Saving and Sharing the AGS Library's Historic Nitrate Negative Images.
King Penguin Rookery by Peter Harrison
No full textpainting6” x 17”ExcellentAn ornithologist, artist and author, Peter Harrison is widely considered to be the world’s foremost authority on seabirds. Often credited with having seen more seabirds than anyone, past or present, Peter has written and illustrated more than a dozen books. Seabirds: An Identification Guide is considered the most authoritative text on the subject. Peter has traveled the world for research, and as a leader of expeditionary travelers. He is an active conservationist and has been honored by Queen Elizabeth II with the title Member of the British Empire for services to natural history. He is also a cofounder of Zegrahm Expeditions and a Fellow of The Explorers Club. He painted the art work for the 1993 bookmark to demonstrate that “penguin colonies are usually bursting at the seams. I wanted to convey this face by having penguins spill off the edges of the bookmark.” Donated in 1993 by the artist.See above
Through Forbidden Tibet [Motion Picture Film]
No full textScene-to-Scene Correction of 16mm B&W Print w/Sound TRT - 10:03, WO#65255, 5/27/2013, DVDHarrison Forman produced Through Forbidden Tibet with footage he filmed while visiting the Tibetan Plateau in 1932. Scenes include the distant view of Hsin-Kung monastery complex in Chengde, Hebei province and the arrival of the 9th Panchen Lama to Labrang Monastery in Xiahe, Gansu province. Tibetan warriors armed with spear-like rifles ride horseback along the procession carrying the Panchen lama in a sedan chair, while pilgrims and lamas crowd the monastery to welcome him. A mass chanting led by the Panchen Lama focuses on the crowd of lamas joining in prayer followed by an examination for lamas looking to ascend to a higher rank. The Grand Living Buddha, Jamv Japa, is shown camped on a pilgrimage to Lhasa. Harrison Forman is pictured with his camera laughing with Japa. Pilgrims whirl prayer drums (or wheels) or prostrate around the monastery. A nomad camp is shown with men sitting around a campfire drinking tsamba, a tea, and pay homage to the Grand Living Buddha. Buddha and guardian sculptures inside Labrang Monastery are shown, as well as lamas playing cymbals and instruments while they chant prayers inside the temple. The Tibetan Devil Dance takes place in the courtyard of Labrang Monastery with costumed characters twirl and dance for the crowds. Finally, a 'sky burial' is shown as a nomad cuts up the body of the deceased Licksha Yamstel, Harrison Forman's guide, who was killed by bandits. Vultures descend on the body, eating the flesh.GrayscaleSoundTitle: Through Forbidden Tibet
Harrison Forman, explorer, author and newspaper correspondent, spent fifteen years in the Far East. Internationally famous for his three expeditions to Tibet he was technical advisor on ‘Lost Horizons’ [Lost Horizon].
Narration: Tibet is the Holy Rome of Buddhism. The religion of one-third of the peoples of this earth. I took these particular scenes at a time of the Panchen Lama, the spiritual leader of Buddhism, had returned to his native Tibet [Panning scenes of Hsin-kung monastery complex in Chengde (formerly Jehol), Hebei province. See still image fr204658.]. It was the occasion for tremendous celebration. More than half a million people had gathered here from the far corners of Asia [Large crowd of Tibetan warriors riding slowly on horseback].
Because of the high altitudes, averaging two to three miles above sea level, walking is breathtaking and everyone rides horseback [Tibetan warriors riding horseback. Group of Tibetans surrounding sedan chair, possibly with the Panchen Lama. Tibetan pilgrims covering the hillside watching the sedan chair pass by. Long shot of groups on horseback making way past camp with tents. View of crowds at Labrang Monastery in Xiahe, Gansu province, next to row of chortens (or stupas). Men carrying Panchen Lama in covered sedan chair at Labrang Monastery. Tibetans watching the procession. Group of men with round hats and Chinese-style tunics, leading the procession with Panchen Lama in sedan chair close behind. See still image fr204098. Soldiers surrounding the Panchen Lama. Groups of monks walking in procession.].
Cymbals and drums herald the approach of the Panchen Lama who is to preside at the mass chanting session in the lamasery’s courtyard [Aerial view of procession, including monks with hats]. To the spectators he is something of a living god [Spanning crowd of seated monks to the left in courtyard of Labrang Monastery, Xiahe, Gansu province]. For long hours the deep voice chanting is led by the Panchen Lama, seated on the high dais at the head of the main aisle [Seated Panchen Lama, long shot of crowd, main aisle and dais, spanning left side of crowd of lamas]. And then follows an examination for lamas aspiring to higher rank [Closer shot of lamas wearing hats] and woe be to him who misses a question which may be put forward by any one of the gathered examiners. And, often it’s a bit rough on the applicant who has to take it or else [Close up of lama with hat challenging an applicant with animated, dance-like gestures]. On to Jamv Japa, a bright lad at about 17, he is the fourth in the hierarchy of living Buddhism in Tibet [Jamv Japa. See similar still image fr203733. Jamv Japa and Harrison Forman together. Forman with his camera around his neck, all laughing]. He is on a pilgrimage to Lhasa [Close-up of Jamv Japa’s face, smiling and laughing. See similar still image fr203694].
Every sacred building in Tibet is protected by these prayer drums [Men spinning prayer wheels]. They are jammed with thousands of bits of paper upon each of which is a passage from the holy Buddhist scriptures [Men and women spinning prayer wheels]. Every time you whirl one of these drums, you are credited with having uttered so many prayers in the books of the hereafter [Close-up of people spinning prayer wheels]. You’ll find these people both lamas and laymen, walking around the lamasery day and night, whirling these drums. For the more drums you whirl, the more prayers are credited to you [More scenes of people whirling prayer wheels. See similar still image fr203603.]. Some are not content with whirling the prayer drums and will measure their lengths around the lamasery [Woman prostrating in prayer, measuring the length of her body on the ground and repeating at the line she has used to measure her length].
Note that particular pitch-fork affair at the end of their rifles [Tibetan warriors with guns and their horses. See similar still image fr203710.]. It acts as a rifle rest when firing from seated or prone position [Guns on the backs of the warriors]. Those spears are sometimes 15 to 20 feet long [More scenes of warriors with guns on their backs at camp. Close-up of warrior, bare-chested with beaded jewelry and gun on his back. Close-up of the warrior’s face]. [Group of nomadic men sitting around camp fire with tents in the background]. The Tibetan staple food is tsamba, T-S-A-M-B-A [Man pouring tea into other man’s bowl with ladle]. It consists of the mush of buttered tea and roasted barley flour. The tea is boiled with argali or yak dung, for wood is not only scarce but precious in nomadic Tibet [Scenes of nomadic men around campfire, pots over fire]. The bellows is made of sheep-skin with a metal pipe [Close-up view of man pumping sheep-skin bellows to stoke fire. Men around fire eating.]. At the end of the day the tribal chieftains pay homage to the young living Buddha. He gets a big kick out of it [Man pouring tea in other man’s bowl].
Labrang Gomba in northeastern Tibet is Buddhism’s fourth largest lamasery [Buddha sculpture in lamasery, close-up of hands] with over 5,000 lamas in permanent residence. [Guardian sculpture, other sculptures. See similar still images fr204594, fr204595, fr204627, fr204608, fr204610.] Within the lamasery’s idol houses are giant Buddhas, some of them two and three stories high and sheeted with gold. They have a deep religious significance. Often whole rooftops of the idol houses throughout Tibet are sheeted with gold [Close-up of face of Great Buddha statue in main temple Ta-fo-szu in Chengde (formerly Jehol), downward shot of feet]. All day long [Lamas, sitting in temple with narrow tables] and sometimes all through the night the lamas sit and chant to the accompaniment of cymbals, bells and drums [Lamas playing cymbals and other instruments and chanting. See still images fr204576, fr204578, fr204579. Hats are folded and placed on tables before them. Young lama playing large hanging drum. Close-up of one chanting lama who looks reluctantly at camera. Shot of temple interior with lamas at tables wearing their hats.].
The Devil Dances are performed four times yearly [Labrang Monastery courtyard (Xiahe, Gansu province) where characters in the Devil Dance are performing for lamas surrounding the perimeter. See still image fr204119.]. The name Devil Dance is a misnomer, for it doesn’t mean what it suggests. Perhaps our best counterpart to the Tibetan Devil Dance would be the Passion Play at a Christian church [Closer shot of performers twirling and dancing. See similar still images fr204564, fr204565]. It is a church giving religious instruction to the laity by means of the drama [Characters wearing large masks and elaborate costumes move through the crowd into the courtyard, dancing]. These are the evil spirits, perhaps this is where they get the term ‘Devil Dance’ [Many different costumed characters are shown, some with large human-like masks, some with animal faces with antlers]. The costumes are made of the most exquisite silks and are imported at great expense from Peiping [Beijing]. These silks have travelled thousands of miles across China and Mongolia to Tibet.
The Tibetan believes that at death the body must be completely destroyed before the spirit may reincarnate. The flesh is then fed to the vultures to speed up this process [Nomad cutting the body of Licksha Yamstel, Forman’s guide who was killed during a bandit attack. See still image fr003986. Vultures attacking and eating the flesh off the dead body]. After most of the flesh is eaten away, the bones are hacked up by the dead one’s relatives and the vultures then allowed to finish the job. There’s little more than a blood spot left when they are through [shot of cultures covering and attacking the body. See still images fr202357 and fr202409. Then a man continuing to hack at the body with a hatchet]. It is a strange truce between man and birds of prey
Tibet, the Forbidden Land, is still one of the last unexplored frontiers of the world today. It is a land of mystery with the world's most religious people, and yet a land where no man dares venture to far from his tent without a rifle over his back
The choral music of Lou Harrison. (Volumes I and II)
No full textLou Harrison's music is clearly an important contribution to the twentieth century repertoire. His early writing for percussion ensemble, experiments in just intonation, melding of Eastern and Western influences, instrument building, and music for gamelan are especially significant. While much of his work has received attention, performance, and praise, his music for chorus is not well-known, much of it in manuscript and inaccessible.This study examines in detail the complete choral works of Harrison from 1939 to the present. It is the purpose of the study to define his compositional style through an analysis of these works. The text is divided into three main sections, the first of which is a brief biography and chronology of the choral works. The main body of the document is an analysis of the works, discussed in chronological order. Each piece is addressed individually with regard to the stylistic characteristics of melody, rhythm, harmony, texture, form, and text setting, where applicable. The final portion is a summary of Harrison's compositional style for chorus and concluding remarks. Appendices include a chronological listing of the works, and transcriptions of conversations between the author and Lou Harrison and Ben Johnston and Harrison. The second volume contains reproductions of the unpublished choral scores.Harrison's background has furnished a rich and fertile soil for the development of his choral style. His early study with Henry Cowell and Arnold Schoenberg, associations with John Cage and Harry Partch, and abiding affinity to Eastern cultural, philosophical, and musical influences, coupled with an adherence to the principles of just intonation and interest in the world's music, has produced a willful experimentation with and assimilation of various styles within his own. All of these influences are clearly evident in the choral works, music which is expressive, fresh, imaginative, and interesting, an amalgam of his many loves and interests.U of I OnlyETDs are only available to UIUC Users without author permissio
Att brodera ut texten : Intertextualitet i Mätta Charlotta Focks klagoskrift
No full textPå Nordiska museet (2021) i Stockholm förvaras en klagoskrift bestående av drygt 600 ord broderade i versaler med korsstygn på ett tygstycke sammanfogat av flera mindre lappar. Texten är daterad ”Iönköpings bastil den 10 desämber 1805” och undertecknad ”Mätta Charlotta Fock, född Ridderbielke”. Mätta Charlotta Fock hade år 1805 genomgått en flera år lång rättsprocess, åtalad för giftmord på sin make (Johan Henrik Fock) samt två av parets fyra barn (Claes Abraham Fock och Charlotta Lovisa Fock). Vid tiden för broderiets tillkomst satt Mätta frihetsberövad på Jönköpings slottshäkte och hade nyligen fått veta att hon skulle insättas som en så kallad bekännelsefånge på Carlstens fästning (Eldvik 2012; Harrison Lindbergh & Harrison 2013; Lyttkens 1956).Min presentation bygger på en intertextuell analys av Mätta Charlotta Focks klagoskrift. En intertextuell analys påvisar sådant i texten som gör den heterogen eller mångröstad (Ajagán-Lester, Ledin & Rahm 2003 s. 203). Analysen utgår från begreppen textsamspel och normsamspel, vilka har introducerats av Per Ledin (1997, 2001 s. 32) som försvenskade motsvarigheter till Norman Faircloughs (1992 s. 104) begrepp manifest intertextualitet respektive interdiskursivitet. Textsamspel innebär att andra texter är explicit närvarande i den undersökta texten, t.ex. genom citat eller referat (Ajagán-Lester, Ledin & Rahm 2003 s. 222), medan normsamspel innebär att andra texter lämnar ett mer implicit avtryck i den undersökta texten, t.ex. genom ”spår av olika textnormer” eller ”ekon av andra koder” (Ajagán-Lester, Ledin & Rahm 2003 s. 226). </p
The effectiveness of conventional trickling filter treatment plants at reducing concentrations of copper in wastewaters
No full textThis is the post-print version of the final paper published in Science of the Total Environment. The published article is available from the link below. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. Copyright @ 2009 Elsevier B.V.Eight different sewage treatment works were sampled in the North West of England. The effectiveness of the conventional treatment processes (primary sedimentation and biological trickling filters) as well as various tertiary treatment units in terms of both total and dissolved copper removal was evaluated. The removal of total copper across primary sedimentation averaged 53% and were relatively consistent at all sites, however, at three sites the removal of dissolved copper also occurred at this stage of treatment. Removal of total copper by the biological trickling filters averaged 49%, however, substantial dissolution of copper occurred at two sites, which highlighted the unpredictability of this treatment process in the removal of dissolved copper. Copper removal during tertiary treatment varied considerably even for the same treatment processes installed at different sites, primarily due to the variability of insoluble copper removal, with little effect on copper in the dissolved form being observed. The proportion of dissolved copper increased significantly during treatment, from an average of 22% in crude sewages to 55% in the final effluents. There may be the potential to optimise existing, conventional treatment processes (primary or biological treatment) to enhance dissolved copper removal, possibly reducing the requirement for installing any tertiary processes specifically for the removal of copper.United Utilities PL
The conventional versus a constructionist Scratch programming and first-year students' achievements in higher education classes: experimental data.
No full textGlobally, learning or teaching the first programming (popularly called CS1) remains a significant educational challenge. Indicators such as CS1 students' engagement, failure and attrition rates, and lack of diversity, continue to show the need for innovating the learning or teaching of novice computer science students. To ease initiating novices to programming, Scratch, a visual programming language, has become a staple of K-12 CS1 classes.
As outcomes of a research project aiming to explore a constructionist Scratch pedagogy with novice CS students in higher education, we present these datasets. In the research lasting two successive academic sessions, we conducted two quasi-experimental studies involving four intact CS1 classes in selected public polytechnic in the north central Nigeria. In each study, we randomly assigned the classes to the experimental and control groups, constituting the constructionist Scratch and the conventional CS1 classes, respectively.
Instruments for collecting data include a student profile questionnaire, a pretest, and posttest. Sequel to ethical clearance and permission from the selected schools, we conducted each study during the first semester of each academic session, in the first seven to eight weeks. During the first to second week, we administered students who consented to take part with the questionnaire and the pretest. Learning or teaching in the two classes lasted six weeks. Then both classes took the posttest. An independent CS educator who is not part of this research marked all the achievement tests, following a rubric prepared by the first author. To strengthen the research design and the possibility of arriving at valid causal evidence, we employed a Coarsened Exact Matching (CEM) algorithm to generate matched samples of experimental and control data, which we used in the analysis.
Data presented here includes the raw, unmatched and matched experimental datasets from both studies. A researcher can make use of the data:
To explore if some background variables not addressed in the original research may moderate CS1 students' achievements. For instance, their prior achievements in mathematics, physics, or English.
To uncover some interesting patterns using machine learning algorithms.
To validate the outcome of the original experiment by using the unmatched, matched or newly generated matched samples.
The authors welcome further research collaborations in using the data or the accompanying research instruments.
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The choral music of Lou Harrison. (Volumes I and II)
No full textLou Harrison's music is clearly an important contribution to the twentieth century repertoire. His early writing for percussion ensemble, experiments in just intonation, melding of Eastern and Western influences, instrument building, and music for gamelan are especially significant. While much of his work has received attention, performance, and praise, his music for chorus is not well-known, much of it in manuscript and inaccessible.This study examines in detail the complete choral works of Harrison from 1939 to the present. It is the purpose of the study to define his compositional style through an analysis of these works. The text is divided into three main sections, the first of which is a brief biography and chronology of the choral works. The main body of the document is an analysis of the works, discussed in chronological order. Each piece is addressed individually with regard to the stylistic characteristics of melody, rhythm, harmony, texture, form, and text setting, where applicable. The final portion is a summary of Harrison's compositional style for chorus and concluding remarks. Appendices include a chronological listing of the works, and transcriptions of conversations between the author and Lou Harrison and Ben Johnston and Harrison. The second volume contains reproductions of the unpublished choral scores.Harrison's background has furnished a rich and fertile soil for the development of his choral style. His early study with Henry Cowell and Arnold Schoenberg, associations with John Cage and Harry Partch, and abiding affinity to Eastern cultural, philosophical, and musical influences, coupled with an adherence to the principles of just intonation and interest in the world's music, has produced a willful experimentation with and assimilation of various styles within his own. All of these influences are clearly evident in the choral works, music which is expressive, fresh, imaginative, and interesting, an amalgam of his many loves and interests.Made available in DSpace on 2011-05-07T13:59:15Z (GMT). No. of bitstreams: 2
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Harrison-Guerry-Brannon-Crawford Family Cemetery Marker Georgetown, GA
No full textThe marker reads: HARRISON - GUERRY - BRANNON - CRAWFORD FAMILY CEMETERY Approximately 200 yards SW is an old family graveyard where lie buried many distinguished Georgians. Capt. James Harrison, one of the earlier settlers of this area, rests here. His home, begun 1837, was the first frame house in this area and was built near this cemetery. Lt. Col. Theodore LeGrande Guerry, CSA, President of the Ga. Senate, 1858- 1860, and author of the bill creating Quitman Co., also lies here. Col. Guerry organized and served as first Capt. of the “Quitman Grays”, later Co. I, 11th Ga. Vol. Inf. Regt. He later rose to Lt. Col. and served as executive officer of the 11th. Here lies 2nd Lt. John Benjamin Guerry, CSA, of Co. I, 11th Ga. Inf. Lt. Guerry was killed at the Battle of Second Manassas, Va., August, 1862. Here also is Lt. James B. Harrison, CSA, of Co. F, 61st Ga. Inf., killed fighting valiantly at the Battle of the Wilderness, Va., 1864. Capt. Edward B. Brannon, CSA, who commanded Co. I after the Battle of Gettysburg, Pa., 1863, when its commander Capt. F. M. Bledsoe was captured, was originally buried in this cemetery, but was later moved to the cemetery at Georgetown Baptist Church. Also buried here is Col. William “Red” Harrison, CSA, who organized and led the 6th La. Cav. Regt., and Major William Lewis Crawford, first pastor of the Georgetown Baptist Church. 118-3 GEORGIA HISTORICAL COMMISSION 1961 Top of sign: The Great Seal of Georgia – Georgia 1776 Constitution Justice Wisdom Moderationhttps://digitalcommons.unf.edu/historical_architecture_main/8462/thumbnail.jp
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