3,208 research outputs found
Interview: Karen Stevens on characterisation, class and ‘Brilliant Blue'
No full textJoe Bedford interview series 'Writers on Research'. Author Karen Stevens discusses the research process behind her short story collection Brilliant Blue (Barbican Press, 2025)
The reduction of metaphysics and the play of violence in the poetry of Wallace Stevens
No full textPhDThe thesis demonstrates how Wallace Stevens' poetry utilises pre-Socratic philosophy in overcoming post-Kantian dislocation from the 'thing-in-itself'. I initially consider Stevens’ poetry in terms of Hans-Georg Gadamer's ontological conception of the 'play' of art, an interactive existence overlooked by Kant. Through the ‘play’ of Stevens’ poems the reading audience are implicated in their reduction to being. The origin of this conception leads Gadamer back to Parmenides who Stevens had read. I argue that Stevens’ poetry ‘plays’ its audience into an ontological ground in an effort to show that his ‘reduction of metaphysics’ is not dry philosophical imposition, but is enacted by our encounter with the poems themselves. Through an analysis of how the language and form of Stevens’ poems attempt to reduce mind and world to concepts that parallel Parmenides’ poetic sense of being, and Heraclitus’ notion of becoming, the thesis uncovers the ground in which Stevens attempts a reconnection with the ‘thing-in-itself’. It is through the experience of reconnecting to an ontological centre, which his poetry presents as the human project, that Stevens’ poetry also presents itself as a means of replacing religion.From here we turn to Emmanuel Levinas and Jacques Derrida for an exposition of how such a reduction reduces the ‘Other’ to ‘otherness’ and their worry that this reduction legitimates violence within the thought of Martin Heidegger and Parmenides. From this I make a case for how such reductions are connected to what I refer to as 'the play of violence' in Stevens' poetry, and to refer this violence back to the mythology Stevens' poetry shares with certain pre-Socratics and with Greek tragedy. This shows how such mythic rhythms are apparent within the work of Friedrich Nietzsche, Heidegger and Gadamer, and how these rhythms release a poetic understanding of the violence of a ‘reduction of metaphysics’
John Stevens Wade Correspondence
No full textEntries include a typed letter presenting the book Gallery for the Maine Author Collection and a lengthy typed biographical sketch of the author C.J. Stevens, contributed as John Stevens Wade, his pseudonym
Standardisation of Provenance Systems in Service Oriented Architectures --- White Paper
No full textThis White Paper presents provenance in computer systems as a mechanism by which business and e-science can undertake compliance validation and analysis of their past processes. We discuss an open approach that can bring benefits to application owners, IT providers, auditors and reviewers. In order to capitalise on such benefits, we make specific recommendations to move forward a standardisation activity in this domain
Recovery through contradiction?
No full textWith this new drug strategy, the circle has turned. It was a Conservative government
that introduced the first drug strategy, Tackling Drugs Together, in 1995. This aimed
to reduce drug related crime, protect young people and reduce health harms by
discouraging drug use. It was criticised at the time for having unrealistic, intangible
aims and for not providing the necessary funding. New Labour’s strategies introduced
increasingly specific targets and massively expanded the funding of treatment. This
new Coalition strategy has no targets and provides no new funding
Jean-Luc Godard and the other history of cinema
No full textJean-Luc Godard's Histoire(s) du cinema (1988-1998) is a video work made up of visual and verbal quotations of hundreds of images and sounds from film history. But rather than simply telling (hi)stories of cinema, Godard makes a case for cinema as a tool for performing the work of history. This is partly because the film image, by virtue of always recording more of the real than was anticipated or intended, necessarily has history itself inscribed within its very fabric. It is also because montage, as the art of combining discrete elements in new ways in order to produce original forms, can be seen as a machine for realising historical thought. This thesis examines these ideas by discussing Godard's account of the role of cinema in the Second World War, and by analysing some of his recent work as examples of historical montage which attempt to criticise our current political climate through comparison with earlier eras.
After a first chapter which sets out Godard's argument through an extensive commentary of Histoire(s) 1A and B, a second chapter discusses Godard's depiction of the invention of cinema and traces a complex argument about technology and historical responsibility around the key metaphorical figure of the train. Chapter 3 explores the ways in which Godard's historical approach to cinema allows him to maintain a critical discourse with regard to the geopolitical realities of late twentieth-century Europe (Germany, the Balkans), but also to the communications and business empires that have developed over the past few decades. A final chapter offers a detailed consideration of the nature of Godard's cinematic quotation and seeks to explicate the apocalyptic rhetoric of his late work. Aside from Histoire(s) du cinema, films discussed include Nouvelle Vague (1990), Allemagne neuf zero (1991), For Ever Mozart (1996) and Eloge de l'amour (2001)
Gwendolyne Stevens
No full text"Gwendolyne Daphne was born on 7 June 1908 at Quorn, South Australia, daughter of Hugo Albert Valentine Healey, painter and later publican, and his wife Jessie Gwendolyne, n?e Napier, both South Australian born.
Gwendolyne attended several rural schools, including Innamincka Public, before proceeding to St Peter's Collegiate Girls' School, Adelaide. Miss Healey trained at Burra public and (Royal) Adelaide hospitals, and was registered as a nurse on 11 July 1929. She then moved to Parkside Mental Hospital where she gained a certificate in psychiatric nursing in 1931 and became sister-in-charge. In 1934 she bought a large house at Payneham that had been built by James Marshall, converted it into a private psychiatric hospital and named it St Margarets. As its owner and matron for eighteen years, she cared for patients suffering the early stages of nervous disorders, and provided them with a secure and restful setting, with aviaries amid beautiful gardens. That she took on such a task during the depression, and succeeded in it, testified to her business acumen, organizing ability and compassion for those in need.
At the chapel of the Collegiate School of St Peter, Adelaide, on 12 April 1940, she married George Dempster Stevens, a clerk employed by Dalgety & Co. Ltd. They were to have two daughters.
Pursuing her interest in community health, Mrs Stevens was founding president (1944-50) and a committee-member (until 1961) of the Payneham branch of the Mothers' and Babies' Health Association.
After she sold her hospital in 1952, she set up Sterling Downs, a Poll Dorset stud on 2200 acres (890 ha) at Currency Creek, in 1957. She employed a manager to supervise the stud and visited it each week. In the 1960s she sold part of the land and moved the stud to Sterling Park, McLaren Vale. The stud was later sold and its sheep replaced with cattle.
Having noticed particular outcrops of rock at Sterling Park, Stevens arranged for drilling to be conducted, as a result of which she opened a quarry and sold building sands to the local council.
In 1968 she became interested in the mining potential of the Northern Territory. She studied maps, obtained advice from geologists and concentrated on an area near Oenpelli, Arnhem Land. She received permission to prospect on 1282 sq. miles (3320 km?) of Aboriginal reserve and negotiated an exploration programme with Queensland Mines Ltd.
In 1970 that company discovered what was then described as the richest body of uranium ore in the world, at a site known to local Aborigines as Nabarlek.
Newspapers referred to Stevens as 'probably the first woman in the world with a right to mine uranium'. She visited the area twice during the early stages of exploration and was staggered by the size of the find.
In August 1971, however, Queensland Mines downgraded the ore reserves to about one-sixth of those announced a year earlier. Intending to use some of the proceeds of her investment to benefit the health of the Aborigines, she transferred the exploration licences to Queensland Mines in May 1973 and negotiated a royalty agreement. Mining at Nabarlek began in 1979.
Mrs Stevens both created and took advantage of opportunities in the areas of mental health, sheep-breeding and mining. Suffering from hypertension, she died of a cerebral haemorrhage on 3 March 1974 in her Kensington Park home and was cremated. She was survived by her husband and their daughters. Her estate was sworn for probate at $416,266." [author Tony Bott].NurseSheep BreederMining EntrepreneurHospital Proprieto
Luc Stevens, dir. : La Belgique souterraine, un monde fabuleux sous nos pieds, 2005
No full textGauchon Christophe. Luc Stevens, dir. : La Belgique souterraine, un monde fabuleux sous nos pieds, 2005. In: Karstologia : revue de karstologie et de spéléologie physique, n°50, 2e semestre 2007. Suivi climatique dans la grotte de Lascaux. p. 61
Luc Stevens, dir. : La Belgique souterraine, un monde fabuleux sous nos pieds, 2005
No full textGauchon Christophe. Luc Stevens, dir. : La Belgique souterraine, un monde fabuleux sous nos pieds, 2005. In: Karstologia : revue de karstologie et de spéléologie physique, n°50, 2e semestre 2007. Suivi climatique dans la grotte de Lascaux. p. 61
Jane Perham Stevens Correspondence
No full textEntries are two, practically indistinguishable copies of a letter written by Thayer of the Maine State Library thanking Stevens for her 1972 book gift of Maine\u27s Treasure Chest: Gems and Minerals of Oxford County to the Maine Author Collection
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