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R. Williams letter to Mrs. Susan M.Weirman, July 21, 1896
No full textResponse letter from R. Williams to Susan M. Wierman [sometimes spelled Weirman] following up on a visit from photographer M. Wooley, presumably to snap photographs of Susan and the Lundy home to accompany Williams' biographical essay on Lundy. Williams sends along Wooley's letters and requests additional information from Ms. Wierman about the life and times of some meeting houses significant in the life and times of her father, anti-slavery activist and abolitionist periodical publisher Benjamin Lundy. Benjamin Lundy (1789-1839) was a prominent Quaker abolitionist best known for his development of abolitionist periodicals. His Genius of Universal Emancipation was first published in 1821 from his home in Mt. Pleasant, Ohio, and enjoyed a wide circulation across the antebellum United States. In the 1820s, the young William Lloyd Garrison came to work for The Genius. Benjamin Lundy traveled widely seeking subscriptions to The Genius, giving talks about the anti-slavery movement, and observing and documenting the conditions of enslaved people across the Americas. He was also involved in the establishment of freed slave colonies in Mexico
R. Williams letter to Mrs. Susan M.Weirman, March 23, 1896
No full textLetter from R. Williams to Mrs. Susan M. Wierman (here, spelled Weirman by R. Williams), daughter of Benjamin Lundy, concerning Williams' plan to visit Mrs. Wierman to take photographs for a forthcoming article on the life and times of Lundy, to be published in a Chicago newspaper. Williams describes previous visits to Wierman, and makes notes of the resources, publications and repositories he has used in compiling his study of Lundy thus far. He also makes requests of Mrs. Wierman for a sketch of recollections about life with her father and her own involvement in the abolition movement. Benjamin Lundy (1789-1839) was a prominent Quaker abolitionist best known for his development of abolitionist periodicals. His Genius of Universal Emancipation was first published in 1821 from his home in Mt. Pleasant, Ohio, and enjoyed a wide circulation across the antebellum United States. In the 1820s, the young William Lloyd Garrison came to work for The Genius. Benjamin Lundy traveled widely seeking subscriptions to The Genius, giving talks about the anti-slavery movement, and observing and documenting the conditions of enslaved people across the Americas. He was also involved in the establishment of freed slave colonies in Mexico
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Source Data for Michael S. Dimitriyev, Benjamin R. Greenvall, Rejoy Matthew, & Gregory M. Grason, "Not even metastable: Cubic double-diamond in diblock copolymer melts"
No full textSource data and code to reproduce the results published in Michael S. Dimitriyev, Benjamin R. Greenvall, Rejoy Matthew, & Gregory M. Grason, "Not even metastable: Cubic double-diamond in diblock copolymer melts"N
R. Williams letter to Mrs. Susan M.Weirman, September 9, 1895
No full textShort note from Lundy biographer R. Williams to Mrs. Susan M. Wierman (here, "Wiederman") concerning Williams' proposed return visits to Wierman's home in Clear Creek, Illinois. Williams explains that he had intended to visit with a "Col. Plumb"; but Plumb is elderly and had fallen ill. Williams proposes hoping to visit solo in months to come, and asks after the dates of the local Friends Quarterly Meeting. Benjamin Lundy (1789-1839) was a prominent Quaker abolitionist best known for his development of abolitionist periodicals. His Genius of Universal Emancipation was first published in 1821 from his home in Mt. Pleasant, Ohio, and enjoyed a wide circulation across the antebellum United States. In the 1820s, the young William Lloyd Garrison came to work for The Genius. Benjamin Lundy traveled widely seeking subscriptions to The Genius, giving talks about the anti-slavery movement, and observing and documenting the conditions of enslaved people across the Americas. He was also involved in the establishment of freed slave colonies in Mexico
Walter Benjamin, a Methodological Contribution
No full textThis article examines the work and philosophy of Walter Benjamin as
an important source of information for international relations (IR) and
International Political Sociology (IPS) scholars, particularly in light of
his methodological contributions, which could provide important
ground for movements such as the aesthetic turn in IR and everyday
life ⁄ popular culture studies within IR and IPS. Benjamin’s contributions
are examined in light of his most controversial, albeit unfinished, project—
The Arcades Project, a recently published volume that focuses on a
selection of documents from the Benjamin archive; and a study by Howard
Caygill on Benjamin’s attempt to create a ‘‘new philosophy,’’ and
along with it, a new methodology for studying ‘‘experience.’’ The article
focuses on three main elements that stand at the basis of Benjamin’s
unique methodology: (1) his process of selecting the object of study;
(2) his treatment of temporality and processes of change ⁄ history; and
(3) his focus on the visual as key to escaping the limitations of
traditional ‘‘philosophical’’ text
Evaluation of the 2020 wildfire season
No full textan evaluation conducted by University of Oregon in partnership with Oregon Health Authority ; Michael R. Coughlan, Heidi Huber-Stearns, Benjamin Clark, and Alison Deak.This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Includes bibliographical references.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
Public worship and practical theology in the work of Benjamin Keach (1640-1704)
No full textThe late seventeenth century was a critical and fruitful period
for the Particular Baptists of England. Severely persecuted following
the Restoration, toleration in 1689 brought its own perils.
Particular Baptists were fortunate in having several strong leaders,
especially the London trio of Hanserd Knollys, William Kiffin, and
Benjamin Keach. Such a small and severely persecuted group as the
Baptists could afford little time for academic pursuits, thus of
necessity most of their theology was practical in nature.
Benjamin Keach (1640-1704) was the most outstanding practical
theologian among the English Particular Baptists of the late
seventeenth century. This dissertation is a study of Keach, in
particular his writings on public worship and practical theology.
Although Keach was a prolific author, he has been almost completely
neglected by scholars.
After a biographical sketch of Keach, this study considers his
writings on public worship and practical theology. In the area of
worship, Keach made two outstanding contributions: First, he was the
most vocal apologist for Baptist views on Baptism of his period.
Secondly, and more importantly, his hymn writing and defense of hymn
singing broke new ground, not just for Baptists, but for English
Protestantism, in general. In addition to his contributions in these
areas, he also dealt with the laying on of hands and the sabbath day
worship controversy.
Keach's contributions to practical theology fall into two main
groups: his writings that concern religious education and those that
deal with polity. In addition to these, Keach's vigorous advocacy of
a high Calvinist soteriology are also considered under the rubric of
practical theology. Keach's most important (although not his most
positive) contribution in this area were his soteriological writings.
Although well within the bounds of orthodoxy, some of the tendencies
in Keach's soteriology were taken up by the following generation of
Baptist leaders and developed into a stultifying hyper-Calvinism that
handicapped Baptist evangelism and missions.
In the conclusion, Keach's contributions to a theory of practical
theology are considered
The concept of remembrance in Walter Benjamin
No full textThis thesis argues that the role played by the concept of remembrance (Eingedenken)
in Walter Benjamin's 'theory of the knowledge of history' and in his engagement with
Enlightenment universal history, is a crucial one. The implications of Benjamin's
contention that history's 'original vocation' is 'remembrance' have hitherto gone
largely unnoticed. The following thesis explores the meaning of the concept of
remembrance and assesses the significance of this proposed link between history and
memory, looking at both the mnemonic aspect of history and the historical facets of
memory. It argues that by mobilising the simultaneously destructive and constructive
capacities of remembrance, Benjamin sought to develop a critical historiography
which would enable a radical encounter with a previously suppressed past. In so doing
he takes up a stance (explicit and implicit) towards existing philosophical conceptions
of history, in particular the idea of universal history found in German Idealism.
Benjamin reveals an intention to retain the epistemological aspirations of universal
history whilst ridding that approach of its apologetic moment. He criticises existing
conceptions of history on the basis that each assumes homogeneous time to be the
framework in which historical events occur. Insight into the distinctive temporality of
remembrance proves to be the touchstone for this critique, and provides a paradigm
for a very different conception of time. The thesis goes on to determine what is valid
and what is problematic both in this concept of remembrance and in the theory of
historical knowledge which it informs, by subjecting both to the most cogent
criticisms which can be levelled at them. What emerges is not only the importance of
this concept for an understanding of Benjamin's philosophy but the pertinence of this
concept for any philosophical account of memory
The later orchestral works of William Walton: a critical and analytical re-evaluation
No full textAlthough the British twentieth-century composer William Walton enJoys a continuing presence in the international canon, the body of scholarship that seriously engages with his life and work is small. The post-war music, which includes the Cello Concerto (1956), Second Symphony (1961), Variations on a Theme of Hindemith (1963), Improvisations on
an Impromptu of Benjamin Britten (1969), and the film score for Battle of Britain (1969), has been particularly underrepresented in critical and analytical writing. In this thesis, I give detailed analyses of these scores, alongside an investigation of the contemporary critical
climate and reception history of these works.
I argue that the series of significant lifestyle changes that Walton underwent in the years immediately following the Second World War - including exchanging the busy musical life of London and a series of affairs with high-profile figures for the 'dolce far niente' of an isolated Italian island and a stable marriage - are suggestive of a broad shift in the composer's social and cultural values with consequent changes in musical attitudes and compositional tendencies. Walton's later music is differentiated from the pre-war works by the presence of octatonic, twelve-note, hexatonic and other non-diatonic harmonic constructions in the foreground, and a change from teleological to network-based or rotational background structures. My analyses adopt a deliberately eclectic range of analytical strategies, combining aspects of set-class approaches alongside tools from the tonal tradition. This methodological pluralism reflects my argument that the vitality of these scores derives from a tension between modernist and traditional tendencies. I argue that
Walton appropriates a wide range of influences, including to some extent that of the European avant garde, in contradistinction to the assertion prominent in contemporary
reception literature that his music had stagnated into a single outmoded and rarefied style.
I conclude that although Walton's post-war music was indeed conservative in comparison to that of several of his younger contemporaries, his music engages, through opposition and assimilation, with many of the most characteristic trends of twentieth-century concert
music. Nevertheless, I argue that the temptation to label Walton as a 'modernist' should be avoided; his works should be judged on their own terms and not according to the
regressive--progressive axis prominent in much of the contemporary reception literature. These scores may not have been progressive, but they have a distinctive sound-world and an invigorating vitality that makes them exceptionally engaging both as works of art and
objects of study
Liu Hao et al. (2016): Determination of Stark parameters by cross-calibration in a multi-element laser-induced plasma
No full textOriginal data for the article "Determination of Stark parameters by cross-calibration in a multi-element laser-induced plasma" by Liu Hao, Benjamin S Truscott and Michael N R Ashfol
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