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DEL15: N. Macleod
No full textNSF BCS #1500220, #1500620This item is part of the University of Arizona Celtic Linguistics Project, made available by the University of Arizona Scottish Gaelic Phonology and Phonetics group and the University of Arizona Libraries. Please contact us at [email protected] for more information
Technique for enhancing signal in conventional backscattering fluorescence and Raman spectroscopy of turbid media
No full textCopyright © 2008 American Chemical SocietyKevin Buckley, Allen Goodship, Neil A. Macleod, Anthony W. Parker, and Pavel Matouse
Interview with Neil and Ian Mackay
No full textIn this interview two weavers, Ian and Neil MacKay tell of their work in the weaving industry and of how oil had affected their lives and their business
Idiosynchronicity: A collection of poetry (Original writing).
No full textAbstract Not Available. Source: Masters Abstracts International, Volume: 39-02, page: 0356. Adviser: Alistair MacLeod. Thesis (M.A.)--University of Windsor (Canada), 1998
George MacLeod’s open-air preaching: performance and counter-performance
No full textStuart Blythe uses the methodology of performance to analyse George MacLeod’s open-air preaching. He points out that MacLeod’s preaching was derived from a theology of the incarnation, and an understanding of the paradoxes and dichotomies of common human life. This preaching, Blythe suggests, was also a counter-performance in the context of outlooks and ideologies inimical to the gospel. The paper raises interesting issues related to preaching as performance, and the further question as to whether or not the life and work of the Church as a whole might now be better understood as a counter-performance.Publisher PD
The Life and Letters of William Sharp and "Fiona Macleod"
No full text"William Sharp (1855-1905) conducted one of the most audacious literary deceptions of his or any time. Sharp was a Scottish poet, novelist, biographer and editor who in 1893 began to write critically and commercially successful books under the name Fiona Macleod. This was far more than just a pseudonym: he corresponded as Macleod, enlisting his sister to provide the handwriting and address, and for more than a decade ""Fiona Macleod"" duped not only the general public but such literary luminaries as William Butler Yeats and, in America, E. C. Stedman.
Sharp wrote ""I feel another self within me now more than ever; it is as if I were possessed by a spirit who must speak out"". This three-volume collection brings together Sharp’s own correspondence – a fascinating trove in its own right, by a Victorian man of letters who was on intimate terms with writers including Dante Gabriel Rossetti, Walter Pater, and George Meredith – and the Fiona Macleod letters, which bring to life Sharp’s intriguing ""second self"".
With an introduction and detailed notes by William F. Halloran, this richly rewarding collection offers a wonderful insight into the literary landscape of the time, while also investigating a strange and underappreciated phenomenon of late-nineteenth-century English literature. It is essential for scholars of the period, and it is an illuminating read for anyone interested in authorship and identity.
Afterword
No full textNews of Sharp’s death was wired to Edith Rinder in London, and she passed it to the newspapers with the information that Sharp was the author of the writings of Fiona Macleod. Six years before he died, Sharp wrote on small white cards a message confessing that he, and he alone, was “the author — in the literal and literary sense — of all written under the name of Fiona Macleod.” He identified individuals who were to receive the cards from Elizabeth after he died. She sent one to W. B. Yeats o..
A multiple case study of pedagogical relationships in different disciplinary areas in a research-intensive university in the UK
No full textThis thesis is a study of the nature of pedagogical relationships between academic
teaching staff (ATS) and students at Master’s level in a research-intensive university
in the UK. There is a growing, but still limited, number of empirical studies on how
ATS and students conceptualise pedagogical relationships. However, none have
focused, as this one does, on Master’s programmes against the backdrop of
marketisation of UK higher education. More specifically, this study aims to gain
understanding of the features of ideal pedagogical relationships from ATS’s and
students’ perspectives. It also aims to explore the factors that facilitate and hamper
the development of positive pedagogical relationships.
A multiple-case design was adopted which drew on qualitative data gathered through
one-on-one semi-structured interviews with 11 ATS and 19 full-time MSc students in
three disciplinary areas within one research-intensive university. This was followed by
a detailed and thorough thematic analysis.
The first key finding can be summarised into an eccentric repetition – pedagogical
relationships need to be pedagogical. This study suggests that while students value
ATS’s approachability, immediacy, and caring, they indicate that ultimately, they hope
the positive relationships with ATS can facilitate their learning.
The second finding is about the features of ideal pedagogical relationships. The study
suggests that there is a consensus between ATS and students on the nature of ideal
pedagogical relationships pertaining to Master’s study, namely, an equal relationship
but within a hierarchy. The students want the relationships with ATS to be equal in
terms of respect and recognition. This indicates the importance for ATS to
acknowledge students’ emotional investment during their Master’s study and to pay
attention to students’ feelings during any pedagogical encounter. On the other hand,
the students recognise the hierarchy between them and ATS regarding knowledge
and experience. Instead of serving as an obstacle for students’ learning, I draw on my
analysis to argue that this hierarchy has the potential for facilitating Master’s students
to achieve ‘mastersness’.
Furthermore, this study sheds light on the factors that constrain the development of
positive pedagogical relationships. ATS and students had a common view that it is
not each other’s fault. Rather, there are structural constraints, such as class-size,
student-staff ratio, and ATS’s workloads, which are attributed by the participants to
the marketisation and massification of higher education. Furthermore, this study
provides unique insights into the influence of the diversity of postgraduate taught
(PGT) student body, including their diverse motivations, expectations, and language
competency, on building and maintaining pedagogical relationships. Practical
implications for the improvement of pedagogical relationships are provided
accordingly.
This study also contributes to the literature and understanding of ATS’s and Master’s
students’ teaching and learning experiences. The study suggests the complex nature
of pedagogical relationships experienced by ATS and students. Indeed, the popular
conception of ‘students as customers’ is not supported by my data. The findings show
that these students and staff have had experience of a whole range of relationships,
some positive and others less so. One individual student may feel more like a
customer in one class, and less like one in another. This thesis discusses the factors
that seem to contribute to this.
Although this study was conducted in only one research-intensive university, through
detailed accounts of the research context together with detailed and nuanced
discussions of the research process, the findings and practical implications provided
in this thesis can be confidently transferred and applied to other conceptually related
settings, such as other universities, undergraduate programmes, and schools
Ain't no makin' it aspirations and attainment in a low-income neighborhood
No full textThe author immersed himself in the teenage underworld of Clarendon Heights. The Hallway Hangers, one of the neighborhood cliques, appear as cynical self-destructive hoodlums. The other group, the Brothers, take the American Dream to heart and aspire to middle-class respectability. The twist is that the Hallway Hangers are mostly white; the Brothers are almost all black. Comparing the two groups, MacLeod provides a provocative account of how poverty is perpetuated from one generation to the nextThis edition retains the vivid accounts of friendships, families, school, and work that made the first edition so popular. The ethnography resonates with feeling and vivid dialogue. But the book also addressed one of the most important issues in modern social theory and policy: how social inequality is reproduced from one generation to the next. MacLeod links individual lives with social theory to forge a powerful argument about how inequality is created, sustained, and accepted in the United State
Explorations in Sound
No full textProgramme Note: SoundKarD trio bring a night of new music, with electronics, voice, harmonium & keyboards by some of the UK’s leading experimental composers.
Join Sarah Dacey (voice) Kate Halsall (harmonium & keyboards) and Duncan MacLeod (electronics) for an experimental night of new music, by SKD and friends for Explorations in Sound.
SKD have worked together for 10+ years in various guises, including voice and piano, voice and electronics, harpsichord and electronics and as part of Galvanize Ensemble projects Happenstance and Galvanize for Hack the Barbican. They’ve performed at The Barbican London, hcmf//, Frontiers Festival, 100 Years Gallery, LV21 Gillingham Pier, Music Orbit, LimeWharf Gallery, UCL, Nexus Art Cafe, sound festival and more. They programme scored/improvised work, alongside existing/flexible repertoire, working with and commissioning composers.
Programme:
Phaos - composed by Duncan MacLeod
Subsong - composed by Kerry Andrew
Horse Sings From Cloud - composed by Pauline Oliveros (arr. SoundKarD)
14AB2 - composed by Phil Maguire
Crazy Mad Love - composed by Christian Wolff
Wooden Trees (after John Cage and Laurie Anderson) - arranged by Kate Halsall
You Blew It - composed by Christian Wolff
de.con.structuring - composed by Ryoko Akama
Pie Face - composed by Neil Luck
Performers: Sarah Dacey (voice); Kate Halsall (keyboards); Duncan MacLeod (Electronics)
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