12,656 research outputs found
Winifred Nicholson
No full textThis work shows the reader English painter Winifred Nicholson (1893-1981) as she has never fully been seen before. The author has had access to newly archived material of her letters and articles and has also drawn on the family archive to find previously unpublished material, shedding new light on her career and personal life
Ben Nicholson 1894-1982 - ACE151.3
No full textPhotograph of Winifred Roberts Nicholson. 1921- circa 1923 (Cortivallo, Lugano) (1921-c.1923), where they often spent the winter. Land- and seascapes. Trout (1924), a completely abstract picture, in which the stripes were based on one of his father’s jugs (shown). Picasso’s Bouteille, Guitare, Pipe (1912) which had a profound effect on Nicholson. Christopher Wood’s Self Portrait (1927) and a seascape. Photographs of the Nicholsons’ house in Cumberland; flower painting by Winifred Nicholson showing view from the window; landscapes and a flower painting by Ben Nicholson, as well as another landscape by Winifred, mostly from around 1927. Sailing Boat on a River (1929) by Winifred; a view down the river Fal by Ben (1929). Photograph of Nicholson and Barbara Hepworth. Commentary on Nicholson’s reviving commitment to Abstraction and his "love affair with Parisian painting". Au Chat Botté (1932), "the key picture"; details with Nicholson’s thoughts about the composition read over. Various pictures "the most personal of his career" and "in complete contrast to the total abstraction that followed", including more or the jugs, 1932 (girl in a mirror - drawing) (1932), and composite views of himself and Hepworth. Photograph of their shared studio, photograph of Herbert Read, who lived next door to them in Hampstead where there was "an immense concentration of revolutionary aesthetic power". Exterior Mall Studios, Henry Moore’s flat in Parkhill Road, Blue Plaque to Piet Mondrian, Paul Nash’s house in Eldon Road; commentary points to European artists who were taking refuge in London. Nash’s Equivalents for the Megaliths (1935). Naum Gabo’s Construction through a Plane (Construction on a Plane) (1937). Hepworth’s Three Forms (1935). Top of a sculpture by Moore
Ben Nicholson 1894-1982
No full textPatrick Heron, Felicitas Vogler, Leslie Martin, Andras Kalman, and Angela Verren each reminisce about Ben Nicholson whom Heron claims "was the greatest English painter since Turner". Photographs of Ben Nicholson at various stages of his life. John Read VO says that Nicholson has been called "the man who re-drew the map of English painting" and says that the events leading up to this were witnessed by his father, Herbert Read. Cover of edition of Axis from 1935. Page from magazine showing Nicholson’s Carved Relief in White (1935). He "changed the whole idea of what painting should be"; commentary reads from Axis article by H. Read, explaining different techniques employed: landscapes, a collage, paintings. A photograph of Nicholson carving out shapes in wood. White Relief (1936). A sculpture in gardens. Biographical information – photographs of his parents, both of whom were artists, Sir William Nicholson and Mabel Pryde; Ben Nicholson portrait by his mother (c.1910-1914). Leslie Martin points out that Nicholson was born into the art world – family group by Sir William Orpen (A Bloomsbury Family, 1907). Photograph of Nicholson. Kalman talking about Nicholson balancing being an "English gentleman" as well as a member of the avant-garde and supporter of the modern movement. He believes Nicholson reacted against his father’s work. Painting by William Nicholson; Mushrooms (1940). Some still life paintings with Ben Nicholson’s words over on what he learned from his father. Collection of goblets, bottles, jugs, which Nicholson inherited from his father and claimed influenced his move to abstract art. Various works incorporating images of some of these.
Photograph of Winifred Roberts Nicholson. 1921- circa 1923 (Cortivallo, Lugano) (1921-c.1923), where they often spent the winter. Land- and seascapes. Trout (1924), a completely abstract picture, in which the stripes were based on one of his father’s jugs (shown). Picasso’s Bouteille, Guitare, Pipe (1912) which had a profound effect on Nicholson. Christopher Wood’s Self Portrait (1927) and a seascape. Photographs of the Nicholsons’ house in Cumberland; flower painting by Winifred Nicholson showing view from the window; landscapes and a flower painting by Ben Nicholson, as well as another landscape by Winifred, mostly from around 1927. Sailing Boat on a River (1929) by Winifred; a view down the river Fal by Ben (1929). Photograph of Nicholson and Barbara Hepworth. Commentary on Nicholson’s reviving commitment to Abstraction and his "love affair with Parisian painting". Au Chat Botté (1932), "the key picture"; details with Nicholson’s thoughts about the composition read over. Various pictures "the most personal of his career" and "in complete contrast to the total abstraction that followed", including more or the jugs, 1932 (girl in a mirror - drawing) (1932), and composite views of himself and Hepworth. Photograph of their shared studio, photograph of Herbert Read, who lived next door to them in Hampstead where there was "an immense concentration of revolutionary aesthetic power". Exterior Mall Studios, Henry Moore’s flat in Parkhill Road, Blue Plaque to Piet Mondrian, Paul Nash’s house in Eldon Road; commentary points to European artists who were taking refuge in London. Nash’s Equivalents for the Megaliths (1935). Naum Gabo’s Construction through a Plane (Construction on a Plane) (1937). Hepworth’s Three Forms (1935). Top of a sculpture by Moore.
Photograph of Mondrian’s studio; Nicholson’s memories, particularly of the artist’s "silences" over. Mondrian’s Composition with Red, Yellow and Blue (1921). Maxwell Fry’s Sun House (1935) and Lawn Road Flats (1934) by Wells Coates, both buildings of the Modern movement, in Hampstead. Cover of Circle - International Survey Of Constructive Art (1937); co-editor Leslie Martin says that they believed in "some kind of parallel between developments in painting, sculpture, architecture, science too" and hoped to put this kind of "positive, Constructive" work together in a single publication which would "speak for itself". Nicholson quoted, "We’ve got to get rid of the degenerate idea that painting is something to be made on a four-square stretched canvas…" over abstract; black and white reproduction of 1939-44 (painted relief) (1939-1944); another relief. Nicholson quoted, saying that "it’s passion, not patience…" which produces art; photograph of him at work. Martin describes going to an exhibition of contemporary art in the mid-1930s, and seeing three painted reliefs by Nicholson; he explains why he likes the painting he subsequently bought (shown). Similar painting; commentary says Nicholson "began to reintroduce colour" to his work, "refusing to restrict his artistic freedom by any kind of formal theory". Commentary quotes Winifred Nicholson on "the nature of abstract colour" over more abstracts; details. June 1937 (painting) (1937). Felicitas Vogler says that Nicholson liked soft, pastel colours: 1938 (painting - version 1). Commentary says that the artists of the Modern movement dispersed on the advent of war, and the movement itself was "virtually at an end".Views of St Ives, where Nicholson, Hepworth, and their children, went to live; Nicholson quoted over. Landscape: commentary says that this, "the nature of the light, the colours, the textures, and the sense of space were especially exciting to the modern artists who moved down there". Patrick Heron talks about the importance of environment to the artist, particularly of West Cornwall to the mid-twentieth century artist. Nicholson’s studio showing lighting and notes he made. Heron shows some of the items he found there, including the compasses he used to draw his circular shapes.
Early painting of St Ives bay; sketch of similar view with foreshortened perspective. Photograph of Alfred Wallis; his cottage. Painting by Wallis; Heron talking about Wallis’s work, its relevance to contemporary artists, and Nicholson’s attraction to it. Schooner, Fishing Boat and Lighthouse. Heron relates anecdote concerning Nicholson’s attitude to his work.
View of St Ives. Nicholson’s St Ives (1940-1946). Landscape sketch; film of same view. Landscape with jugs. Sketch of ship off St Ives links; film of similar view including churchyard; other sketches of subjects in the churchyard. Commentary notes that "the Cornish views were often framed in a window" with superimposed jugs and vases: More houses and landscapes with jugs and mugs superimposed including 1945 (St. Ives) (1945). Heron says "this device of the window" derives from Cubism, particularly the work of Braque and Picasso, and describes how Nicholson extended it by superimposing the jugs, etc. St Ives bay; rooftops; the rooftop cabin from which Nicholson drew many of his local views. Heron talks about Nicholson’s "restrained passion" and "work ethic". St Ives’s street; view over town and bay. Vogler talks about their move to Switzerland in 1958. Mountains, Ticino, Lake Maggiore. The Nicholsons’ house. Vogler VO talking about this "new chapter in his life". Photograph of Nicholson. Vogler with small framed painting explains how Nicholson thought out and made his reliefs; photographs of Nicholson working. Various reliefs. View of lake. Vogler on the "feeling" conveyed by the paintings.
Landscape sketch; commentary on Nicholson’s subsequent travelling and "continual flow of drawings" over the next twenty years. More sketches and drawings, some from Greece or Turkey, including 1967 (Patmos Monastery) (1967); Italian subjects; Vogler describes how Nicholson would absorb atmosphere before beginning work; photographs of him drawing. Drawings; view from the Ticino house. Yorkshire church and drawing. Photograph of Nicholson walking in the Dales. Rievaulx Abbey, which "inspired some of his finest drawings": view of the ruins and drawing of the same aspect. River. Leslie Martin’s converted mill at Great Shelford, Cambridgeshire, where Nicholson stayed after leaving Switzerland in 1971. Angela Verren talks about Nicholson’s love of certain parts of the English countryside. Nicholson’s flat in Hampstead. Verren explains how Nicholson’s purchase of his plumber’s tools set him off on a new creative period, in which he produced oil-washed drawings based on their shapes. The "five forms" side by side; Verren describes the differences between the different pictures, some of which she feels have "rather an aggressive quality": others images of these shapes.
Heron talks about the "small paintings" of Nicholson’s last years which "looked like Indian ink and 6B pencil", and "the configuration [of which] was new … there’s nothing more difficult than to discover a new way of dividing up this rectangle … [Nicholson] was breaking new ground…". Jugs and mugs including May 1978 (single jug) (1978). May 1978 (shadows and lilac) (1978). Exterior of Nicholson’s last home, at Pilgrim’s Lane, Hampstead. Photograph of his collection of glassware and mugs, etc. Verren says that he had trouble with his eyes which made it difficult for him to work, and that he needed companionship and a tranquil atmosphere. Heron describes seeing a "late Picasso" alongside a Nicholson of similar size and thinking that the latter "slightly overwhelmed" the latter. Andras Kalman talks about Nicholson’s work before 1933 and his ability to alternate abstraction with more representational images; he feels that, in the abstract painting, "the placing of the colours, the lines, have a perfection and an elegance which doesn’t appear in either Mondrian or Braque or Picasso … a unique contribution to twentieth century art". Commentary notes that Nicholson died before completing his last work, "a thirty-foot wall, built in Carrara marble, and based on one of his famous white reliefs", the Nicholson Wall, at Sutton Place, Surrey. Credit
Development of comparative genomic hybridization for the detection of genetic imbalances, with particular reference to paediatric solid tumours
No full textComparative genomic hybridization (CGH) is a new technique which allows the detection of unbalanced chromosomal aberrations but avoids the need for tissue culture. DNA is extracted from the tumour, labelled with a fluorochrome and cohybridized with normal reference DNA, labelled with a different colour, on to normal metaphase spreads. Gains or losses of chromosomal material by the tumour are deduced from deviations of the fluorescence intensity ratio of the two colours, measured along the length of each chromosome. The aim of this project was to develop the technique of CGH at the Wessex Regional Genetics Laboratory, and apply it principally to the study of paediatric solid tumours, with a view to identifying abnormalities prognostic significance.The technique was established for use with fresh and frozen tumour material and validated using conventional chromosome analysis, fluorescence in situ hybridization (FISH) and microsatellite analysis. The study of diagnostic specimens of paediatric solid tumours of different types, including neuroblastoma, Wilms tumour and rhabdomyosarcoma in small numbers, confirmed the potential of the technique as a screen for known prognostic indicators. A series of 39 CNS primitive neuroectodermal tumours (PNETs) was studied by CGH and compared with histological findings. A number of associations between specific chromosomal abnormalities and histological variant were identified, and the finding of monosomy 22 as an indicator or poor prognosis was also demonstrated in a small subgroup of PNETs. The use of CGH was extended to the study of selected case of haematological malignancy and cases with constitutional chromosomal abnormalities, where conventional cytogenetic analysis had failed to characerterise the abnormalities fully.In conclusion, CGH was found to be an effective and reliable screen for chromosome imbalance, with implications for the identification of prognostic indicators in malignancies, and a valuable tool for the diagnostic laboratory in selected cases.</p
Interview with Nicholas Christopher, author of Somewhere in the Night: Film Noir and the American City
Get PDFInterview with Nicholas Christopher, author of Somewhere in the Night: Film Noir and the American Cit
Matt Christopher Papers - Accession 1309
Get PDFThe collection includes letters written by the children’s book author, Matt Christopher, to his son, Marty Christopher. Many of the letters also contain newspaper articles of interest to Matt Christopher, which deal with local sports teams, his writing career, his participation in an exhibition baseball game against the New York Giants in 1938, and other of general interest. Most of the letters are personal in nature, however, a majority of the letters delve into Matt Christopher’s writing career, personal interests, the author’s health, as well as his family life.https://digitalcommons.winthrop.edu/manuscriptcollection_findingaids/2649/thumbnail.jp
Matt Christopher Papers - Accession 1221
Get PDFMatt Christopher (1917-1997) was a prolific author of children’s books having written over 100 books as well as over 300 short stories, articles, poems, and screenplays. Most of his writings dealt with sports themes, but he also wrote fantasy and mystery themed stories as well. The Matt Christopher Papers consist of both published and unpublished manuscripts, articles, and short stories. Also included are personal and business correspondence, biographical information, scrapbooks, photographs, and memorabilia.https://digitalcommons.winthrop.edu/manuscriptcollection_findingaids/1976/thumbnail.jp
R Code Climate Comparison
No full textR code for extracting CCSM3 climate data to 27 pollen sites in Wyoming. Includes code for autocorrelation between CCSM3 data and pollen-based climate reconstructions
Dr. Christopher von Rueden – Faculty Author Interview
No full textDr. Christopher von Rueden, an anthropologist and Assistant Professor in the Jepson School of Leadership Studies, discusses a recent article entitled, “Men’s status and reproductive success in 33 non-industrial societies: Effects of subsistence, marriage system, and reproductive strategy,” which he co-authored with Dr. Adrian Jaeggi, an anthropologist at Emory University. Their findings were recently published in the journal, Proceedings of the National Academy of Sciences
ESP Across Cultures
No full textThis present volume constitutes the third online edition of ESP Across Cultures.
The decision to change from a paper-based to an online edition has undoubtedly
been beneficial in terms of enjoying greater visibility within the international academic
community. One thing that has not changed over the years, however, since
the inception of the journal in 2004, has been the policy of double-blind peer reviewing,
which means that only a selected number of the papers submitted end up as
being published.
There are seven papers in the current issue, each one analysing a particular aspect
of English for Specific Purposes from a cross-cultural perspective.
The first paper, by Hmoud S. Alotaibi, focuses on research article introductions
in Arabic, analysing the extent to which scholars writing in Arabic in the sphere of
education adhere to the CARS (Create A Research Space) model delineated by John
Swales which was elaborated in particular with regard to the academic conventions
widely adopted in the English-speaking world. Instead of restricting the investigation
to the introductory section as past studies in this field did, the author examines
all of the subheadings and he concludes that all introductions include Move 2 in a
subheading entitled the Problem of the Study, a result that contradicts previous
findings where the paucity of Move 2 was common in non-English RAs, and especially
in Arabic ones.
Patrizia Anesa analyses the websites of the main arbitration centres operating in
Asia from a textual perspective to define how they are discursively constructed and
can be used as promotional tools, thereby helping us to evaluate the importance assumed
by internationalization processes or by local cultural elements in promoting a
particular centre as a seat for international arbitration. She concludes that while
some scholars argue that we are witnessing the ‘Asianization’ of arbitration, with
the increasing bargaining power of Asian parties, on the other hand a phenomenon
of ‘Universal Arbitration’ is also emerging, i.e. a form of convergence of how disputes
are resolved so that parties of any nationality can operate in the same way
with ever fewer language barriers.
In their paper, Mahmood Reza Atai and Fatemeh Asadnia examine the communicative
and promotional function of university homepages by looking at the ‘university
overview’, ‘university mission statement’, and ‘university introduction at a
glance’ genres, using a corpus of 210 texts selected from homepages of the top 500
universities ranked by the Academic Ranking of World Universities. The findings
demonstrated that the three genres shared communicative purposes, functional
units, certain moves and steps, socio-academic contexts, and discourse community
members that led to the formation of a genre set.
Gaetano Falco explores ways of using comics in an MA course on translation of
economic texts as a means of stimulating the interest of language students with no
economics skills in order to introduce economics-related lexis and improve thematic
competence in general. He observes that empirical research has shown that films
and comics can indeed be useful resources to teach economic translation to students
with no skills in economics. However, the author warns that the use of comics for
educational purposes may have its drawbacks, e.g. when students deal with complex
sign systems which embody complex economic concepts, where often the humorous
element is lost.
In her paper, Irina Khoutyz describes the differences in how scholars present
their findings in research articles (RA) in international journals in English and in
Beyza Björkman
Christian Burgers
Jan Chovanec
Anda-Elena Cretiu
Erika Dalan
John Douthwaite
Hanem El-Farahaty
Said Faiq
Silvia Ferreri
Inmaculada Fortanet-Gómez
Pedro Fuertes-Olivera
Giuliana Garzone
Christoph Hafner
Ruba Khamam
Anna Loiacono
Geraldine Ludbrook
John McRae
Susan Petrilli
Silvia Pireddu
Tarja Salmi-Tolonen
Jeffrey Segrave
Charlotte Taylor
Margherita Ulrych
John Kenneth White
Jessica Williams
I hope you will enjoy the current issue of this journal and will make the most of
the free access to all past issues.
Christopher Williams
(Chief Editor)
6 FOREWORD
local journals in Russian. She then looks into the reasons for these differences, seeking
explanations from the sociocultural contexts in which these RAs were written,
as well as providing advice to local authors as to how to make their RAs more competitive
at the international level. The differences include the apparent lack of
structure of Russian RAs with respect to English RAs; the tendency in Russian authors
not to specify the purpose in writing a paper; and the tendency of Russian authors
to present the methodology used in less detail compared with English RAs.
Luisella Leonzini investigates the use of verbal and visual metaphors in economic-
media discourse within the context of the euro crisis by studying the correlation
between linguistic and pictorial metaphors and text-image intersemiotic relations.
The research is based on a cross-analysis of English and Italian editorial
articles published between 2009 and 2012. In both corpora, metaphorical realizations
frame the economic crisis which hit the single currency and the eurozone in
2009 as a partial collapse and hint at a possible return to stability in the form of a
recovery. The aim of this paper is to analyse the collapse/caduta and
recovery/ripresa metaphors across languages in the press.
Ian Robinson reports on using corpus linguistics to aid students in writing a creative
text. He looks at the available literature to help understand what is meant by
‘creativity’. A worksheet was prepared using a corpus linguistic analysis of modern,
English versions of the stories of the Brothers Grimm. This worksheet was constructed
with the use of a specialized corpus, and a stop-list was created which contained
single words as well as word clusters found in the tales. Students were then
asked to select some of these words and phrases to help them write stories which
were then analysed, and a follow-up questionnaire was used to elicit the students’
perceptions concerning creativity. The author concludes that creativity is essential
in EFL and that it is something to be fostered in students
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