542 research outputs found
Esther\u27s Narrative in Bleak House
No full textThis thesis explores the complexity of Dickens\u27s involvement with his narrative and characters, specifically Esther Summerson in the novel Bleak House. The introduction examines his habit of interrupting the speech of his characters with direct authorial comments in order that he not give up his story entirely to a character, even in an extended first-person narration. It is noted that this is true even of characters who are autobiographical, like Pip or David Copperfield. Here my references are to the work of Susan R. Horton (The Reader in the Dickens World) and Mark Lambert (Dickens and the Suspended Quotation).
A second section in the introduction discusses Dickens\u27s reputation for being unable to present young marriageable female characters in realistic ways. Here my references are to the work of Michael Slater (Dickens and Women). The first chapter ends with a discussion of the thesis itself: that Dickens\u27s choice of Esther Summerson, a young marriageable woman, as narrator of Bleak House posed particular rhetorical problems for the author. He had to have Esther maintain an ideal maidenly posture (in the Victorian sense) while having her tell a complex and socially aware tale.
Chapter II analyzes the way Esther functions as an evaluator of her world. She evaluates the problems around her in four discrete ways: through direct statements, through indirect statements, by way of projected criticism, and through authorial intrusion. The chapter consists of a close analysis of representative passages from Bleak House.
Chapter III is parallel to Chapter II in its analysis of the text; the subject, however, is the way Esther presents herself and her feelings to the reader.
The concluding chapter explores the implications of the analyses of Chapters II and III— the complexity of Esther\u27s narrative and its significance to both the Victorian and the 20th century reader
Esther Schor, ed. The Cambridge Companion to Mary Shelley
No full text“Today, whether she is found between staid cloth covers, in paperback, on the screen or in cyberspace, Mary Shelley is everywhere,” writes Esther Schor in her Introduction to this collection of essays (2). Interest in “the Author of Frankenstein” and of other works has grown steadily over the last twenty years, thanks notably to the publication of her Journals (The Journals of Mary Shelley, 1814-1844, ed. Paula R. Feldman and Diana Scott-Kilvert, 2 vols, Oxford: Clarendon, 1987), of her Lette..
Esther Schor, ed. The Cambridge Companion to Mary Shelley
No full text“Today, whether she is found between staid cloth covers, in paperback, on the screen or in cyberspace, Mary Shelley is everywhere,” writes Esther Schor in her Introduction to this collection of essays (2). Interest in “the Author of Frankenstein” and of other works has grown steadily over the last twenty years, thanks notably to the publication of her Journals (The Journals of Mary Shelley, 1814-1844, ed. Paula R. Feldman and Diana Scott-Kilvert, 2 vols, Oxford: Clarendon, 1987), of her Lette..
Métricas de autor Norhy Esther Torregrosa Jiménez
No full textInforme de las métricas de autor de la Dra. Norhy Esther Torregrosa Jiménez de las publicaciones indexadas en Google Académico cuyo objetivo es entregar un insumo para el fortalecimiento de las capacidades y potencialidades de los autores de la Universidad Santo Tomás en el posicionamiento y visibilidad de sus publicacionesReport of the author metrics of Norhy Esther Torregrosa Jiménez of the publications indexed in Google Scholar whose objective is to provide an input for the strengthening of the capacities and potentialities of the authors of the Santo Tomás University in the positioning and visibility of their publications.http://unidadinvestigacion.usta.edu.c
Effects of outliers on the identification and estimation of GARCH models
No full textThis paper analyses how outliers affect the identification of conditional heteroscedasticity and the estimation of generalized autoregressive conditionally heteroscedastic (GARCH) models. First, we derive the asymptotic biases of the sample autocorrelations of squared observations generated by stationary processes and show that the properties of some conditional homoscedasticity tests can be distorted. Second, we obtain the asymptotic and finite sample biases of the ordinary least squares (OLS) estimator of ARCH(p) models. The finite sample results are extended to generalized least squares (GLS), maximum likelihood (ML) and quasi-maximum likelihood (QML) estimators of ARCH(p) and GARCH(1,1) models. Finally, we show that the estimated asymptotic standard deviations are biased estimates of the sample standard deviations. Copyright 2007 The Authors Journal compilation 2007 Blackwell Publishing Ltd.
Uso de emulsões pickering na reação para obter terpineol a partir de óleo essencial de toranja
No full textThe aim of this work was to increase the yield and selectivity in the reaction of obtaining α-terpineol from limonene, a major component of the grapefruit essential oil, with the use of water:oil pickering emulsions. The stabilizing solids of the emulsion were activated carbon, bentonite, silica and alumina. The emulsions were characterized by measuring their conductivity in different water:oil ratios to determine the point where the phase inversion of the emulsion occurs. The oil/water (o/w) type pickering emulsions were prepared, establishing the optimum mass concentrations of each solid. The maximum yield obtained in α-terpineol was 43% using silica, 36% more than in reaction medium without solids. It was also possible to reuse the solids twice without differences in the yield of the reaction.El objetivo de este trabajo fue aumentar el rendimiento y selectividad en la reacción de obtención de α-terpineol a partir de limoneno, componente mayoritario del aceite esencial de pomelo, con el uso de emulsiones pickering de agua:aceite. Se utilizaron carbón activado, bentonita, sílica y alúmina como sólidos estabilizantes de la emulsión. Se caracterizaron las emulsiones midiendo su conductividad en distintas relaciones agua:aceite para determinar el punto donde ocurre la inversión de fase de la emulsión. Se prepararon las emulsiones pickering de tipo aceite/agua (o/w), estableciendo las concentraciones másicas óptimas de cada sólido. El rendimiento máximo obtenido en α-terpineol fue de un 43 % utilizando sílica, un 36 % más que en medio de reacción sin sólidos. También se logró reutilizar los sólidos dos veces sin diferencias en el rendimiento de la reacción.O objetivo deste trabalho foi aumentar o rendimento e a seletividade na reação para obter o a-terpineol a partir do limoneno, o principal componente do óleo essencial de toranja, com o uso de emulsões de captação de óleo de água. Carvão ativado, bentonita, sílica e alumina foram utilizados como sólidos estabilizadores da emulsão. As emulsões foram caracterizadas pela medição de sua condutividade em diferentes relações água: óleo para determinar o ponto em que ocorre a inversão de fase da emulsão. Emulsões de separação óleo / água (o / a) foram preparadas, estabelecendo as concentrações de massa ideais de cada sólido. O rendimento máximo obtido em α-terpineol foi de 43% usando sílica, 36% a mais do que no meio de reação sem sólidos. Também foi possível reutilizar os sólidos duas vezes sem diferenças no rendimento da reação
Revising identification: fairy tales that transform tradition from within
No full textThis dissertation examines contemporary revisions of four classic fairy tales: “Snow White,” “Sleeping Beauty,” “Little Red Riding Hood,” and “Bluebeard,” drawing on José Esteban Muñoz’s concept of “disidentification” to describe the revisionary work they perform. Muñoz provides a model of subversion that illuminates the work done in these revisions, which both relish the pleasure to be found in the fantasy of fairy tales and work to short circuit their anachronistic ideology, to deconstruct and rewrite their heteronormative scripts. The author argues that fairy-tale revisions can transform the genre from within through a careful dance of adherence to and deviation from its formula. Their work is both formal and thematic, a subversion of fairy-tale form and of sexual politics. Because the fairy tale operates largely by encouraging identification (especially in young audiences) with certain roles, producing social conformity, these radical revisions resist social and sexual prescription and in so doing embrace and empower a range of gender and sexual identities.Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2018-12-01The student, Esther Dettmar, accepted the attached license on 2016-11-15 at 19:12.The student, Esther Dettmar, submitted this Dissertation for approval on 2016-11-17 at 10:51.This Dissertation was approved for publication on 2016-11-17 at 13:24.DSpace SAF Submission Ingestion Package generated from Vireo submission #10251 on 2017-02-28 at 14:36:22Made available in DSpace on 2017-03-01T16:36:48Z (GMT). No. of bitstreams: 3
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The sociolinguistic stratification of a connected speech process – The case of the t to r rule in the Black Country
No full text© 2008 The author. Published by the University of Leeds. This is an open access article available under a Creative Commons licence.
The published version can be accessed at the following link on the publisher’s website: https://www.latl.leeds.ac.uk/article/the-sociolinguistic-stratification-of-a-connected-speech-process-the-case-of-the-t-to-r-rule-in-the-black-country/This paper examines the connected speech process described by Wells (1982b) as the T to R rule in the West Midlands speech variety associated with the Black Country. The T to R rule is well known as a linguistic marker of local varieties of the middle and far north of England. Less well understood is its position in the phonological systems of Midlands varieties.
Varieties of the Midlands of England are underresearched in comparison with varieties of the north, and what is known about the application of the T to R rule in this transitional dialect area is correspondingly nebulous. This paper focuses on the Black Country area, and examines the possible outputs in the contexts which give rise to /t/ becoming [ɹ] in local varieties of the north. I examine the written and spoken evidence which suggests that the T to R rule does indeed operate in the Black Country variety. My analysis focuses on possible phonetic outcomes of the T to R rule across time. In my conclusion, I discuss briefly the possibility that, lying on a bundle of isoglosses separating north from south, the variety of the Black Country reflects this in that a T to [ɾ] rule, rather than a T to R rule, is the dominant output of this connected speech process in the Black Country
Konstruiranje vidljivosti: fotografija Esther Born izvan arhiva
No full textEsther Baum Born was an American photographer who worked in both the United States and Mexico. Beginning in the 1920s, she exhibited her work regularly in New York galleries and saw her photographs published in a broad spectrum of architectural journals. Born’s book, The New Architecture in Mexico (1937), stands as an undisputed monument to her creative insights and a respected source for cutting-edge ideas about modern building. Less well known to the scholarly community are the sensitive portraits that Born took of her own artistic milieu: Frida Kahlo, Diego Rivera, and Frank Lloyd Wright, to name only a few, appeared before her camera. The author argues that these images represent an area for future research. In any event, Born’s creative flourishing was largely eclipsed once she joined the highly successful architectural practice of her husband, Ernest Born. She gave up photography entirely in the 1940s to support his work.
The legacy of both Borns remains fairly well-known to students of Bay Area architecture, who have admired their contributions to public transportation (designing train stations), urban renewal (developing master planning documents), and book design (such as the Plan of St. Gall, co-authored with art historian, Walter Horn). Much of the couple’s joint career is documented in established archives throughout the United States and Canada, although it needs to be said that Ernest Born is typically given top billing for the work. Esther Born’s early efforts as a photographer sit in these archives, too. A full assessment of her legacy as a photographer waits to be written. This paper attempts to give greater visibility to her ambitions as well as to the lasting consequence of her work’s placement within the many archival situations where it can be found today.Esther Baum Born bila je američka fotografkinja koja je radila u Sjedinjenim Državama i Meksiku. Počevši od 1920-ih, redovito je izlagala svoje radove u njujorškim galerijama i objavljivala fotografije u širokom spektru arhitektonskih časopisa. Njezina knjiga The New Architecture in Mexico [Nova arhitektura u Meksiku] (1937.) stoji kao neosporan spomenik njezinim kreativnim uvidima i predstavlja vrijedan izvor najsuvremenijih ideja o modernoj gradnji. Ono što je znanstvenoj zajednici manje poznato jesu tankoćutni portreti koje je Born snimala u vlastitom umjetničkom miljeu: pred njezinim fotoaparatom pojavljivali su se Frida Kahlo, Diego Rivera i Frank Lloyd Wright, da spomenemo samo neke. Autor smatra da te fotografije predstavljaju građu za buduća istraživanja. U svakom slučaju, kreativni procvat Esther Born uvelike je zasjenjen nakon što se pridružila vrlo uspješnoj arhitektonskoj praksi svoga supruga Ernesta Borna. Kako bi podržala njegov rad, 1940-tih se potpuno odrekla fotografije.
Nasljeđe oboje Bornovih još je uvijek prilično dobro poznato studentima arhitekture područja Bay Area, koji se mogu diviti njihovom doprinosu javnom prijevozu (projektiranje željezničkih postaja), urbanoj obnovi (razvoj glavnih planskih dokumenata) i dizajnu knjiga (kao što je Plan of St. Gall [Plan St. Gallena], nastao u koautorstvu s povjesničarem umjetnosti Walterom Hornom). Velik dio zajedničke karijere bračnog para Born dokumentiran je u zasnovanim arhivima diljem Sjedinjenih Država i Kanade, iako treba reći da se najveće zasluge za taj rad obično pripisuju Ernestu Bornu. Rani radovi Esther Born iz područja fotografije također se nalaze u tim arhivima, ali na punu procjenu njezine ostavštine kao fotografkinje tek se čeka. Ovaj rad predstavlja pokušaj povećanja vidljivosti njezinih ambicija kao i dugotrajnih posljedica pozicioniranja njezinoga rada u mnogim arhivima u kojima se danas nalazi
N200, N250r, and N400 event-related brain potentials reveal three loci of repetition priming for familiar names
No full textThe authors assessed immediate repetition effects on event-related potentials (ERPs) while participants performed familiarity decisions for written personal names. For immediately repeated familiar names, the authors observed 3 distinct ERP modulations. At 180-220 ms, a posterior N200 effect occurred for names preceded by same-font primes only. In addition, an increased left temporal negativity (N250r, 220-300 ms) and a reduced central-parietal negativity (N400, 300-400 ms) were seen both for same-font and different-font repetitions. In a 2nd experiment, when names were preceded by either their corresponding face or the face of a different celebrity, only the N400 effect was preserved. These findings suggest that the N200, N250r, and N400 effects reflect facilitated processing at font-specific featural, lexical, and semantic levels of processing, respectively
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