1,760,131 research outputs found
25 Jahre R. Piper & Co. Verlag, 1904-1929.
No full textVerzeichnis der Bücher, Bilder und Mappenwerke des Verlags R. Piper & Co. 1904-1929: pages 143-216
Music devised for the film Viva Voce by Keith Piper
No full textI was asked by Keith Piper to provide some musical material for the film, Viva Voce. He and I then shared ideas about the music of the 1920s that could have been heard by the frequenters of the Gargoyle Club of which Rex Whistler was a member. The heyday of the US ragtime craze had passed by this time but left influences in the music of a number of touring bands one of which was the Plantation orchestra with American jazz singer and dancer, Florence Mills whose song I’m a Little Blackbird, Looking for a Bluebird was a hit, and has since been seen as a plea for racial equality.
Keith Piper’s Viva Voce film, 2024 is installed in the old member’s dining room, Tate Britain. In Viva Voce, Keith Piper stages an imagined conversation between artist Rex Whistler and a fictional academic, Professor Shepherd, who asks Whistler about his 1927 mural 'The Expedition in Pursuit of Rare Meats', challenging him on its racist narrative and imager
Almanach des Verlages R. Piper & Co., München : 1904-1914.
No full textIncludes selections from publications by R. Piper and co.Mode of access: Internet
Supplementary Data for "What do characters do? The Embodied Agency of Fictional Characters" (JCLS 2023)
No full textSupplementary Data and Code for Andrew Piper, "What do characters do? The Embodied Agency of Fictional Characters" (JCLS 2023)
Estudo dos óleos essenciais de Piperaceae do Vale do Itajaí em Santa Catarina
Get PDFDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências Físicas e Matemáticas. Programa de Pós-Graduação em Química.Neste trabalho foram estudadas espécies do gênero Piper, da família Piperaceae de ocorrência no Vale do Itajaí, em Santa Catarina, onde os perfis químicos de seus óleos essenciais foram analisados. Sete espécies de Piperáceas foram estudadas, sendo elas: Piper caldense, Piper callosum, Piper mollicomum, Piper regnellii var. pallescens, Piper regnellii var. regnellii, Piper lindbergii e Piper gaudichaudianum. As espécies Piper caldense, Piper Mollicomum e Piper gaudichaudianum foram coletadas no Parque São Francisco de Assis, município de Blumenau. Já as espécies Piper callosum e Piper regnellii var. pallescens foram coletadas na Congregação das Irmãs Catequistas Franciscanas do município de Rodeio. A espécie Piper regnellii var. regnellii no campus I da Universidade Regional de Blumenau e no município de Brusque e ainda a Piper lindbergii no bairro Salto Weissbach, em Blumenau. Verificou-se através da destilação por arraste de vapor que a espécie Piper caldense não apresenta quantidade significativa de óleo essencial, inviabilizando seu estudo. Nas demais espécies foram encontradas teores de óleo variando entre 0,1 e 0,7% onde, após análise instrumental por CG-EM e índice de retenção, suas respectivas composições foram determinadas, destacando-se os principais constituintes por espécie: Piper callosum, safrol (60%); Piper regnellii variedade pallescens, apiol (54%) e dilapiol (18%); Piper regnellii variedade regnellii, beta-pineno (20%), biciclogermacreno (8%) e espatulenol (9%); Piper mollicomum, alfa-pineno (10%), beta-pineno (18%), trans-cariofileno (10%); Piper gaudichaudianum, alfa-humuleno (6%), alfa-selineno (5%), beta-selineno (5%), espatulenol (5%) e óxido de cariofileno (6%); Piper lindbergii, óxido de cariofileno (19%). Posteriormente, utilizou-se o óleo essencial das espécies Piper callosum, Piper mollicomum e Piper regnellii var. regnellii para avaliar a sua atividade antimicrobiana. A espécie Piper mollicomum apresentou atividade inibitória ao crescimento bacteriano contra Escherichia coli e Staphylococcus aureus
John Piper
No full textCredits. Piper looking at books in his studio, near Henley on Thames. Details of décor, including some of Piper’s abstract paintings, decorative letters, etc. Some of his architectural paintings – Windsor Castle 1942, Windsor Town Hall – painting by Poussin, Bacchanal: the Andrians (1628-1630) which has formed the basis for one of his costume studies Variation Poussin Dancers (1952). A reclining nude. Designs for stained glass window for chapel at Oundle School (1954). Lithograph designed for restaurant chain, with costumes taken from Elizabethan period. Costume designs for Lucretia (for Britten’s The Rape of Lucretia) and others. Set design for Benjamin Britten’s The Turn of the Screw. Piper with director Basil Coleman at Sadler’s Wells, 1954. Still from production of Gloriana (1953). Designs and stills for The Pearl Fishers (1954) and others. Carving on Piper’s studio wall. Paintings. Piper reading. Drives away from his house. Country church in Yorkshire – Piper’s painting of it. Details of church, churchyard, brasses, effigy, mediaeval stone carving, details from some of Piper’s paintings. The Coventry Monuments, Croome D'Abitot, Worcestershire, 1953 (originals designed by Capability Brown and Robert Adam); Piper looking around. Sketches and part of effigy on tomb of Margaret Coventry, turning his picture into a "Madonna and Child". In the studio. Turning the painting into an acquatint. Covers copper plate with grease and blackens surface. Uses a tracing of his drawing to transfer the outline into the plate, which he then follows with etching needle to expose the copper. Coats the plate with stopping-out varnish, and treats it with acid. Etched plate placed in box of resin dust, and then heated to melt the resin. Covers white parts of design with stopping-out varnish; baths the plate in acid. Takes first proof in hand press. Finished acquatint. Paintings of bombed-out churches which offered more abstract images and unusual lighting effects. Painting of Knole, Kent. Other paintings. Landscapes. Mallam Cove, Gordale Scar, Hardrow Force, and similar features in Yorkshire, and some of Piper’s paintings of them. Commentary quotes Wordsworth over: "The stationary blasts of waterfalls/Rocks that muttered close upon the ear/Black clinging crags that spake by the wayside." Ruins of Byland Abbey. Sketch by Piper. Final painting (1940). Other paintings of similar ruins, all displaying his neo-Romantic style. Scenes in North Wales. Paintings.Cliffs and breaking waves on the coast at Portland, near Weymouth. Piper sketching. Details of the surroundings – rocks, the lighthouse, village, etc. Piper’s paintings. Some of Piper’s Beach Engines, decorated with abstract designs. The real abstractions of Portland. Stones and stone quarries. The deserted church and its graveyard; paintings. Paintings of nearby cottages. Ruined lighthouse and connected buildings; Piper’s painting. The new lighthouse; some of Piper’s paintings. Piper in his studio, turning his sketches into paintings. His VO describes the process. The finished work. Details of various Piper paintings. Commentary reiterates information about the romantic and abstract nature of his work, but points out that he "never loses sight of the object he wants to interpret". Piper leaves his studio. The End
Supplementary Data for "Technique and the Time of Reading".
No full textDerived data on time features related to 1,069 English-language novels published between 1700-1900. Supplementary to the article, Jonathan Sachs and Andrew Piper, "Technique and the Time of Reading," PMLA 133.5 (2018)
Supplementary Data for "Technique and the Time of Reading".
No full textDerived data on time features related to 1,069 English-language novels published between 1700-1900. Supplementary to the article, Jonathan Sachs and Andrew Piper, "Technique and the Time of Reading," PMLA 133.5 (2018)
John Piper - ACE004.4
No full textCliffs and breaking waves on the coast at Portland, near Weymouth. Piper sketching. Details of the surroundings – rocks, the lighthouse, village, etc. Piper’s paintings. Some of Piper’s Beach Engines, decorated with abstract designs. The real abstractions of Portland. Stones and stone quarries. The deserted church and its graveyard; paintings. Paintings of nearby cottages. Ruined lighthouse and connected buildings; Piper’s painting. The new lighthouse; some of Piper’s paintings. Piper in his studio, turning his sketches into paintings. His VO describes the process. The finished work. Details of various Piper paintings. Commentary reiterates information about the romantic and abstract nature of his work, but points out that he "never loses sight of the object he wants to interpret". Piper leaves his studio. The End
CR4Interact: Citizen Readers for Character Interactions Dataset
No full textThis data is drawn from the "Social Lives of Literary Characters Project" as part of the Citizen Readers for Citizen Science Initiative. Please cite: Andrew Piper, Michael Xu, Derek Ruths, "The Social Lives of Literary Characters: Combining citizen science and language models to understand narrative social networks" NLP4DH (2024)
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