10 research outputs found
Ibrāhim Ganim Efendi's work entitled Hulāsā-ı Divān-i Shuḥarā (transcribed text)
No full textİskender Pala, Osmanlı Dünyasında Edebi Hayat adlı makalesinde şunu dile getirir: “Tarihin bir yüzü daima şiirdir, Osmanlı düşünüldüğünde. Şiirsiz bir Osmanlı, konuşamayan bir Osmanlıdır. Çünkü Osmanlı bir şey söylediği zaman şiir gibi söyler. Bu sebeple, Osmanlı’nın şiiri ile tarihi birbirinin satır arasında gizlidir.” Tarihin sayfaları arasına yazılan her divan, her mecmûa ve her edebi eser bize o günü ve o günün insanını anlatmakta olup çalışmamıza konu olan Hülasa-i Divan-ı Şu’ara isimli mecmûa da yazıldığı dönemin ruhunu aksettiren bir eserdir. Çalışmamız eserin transkripsiyonlu metnine; mürettibin yaşadığı döneme, hayatına ve eserlerine; mecmûanın içeriğine yönelik iki bölümlü bir araştırmadan müteşekkildir. Giriş kısmında müellifin hayatına dair açıklayıcı bilgiler olmadığından yaşadığı dönem anlatılmıştır. Müellifin eserini nasıl bir edebi ortamda kaleme aldığı, müellifin hayatı hakkında da ipucu vermektedir. İlk bölüm hayatı ve eserlerine dair bilgileri ihtivâ etmektedir. Ayrıca çalışılan eserin bir mecmûa olması sebebiyle, mecmûanın Türk Edebiyatındaki yerini sunmaktadır. Transkrisiyonu hazırlanan metnin şekil ve muhteva özelliği anlatılmıştır. İkinci bölümde bölümde transkripsiyon metni düzenlenerek sunulmuştur. Bu çalışma, yaşadığı dönemin önemli şairlerinden şiirler ve meşhur beyitler defterine kaydeden İbrahim Ganim Efendi’nin hayatını aydınlatamamış olsa da, müellifin kaleme almış olduğu eserlerinden biri hakkında yapılan ilk müstakil çalışmadır.Iskender Pala, in his article Literary Life in the Ottoman World, states: “One side of history is always poetry, considering the Ottoman Empire. An Ottoman without poetry is an Ottoman who cannot speak. Because when the Ottoman says something, he says it like a poem. For this reason, the poetry and the history of the Ottoman Empire are hidden between each other's lines. dec.” Every divan, every mecmua and every literary work written between the pages of history tells us about that day and the person of that day, and the mecmua called Hulasa-i Divan-i Shu'ara, which is the subject of our study, is a work that deconstructs the spirit of the period in which it was written. Our work consists of a two-part research on the transcribed text of the work; the period in which the crew lived, his life and works; and the content of the mecmuan. Since there is no explanatory information about the life of the client in the introduction, the period in which he lived is described. How the author writes his work in a literary environment also gives clues about the life of the author. The first part contains information about his life and works. In addition, due to the fact that the work being studied is a mecmua, it offers the place of the mecmua in Turkish Literature. The form and content characteristics of the transcribed text are described. In the second part, the transcription text is edited and presented in the section. Although this work failed to illuminate the life of Ibrahim Ganim Efendi, who recorded poems and famous couplets from important poets of the period in which he lived in his notebook, it is the first detached work done about one of the works written by Müellif
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Motion in Late Medieval English Literature: Impulse, Randomization, and Acceleration
No full textThis dissertation examines motion as a literary trope in several late medieval English texts. The types of movement examined here fall into three categories: physical motion recurring in narrative, mobility of textual form that produces the phenomenon of motion in the reader or listener, and the variety of movements external to the narrative but related to the text. Each chapter is organized around an individual author or genre, and Chapter One explores two of Geoffrey Chaucer's early dream vision poems: The House of Fame and The Parliament of the Fowls. Attention to Chaucer's engagement with motion as a concept of natural philosophy and as a desirable state of being reveals connections between his writing and the physics of William of Ockham, and suggests the centrality of fragmentary and complex movement to Chaucer's own poetics. Chapter Two turns to William Langland's Piers Plowman, analyzing its mobile, convoluted, and jarring form, the compulsive nature of its narrative motion, and the poem's involvement in extra-narrative movements--including those that were subversive and revolutionary. Chapter Three examines movement as it appears in several fourteenth-century metrical romances, primarily surrounding the tropes of the quest and the forest. Finally, Chapter Four analyzes movement in Sir Thomas Malory's fifteenth-century Morte Darthur with a focus on simple narrations of travel, the aesthetics of the motion of battle and journeying, the way this text looks back to earlier romances in relation to this subject, and how it uses motion outside of the primary narrative frame to expand the vision of a randomized, always-moving Arthurian world. The organizing contention running through these chapters is that each text studied here employs motion as a central preoccupation, that the complexity and importance given to the trope in these works relates to the philosophical and scientific context of fourteenth-century England, and that these representations and embodiments of motion tend to have similar features: complexity, fragmentation, randomization, and a form that produces the phenomena of acceleration and jarring transitions. Finally, movement is presented as an impulse: a primary state of existence independent of any defined direction or destination
Manuscripts and Markets: The Case and Cause of Authors in Search of Publishers
No full textIn November 1996, the New Yorh Times ran a front page article dealing with the crisis in publishing monographs in the humanities. The piece opened with the experience of a young scholar in Oregon who had sent a book manuscript on Theodor Adorno to a major university press who refused to read it for reasons of marketability (Al). As the report continued, it outlined the economic and editorial reasons why many researchers in the humanities, especially at the beginning of their careers, encountered significant difficulty landing contracts at presses that would have published their work in the past. At the moment the story appeared, it was relevant to my situation in that I was in the fourth year of my job at a research institution where a book, though not in all cases needed for tenure, is generally a decisive factor in retaining one\u27s position. Within a month\u27s time, the editorial board of the press to whom the manuscript had been submitted would vote on my project. While trying to fight off the natural apprehension that comes from waiting for an issue to be resolved, I was nonetheless relatively confident in a vote for approval. The press had conducted an extensive review process, which in effect took over two years. Both of the referees to whom the book had been sent recommended publication, though the first required significant revisions which accounted for about six months of this time frame. Senior colleagues whom I consulted about the situation suggested, quite reasonably, that acceptance was all but assured given that 1) the reader\u27s reports were from two of the most noted names in the field (French sixteenth- and seventeenth-century literature), 2) the press had published several titles in this discipline, and 3) the press had held the script for an especially substantial amount of time. After the vote was taken, the story of the Oregon scholar in the Times began to resemble my own. I received first an email message, then a formal letter from the director of the press saying that the text had been turned down because of market concerns and, correspondingly, because a book on my topic did not correspond to current titles on the press\u27s list. The director of the press expressed regret that the situation had not worked out in my favor, and thanked me for my patience during the review process. In my response, I asked the director for further details and for advice as to where now to send the text, whereupon he simply repeated what had been said before and told me to consult the directory of the Association of American University Presses. Although the surprise of the press\u27s action was personally disappointing, I realized that from a legal and professional point of view, I had no recourse. The only option was to accept the decision, start the submission process from scratch after 26 months, and find a suitable publisher (which occurred seven months later). Fortunately, there was still time to look elsewhere. Nonetheless, the consequences for tenure could have been disastrous if the manuscript had not been tendered at a relatively early date. The situation did resolve itself, but in the two years that have elapsed since this event, I have come to believe that the experience is significant because it is symptomatic of grave problems in academic publishing, and calls attention to systemic and often unnecessary difficulties authors face during the submission process. My story is not atypical, and indeed, as I have related it to others, I have encountered other incidents strikingly similar to mine. These cases range from manuscripts that have been held for well over a year only to have the script rejected even in light of favorable external evaluations, to the basic quandary of sending a text to a press that historically published works in the author\u27s field, but now opts not to do so for economic reasons. The purpose of this article, however, is not to malign a particular press, nor university presses in general because of unfortunate experiences. Without question, one could argue quite plausibly that the cases just cited do not constitute the professional norm. Nonetheless, it is true that a growing number of authors, especially those without contracts, suffer increasingly from instability in humanities publishing, and that university and trade presses, as well as the academic community as a whole, have done little to address the issue. In recent years, the Chronicle of Higher Education has run a number of opinion pieces on this problem, and I will refer to some of these contributions over the course of this essay. Yet, unlike the Chronicle articles, I seek in this paper to describe the problem from an author\u27s point of view, and to propose solutions from this perspective that will in some ways render authors in search of a publisher less susceptible to the uncertain nature of editorial policy
Visual Journaling as a Personal Well-Being Practice
No full textFor this project, the author explored the art of Visual Journaling as a personal well-being practice. Visual journaling is the use of creative expression to explore deeper or unknown emotions. One may use it as a form of art therapy or a well-being practice. The process includes intentional breathing (meditation), art creation and then written reflection about the creation. Barbara Ganim and Susan Fox created a book called Visual Journaling, Going Deeper than Words. In this book, you are guided through a 6 week course that includes a range of exercises with goals of understanding deeper emotions. This portfolio includes Lela\u27s personal takeaways and reflections after following the 6-week course, offering insight into what did and did not work well for them. Additionally, the visual journal entries done by Lela are provided in chronological order with their corresponding exercise and chapter goals. This portfolio offers guidance to anyone wanting to try visual journaling in their own life
<br> Fundamental Limitations of [<br> 18<br> F]2-Deoxy-2-Fluoro-<br> d<br> -Glucose for Assessing Myocardial Glucose Uptake<br>
No full textHumor and Humoralism: Representing Bodily Experience in the Prologue of the Siege of Thebes
No full textThere has been much critical discussion as to whether Lydgate’s Prologue to the Siege of Thebes represents a cheerful but heavy-handed tribute to Chaucer, or a less than amicable attempt to appropriate some of Chaucer’s literary reputation by imitating his style. Thus, for John Ganim, Lydgate “has acknowledged his debt by virtually becoming a character of Chaucer,” whereas for A. C. Spearing, a more rivalrous Lydgate “kill[s] Chaucer,” “in order to live as a poet.” This discussion has subsequently taken on ethical as well as aesthetic dimensions, with Scott-Morgan Straker’s claim that “Lydgate establishes his authority as much by distancing himself from Chaucer’s dubious morality as by associating himself with Chaucer’s vernacular poetic.” However, amid these varied positions on the relationship of the Prologue to The Canterbury Tales, there has been little appreciation of the significance of Lydgate’s body humor. Straker touches upon “the moral authority that Lydgate represents physically in the prologue,” without further elaboration, and Lee Patterson comments that “in the Prologue Lydgate corrects what he would have seen as the Chaucerian misrepresentation of monasticism in The Canterbury Tales,” without fleshing out, as it were, the details of Lydgate’s act of “correction.” Although John Bowers acknowledges more directly the Prologue’s jokes about bodily functions and gratifications, his conclusion -- that the Prologue justifies, among other deviations from monastic tenets, the “personal comfort” of the author -- does not take into account the critical agenda embedded in the Prologue’s vulgar body humor. Both Bowers and Patterson have argued that the Prologue responds to an attempt by Henry V to reform the Benedictine Order. Whether or not the Prologue relates specifically to the process initiated by Henry, the critique implicit in the Prologue’s body humor, or, more specifically, its preoccupation with eating and digestion, is most coherent when the Prologue is understood as a rebuttal of contemporary secular criticism of the Benedictines, articulated through a dialogue with Chaucer’s Canterbury Tales. In either case, neither Bowers nor Patterson addresses how the sheer crassness of the Prologue’s humor is integral to this project, and Straker’s alternative interpretation of Lydgate’s critical agenda makes no reference to the comedy associated with Lydgate the Pilgrim’s physicality
Utah Heavy Oil Program - Final Scientific/Technical Report - Project Period: June 21, 2006 to October 20, 2009
No full textreportThe Utah Heavy Oil Program (UHOP) was established in June 2006 to provide multidisciplinary research support to federal and state constituents for addressing the wide‐ranging issues surrounding the creation of an industry for unconventional oil production in the United States. Additionally, UHOP was to serve as an on‐going source of unbiased information to the nation surrounding technical, economic, legal and environmental aspects of developing heavy oil, oil sands, and oil shale resources. UHOP fulfilled its role by completing three tasks. First, in response to the Energy Policy Act of 2005 Section 369(p), UHOP published an update report to the 1987 technical and economic assessment of domestic heavy oil resources that was prepared by the Interstate Oil and Gas Compact Commission. The UHOP report, entitled "A Technical, Economic, and Legal Assessment of North American Heavy Oil, Oil Sands, and Oil Shale Resources" was published in electronic and hard copy form in October 2007. Second, UHOP developed of a comprehensive, publicly accessible online repository of unconventional oil resources in North America based on the DSpace software platform. An interactive map was also developed as a source of geospatial information and as a means to interact with the repository from a geospatial setting. All documents uploaded to the repository are fully searchable by author, title, and keywords. Third, UHOP sponsored Give research projects related to unconventional fuels development. Two projects looked at issues associated with oil shale production, including oil shale pyrolysis kinetics, resource heterogeneity, and reservoir simulation. One project evaluated in situ production from Utah oil sands. Another project focused on water availability and produced water treatments. The last project considered commercial oil shale leasing from a policy, environmental, and economic perspective
The English translation of seventeenth-century French lyric poetry and epigrams during the Caroline period
No full textThis doctoral thesis is the first comprehensive study of contemporary English translations of French lyric poetry during the Caroline period. While there has been extensive study of translations from French literature of other genres, notably drama, translations of lyric poetry have been largely ignored. The thesis examines the translations within the context of literary and cultural trends in France and England during the seventeenth century. Differing cultural tendencies and reader expectations are evident both in the selection of particular poems for translation, and in the changes translators made to their source texts. Chapter one contains background information on the social and literary relations between France and England during the seventeenth century, and an overview of the social and political conditions in which poetry was written in each country. Chapter two investigates where and how translators obtained the texts of the poems they translated, and in particular the use of the recueils collectifs as sources for translations. Chapters three, four and five provide a thematic overview of the most significant and interesting translations. The themes chosen - eroticism, love and nature - constitute those most popular with translators, and the representation of these themes in both the original poems and the translations is closely connected to wider literary and cultural tendencies in both France and England. Having provided a thematic overview of the translations, chapters 6 and 7 examine some of the more technical and linguistic aspects of the practice of translating from contemporary French poetry in Caroline England. Chapter seven studies the translation of the French lyric voice, and the effects of this on the representation of themes, particularly love and nature. Chapter eight examines the English treatment of some aspects of seventeenth-century French prosody, placing these and the changes made by translators in the context of prosodic developments in both France and England. The conclusion highlights patterns identified in translators' handling of the source texts; these draw attention to the literary and cultural differences between France and England in the seventeenth century, and demonstrate that French poetry is altered in English translation to suit the tastes of translators and their intended English readership
The Changing Landscape for Stroke Prevention in AF: Findings From the GLORIA-AF Registry Phase 2
No full textBackground GLORIA-AF (Global Registry on Long-Term Oral Antithrombotic Treatment in Patients with Atrial Fibrillation) is a prospective, global registry program describing antithrombotic treatment patterns in patients with newly diagnosed nonvalvular atrial fibrillation at risk of stroke. Phase 2 began when dabigatran, the first non–vitamin K antagonist oral anticoagulant (NOAC), became available. Objectives This study sought to describe phase 2 baseline data and compare these with the pre-NOAC era collected during phase 1. Methods During phase 2, 15,641 consenting patients were enrolled (November 2011 to December 2014); 15,092 were eligible. This pre-specified cross-sectional analysis describes eligible patients’ baseline characteristics. Atrial fibrillation disease characteristics, medical outcomes, and concomitant diseases and medications were collected. Data were analyzed using descriptive statistics. Results Of the total patients, 45.5% were female; median age was 71 (interquartile range: 64, 78) years. Patients were from Europe (47.1%), North America (22.5%), Asia (20.3%), Latin America (6.0%), and the Middle East/Africa (4.0%). Most had high stroke risk (CHA2DS2-VASc [Congestive heart failure, Hypertension, Age ≥75 years, Diabetes mellitus, previous Stroke, Vascular disease, Age 65 to 74 years, Sex category] score ≥2; 86.1%); 13.9% had moderate risk (CHA2DS2-VASc = 1). Overall, 79.9% received oral anticoagulants, of whom 47.6% received NOAC and 32.3% vitamin K antagonists (VKA); 12.1% received antiplatelet agents; 7.8% received no antithrombotic treatment. For comparison, the proportion of phase 1 patients (of N = 1,063 all eligible) prescribed VKA was 32.8%, acetylsalicylic acid 41.7%, and no therapy 20.2%. In Europe in phase 2, treatment with NOAC was more common than VKA (52.3% and 37.8%, respectively); 6.0% of patients received antiplatelet treatment; and 3.8% received no antithrombotic treatment. In North America, 52.1%, 26.2%, and 14.0% of patients received NOAC, VKA, and antiplatelet drugs, respectively; 7.5% received no antithrombotic treatment. NOAC use was less common in Asia (27.7%), where 27.5% of patients received VKA, 25.0% antiplatelet drugs, and 19.8% no antithrombotic treatment. Conclusions The baseline data from GLORIA-AF phase 2 demonstrate that in newly diagnosed nonvalvular atrial fibrillation patients, NOAC have been highly adopted into practice, becoming more frequently prescribed than VKA in Europe and North America. Worldwide, however, a large proportion of patients remain undertreated, particularly in Asia and North America. (Global Registry on Long-Term Oral Antithrombotic Treatment in Patients With Atrial Fibrillation [GLORIA-AF]; NCT01468701
