26,592 research outputs found
Stephanie Mathson interviews essayist and memoirist Robert Root
No full textEssayist and memoirist Robert Root, professor of English at Central Michigan University, talks about his book "Recovering Ruth" and the genealogical research research in his work and his role as both a university professor and an author. He also shares his views on creative nonfiction, Michigan as a source of inspiration, and works in progress. Root is interviewed by Stephanie Mathson of the Michigan State University Libraries for the MSU Libraries' Michigan Writers Series
Experimental Test of L- and D-Amino Acid Binding to L- and D-Codons Suggests that Homochirality and Codon Directionality Emerged with the Genetic Code
No full textL-amino acids bind preferentially to their D-codons, but almost nothing is known about whether D-amino acids correspondingly prefer L-codons, or how codon directionality affects amino acid binding. To investigate these issues, two D-RNA-oligonucleotides having inverse base sequences (D-CGUA and D-AUGC) and their corresponding L-RNA-oligonucleotides (L-CGUA and L-AUGC) were synthesized and their affinity determined for Gly and eleven pairs of L- and D-amino acids. The data support the hypothesis (Root-Bernstein, Bioessays 2007; 29: 689–698) that homochirality and codon directionality emerged as a function of the origin of the genetic code itself. Further tests involving amplification methods are proposed
Postcard Written by Robert Bernstein to the Bryant College Service Club Dated April 8, 1943
No full text[Transcription begins]POST CARD
Pvt. Robert BernsteinA.A.F.T.T.C.Sq. 14 Flt. C.901st T. G., B.T.C. #9Miami Beach, Florida
April 8, 1943 [Postmark date]
Bryant Service ClubBryant College1 Young Orchard Ave.Providence, R. I.
U. S. ARMY AIR FORCES
Dear Bryant:
I\u27m having a swell time down here in Florida as much as I see it as the Army keeps me pretty busy. I\u27m stationed at the Basic Training Center of the Army Air Corp Technical Training Corp. It\u27s the strictest basic training center in the country but I like it a lot! Would you write me the names & addresses that you know of of the boys that left with the E.R.C.
Sincerely--Bob Bernstein[Transcription ends
V-Mail Written by Robert Bernstein to the Bryant College Service Club Dated April 12, 1944
No full text[Transcription begins]
Cpl. Robert Bernstein305th Serv. Gp. Hq Hq SqAPO 690, c/o PM, NYC12 APRIL 1944
BRYANT SERVIE CLUBBRYANT COLLEGEPROVIDENCER.I.U.S.A.
Dear Bryant,
It has been a long time since I’ve heard from Bryant, but that was because mail had a hard job catching up to me. I’ve been traveling around so fast. However, I finally did come to a stop and at a very nice spot too.
Before I go further, I may as well tell you that I am somewhere in that strange land – India. Here everything seems to be the reverse of everything in the States – no rationing, plenty of everything, low prices (if you argue long enough!) AND the woman does all the work while the husband watches!! Most of the barracks have “[?]” boys (Indian servant boys) who do everything for them for the huge ([?]!!) sum of approximately 50 cents a week!!!
I consider myself lucky as I’m still doing work I trained for at Bryant. I’m in the main Finance Office on this post and still assigned to the Finance Department.
It would really be nice to get back to see the old school again, but, I guess, I’ll have to wait awhile.
Until then- as ever,Bob Bernstein
[Transcription ends
O processo criativo dos desenhistas de humor à luz das treze categorias cognitivas de Robert Root-Bernstein & Michele Root-Bernstein
No full textA criatividade e os processos criativos são atividades humanas muito discutidas na atualidade, em diversos campos do conhecimento. Entretanto, os processos criativos de desenhistas de humor (cartunistas, chargistas, caricaturistas) não têm sido muito explorados nas pesquisas. Neste estudo investigamos estes processos, comparando-os com as treze categorias cognitivas promotoras da criatividade de Robert Root-Bernstein & Michele Root-Bernstein, referenciais teóricos adotados pela disciplina de Ciência e Arte do Instituto Oswaldo Cruz, para a construção de novos conhecimentos. A questão formulada foi \201Co desenvolvimento dos processos criativos dos desenhistas de humor se identifica com esses referenciais\201D? Procuramos responder essa questão por meio desta pesquisa num caráter teórico-empírico, exploratório e descritivo, com a opção metodológica qualitativa. Esta escolha se baseou no fato do tema de estudo estar relacionado a fatores sociais, políticos e ideológicos da experiência cotidiana dos desenhistas de humor. Os atores sociais entrevistados foram seis desenhistas de humor, brasileiros e reconhecidos nacionalmente, que aceitaram participar voluntariamente desta pesquisa. O referencial teórico define a criatividade como uma capacidade cognitiva fundamental que tem início nas sensações, sentimentos e, principalmente, intuições, culminando nos lampejos conhecidos nas histórias das artes e das ciências. Essa elaboração se dá ao nível inconsciente e pré-consciente, e depois se concretiza em palavras, imagens, sons, em expressões artísticas, científicas e outras Quanto aos seus processos criativos, os desenhistas constatam que eles são universais, pertencendo tanto ao campo da ciência como da arte, assim como de outras atividades humanas que lidam com criatividade. Os humoristas entrevistados definiram criatividade de forma heterogênea. Nos discursos apresentados houve concordância, entre alguns, a respeito de o ato de criar ser corriqueiro, se tratando de uma tarefa cotidiana e ter relação com novidade. Reconheceram a existência do insight, assim como a importância da influência do ambiente familiar no desenvolvimento da capacidade criativa. Podemos afirmar que algumas das treze ferramentas foram mais citadas do que outras. São elas: (1) observar, (2) criar e (3) formar padrões, (4) sentir empatia, (5) estabelecer analogias, (6) transformar e (7) sintetizar. Houve também o entendimento de que alguns termos são compreendidos de forma diferente do livro \201CCentelhas de Gênios\201D de Root-Bernstein & Root-Bernstein. Sintetizar e ter empatia são dois exemplos que tiveram que ser tratados de forma diferenciada nos resultados. Concluímos que os desenhistas de humor usam algumas das ferramentas de pensar e concordam com parte do referencial teórico, mas que igualmente possuem outras habilidades cognitivas e conhecimentos que podem contribuir de maneira significativa para a ampliação dos conceitos ensinados e problematizados na disciplina. Outros referenciais merecem ser mais estudados e aprofundados para alinhar nossos dados empíricos.Creativity and creative processes are human activities that are much discussed nowadays in various fields of knowledge. However, the creative processes of humor designers (cartoonists, caricaturists) have not been much explored in general. In this study we investigate these processes by comparing them with the thirteen cognitive categories that promote the creativity of Robert Root-Bernstein & Michele Root-Bernstein, theoretical references adopted by the discipline of Science and Art of the Oswaldo Cruz Institute, for the construction of new knowledge. The question posed was: ”does the development of the creative processes of humor designers identify with these referentials?” We have sought to answer this question through this research in a theoretical-empirical, exploratory and descriptive character, through the use of the qualitative methodological option. This choice was based on the fact that the theme of this study was related to social, political and ideological factors of humor designer’s daily experiences. The social actors interviewed were six humor designers, Brazilian and well known in our country, who agreed to voluntarily participate in this research.The theoretical framework defines creativity as a fundamental cognitive capacity that begins with sensations, feelings and, mainly, intuitions, culminating in the known epiphany flashes in the history of the arts and sciences. This elaboration occurs at the unconscious and preconscious levels, and then it is concretized in words, images, sounds, in artistic, scientific and other expressions. As regards the creative processes, they find that they are universal, belonging both to the field of science and art, as well as to other human activities that deal with creativity. The humorists interviewed defined creativity in a heterogeneous way. In the speeches presented, there was agreement, among some, on the act of creating to be ordinary, being considered a daily task and related to novelty. They recognized the existence of insight, as well as the importance of the familiar environment influence for the developing of the creative skills. We can say that some of the thirteen tools were more cited than others. They are: (1) to observe, (2) create and (3) form patterns, (4) to fell empathy, (5) to establish analogies, (6) transform, and (7) synthesize. There was also the understanding that some terms are understood differently from Root-Bernstein & Root-Bernstein's book "Sparks of Geniuses." The capacities of synthesizing and feeling empathy are two examples that had to be treated differently in the results. We came to the conclusion that the humor designers use some of the thirteen tools to think and they agree with part of the theoretical framework. But they also have other cognitive abilities and knowledges that may contribute significantly to the expansion of the concepts taught and problematized in the discipline. Other benchmarks deserve to be further studied and deepened in order to align our empirical data
O processo criativo dos desenhistas de humor à luz das treze categorias cognitivas de Robert Root-Bernstein & Michele Root-Bernstein
No full textFundação Oswaldo Cruz. Instituto Oswaldo Cruz. Rio de Janeiro, RJ, Brasil.A criatividade e os processos criativos são atividades humanas muito discutidas na atualidade, em diversos campos do conhecimento. Entretanto, os processos criativos de desenhistas de humor (cartunistas, chargistas, caricaturistas) não têm sido muito explorados nas pesquisas. Neste estudo investigamos estes processos, comparando-os com as treze categorias cognitivas promotoras da criatividade de Robert Root-Bernstein & Michele Root-Bernstein, referenciais teóricos adotados pela disciplina de Ciência e Arte do Instituto Oswaldo Cruz, para a construção de novos conhecimentos. A questão formulada foi \201Co desenvolvimento dos processos criativos dos desenhistas de humor se identifica com esses referenciais\201D? Procuramos responder essa questão por meio desta pesquisa num caráter teórico-empírico, exploratório e descritivo, com a opção metodológica qualitativa. Esta escolha se baseou no fato do tema de estudo estar relacionado a fatores sociais, políticos e ideológicos da experiência cotidiana dos desenhistas de humor. Os atores sociais entrevistados foram seis desenhistas de humor, brasileiros e reconhecidos nacionalmente, que aceitaram participar voluntariamente desta pesquisa. O referencial teórico define a criatividade como uma capacidade cognitiva fundamental que tem início nas sensações, sentimentos e, principalmente, intuições, culminando nos lampejos conhecidos nas histórias das artes e das ciências. Essa elaboração se dá ao nível inconsciente e pré-consciente, e depois se concretiza em palavras, imagens, sons, em expressões artísticas, científicas e outras Quanto aos seus processos criativos, os desenhistas constatam que eles são universais, pertencendo tanto ao campo da ciência como da arte, assim como de outras atividades humanas que lidam com criatividade. Os humoristas entrevistados definiram criatividade de forma heterogênea. Nos discursos apresentados houve concordância, entre alguns, a respeito de o ato de criar ser corriqueiro, se tratando de uma tarefa cotidiana e ter relação com novidade. Reconheceram a existência do insight, assim como a importância da influência do ambiente familiar no desenvolvimento da capacidade criativa. Podemos afirmar que algumas das treze ferramentas foram mais citadas do que outras. São elas: (1) observar, (2) criar e (3) formar padrões, (4) sentir empatia, (5) estabelecer analogias, (6) transformar e (7) sintetizar. Houve também o entendimento de que alguns termos são compreendidos de forma diferente do livro \201CCentelhas de Gênios\201D de Root-Bernstein & Root-Bernstein. Sintetizar e ter empatia são dois exemplos que tiveram que ser tratados de forma diferenciada nos resultados. Concluímos que os desenhistas de humor usam algumas das ferramentas de pensar e concordam com parte do referencial teórico, mas que igualmente possuem outras habilidades cognitivas e conhecimentos que podem contribuir de maneira significativa para a ampliação dos conceitos ensinados e problematizados na disciplina. Outros referenciais merecem ser mais estudados e aprofundados para alinhar nossos dados empíricos.Creativity and creative processes are human activities that are much discussed nowadays in various fields of knowledge. However, the creative processes of humor designers (cartoonists, caricaturists) have not been much explored in general. In this study we investigate these processes by comparing them with the thirteen cognitive categories that promote the creativity of Robert Root-Bernstein & Michele Root-Bernstein, theoretical references adopted by the discipline of Science and Art of the Oswaldo Cruz Institute, for the construction of new knowledge. The question posed was: ”does the development of the creative processes of humor designers identify with these referentials?” We have sought to answer this question through this research in a theoretical-empirical, exploratory and descriptive character, through the use of the qualitative methodological option. This choice was based on the fact that the theme of this study was related to social, political and ideological factors of humor designer’s daily experiences. The social actors interviewed were six humor designers, Brazilian and well known in our country, who agreed to voluntarily participate in this research.The theoretical framework defines creativity as a fundamental cognitive capacity that begins with sensations, feelings and, mainly, intuitions, culminating in the known epiphany flashes in the history of the arts and sciences. This elaboration occurs at the unconscious and preconscious levels, and then it is concretized in words, images, sounds, in artistic, scientific and other expressions. As regards the creative processes, they find that they are universal, belonging both to the field of science and art, as well as to other human activities that deal with creativity. The humorists interviewed defined creativity in a heterogeneous way. In the speeches presented, there was agreement, among some, on the act of creating to be ordinary, being considered a daily task and related to novelty. They recognized the existence of insight, as well as the importance of the familiar environment influence for the developing of the creative skills. We can say that some of the thirteen tools were more cited than others. They are: (1) to observe, (2) create and (3) form patterns, (4) to fell empathy, (5) to establish analogies, (6) transform, and (7) synthesize. There was also the understanding that some terms are understood differently from Root-Bernstein & Root-Bernstein's book "Sparks of Geniuses." The capacities of synthesizing and feeling empathy are two examples that had to be treated differently in the results. We came to the conclusion that the humor designers use some of the thirteen tools to think and they agree with part of the theoretical framework. But they also have other cognitive abilities and knowledges that may contribute significantly to the expansion of the concepts taught and problematized in the discipline. Other benchmarks deserve to be further studied and deepened in order to align our empirical data
The application of high-resolution sequence stratigraphy to reservoir characterisation and development : Wyandra Sandstone Member, Cadna-Owie Formation, Eromanga Basin, Southwest Queensland / y Robert Sinclair Root.
No full textLetter Written by Robert Bernstein to the Bryant College Service Club Dated September 13, 1944
No full text[Transcription begins]September 13, 1944
Dear Bryant,
After quite a few delays your package finally arrived here. It was quite a pleasure, naturally, to find that the College still remembered!
When you sent that muffler I was still en route so the address was still the same as back in the States where I could have used it to good advantage. You will undoubtedly agree with me as to the humor of receiving a heavy wool muffler here in the blazing heat in India.
Nevertheless, it\u27s not so much the gift as the urge behind it that makes it so welcome to me; I\u27m really very very pleased!!
Sincerely,Bob Bernstein
P.S. Regards to all the alumni and staff.[Transcription ends
A Victorian Admirer Writes Back: Marion Bernstein and Robert Burns
No full textReviews poems written by the Victorian Glaswegian feminist Marion Bernstein (1846-1906), about Robert Burns and in response to Burns\u27s poems. Discusses Bernstein\u27s recent reputation and the new (2013) edition of her writings published by the Association for Scottish Literary Studies. Also highlights a copy of Bernstein\u27s very rare only book, Mirren\u27s Musings (1876), in the G. Ross Roy Collection
Letter Written by Robert Bernstein to the Bryant College Service Club Dated December 10, 1944
No full text[Transcription begins]10 Dec. 1944
Dear Bryant,
It was indeed a surprise and a pleasure to receive that nice package of candy you sent. I really enjoyed it immensely as did the other boys in the Office that helped me eat it.
I imagine old Bryant has changed considerably since we left it. I heard that Scott House noted for the wolves when we were there has changed over to the more sedate side now and has girls there. Quite a change, I imagine!
Some of the boys still write from all over the world; Jim La Russa is on Tinian & Donald Rubenstein is on Saipan--both in the Marianas. Dave Kaufman is now a Lt. as a bombadier-navigator training in Texas and Jerry Goldberg is at Ft. Louis, Washington. I imagine I\u27m about the farthest away from Bryant here in India half way around the world.
Give my regards to the faculty. Thanks again!
Bob Bernstein[Transcription ends
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