15,141 research outputs found
OP67 - Roberts-Nkrumah, Laura: The Breadfruit in the Caribbean
No full text2 audio cassettesThis resource is available for research. It is the property of the West Indiana and Special Collections Division, The Alma Jordan Library, The University of the West Indies, St. Augustine Campus.r Laura Roberts-Nkrumah, a lecturer in the Department of Crop Science at The University of the West Indies St. Augustine, has conducted research on the breadfruit for more than six years
Raymond Waggoner Lectures - Laura Roberts, On Becoming a Physician: Stresses and strengths of physicians-in-training, 2011
No full textVideo files and transcript of 2011 Waggoner lecture. Laura Roberts, On Becoming a Physician: Stresses and strengths of physicians-in-training, 2011.http://deepblue.lib.umich.edu/bitstream/2027.42/110289/2/2011_Roberts.ziphttp://deepblue.lib.umich.edu/bitstream/2027.42/110289/3/2011_Roberts_media.zi
Margorie Roberts Interview
No full textOral history interview with Margorie Roberts by Laura Duncan on Mrs. Roberts\u27s recollections of Cora Wilson Stewart from October 12, 1990
Scrapbook of Laura Heath Hills: Dr. Roberts operating in clinic
No full textPage 16 of Laura Heath Hills scrapbook; title taken from scrapbook photograph caption. Laura Heath Hills was a graduate of Woman's Medical College of Pennsylvania in 1896
Marriage record of Roberts, Edward Van and McCall, Annie Laura
No full textMarriage license for Edward Van Roberts and Annie Laura McCall. J.B. Salmon was the officiant
Marriage record of Roberts, George H. and Hared, Laura E.
No full textMarriage license for George H. Roberts and Laura E. Hared. Grant J. Aikin was the Notary Public
Murder in Palo Alto is the specialty of local author Laura Roberts
No full textMurder by the Bone is Roberts' latest mystery nove
Colors 1968
No full textCONTENTS
T. S. Eliot and the Direction of Modem Poetry, Jurgen Shawver 1;
An Explicatio on Eight Lines by Blake, Jurgen Shawver 18;
Experiments in Oblivion, Zenon Zazula 8;
The Stage Door, Ellen Lawrence Roberts 11;
The Roman Breviary, Ellen Lawrence Roberts;
The Bridge, Casey Brooks 20;
The Surrealist, Ellen Lawrence Roberts 28;
Friend in Reed, Clinton Bishop 30;
Winter, Dan Burr 32;
The Letter, Joe Miller 37;
What Am I Doing Eere?, Linda Chapman 45;
"In the Fame of . . . ", Fr. James Alyward 39;
Time Decayed, Charles Atkins 10;
Whitewashed Eternity, Charles Atkins 23;
Twilight, William E. Bjarko 26;
Death 's Bright Angel, William E. Bjarko 26;
Man Unseeing, William E. Bjarko 40;
All the Wicked Little Children, Lynn Eastman 48;
"Swirls of Purple. . . ", Laura Ellis 15;
"Drawn in the black wilderness . . .", Laura Ellis 15;
"At Eight . . .", Laura Ellis 15;
Carmel Park, John Lockowich 42;
Monday Morning Reflection, John Lockowich 42;
From a Titan, John Lockowich 42;
Penultimate Psychedelia, John Lockowich 42;
Fever, John Lockowich 42;
Easter '67, Montana, Paul Leung 2;
Somebody's Wake, Dennis McCahon 27;
Hell American, Joe Miller 25;
Man-scape, Joe Miller 25;
Two Poems, Fr. Emmett O'Neill 44;
Shot Down, Ellen Lawrence Roberts 6;
Helena After Midnight—Hap, Jurgen Shawver 5;
Early Morning—Peacefully Alone, Jurgen Shawver 14;
Another Day, Jurgen Shawver 19;
Language of Flowers, Jurgen Shawver 19;
You and I, Jurgen Shawver 35;
Dreams, Jurgen Shawver 35;
Procreation, Jurgen Shawver 35;
Helena After Midnight—Emptiness, Jurgen Shawver 47;
Horse of Sticks, Mary Jo Thiel 39;
Wind on the Delta, Marie MacDonnell Roberts 7;
Garbage Cans, Bill Roberts 24;
Beginning of the Cycle, Marie MacDonnell Roberts 36;
Foliage, Joe Miller 41;
Snow at St. Charles, Bill Roberts 16
Inundation, Laura Ellen Bacon
No full textExhibition catalogue, to accompany large scale installation work at Ruthin Craft Centre.Laura’s work treated the white-cube gallery like an architectural container, with four distinct forms appearing to pour in through the roof apertures, waterfalling to the floor, eddying and surging against the constraints of three of the walls, and concluding with a frontal wave at the wide, usual entrance to the gallery. Access via this entrance was thus rendered impossible, turning it into a viewpoint, whilst a side access allowed more intimate viewing of the length of the piece. Visitors were fairly contained by the piece themselves, forced up close to the billowing curves as they walked along the length of the only remaining wall of the gallery. The work was startling in its scale, and immersive.Mass was created by multiple human-scale gestures in willow, the whole bound together and articulated through a kind of drawing in space with the material to describe the direction and force of the work. Laura has drawn analogies between the immersive nature of the process, an all-consuming inundation, and the recent extraordinarily destructive flooding in Somerset and North Wales. Her experience of the flood was after the event; the willow she uses is a crop grown in Westonzoyland on the Somerset Levels. Flooding is a natural and accepted part of the cycle of the seasons there, but in the last winter, record-breaking levels of flooding forced people out of their homes and caused physical, social and economic devastation. The waters subsided just in time for the willow growers to perform their annual cropping. But evidence of the event remained; Laura observed that a silty residue was left on the willow whips, up to a tide-line which marked the flood level on the crop. While this was easily washed away during use, the notion remained that these plants could carry evidence of the event, even through the processes of cutting, bundling and transport from Somerset to her studio in the Peak District
Laura Ellen Bacon: Inundation
No full textLaura’s work treated the white-cube gallery like an architectural container, with four distinct forms appearing to pour in through the roof apertures, waterfalling to the floor, eddying and surging against the constraints of three of the walls, and concluding with a frontal wave at the wide, usual entrance to the gallery. Access via this entrance was thus rendered impossible, turning it into a viewpoint, whilst a side access allowed more intimate viewing of the length of the piece. Visitors were fairly contained by the piece themselves, forced up close to the billowing curves as they walked along the length of the only remaining wall of the gallery. The work was startling in its scale, and immersive.Mass was created by multiple human-scale gestures in willow, the whole bound together and articulated through a kind of drawing in space with the material to describe the direction and force of the work. Laura has drawn analogies between the immersive nature of the process, an all-consuming inundation, and the recent extraordinarily destructive flooding in Somerset and North Wales. Her experience of the flood was after the event; the willow she uses is a crop grown in Westonzoyland on the Somerset Levels. Flooding is a natural and accepted part of the cycle of the seasons there, but in the last winter, record-breaking levels of flooding forced people out of their homes and caused physical, social and economic devastation. The waters subsided just in time for the willow growers to perform their annual cropping. But evidence of the event remained; Laura observed that a silty residue was left on the willow whips, up to a tide-line which marked the flood level on the crop. While this was easily washed away during use, the notion remained that these plants could carry evidence of the event, even through the processes of cutting, bundling and transport from Somerset to her studio in the Peak District
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