198 research outputs found
Video Work Exhibited in 'House Rules', Simonds and Simmonds, City Point, London, curated by Stuart Evans, April 2012
No full textVideo work was exhibited in 'House Rules', Simonds and Simmonds, City Point, London, April 2012. This exhibition of contemporary art investigated issues around social exclusion and included works by Tracey Emin, Rose Finn-Kelcey, Gary Hume, Sarah Jones, Michael Landy, Louis Maqhubela, Muntean/Rosenblum, Shirin Neshat, Laura Oldfield Ford, Lucienne O'Mara, Katherine Parshan, Sarah Strang, Emilie Taylo and Gillian Wearin
Curriculum-making in South Africa: promoting gender equality and empowering women (?)
No full textAuthor cannot archive publisher's version/PDF.The United Nations Millennium Development Goals (2000−2015) are clearly
embedded in South Africa’s education policy documents. However, they are not
adequately infused into the curriculum. This article focuses specifically on the
third Millennium Development Goal (MDG) − promoting gender equality and
empowering women − and the need to place this curriculum content at the
centre and not on the periphery, to achieve its goal. Qualitative document
research was used to explore the extent to which South Africa’s curriculummaking
has promoted gender equality and the empowerment of women during
the promotion of the 2000–2015 MDGs. The findings of this research show
potential intersections of poverty, age and worldviews with gender; a stronger
focus on human rights values; and concrete strategies to combat unhealthy
sexual behaviour. However, the curriculum continues to be saturated with
negative perspectives and binary perceptions of gender. There is also a lack of
attention to the world of work. The assumption underlying this seems to be that
gender equality and the empowerment of women are unattainable or that they are
unimportant. This article concludes by underlining the need for the curriculum to
be a genuine agent of change, which necessitates a new gender discourse in
curriculum-making.http://dx.doi.org/10.1080/09540253.2014.946474http://www.tandfonline.com/toc/cgee20/curren
Jurisprudence – Theories of private law
No full textNote drawing attention to the upsurge in interest, amongst British and American legal scholars, in the construction of general theories of private law. The author looks at the common law structure, notions of why theories arise, law and economics and ideas of corrective justice. Piece by Dr N. E. Simmonds (Reader in Jurisprudence, Fellow of Corpus Christi College, University of Cambridge) published in Amicus Curiae - Journal of the Institute of Advanced Legal Studies and its Society for Advanced Legal Studies. The Journal is produced by the Society for Advanced Legal Studies at the Institute of Advanced Legal Studies, University of London
Jurisprudence – Theories of private law
No full textNote drawing attention to the upsurge in interest, amongst British and American legal scholars, in the construction of general theories of private law. The author looks at the common law structure, notions of why theories arise, law and economics and ideas of corrective justice. Piece by Dr N. E. Simmonds (Reader in Jurisprudence, Fellow of Corpus Christi College, University of Cambridge) published in Amicus Curiae - Journal of the Institute of Advanced Legal Studies and its Society for Advanced Legal Studies. The Journal is produced by the Society for Advanced Legal Studies at the Institute of Advanced Legal Studies, University of London
An investigation into Southern Hemisphere cyclone-sea ice links using long records of NCEP analyses and passive microwave data
No full textProgress Code: completedStatement: See the links for the source data for further information about the quality of the original datasets.The sea ice data are the SMMR/SMMI data for the period 1978-96. These are in the form of daily (or bi-diurnal) concentration amounts on a regular grid. The data on the extratropical cyclones has been obtained using the automatic algorithm of Simmonds and Keay (2000, Journal of Climate, 873-885). This algorithm was applied to the NCEP reanalysis product for the period 1978-96.<br/><br/>In this project, sea ice data were sourced from the National Snow and Ice Data Center (CIRES, University of Colorado, Boulder, CO 80309-0449, USA). The NCEP reanalysis data set was sourced from: NOAA/ National Weather Service, National Centers for Environmental Prediction (5200 Auth Road, Camp Springs, Maryland, 20746 USA).<br/><br/>The sea ice concentration data used were for the Antarctic only (the entire Antarctic sea ice domain). Data started in 1978. All data were collected by satellite. A link to a metadata record for these data are available from the URL given below.<br/><br/>Two NCEP reanalysis data sets were used in this study. The first was NCEP/NCAR, with 6-hourly data available from 1958 (see the URL provided below for further information). The second was the NCEP/DOE set, with 6-hourly data available from 1979 (see the URL provided below for further information).<br/><br/>In this project the following model/analysis was applied:<br/><br/>Application of The University of Melbourne cyclone tracking scheme (Simmonds et al., 2003, Monthly Weather Review, 131, 272-288) and a broad range of statistical tests. Brief details are provided in the Summary. See the link for the pdf document for more detailed information.<br/><br/>These complex statistical analyses were run over the entire length of the project (1998/99 - 2000/01). They were run on the Sun Workstation cluster in the School of Earth Sciences, The University of Melbourne
Efficient poultry housing, G. J. Simmonds; illustrated with plans, drawings and photographs by the author.
No full text25 p.
Adapting Flaubert’s irony: the example of Gemma Bovery by Posy Simmonds
No full textGustave Flaubert a refusé d’illustrer ses livres tout au long de sa vie ; une attitude qui contraste, paradoxalement, avec les nombreuses occasions où ses œuvres ont été adaptées aux formats graphiques et cinématographiques. Dans l’univers de la narration graphique, nous trouvons Gemma Bovery (2014) de Posy Simmonds, actuellement le seul roman graphique inspiré du chef-d’œuvre Madame Bovary (1857) de Gustave Flaubert. L’objectif du présent article est d’étudier l’ironie flaubertienne comme source de l’humour de Posy Simmonds dans Gemma Bovery (2014). D’abord, nous contextualiserons notre étude dans le domaine des adaptations, de la bande dessinée et du roman graphique à partir des ouvrages et des auteurs clés. Ensuite, dans une partie méthodologique, nous essayerons de définir brièvement le concept d’ironie ainsi que les différents concepts qui peuvent la déclencher dans un texte littéraire. Finalement, dans l’analyse proposée, nous étudierons la présence de l’ironie flaubertienne de la forme au contenu de ce roman graphique, afin d’observer également son originalité.Gustave Flaubert rechazó ilustrar sus libros durante toda su vida. Esta actitud inflexible del autor contrasta, paradójicamente, con las numerosas ocasiones en las que sus obras se han adaptado a otros formatos. En el universo de la narración gráfica, encontramos Gemma Bovery (2014) de Posy Simmonds, actualmente la única novela gráfica inspirada de la obra maestra Madame Bovary (1857) de Gustave Flaubert. El objetivo del presente artículo estudiar la ironía flaubertina como fuente del humor de Posy Simmonds en Gemma Bovery (2014). En primer lugar, contextualizaremos nuestro estudio en el campo de las adaptaciones, los cómics y las novelas gráficas a partir de obras y autores clave. A continuación, en una parte metodológica, trataremos de definir brevemente el concepto de ironía, así como los diferentes procedimientos que pueden desencadenarla en un texto literario. Finalmente, en el análisis propuesto estudiaremos la presencia de la ironía flaubertina desde la forma hasta el contenido de esta novela gráfica, con el fin de observar también su originalidad.Gustave Flaubert refused to illustrate his books throughout his life. This rigid attitude
of the author contrasts, paradoxically, with the numerous occasions in which his works have been adapted to other formats. In the world of graphic storytelling, we find Posy Simmonds’ Gemma Bovery (2014), currently the only graphic novel inspired by Flaubert’s masterpiece, Madame Bovary (1857). The present article aims to study flaubertine irony as a source of Posy Simmonds’ humour in Gemma Bovery (2014). First, we will contextualize our study in the field of adaptations, comics and graphic novels through key works and authors. Then, in a methodological part, we will try to briefly define the concept of irony, as well as the different procedures that can trigger it in a literary text. Finally, in the proposed analysis we will study the presence of flaubertine irony from the form to the content of this graphic novel in order to also observe its originality
Os romances gráficos: inspiração literária, observações sociais e a estética de Posy Simmonds
No full textO Romance Gráfico é um quadrinho adulto contemporâneo, cujas suas primeiras obras importantes surgiram no fim da década de 1970, é também em parte uma continuação e uma consequência de outras tradições anteriores. Além de ser fruto de um fenômeno que ocorreu nos últimos trinta anos de conscientização do quadrinho como forma artística adulta. As obras da autora inglesa Rosemary Elizabeth Simmonds (Posy Simmonds) são representativas de algumas das principais características dos romances gráficos como a experimentação, a alta qualidade estética e a preocupação com temas e questões atuais. Posy recorre a clássicos literários do século XIX e em conformidade com as representações de uma sociedade saturada de imagens desenvolve um trabalho ousado, apropriando-se de elementos da literatura de forma explícita e como parte do jogo intertextual. Ela mescla esses elementos com outros mais próximos da experiência contemporânea e através de uma narrativa na qual desenhos e textos se complementam, a autora os utiliza para pintar um retrato satírico da atual classe média britânica. Em seus trabalhos “Gemma Bovery” e “Tamara Drewe” Posy Simmonds explora essa linguagem com qualidade técnica, experimenta com o formato de publicação em uma página diária de uma história longa e completa. Discute valores contemporâneos tratando as problemáticas das jovens mulheres inglesas através de uma sátira maliciosa e sutil, com uma notável qualidade em seus desenhos, colaborando para que cada vez mais os romances gráficos sejam vistos como uma forma artística nova, a qual mesmo que possua influências e proximidades com outras áreas tornou-se necessária discutir como um material diferenciado: um gênero com suas próprias convençõesGraphic Novel is an adult contemporary comic, whose early important works emerged in the late 1970s, it is, in part, a continuation and a consequence of other earlier traditions, but is also the result of a phenomenon that occurred in the last thirty years into the awareness of adult comics as an art form. The works of the English author Rosemary Elizabeth Simmonds (Posy Simmonds) are representative of some of the main characteristics of graphic novels such as experimentation, high aesthetic quality and occupancy with current themes and issues. Posy uses nineteenth century’s literary classics and in accordance with the representations of a society saturated of images, develops a bold work, appropriating explicitly elements of literature and as part of the intertextual game, blending these elements with other ones, these are closer to the contemporary experience, and through a narrative, in which texts and drawings complement themselves, she uses them to illustrated a satirical portrait of the current British middle class. In his woks “Gemma Bovery” and “Tamara Drewe” Posy Simmonds explores this language with technical quality; experiments with the publishing format in a daily page of a long and completely story; discusses contemporary values covering the problematic of young English women through a canny and subtle satire, with a remarkable quality in her drawings; contributes to increase the graphic novels to be seen as a new art form, which, even having its influences and proximity to other areas, has become necessary to discuss it as a differentiated material: a genre with its own convention
Os romances gráficos: inspiração literária, observações sociais e a estética de Posy Simmonds
No full textO Romance Gráfico é um quadrinho adulto contemporâneo, cujas suas primeiras obras importantes surgiram no fim da década de 1970, é também em parte uma continuação e uma consequência de outras tradições anteriores. Além de ser fruto de um fenômeno que ocorreu nos últimos trinta anos de conscientização do quadrinho como forma artística adulta. As obras da autora inglesa Rosemary Elizabeth Simmonds (Posy Simmonds) são representativas de algumas das principais características dos romances gráficos como a experimentação, a alta qualidade estética e a preocupação com temas e questões atuais. Posy recorre a clássicos literários do século XIX e em conformidade com as representações de uma sociedade saturada de imagens desenvolve um trabalho ousado, apropriando-se de elementos da literatura de forma explícita e como parte do jogo intertextual. Ela mescla esses elementos com outros mais próximos da experiência contemporânea e através de uma narrativa na qual desenhos e textos se complementam, a autora os utiliza para pintar um retrato satírico da atual classe média britânica. Em seus trabalhos “Gemma Bovery” e “Tamara Drewe” Posy Simmonds explora essa linguagem com qualidade técnica, experimenta com o formato de publicação em uma página diária de uma história longa e completa. Discute valores contemporâneos tratando as problemáticas das jovens mulheres inglesas através de uma sátira maliciosa e sutil, com uma notável qualidade em seus desenhos, colaborando para que cada vez mais os romances gráficos sejam vistos como uma forma artística nova, a qual mesmo que possua influências e proximidades com outras áreas tornou-se necessária discutir como um material diferenciado: um gênero com suas próprias convençõesGraphic Novel is an adult contemporary comic, whose early important works emerged in the late 1970s, it is, in part, a continuation and a consequence of other earlier traditions, but is also the result of a phenomenon that occurred in the last thirty years into the awareness of adult comics as an art form. The works of the English author Rosemary Elizabeth Simmonds (Posy Simmonds) are representative of some of the main characteristics of graphic novels such as experimentation, high aesthetic quality and occupancy with current themes and issues. Posy uses nineteenth century’s literary classics and in accordance with the representations of a society saturated of images, develops a bold work, appropriating explicitly elements of literature and as part of the intertextual game, blending these elements with other ones, these are closer to the contemporary experience, and through a narrative, in which texts and drawings complement themselves, she uses them to illustrated a satirical portrait of the current British middle class. In his woks “Gemma Bovery” and “Tamara Drewe” Posy Simmonds explores this language with technical quality; experiments with the publishing format in a daily page of a long and completely story; discusses contemporary values covering the problematic of young English women through a canny and subtle satire, with a remarkable quality in her drawings; contributes to increase the graphic novels to be seen as a new art form, which, even having its influences and proximity to other areas, has become necessary to discuss it as a differentiated material: a genre with its own convention
The synthesis of monodisperse alkanes with long chains
No full textThis thesis discusses reasons for the interest in monodisperse long chain alkanes and describes attempts, past and present, to synthesise such molecules. Chapter 1 discusses why the synthesis of such molecules are important and the objectives of this project. Chapter 2 reviews the methods previous groups have devised to prepare pure samples of long chain alkanes. In particular, work carried out by Whiting et al. at Bristol, whose scheme formed the basis of the early work in Durham. Chapter 3 describes the work in Durham and improvements which were made to Whiting's method, allowing the synthesis of longer chain lengths and greater quantities of materials to be achieved. Chapter 4 provides a summary of the practical work carried out by the author. Chapter 5 gives experimental details of the work described in Chapter 4
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