1,796 research outputs found
Author and poet Lily Brett at the National Library of Australia, Canberra, 18 October 2012 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author and poet Lily Brett at the National Library of Australia, Canberra, 18 October 2012.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Tuskegee Airmen: Brett Gadsden Interviews J. Todd Moye
No full textIn an interview with Brett Gadsden at the 2010 Decatur Book Festival, civil rights historian Todd Moye, author of Freedom Flyers, talks about the transformative experiences of the Tuskegee Airmen during World War II and beyond
Puissance délivrée dans la partie cycliste d'un triathlon Élite en compétition
No full textSmith Darren, Lee Hamilton, Pickard Robert, Sutton Brett, Hunter Erik. Puissance délivrée dans la partie cycliste d'un triathlon Élite en compétition. In: Les Cahiers de l'INSEP, n°24, 1999. 2e Congrès international de triathlon de l’INSEP – 2nd INSEP international triathlon Congress pp. 217-223
Power demands of the cycle leg during elite triathlon competition
No full textSmith Darren, Lee Hamilton, Pickard Robert, Sutton Brett, Hunter Erik. Power demands of the cycle leg during elite triathlon competition. In: Les Cahiers de l'INSEP, n°24, 1999. 2e Congrès international de triathlon de l’INSEP – 2nd INSEP international triathlon Congress pp. 224-230
Boys of England and Edwin J. Brett, 1866-99
No full textBoys of England was a Victorian boys' periodical. It was published weekly by Edwin J. Brett from 1866 to 1899, initially from the Fleet Street offices of the Newsagents'
Publishing Company, and later from Brett's own `Boys of England Office'. It was the first periodical of its kind, and achieved a large sale amongst eager youngsters.
The purpose of this thesis is to provide a general history of BOE and Brett, neither of which has yet been attempted. More specifically, the thesis is intended to address
misconceptions regarding Brett and his work. Historians of boys' periodical literature have tended to portray Brett's papers as largely supportive of middle class hegemony. They
argue that they failed to connect with the lives of their upper working and lower middle class readers. However, this thesis contends that in actual fact BOE engaged closely with
the lives of its readership, comprised mainly of boys from the `respectable' working classes. Therefore, BOE should rightly be considered an important, indigenous component
of working class society and culture in mid to late Victorian Britain.
To provide as comprehensive an analysis as possible, the thesis is divided into three sections: `Paper and Proprietor'; `Content'; `Response'. These sections are divided into further chapters, each exploring a salient facet of BOE and Brett. Some of these engage with, and challenge, the existing historiography of boys' periodical literature. Others introduce historiographies previously remote from the study of boys' papers, widening the
remit of this relatively self-contained field. Some examine entirely unstudied, or largely understudied, subject matter.
Ultimately, this thesis is intended to make a valuable contribution not only to the historiography of boys' papers specifically, and children's literature in general, but also to the wider historiographies of Victorian social and cultural history and the Victorian working class
Guy Brett – presence, absence
No full textTranscript of speech delivered at Tate Modern at the occasion of an event in remembrance of the life of art critic Guy Brett. At that occasion the text was read by Luciana Brett, the art critic's daughter, in the absence of the author.
It is published here in the context of a special dossier on Guy Brett for the Concinnitas Art Journal
Author response
No full textDetecting pathogens and mounting immune responses upon infection is crucial for animal health. However, these responses come at a high metabolic price (McKean and Lazzaro, 2011, Kominsky et al., 2010), and avoiding pathogens before infection may be advantageous. The bacterial endotoxins lipopolysaccharides (LPS) are important immune system infection cues (Abbas et al., 2014), but it remains unknown whether animals possess sensory mechanisms to detect them prior to infection. Here we show that Drosophila melanogaster display strong aversive responses to LPS and that gustatory neurons expressing Gr66a bitter receptors mediate avoidance of LPS in feeding and egg laying assays. We found the expression of the chemosensory cation channel dTRPA1 in these cells to be necessary and sufficient for LPS avoidance. Furthermore, LPS stimulates Drosophila neurons in a TRPA1-dependent manner and activates exogenous dTRPA1 channels in human cells. Our findings demonstrate that flies detect bacterial endotoxins via a gustatory pathway through TRPA1 activation as conserved molecular mechanism.sponsorship: Vlaams Instituut voor Biotechnologie Alessia Soldano Luis Franco Guangda Liu Natalia Mora Emre Yaksi Bassem A Hassanr Fonds Wetenschappelijk Onderzoek G.0702.12 Alessia Soldano Yeranddy A Alpizar Brett Boonen Alejandro Lopez-Requena Natalia Mora Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar Fonds Wetenschappelijk Onderzoek G.0077.15 Alessia Soldano Yeranddy A Alpizar Brett Boonen Alejandro Lopez-Requena Natalia Mora Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar Fonds Wetenschappelijk Onderzoek G.0680.10 Alessia Soldano Yeranddy A Alpizar Brett Boonen Alejandro Lopez-Requena Natalia Mora Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar Fonds Wetenschappelijk Onderzoek G.0681.10 Alessia Soldano Yeranddy A Alpizar Brett Boonen Alejandro Lopez-Requena Natalia Mora Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar Fonds Wetenschappelijk Onderzoek G.0503.12 Alessia Soldano Yeranddy A Alpizar Brett Boonen Alejandro Lopez-Requena Natalia Mora Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar Fonds Wetenschappelijk Onderzoek G.0654.15 Alessia Soldano Yeranddy A Alpizar Brett Boonen Alejandro Lopez-Requena Natalia Mora Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar Fonds Wetenschappelijk Onderzoek G.0761.10N Alessia Soldano Yeranddy A Alpizar Brett Boonen Alejandro Lopez-Requena Natalia Mora Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar Fonds Wetenschappelijk Onderzoek G.0596.12 Alessia Soldano Yeranddy A Alpizar Brett Boonen Alejandro Lopez-Requena Natalia Mora Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar Fonds Wetenschappelijk Onderzoek G.0565.07 Alessia Soldano Yeranddy A Alpizar Brett Boonen Alejandro Lopez-Requena Natalia Mora Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar KU Leuven GOA/14/011 Alessia Soldano Yeranddy A Alpizar Brett Boonen Luis Franco Alejandro Lopez-Requena Guangda Liu Natalia Mora Emre Yaksi Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar European Commission IUAP P7/13 Alessia Soldano Yeranddy A Alpizar Brett Boonen Luis Franco Alejandro Lopez-Requena Guangda Liu Natalia Mora Emre Yaksi Thomas Voets Rudi Vennekensr KU Leuven OT/12/091 Alessia Soldano Yeranddy A Alpizar Brett Boonen Luis Franco Alejandro Lopez-Requena Guangda Liu Natalia Mora Emre Yaksi Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talaverar KU Leuven PF-TRPLe Alessia Soldano Yeranddy A Alpizar Brett Boonen Luis Franco Alejandro Lopez-Requena Guangda Liu Natalia Mora Emre Yaksi Thomas Voets Rudi Vennekens Bassem A Hassan Karel Talavera (Vlaams Instituut voor Biotechnologie, Fonds Wetenschappelijk Onderzoek|G.0702.12, Fonds Wetenschappelijk Onderzoek|G.0077.15, Fonds Wetenschappelijk Onderzoek|G.0680.10, Fonds Wetenschappelijk Onderzoek|G.0681.10, Fonds Wetenschappelijk Onderzoek|G.0503.12, Fonds Wetenschappelijk Onderzoek|G.0654.15, Fonds Wetenschappelijk Onderzoek|G.0761.10N, Fonds Wetenschappelijk Onderzoek|G.0596.12, KU Leuven|GOA/14/011, KU Leuven|OT/12/091, European Commission|IUAP P7/13, KU Leuven PF-TRPLe)status: Publishe
Symbolic blood: cloths for excised women
No full textThe most interesting problems in fieldwork usually arise when one runs into outright unhelpfulness on the part of informants. When I first arrived in Kolokani, armed with photographs of numerous mud cloths from European museums, I was puzzled by the reaction to one particular image: the Basiae cloth. At the sight of this pattern, my informants burst into embarrassed laughter then became mute. Several months later I observed a N'Gale cloth and was equally confused by Fatmata Traore's reluctance to paint its black and white stripes on the wrapper I offered her. Why should these two cloths, the Basiae and N'Gale, arouse such resistance? No one was reluctant to explain the meanings of other patterns. Do these cloths have a different kind of meaning; if so, what is it?Copyright © by the President and Fellows of Harvard College. Originally printed in Res: Anthropology and Aesthetics, Issue 3, Spring 1982 (pp. 15-31). All rights reserved. No part of this article may be reproduced without permission of the Peabody Museum Press.Peer reviewed"Spring 1982
When is an object finished? The creation of the invisible among the Bamana of Mali
No full textMy aim is to investigate the way in which two interrelated African societies, the Bamana and Malinke of Mali, West Africa, viewed the production of art. It will explore Bamana and Malinke ideas about when an art object is 'finished' and why the ending of an object's 'life' is so fraught with danger for its user.Copyright © by the President and Fellows of Harvard College. Originally printed in Res: Anthropology and Aesthetics, Issue 39, Spring 2001 (pp. 102-136). All rights reserved. No part of this article may be reproduced without permission of the Peabody Museum Press.Peer reviewed"Spring 2001
The mouth of the Komo
No full textMy purpose is to reexamine the significance of the Bamana and Malinke Komo mask in the light of new data collected in the Kita and Beledugu regions of Mali, West Africa. This information suggests that the headdress incorporates several levels of meaning and that an intense concern with the control of masculine sexuality and the mastery of human reproduction informs one of the less easily accessible, but crucially important, metaphors that lie concealed within the mask. The data also suggests that a deep-seated fear of the female sex is an important motivation for the creation of secret male associations and the artworks used in them.Copyright © by the President and Fellows of Harvard College. Originally printed in Res: Anthropology and Aesthetics, Issue 31, Spring 1997 (pp. 71-96). All rights reserved. No part of this article may be reproduced without permission of the Peabody Museum Press.Peer reviewed"Spring 1997
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