1,058 research outputs found
Translation and response between Maurice Blanchot and Lydia Davis
No full textWhen an author translates a text by another writer, this translation is one form of a response to that text. Other responses may appear in their own writings that are more inflected with their authorial persona. Lydia Davis translated six books by Maurice Blanchot, including fiction and theoretical writings. Blanchot’s concept of the récit privileges non-conventional forms of narrative and it can be considered to have influenced Davis, a view shared in critical writing about Davis. However, responses to his fiction can also be found in Davis’s work. This article reads Lydia Davis’s story “Story” as a response to Maurice Blanchot’s récit, La Folie du jour, translated by Davis as “The Madness of the Day”. Both texts develop a narrative that questions the possibility of arriving at a single story: Blanchot’s narrator cannot tell the story of how he came to have glass ground into his eyes, while Davis’s narrator must try to understand a contradictory story told to her by her lover. However, Davis responds to Blanchot by reversing the perspective in the story: where Blanchot’s narrator must and cannot create a story that explains his situation in a judicial/medical context, Davis’s narrator is struggling to understand her lover’s story which does not explain the situation that they find themselves in. Davis’s narrator is therefore motivated by an emotional need to find an acceptable story that is absent from Blanchot’s narrator. This difference in motivation is central to the difference between Davis’s and Blanchot’s approach, and complicates any reading of his influence on her because she responds to his text in her own
Please please tell me now the Duran Duran story
No full textIn 'Please Please Tell Me Now', bestselling rock biographer Stephen Davis tells the story of Duran Duran, the quintessential band of the 1980s. Featuring exclusive interviews with the band and never-before-published photos from personal archives, this book offers a definitive account of one of the last untold sagas in rock and roll history - a treat for diehard fans, new admirers, and music lovers of any age. From the author of 'Gold Dust Woman
The invisible artist: Arrangers in popular music (1950-2000): Their contribution and techniques
No full textThis thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel University.This thesis is based on the research conducted by the author for the series,
Richard Niles' History of Pop Arranging, seven thirty-minute documentary
programmes for BBC Radio 2, researched, written and presented by the author and
broadcast in 2003. It also draws on interviews conducted by the author (and other
research) between 2002 and 2007 both for the radio series and for this thesis and on
the author's experience as a professional arranger in popular music working with
many of the genre's significant recording artists including Paul McCartney, Ray
Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James
Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve
Lipson, Steve Mac and Steve Anderson.
It will be argued that the role of the arranger in popular music has often been
undervalued and that during a critical period of popular music history (1950-2000)
arrangers played a significant part in the evolution of musical content. This thesis is,
to the best of the author's knowledge, the first time (apart from the above mentioned
documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on
record liner notes or in books or articles concerning popular music. A considerable
amount of research has been necessary to determine who wrote many of the
arrangements considered herein. Motown's Berry Gordy purposely kept the names of
musicians and arrangers off the records because he feared others might 'poach' the
trademark 'Motown Sound'. Other record labels considered the job of the arranger to
be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and
spontanaeity they wished to promote. Some producers and recording artists disliked
sharing credit for their work. Motown arranger David Van dePitte told the author that
arranging was "thankless and anonymous - a very service-oriented profession where
others often take credit for what you've done." Arranging has therefore remained an
intrinsically unseen art created by 'invisible' artists. By analyzing many recordings,
revealing the techniques and concepts they have used in their work to create popular
records, arrangers and their art will be made more 'visible'
Letter to William Davis (June 1, 1909)
No full textThis letter is addressed to Springfield College alumnus William Davis (then known as International YMCA Training School) and is dated June 1, 1909. The letter states that Davis has been offered a B. H. (Bachelors of Humanics) degree and was asked if he would attend the commencement. The author(s) of the letter is unknown.William H. Davis is a member of Class 1892 of Springfield College (then known as International YMCA Training School). He was a member of the first men to ever play the game of basketball in 1891. After graduation, he worked as a general secretary and physical director at YMCA, Greenfield, Mass. and an assistant secretary at YMCA, Bridgeport, Conn. He also worked as a general secretary at various YMCA including Bedford Branch, Brooklyn, NY.; Bridgeport, Conn.; Portland, Me.; North Adams, Mass.; and Waterbury, Conn. He received a B.H. degree in 1909
Couples Who Collaborate: Andrea Davis Pinkney and Brian Pinkney
No full textFor author Andrea Davis Pinkney and her husband, author/illustrator Brian Pinkney, creating books for children is truly a family affair. The couple has collaborated on more than fifty titles, ranging from board books like Watch Me Dance (Red Wagon Books, 1997), to their many picture-book collaborations, like Sojourner Truth’s Step-Stomp Stride (Hyperion, 2009) and Sit-In: How Four Friends Stood Up by Sitting Down (Little, Brown, 2010), to longer nonfiction titles such as Hand in Hand: Ten Black Men Who Changed America (Disney-Hyperion, 2012)
Journalist-Source Relations, Mediated Reflexivity and the Politics of Politics
No full textThis essay discusses journalist-source relations but with an emphasis on how such relations influence the understanding and behaviour of politicians. It explores the issue through empirical work conducted at the site of the UK Parliament at Westminster. Findings are based on semistructured interviews with 60 Members of Parliament (MPs) and 20 national political journalists. The research findings initially confirmed many of the observations of earlier studies in the field. UK journalist-source relations still resemble Gans’ (1979) original ‘‘tug-of-war’’ description of an evershifting power balance between the two sides. Such interactions, in turn, are reflected in more compliant or adversarial news coverage. Of greater interest here, the interviews also revealed that such relations have come to play a significant role in the micro-level politics of the political sphere itself. This is because reporter-politician relations and objectives have become institutionalised, intense and subject to a form of ‘‘mediated reflexivity’’. Consequently, politicians have come to incorporate such reporter interactions into their daily thinking and behaviour. As such, journalists are seen as more than a simple means of message promotion to the public. They also act, often inadvertently, as information intermediaries and sources for politicians trying to gauge daily developments within their own political arena
Letter from Florence Boyce Davis to John Muir, 1914 Aug 10.
No full textWaitsfield Vt. Aug 10, 1914.Mr. John Muir,My dear Mr. Muir:I find it hard to express the pleasure your letter and the copies of Stickeen gave me. Although the little book has become one of my treasures, I was even more pleased for the copy that came to Cosey , for I realized it would mean so much to her. I knew only the author,05814https://scholarlycommons.pacific.edu/jmcl/33982/thumbnail.jp
Addressing Interoperability in Open Hypermedia: the Design of the Open Hypermedia Protocol
No full textCost–effectiveness of artemisinin combination therapy for uncomplicated malaria in children: data from Papua New Guinea
No full textObjective: To compare the cost–effectiveness of conventional antimalarial therapy with that of three artemisinin combination treatment regimens in children from Papua New Guinea aged 6 to 60 months. Methods: An incremental cost–effectiveness analysis was performed using data from 656 children with Plasmodium falciparum and/or P. vivax malaria who participated in a large intervention trial in two clinics in northern Papua New Guinea. The children were randomized to one of the following groups: (i) conventional treatment with chloroquine plus sulfadoxine plus pyrimethamine (CQ+S+P); (ii) artesunate plus S plus P; (iii) dihydroartemisinin plus piperaquine (DHA+PQ); and (iv) artemether plus lumefantrine (A+L). For treatment outcomes, World Health Organization definitions were used. The cost of transport between home and the clinic plus direct health-care costs served as a basis for determining each regimen’s incremental cost per incremental treatment success relative to CQ+S+P by day 42 and its cost per life year saved. Findings: A+L proved to be the most effective regimen against P. falciparum malaria and was highly cost-effective at 6.97 United States dollars (US 58 per life year saved). DHA+PQ was the most effective regimen against P. vivax malaria and was more cost-effective than CQ+S+P. Conclusion: A+L and DHA+PQ are highly cost-effective regimens for the treatment of paediatric P. falciparum and P. vivax malaria, respectively, in parts of Papua New Guinea. Future research will be required to determine if these findings hold true for other territories in Asia and Oceania with similar malaria epidemiology.Wendy A Davis, Philip M Clarke, Peter M Siba, Harin A Karunajeewa, Carol Davy, Ivo Mueller & Timothy ME Davi
Erotic Entitlements Part I: A Reply to Sex Therapy in the Age of Viagra: Money Can’t Buy Me Love
No full textAn Essay is presented in response to Susan Stiritz and Susan Appleton\u27s essay Sex Therapy in the Age of Viagra: Money Can\u27t Buy Me Love. The author states that the paper of Stiritz and Appleton refers to the dangerous power of viagra and charges it for having a dominative power rather than producing an equal interpersonal mutuality. He adds that the paper laid an increasing weakness on women\u27s reproductive rights against their respect for the dominance of male\u27s sexual pleasure
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