37 research outputs found
Effects of Nitrogen and Phosphorus Input on Lake Louise, Dallas, Luzerne County, PA
No full textThe runoff of nitrogen and phosphorus can be detrimental to a lakes health and ability to support life (Baker, et al. 2007). Eutrophication is a product of large amounts of nitrogen and phosphorous in lakes (Rice and Horgan, 2017). The purpose of this study is to examine if large amounts of nitrogen and phosphorus are present in Lake Louise. The proposed research question is: Are there high concentrations of nitrogen and phosphorus in and around Lake Louise? The null hypothesis of this study is that there will be no significant difference in nitrogen and phosphorus concentrations in areas in and around Lake Louise. The data gathered allowed us to reject the null that there will be no significant difference in nitrogen and phosphorus concentrations in areas in and around Lake Louise. The data shows a trend that the fluctuations in pH, DO, NO3, and NH4 are affected by the time of year, rather than the site. More sampling and gathering of data must be done to properly conclude why Lake Louise is having algae and sediment issues.https://digitalcommons.misericordia.edu/research_posters2021/1056/thumbnail.jp
Musikstädte as real and imaginary soundscapes: urban musical images as literary motifs in twentieth-century German modernism
No full textPhDThis study examines German literary images of musical life as part of the wider sound identity of the modern German city at the turn of the twentieth century. Focussing on a forty-year period from 1890 to 1930, synonymous with the emergence of the modern German metropolis as an aesthetic object, the project assesses, compares and contrasts how musical life in the Musikstädte was perceived and portrayed by writers in an increasingly noisy urban environment. How does urban musical life influence and condition city writings? What are the differences and similarities between the writings on various musical cities? Can an urban textual sound identity be derived from these differences and similarities? The approach employed to answer these questions is a new, cross-disciplinary one to urban sound in literature, moving beyond reading the key sounds of the urban soundscape using urban musicology, sensorial anthropology and cultural poetics towards a literary contextualisation of the urban aural experience.
The literary motifs of the symphony, the gramophone and urban noise are put under the spotlight through the analysis of a wide range of modernist works by authors who have a special relationship with music. At the centre of this analysis are the Kaffeehausliteratur authors Hermann Bahr, Alfred Polgar and Peter Altenberg, the then Munich-based author Thomas Mann and the lesser known René Schickele. The analysis of these particular works is framed in the music-geographical context of the Musikstadt and literary underpinnings of this topos, ranging from Ingeborg Bachmann to Hans Mayer and, once again, Thomas Mann. In analysing these texts, the methodological approach devised by Strohm, who identifies the blending of a range of urban sounds as a definition of urban space and identity, is applied. His ideas combine historical literary
analysis, musical history and urban sociology. They are rarely used in the analysis of the auditory environment.Arts and Humanities Research Council
Westfield TrustWestfield Trust Studentship
Arts and Humanities Reseach Council (AHRC
Grazia Deledda’s autobiographical masks
No full textAll’interno della produzione di Grazia Deledda, Cosima è il personaggio più autobiografico, come si può notare dagli esempi riportati. È anche possibile scorgere assonanze tra l’autrice ed altre tre figure femminili protagoniste delle sue opere: Regina, protagonista di Nostalgie, Nina di Il Paese del Vento e Maria Concezione di La chiesa della solitudine.Among Grazia Deledda’s characters, Cosima is the most autobiographical one, as we can notice from the examples. Concordance can be noticed between the author and the female characters of her works: Regina is the main character of Nostalgie, Nina in Il Paese del Vento and Maria Concezione in La chiesa della solitudine
LE MASCHERE AUTOBIOGRAFICHE DI GRAZIA DELEDDA
No full textWithin the production of Grazia Deledda, Cosima is the most autobiographical character, as can be seen from the examples shown. It is also possible to see similarities between the author and three other female figures protagonists of her works: Regina, protagonist of Nostalgie, Nina of The Country of the Wind and Maria Concezione of The church of solitude.All’interno della produzione di Grazia Deledda, Cosima è il personaggio più autobiografico, come si può notare dagli esempi riportati. È anche possibile scorgere assonanze tra l’autrice ed altre tre figure femminili protagoniste delle sue opere: Regina, protagonista di Nostalgie, Nina di Il Paese del Vento e Maria Concezione di La chiesa della solitudine.
Abstract
Within the production of Grazia Deledda, Cosima is the most autobiographical character, as can be seen from the examples shown. It is also possible to see similarities between the author and three other female figures protagonists of her works: Regina, protagonist of Nostalgie, Nina of The Country of the Wind and Maria Concezione of The church of solitude
A Lucky Answer to a Fair Question
No full text The article discusses acceptance of evolution and its relevance for measuring scientific literacy. The author analyzes the National Science Foundation knowledge quiz in relation to theoretical, methodological, and moral arguments, proposing a distinction between quiet and animated scientific constructs. When a public learns of evolution as an animated construct, its acceptance is a poor indicator in a reflective model of scientific literacy. Acceptance of evolution may constitute a valuable indicator in reflective models of science knowledge for publics that engage with it disinterestedly, as well as in formative models of scientifically shaped worldviews, and it may also be studied in itself. </jats:p
Thinking Other People's Thoughts: Brian Holton's Translations from Classical Chinese into Scots
No full textBrian Holton (b. 1949), the only currently working translator of classical Chinese poetry into Scots, is here approached biographically, through his personal history and his career in translating and publishing. Holton's collection of his own translation materials, including drafts, proofs, scores, translations, notes, lectures, correspondence, and journalistic writings, has been made available to the author. As a voice of history, Holton's life and work constitute a subjective narrative that enters into debate, discussion, and interpretation with larger narratives, spheres of diffusion, and power relations. Hence the discussion touches on such matters as as language policy in education and national literatures, and issues of centre and periphery, foreignization and domestication
Semiotics of Allegory: Queerness in Contemporary Taiwan and Hong Kong Novel and Cinema
No full textThis project offers the framework of “semiotics of allegory” as an alternative to Fredric Jameson’s national allegory for studying non-Western cultural products by emphasising their plural meanings of signs and the importance of situating their reading in production discourse. Against Confucianism and Buddhism, a study of the semiotics of allegory focuses on the relationship between queer representations and the space, the image, the music, and the myth in four cultural texts. They are Pai Hsien-yung’s 白先勇 novel Niezi (孽子, Crystal Boys, 1983), Chu T’ien-wen’s 朱天文 novel Huangren shouji (荒人手記, Notes of a Desolate Man, 1994), Tsai Ming-liang’s 蔡明亮 film Heliu (河流 The River, 1997), and Wong Kar-wai’s 王家衛 film Ceon gwong zaa sit (春光乍洩 Happy Together, 1997). This project adopts Shih Shu-mei’s framework of Sinophone studies, Chen Kuan-hsing’s inter- Asian studies in Asia as Method, and the theories of Judith Butler, Roland Barthes, and Rebecca Braun. Judith Butler’s notions of queer performativity in Bodies That Matter (1993) and alternative kinship in Antigone’s Claim (2000) and “Is Kinship Always Already Heterosexual?” (2002) are relevant to studying the gays’ and queers’ agency and family relationships. Roland Barthes’ view on the process of writing, reading, and meaning-making as non-binary acts of creativity in Writing Degree Zero (1953), The Neutral (2002), and Empire of Signs (1970) are useful for the re-interpretation of these Sinophone allegories. Also, his thoughts about the excess of meaning in “The Third Meaning” (1970), his five-code module about the structuring or structuration of writerly text in S/Z (1970), his idea of punctum that emphasises affects (emotions) in Camera Lucida (1980), and his neologism of ideology-as-mask in language as “myth” in Mythologies (1957) will also be deployed. Lastly, bringing back the author to life from the Barthesian notion of “Death of the Author” by borrowing the world authorship researcher Rebecca Braun’s Bourdieusian idea of emphasising the “collaboration” and “interaction” between author and other players in the cultural production field, this study calls for the interpretations of non-Western cultures to go beyond literalism, geopolitics, and nationalism
The reputation, writing and sources of The young Cosima
No full textThis thesis was scanned from the print manuscript for digital preservation and is copyright the author.
Researchers can access this thesis by asking their local university, institution or public library to
make a request on their behalf. Monash staff and postgraduate students can use the link in the References field
idea: identidad. Negotiations of Cultural Identity between Representation and Imagination
No full textINHALT: Hanno EHRLICHER: Zum Geleit; Romana RADLWIMMER: Von glücklichen Räumen. Impresiones introductorias; Cosima Julia BALLMANN: Entgrenzung und Entortung kubanischer Literatur im Exil; Fabiana BRAUNSTORFER: Nur ein Augenblick? Graciela Iturbides Juchitán de las Mujeres und die hybride Sprengkraft von Fotografie; Mirele CIFRIC: Sefardic Identity as Nepantla: An Interpretation through Images; Juliana HAZOTH: The Question of Identity in Abre los ojos: Development and Concealing; Mark LUXENHOFER: The Rhythm of Cinema. An Essay on the Resurrection of the Author; Moritz MAINKA: Otredad y espacio en la película Branco sai, preto fica (2014
'It Can't Be All in One Language': Poetry in the diverse language
No full textThis chapter aims at exploring translation in relation to the concept of “one language”, reviewing theoretical and practical propositions offered by scholars, poets, and translators, who deal with heteroglossic, translingual texts. By looking at Sinophone poetic texts that exceed one language, the chapter hopes to gain insights into specific notions of language diversity, translation, non-translation, anti- translation, and self-translation, which inevitably impact our understandings of Chinese, Sinophone, and hyphenated literatures. On the background of a nationalist agenda – be it from the PRC or the UK – Bruno first outlines the monolingual paradigm, which treats a writer’s native language as a solid indication of their nationality, and the writers themselves as members of one language community only. She then tries to detail how some contemporary multilingual poetics by Sinophone writers (such as Mary Jean Chan, Sean Wai Keung, Theophilus Kwek, Cynthia Miller, or Nina Mingya Powles) specifically pursue the tensions inherent in the monolingual paradigm and the mother tongue. The author argues that the aesthetics defined by these texts considerably differs from the modernist use of the other language(s) to “make it new”, having instead the motivation of highlighting and working across differences in language, gender, race, identity and place. In other words, drawing from theoretical propositions indicated by Naoki Sakai, Jan Blommaert, Elin-Maria Evangelista, and Yasemin Yildiz, the chapter examines how this new aesthetics defines a multiple linguistic entity that is impossible to homogenize
