All That Remains of Husband

Within Book 4 of Virgil’s Aeneid, the question of marriage is repeatedly raised. Specifically, it is debated whether or not Dido and Aeneas are married. This question is hotly debated by both the characters and scholars, as the answer is not definitively given within the text. This paper seeks to provide an answer, as the contemporary Roman reader would likely have interpreted their relationship, and also address why Virgil remained purposefully vague. Within Book 4, three key scenes are examined: the discussion between Juno and Venus where Juno proposes the wedding, the cave scene, and Dido and Aeneas’ argument when Aeneas is attempting to leave Carthage. While a plentitude of scholarship exists on this topic, this paper focuses on the original audience, looking at the legal requirements and ceremonies around weddings at the time, the nuisance of the original Latin, and the intertextual comparisons to Medea. Additionally, this paper addresses the distinct lack of certainty presented in the Aeneid, pointing to Aeneas’ status as the mythical ancestor of Rome and Augustus’ own connection to Aeneas through propaganda

All That Remains

The “All That Remains” body of work was created as celebration of 30 years working as a textiles practitioner and acts as a milestone, repositioning my practice in a research context unconfined by the constraints of my commercial fashion print work. Nostalgia, in the context of the digital age, is a key focus in the work and through the work I aim to reconnect and remember the precious fragments of my archive of family photographs. My context is an autobiographical narrative printed onto cloth, a memory bank, in which both physical photographic prints and digitally captured images are deconstructed and re-presented, the familiarity of which resonates and references one’s own values and connections with our past, present and future. In a societal context our connection to our past is rapidly diminishing as the materiality of our physical world and spoken word as communication are replaced with digital platforms. I aim to evoke a collective experience of nostalgia, to invite curiosity and discussion about the way we recall past memory, interact with digitally created images and consider the value of the physical artefact in a virtual world. The linking of past memories, people and experiences creates both an emotional response and empathy for one’s own personal story. I reference contemporary photographic theory which explores the influence of social media on human behaviour. Drawing on memory both real and imagined, fuelled by self-reflection and a relentless drive to experiment and create new work, the roots of my creativity are confronted, unravelled and exposed through print on cloth, the medium which first inspired me to create as a young child. As a digital settler, born in the late 1960s and with three decades of analogue printed textiles experience, my approach to the use of Computer Aided Design is very different to a generation of younger digital native designers, who have never experienced a pre-digital existence. My lifelong passion for pattern and cloth combined with three decades of working as a print designer have equipped me with an analogue tool kit, with which I explore the world of digital design. For over a decade I have pushed the boundaries of computer software in development of my work and in the pursuit of the highest quality digital print resolution available. With the development of the latest generation of digital printers, digitally printed textiles can now rival the quality of hand printing and even surpass it with the limitless opportunities it presents for creative expression. Digital production methods are often associated with mass production but my approach is more similar to that of a painter, building up complex surfaces and layers of imagery and my creative outputs are carefully crafted, honed, reworked and refined digital one-off pieces which have required a fluency in the complex language of our digital world. The research outcomes, presented as a series of wall hung textiles art works, will be showcased at the new Contemporary Applied Art Gallery in London and a one man show at the Ruthin Craft Centre in Denbighshire

A Tenacious Tiger in the World: Saving all that Remains (a novel)

The nature of my project is creative; I wrote a paranormal fantasy novel, centered on a girl and the wild world of tigers, that contributes to the large pool of book options available to those who seek to entertain themselves by reading. As an endangered species, tigers are powerful, curious creatures that demand extensive research to be fully understood, but they also need raised awareness so that they might be saved from extinction. The plot of the book includes focuses on a girl who transforms into a tiger and moves to live among the wild tigers of India. It expresses themes of fear, acceptance, authority, and love among a diverse cast of characters. My book is available in paperback, indie published under my own imprint publishing company, Fire Feather Press. This required me to format and design the cover and interior of my novel in an enticing, yet professional way in order to compete with the many other novels out there. With the writing of my book, I planned to entertain my readers with a fantasy adventure tale by bringing them face-to-face with tigers in the wild world, while also serving to raise awareness in order to help tigers prosper once more

All That Remains Unnoticed, I Adore: Spencer Reese's Addresses

An commentary upon the poet Spencer Reese, and more specifically, upon Reece's "addresses" in his book "The Clerk's Tale: Poems" (Houghton Mifflin, 2004) in light of Barbara Johnson's work on the "apostrophe" in her book chapter "Toys R Us," in her book "Persons and Things" (Harvard University Press, 2008), and also in light of Graham Harman's object-oriented ontology and Jane Bennett's vibrant materialism. The article explores the apostrophe, and in particular Reece's "addresses" as the hailing of the ephemeral and the lost and inanimate of history as if they might understand, and as a form of being-with in which there is a wildly constructed (because fictitious) intimacy that retains, nevertheless, great distances, forever untraversable. Similar to commentary, the article discusses the apostrophe as a ‘talking-writing’ to other ‘authors’ who have already left the building, but whose ‘signatures’ either remain as artifacts or as impressions of their absence, or of their muteness

Heating the outer heliosphere by pickup protons

There is a growing body of literature that demonstrates the ability of a turbulent cascade within the solar wind to heat the thermal protons. Several sources of energy are required to accomplish the observed heating. Wind shear and shocks originating with the multiple source of wind plasma heat the wind inside ∽AU. However, beyond this distance little is left of these sources and all that remains is the energy injected into the plasma by the pickup of newborn protons originating from interstellar neutrals. Recent advances in the theory of wave excitation by the newborn protons allows us to return to the published heating theory and remove a previously unexplained parameterization of the heating due to pickup protons. Furthermore, recent observational evidence suggests that large-scale correlations between the wind speed and the proton temperature exist into the distant outer heliosphere that motivate an attempt to connect the two within the structure of the heating theory

Some research possibilities in diagnostic radiography

This is tha author's PDF version of an article published in Radiography© 1998. The definitive version is available at www.elsevierhealth.comAlthough scientific method is usually viewed as starting with hypotheses which must then be exposed to experimental test, there are situations where this rigid scenario is inappropriate. Fortunately, the alternatives provide avenues for valuable investigative work in radiographic research. Research questions may be addressed by collecting data from existing sources in a way that not only provides fundamental information about human biology, but may improve the efficacy of radiographic practice while avoiding ethical problems about the use of patients. Among those involved in osteology, it is radiographers who see and store the most bone images. Subsequently, they have access to more osteological information than anyone else. All that remains is for this information to be extracted and put into a more accessible form. Since they are closely involved with the patients from whom their radiographs stem, there are research questions which radiographers are uniquely situated to raise.Supported by a University of Liverpool research development gran

Out of the Box: Hiraeth: The Nostalgia Within Abandoned Homes

Student researcher Jessica McDaniel explains why abandoned houses obtained a reputation for horror, as well as how this fear is not all that remains in what were once homes