Bibliography „Prieure de Sion“ and Rennes-le-Chateau

Neuss: Buike Science And Music Editors 2017, 114 p. - E26 - full title: Bruno Antonio Buike, editor / undercover-collective „Paul Smith“, alias University of Melbourne, Australia - Bibliography „Prieure de Sion“ and Rennes-le-Chateau - Ca. 1300 title entries - please note: all attempts to IDENTIFY the author have failed, so that this piece in some sense is "nobodies property", which nevertheless had to be EDITED under a FAKE author's name because of its scientific value, if not usefulnes

The Impact of Alan Turing: Formal Methods and Beyond

© 2019, Springer Nature Switzerland AG. In this paper, we discuss the influence and reputation of Alan Turing since his death in 1954, specifically in the field of formal methods, especially for program proving, but also in a much wider context. Although he received some recognition during his lifetime, this image was tarnished by the controversy at the time of his death. While he was known and appreciated in scientific circles, he did not enter the public’s consciousness for several decades. A turning point was the definitive biography produced by Andrew Hodges in 1983 but, even then, the tide did not turn very rapidly. More recent events, such as the celebrations of his birth centenary in 2012 and the official British royal pardon in 2013, have raised Turing’s fame and popularity among the informed general public in the United Kingdom and elsewhere. Cultural works in the arts featuring Turing have enhanced his profile still further. Thus, the paper discusses not only Turing’s scientific impact, especially for formal methods, but in addition his historical, cultural, and even political significance. Turing’s academic ‘family tree’ in terms of heritage and legacy is also covered

Bibliography of Occult and Fantastic Beliefs vol.1: A - D

Neuss: Bruno Buike Editions 2017, 288 p. - E27 - please note registration under "fake author" / pseudonym: undercover-collective „Paul Smith“, alias - somewhere! - University of Melbourne, Australi

'My own island harp’: Irish sentimental ballads in colonial Australia, 1854–1889

This thesis examines the role of Irish sentimental ballads, especially Thomas Moore’s Irish Melodies, in colonial New South Wales (NSW) and Victoria. First is a study of Irish soprano Catherine Hayes (1818–1861) and her tours to NSW and Victoria in 1854 and 1855. Hayes represented a Victorian-era feminine ideal and her concerts, which included both opera and Irish sentimental ballads, were seen to raise the musical standard in Australia. The second study examines a series of public lectures on the subject of ancient Irish music delivered by Irish lawyer John Hubert Plunkett (1802–1869), previously attorney general of NSW. The third is a study of The Australian Album for 1857. This musical album was published in Sydney and was designed to serve as a specimen of the high standard of music in Australia at the time. The album opens with a piano fantasia composed by visiting French pianist Edouard Boulanger (1829–1863) based on ‘The Last Rose of Summer,’ one of Moore’s Irish Melodies. Fourth and last is a study of the Thomas Moore statue erected in Ballarat, Victoria, in 1889. The design of the statue and its unveiling conveyed a notion of unity within the white community and feelings of Australian nationalism. Through these studies I argue that Irish ballads played an important role in creating a respectable cultural identity not just for the Irish community but for the developing Australian society as well

Framing Death and Suffering: An Examination of Photographs of Dead and Dying during the U. S. Civil War, World War II, and the Vietnam War

The dissertation analyzes photographic images of dead bodies that appeared in news settings related to warfare in the United States in three distinct eras – the 1860s, the 1940s, and the 1960s. The primary subject of the analysis are photographs of corpses created in the context of the American Civil War (1861-1865), World War II including the immediate aftermath of the Holocaust (1939-1946), and conflict and war in Vietnam (1950-1975). While the sample represents a partial catalogue of images of the dead in the context of warfare since photography emerged in the 1840s as a medium for disseminating news, the selected epochs represent key moments in the development of news photography and thus offer a broad cross section of historical periods in which mortality was part of the news agenda. Findings indicate a consistent distribution and level of graphic explicitness in photographs of dead bodies in the context of each war. Most of the images that have emerged as iconic are associated with the later stages of each war

Bernard Shaw at Shaw's Corner: Artefacts, Socialism, Connoisseurship, and Self-Fashioning

This thesis analyses artefacts belonging to the playwright, socialist and critic Bernard Shaw, which form part of the collections at Shaw’s Corner, Hertfordshire, now managed as a National Trust property. My original contribution to knowledge is made by revealing Shaw through the artefacts in new or under-explored roles as socialist-aesthete, art patron, connoisseur, photographer, celebrity, dandy, and self-commemorator. The thesis therefore challenges the stereotypical views expressed in the literature which have tended to focus on Shaw at Shaw’s Corner as a Fabian with ascetic characteristics. The thesis aims are achieved by contextualizing the Shaw’s Corner Collections, both extant and absent. Historically the artefacts in the house have been viewed from the perspective of his socialist politics, ignoring his connoisseurial interests and self-fashioning. Hence there was a failure to see the ways in which these elements of his consuming personality overlapped or were in conflict. By examining artefacts from the perspectives of art and design history, focussing on furniture, private press books, clothing, painting and sculpture, Shaw is shown to be a highly complex and at times contradictory figure. The discontinuities and ambiguities become clearer once we examine the possessions from the house which were removed and sold by the National Trust after Shaw’s death. Whilst some Shavian scholars and art historians have acknowledged Shaw’s role as an art critic and the impact it had on his dramaturgy, there has been little recognition of the ways in which this influenced his domestic interiors, consumption, and personal taste, or indeed his interest in the decorative arts and design. Artefacts and furniture in the house today reflect Shaw’s role as a socialist-aesthete, and his involvement with Arts and Crafts movement practitioners and Aestheticism. As an art patron Shaw also shared the aims of artists, connoisseurs and curators working in the first decades of the twentieth century, and we see evidence of this through certain artefacts at Shaw’s Corner. With a strong aesthetic sense, he devoted time to matters of beauty and art, but was equally governed by economics and a desire to bring ‘good’ art and design to everyone. Shaw was considered to be one of the greatest cultural commentators and thinkers of his generation, but he was at the same time a renowned celebrity and influential figure in the mass media. The literature has tended to dismiss the latter role in order to preserve his place among the former, but I argue here that Shaw did not necessarily view the two as separate endeavours. In fact items from the house, notably Shaw’s clothing and sculpture, are considered as the bearers of complex philosophical, symbolic or iconographic meanings relating to his self-fashioning, aesthetic doctrines, and desire for commemoration, which demonstrate the links between the celebrity and the critic. By considering the artefacts in conjunction with the Trust’s archive of Shaw photographs, as well as his representation in popular culture, and by then relating this material dimension to his writings, the thesis brings a new methodological approach to the study of Shaw. More importantly this thesis reveals new knowledge about the philosophical ideas, humanity, generosity, and personal vanity of the man that lay behind those artefacts

Mississippi Writers Page

This open educational resource preserves much of the original text from the Mississippi Writers Page, an online site maintained by the University of Mississippi\u27s Department of English from the late 1990s through the mid-2000s. Focusing on writers both born and working in Mississippi, it included biographies of the writers, information about their books and other publications, and bibliographies of other information sources (including literary criticism). Staff from the University of Mississippi Libraries compiled the text into an open volume in 2022, but did not revise the original work.https://egrove.olemiss.edu/mwp_projects/1000/thumbnail.jp

Two Nations: Homeless in a Divided Land (1992)

The works discussed in this article include: Chain Reaction: The Impact of Race, Rights, and Taxes on American Politics, by Thomas Byrne Edsall with Mary D. Edsall; Why Americans Hate Politics, by E. J. Dionne, Jr.; A Far Cry from Home: Life in a Shelter for Homeless Women, by Lisa Ferrill; Scandal: The Culture of Mistrust in American Politics, by Suzanne Garment; Songs from the Alley, by Kathleen Hirsch; Culture Wars: The Struggle to Define America, by James Davison Hunter; Rachel and Her Children: Homeless Families in America, by Jonathan Kozol; Parliament of Whores: A Lone Humorist Attempts to Explain the Entire U.S. Government, by P. J. O\u27Rourke; Down and Out in America: The Origins of Homelessness, by Peter Rossi; Low Life: Lures and Snares of Old New York, by Luc Sante; The Disuniting of America: Reflections on A Multicultural Society, by Arthur M. Schlesinger, Jr.; Louder Than Words, edited by William Shore; and Voices Louder Than Words: A Second Collection, edited by William Shore. Reprinted from New England Journal of Public Policy 8, no. 1 (1992), article 74

“Wars are won by men not weapons”: the invention of a militarised British settler identity in the Eastern Cape c. 1910–1965

This thesis is concerned with the invention of South African Anglo identity, and aims to provide a new perspective on how this identity was constructed in the Eastern Cape from c.1910 to 1965. In particular, it considers the ways in which the museum developed to construct South African Anglo identity in the Eastern Cape town of Grahamstown. In the nationalisms of the postcolonial states, independent countries possessed museums in their capitals. These institutions constituted an essential part of national heritage, were crucial for the advancement of education, and operated as a means through which the ‘imagined community’ of the nation state was itself curated and sustained. Postcolonial nationalisms are imagined through the grammar provided by empire. In other words, they are imagined in terms of the administrative and archaeological evidence that colonialism has ‘gathered’ and displayed in its museums. The visual representation of the artefact became a powerful signifier for national identity because of everyone’s awareness of its location in an infinite series of identical symbols. This thesis’s primary focus is on how South African Anglo identity was invented in two key sites in Grahamstown, namely, the school and the museum. It will illustrate how rifles, which were used by the cadet corps at St Andrew’s College, and which were carefully selected and displayed in the 1820 Settlers’ Memorial Museum’s Military Gallery, came to play a central role in symbolizing and militarizing Anglo identity in the eastern province in the twentieth century. In particular, this study will argue that although English identity was reinvented following the 1820 settlers’ centenary in Grahamstown, it was not imagined as a military identity until after the Second World War, and the return of the veterans to St Andrew’s College and the cadet corps. Importantly, it will indicate that the school and the museum comprised key sites through which South African Anglo identity was constructed to reflect images of the British soldier, who in the Eastern Cape, could adapt to local conditions