20,059 research outputs found

    Elite perceptions of the Victorian and Edwardian past in inter-war England

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    It is often argued by historians that members of the cultivated Elite after 1918 rejected the pre-war past. or at least subjected it to severe denigration. This thesis sets out to challenge such a view. Above all, it argues that inter-war critics of the Victorian and Edwardian past were unable to reject it even if that was what they felt inclined to do. This was because they were tied to those periods by the affective links of memory, family, and the continually unfolding consequences of the past in the present. Even the severest critics of the pre-war world, such as Lytton Strachey, were less frequently dismissive of history than ambivalent towards it. This ambivalence, it is argued, helped to keep the past alive and often to humanise it. The thesis also explores more positive estimation of Victorian and Edwardian history between the wars. It examines nostalgia for the past, as well as instances of continuity of practice and attitude. It explores the way in which inter-war society drew upon aspects of Victorian and Edwardian history both as illuminating parallels to contemporary affairs and to understand directly why the present was shaped as it was. Again, this testifies to the enduring power of the past after 1918. There are three parts to this thesis. Part One outlines the cultural context in which writers contemplated the Victorian and Edwardian past. Part Two explores some of the ways in which history was written about and used by inter-war society. Part Three examines the ways in which biographical depictions of eminent Victorians after 1918 encouraged emotional negotiation with the pas

    Metaphors of London fog, smoke and mist in Victorian and Edwardian Art and Literature

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    Julian Wolfreys has argued that after 1850 writers employed stock images of the city without allowing them to transform their texts. This thesis argues, on the contrary, that metaphorical uses of London fog were complex and subtle during the Victorian and Edwardian periods, at least until 1914. Fog represented, in particular, formlessness and the dissolution of boundaries. Examining the idea of fog in literature, verse, newspaper accounts and journal articles, as well as in the visual arts, as part of a common discourse about London and the state of its inhabitants, this thesis charts how the metaphorical appropriation of this idea changed over time. Four of Dickens's novels are used to track his use of fog as part of a discourse of the natural and unnatural in individual and society, identifying it with London in progressively more negative terms. Visual representations of fog by Constable, Turner, Whistler, Monet, Markino, O'Connor, Roberts and Wyllie and Coburn showed an increasing readiness to engage with this discourse. Social tensions in the city in the 1880s were articulated in art as well as in fiction. Authors like Hay and Barr showed the destruction of London by its fog because of its inhabitants' supposed degeneracy. As the social threat receded, apocalyptic scenarios gave way to a more optimistic view in the work of Owen and others. Henry James used fog as a metaphorical representation of the boundaries of gendered behaviour in public, and the problems faced by women who crossed them. The dissertation also examines fog and individual transgression, in novels and short stories by Lowndes, Stevenson, Conan Doyle and Joseph Conrad. After 1914, fog was no more than a crude signifier of Victorian London in literature, film and, later, television, deployed as a cliche instead of the subtle metaphorical idea discussed in this thesis

    Walking with the Earth: Intercultural Perspectives on Ethics of Ecological Caring

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    It is commonly believed that considering nature different from us, human beings (qua rational, cultural, religious and social actors), is detrimental to our engagement for the preservation of nature. An obvious example is animal rights, a deep concern for all living beings, including non-human living creatures, which is understandable only if we approach nature, without fearing it, as something which should remain outside of our true home. “Walking with the earth” aims at questioning any similar preconceptions in the wide sense, including allegoric-poetic contributions. We invited 14 authors from 4 continents to express all sorts of ways of saying why caring is so important, why togetherness, being-with each others, as a spiritual but also embodied ethics is important in a divided world

    Structure and adsorption properties of gas-ionic liquid interfaces

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    Supported ionic liquids are a diverse class of materials that have been considered as a promising approach to design new surface properties within solids for gas adsorption and separation applications. In these materials, the surface morphology and composition of a porous solid are modified by depositing ionic liquid. The resulting materials exhibit a unique combination of structural and gas adsorption properties arising from both components, the support, and the liquid. Naturally, theoretical and experimental studies devoted to understanding the underlying principles of exhibited interfacial properties have been an intense area of research. However, a complete understanding of the interplay between interfacial gas-liquid and liquid-solid interactions as well as molecular details of these processes remains elusive. The proposed problem is challenging and in this thesis, it is approached from two different perspectives applying computational and experimental techniques. In particular, molecular dynamics simulations are used to model gas adsorption in films of ionic liquids on a molecular level. A detailed description of the modeled systems is possible if the interfacial and bulk properties of ionic liquid films are separated. In this study, we use a unique method that recognizes the interfacial and bulk structures of ionic liquids and distinguishes gas adsorption from gas solubility. By combining classical nitrogen sorption experiments with a mean-field theory, we study how liquid-solid interactions influence the adsorption of ionic liquids on the surface of the porous support. The developed approach was applied to a range of ionic liquids that feature different interaction behavior with gas and porous support. Using molecular simulations with interfacial analysis, it was discovered that gas adsorption capacity can be directly related to gas solubility data, allowing the development of a predictive model for the gas adsorption performance of ionic liquid films. Furthermore, it was found that this CO2 adsorption on the surface of ionic liquid films is determined by the specific arrangement of cations and anions on the surface. A particularly important result is that, for the first time, a quantitative relation between these structural and adsorption properties of different ionic liquid films has been established. This link between two types of properties determines design principles for supported ionic liquids. However, the proposed predictive model and design principles rely on the assumption that the ionic liquid is uniformly distributed on the surface of the porous support. To test how ionic liquids behave under confinement, nitrogen physisorption experiments were conducted for micro‐ and mesopore analysis of supported ionic liquid materials. In conjunction with mean-field density functional theory applied to the lattice gas and pore models, we revealed different scenarios for the pore-filling mechanism depending on the strength of the liquid-solid interactions. In this thesis, a combination of computational and experimental studies provides a framework for the characterization of complex interfacial gas-liquid and liquid-solid processes. It is shown that interfacial analysis is a powerful tool for studying molecular-level interactions between different phases. Finally, nitrogen sorption experiments were effectively used to obtain information on the structure of supported ionic liquids

    How to Be a God

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    When it comes to questions concerning the nature of Reality, Philosophers and Theologians have the answers. Philosophers have the answers that can’t be proven right. Theologians have the answers that can’t be proven wrong. Today’s designers of Massively-Multiplayer Online Role-Playing Games create realities for a living. They can’t spend centuries mulling over the issues: they have to face them head-on. Their practical experiences can indicate which theoretical proposals actually work in practice. That’s today’s designers. Tomorrow’s will have a whole new set of questions to answer. The designers of virtual worlds are the literal gods of those realities. Suppose Artificial Intelligence comes through and allows us to create non-player characters as smart as us. What are our responsibilities as gods? How should we, as gods, conduct ourselves? How should we be gods

    BECOMEBECOME - A TRANSDISCIPLINARY METHODOLOGY BASED ON INFORMATION ABOUT THE OBSERVER

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    ABSTRACT Andrea T. R. Traldi BECOMEBECOME A Transdisciplinary Methodology Based on Information about the Observer The present research dissertation has been developed with the intention to provide practical strategies and discover new intellectual operations which can be used to generate Transdisciplinary insight. For this reason, this thesis creates access to new knowledge at different scales. Firstly, as it pertains to the scale of new knowledge generated by those who attend Becomebecome events. The open-source nature of the Becomebecome methodology makes it possible for participants in Becomebecome workshops, training programmes and residencies to generate new insight about the specific project they are working on, which then reinforce and expand the foundational principles of the theoretical background. Secondly, as it pertains to the scale of the Becomebecome framework, which remains independent of location and moment in time. The method proposed to access Transdisciplinary knowledge constitutes new knowledge in itself because the sequence of activities, described as physical and mental procedures and listed as essential criteria, have never been found organised 6 in such a specific order before. It is indeed the order in time, i.e. the sequence of the ideas and activities proposed, which allows one to transform Disciplinary knowledge via a new Transdisciplinary frame of reference. Lastly, new knowledge about Transdisciplinarity as a field of study is created as a consequence of the heretofore listed two processes. The first part of the thesis is designated ‘Becomebecome Theory’ and focuses on the theoretical background and the intellectual operations necessary to support the creation of new Transdisciplinary knowledge. The second part of the thesis is designated ‘Becomebecome Practice’ and provides practical examples of the application of such operations. Crucially, the theoretical model described as the foundation for the Becomebecome methodology (Becomebecome Theory) is process-based and constantly checked against the insight generated through Becomebecome Practice. To this effect, ‘information about the observer’ is proposed as a key notion which binds together Transdisciplinary resources from several studies in the hard sciences and humanities. It is a concept that enables understanding about why and how information that is generated through Becomebecome Practice is considered of paramount importance for establishing the reference parameters necessary to access Transdisciplinary insight which is meaningful to a specific project, a specific person, or a specific moment in time

    Analysis of the kinematic boundaries of the quasielastic neutrino-nucleus cross section in the superscaling model with a relativistic effective mass

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    This work has been partially supported by the former Spanish Ministerio de Economia y Competitividad and ERDF (European Regional Development Fund) under Contract No. FIS2017-85053-C2-1P, by the Junta de AndalucĂ­a Grant No. FQM225, by Contract No. PID2020– 114767 GB-I00 funded by MCIN/ AEI /10.13039/ 501100011033, and by the Russian Science Foundation Grant No. 18-12-00271.In this work we obtain the analytical expressions for the boundaries of the charged current quasielastic (CCQE) double differential cross section in terms of dimensionless energy and momentum transfers, for the Relativistic Fermi Gas (RFG) and the Superscaling approach with relativistic effective mass (SuSAM∗) models, within the scaling formalism. In addition, we show that this double differential cross section in the scaling formalism has very good properties to be implemented in the Monte Carlo (MC) neutrino event generators, particularly because its peak is almost flat with the (anti)neutrino energy. This makes it especially well suited for the event generation by the acceptance-rejection method usually used in the neutrino generators. Finally, we analyze the total CCQE cross section σ(EÎœ) for both models and attribute the enhancement observed in the SuSAM∗ total cross section to the high-momentum components which are present, in a phenomenological way, in its scaling function, while these are absent in the RFG model.Spanish Ministerio de Economia y CompetitividadEuropean Regional Development FundJunta de AndalucĂ­aRussian Science Foundatio

    Strung pieces: on the aesthetics of television fiction series

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    As layered and long works, television fiction series have aesthetic properties that are built over time, bit by bit. This thesis develops a group of concepts that enable the study of these properties, It argues that a series is made of strung pieces, a system of related elements. The text begins by considering this sequential form within the fields of film and television. This opening chapter defines the object and methodology of research, arguing for a non-essentialist distinction between cinema and television and against the adequacy of textual and contextual analyses as approaches to the aesthetics of these shows. It proposes instead that these programmes should be described as televisual works that can be scrutinised through aesthetic analysis. The next chapters propose a sequence of interrelated concepts. The second chapter contends that series are composed of building blocks that can be either units into which series are divided or motifs that unify series and are dispersed across their pans. These blocks are patterned according to four kinds of relations or principles of composition. Repetition and variation are treated in tandem in the third chapter because of their close connection, given that variation emerges from established repetition. Exception and progression are also discussed together in the fourth chapter since they both require a long view of these serial works. The former, in order to be recognised as a deviation from the patterns of repetition and variation. The latter, In order to be understood in Its many dimensions as the series advances. Each of these concepts is further detailed with additional distinctions between types of units, motifs, repetitions, variations, and exceptions, using illustrative examples from numerous shows. In contrast, the section on progression uses a single series as case study, CarnivĂ le (2003-05), because this is the overarching principle that encompasses all the others. The conclusion considers the findings of the research and suggests avenues for their application

    In search of 'The people of La Manche': A comparative study of funerary practices in the Transmanche region during the late Neolithic and Early Bronze Age (250BC-1500BC)

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    This research project sets out to discover whether archaeological evidence dating between 2500 BC - 1500 BC from supposed funerary contexts in Kent, flanders and north-eastern Transmanche France is sufficient to make valid comparisons between social and cultural structures on either side of the short-sea Channel region. Evidence from the beginning of the period primarily comes in the form of the widespread Beaker phenomenon. Chapter 5 shows that this class of data is abundant in Kent but quite sparse in the Continental zones - most probably because it has not survived well. This problem also affects the human depositional evidence catalogued in Chapter 6, particularly in Fanders but also in north-eastern Transmanche France. This constricts comparative analysis, however, the abundant data from Kent means that general trends are still discernible. The quality and volume of data relating to the distribution, location, morphology and use of circular monuments in all three zones is far better - as demonstrated in Chapter 7 -mostly due to extensive aerial surveying over several decades. When the datasets are taken as a whole, it becomes possible to successfully apply various forms of comparative analyses. Most remarkably, this has revealed that some monuments apparently have encoded within them a sophisticated and potentially symbolically charged geometric shape. This, along with other less contentious evidence, demonstrates a level of conformity that strongly suggests a stratum of cultural homogeneity existed throughout the Transmanche region during the period 2500 BC - 1500 BC. The fact that such changes as are apparent seem to have developed simultaneously in each of the zones adds additional weight to the theory that contact throughout the Transmanche region was endemic. Even so, it may not have been continuous; there may actually have been times of relative isolation - the data is simply too course to eliminate such a possibility

    A Cornish palimpsest : Peter Lanyon and the construction of a new landscape, 1938-1964

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    The thesis examines the emergence of Peter Lanyon as one of the few truly innovative British landscape painters this century. In the Introduction I discuss the problematic nature of landscape art and consider the significance of Lanyon's discovery that direct description and linear perspective can be replaced with allusive representational elements by fusing the emotional and imaginative life of the artist with the physical activity of painting. Chapter One concentrates on the period 1936-8 when Lanyon was taught by Borlase Smart, a key figure in the St Ives art colony between the wars. Chapter Two examines the influence of Adrian Stokes and the links between Lanyon's painting and the theories developed in books such as Colour and Form and The Quattro Cento. Chapter Three analyses the period 1940-45 when Lanyon was directly influenced by the constructivism of Nicholson, Hepworth and Gabo. I look closely at their approaches to abstraction and assess Lanyon's relative position to them. The importance of Neo-Romanticism and the status of St Ives as a perceived avant-garde community is also addressed. In Chapter Four I discuss how Lanyon resolved to achieve a new orientation in his art on his return from wartime service with the RAF by synthesising constructivism, and traditional landscape. The Generation and Surfacing Series demonstrate his preoccupation with a sense of place, a fascination with the relationships between the human body and landscape and his struggle to find a technique and style that was entirely his own. His sense of existential insideness is discussed in Chapter Five through an examination of the work derived from Portreath, St. Just and Porthleven - key places in Lanyon's psychological attachment to the landscape of West Penwith. In Chapter Six I examine Lanyon's attachment to myths and archetypal forms, tracing the influence of Bergson's vitalist philosophy as well as his use of Celtic and classical motifs. Chapter Seven is a discussion of the malaise evident in Lanyon's work by 1955 and the impact of American Abstract Expressionism at the Tate Gallery a year later. In the summer of 1959 Lanyon joined the Cornish Gliding Club and Chapter Eight looks at how this necessitated a dynamic, expanded conception of the landscape and a re-thinking of relations within the picture field. The ability to dissolve boundaries encouraged him to break down distinctions between painting and construction so that abstract sculptural elements were now assembled into independent works of art. Finally, Chapter Nine assesses Lanyon's overall position in relation to his early influences and to St Ives art as a whole, his response to new directions in art coming out of London and NewYork in the early 1960s and the importance of travel as a stimulus for further realignment in his artistic and topographical horizons. His pictorial inventiveness and vitality remained unabated at the time of his death and would undoubtedly have continued to be enriched by travel abroad and contact with new movements in modem art on both sides of the Atlanti
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