Dualization of the Hopf algebra of secondary cohomology operations and the Adams spectral sequence

We describe the dualization of the algebra of secondary cohomology operations in terms of generators extending the Milnor dual of the Steenrod algebra. In this way we obtain explicit formulae for the computation of the E_3-term of the Adams spectral sequence converging to the stable homotopy groups of spheres.Comment: 101 page

Learning How to Listen\u27: Analyzing Style and Meaning in the Music of Abbey Lincoln, Nina Simone and Cassandra Wilson

Learning How to Listen\u27: Analyzing Style and Meaning in the Music of Abbey Lincoln, Nina Simone and Cassandra Wilson examines the similarities of singing styles and core narrative traits in the original songs of three African American women vocalist-composers celebrated within the jazz idiom. Drawing on years of ethnographic research, including over 150 hours of personal interviews with musicians, attendance of jazz concerts and festivals both domestic and abroad, and a three-year listening journal (based on live performances and recordings), \u27Learning How to Listen\u27 is an Africana cultural studies product informed by vibrant multidisciplinary scholarship that bridges Jazz studies, Linguistics and African American history and literary studies. The latter especially extends the project\u27s close relationship to twentieth-century black literary traditions found in poetry, prose, and as witnessed here, also song lyrics. The introduction highlights the significance of Lincoln (1930-2010), Simone (1933-2003) and Wilson (b. 1955) to the American music canon, and articulates the dissertation\u27s distinctive contribution to the field of black music studies, addressing the work\u27s methodology and the scope of primary chapters which provide an analysis of the: a) singing voice; b) philosophical authorial voice and c) performance style specifically in relation to \u27Re-memory\u27 songs which bear witness to an African heritage. Chapter Two engages two distinct modes of discourse generated on Lincoln, Simone and Wilson by jazz critics and jazz musicians. Chapter Three proves the applicability and efficacy of linguistics to the music of Lincoln, Simone and Wilson by examining the collective approach to melorhythm and tonal semantics and the phonological style markers employed by each: Lincoln\u27s phonosemantics; Simone\u27s microtonality; and Wilson\u27s polytonality. Since a significant portion of the original songs by these artists engage a plethora of black women\u27s socio-political issues, Chapter Four analyzes lyrics that demonstrate a gendered philosophical outlook I refer to as womanist autoethno-graphy. Chapters Five and Six examines the creative impulse shared by these artists to bear witness to their African heritage in \u27Re-memory\u27 (a term coined by Nobel laureate Toni Morrison) songs that both invoke and re-imagine an African past and celebrate an African present and future. It is my contention that the cultural study of black music is uniquely positioned to delineate the principles and mechanisms by which African diasporic music is connected by similar aesthetic philosophies. Thus, in the seventh and final chapter my project ultimately suggests a model for expanding discourses about black women\u27s music. My term Afrodiasporic \u27Voicing,\u27 introduced in the conclusion, is shorthand for the aural and authorial cultural elements that uniquely characterize black women\u27s music across genres and nations. It implies that black American women singer-songwriters and their musical sisters in the African diaspora share conceptual approaches to music-making processes in spite of geographic or linguistic differences

The Shield 1983

Murray State University Yearbook, 1983https://digitalcommons.murraystate.edu/yearbooks/1057/thumbnail.jp

Bowdoin Orient v.130, no.1-22 (1998-1999)

https://digitalcommons.bowdoin.edu/bowdoinorient-1990s/1011/thumbnail.jp

The girls' school story : a re-reading

The very mention of the genre of the 'girls' school story' tends to provoke sniggers. Critics, teachers and librarians have combined throughout the century to attack a genre which encourages loyalty, hard work, team spirit, cleanliness and godliness. This dissertation asks why this attack took place and suggests one possible answer - the girls' school story was a radical and therefore feared genre. The thesis provides a brief history of the genre with reference to its connections with the Victorian novel and its peculiarly British status. Through examination of reading surveys, newspapers and early critical works it establishes both the popularity of the genre amongst its intended audience and the vitriolic nature of the attack against it. Biographical information about the writers of the school story begins to answer why the establishment may have been afraid of the influence of the purveyors of girls' school stories. By discussing their depiction of education, religion, women's roles and war the dissertation shows in what respects the genre can be seen as radical and shows how the increasing conventionality of the genre coincided with its decline in vigour and popularity. The influence of the oeuvre is then revealed in the discussion of its effects on adult literature