Music in George Eliot\u27s Life and Works

In the following thesis the author has attempted to show the importance of music to George Eliot personally, and her response to it as portrayed by the various characters in her books. In this study it was necessary to point out the various phases of music with which George Eliot was familiar and the interesting way in which she incorporated them in her stories

ORGAN SPECIFIC VASCULAR RESPONSE TO FIBROSIS AFFECTS BREAST CANCER METASTATIC ORGANOTROPISM

The solid tumor microenvironment, pre-metastatic niche, and fibrotic environment are known to have significant biochemical and biomechanical similarities to the fibrotic environment. All have significantly increased levels of factors such as TGFβ, HIF1α, TNFα, PDGF, VEGF, FGF, interleukins and other growth factors that are known to be pro-tumorigenic. Clinical and basic science research has shown that fibrosis presents an environment that favors tumor growth, such as hepatocellular carcinoma being commonly preceded by liver cirrhosis, or bleomycin induced lung fibrosis enhancing pulmonary metastasis in mouse models of breast cancer. In addition to the evidence indicating that fibrosis enhances primary tumor growth and metastasis it is also well characterized that primary tumor metastasis has specific organotropism, for example breast cancer commonly spreads to the lungs, brain, bone, liver and lymph nodes. However, whether non-organtropic fibrosis can redirect metastasis to the damaged organ has not been investigated. To elucidate the fibrotic effect on tumor organotropism we induced fibrosis in the organotropic lungs and in the non-organotropic kidney of two mouse models of breast cancer, the 4T1 murine cancer cell line model and the genetic MMTV-Pymt model, both of which are known to metastasize. Using histopathology, microarrays, gene expression by polymerase chain reaction, ELISA, chemokine array, and in vitro experiments we demonstrate that despite the pro-tumorigenic environment, kidney fibrosis does not redirect metastasis to the non-organotropic damaged organ. However, mice with kidney fibrosis had increased metastasis to their lungs. Furthermore, we found that kidney fibrosis increases the circulating levels of the pro-angiogenic factor Angiopoietin 2 that increased vascular permeability of the lungs, but not the kidneys. In fact, while fibrotic lungs showed decreased expression of endothelial tight gap junction protein Claudin-5, the fibrotic kidneys had an elevated expression of Claudin-5. Our findings suggest that despite the similarities between fibrosis, the tumor microenvironment and the pre-metastatic niche, that while it can enhance tropic metastatic disease, it cannot redirect organotropism indicating that other factors must be involved in directing organotropism. Here we report that tumor organotropism may be a result of organ specific vascular responses to excess circulating factors and increased fibrotic factors. These findings indicate that organotropism is directly related to and as a result of organ specific vascular alterations

T. S. Eliot and Transpacific modernism

This is a pre-copyedited, author-produced version of an article accepted for publication in American Literary History following peer review. The version of record: "Patterson, Anita. "T. S. Eliot and Transpacific Modernism." American Literary History, vol. 27 no. 4, 2015, pp. 665-682." is available online at: https://doi.org/10.1093/alh/ajv042.Japonisme is a term often used to describe the shaping effects of Japanese culture and aesthetics on European art, but by the 1880s a similar trend emerged in the US, influencing popular culture as well as fine arts and poetry. This essay examines how Japonisme figured T. S. Eliot's development as a poet, focusing on Boston as a world city that was rapidly becoming global. It shows how Kakuzo Okakura, an art historian and curator of Asian art at the Boston Museum of Fine Arts during the time when Eliot was a Harvard undergraduate, and Masaharu Anesaki, a pioneer in the study of comparative religion who lectured on Mahayana Buddhism there when Eliot was a graduate student, inspired transpacific intercultural dialogue that would last the poet a lifetime. Eliot's formative encounter with Okakura and Anesaki raised his awareness of his family history in a region with longstanding ties to Asia; it nurtured his ambivalent engagement with such Boston-area writers as Emerson, whose prior interest in Confucianism laid a foundation for Eliot's modernism; and the encounter taught Eliot valuable lessons about moral action and impersonality, culminating in poems such as Four Quartets

Photographic disasters

The word neither diffident nor ostentatious ... The common word exact without vulgarity, The formal word precise but not pedantic. (Eliot 221

A study of The Rock by T.S. Eliot : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University

Chapter I of this thesis is just a brief account of the genesis of The Rock: brief for fear of reproducing what has already been ably said before by Mr E. Martin Browne in his book The Making of T.S. Eliot's Plays. In this section the pageant and music-hall revue, which were the vehicles for this vaguely propagandist work, are treated, and what is so strangely important about the music-hall form of entertainment is that Eliot was very much attracted to it. This chapter, although it just sets the scene, shows the author working at a much more superficial level than ever before. Chapter II deals with the importance of Eliot's socio-religious thinking relative to The Rock in the 1930s. The authoritarian nature and very rigour of his orthodoxy may have been partly the reason why The Rock and After Strange Gods were never republished, but the important point is made clear, through these views on Christian orthodoxy and tradition, that Eliot was to be admired as perhaps the only poet and intellectual of great standing in England in the 1930s who gave his allegiance to something wholly outside himself. In addition, what is made explicit in this chapter, and held implicit throughout, is that Eliot was no turncoat who now gladly and facilely embraced the succour of Mother Church as some critics would have us believe. What is made plain is that this relatively new convert was finding a via media between facile hope and pointless despair - hence the very discipline and rigour of his Anglo-Catholic affirmations. Chapter III is about the requirements of the medium in what was in fact the first time Eliot had moved beyond a coterie audience. The demands and limitations are listed as criteria against which The Rock can only be measured; and although the choruses may be the first bad poetry Eliot had written, it is made clear that he was conscious of the seeming hollowness of ecclesiastical utterances. It may seem paradoxical that Eliot, in this propaganda setting, was actually trying to wring the neck of rhetoric, and the moral is even enforced by his inclusion of a verse-sketch which clearly shows an adulteration through rhetoric. Chapter IV reverberates on the two preceding chapters in its delineation of a return to a purified yet traditional language as well. Although the nobility of language from biblical books is still there, Eliot was for the first time using a democratic, and non-hieratic, language of ordinary man. There is a new distrust of the cunning and rhetorical, as contained in the 'objective correlative' of before, and the author is attempting a personal atone through what seems to be an authenticity and sincerity of tone. The Rock could conceivably exist without the choruses at all but they are important, unlike the prose episodes, because they were written without the various collaborators. Chapter V attempts, very briefly, to establish that The Rock was not a propagandist's hackwork but that the author was consciously groping for new forms of prosody and dramatic techniques preparatory to his later plays and poetry and, as such, the work is seen in the perspective of an important stage midway in Eliot's career as an artist and thinker

The configurational and standard force balances are not always statements of a single law

By studying the asympototic connection between phase-field and sharp-interface theories for transitions between two phases distinguished only by their constant free-energy densities, we show that the configurational force balance of the sharpinterface theory is completely unrelated to standard force balance. This demonstrates the fallacy of a recently asserted view that the balances for configurational and standard forces are never independent.published or submitted for publicationis not peer reviewe