Tracing Stigma: The Evolution of the Tattoo in the Middle Ages

In the Western world, tattooing began as a mechanism for marking slaves and prisoners in Ancient Greece and Rome. As a result of changes in religion and philosophy, the period between 1100 and 1600 CE set the stage for the tattoo to transform from something that was forcibly done to represent a communal identity into an individual expression of self. This project traces the use and meaning of tattooing from the ancient world into the 1600’s

Books with Looks

There are pretty rare books, and there are pretty, rare books. Isabella Fusillo \u2722 curates a cart of the archives\u27 lovely literature

32 Years of the Stander Symposium

University Archives student employee Bella Fusillo built a historical timeline using photographs and documents from the Stander Symposium

Focalization as Transmedial Category

In the last decades formalistic and structuralist narratology has been intensively recovered and reinterpreted in a cognitive perspective, and with a new focus on transmedial dissemination. The goal is, as Marie-Laure Ryan and Jean-Nöel Thon state, a media-conscious narratology. In particular focalization appears to be a crucial category to define the various narrative techniques through different media. The paper will deal first with the theoretical debate on focalization, analyzing the shift from Genette’s canonical triadic pattern to the more fluid scale proposed by cognitive narratology (for example by Manfred Jahn), and the coexistence between different meanings and applications (basically: perceptual, emotional, informational). The second part will be devoted to some significant examples: the iconographic motif of the character (usually a woman) at the window; Alfonso Cuaron’s recent movie Roma, as a vivid example of central focus in cinema; focalization in videogames; and the 360° multifocalization practiced by new media, which radically change the notion of point of view itself. In the last decades formalistic and structuralist narratology has been intensively recovered and reinterpreted in a cognitive perspective, and with a new focus on transmedial dissemination. The goal is, as Marie-Laure Ryan and Jean-Nöel Thon state, a media-conscious narratology. In particular focalization appears to be a crucial category to define the various narrative techniques through different media. The paper will deal first with the theoretical debate on focalization, analyzing the shift from Genette’s canonical triadic pattern to the more fluid scale proposed by cognitive narratology (for example by Manfred Jahn), and the coexistence between different meanings and applications (basically: perceptual, emotional, informational). The second part will be devoted to some significant examples: the iconographic motif of the character (usually a woman) at the window; Alfonso Cuaron’s recent movie Roma, as a vivid example of central focus in cinema; focalization in videogames; and the 360° multifocalization practiced by new media, which radically change the notion of point of view itself

A Record of A Centrally Staged Production of A Phoenix Too Frequent By Christopher Fry

! Phoenix Too Frequent, by Christopher Fry, was first produced in London, at the Arts Theatre Club, where Fry was resident dramatist. After a two week run there, it opened at the 11 Mercury Theatre, in London, on April 25, 1946.1 Directed by E. Martin Brown, it ran for 64 performances. The first performance of the play by any group in this country was done by the Idler Players of Radcliffe College, Cambridge, Massachusetts, on April seventh to tenth, 1948. They were assisted by the Harvard University drama department

A search for variable white dwarfs in large area time domain surveys: a pilot study in SDSS Stripe 82

We present a method to reliably select variable white dwarfs from large area time domain surveys and apply this method in a pilot study to search for pulsating white dwarfs in the Sloan Digital Sky Survey Stripe 82. From a sample 400 high-confidence white dwarf candidates, we identify 24 which show significant variability in their multi-epoch Stripe 82 data. Using colours, we further selected a sample of pulsating white dwarf (ZZ Ceti) candidates and obtained high cadence follow up for six targets. We confirm five of our candidates as cool ZZ Cetis, three of which are new discoveries. Among our 24 candidates we also identify: one eclipsing binary, two magnetic white dwarfs and one pulsating PG1159 star. Finally we discuss the possible causes for the variability detected in the remaining targets. Even with sparse multi-epoch data over the limited area of Stripe 82, we demonstrate that our selection method can successfully identify various types of variable white dwarfs and efficiently select high-confidence ZZ Ceti candidates.Comment: Accepted for publication in MNRAS, 14 pages, 11 figure

In-Situ Far-Field Calibration of Multibeam Sonar Arrays for Precise Backscatter Imagery

Calibration of large hull-mounted sonar transducer arrays is usually done by measuring the performance of individual components in a test tank. Multiple transducer element beam patterns are superimposed and combined with window attenuation and other partial measurements to give an approximation of the total beam pattern. This process often ignores or fails to accurately model factors such as mounting hardware, array misalignment, reflections from the hull structure and other real world absorbers, reflectors and attenuators which can have significant effect on the actual beam pattern. This paper describes an application of a novel technique for in-situ measurement of the far-field beam pattern of an entire installed hydrophone array using an ROV to carry a calibrated reference transducer. Thesonar array is part of a Simrad EM-121 multibeam sonar system installed aboard the Navy\u27s new survey ship the USNS SUMNER TAGS-61. Test tank measurements of individual hydrophone transducer packages were available and a composite array beam pattern was computed from this data. Direct at-sea measurement of the far-field beam pattern was then made by placing a reference transducer on an ROV and navigating it through an are in the far field of the shipboard array. These two sets of beam patterns are compared. Backscattered signals in a multibeam sonar system can be the basis for characterization of seafloor morphology in terms of mud, clay, silt, sand, gravel, rocks, etc. The degree of differentiation between bottom types, or the number of bottom types which can be differentiated, depends on how accurately the signal strength is calibrated. Factors which affect this measurement include the sonar transmitter electrical output, projector efficiency, projector array beam pattern, spreading loss and attenuation in the water column, losses at the bottom reflection, hydrophonearray beam pattern, hydrophone sensitivity and receiver gains. The degree of improvement in seafloor characterization resulting from the in-situ hydrophone array calibration are examine