My Perfect Picture: You

Poetry by Joplin Finfrock. Finalist in the 2018 Manuscripts Poetry Contest

The importance of environmental testing including experience with the Arcas-Robin system

Environmental test program for reliable Arcas Robin atmospheric measurement syste

Weeping Willow

Woman in a dress standing in front of weeping willowshttps://scholarsjunction.msstate.edu/cht-sheet-music/13668/thumbnail.jp

A method for characterization of single-event latchup technologies as a function of geometric variation

Complementary metal-oxide-semiconductor (CMOS) technology is the dominant integrated circuit (IC) technology in modern electronics systems. As CMOS comprises of p-channel and n-channel transistors, there are parasitic PNPN paths that act as cross-coupled bipolar transistors capable of creating low-impedance paths between the power supply rails known as the “latchup” state. Latchup is destructive and requires a power cycle to restore operation. Latchup can be stimulated by ionizing radiation such as a high-energy proton or heavy-ions from deep space, resulting in a significant vulnerability in CMOS space systems. The sensitivity of an IC to single-event latchup (SEL) depends on various process parameters as well as design geometry. This work presents a method for the characterization of the geometric effects of CMOS layout on SEL. The dominant geometric contributors to the overall SEL sensitivity include: (1) substrate contact-to-source spacing (PWNS), (2) well contact-to-source spacing (NWPS), and (3) source-to-source spacing (SS)

A Real Slow Drag

https://digitalcommons.library.umaine.edu/mmb-me/1454/thumbnail.jp

Maple Leaf Rag / music by Scott Joplin; words by Scott Joplin

https://egrove.olemiss.edu/sharris_b/1034/thumbnail.jp

The Poet\u27s Corpus: Memory and Monumentality in Wilfred Owen\u27s The Show

Wilfred Owen is widely recognized to be the greatest English “trench poet” of the First World War. His posthumously published war poems sculpt a nightmarish vision of trench warfare, one which enables Western audiences to consider the suffering of the English soldiers and the brutality of modern warfare nearly a century after the armistice. However, critical readings of Owen’s canonized corpus, including “The Show” (1917, 1918), only focus on their hellish imagery. I will add to these readings by demonstrating that “The Show” is primarily concerned with the limitations of lyric poetry, the monumentality of poetic composition, and the difficulties of representing one’s traumatized memory. I will bolster this reading with a comparative study of the poem’s manuscripts that interprets the rough and fair copies of Owen’s late poem as monuments which he sculpted, fashioned, and redesigned to commemorate his past and investigate the visual possibilities of lyric poetry. This reading is significant because, in the same way that the grotesqueries of war and trauma are concealed for the sake of public commemoration, so too are the ugliness and near-incomprehensibility of Owen’s manuscripts concealed by the anthologized poem. I propose that the anthologized poem helps us to better understand the manuscripts and vice versa, and they are both crucial to our continued understanding of English poetry and soldierly psychology in the First World War