Gothic Pleasures

A series of works were produced for 'Gothic Pleasures' with the intention of exploring the psychological tensions that play out in terms of understanding the gothic as a site of excess and transformation. Particular film and literature references are used to create characters that might embody the notion of the gothic and put upon, afflicted heroine. In a contemporary context , does this become comic and absurd or tragic? Two pairs of swooning ceramic figures were made as a homage to Peter Weir's 'Picnic at Hanging Rock'(1976), a classic fainting girls film with memorable scenes of infectious communal hysteria where collapse becomes an almost erotic and bodied experience. A silver tipped oar in another work alludes to a scene in The Mill on the Floss (1860) by George Elliot (Mary Ann Evans), when Maggie Tulliver's spends too long drifting down stream in a boat with a member of the opposite sex- compromising her reputation. An additional work is a type of ghost stone memorial that examines the gothic trope of the mourned dead bride: Edgar Allen Poe's Ligeia (1838). The group exhibition was curated by Emma Hill. Other exhibiters were Arabel Rosillo de Blas, Elaine Brown, Harriet Mena Hill and Sarah Sparkes

Kicking an Elephant Through a Cat Flap

The event took the form of a conference and exhibition organised by the RCA and Imperial College to coincide with National Dyslexia Week. De Cordova has had a long association with the RCA’s developments and innovations in this area, and was an original member of the Steering Group and Forum. Participants from a range of backgrounds were invited to speak or present papers on how dyslexia or dyspraxia might have shaped their approaches to problem solving, or influenced their creative practices. This was followed by a panel discussion that focussed on a number of issues, including how a late diagnosis might make sense of long term issues, and how this might be different to those individuals who were aware of their learning difference from childhood. ‘Kicking an Elephant Through a Cat Flap’ was an exhibition of work produced by dyslexic and dyspraxic artists and designers associated with the RCA to coincide with the conference. The two works presented by De Cordova, ‘Sound Track to a Bodied Place’ 2016 (inkjet print) and ‘M’dear Medea’ 2012 (embroidery thread and paper) incorporated homophonic texts (where words sound alike, but have different meanings and spellings) in order to allude to uncertain narratives or interpretations that might arise out of misreading or mishearing

Wunderkammer

A series of sculptures were produced in relation to the idea of the 16th century wonder-rooms where collections of objects were put together in an attempt to classify and catalogue the known and imagined world. The exhibited work took the form of a group of small wooden painted carvings with movable limbs and heads, in keeping with the concept of posable superhero action figures in the tradition of both Marvel characters, but also Classical Hellenistic sculptures that had functions or that moved ( mercury tears, shuddering and speaking etc). All the female figures are based on real characters who have had and survived incidents with wild animals. Their narratives have been gifted to the artist, so that they become part of an ongoing collection of heroines. In keeping with the notion of toy, the body proportion is deliberately anti classical, referring instead to non european models of perfection

Congregation

Denise de Cordova was invited by the Works of Art Committee at Jesus College, Cambridge to mount a solo exhibition of recent work in the unique setting of the College’s 12th century chapel. The exhibition focuses on over twenty ceramic figures that de Cordova has made under her nom de plume Amy Bird - a character she created in order to explore the possibilities of working in clay. Amy Bird makes only women - works that refer to historical figures, heroines of literature and cultural models. The installation at Jesus College reflects a sense of staging and arranging that is a distinctive feature of de Cordova’s practice, which plays with re-grouping individual sculptural elements to create shifting meanings and narratives. The work was sited in response to the stained glass windows designed by Edward Burne Jones and Ford Madox Brown which were installed as part Pugin’s redevelopment of the Chapel. This continues the artist’s interest in placing her sculptures in situations other than conventional white cube spaces. The intention was to explore the relationships that might exist between 19th Century Gothic Revival imagery and that employed by the artist in her own sculptures

Fictional male bodies and their affective power in the Northern Irish plays My Name, Shall I Tell You My Name? and The Belle of the Belfast City by Christina Reid

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2022.O presente estudo examina a interação entre o unionismo e as políticas de gênero de masculinidades nas peças The Belle of the Belfast City (1989) e My Name, Shall I Tell You My Name? (1989), publicadas na série Methuen Contemporary Dramatists (1997), da dramaturga Norte Irlandesa Christina Reid. Para examinar as práticas de gênero masculino dentro da comunidade protestante da Irlanda do Norte, e sua interconexão com as ideologias unionistas, esta análise faz uso de uma compreensão teórica de masculinidades como poder criativo sem fidelidade ao corpo masculino, mas sim sua capacidade de afetar e ser afetado (MCDONALD, 2018; HICKEY-MOODY, 2019). Para examinar o imaginário ficcional do Estado de Ulster, esta pesquisa mobiliza o conceito de ?comunidades imaginadas? de Benedict Anderson (2006) para defender a hipótese de que há interdependência entre a imaginação do Estado-nação e as pedagogias de gênero. Esta pesquisa lê os personagens masculinos em ambas as peças como dispositivos semióticos que abrigam ideais transcendentais do que constitui um homem protestante ?de verdade? em termos unionistas. A análise apresentada aqui demonstra como o atual conjunto de afetos gerados pela masculinidade de Ulster esgota os corpos masculinos de seu poder criativo generativo, reduzindo drasticamente suas experiências de gênero aos valores embutidos de servidão à dinâmica do estado sectário da Irlanda do Norte de 1980. Além disso, este estudo conclui que as duas peças selecionadas, no momento da produção, oferecem formas alternativas de representar as masculinidades protestantes da classe trabalhadora, afastando-se de modelos arquétipos e canônicos de homens unionistas, para oferecer um retrato dos destrutivos custos da performatividade masculina nos domínios do unionismo e lealismo. Assim, as peças de Reid contribuem para a re-imaginação identitária e a mitigação política e cultural crucial para a mudança social psicológica e simbólica de uma Irlanda do Norte sectária.Abstract: This study explores the interplay between Unionism and the gender politics of masculinities in the plays The Belle of the Belfast City (1989) and My Name, Shall I Tell You My Name? (1989), published in the Methuen Contemporary Dramatists series (1997), by Northern Irish playwright Christina Reid. To examine the male gender practices within the Northern Irish Protestant community, and its interconnection with Unionist ideologies, this analysis makes use of a theoretical understanding of masculinities as a creative power with no allegiance to the male body, but its ability to both affect and be affected (MCDONALD, 2018; HICKEY-MOODY, 2019). Furthermore, to examine the fictional imagery of the Ulster State, this research mobilises Benedict Anderson's (2006) concept of ?imagined communities? to contend the hypothesis of interdependence between nation-state imagination and gender pedagogies. This research reads male characters in both plays as semiotic devices that host transcendent ideals of what constitutes a ?real? Protestant man in Unionist terms. The analysis demonstrates how the current assemblage of affects generated by the Ulster masculinity exhausts men?s bodies of their generative creative power, thus drastically reducing their gender experiences to the embedded values of serving the dynamics of the sectarian state of 1980s Northern Ireland. This investigation concludes that the two selected plays offer alternative ways, at the time of the production, of representing Protestant working-class masculinities by shifting away from canonical archetypes of loyal men, and, in turn, offer a picture of the destructive expenses of the masculine performativity within the realms of Unionism and Loyalism ideologies. Thus, Reid?s plays, as demonstrated here, contribute to the identity reimagination and political and cultural mitigation that are crucial to changing the symbolic social-psychological scenario of a sectarian Northern Ireland

Constitvciones para el buen govierno de el Colegio Seminario de S. Sebastian desta Santa Iglesia Cathedral de Malaga

Jose Rodriguez Cornejo es el ed. lit., en el s. XVIII, del texto fechado en 1616.Fechas de actividad del imp.: 1723-1727.Sign: []2, B-G2.Port. con orla tip.; en h. 2r. inic. grab. y banda de adornos tip. en cabecera.e,ir r-ea uee- essi (3)BNE19970001438.Copia digital : Diputación de Málaga. Biblioteca Canovas del Castillo, 201

Application of non-linear system identification approaches to modelling, analysis, and control of fluid flows.

Flow control has become a topic of great importance for several applications, ranging from commercial aircraft, to intercontinental pipes and skyscrapers. In these applications, and many more, the interaction with a fluid flow can have a significant influence on the performance of the system. In many cases the fluids encountered are turbulent and detrimental to the latter. Several attempts have been made to solve this problem. However, due to the non-linearity and infinite dimensionality of fluid flows and their governing equations, a complete understanding of turbulent behaviour and a feasible control approach has not been obtained. In this thesis, model reduction approaches that exploit non-linear system identification are applied using data obtained from numerical simulations of turbulent three-dimensional channel flow, and two-dimensional flow over the backward facing step. A multiple-input multiple-output model, consisting of 27 sub-structures, is obtained for the fluctuations of the velocity components of the channel flow. A single-input single-output model for fluctuations of the pressure coefficient, and two multiple-input single-output models for fluctuations of the velocity magnitude are obtained in flow over the BFS. A non-linear model predictive control strategy is designed using identified one- and multi-step ahead predictors, with the inclusion of integral action for robustness. The proposed control approach incorporates a non-linear model without the need for expensive non-linear optimizations. Finally, a frequency domain analysis of unmanipulated turbulent flow is perfumed using five systems. Higher order generalized frequency response functions (GFRF) are computed to study the non-linear energy transfer phenomena. A more detailed investigation is performed using the output FRF (OFRF), which can elucidate the contribution of the n-th order frequency response to the output frequency response

Handbook for Parents: How to Improve your Children\u27s Reading (Ages 9-12)

From this writer\u27s classroom experience, children\u27s reading achievement improves when there is cooperation between teachers and parents. This author felt that a handbook should be developed to help guide them in improving their children\u27s reading. The purpose of this project is to create a handbook which develops comprehension and vocabulary skills. Increased parental involvement in home reading with children will help the children to read better to enjoy it. Parents have powerful influence on their children in developing reading interests. This paper deals with parental participation in improving children\u27s reading from age pre-kindergarten to twelve. The handbook deals with the same topic but only for ages nine to twelve

Plaything

A collaborative exhibition that explores the visual outcome of two artists sharing and exchanging imagery and visual motifs in order to develop new work, as a kind of conscious 'theft' that counters notions of plagerism , and that deliberately courts 'sameness'. The intention is to relinquish control of who owns the conceptual right to use images or ideas; that these are participatory tropes that are up for grabs.This agreement to a loss of control or authorship was further amplified by a curator selecting work from the studios in order to stage her own version of how she wanted to mix up and present work to create narratives and connections that she wanted to highlight.The issue at stake was whether there might be tipping points, or a share or intervention too far: an artist might suddenly claim ownership of an image at the expense of the other, or distrust an approach to curation that meddles or reframe the artists intentions completely. Conversely, the anticipation might be one of liberation and playfulness