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Relevant bibliographies by topics / Cobbing

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Academic literature on the topic 'Cobbing'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Cobbing"

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Mazur, Igor, and Tanya I. Cherkashina. "Mathematical and Physical Modeling of Soft Cobbing Process of Hot Rolling Steels." Materials Science Forum 704-705 (December 2011): 160–64. http://dx.doi.org/10.4028/www.scientific.net/msf.704-705.160.

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The soft cobbing, used in steel’s continuous casting, is widely applying in technologies of rolled metal manufacturing. It is important to know ingot’s stress-strain state and dynamics of ingot’s changes while cobbing, when there is a liquid metal in the centre of section. The complex questions of numerical modeling of soft cobbing process and experimental investigation on physics plasticine models are considered in presented work. The analysis of findings is presented in the article.

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Stapleton, Timothy J. "Oral Evidence in a Pseudo-Ethnicity: The Fingo Debate." History in Africa 22 (January 1995): 359–68. http://dx.doi.org/10.2307/3171922.

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There is a disturbing trend emerging in South African history. Unquestioning acceptance of African oral tradition threatens to become a requirement of politically correct scholarship. The African voice knows all. Julian Cobbing has been sharply criticized for ignoring oral evidence in his revision of early nineteenth-century South African history. Cobbing claims that African migration and state formation in the 1820s was caused by the illegal activities of colonial slave raiders who covered up their operations by claiming that the Zulu kingdom under Shaka had laid waste to the interior of southern Africa. This cover story was incorporated into South African history as the mfecane (or crushing) and served to justify white supremacy by portraying blacks as inherently violent. Carolyn Hamilton attacks Cobbing for ignoring the African voice which allegedly supports the orthodox mfecane by placing Shaka at the center of events. In response, Cobbing claims that the largest record of Zulu oral evidence was distorted by James Stuart, the colonial official who collected it at the turn of the last century. Although Elizabeth Eldredge rejects the Zulucentric mfecane in favor of a broad compromise theory based on environmental and trade factors plus the activities of a few Griqua labor-raiders on the High veld, she accused Cobbing of developing a Eurocentric hypothesis which robs Africans of initiative within their own history. More critically, Jeffrey Peires, whose work on the Xhosa is deeply rooted in the conventional mfecane, describes Cobbing as “a reactionary wolf dressed up in the clothing of a progressive sheep” and implies that his ideas are nothing short of racist.

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Bambrick, M. "Natalie Cobbing Travel Fellowship." Psychiatric Bulletin 16, no. 3 (March 1992): 161–63. http://dx.doi.org/10.1192/pb.16.3.161-a.

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In 1987–88 I undertook a research project, to look at parental views on sterilisation for their mentally handicapped offspring. This project was prompted by the then recent decision of the High Court in the UK, which authorised the sterilisation of a 17-year-old girl with mental handicap, and created much controversy and debate at the time. Very little was known about the views of parents as a group in the UK on this issue, and hence the decision of our Department of Mental Handicap in Nottingham to explore this area (Bambrick & Roberts, in press).

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Landry, Mireille. "Clinician's Commentary on Maddocks and Cobbing." Physiotherapy Canada 69, no. 4 (November 2017): 341–42. http://dx.doi.org/10.3138/ptc.2016-39-cc.

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Eldredge, Elizabeth A. "Sources of Conflict in Southern Africa, c. 1800–30: The ‘Mfecane’ Reconsidered." Journal of African History 33, no. 1 (March 1992): 1–35. http://dx.doi.org/10.1017/s0021853700031832.

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The so-called ‘mfecane’ has been explained in many ways by historians, but never adequately. Julian Cobbing has absolved the Zulu of culpability for ongoing regional conflicts, but his work is severely flawed in its use of evidence. Cobbing is incorrect to argue that the Delagoa Bay slave trade existed on a large scale prior to the disruptions beginning in 1817, and European slaving therefore cannot have been a root cause of political turmoil and change, as he claims. Cobbing correctly identifies European-sponsored slave-raiding as a major cause of violence across the north-eastern Cape Frontier, but his accusations of missionary involvement are false. Jeff Guy's interpretation of the rise of the Zulu kingdom based on environmental factors is inadequate because he examined only stock-keeping and not arable land use, which led him to false conclusions about demography and politics. In this paper I argue that the socio-political changes and associated demographic turmoil and violence of the early nineteenth century in southern Africa were the result of a complex interaction between factors governed by the physical environment and local patterns of economic and political organization. Increasing inequalities within and between societies coupled with a series of environmental crises transformed long-standing competition over natural resources and trade in south-eastern Africa into violent struggles.

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WILLIAMSON, BETH L. "WILLIAM COBBING:GRADIVA PROJECTBY WILLIAM COBBING ET AL." Art Book 15, no. 3 (August 2008): 23–24. http://dx.doi.org/10.1111/j.1467-8357.2008.00973_11.x.

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Alfonso García, Alethia. "Sagrado & Radical: La Poesía de Bob Cobbing." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, no. 1 (December 27, 2017): 27–37. http://dx.doi.org/10.14195/2182-8830_5-1_2.

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Willey, Steve. "The Event in John Latham and Bob Cobbing." Interdisciplinary Science Reviews 42, no. 1-2 (April 3, 2017): 109–26. http://dx.doi.org/10.1080/03080188.2017.1297159.

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Hamilton, Carolyn Anne. "‘The Character and Objects of Chaka’: A Reconsideration of the Making of Shaka as ‘Mfecane’ Motor." Journal of African History 33, no. 1 (March 1992): 37–63. http://dx.doi.org/10.1017/s0021853700031844.

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An important aspect of Julian Cobbing's radical critique of the ‘mfecane’ as the pivotal concept of the history of southern Africa in the nineteenth century is the claim that the image of Shaka-as-monster was an ‘alibi’ invented by Europeans in the 1820s to mask their slaving activities. Reconsideration of this claim reveals that it is based on the misuse of evidence and inadequate periodisation of the earliest representations of Shaka. Examination of the image of Shaka promoted by the Port Natal traders in the 1820s reveals that, with two highly specific exceptions which were not influential at the time, the traders' presentation of Shaka was that of a benign patron. It was only in 1829, after the Zulu king's death, that European representations began to include a range of ‘atrocity’ stories regarding Shaka. These were not invented by whites but drew on images of Shaka already in place amongst the African communities of southern Africa. These contemporary African views of Shaka and the ways in which they gave shape to the European versions are ignored by Cobbing, and this contributes to his failure to come to grips with past myth-making processes in their fullest complexity.

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Omer‐Cooper, J. D. "Has the Mfecane a future? a response to the Cobbing critique." Journal of Southern African Studies 19, no. 2 (June 1993): 273–94. http://dx.doi.org/10.1080/03057079308708360.

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Dissertations / Theses on the topic "Cobbing"

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Powell, C. L. "Bobbing in the wake: the work of Bob Cobbing." Thesis, Swansea University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487796.

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Willey, Stephen. "Bob Cobbing 1950-1978 : performance, poetry and the institution." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8307.

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Bob Cobbing (1920-2002) was a poet known for his performances and as an organiser of poetry events, as a participant in the British Poetry Revival, as a late-modernist and as a sound and concrete poet. This thesis seeks to reconfigure our view of Cobbing as a performer by considering his performances across a range of institutions to argue that this institutionalised nature was their defining aspect. It maps the transition from Cobbing’s defence of amateurism and localism in the 1950s to his self-definition as a professional poet in the mid 1960s and his attempt to professionalise poetry in the 1970s. This process was not uncontested: at each stage the idea of the poet and the reality of what it meant to live as a poet were at stake The first chapter considers Cobbing’s poems and visual artworks of the 1950s in the context of Hendon Arts Together, the suburban amateur arts organisation he ran for ten years, and it situates both in Britain’s postwar social and cultural welfare system. Chapter two analyses Cobbing’s transition from Finchley’s local art circles to his creative and organisational participation in London’s international counterculture, specifically the Destruction in Art Symposium (9-11 September 1966). Chapter three considers ABC in Sound in the context of the International Poetry Incarnation (11 June 1965) and analyses Cobbing’s emergence as a professional poet. Chapter four examines Cobbing’s tape-based poems of 1965-1970 and their associated visual scores in the context of audio technology, and the role they played in Cobbing’s professionalisation. The final chapter examines Cobbing’s performances at the Poetry Society (1968- 1978) in order to investigate the effects of subsidy and friendship on poetic performance.

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Jackson, Mark Anthony. "The making of a radical poetics : modernist forms in the work of Bob Cobbing : elements for an exegesis of Cobbing's art." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/209/.

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I survey Cobbing’s considerable and varied output, placing it initially into approximate chronological phases. I discern formal and aesthetic traits and their development over time. I attempt to place the work within wider poetic and artistic traditions, namely avant-gardism, the British Poetry Revival, sound and visual poetry, and the exploration of artistic form. I propose an understanding of flow as an intersection of two axes: linear temporality (flow time) which exists outside of social time, and multidimensional or constellatory spatiality which is generated by certain artistic works. The body bridges social time and flow time through creative gestures and by unifying temporal elements. I trace the features of abstraction as they emerged throughout roughly the first half of the twentieth century in visual art, sound poetry and lexical poetry. I define poetic and artistic form, noting that radical works explore traditional boundaries of space, and discusses the politics of form. I examine theories of perception to arrive at a synthesis of form and perception in what I term the Event, where the engaged perceiver participates with the radical work in what constitutes a revolutionary activity. I include close readings of Cobbing’s Jade-Sound Poems, Domestic Ambient Noise and a sound performance of Container Leaks, applying my findings with regard to flow, abstraction, the politics of form, perception and space. The thesis concludes that Cobbing’s work, which constitutes a new poetics and exemplifies avant-gardist practice as a breaking out of old forms, can inspire radical modes of living if we engage creatively with the world. I believe this work provides a comprehensive exegesis for understanding Cobbing’s challenging work in relation to addresses to form and perception, an interpretation which is currently missing from the critical field.

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Thomas, Gregory Charles. "Concrete poetry in England and Scotland 1962-75 : Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard and Bob Cobbing." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8867.

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This thesis examines concrete poetry in England and Scotland from 1962 to 1975. Through the 1950s-70s, international concrete poetry evolved away from constructivist influenced, “classical” ideals of minimalism and iconic visual effect towards principles owing more to Dadaism and Futurism: spontaneity, maximalism, sonority and an emphasis on intermedial expression. Against this backdrop, using close textual analysis supported by primary research, I engage with four poets whose work collectively exemplifies the wide range of values which concrete poetry represented in England and Scotland during the period in question. A movement away from classical ideals can be tracked across the oeuvres of Finlay, Morgan, Houédard and Cobbing; but many aspects of their work cannot be accounted for by this general rubric. Finlay saw concrete poetry as a means of casting off Scottish literary tradition, but also of embodying an immutable vision of aesthetic and ethical order, using a marriage of the visual and linguistic to emphasise links between disparate ideas and things. However, his restless reconfiguration of poetry’s visual-physical aspects ultimately resulted in a re-separation of word and image which, together with an increasing historical-mindedness, ended his attachment to the style. Morgan, by contrast, used concrete poetry to redefine rather than repel Scottish literary culture, and was a more context-focused poet, using concrete grammar – whose sonic possibilities he exploited more than Finlay – to depict specific communicative scenarios, and thus to register ethical and political imperatives, often reflecting Scottish nationalist ideals. The emphasis on semantics common to Morgan and Finlay’s work, reflecting relative fidelity to classical principles, is overridden in Houédard’s concrete poetry, which came to employ a grammar of abstract visual motifs in which linguistic meaning was subsumed, related as much to apophatic theology as to classical concrete. For Cobbing too, concrete became a means of evading language, in his case to access a transcendent realm of “intermedial” poetry equally related to language’s sonic and visual dimensions, and influenced by various contemporary artforms, and by counter-cultural ideals. However, Cobbing’s emphasis on performing poems, and the reintegration of semantics into his work throughout this period, led by the early 1970s to an alternative poetic ideal of relativity.

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Sieger, Charlotte Sophie [Verfasser], Thomas [Gutachter] Hovestadt, Juliano [Gutachter] Sarmento-Cabral, and Marleen [Gutachter] Cobben. "Potential evolutionary responses to landscape heterogeneity and systematic environmental trends / Charlotte Sophie Sieger ; Gutachter: Thomas Hovestadt, Juliano Sarmento-Cabral, Marleen Cobben." Würzburg : Universität Würzburg, 2020. http://d-nb.info/1222910470/34.

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Books on the topic "Cobbing"

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King, Doreen. Poetology of Bob Cobbing. Shrewsbury: Feather Books, 2003.

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Cobbing, Bob. Bob jubile: Selected texts of Bob Cobbing 1944-1990. London: New River Project, 1990.

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Cobbing, Bob. kob bok: Selected texts of bob cobbing 1948-1999. Buckfastleigh: Etruscan Books, 1999.

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4

Finch, Peter. 500 Cobbings. Writers' Forum, 1994.

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5

Smith, Hazel. Improvisation in Contemporary Experimental Poetry. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.26.

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This chapter characterizes recent developments in improvisation in contemporary experimental poetry. It traces the evolution of improvised poetry from the work of classic improvisers such as David Antin, Steve Benson, and Bob Cobbing to the present day. It argues that poetic improvisation has been marginalized not only within poetic practice but also within theories of poetic performance. It traces the development of poetic improvisation as “new sonic writing” into computerized modes of improvisation, particularly algorithmic text generation. It discusses the impact of social changes, such as increased gender equality, globalization, and transnationalism, on the evolution of poetic improvisation, which has become increasingly populated by women and also more ethnically diverse. It formulates the concept of a “posthuman cosmopolitanism” with regard to computerized improvisation.

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Cobbling Ganymede (Wind Horse Series). Acacia Rose Media, 2005.

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Thomas, Greg. Border Blurs. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620269.001.0001.

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This book presents the first in-depth account of the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s-70s. Concrete poetry was a literary and artistic style which reactivated early-twentieth-century modernist impulses towards the merging of artistic media while simultaneously speaking to a gamut of contemporary contexts, from post-1945 social reconstruction to cybernetics, mass media, and the sixties counter-culture. The terms of its development in England and Scotland also suggest new ways of mapping ongoing complexities in the relationship between those two national cultures, and of tracing broader sociological and cultural trends in Britain during the 1960s-70s. Focusing especially on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard, and Bob Cobbing, Border Blurs is based on new and extensive archival and primary research. It fills a gap in contemporary understandings of a significant literary and artistic genre which has been largely overlooked by literary critics. It also sheds new light on the development of British and Scottish literature during the late twentieth century, on the emergence of intermedia art, and on the development of modernism beyond its early-twentieth-century, urban Western networks.

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Cobbin, Reverend Ingram. Cobbin's Commentary on the Bible for Young And Old. Kessinger Publishing, 2004.

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Hollingsworth, Mary. Captain, the Countess & Cobbie the Swabby: A Book About Honor. Chariot Family Pub, 1992.

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Book chapters on the topic "Cobbing"

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Burnett, Elizabeth-Jane. "A Circuit of Energies: Bob Cobbing, Sound Poetry and Writers Forum." In A Social Biography of Contemporary Innovative Poetry Communities, 99–129. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62295-8_5.

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LEE, S., J. CASS, S. CORNICK, and M. BRADLEY. "Cobbins Brook Flood Storage Reservoir." In Managing dams Challenges in a time of change, 364–75. London: Thomas Telford Ltd, 2010. http://dx.doi.org/10.1680/mdctc.40991.0031.

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Kilander, Fredrik, and Carl Gustaf Jansson. "COBBIT—A control procedure for COBWEB in the presence of concept drift." In Machine Learning: ECML-93, 244–61. Berlin, Heidelberg: Springer Berlin Heidelberg, 1993. http://dx.doi.org/10.1007/3-540-56602-3_140.

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"cobbing." In Dictionary Geotechnical Engineering/Wörterbuch GeoTechnik, 247. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-41714-6_32969.

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"ore cobbing." In Dictionary Geotechnical Engineering/Wörterbuch GeoTechnik, 941. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-41714-6_150837.

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"cobbing ore." In Dictionary Geotechnical Engineering/Wörterbuch GeoTechnik, 247. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-41714-6_32972.

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Thomas, Greg. "Abstract Concrete." In Border Blurs, 203–48. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620269.003.0006.

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In the work of the London-based poet Bob Cobbing, we can sense the culmination of a global shift in the definition of concrete poetry. For Cobbing, concrete poetry became a means of transcending or evading language in order to access a space of objective communication. His work responded to a whole gamut of twentieth-century and historical forms, from ritual chant-based practices to Dada performance, to the contemporaneous sound poetry of French ‘Ultralettrists’ such as Henri Chopin, William Burroughs’s cut-ups, and auto-destructive art. The example of classical concrete poetry served more as a stylistic counterpoint than a direct influence. Cobbing’s practice was also centrally motivated by a counter-cultural belief that artistic forms which broke down boundaries between media could have more broadly, socially disruptive and revolutionary effects. The development of these sentiments is traced from Cobbing’s early production of duplicator prints during the 1940-50s to his non-semantic, performance-oriented concrete practice of the early 1970s, in which single visual poems become the basis for endless improvisatory reworking. At the close of the chapter, the non-linguistic quality of Cobbing’s work is considered as a manifestation of, and response to, broader tensions within the concrete style.

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Skoulding, Zoë. "Performance: Listening Bodies." In Poetry & Listening, 134–58. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621792.003.0008.

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Discussion of Deaf percussionist Evelyn Glennie and artist Christine Sun Kim draws attention to the embodiment of sound performance, which is considered in this chapter in relation to technology, race, gender, bilingualism and, though the parallel performances of humans and birds, ecology. The work of poets such as Bob Cobbing and Henri Chopin offers examples of how sound poetry of the 1960s explored a liberated listening through recording. Yet such a listening, enabled by machines, draws attention back to the capacities of the human body. Serres’ simultaneous emphasis on the centrality of the senses and the space of codes and messages in which the body moves frames a discussion of various boundaries between language, sound and noise in the work of Emma Bennett, Jonathan Skinner, Holly Pester, Tracie Morris, Hannah Silva and Rhys Trimble.

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"The Ballet of the Speech Organs: The Poetry of Bob Cobbing 1965–2000." In The Poetry of Saying, 214–32. Liverpool University Press, 2005. http://dx.doi.org/10.5949/liverpool/9780853238195.003.0010.

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"cobbling." In Dictionary Geotechnical Engineering/Wörterbuch GeoTechnik, 247. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-41714-6_32977.

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Reports on the topic "Cobbing"

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Jerzykiewicz, T. Baculites compressus robinsoni Cobban from the Crowsnest River section at Lundbreck, Alberta: an implication for the timing of the late Cretaceous Bearpaw transgression into the southern Foothills of Alberta. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1996. http://dx.doi.org/10.4095/207878.

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