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Bridgewater, Richard Douglas. "The Great War letters of Humphrey Francis Humphries." Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680362.
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Bridgewater, Richard Douglas. "The Great War letters of Humphrey Francis Humphreys : an edition." Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398688.
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The Royal Army Medical Corps made a significant contribution to victory in the Great War. Humphrey Humphreys' letters provide a rare account of life in one of its most effective units, a field ambulance. He served throughout the war and was in the Middle East from April 1915 until March 1919. During this time he served in 2nd South Midland Mounted Brigade Field Ambulance and its successors, rising to command the unit during the advance on Damascus. He also served as Deputy Assistant Director of Medical Services with 53rd Division and the Yeomanry Mounted Division during the 3rd Battle of Gaza and the Jerusalem campaign. The letters are annotated and provided with a commentary. This gives Humphreys' background prior to joining the army and an account of his post war activities. It sets out the military and medical contexts of his service, and the principal military operations in which he took part. Contributions made to the war effort by Birmingham's upper middle class, by students and past students of Birmingham University and by old boys of Bromsgrove School are assessed: Humphreys was a member of each of these three sets. Comparisons are made with other universities and schools.
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Martin, Rebecca Lynn Londré Felicia Hardison. "Robin Humphrey, the teaching artist." Diss., UMK access, 2005.
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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2005."A thesis in theatre." Typescript. Advisor: Felicia H. Londré. Vita. Title from "catalog record" of the print edition Description based on contents viewed June 26, 2006. Includes bibliographical references (leaves 82-93). Online version of the print edition.
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Siambani, Elena V. K. "Humphrey Jennings : le poète du cinéma britannique /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb41407237w.
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Texte remanié de: Thèse de doctorat--Sciences de l'art--Paris 10, 2003. Titre de soutenance : Poésie et sciences sociales, sources du documentaire anglais des années 1930-1950 : l'exemple de Humphrey Jennings.Bibliogr. p. 215-220. Filmogr. p. 221-224. Index.
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Beston, Maria. "A reconsideration of Humphrey Jennings, 1907-1950." Thesis, University of Essex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336943.
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Coombs, Neil. "The communicating village : Humphrey Jennings and surrealism." Thesis, Liverpool John Moores University, 2014. http://researchonline.ljmu.ac.uk/4326/.
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This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943). These explorations allow an examination of the way that Jennings’s films articulate the relationship between surrealism and the everyday, the sublime and the uncanny. The thesis asserts that there is a specifically British form of surrealism that has developed from the historical situation of Britain in the period from 1936 to 1946, one that draws from the national identity of Britain. The symbolic domain of British surrealism and its praxis can read in the films of Jennings and the auratic traces of Jennings’s films thread through the work of subsequent filmmakers. This thesis describes these traces as the communicating village. The thesis’s consideration of Jennings’s films in relation to surrealism offers a means by which to examine the work of subsequent filmmakers and to assess the importance of surrealism to British cinema.
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DuBay, Susan Adams. "John Humphrey Noyes, 1811-1840 : a social biography." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3568.
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John Humphrey Noyes was the founder of the Oneida Community, one of the most successful utopian ventures in nineteenth-century America. Early in his life, Noyes was a deep religious thinker, but he founded Oneida as an ideal society based on extending the family unit, and not as a church. Noyes's social theories eventually overwhelmed his former religious concentration.
The purpose of this thesis is to locate in Noyes's religiously-oriented youth the sources of his social interests. Few scholars have studied in depth the childhood and young manhood of John Humphrey Noyes, but that is where the roots of his social theories are to be found. Noyes did write his religious autobiography, but completely passed over his formative years. Further, he never wrote the analysis of his social ideas and experiences that he had once promised. However, many of his early letters and journals have been compiled and edited by his relatives; and his immediate family left reminiscences of his youth. These works provide most of the available information on the childhood of Noyes. Large gaps in his history do exist, however. Therefore, the modern psychological theories of Erik Erikson are used to illuminate the otherwise shadowy areas of Noyes's early life.
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Whitehead, Nicola Marie. "The publisher Humphrey Moseley and royalist literature, 1640-1660." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:55a6d252-ddc4-401b-8a50-988d40121483.
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The principal argument of this thesis is that royalist literary publishing in the civil wars and Interregnum was a more coherent and wider movement than has been recognised. It asserts the importance of print culture to royalists, both as a vehicle for personal responses to political circumstances, and as a means to criticize and undermine the opposition. The thesis uses the publisher Humphrey Moseley as a lens through which to examine the publisher's role in the dissemination of a wide range of royalist texts. It demonstrates that publishers, as well as authors, were driven by their political and ideological opinions. The thesis begins by establishing that the royalist and Anglican convictions expressed within the texts published by Moseley corresponded with his own. This opening chapter also demonstrates the editorial control that he exerted when publishing a book. Next follow five case studies. In the second chapter I examine writings of Moseley's most prolific author, James Howell. I show that until the censorship legislation of September 1649, Howell published royalist polemical pamphlets. I argue that in response to the censorship act Howell shifted to a more subtle method of polemical writing, most notably when he embedded extracts from his polemical pamphlets in his historical allegory Dodona's Grove which Moseley published in 1650. Chapters Three to Six are genre-based case studies. These chapters analyse the ways that a variety of genres were used by royalists in support of the Stuart cause and the Anglican Church. In the final chapter I set Moseley within the context of royalist publishing more widely. I review the careers of Henry Seile and Richard Royston to demonstrate that Moseley was not the only publisher committed to the royalist cause and that his productions belonged to a broad spectrum of royalist publishing.
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McNutt, Dylan. "The Life and Political Career of Hubert Horatio Humphrey." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3610.
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Hubert Horatio Humphrey never reached the Oval Office, but his accomplishments during his tenure as mayor, senator, and Vice President are just as noteworthy. During Humphrey’s political career he played a pivotal role in the most influential period of liberal American politics. During his youth and college years Humphrey became learned how to remain loyal to the people around him, and about the racial divisions of the South. Most research on Vice President Humphrey analyzes his time as a Senator, Vice President, and the 1968 Presidential election. The Life and Political Career of Hubert Humphrey, examines Humphrey’s life in its entirety through themes and life lessons as he became the conscience of the nation. Furthermore, The Life and Political Career of Hubert Humphrey, examines the relationship between President Lyndon B. Johnson and Vice President Humphrey and how Humphrey’s loyalty caused with the nation’s conscience to fall short of his lifelong goal.
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Everest-Phillips, Lalage Charlotte Yseult. "The patronage of Humphrey, Duke of Gloucester : a re-evaluation." Thesis, University of York, 1993. http://etheses.whiterose.ac.uk/2520/.
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Saygin, Susanne. "Humphrey, Duke of Gloucester (1390-1447) and the Italian humanists /." Leiden : Brill, 2002. http://catalogue.bnf.fr/ark:/12148/cb38916820h.
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Rutkowski, Paul, and Christian Albrecht May. "The peripheral and Central Humphrey visual field – morphological changes during aging." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-230161.
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Background: To define age-related changes in the visual field by comparing "standard" central and unique peripheral visual field measurements in healthy volunteers.
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In a single center, retrospective, Cross-sectional, observational study, 20 volunteers with no retinal diseases or risk factors, ranging in age between 30 and 94 years (four age groups: 30’s, 50’s, 70’s, 90’s) were measured in one eye (preferentially the right one) using a Humphrey visual field 24–2 and 60–4.
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While the central visual field remained relatively well preserved during aging showing only a mild reduction in sensitivity, a profound loss of the peripheral visual field was observed beginning in the fifth decade of life and decreasing continuously up to the 90ies.
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The peripheral visual field declined substantially from the 4th decade onward while the central visual field remained quite stable.
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McCluskey, M. C. "Country, city, cinema : Humphrey Jennings and the landscapes of modern Britain." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1335901/.
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This thesis interrogates the production and projection of British landscapes in the films of Humphrey Jennings. I argue that Jennings’s films document the sights, sounds and spaces of British cities, suburbs and countrysides to reconcile divisions within the nation, to recall the shared history of the British people and to promote particular models of citizenship. My study brings to light Jennings’s consistent engagement with changes to British landscapes and with the representations and reputations that such changes contributed to national culture. The first chapter looks at a 1934 film that plays into audience assumptions about suburban life. The final chapter considers Britain’s position in the post-war world and Jennings’s promotion of ‘the new skylines on the horizon’. Throughout, I move chronologically and use both discursive and formal analysis to investigate discussions of particular places and people and to interrogate Jennings’s contribution to these discussions through his films’ framing of the landscapes of modern Britain. My analysis of Jennings’s films helps us to understand the production and consumption of physical, social and cultural landscapes in the interwar, wartime and post-war period. It also draws out Jennings’s interest in the spaces and places produced by British modernisation and in the interplay between natural and cultural landscapes, that is, the interrelationship between the real and the representational. Other studies of Jennings’s films scrutinise their structure, symbolism and links to surrealism but not the spaces that shape, and are shaped by, the films’ exposition. This thesis is the first sustained analysis of Jennings’s cinematic landscapes and, with the exception of Kevin Jackson’s biography Humphrey Jennings (2004) and with the kind permission of Marie-Louise Jennings, it is the first critical study of Jennings’s films to draw on his personal papers and unpublished writings.
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Rhymer, Lucy Clare. "The political career of Humphrey, Duke of Gloucester, c.1413-1447." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/283863.
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Humphrey, Mitzi. "In Search of the Meandering Absolute: The Prints of Mitzi Humphrey." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd/4083.
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Art is more than just a bridge to (or a reflection of) the natural world; it is a natural force in itself. The author is a strong advocate of "artist's prints," prints which are conceived and printed by the artist. She believes that there is a natural sequence of actions and thoughts which cannot be approximated by the substitution of an artist/printer collaboration unless the artist is truly involved with the printer or assistant in every step of the decision-making and mark-making processes.
The prints of this series are not about realistic pictorial space; they are about interior space--that of the mind and the heart. The artist is interested in creating variations on a matrix, making one-of-a-kind prints or altered prints, even impure prints. Sometimes this work is investigative, instructive, meditative, or celebratory. This work is not printmaking in accord with the common notion of prints as exact replications of a picture from another medium for the sake of general availability. Nor is it printmaking in accord with the atelier concept of an artist-created print matrix editioned with the aid of professional print craftsmen.
On the contrary, the artist approaches printmaking as a form of experimentation and ritual, seeing the cosmic in the microcosmic. She says, "I strive to create unique prints which cannot reasonably be duplicated in other media by other people--or even at another time by me. I try to give meaning and definition to inchoate perceptions using art as visual metaphor."
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millard, frank. "Politics and the creation of memory;the afterlife of Humphrey Duke of Gloucester." Thesis, University College London (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529456.
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Merchant, Eleanor Kathleen. "'Doctissimus pater pastorum' : Laurence Humphrey and reformed humanist education in mid-Tudor England." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8618.
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Laurence Humphrey was acknowledged in his own day as a leading Protestant intellectual, Oxford pedagogue, and Latinist. In posterity however, he has been predominantly defined by his involvement in the ‘vestiarian controversy’ of the 1560s. This thesis proposes a revised view, which takes into account the significant educational contexts and concerns with which Humphrey was engaged before, during and after his Marian exile in Zurich and Basel. The thesis is divided into five chapters. Chapter One presents the fruits of new biographical research into Humphrey’s education and early adult life, his grounding in Protestant ideology, and the circumstances of his exile up until 1559. Relocated amongst the Rhineland’s finest scholar-printers, Humphrey immerses himself in the dual currents of European humanism and religion, a context that characterizes his earliest works. Chapter Two argues that Humphrey’s 1559 Interpretatio Linguarum evidences an international network of reformed scholars using Graeco-Latin translation theory to inform the development of vernacular literary culture. In discussing contemporary writers and their translations, Humphrey’s Latin work reveals itself as an intellectually central text of English vernacular culture. Chapter Three analyses the 1560 Optimates as an exposition of the pedagogical concept of the vir bonus, which Humphrey refashions for a new Elizabethan generation of English Protestant gentry. Chapter Four reprises the biographical narrative by following Humphrey’s return to the educational environment of early Elizabethan Oxford. The period from 1560 to the mid-1570s sees the consolidation of Humphrey’s reputation as one of the leading reformist educators of his generation. Chapter Five looks at the 1573 Vita Iuelli. Referencing a range of literary traditions, Humphrey presents Bishop John Jewel as the fulfilment of the ideals of reformed humanist education. This thesis re-introduces Humphrey as an important figure in the merged intellectual, multi-lingual, reforming currents of humanism and religion that characterize the mid-Tudor moment.
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Sobral, Luís Felipe Bueno 1980. "Bogart duplo de Bogart = pistas da persona cinematográfica de Humphrey Bogart, 1941-46." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282020.
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Orientador: Heloisa Andre PontesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-15T23:06:51Z (GMT). No. of bitstreams: 1 Sobral_LuisFelipeBueno_M.pdf: 2583169 bytes, checksum: b202082b75528544c470fe263c30c39d (MD5) Previous issue date: 2010
Resumo: As páginas seguintes consistem em uma etnografia histórica do olhar hollywoodiano. Em particular, descreve a sedimentação da persona cinematográfica de Humphrey Bogart (1899-1957) na primeira metade da década de 1940. O foco analítico é duplo: por um lado, está atento às relações de gênero inscritas em suas performances; por outro, procura relacionar sua trajetória social e a estrutura de produção industrial de Hollywood. Uma descontinuidade interpõe-se entre a interpretação do artista diante da câmera e sua imagem projetada na tela: o trabalho de vários outros profissionais (roteirista, técnico de som, editor etc.) completa o processo até o lançamento do filme, quando é avaliado por público e crítica. No cinema, a performance artística submete-se à câmera, que executa a mediação de todo o processo; ao aparato técnico corresponde a persona cinematográfica, que não se resume nem ao intérprete nem aos seus personagens: ao mesmo tempo em que une estes - delineando um modelo de gênero -, também proporciona àquele o estabelecimento social na estrutura de produção. O caso de Bogart oferece um recorte circunscrito porque sua persona emergiu de forma linear em meia década (após anos de investimento), quando Hollywood se organizava em um modo de produção denominado sistema de estúdios, no qual cada estúdio desenvolvia um estilo próprio e controlava toda a produção industrial de um filme, do roteiro à exibição - e, portanto, a autonomia relativa do artista era estreitíssima. Através de uma série de pistas oriundas de fontes diversas (filmes, literatura, biografias, historiografia), esta dissertação argumenta que experiência social e cultura visual são inseparáveis, defende que a persona de Bogart (símbolo canônico de masculinidade) alimentava-se da tensão dramática entre a indiferença aparente e a vulnerabilidade súbita, e, finalmente, demonstra que a relação entre Bogart e sua persona caracterizava-se pela alteridade
Abstract: The following pages consist in a historical ethnography of the Hollywood eye. In particular, it describes the sedimentation of the screen persona of Humphrey Bogart (1899- 1957) in the first half of the 1940s. The analytical focus is twofold: on the one hand, pays attention to the gender relations inscribed in his performances; on the other, seeks to relate his social trajectory and Hollywood's industrial structure of production. A discontinuity goes between an artist's interpretation in front of the camera and his/her correspondent projected image on the screen: the work of numerous other professionals (screenwriter, sound technician, editor etc.) completes the process until the film release, when it is evaluated by public and critic. In cinema, the artistic performance is submited to the camera, that executes the mediation of the entire process; to the technical apparatus corresponds the screen persona, that does not resume itself to the interpreter nor his/her characters: at the same time that unites these - outlining a model of gender - it also supplies to the former the social setting in the structure of production. The Bogart case offers a circumscribed picture because his persona emerged in a linear form in half a decade (after years of investment), when Hollywood organized itself through a mode of production called studio system, where each studio developed its own style and controlled the entire industrial production of a film, from screenplay to exhibition - and therefore the relative autonomy of the artist was very narrow. Through a series of clues collected from various sources (films, literature, biographies, historiography), this dissertation argues that social experience and visual culture are inseparable, defends that Bogart's persona (a canonical symbol of masculinity) was nourished by the dramatic tension between the apparent indifference and the sudden vulnerability, and finally demonstrates that the relation between Bogart and his persona was characterized by otherness
Mestrado
Antropologia Social
Mestre em Antropologia Social
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Main, Lesley. "The dances of Doris Humphrey : an investigation into directorial process and co-authorship." Thesis, University of Roehampton, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515273.
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Doyle, John F. (John Francis). "Humphrey Duke of Gloucester and the Introduction of Italian Humanism in Fifteenth Century England." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc501124/.
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Duke Humphrey of Gloucester is often given credit for the renaissance of English learning in the fifteenth century. It is true that the donations of books he made to Oxford, his patronage of English and Italian writers, and his patronage of administrators who had humanist training resulted in the transmittal of humanist values to England. But is it also true that these accomplishments were mainly the by-product of his self-aggrandizing style, rather than a conscious effort on the duke's part to promote learning. The duke, however, does deserve recognition for what he unwittingly may have done.
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Logan, Philip C. "The aesthetic and intellectual influences on the documentary films of Humphrey Jennings, 1907-1942." Thesis, Sheffield Hallam University, 2000. http://shura.shu.ac.uk/19979/.
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Discussions about the early films of Humphrey Jennings refer to his artistic and intellectual background to explain the nature and scope of his film work. Such discussions, however, tend to rely on highly selective and partial information from existing accounts. This tendency has over time created a form of orthodox opinion, an opinion which tends to regard Jennings as an artist and intellectual who, prior to full-time involvement with film, collaborated and worked on a diverse series of artistic and intellectual projects spread across a wide range of subjects and disciplines. These activities are seen as symptomatic of a mind which could not remain focussed on one particular endeavour. However Jennings` early wartime films express in quintessential form many of his ideas, and through a distinctive form of poetic expression celebrate both the civilian response to and the need for national unity under the threat of invasion. The aim of this thesis is to revise the existing understanding of Jennings' artistic and intellectual background and challenge the prevailing interpretations of his early propaganda films between 1939 and 1942. It is hoped to reveal how his artistic and intellectual pursuits and his film work represent a sustained and coherent intellectual and artistic exercise focussed on the nature of artistic technique. This focus dates from the activities of his parents and continues through his educational experiences at school and university. Simultaneously this engagement with the arts was informed and influenced by contemporary economic, social, cultural and political events. It is these factors which inform the nature and scope of his filmwork. In artistic, intellectual and political terms the series of films Jennings produced and directed between 1939 and 1942 represent in style and form a fundamental challenge to John Grierson's understanding of the meaning, nature and role of the documentary and propaganda film. Jennings' challenge to the Griersonian ideal of documentary film also contests the political meaning behind both pre-war documentary and wartime propaganda notions of national unity and the future post war settlement.
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Marsh, Deborah. "Humphrey Newton of Newton and Pownall (1466-1536) : a gentleman of Cheshire and his commonplace book." Thesis, Keele University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283257.
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Kassel, Elena von. "Poésie et sciences sociales, sources du documentaire anglais des années 1930-1950 : l'exemple de Humphrey Jennings." Paris 10, 2003. http://www.theses.fr/2003PA100074.
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L'introduction discute de l'oeuvre de Humphrey Jennings (1907-1950), les ouvrages le concernant, et sa méconnaissance relative en France. La première partie évoque la vie de Jennings, ses engagements artistiques et littéraires, y compris dans le surréalisme anglais, la fondation de Mass Observation et son oeuvre sur la révolution industrielle, Pandaemonium. La seconde partie traite de Jennings cinéaste, en commençant par une courte histoire du mouvement documentaire britannique et les premières expériences de Jennings au cinéma. Quand la Seconde Guerre mondiale éclate, Jennings s'engage totalement en réalisant des films de propagande. Mais, s'inspirant de la tradition anglaise, ses documentaires poétiques touchent profondément les peuples et remontent leur moral ; ils demeurent aujourd'hui l'un des témoignages les plus émouvants de cette époque. Suivent des analyses détaillées des films. Jennings est mort accidentellement en 1950, mais son travail d'après guerre est contesté. Certains pensent même que l'ensemble de son oeuvre n'a qu'un intérêt circonstanciel. Notre thèse montre que l'on en est loin et que l'oeuvre de Jennings poète peintre et cinéaste est une oeuvre inestimableThe introduction focuses on Humphrey Jennings' (1907-1950) accomplishments, and what studies have been done on him, and how he is relatively unknown in France. The first part evokes Jennings' life, his literary and artistic engagements, including the crucial roles he played in the British surrealist movement, the founding of Mass Observation and his compilation on the Industrial Revolution, Pandaemonium. The second part is about Jennings the filmmaker. It begins with a short history of the British documentary film movement and Jennings' first films. With the outbreak of the Second World War, Jennings devoted himself to making propaganda films. Drawing from British tradition, these poetic documentaries had a profound effect on civilians and raised their moral. Today, they remain the most moving and true accounts of that time. Detailed analysis of these films follow. Jennings died accidentally in 1950. But his work is underrated. Some critics even believing his reputation to depend solely on the exceptional circumstances of the war. This thesis assumes the total of Jennings' work as poet, painter and filmmaker in order to establish his place as major artist of the twentieth century
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Jordan, Stephanie Anne. "Music as structural basis in the choreography of Doris Humphrey : with reference to Humphrey's use of music visualization techniques and musical/choreographic counterpoint and the historical context of her work." Thesis, Goldsmiths College (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295140.
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Mphahlele, Humphrey. "An evaluation of land use and management systems by local municipalities within the Sedibeng District / Humphrey Mphahlele." Thesis, North-West University, 2006. http://hdl.handle.net/10394/2515.
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Webster, Madeline. "“An Impossible Job”: The Effect of the Vice Presidency on the Legacies of Lyndon B. Johnson and Hubert H. Humphrey." Thesis, Boston College, 2017. http://hdl.handle.net/2345/bc-ir:107496.
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Thesis advisor: Seth JacobsThe vice presidencies of Lyndon B. Johnson and Humphrey H. Humphrey were momentous stages in both of their political careers. After leaving the position of Senate majority leader to become John F. Kennedy’s vice president, Johnson underwent a swift, total decrease in political efficacy. Those dark years impacted how he tackled the presidency, particularly in the handling of his own vice president. As Johnson’s vice president, Humphrey also watched the political power he had accrued as Senate majority whip evaporate. In an attempt to impress Johnson, Humphrey overcompensated and became a disciple for the Johnson administration’s unpopular war in Vietnam, destroying any chance Humphrey had to further his political career past the vice presidency. I argue that while their terms as vice presidents—Johnson’s was less than three years long and Humphrey’s was four years—were short periods of time in the grand scheme of their long careers, they were highly consequential for both men and severely damaging for Humphrey
Thesis (BA) — Boston College, 2017
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: History
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Ajonina, Humphrey Njeatih [Verfasser], and Christian [Akademischer Betreuer] Betzler. "Evolution of Cretaceous sediments in the Mamfe Basin, SW Cameroon: Depositional Environments, Palynostratigraphy, and Paleogeography / Humphrey Njeatih Ajonina ; Betreuer: Christian Betzler." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2016. http://d-nb.info/1122482213/34.
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Hawley, Cody Ryan. "The Uses of Community in Modern American Rhetoric." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7680.
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This study examines the functions of the term “community” in American social and political rhetoric. I contend that community serves as a god-term, or expression of value and order, which rhetors use to motivate actions, endorse values, include/exclude persons, and compensate for modern losses. Informed by the philosophy of Kenneth Burke, I explore the general features of “rhetorics of community,” including community’s ambiguity and status as an automatic good, the relationship between community and modernity, the myth of communal loss, and the uses of community as a site of political unity and contest. I analyze the writings of John Humphrey Noyes, Jane Addams, and the Southern Agrarians as paradigm cases of utopian, progressive, and traditionalist rhetorics respectively, and I discuss how community is constructed in order to navigate the tension between self and society, correct for the failures of modern individualism, and propose competing visions of the social order.
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Altamimi, Bader Abdulaziz S. "A corpus-driven investigation of translator style : a study of Humphrey Davies' Arabic-English translations of Midaq Alley and The Yacoubian Building." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16496/.
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The aim of this study is to isolate the individual stylistic traits of one translator, Humphrey Davies, within the framework of descriptive translation studies. Davies’ English translation of the Arabic novel Midaq Alley is compared, using a corpus-driven approach based on keyword lists, to another English translation of the same source text by another translator, Trevor Legassick. By making this initial corpus-driven comparison and subsequently generating a keyword list for Davies’ Midaq Alley, the stylistic features regarded as indicative of the translator style and meriting further investigation declared themselves and, accordingly, hypotheses regarding Davies’ translator style were constructed and then tested by carrying out a thorough corpus-based investigation. A consistent pattern of choices was identified in the translation of four types of words: culture-specific items, including culture-specific common expressions and proper nouns; terms of respect; reporting verbs and function words, including the contraction ‘’d’ and ‘that’ as complementizer, relativizer, demonstrative pronoun and demonstrative determiner. For lexical words, the results show that Davies’ tends to transliterate foreign words and supplement them with extratextual gloss, reproduces the structures of proper nouns, preserves the terms of respect by literal translation and translates literally the reporting verbs. Regarding function words, Davies tends to make heavy use of contractions and all types of ‘that’. Generally, the findings show that Davies stays close to the source text compared to Legassick who moves much further from the source text. The identified stylistic features are investigated in Davies’ English translation of another Arabic novel (The Yacoubian Building) to check whether these features are stable across one of his other translations. The findings show that most of the features revealed through the comparison of Davies to Legassick are stable across the Davies’ two translations. Despite limitations, it is anticipated that the approach developed in this study will be fruitfully adapted for further rigorous and replicable analysis of translator style.
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Morhenn, Humphrey [Verfasser], Winfried [Akademischer Betreuer] Petry, Tobias [Akademischer Betreuer] Unruh, and Martin [Akademischer Betreuer] Zacharias. "Dynamics at the Onset of Self-Diffusion in Molecular Liquids / Humphrey Morhenn. Gutachter: Winfried Petry ; Martin Zacharias ; Tobias Unruh. Betreuer: Winfried Petry ; Tobias Unruh." München : Universitätsbibliothek der TU München, 2014. http://d-nb.info/1048176037/34.
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Delamare, Virginie. "La communauté d'Oneida : 1848-1881." Rouen, 2001. http://www.theses.fr/2001ROUEL413.
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L'étude de la communauté d'Oneida s'articule autour de la notion d'utopie religieuse. Il conviendra de définir la teneur du système communautaire établi par son père fondateur, John Humphrey Noyes, le type de relation sexuelle prévalent dans la communauté d'Oneida : société patriarcale déguisée teintée de féminisme ou bien tentative réussie de rééquilibrage des relations entre les hommes et les femmes de la communauté ?The study of the Oneida Community deals with the notion of religious utopia. Il will be proper to define the gist of the community system get up by its founder father, John Humphrey Noyes, the type of sexual relation prevailing at the Oneida Community : disguised patriarchal society tinged with feminism or successful attempt at finding a new equilibrium between men and women
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Marquié, Hélène. "Métaphores surréalistes dans des imaginaires féminins : quêtes, seuils et suspensions : souffles du surréel au travers d'espaces picturaux et chorégraphiques : parcours dans les oeuvres de Leonora Carrington, Leonor Fini, Dorothea Tanning, Martha Graham, Doris Humphrey et Carolyn Carlson." Paris 8, 2000. http://www.theses.fr/2000PA081713.
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Le propos est de mettre en lumiere au travers des univers de trois femmes peintres proches du surrealisme leonora carrington, leonor fini, dorothea tanning -, et de trois choregraphes et danseuses contemporaines martha graham, doris humphrey, carolyn carlson -, des correlations en terme de processus et de dynamismes createurs, ainsi que de contenus. De relever des projets et des trajets paralleles ou convergents, dans la facon dont l'imaginaire se constitue et se realise. De reperer, dans la mise en oeuvre de principes similaires, les expressions differentes resultant de la specificite de chaque art, pictural ou choregraphique. Ces processus sont rapportes au surrealisme, non pas en tant que mouvement historique, mais en tant qu'esthetique et ethique, pensee dialectique qui refuse de separer le reel de l'imaginaire, la poetique de la politique. Deux perspectives servent a eclairer le champ etudie et a faire surgir des questionnements. Celle de la danse, qui definit une attitude esthetique et critique a partir du champ choregraphique, en termes de mouvements et de processus. Une perspective feministe qui tient compte de la specificite de l'experience creatrice des femmes au sein decadres referentiels et contextuels dont les structures appartiennent a un systeme qui organise des rapports de domination des hommes sur les femmes. Le surrealisme offre ici un champ specifique et paradoxal ou ces structures revetent une forme particuliere, les rapports restant fondamentalement inchanges. Il s'agit donc de questionner certains referents, et de voir de quelle facon ils sont mis enjeu, ou de-joues par les femmes artistes.
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Taylor, Jeffrey L. "From radical to respectable : the declining influence of Jefferson's political thought on twentieth-century American liberalism /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841189.
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Ross, Catherine Elizabeth. "Rivals in the public sphere : Humphry Davy and romantic poets /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Leathlean, Howard. "H.N.H.: the work of Henry Noel Humphreys." Thesis, University of Reading, 1989. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.748758.
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Amin, W. "The poetry and science of Humphry Davy." Thesis, University of Salford, 2013. http://usir.salford.ac.uk/30795/.
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Drawing on the wealth of manuscript material in his personal notebooks, my thesis presents Humphry Davy through the lens of his published and manuscript poetry. Having transcribed and examined Davy’s poems in groups and from a literary critical and historical perspective, I argue that his poems are historically contingent on the mutability of his career, and in them, Davy adopts and redeploys literary, scientific and medical ideas to confirm his imaginative and controlled emotional connection with nature. Chapter One traces the way in which Davy expresses his youthful ambitions in his published poetry through a nexus of literary and medical ideas. Chapter Two compares Davy’s manuscript poetry with his physiological work at Bristol to reveal that he explores the different ways in which the sublime can be both transcendent and physiological. Chapter Three examines Davy’s use of rhetoric in his lectures on chemistry and the lyric in his poems on Anna, wife of Thomas Beddoes. Chapter Four contrasts Davy’s poetry written during his first and second trips on the Continent. The natural landscapes, which in 1813 are imbued with Davy’s confident perspective as a natural philosopher who can find the harmonies in nature, later become a means for reassurance on the workings of the mind and body. Chapter Five examines a notebook used from 1827 as Davy’s final act to gather some of his poems into a group. In many of his new and hesitant poems, Davy considers the possibility of immortality and conveys his Platonist beliefs. By reading Davy’s poetry as a product of the literary and scientific culture of the Romantic period, my thesis aims to broaden awareness of Davy’s knowledge of complex ideas in literature, science and medicine, and the common cultural stimuli of literary and scientific figures in the late eighteenth and early nineteenth century.
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Green, D. "Narrative patterning in the novels of Emyr Humphreys." Thesis, Swansea University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.637091.
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This thesis seeks to discuss some of the ways narrative patterning is achieved in the novels of Emyr Humphreys. It examines first the ways in which the titles and epigraphs are used before suggesting ways in which the real-life experiences of the author help shape the fiction. The following chapters discuss the novels in a relatively chronological order, grouping together the early novels (the first six), A Toy Epic and Outside the House of Baal, the seven novel Land of the Living sequence, and finally the independent novels written late in the author's career, in order to detect possible reasons for changes occurring. The discussion centres on the ways in which Humphreys uses pre-existing texts in order to give form and pattern to his own. It finds that, although the author begins by using literature, myth and history in a variety of ways and to a variety of extents, as the author increases his use of the novels to discuss the situation of Wales and what it means to be Welsh, the use of myth (particularly but not exclusively Celtic myth) and history take precedence and in the best work are used in different but complementary ways. The discussion includes the effect on patterning in the novel of aiming at a variety of genres and audiences. The later novels in particular are found to have conflicting interests when postmodern techniques and post-colonial attitudes collide with educational and nationalistic aims.
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Dammon, Hope Prickett Stephen. "Journeying toward the beatific vision the uses and abuses of Dante in Robert Elsmere /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5106.
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Loader, Helen. "Mrs Humphry Ward (1851-1920) : a Greenian educator." Thesis, University of Winchester, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.698122.
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This thesis draws together a range of Mrs Humphry Ward’s writing alongside her activities as a reformer to reposition her as a Greenian educator. Education is conceived in terms of Thomas Hill Green’s (1836-1882) idealist philosophy as the progression towards a better society through the development of the individual. The granddaughter of Dr Arnold of Rugby, Mrs Humphry Ward was a famous English novelist whose reputation was established through her novel about religious doubt Robert Elsmerre (1888), which brought the ideas of the Oxford philosopher, T.H. Green, to the attention of the public. The novel explored his belief that theory and practice must come together within un-dogmatic interpretations of Christianity for the benefit of society. Throughout her life, Mrs Humphry Ward pursued and pioneered educational reforms but her achievements have been overshadowed by her controversial role as the leader of the anti-suffrage movement. Following a chapter introducing the idealist principles underpinning Green’s philosophy and suggesting reasons why Mrs Humphry Ward can be considered among his pupils, disciples and followers, there are three substantive chapters. Each of these chapters has a separate but inter-related focus on religious, social and political aspects of her life and work as a writer and reformer; tracing the extent to which Green’s philosophical principles are discernible in her life and work. Within a gender history methodology, the thesis acknowledges the varied degrees to which Mrs Humphry Ward was simultaneously able to challenge and be complicit with power structures, which contrived to limit and control middle-class women’s ability to engage with the religious, social and political issues and debates affecting society. The thesis demonstrates Mrs Humphry Ward’s significance within histories of education and argues that the tensions within her life and work can be better understood and appreciated by viewing her as a Greenian educator.
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Baker, Marianne Lind. "Humphry Davy: Science, Authorship, and the Changing Romantic." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2647.
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In the mid to late 1700s, men of letters became more and more interested in the natural world. From studies in astronomy to biology, chemistry, and medicine, these "philosophers" pioneered what would become our current scientific categories. While the significance of their contributions to these fields has been widely appreciated historically, the interconnection between these men and their literary counterparts has not. A study of the "Romantic man of science" reveals how much that figure has in common with the traditional "Romantic" literary figure embodied by poets like William Wordsworth and Samuel Taylor Coleridge. This thesis interrogates connections between Romantic literature and science by examining the figure of the "Romantic" author. In his 1969 essay "What is an Author?" Foucault called into question the way we think about authorship. Foucault states that before the late eighteenth-century, what we call "literary" texts "were accepted, put into circulation and valorized without any question about the identity of the author" (108). Simultaneously, scientific texts "were accepted in the Middle Ages, [. . .] only when marked with the name of their author" (109). Foucault argues that norms of authorship underwent a reversal in the eighteenth century. The result of this shift is that "literary discourses came to be accepted only when endowed with the author function" while in the sciences, the author function faded away (109). A case study of the scientist Humphry Davy disrupts Foucault's suggestion that a total reversal in the workings of the author function was achieved by the Romantic period. I argue that Davy is an exception to Foucault's history of authorship and that Davy's authorial identity in the sciences as "the public man of science" is equal to the author function of literary figures of the same period. Davy pioneered the "public man of science," a figure who corresponds nearly perfectly with the emerging figure of the "author" in the literary sphere. Ultimately we see Davy as a figure who embodies and reconstructs the "Romantic I" and requires us to reconsider the category of scientific authorship and the figure of the scientist as author.
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Smith, Jenna. "Spectacular lesbians : visual histories in Winterson, Waters, and Humphreys." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99392.
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As many theorists have pointed out, queer history is often erased within traditional, heteronormative historiography. Consequently, historians cannot recount the gay and lesbian past by conventional techniques of evidence and documentation. Instead they recuperate and reinvent queer history using strategies normally associated with the writing of fiction. This thesis examines three works of late twentieth century lesbian historical fiction that rewrite the past in order to render visible queer intimacy, sexuality, and desire. Jeanette Winterson's The Passion (1987), Sarah Waters' Tipping the Velvet (1998), and Helen Humphreys' Leaving Earth (1997) employ spectacularly visible lesbian heroines who symbolically reverse lesbian invisibility in mainstream historical narratives by displaying themselves as public figures or stage performers. There are ongoing debates in contemporary queer theory and historiography about the extent to which it is politically useful to privilege highly visible individuals when recovering the marginalized gay and lesbian past. Winterson's, Waters', and Humphreys' novels enact this debate, and exemplify a trend in contemporary lesbian historical fiction in which lesbian heroines are empowered by their ability to control their own visibility and to ensure the perpetuation of their history.
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Buci, Júlia Rabello. "Humphry Davy e a questão da classificação do potássio e do sódio." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/81/81132/tde-13082012-112515/.
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Este trabalho aborda as questões acerca da definição do que seria um metal, que se seguiram à preparação dos metais alcalinos (sódio e potássio) por Humphry Davy (1778 - 1829). O estudo de caso histórico, enfocando a preparação dessas novas substâncias - as quais apresentavam propriedades bastante diferentes de todos os metais conhecidos na época - pode dar margem a uma série de reflexões úteis para os educadores em química da atualidade, acerca do processo de construção do conhecimento científico. Seguindo as orientações da nova historiografia da ciência, procurou-se caracterizar os debates em torno do trabalho de Davy de acordo com o contexto em que se desenvolveram. Para isso, foram consultadas fontes primárias, tanto de textos que possivelmente serviram de fontes para Davy - como o Tratado Elementar de Química de A. L. Lavoisier (2007; edição original, 1789) - quanto de textos do próprio Davy (em especial, suas Bakerian Conferences) e seus contemporâneos. O trabalho de Davy deve ser entendido no contexto do desenvolvimento da \"nova química\" proposta por Lavoisier e seu grupo no final do século XVIII. Nesse panorama teórico, surgiu um novo instrumento de análise química, proveniente dos estudos sobre a eletricidade: a pilha elétrica, construída pioneiramente por Alessandro Volta. Em seu laboratório na Royal Institution de Londres, Davy realizou uma série de investigações a respeito de efeitos químicos resultantes da ação de pilhas elétricas. Convencido do grande potencial analítico das pilhas, Davy acreditou ser possível decompor substâncias que não eram decomponíveis pelos métodos químicos existentes até então - como era o caso dos chamados \"álcalis fixos\": a potassa e a soda. Em sua Bakerian Conference de novembro de 1807, Davy comunicou à Royal Society que havia conseguido decompor a potassa e a soda, obtendo duas novas substâncias, muito pouco densas e extremamente reativas. Davy apresentou em detalhes as propriedades dessas novas substâncias, concluindo que se tratava de dois novos metais, que se combinavam ao oxigênio para constituir os álcalis fixos. Alguns químicos contemporâneos de Davy, como os franceses J. L. Gay-Lussac e L. J. Thenard, não acreditaram a princípio que as novas substâncias fossem metais, suspeitando que seriam compostos contendo hidrogênio. Os debates que se seguiram ilustram bem a sobrevivência de ideias semelhantes à teoria do flogístico, mesmo no panorama da química pós-Lavoisier. Assim, este estudo de caso pode mostrar aos educadores em química, dos diferentes níveis de ensino, alguns aspectos da complexidade da construção do conhecimento científico. A incorporação dessas ideias à prática docente pode levar a um ensino de ciências mais condizente com seus objetivos na atualidade.This work addresses the issues concerning the definition of metal, which followed the preparation of the alkali metals (sodium and potassium) by Humphry Davy (1778 - 1829). This historical case study, focusing on the preparation of the two new substances - with properties not presented by any metals known at the time - can give rise to a series of useful reflections for present-day educators in chemistry, concerning the construction of scientific knowledge. Following the guidelines of the new historiography of science, we sought to characterize the debate surrounding the work of Davy according to the context in which it developed. To this purpose, primary sources were consulted, including texts that possibly served as sources for Davy - such as A. L. Lavoisier\'s Elements of Chemistry (Portuguese translation, 2007; original edition, 1789) -, as well as Davy\'s (in particular, his Bakerian Conferences) and his contemporaries\' texts. Davy\'s work must be understood in the context of the development of the \"new chemistry\" proposed by Lavoisier and his group in the late eighteenth century. In this theoretical scenario, a new tool for chemical analysis emerged from the studies about electricity: Alessandro Volta\'s electric pile. In his laboratory at the Royal Institution of London, Davy made a series of investigations on the chemical effects produced by electric batteries. Convinced of the great analytical potential of batteries, Davy believed to be possible to decompose substances that so far resisted decomposition by chemical methods - such as the so-called \"fixed alkalis\": potash and soda. In his Bakerian Conference delivered on November 1807, Davy communicated the Royal Society he had managed to decompose potash and soda, obtaining two new, low-density, extremely reactive substances. Davy described the properties of the new substances in detail, concluding that they were two new metals, which combined with oxygen to form the fixed alkalis. Some contemporary chemists, such as the French J. L. Gay-Lussac and L. J. Thenard, did not believe at first that the new substances were metals, suspecting they were hydrogen compounds. The discussions that followed illustrate the survival of ideas similar to the phlogiston theory, even in post-Lavoisierian chemistry. Thus, this case study can show chemical educators some aspects of the complexity of the construction of scientific knowledge. The incorporation of these ideas to teaching practice can lead to a science education more suited to present-day goals.
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Vanuxeem, Demoulière Marie-Claude. "Crise d'identité dans le roman d'expression anglaise de l'écrivain gallois Emyr Humphreys." Brest, 1996. http://www.theses.fr/1996BRES1005.
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Le sujet de cette thèse envisage les problèmes d'identité individuels et collectifs que rencontrent la société et la culture galloises dans la période de 1920-1980, essentiellement dans les communautes non-conformistes du nord du Pays de Galles. L'ecrivain Emyr Humphreys présente en effet aux gallois leurs propres troubles identitaires en utilisant l'outil pédagogique du roman. Le choix de la problématique s'est orienté sur "la réponse à la crise d'identité au Pays de Galles apportée par Emyr Humphreys dans ses romans". Une présentation de l'oeuvre de l'écrivain permet de déterminer sa position dans la littérature galloise et de définir sa technique littéraire. L'analyse de la crise d'identité porte en premier lieu sur les dimensions de l'anglicisation et des différences internes au Pays de Galles. En se référant à la spécificité galloise, elle est complétée par une analyse des référents identitaires gallois principaux : la littérature, la nation, la langue, la culture, la religion, la morale et le mythe. Pour chaque dimension ou référent, une réponse locale de l'écrivain à la crise d'identité est apportée. Une synthèse détermine finalement la réponse globale de l'écrivain à la crise d'identitéIn this thesis, we have considered the individual and collective identity problems of the Welsh society and culture from the twenties (1920) up to the eighties (1980) within the north Wales non conformist communities mainly. The own identity difficulties of the welsh are in fact well-set out by the writer Emyr Humphreys who uses the novel as an appropriate pedagogical tool. The problematic issue we have given importance to deals with "the identity crisis answer in wales as brought up by Emyr Humphreys in his novels". We have determined the writer's position in welsh literature and defined his literary technique through a study of his work. First of all, the analysis of the identity crisis is concerned with the dimensions of anglicization and internal differences in Wales. Then, through the reference to welshness, it is supplemented by an analysis of the main Welsh identity referents : literature, nation, language, culture, religion, morale and myth. So, the writer's specific answers to the identity crisis are set out according to each dimension or referent. Finally, a synthesis gives us the writer's overall answer to the identity crisis
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Holt, William Ian. "Proof of Existence and Uniqueness of Simple Root Systems, Clarified." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2797.
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Humphreys (1990) defines a simple root system for a finite reflection group which is an important concept fundamental to the understanding of reflection groups as well as Coxeter complexes and Coxeter groups. The proof that Humphreys uses to establish the existence and uniqueness of these systems follows an indirect method that left portions of the proof as exercises to the reader. I present a more complete and direct proof using different organization and methods.
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Fryer, Hazel. "Humphry Repton (1752-1818) : a review of his work as a landscape gardener." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411459.
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Bindslev, Anne M. "Mrs. Humphry Ward a study in late-Victorian feminine consciousness and creative expression /." Doctoral thesis, Stockholm, Sweden : Almqvist & Wiksell International, 1985. http://books.google.com/books?id=l3ZbAAAAMAAJ.
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Leissner, Debra Holt. "The Gender of Time in the Eighteenth-century English Novel." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278321/.
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This study takes a structuralist approach to the development of the novel, arguing that eighteenth-century writers build progressive narrative by rendering abstract, then conflating, literary theories of gendered time that originate in the Renaissance with seventeenth-century scientific theories of motion. I argue that writers from the Renaissance through the eighteenth century generate and regulate progress-as-product in their narratives through gendered constructions of time that corresponded to the generation and regulation of economic, political, and social progress brought about by developing capitalism.
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Humphries, Seth David. "Carbon dioxide sequestration monitoring and verification via laser based detection system in the 2 micron band." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/humphries/HumphriesS1208.pdf.
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Carbon Dioxide (CO 2) is a known contributor to the green house gas effect. Emissions of CO 2 are rising as the global demand for inexpensive energy is placated through the consumption and combustion of fossil fuels. Carbon capture and sequestration (CCS) may provide a method to prevent CO 2 from being exhausted to the atmosphere. The carbon may be captured after fossil fuel combustion in a power plant and then stored in a long term facility such as a deep geologic feature. The ability to verify the integrity of carbon storage at a location is key to the success of all CCS projects. A laser-based instrument has been built and tested at Montana State University (MSU) to measure CO 2 concentrations above a carbon storage location. The CO 2 Detection by Differential Absorption (CODDA) Instrument uses a temperature-tunable distributed feedback (DFB) laser diode that is capable of accessing a spectral region, 2.0027 to 2.0042 microns, that contains three CO 2 absorption lines and a water vapor absorption line. This instrument laser is aimed over an open-air, two-way path of about 100 m, allowing measurements of CO 2 concentrations to be made directly above a carbon dioxide release test site. The performance of the instrument for carbon sequestration site monitoring is studied using a newly developed CO 2 controlled release facility. The field and CO 2 releases are managed by the Zero Emissions Research Technology (ZERT) group at MSU. Two test injections were carried out through vertical wells simulating seepage up well paths. Three test injections were done as CO 2 escaped up through a slotted horizontal pipe simulating seepage up through geologic fault zones. The results from these 5 separate controlled release experiments over the course of three summers show that the CODDA Instrument is clearly capable of verifying the integrity of full-scale CO 2 storage operations.
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Acosta, Howard Martin Jr. "Enslaved subjectives| Masculinities and possession through the Louisiana Supreme Court case, Humphreys v. Utz ( unreported)." Thesis, Tulane University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1571590.
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The aims of this microhistory are to provide a narrative concerning the possession of Southern masculinities and to untangle the hegemonic, convergent, and divergent forms of these identities that played out on the plantation stages. As this essay will show, the plantation stages were the sites where Southern men engaged in their most heated and personal conflicts over what was theirs and why. This thesis brings gendered selves to the forefront of conflict: the Southern men at the top of the plantation system fought to maintain their power through continuous assertions and redefinitions of their hegemonic masculinities. Thus, any man, regardless of his class or his race, could rise to the top of this symbolic status quo—for even just an instant. What ensued was an increasingly unstable hierarchy imposed by the planter standing on top, the black slave chained to the bottom, and other white men fighting or subtly negotiating their way up. Though challenged daily by enslaved black men and women, as well as the white men in their employ, the success of planters' masculinities in possessing what opposed them kept their ideal alive.
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Oxenhall, Johan. "The Thin Man och Film Noir : En Jämförande Studie i Genre." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-66857.
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Syftet med den här uppsatsen är att genomföra en jämförande studie av den klassiska Hollywood-deckaren, representerad av de tre första filmerna i Thin Man-serien, och film noir. Analysen utgår ifrån Thin Man-filmerna The Thin Man (1934), After the Thin Man (1936) och Another Thin Man (1939) och noir filmerna The Maltese Falcon (1941), Laura (1944), The Big Sleep (1946) och Dark Passage (1947). Den grundläggande teorin för uppsatsen är genreteori och hur den klassiska Hollywood-deckarfilmen skilde sig ifrån film noir. Analysen är uppdelad i fyra kapitel, i vilka olika delar av innehållet i både Thin Man-filmerna och de fyra exemplen av film noir analyseras. De olika kapitlen handlar om manliga huvudkaraktären, den kvinnliga huvudkaraktären, hur de olika filmerna hanterade ämnen berörande sex och sexualitet och hur samhället och människorna representeras i filmerna. Slutsats omfattar sedan en diskussion om uppsatsens resultat och svaret på varför Thin Man-filmerna inte räknas som film noir.