Journal articles: 'Rhys'

1

Smith, Angela, and Coral Ann Howells. "Jean Rhys." Yearbook of English Studies 24 (1994): 341. http://dx.doi.org/10.2307/3507945.

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Seay, Joan, Carole Angier, and Arnold E. Davidson. "Jean Rhys." Tulsa Studies in Women's Literature 5, no. 2 (1986): 324. http://dx.doi.org/10.2307/464008.

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Chase, K., and Arnold E. Davidson. "Jean Rhys." World Literature Today 60, no. 3 (1986): 476. http://dx.doi.org/10.2307/40142312.

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Oliver, Sophie. "Fashion in Jean Rhys/Jean Rhys in Fashion." Modernist Cultures 11, no. 3 (November 2016): 312–30. http://dx.doi.org/10.3366/mod.2016.0143.

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This article proposes a reciprocal relationship between Jean Rhys's interwar fiction and the mass media that popularised her work in the 1960s and 1970s. Surveying the signs that Rhys and her writing had become fashionable – for example, press reviews and profiles, including in colour supplements and fashion magazines (even her own shoot), along with television adaptations of the work she wrote or set in the 1930s – the piece discusses how her postwar ‘readers’ interpreted this literature of an earlier period in a way that made sense of their own era. It argues that this use of the past to understand the contemporary moment follows the logic of fashion's cyclical temporality, and that it was prefigured in the fashion-conscious, modernist short stories of Rhys's first publication, The Left Bank (1927). The article ultimately suggests that Rhys's work was subject to fashion, an eventuality that it had always envisaged.

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Ibarra Cordero, Andrés. "Divided Self in Jean Rhys’ Voyage in the Dark." English Studies in Latin America: A Journal of Cultural and Literary Criticism, no. 4 (June 22, 2023): 1–11. http://dx.doi.org/10.7764/esla.61907.

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This paper discusses the problems of identity, time and place in Jean Rhys’ 1934 novel, Voyage in the Dark. It analyses Rhys’ aesthetics concerns in the creation of a subjective construction of the imperial metropole and the colonial space. In doing, this paper suggests how Rhys builds a bridge between contemporary modernist narrative techniques and a preceding Post-colonial perspective. The constant juxtaposition of time and place makes of Rhys’ protagonist, Anna Morgan, an elusive self. By means of this fragmented self, the author aims to reformulate colonial power relations and raise crucial questions about discourses of gender and national identity. As a result, this paper engages in a Post-colonial thought, arguing how issues about gender and race issues are articulated in Rhys’ novel. Rhys creates the subjectivity of a marginalized woman showing the effects of colonization and creating a metropolitan female identity based on fragmented and juxtaposed memories.

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Athill, Diana. "‘Editing Jean Rhys’." Women: A Cultural Review 23, no. 4 (December 2012): 401–7. http://dx.doi.org/10.1080/09574042.2012.743355.

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Lockridge, Kenneth. "Remembering Rhys Isaac." Rethinking History 16, no. 1 (March 2012): 17–25. http://dx.doi.org/10.1080/13642529.2012.647802.

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Stoddart, Simon, and Caroline Malone. "Rhys Maengwyn Jones." Antiquity 75, no. 290 (December 2001): 672–74. http://dx.doi.org/10.1017/s0003598x00101693.

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Davies, M., and P. Davies. "Glanmor Rhys Davies." BMJ 337, oct13 1 (October 13, 2008): a2057. http://dx.doi.org/10.1136/bmj.a2057.

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Renjith, Sreelakshmi. "Pleasure of Pain: Interrogating the Concept of Masochism in Jean Rhys’ Novels." Netsol: New Trends in Social and Liberal Sciences 8, no. 2 (December 20, 2023): 1–9. http://dx.doi.org/10.24819/netsol2023.8.

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The novels of Jean Rhys (1890-1979), published in the 1900s, championed a new corpus of feminist writing, with emphasis laid on the trials and tribulations of twentieth-century women. The psychological trauma experienced by women because of contemporary social codes, forms the prime concern of Rhys, presenting a unique way of tackling gender issues. This article explores the masochistic tendencies that constantly overshadow Rhys’ works in the context of female characters’ relishing their bleak, morbid life. Through a detailed analysis of her novels Quartet (1928) and Good Morning, Midnight (1939), the article argues that Rhys’ use of masochism is a literary device meant to emphasize the magnanimity of the female personae, as opposed to the sexually pervasive masochism identified by twentieth-century psychoanalytic theorists.

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Editorial Team, WER. "Interview with Garel Rhys." Welsh Economic Review 14, no. 2 (October 1, 2002): 34. http://dx.doi.org/10.18573/wer.192.

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Heatley, M. K. "Gareth David Rhys Jeremiah." BMJ 329, no. 7467 (September 16, 2004): 688.5. http://dx.doi.org/10.1136/bmj.329.7467.688-d.

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Smith, N. "Interview: Rhys Vaughan Williams." Engineering & Technology 10, no. 7 (August 1, 2015): 68–71. http://dx.doi.org/10.1049/et.2015.0741.

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Qurbonova N. R. and Khamdamova M. "Character Sketch Of Wide Sargasso Sea." American Journal of Science and Learning for Development 3, no. 1 (January 3, 2024): 1–3. http://dx.doi.org/10.51699/ajsld.v3i1.3267.

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Wide Sargasso Sea is a novel by Dominican British author Jean Rhys. It is a story of Antoinette Cosway and her descent into madness at the hands of the cold-hearted and money-hungry Mr. Rochester. It was first published in 1966 and the novel is divided into three parts. Adapted from Charlotte Bronte’s “Jane Eyre” Rhys wrote Wide Sargasso Sea in an attempt to explain Brote’s character, Berth Mason, the violently insane wife of Edward Rochester who was isolated from the rest of the world and locked in a third-floor room[1]. In this novel, Rhys illustrates the emotional trauma, Sexual repression, and social isolation that Antoinette faces at the hand of Rochester resulting in the loss of herself and her sanity.

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Gildersleeve, Jessica. "‘Ropes of stories’: Jean Rhys, Vivienne Cleven and Melissa Lucashenko." Queensland Review 22, no. 1 (May 7, 2015): 75–84. http://dx.doi.org/10.1017/qre.2015.7.

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Cultural narratives also function as lifelines in the work of another Queensland Indigenous woman writer, Vivienne Cleven. Cleven's novel,Bitin’ Back(2001), begins when Mavis Dooley's son, Nevil, announces that he is no longer Nevil, but the writer Jean Rhys. Although Nevil eventually reveals that he has simply been acting as a woman in order to understand the protagonist of the novel he is writing, his choice of Rhys in particular is significant. Nevil selected Jean Rhys as a signifier of his female role because, he explains:She's my favourite author; she wroteWide Sargasso Sea[1966]. She was ahead of her time; she wrote about society's underdogs; about rejection and the madness of isolation. I know it sounds all crazy to you, Ma, but this is about whoIam . . . [A] lot of people would never understand me and they wouldn't want to. (2001: 184)

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O'Toole, Mary, Jean Rhys, Francis Wyndham, Diana Melly, and Elgin W. Mellown. "The Letters of Jean Rhys." Tulsa Studies in Women's Literature 4, no. 1 (1985): 144. http://dx.doi.org/10.2307/463812.

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Thomas, Sue. "Jean Rhys Remembering the "Riot"." Anthurium A Caribbean Studies Journal 10, no. 1 (April 24, 2013): 6. http://dx.doi.org/10.33596/anth.223.

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Lequenne, Michel. "Une grande méconnue : Jean Rhys." Cahiers du féminisme 43, no. 1 (1987): 32–1. http://dx.doi.org/10.3406/cafem.1987.3718.

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Lopoukhine, Juliana, Frédéric Regard, and Kerry-Jane Wallart. "Introduction: Jean Rhys: Writing Precariously." Women: A Cultural Review 31, no. 2 (April 2, 2020): 131–37. http://dx.doi.org/10.1080/09574042.2020.1779435.

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Sagar, Aparajita, and Carole Angier. "Jean Rhys: Life and Work." World Literature Today 66, no. 3 (1992): 521. http://dx.doi.org/10.2307/40148470.

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Leake, Bernard Elgey. "Rhys Glyn Davies, 1923–2010." Proceedings of the Geologists' Association 122, no. 3 (June 2011): 530–32. http://dx.doi.org/10.1016/j.pgeola.2011.02.005.

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AL-Hasani, Hayder M. Saadan M. Ridha. "The Victimized Personas in Jean Rhys’s Wide Sargasso Sea and Charlotte Bronte’s Jane Eyre, Feminism Perspectives." Randwick International of Education and Linguistics Science Journal 4, no. 1 (March 31, 2023): 149–57. http://dx.doi.org/10.47175/rielsj.v4i1.636.

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The Wide Sargasso Sea - (1966). After years of contemplating Charlotte Bronte's Creole madwoman Bertha Mason, Jean Rhys set out to give voice to what is mute in Bronte’s Jane Eyre. Rhys lets Antoinette narrate her tale, revealing the "other side" of Bronte's story: what occurred in the years before and after Mr. Rochester's first marriage in Jamaica. As a twentieth-century West Indian writer, Rhys was able to expose implicit assumptions and ideals in Bronte's writing, such as imperialist England's attitude toward her colonies. The natural environment is a mirror of interior states of being and emotion, a remark on the novel's characterization and action. Even though the two books seem to be identical, they are not. Rhys flips Bronte's Victorian Romantic symbols, Wide Sargasso Sea appears more contemporary and realistic. This paper aims to highlight the victimized characters in both novels and gives a real comparison of the most victimized ones. Both works, respectively, show women fighting patriarchy and injustice at any historical time. From a feminist standpoint, this study compares, Bertha Mason, in the two narratives. Even though Wide Sargasso Sea is a forerunner to Jane Eyre, Rhys expressed a more progressive and revolutionary feminist viewpoint. Bertha Mason is a more victimized female than Jane of the patriarchal system and colonization. These feminist works have left an indelible effect on literature. Most literary commentators have concentrated on Jane, the protagonist of Charlotte Bronte's narrative, on the other hand, there is Bertha Mason, the insane lady on the upper floor imprisoned, as just Jane's evil twin. Bertha has received much less attention than Jane, not as an evil side of Jane, but as a stand-alone figure. This study compares Bertha Mason's representation in Jane Eyre and Wide Sargasso Sea. Bertha, who acts as an impediment to Jane's pleasure in Jane Eyre, is recognized as a victim of society.

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HARRIS, P. C., S. SCOTT, and R. A. EVANS. "Hand Exsanguination: Prospective Randomised Blind Study of an Established Versus a Modified Technique." Journal of Hand Surgery 27, no. 4 (August 2002): 361–62. http://dx.doi.org/10.1054/jhsb.2002.0772.

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One hundred patients undergoing elective hand surgery were randomized to have their hands exsanguinated by either the Rhys-Davies exsanguinator alone or the Rhys-Davies exsanguinator supplemented by a 500 ml bag of intravenous fluid which was placed in the patient’s palm as the exsanguinator was rolled up the limb. The quality of the exsanguination was assessed by the surgeon using a pre-defined subjective scoring system. There were no significant differences in the exsanguination scores of the two treatment groups.

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Buksdorf, Daniela. "La reescritura como herramienta de respuesta literaria." LA PALABRA, no. 27 (November 25, 2015): 95. http://dx.doi.org/10.19053/01218530.3997.

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En este artículo se presenta la reescritura como un ejercicio de respuesta y/o reivindicación, a partir del estudio y análisis de dos reescrituras - Una tempestad, de Aimé Césaire y Ancho mar de los Sargazos, de Jean Rhys- que tienen como hipotexto obras canónicas cuyo origen se encuentra en el Imperio Inglés. Césaire toma como texto de origen La tempestad de William Shakespeare, mientras que Rhys trabaja desde la novela victoriana Jane Eyre, de Charlotte Brontë. El objetivo de este artículo es identificar las respuestas a dichas obras canónicas, modificando el discurso presente en los escritos estudiados. Para esto, se revisarán los conceptos de canon y reescritura, se analizarán los textos reescritos desde su base canónica y se compararán ejes centrales de las novelas y tratamiento de personajes y contexto, para así detectar las cercanías y lejanías de las obras con los textos canónicos y poder identificar los discursos perseguidos por los autores de las reescrituras. Palabras clave: reescritura, canon, hegemonía, margen, Shakespeare, Césaire, Brontë, Rhys.

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Borthakur, Harshita. "Reading Oppression and Repression in Jean Rhys' Wide Sargasso Sea." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 233–37. http://dx.doi.org/10.22161/ijels.83.38.

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Annette and Antoinette were unwelcomed by all. They “were not in their (the white people’s) ranks” and “The Jamaican ladies never approved” (Rhys 3) of them. As Creoles, they had no root. Being of colour and not belonging to the prevalent binary structure, they never fit in. Neither the whites accepted nor the blacks. Throughout they were mistreated and suffered in the hands of both. While Charlotte Bronte's Jane Eyre (1847) represents the unfit monster in Bertha, Jean Rhys' Wide Sargasso Sea (1966) re-presents the story leading to Bertha's present state. The journey from innocence to madness was forced onto the ‘monster’ of Bronte's Jane Eyre through various means and Rhys’ counter to the gothic romance provides an opportunity to re-read the disregarded characters in their ‘natural’ habitat, far from the cold and gloomy London. Their marginalization is realized through Rhys. The plot arouses the curiosity of the reader, illuminates the unheard story of the Creoles and brings into light the possible reasons for their ‘downfall’. This paper is an attempt to make an inquiry of the oppression faced by the ‘Others’, its impact on their psyche and the repression that led them to the doorstep of insanity. Through the means of a discursive study, it delves into the reasons for their degraded physical and mental state. The study employs the theoretical lens of Edward Said’s “Other” and Sigmund Freud’s “Trauma” to reach the desired analysis.

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Niu, Yinghe. "Diaspora and Identity Construction: Memory Writing in Voyage in the Dark." Asian Journal of Social Science Studies 7, no. 9 (September 20, 2022): 47. http://dx.doi.org/10.20849/ajsss.v7i9.1296.

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Memory is the reflection of real-life situation and can present a sense of self and identity, which has always been an unavoidable element in the writings of diasporic writers. Taking the memory writing in Jane Rhys’ Voyage in the Dark as the entry point, this paper attempts to interpret the memory writings that appear in Voyage in the Dark by combining with cultural memory, landscape memory, and identity theory. By writing about the heroine Anna Morgan’s memories about the West Indies, Rhys analyzes how Anna tries to pursue her self-identity and the awakeness of herself. By walking through the two scenes and cultures and living in the gap between the two cultures, Anna tries to establish her identity and pursue a sense of belongings, looking for a spiritual homeland. Rhys uses modernist writing skills such as stream of consciousness and multiple spatial juxtaposition to make a memory writing in her novel, expressing the subversion of white Creole women to colonial discourse and the identification and construction of self-identity.

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Luo, Li. "A Symbolic Reading of Wide Sargasso Sea." Theory and Practice in Language Studies 8, no. 9 (September 1, 2018): 1221. http://dx.doi.org/10.17507/tpls.0809.17.

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Wide Sargasso Sea is acclaimed as the masterpiece of the British female writer Jean Rhys. In the novel, Rhys reshapes the mad wife of Rochester, Bertha Mason, who is imprisoned in the attic in Jane Eyre. With her own life experience as a white Creole and her experience living in West Indies as a blueprint, setting the abolition of slavery in West Indies in the nineteenth century as the background of the times, Rhys restores Antoinette a real state of survival under colonialism and patriarchy, with a sense of identity loss and confusion. The use of symbolism is one of the most outstanding styles in description. Owing to the use of symbolism, the historical situation of Jamaica under colonialism and patriarchy has been successfully displayed and the abstract moral themes have been vividly conveyed. This paper seeks to set symbolism as a theoretical basis, classify and analyze the symbols in the novel in accordance with their roles in revealing the themes, illustrating a complete interpretation of the complicated racial conflicts and patriarchy oppression in West Indies.

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Dzhumaylo, Olga А., and Tatiana S. Matiunina. "SKETCHES OF PARIS: “THE LEFT BANK AND OTHER STORIES” BY JEAN RHYS." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 2 (June 1, 2022): 120–33. http://dx.doi.org/10.18522/2415-8852-2022-2-120-133.

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The paper discusses the debut collection “The Left Bank and Other Stories” (1927) by Jean Rhys, the classic of modernist literature, which has not yet been published in Russian. The focus is on the specifics of artistic representation of Paris in a number of short stories/sketches of Rhys. Based on the reconstruction of the biographical context, the point is made on the writer’s selectivity of urban topography, aiming at deconstruction of the image of Parisian chic, especially the ideas shared by representatives of the bohemians who settled in Paris in the 1920s. A series of sketches can also be considered as an exercise in a minor form, allowing to gain confidence in working on larger canvases, the autobiographical novels Quartet (1929), Good Morning, Midnight (1939), united by common topoi of Paris. In the poetics of the texts by Rhys, elements of impressionistic art (representation of the momentary impression, subjectivity of view, attention to the color palette, etc.) and modernist writing (weakened eventfulness, attention to detail, incompleteness, epiphany, montage, narration in the form of “central consciousness”, leitmotives, etc.) are combined. Rhys introduces an element of irony over schematized pattern of images of Paris, creating a system of leitmotives united by the theme of disillusionment, the impenetrability of the inner world of a free artist (including a woman of an artistic temperament), and a city free from any normativity. In addition, the use of intertext is noted as a tool that makes it possible to introduce a new meaning into a sketch on a “given” topic.

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Garcia, Rosalia Angelita Neumann, and Mariana Lessa de Oliveira. "Intertextualidade, narradores e outras vozes em Wide Sargasso Sea, de Jean Rhys." Letras, no. 53 (December 22, 2016): 215. http://dx.doi.org/10.5902/2176148525091.

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O romance Wide Sargasso Sea, de Jean Rhys, é geralmente considerado uma resposta pós-colonial à obra Jane Eyre, de Charlotte Brontë. Embora ambos os romances apresentem conexões intertextuais, a estrutura narrativa de Rhys distancia sua obra da narrativa de Brontë, mas também a complementa. Assim, é o objetivo deste artigo estudar o nível de intertextualidade presente em Wide Sargasso Sea em comparação a Jane Eyre, além de apresentar análises sobre os tipos de narrador e focalização observados nas três unidades narrativas distintas da obra por meio de teorias sobre narradores homodiegéticos com base em Bal e Nieragden.

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BALLAL, M. S. G., N. EMMS, M. O’DONOGHUE, and T. R. REDFERN. "Rhys-Davies Exsanguinator: A Haven for Bacteria." Journal of Hand Surgery (European Volume) 32, no. 4 (August 2007): 452–56. http://dx.doi.org/10.1016/j.jhsb.2007.02.011.

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Serial swabs were taken from the inner and outer surfaces of a new Rhys-Davies exsanguinator before and after use on the limbs of patients to exsanguinate limbs prior to tourniquet inflation and surgery. Both surfaces of the exsanguinator showed increasing levels of contamination with bacterial colonisation with use starting from the first use. The organisms grown included potentially harmful bacteria such as Pseudomonas sp. The Rhys-Davies exsanguinator can harbour potentially harmful organisms and, thus, may raise the risk of infection transmission between patients when used without cleaning between uses. Methods of effective cleaning of the exsanguinator between uses are discussed.

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HEMMERECHTS, K. "'Wilde Saragossa Sea' van Jean Rhys." Spiegel der Letteren 29, no. 1 (January 1, 1987): 69–78. http://dx.doi.org/10.2143/sdl.29.1.2014508.

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Greg, Dening. "Rhys Isaac’s Landon Carters Uneasy Kingdom." History Australia 2, no. 1 (January 2005): 16–1. http://dx.doi.org/10.2104/ha040016.

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O’Shea, Johanna. "Jean Rhys: Twenty-First-Century Approaches." Contemporary Women's Writing 11, no. 1 (November 19, 2016): 129–31. http://dx.doi.org/10.1093/cww/vpw032.

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Harris, Maggie. "Coffee with Jean Rhys; Not Home." Wasafiri 34, no. 1 (January 2, 2019): 50–51. http://dx.doi.org/10.1080/02690055.2019.1540336.

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Thomas, Sue. "Jean Rhys Writing White Creole Childhoods." a/b: Auto/Biography Studies 19, no. 1-2 (January 2004): 203–21. http://dx.doi.org/10.1080/08989575.2004.10815329.

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Gwent, Rhys ap. "childcare counsel." Nursery World 2022, no. 1 (January 2, 2022): 44. http://dx.doi.org/10.12968/nuwa.2022.1.44.

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de Jong, Mathijs, Luis Seijo, Andries Meijerink, and Freddy T. Rabouw. "Resolving the ambiguity in the relation between Stokes shift and Huang–Rhys parameter." Physical Chemistry Chemical Physics 17, no. 26 (2015): 16959–69. http://dx.doi.org/10.1039/c5cp02093j.

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Gwent, Rhys ap. "childcare counsel." Nursery World 2021, no. 8 (August 2, 2021): 44. http://dx.doi.org/10.12968/nuwa.2021.8.44.

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Powell, Kirsty, and Rhys Dobson. "Team Values: In the game." Nursery World 2024, no. 3 (March 2, 2024): 44–45. http://dx.doi.org/10.12968/nuwa.2024.3.44a.

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Nadal-Ruiz, Alejandro. "Caribbean Landscape and the Construction of Creole Consciousness in Jean Rhys’s Wide Sargasso Sea." Roczniki Humanistyczne 68, no. 11 (December 23, 2020): 195–210. http://dx.doi.org/10.18290/rh206811-12.

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Krajobraz Karaibów i konstrukcja kreolskiej świadomości w Szerokim Morzu Sargasowym Artykuł analizuje powiązanie pomiędzy opisami miejsca a konstrukcją kreolskiej tożsamości w powieści Szerokie Morze Sargasowe autorstwa Jean Rhys (1966). Stawiam tezę, iż kreolska świadomość bohaterki powieści przechodzi ewolucję, której wyrazem jest jej relacja z naturą Dominki. Narratorka oddaje relację pomiędzy miejscem a tożsamością przywołując zdarzenia ze swojej przeszłości; szczególne znaczenie mają tu opisy jej interakcji z krajobrazem Karaibów na różnych etapach jej życia. Analizując powiązanie pomiędzy formacją tożsamości a krajobrazem Karaibów, artykuł ma na celu poszerzenie stanu badań nad procesem odzyskiwania pamięci w prozie Jean Rhys, jednocześnie rzucając nowe światło na kluczową rolę krajobrazu Karaibów w Szerokim Morzu Sargasowym.

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Matos, Naylane. "Wide Sargasso Sea e as cartas de Jean Rhys: dessacralizando o discurso colonial." Via Atlântica, no. 39 (September 20, 2021): 239–67. http://dx.doi.org/10.11606/va.i39.181173.

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O objetivo deste trabalho é analisar quão contextual é o processo de escrita de mulheres, em especial, o do texto literário, tomando como objeto as cartas de registro da produção do romance feminista pós-colonial Wide Sargasso Sea, da escritora Jean Rhys. Por meio das cartas de Rhys, abordamos os fatores que envolveram a produção da obra, desde o conflito da autora diante da representação da personagem crioula louca no romance inglês, Jane Eyre (1847), da escritora canônica Charlotte Brontë, às estratégias para validação da sua obra na Inglaterra. Tomamos como referência perspectivas pós e decoloniais para análise dos aspectos elencados nas cartas e suscitados pelo texto literário.

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Baskoutas, S., and N. S. Athanasiou. "Huang–Rhys Factor of CdTe Semiconductors Doped with Arsenic and Antimony." Modern Physics Letters B 11, no. 12 (May 20, 1997): 503–9. http://dx.doi.org/10.1142/s021798499700061x.

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By using the evolution operator method, we report a careful derivation of the Huang–Rhys factor, based on the Fröhlich continuum model of polarons, for cadmium telluride (CdTe) semiconductors, doped with arsenic (As) and antimony (Sb) acceptors. The calculated values of the Huang–Rhys factor, agree well with the experimental data for the bands at 1.45 eV and 1.54 eV, at large enough (16.5 nm) and zero donor–acceptor pair separation, respectively. They predicted the form of the bands, and provide new insight for the interpretation of the experimental data in terms of sub-Poissonian or super-Poissonian distributions, determining also the number of emitted phonons involved in the recombination process.

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Hashemi, Manata. "Emirati Women." American Journal of Islam and Society 28, no. 4 (October 1, 2011): 134–37. http://dx.doi.org/10.35632/ajis.v28i4.1232.

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Jane Bristol-Ryhs’ Emirati Women: Generations of Change provides a rareglimpse into how the lives of Abu Dhabi women have changed as a result ofthe discovery of oil in the late 1960s. Combining eight years of oral histories,participant observation, and interviews ‒ along with her own experiences ofliving and teaching in Abu Dhabi ‒ Bristol-Rhys offers a lucid ethnographicaccount of a population that has been one of the most affected by Abu Dhabi’soil boom. Over the course of the chapters near the end of the book, Bristol-Rhys details the experiences of three generations of Abu Dhabi womenand how they view their pre-oil past and face the challenges of the present ...

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de Fátima Curcino da Silva, Silésia, Denis Augusto Turchetti, Eralci M. Therézio, José Roberto Tozoni, Leni Akcelrud, and Alexandre Marletta. "Temperature effect on the electron–vibrational mode coupling of a fully conjugated polyfluorene derivative." Physical Chemistry Chemical Physics 21, no. 30 (2019): 16779–84. http://dx.doi.org/10.1039/c9cp02814e.

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Sycamore, Rhys. "Anxiety during COVID-19." Journal of Paramedic Practice 12, no. 6 (June 2, 2020): 247. http://dx.doi.org/10.12968/jpar.2020.12.6.247.

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ALSHAWI, A. K., and T. D. SCOTT. "The Crepe Bandage as an Alternative to the Esmarch Bandage for Upper Limb Exsanguination: A Volumetric Comparison Study." Journal of Hand Surgery 29, no. 2 (April 2004): 183–84. http://dx.doi.org/10.1016/j.jhsb.2003.09.002.

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Abstract:

A study was carried out to compare the effectiveness of upper limb exsanguination using the Esmarch bandage, a crepe bandage and the Rhys-Davies exsanguinator. Upper limb volume changes were measured in ten volunteers using a water displacement method. The crepe bandage produced a mean volume reduction of 59 ml (range, 39–94), which was very similar to the Esmarch bandage, which achieved 63 ml (range, 42–101). This difference is negligible in practical terms. Both bandages were more effective than the Rhys-Davies exsanguinator, which reduced the volume by a mean of 28 ml (range, 11–54). It is our opinion that the use of the Esmarch bandage in hand surgery is unnecessary and recommend the crepe bandage as a safer alternative.

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Norman, K. R. "Abhidhamma-pitaka: Yamaka (Vols I and II, £16 each), Tika-patthana, Duka-patthana I (£19.50 each). Edited by C.A.F. Rhys Davids." Buddhist Studies Review 6, no. 1 (June 15, 1989): 82–84. http://dx.doi.org/10.1558/bsrv.v6i1.15901.

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Haykin, Michael A. G. "Edwards the Mentor, by Rhys S. Bezzant." Church History and Religious Culture 100, no. 2-3 (September 3, 2020): 418–20. http://dx.doi.org/10.1163/18712428-10002021.

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Suppe, Frederick C. "The Lord Rhys, Prince of Deheubarth.Roger Turvey." Speculum 74, no. 1 (January 1999): 259–60. http://dx.doi.org/10.2307/2887356.

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Banks, John S. "Edwards the Mentor, by Rhys S. Bezzant." Evangelical Quarterly 92, no. 1 (August 6, 2021): 81–83. http://dx.doi.org/10.1163/27725472-09201006.

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Journal articles on the topic 'Rhys'

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