Academic literature on the topic 'Spencer W'

When, in 1905, G. W. E. Russell commented on converts to Catholicism in the period preceding the zenith of the Oxford Movement, he mentioned six names: three of these were the ‘Cambridge Converts’ Ambrose Phillipps [de Lisle], George Spencer and Kenelm Henry Digby. These permutations,’ he said, ‘were regarded as mere eccentricities, and no one dreamed that they were likely to have any effect upon the Church.’ Did they have any effect on Anglicanism via their point of contact, the Oxford Movement? What were their motives in respect of the Tractarians, and how did they relate to each other as a group? These converts—Spencer and Digby in particular have largely been ignored—illustrate the range of Catholic attitudes to Anglicanism, while Digby represents the main body of Catholic opinion, which was suspicious of Anglo-Catholicism.

In this guest editorial, Gary Kramer relates some excerpts on the five points of a successful advising program from a paper in press entitled “Developmental Advising to Enhance Freshman Success,” written by Gary Kramer, E. D. Peterson, and R. W. Spencer, to be published as a chapter in John Gardner and Lee Upcraft's book, Enhancing Success in the First Year of College, a Jossey-Bass publication.

Abstract Changes in outgoing radiation are both a consequence and a cause of changes in the earth’s temperature. Spencer and Braswell recently showed that in a simple box model for the earth the regression of outgoing radiation against surface temperature gave a slope that differed from the model’s true feedback parameter. They went on to select input parameters for the box model based on observations, computed the difference for those conditions, and asserted that there is a significant bias for climate studies. This paper shows that Spencer and Braswell overestimated the difference. Differences between the regression slope and the true feedback parameter are significantly reduced when 1) a more realistic value for the ocean mixed layer depth is used, 2) a corrected standard deviation of outgoing radiation is used, and 3) the model temperature variability is computed over the same time interval as the observations. When all three changes are made, the difference between the slope and feedback parameter is less than one-tenth of that estimated by Spencer and Braswell. Absolute values of the difference for realistic cases are less than 0.05 W m−2 K−1, which is not significant for climate studies that employ regressions of outgoing radiation against temperature. Previously published results show that the difference is negligible in the Hadley Centre Slab Climate Model, version 3 (HadSM3).

This thesis explores the relationship between ideology generated by advocates of the Women's Liberation Movement and President Kimball's purposes of using Relief Society to strengthen Latter-day Saint (LDS) women. Navigating women through the societal attack on womanhood, President Kimball, and other general Church leaders during his administration (1973-1985), taught LDS women of their privilege and duty to the organization and the importance of generating strength through a sisterhood focused on service. Relief Society programs, procedures, and curriculum were evaluated, adjusted, and reinforced to deepen women's commitment to divinely established roles, to enhance women's doctrinal confidence, and expand the influence of women's leadership. The purpose of this thesis is to show how Relief Society strengthened LDS women's commitment to family and influenced increased cooperative efforts in defending families through Relief Society and priesthood organizations.

Spender et Isherwood s’avèrent être des sources étonnamment fiables concernant l’histoire du monde allemand. Bien que recourant parfois aux clichés et à la stylisation, ils fournissent des informations précieuses sur des artistes allemands et autrichiens tels que Herbert List et Berthold Viertel. Isherwood a recours au mythe non seulement pour se poser en grand-père du mouvement pour les droits des homosexuels américains, mais aussi pour explorer les multiples avancées sur la sexualité en Europe pendant l’entre-deux-guerres. Ainsi, son récit fictif de la rencontre entre Gide et Hirschfeld défie la doxa critique et permet à Gide de prendre sa place légitime dans l’histoire de la libération homosexuelle.Isherwood fut également le premier à s’intéresser à l’impact de Viertel sur le cinéma britannique. Prater Violet met en valeur la contribution technique et artistique du réalisateur autrichien et révèle combien les studios anglais dépendaient des talents continentaux entre les deux Guerres mondiales. Bien qu’Isherwood, pour les besoins de l’intrigue, ait fait de Viertel un impuissant sur le plan politique dans son roman, il souligna plus tard le message anti-colonialiste audacieux que Viertel fit passer dans Rhodes of Africa. Le film nous invite à remettre en cause l’idée selon laquelle la censure fut toute puissante pendant les années trente.Les échanges de Spender et Auden avec le monde allemand démontrent un engagement continu pour le dialogue entre nations et contre la censure. Déjà, en 1939, Spender faisait son retour en politique, à travers ses traductions et ses critiques. Sa version des Élégies de Duino, qui fait autorité, et ses articles sur Goethe et Hölderlin ont permis de reprendre possession de l’héritage littéraire allemand confisqué par les nazis. Touchant un large lectorat, European Witness de Spender aida à renforcer cette tendance après la guerre, plaidant pour une acceptation de l’Allemagne au sein de la famille européenne.À une échelle plus modeste, Auden se battit pour la réhabilitation littéraire d’un grand auteur autrichien qui s’était compromis avec le régime nazi. Il considérait son élégie pour Weinheber comme un devoir public, appelant la traduction en prose qu’il avait préparée avec une amie « mon Gemeindepflicht » (mon devoir de citoyen).Après le retour d’Auden et Spender au libéralisme vers 1937, leurs échanges avec le monde allemand trahissent un intérêt surprenant pour les auteurs classés à droite, dû à des raisons esthétiques. Le fait qu’Auden prit la défense de Josef Weinheber nous rappelle qu’il s’est aussi battu pour la réhabilitation artistique de Wyndham Lewis, notamment en signant une pétition collective avec Spender. Spender, pour sa part, avoua une fascination embarrassante pour le Feuer und Blut d’Ernst Jünger et le Kampf um Berlin de Goebbels. Les deux poètes anglais ont adhéré au credo libéral en vertu duquel la critique littéraire et historique ne doit pas être handicapée par des considérations politiques.Bien que ce travail de recherche doive beaucoup à l’approche culturelle de la traduction développée par Susan Bassnett et André Lefevere, il montre également les limites de leur théorie. Elle est plus pertinente dans des situations particulières telles que la guerre (la traduction des Élégies de Duino par Spender à la veille de la Seconde Guerre mondiale en témoigne) ou l’exil (voir la traduction du Pastor Hall d’Ernst Toller par Spender). Dans les cas moins extrêmes, et lorsque l’auteur source n’est ni inconnu, ni « canonique » dans la culture cible, la subjectivité du traducteur redevient un facteur important. C’est ce que démontrent les traductions de Brecht par Auden
Spender and Isherwood turn out to give surprisingly reliable accounts of the German world. While occasionally indulging in clichés and stylization, they provide rare information on German and Austrian artists such as Herbert List and Berthold Viertel. Isherwood uses myth not only to pose as the grandfather of the American gay rights movement, but also to explore the multiple sexual modernities in Europe between the wars. His mythical narrative of the meeting between Gide and Hirschfeld thus challenges critical doxa, allowing Gide to take his rightful place in the history of homosexual liberation.Isherwood was also one of the first to consider Viertel’s impact on British cinema. Prater Violet stresses the Austrian director’s technical and artistic contribution, revealing how much English studios depended on continental talent between the wars. Though Isherwood, for dramatic reasons, presented Viertel as politically impotent in the novel, he later pointed out that the director had conveyed a daring anti-colonial message in Rhodes of Africa. The film invites us to question the notion of an all-powerful censorship through the thirties.Their exchanges with the German world demonstrate an ongoing commitment to transnational dialogue and against censorship. Already in 1939, Spender was getting back, through the channels of translation and criticism, into politics. His authoritative version of the Duino Elegies and his articles on Goethe and Hölderlin reclaimed Germany’s literary heritage from its Nazi exponents. Spender’s widely read European Witness helped to strengthen this trend after the war, pleading for the acceptance of Germany into the European family.At a smaller scale, Auden fought for the literary rehabilitation of a major Austrian writer that had compromised himself during the Nazi era. He regarded the elegy to Weinheber as a public duty, calling the prose translation he prepared with a German friend ‘my civic duty’.After Auden and Spender’s return to liberalism in the late thirties, their exchanges with the German world betray a surprising interest in right-wing authors on aesthetic grounds. Auden’s defence of Josef Weinheber reminds us that he also strove for the artistic rehabilitation of Wyndham Lewis, co-signing a petition letter with Spender. Spender, for his part, admitted to an embarrassing fascination for Ernst Jünger’s Feuer und Blut and Goebbels’s Kampf um Berlin. The two English poets upheld the liberal credo that literary and historical criticism should not be hampered by political considerations.Although the present research owes much to Susan Bassnett and André Lefevere’s cultural approach to translation, it also exposes its limits. Their theory applies best to particular situations such as war (Spender’s rendering of the Duino Elegies on the eve of World War Two) or exile (his version of Ernst Toller’s Pastor Hall). In less extreme cases, and when the source author is neither unknown nor canonical in the target culture, the translator’s subjectivity becomes once again an important factor, as Auden’s renderings of Brecht demonstrate

Chapter 3 examines six manuscript books which influential hostess Sarah Sophia Child-Villiers, fifth Countess of Jersey (1785–1867) kept in 1805–24. It argues that these manuscript compilations are overlooked technologies of power, influence, and creativity in elite Regency social and literary networks. The books reflect the shift towards collecting original poems during album-keeping’s transition to a popular practice, and show Jersey’s developing consciousness of the album as an expression and extension of her own identity. The albums document the range of reading, copying, and composing practices associated with guests’ visits to the Jerseys’ house at Middleton Park, from parlour games and flirtation, more formal and public tributes, and prestigious personalized poems in autograph by celebrated poets including George Crabbe, Lord Byron, and Thomas Moore, as well as overlooked society poets such as W. R. Spencer.

In 1936, Bernard Spencer reviewed Twenty-Five Poems: ‘These poems strike one immediately because of their resonance (sometimes their rhythm is monotonous), their swirl of vigorous images, and, even before they are understood, their flavour of psychology and metaphysics’. The reviewer then added that they ‘divide more or less clearly into sense and nonsense-poems’. ‘The hunchback in the park’ is such a ‘sense’ poem, unusually straightforward and quotidian in its setting, yet it too has ‘resonance’ and ‘swirl’ and a ‘flavour of psychology and metaphysics’. This chapter first reflects on the May 1932 draft of the poem in the Notebooks, identifying weaknesses in it that would be addressed in the July 1941 rewriting; after exploring the character and action of that rewriting process, the chapter goes on to relate it to Thomas’s contextualizing of the poem in the radio broadcast ‘Reminiscences of Childhood’ (1943) and in his correspondence. The chapter concludes with a discussion of Thomas’s composition of ‘The hunchback in the park’ in light of W. H. Auden’s criticism of the poet as reviser in ‘Squares and Oblongs’ (1948).

Studying Woolf’s relationship with the British male poets who first came to public attention in the 1930s clarifies tensions of the time concerning gender, generations, and, especially, literary form. The poetry of W. H. Auden, Cecil Day-Lewis, John Lehmann, Louis MacNeice, and Stephen Spender provoked Woolf’s criticism in large part for a reason that has received little attention, Woolf’s competition with poetry. This spirit of competition was not matched by the 1930s poets themselves. While Woolf’s criticism prompted the poets’ counter-arguments, Woolf’s fiction stirred only the young poets’ admiration, and in some cases imagination, both in her lifetime and after. This chapter looks at Woolf’s “A Letter to a Young Poet,” the poets’ response to Woolf in letters, poetry, and criticism, Woolf’s essay “The Leaning Tower” (1941), and the poets’ writing on Woolf after her death.

Earth and rock are the principal materials from which dams are constructed, these kinds of dams are called embankment dams. The conventional limit equilibrium method has dominated use over any other method for analyzing slope stability. In this paper, Spence, Morgenstern-price, the Ordinary method of slices, and Janbu simplified methods are used in order to find out how near, far Aquban dam from the verge failure which is located in Erbil-Kurdistan/Iraq. In present study, the focus is mainly drawn on analyses of steady-state condition. To compute the factor of safety, the study utilized SLOPE/W software. The results show that there is no major difference in a safety factor and a critical slip surface position between all the methods which are used in the study. In addition, all used methods offered a more than the minimum required safety factory which is given by the U.S. Army Corps of Engineers so this ensures that the dam against slope instability is on the safe side. According to the results obtained from this study, Janbu simplified method which considers only force equilibrium condition produced the lowest factor of safety, while the highest and almost identical factor of safety generated from the methods that satisfy all the static equilibrium condition (Spencer and Morgenstern-Price methods) give. Therefore, a reasonably reliable and higher value of safety factor is given by the methods which satisfy all static equilibrium conditions.