19 results
Australian square kilometre array pathfinder: I. system description
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- A. W. Hotan, J. D. Bunton, A. P. Chippendale, M. Whiting, J. Tuthill, V. A. Moss, D. McConnell, S. W. Amy, M. T. Huynh, J. R. Allison, C. S. Anderson, K. W. Bannister, E. Bastholm, R. Beresford, D. C.-J. Bock, R. Bolton, J. M. Chapman, K. Chow, J. D. Collier, F. R. Cooray, T. J. Cornwell, P. J. Diamond, P. G. Edwards, I. J. Feain, T. M. O. Franzen, D. George, N. Gupta, G. A. Hampson, L. Harvey-Smith, D. B. Hayman, I. Heywood, C. Jacka, C. A. Jackson, S. Jackson, K. Jeganathan, S. Johnston, M. Kesteven, D. Kleiner, B. S. Koribalski, K. Lee-Waddell, E. Lenc, E. S. Lensson, S. Mackay, E. K. Mahony, N. M. McClure-Griffiths, R. McConigley, P. Mirtschin, A. K. Ng, R. P. Norris, S. E. Pearce, C. Phillips, M. A. Pilawa, W. Raja, J. E. Reynolds, P. Roberts, D. N. Roxby, E. M. Sadler, M. Shields, A. E. T. Schinckel, P. Serra, R. D. Shaw, T. Sweetnam, E. R. Troup, A. Tzioumis, M. A. Voronkov, T. Westmeier
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- Journal:
- Publications of the Astronomical Society of Australia / Volume 38 / 2021
- Published online by Cambridge University Press:
- 05 March 2021, e009
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In this paper, we describe the system design and capabilities of the Australian Square Kilometre Array Pathfinder (ASKAP) radio telescope at the conclusion of its construction project and commencement of science operations. ASKAP is one of the first radio telescopes to deploy phased array feed (PAF) technology on a large scale, giving it an instantaneous field of view that covers $31\,\textrm{deg}^{2}$ at $800\,\textrm{MHz}$. As a two-dimensional array of 36$\times$12 m antennas, with baselines ranging from 22 m to 6 km, ASKAP also has excellent snapshot imaging capability and 10 arcsec resolution. This, combined with 288 MHz of instantaneous bandwidth and a unique third axis of rotation on each antenna, gives ASKAP the capability to create high dynamic range images of large sky areas very quickly. It is an excellent telescope for surveys between 700 and $1800\,\textrm{MHz}$ and is expected to facilitate great advances in our understanding of galaxy formation, cosmology, and radio transients while opening new parameter space for discovery of the unknown.
6 - The Colonial Short Story, Adventure and the Exotic
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- By Robert Hampson, University of London
- Edited by Dominic Head, University of Nottingham
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- The Cambridge History of the English Short Story
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- 17 November 2016
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- 14 November 2016, pp 100-117
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Summary
In his essay on ‘The Short Story’, W. Somerset Maugham describes two very different pleasures that reading fiction offers its readers: the pleasure of ‘recognition’ and the pleasure of ‘strangeness and novelty’. The ‘exotic story’ offers the latter pleasure: ‘it is a release from the monotony of existence to be absorbed for a while in a world of hazard and perilous adventure’ (p. 175). He identifies Kipling as ‘the first to blaze the trail through this new-found region’: ‘in his discovery of what is called the exotic story he opened a new and fruitful field to writing’ (pp. 157, 156). In fact, if the ‘exotic story’ – or, more accurately, the colonial short story – was initiated by Kipling, it was to reach its final flowering with Maugham.
Exotic Stories
Early in 1890, Sampson Low published Rudyard Kipling's Soldiers Three in an edition of 7,000 copies. Although this was Kipling's introduction in book form to the general reading public in Britain, he had been publishing short stories for a number of years in India, and his work was not unknown even in English literary circles. Indeed, when he had arrived in London towards the end of 1889, his reputation as a writer of short stories preceded him. Sidney Low, the editor of the conservative daily newspaper The St James's Gazette, had read (and been impressed by) the Indian Library edition of Soldiers Three, and Andrew Lang had praised two of the other Indian Library volumes, In Black and White and Under the Deodars, in the Saturday Review. As Andrew Lycett notes, Lang – together with W. E. Henley and Edmund Gosse – had been promoting the work of Robert Louis Stevenson and Rider Haggard as part of a consciously masculinist agenda. Kipling, with his stories about British soldiers in India, looked like a new recruit for the campaign and for the promotion of Britain's imperial role.
Whether Kipling was the first person to write an ‘exotic story’, as Maugham suggests, is debatable. Nevertheless, because of the quantity, quality and high profile of his work, Kipling's fiction would seem to offer the epitome of the colonial short story. However, he was clearly not writing adventure romances of the kind written by Haggard.
Conrad and Language
- Edited by Katherine Isobel Baxter, Robert Hampson
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- Published by:
- Edinburgh University Press
- Published online:
- 12 September 2017
- Print publication:
- 29 June 2016
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The essays in this collection examine Conrad's engagement with specific lexical sets and terminology – maritime language, the language of terror, and abstract language; issues of linguistic communication – speech, hearing, and writing; and his relationship to specific languages.
A Note on Texts
- Edited by Katherine Isobel Baxter, Northumbria University, Newcastle, Robert Hampson, Royal Holloway, University of London
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- Conrad and Language
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- Edinburgh University Press
- Published online:
- 12 September 2017
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- 29 June 2016, pp vii-viii
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Frontmatter
- Edited by Katherine Isobel Baxter, Northumbria University, Newcastle, Robert Hampson, Royal Holloway, University of London
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- Conrad and Language
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- Edinburgh University Press
- Published online:
- 12 September 2017
- Print publication:
- 29 June 2016, pp i-iv
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Index
- Edited by Katherine Isobel Baxter, Northumbria University, Newcastle, Robert Hampson, Royal Holloway, University of London
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- Conrad and Language
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- Edinburgh University Press
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- 12 September 2017
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- 29 June 2016, pp 216-219
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Contributors
- Edited by Katherine Isobel Baxter, Northumbria University, Newcastle, Robert Hampson, Royal Holloway, University of London
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- Conrad and Language
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- Edinburgh University Press
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- 12 September 2017
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- 29 June 2016, pp 213-215
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1 - Conrad and Nautical Language: Flying Moors and Crimson Barometers
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- By Robert Hampson, Professor of Modern Literature in the English Department at Royal Holloway, University of London, UK
- Edited by Katherine Isobel Baxter, Northumbria University, Newcastle, Robert Hampson, Royal Holloway, University of London
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- Conrad and Language
- Published by:
- Edinburgh University Press
- Published online:
- 12 September 2017
- Print publication:
- 29 June 2016, pp 10-27
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Summary
At the very start of his writing career, when Conrad first submitted the typescript of Almayer's Folly to Fisher Unwin for consideration for their Pseudonym Library, it bore the name ‘Kamudi’, the Malay word for ‘rudder’. This foreshadowed his subsequent pseudonymous entry into professional writing; it provided a linguistic context for the novel's opening words (‘Kaspar! Makan!’) and for the smattering of Malay words in the opening chapters (‘godowns’, ‘rattan’, ‘prau’). To begin with, many of the Malay words used in the novel are transparent: they have acquired the status of loan words, part of the verbal traffic of British colonial trade. Subsequent Malay words – Rajah Laut, Tuan, Orang Blanda, Mem Putih – will become familiar in the course of Conrad's Malay fiction; others (chelakka, bitcharra, Tannah Mirrah) are more recherche. Nevertheless, as one reviewer noted, the ‘few Malay words sprinkled about his pages set up none of the feeble irritation that most foreign tongues, used as local colour, are apt to do: they have the piquancy of capsicums in a curry’. What is missing from this novel (and from Conrad's Malay fiction generally), however, is the Malay language for working a ship, some of which Conrad presumably knew, since he was familiar with the word ‘kamudi’. Instead, we find in Conrad's Malay fiction the usual British nautical language: brig, roadstead, supercargo, bulwarks, fore-deck, poop.
Nautical language had entered English prose writing with the early accounts of voyages of exploration. Swift had satirised this language – and the obscurity of precise technical terms to the general reader – in Gulliver's Travels. At the start of Book II, there is a long paragraph in which Gulliver describes how the crew of the Adventure responded to a storm. It begins: ‘Finding it was like to overblow, we took in our spritsail, and stood by to hand the foresail; but making foul weather, we looked the guns were all fast, and handed the missen.’
Introduction
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- By Katherine Isobel Baxter, Reader in English Literature at Northumbria University, UK, Robert Hampson, Professor of Modern Literature in the English Department at Royal Holloway, University of London, UK
- Edited by Katherine Isobel Baxter, Northumbria University, Newcastle, Robert Hampson, Royal Holloway, University of London
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- Conrad and Language
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- Edinburgh University Press
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- 12 September 2017
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- 29 June 2016, pp 1-9
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Summary
Conrad was born in Berdychiv in 1857. Berdychiv, a city and district now in Ukraine, at that time had a population consisting of Ukrainian peasantry and Polish landowners, and a large Jewish community, all legally subjects of the tsar of all the Russias. Conrad's family were szlachta, members of the Polish gentry, and like other members of his class, Conrad learned French early. In 1862, his parents (along with the four-year-old Conrad) were exiled to a penal colony in Vologda, 300 miles north-east of Moscow, for their political activities. The following year, the family was allowed to move south to the less harsh conditions of Chernikov, near Kiev, and Conrad and his mother were granted three months’ leave for medical treatment. They spent the summer with her family at Nowochastow, where, as A Personal Record suggests, Conrad seems to have had his first lessons in French. At this time, Poland, as such, didn't exist: it had been divided, by the Partitions of 1792, 1793 and 1795, between Russia, Prussia and Austria. Until he was naturalised as a British subject and released from his Russian subjecthood in 1886, Conrad travelled on Russian travel documents. In 1865 his mother died, and, in 1867, Conrad and his father, Apollo Korzeniowski, were allowed to move to the Austrian-held part of Poland. In 1869, shortly before his father's death, they moved to Krakow, where Conrad was to stay until 1874. His childhood was thus divided between Russiancontrolled Poland and Austrian-controlled Poland.
In October 1874, at the age of sixteen, Conrad left Poland and travelled to Marseilles, where he was based for the next four years, sailing on French merchant ships. His travels at this stage took him to the Caribbean and, possibly, to South America. In 1878, he joined the British steamer the Mavis, and made his first sustained contact with English people and the English language. After this, he joined the British Merchant Navy, based himself in London, and began to learn English. His sea-voyages also brought him into contact with other languages.
Contents
- Edited by Katherine Isobel Baxter, Northumbria University, Newcastle, Robert Hampson, Royal Holloway, University of London
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- Conrad and Language
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- Edinburgh University Press
- Published online:
- 12 September 2017
- Print publication:
- 29 June 2016, pp v-vi
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The Australian Square Kilometre Array Pathfinder: System Architecture and Specifications of the Boolardy Engineering Test Array
- A. W. Hotan, J. D. Bunton, L. Harvey-Smith, B. Humphreys, B. D. Jeffs, T. Shimwell, J. Tuthill, M. Voronkov, G. Allen, S. Amy, K. Ardern, P. Axtens, L. Ball, K. Bannister, S. Barker, T. Bateman, R. Beresford, D. Bock, R. Bolton, M. Bowen, B. Boyle, R. Braun, S. Broadhurst, D. Brodrick, K. Brooks, M. Brothers, A. Brown, C. Cantrall, G. Carrad, J. Chapman, W. Cheng, A. Chippendale, Y. Chung, F. Cooray, T. Cornwell, E. Davis, L. de Souza, D. DeBoer, P. Diamond, P. Edwards, R. Ekers, I. Feain, D. Ferris, R. Forsyth, R. Gough, A. Grancea, N. Gupta, J. C. Guzman, G. Hampson, C. Haskins, S. Hay, D. Hayman, S. Hoyle, C. Jacka, C. Jackson, S. Jackson, K. Jeganathan, S. Johnston, J. Joseph, R. Kendall, M. Kesteven, D. Kiraly, B. Koribalski, M. Leach, E. Lenc, E. Lensson, L. Li, S. Mackay, A. Macleod, T. Maher, M. Marquarding, N. McClure-Griffiths, D. McConnell, S. Mickle, P. Mirtschin, R. Norris, S. Neuhold, A. Ng, J. O’Sullivan, J. Pathikulangara, S. Pearce, C. Phillips, R. Y. Qiao, J. E. Reynolds, A. Rispler, P. Roberts, D. Roxby, A. Schinckel, R. Shaw, M. Shields, M. Storey, T. Sweetnam, E. Troup, B. Turner, A. Tzioumis, T. Westmeier, M. Whiting, C. Wilson, T. Wilson, K. Wormnes, X. Wu
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- Journal:
- Publications of the Astronomical Society of Australia / Volume 31 / 2014
- Published online by Cambridge University Press:
- 13 November 2014, e041
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This paper describes the system architecture of a newly constructed radio telescope – the Boolardy engineering test array, which is a prototype of the Australian square kilometre array pathfinder telescope. Phased array feed technology is used to form multiple simultaneous beams per antenna, providing astronomers with unprecedented survey speed. The test array described here is a six-antenna interferometer, fitted with prototype signal processing hardware capable of forming at least nine dual-polarisation beams simultaneously, allowing several square degrees to be imaged in a single pointed observation. The main purpose of the test array is to develop beamforming and wide-field calibration methods for use with the full telescope, but it will also be capable of limited early science demonstrations.
Contributors
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- By Giovanni Abbruzzese, Brooke Adair, Ana Aragon, Alfredo Berardelli, Belinda Bilney, David J. Brooks, Emma Campagna, Louise A. Corben, Mary Danoudis, Martin B. Delatycki, Georg Dirnberger, H. Kerr Graham, Ralph Hampson, Robert Iansek, Marjan Janahshahi, Lynette Joubert, Jill Kings, Sue Lord, Andres M. Lozano, Victor McConvey, Rachael McDonald, Jennifer L. McGinley, Kulthida Methawasin, Sarah Milne, Meg E. Morris, John Olver, Nicola Pavese, Alan Pearce, E. Diane Playford, Barry Rawicki, Nicole Rinehart, Lynn Rochester, Chloe Stanley-Cary, Antonio Suppa, Louis C. S. Tan, Siok Bee Tan, Deborah Theodoros, Pam Thomason, Travis S. Tierney, Daniele Volpe, Allison F. Williams, David R. Williams, Gavin Williams
- Edited by Robert Iansek, Monash University, Victoria, Meg E. Morris, La Trobe University, Victoria
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- Rehabilitation in Movement Disorders
- Published online:
- 05 June 2013
- Print publication:
- 23 May 2013, pp viii-x
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35 - Henry James and Joseph Conrad: the pursuit of autonomy
- Edited by Robert L. Caserio, Pennsylvania State University, Clement Hawes, University of Michigan, Ann Arbor
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- The Cambridge History of the English Novel
- Published online:
- 28 January 2012
- Print publication:
- 12 January 2012, pp 565-580
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Summary
In the final chapter of The English Novel (1930), Ford Madox Ford suggests that “when the dust of The Yellow Book period died away” after the trial of Oscar Wilde, there nevertheless remained in the public mind “some conception that novel writing was an art” and that “the novel was a vehicle by means of which every kind of psychological or scientific truth connected with human life and affairs could be very fittingly conveyed.” The three names Ford invokes for this moment are Henry James, Stephen Crane, and Joseph Conrad – two Americans and a Pole, who at that moment were neighbours in Kent. For James and for Conrad (as for Ford), the conception of the novel as art comes from Flaubert: this means not only attention to verbal precision (le mot juste) and freedom regarding subject matter, but also “the doctrine of the novelist as Creator who should have a Creator's aloofness, rendering the world as he sees it, uttering no comments, falsifying no issues and carrying the subject – the Affair – he has selected for rendering, remorselessly out to its logical conclusion” (123). Moreover, as Pierre Bourdieu argues, the Flaubertian commitment to style and form (and the logic of “the Affair”) also has an impact upon the professional milieu in which it operates: it is a pursuit of artistic autonomy that cannot overcome the forces of the marketplace, but that nevertheless establishes a separate realm of literary production and aesthetic value.
1 - Kipling and the fin-de-siécle
- Edited by Howard J. Booth, University of Manchester
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- The Cambridge Companion to Rudyard Kipling
- Published online:
- 28 September 2011
- Print publication:
- 01 September 2011, pp 7-22
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'Fin de siécle', murmured Lord Henry with languid anticipation in the 1891 version of Oscar Wilde's novel The Picture of Dorian Gray. Wilde's novel first appeared in Lippincott's Magazine in June 1890. Six months later, the same headlining position was occupied by the periodical version of Kipling's 'The Light That Failed'. That version and the first English edition of The Light That Failed (1891) would seem to be a long way from Wilde's work and his 'Wardour Street aestheticism'. However, both novels involve artworks and artists, and both show how sexual identity has become problematic (and a subject for analysis) at the end of the century. Kipling’s novel explores what he calls the 'good love' between men and the much more difficult territory of male-female relations. One of the complicating factors, for Kipling, is women's refusal to play the role that men expect. In Maisie and 'the red-haired girl', Kipling presents his version of the 'New Woman'. At the same time, Kipling's novel serves to remind us that 'empire-building' was also part of the fin-de-siécle. He attempts to project a masculinist ideology within, and as part of, an imperialist vision. However, the attempt to assert a military model of masculinity is constantly subverted from within by traces of homoeroticism within the homosocial bondings, disquieting elements of sadism, and the haunting sense that male separateness might be a limitation rather than a strength.
Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. 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Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
- Print publication:
- 20 September 2010, pp xi-xliv
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Hippocampal representations of DMS/DNMS in the rat
- Robert E. Hampson, Sam A. Deadwyler
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- Journal:
- Behavioral and Brain Sciences / Volume 17 / Issue 3 / September 1994
- Published online by Cambridge University Press:
- 04 February 2010, pp. 480-482
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18 - Joseph Conrad
- Edited by Adrian Poole, University of Cambridge
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- The Cambridge Companion to English Novelists
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- 28 March 2010
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- 10 December 2009, pp 290-308
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Summary
Joseph Conrad, the pen-name adopted by Józef Konrad Korzeniowski (1857-1924), earned his early reputation as a writer of colonial fiction. His first two novels, Almayer's Folly (1895) and An Outcast of the Islands (1896), were set in Southeast Asia, and reviewers saw him as annexing a new territory for British fiction. They compared his work, for example, with Louis Becke's (1855-1913) stories of the South Pacific. He was also, perhaps inevitably, termed 'the Kipling of the Malay Archipelago'. And yet, as a colonial story, Almayer's Folly is highly disconcerting. It is very different from the imperialist and masculinist fiction produced by the writers of W. E. Henley's circle (such as Stevenson and Kipling). Andrea White has written illuminatingly about Conrad and adventure fiction, showing how Conrad worked from within the genre of adventure fiction, but, at the same time, 'wrote a fiction at odds with the traditional assumptions of the genre'. As White notes, adventure fiction 'traditionally celebrated an unqualified kind of heroism' and provided 'the energizing myth of English imperialism'. By comparison, Kaspar Almayer is a singularly unheroic hero. In the opening chapter of Almayer's Folly, he thinks back to the start of his career in Macassar and remembers his first impressions of the adventurous Captain Lingard, but his admiration is not for the adventures Lingard has had ('his loves, and . . . his desperate fights with the Sulu pirates'). Lingard has become a 'hero' to him because of 'his smart business transactions' and 'enormous profits'. Like Stevenson's Treasure Island (1883) and Rider Haggard's King Solomon's Mines (1885), Almayer's Folly has a plot involving a search for treasure.
4 - Neural population recording in behaving animals: constituents of a neural code for behavioral decisions
- Edited by Christian Holscher, University of Ulster, Matthias Munk
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- Information Processing by Neuronal Populations
- Published online:
- 14 August 2009
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- 23 October 2008, pp 74-94
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Summary
Introduction
A major advantage conferred by recording from populations of neurons from any brain area is the potential to determine how that population encodes or represents information about a sensory input, behavioral task, motor movement, or cognitive decision. The ultimate purpose of populations of neural ensemble, recording and analysis can then be characterized as understanding: (1) what does the ensemble encode? (2) how does the ensemble encode it? and finally, (3) how do brain structures use that ensemble code?
In the hippocampus, the anatomy has been studied extensively such that connections between the major principal cell groups are well characterized and the local “functional” circuitry is currently under intense investigation. Neurons have been recorded in all major subfields in the hippocampus, and cell identification via firing signature or local analysis is not a problem in most cases. In the same manner, anatomical connections between subfields are also known; therefore, it is possible to position recording electrodes along specific anatomic projections to record ensembles of neurons with known anatomic connectivity. Given these factors, we have used multineuron recording techniques to determine how neural activity within hippocampal circuits is integrated with behavioral and cognitive events. However, as in many brain systems, the make-up of the ensembles is at least as critical as the techniques used to analyze the ensemble data, or “codes.” In addition, the functional connectivity that gives rise to such codes may not be constant; in fact variations in functional connectivity may produce different codes for different cognitive events.
8 - The late novels
- Edited by J. H. Stape
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- Book:
- The Cambridge Companion to Joseph Conrad
- Published online:
- 28 May 2006
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- 27 June 1996, pp 140-159
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Summary
Until comparatively recently, Conrad's late novels have suffered from critical neglect and undervaluation. In the 1950s, Douglas Hewitt, Thomas C. Moser, and Albert J. Guerard argued that Conrad's late novels represented a decline after the achievement of the novels of his 'major' period – Lord Jim, Nostromo, and The Secret Agent. These critics established the paradigm within which most subsequent Conrad criticism has operated. There were some dissenting voices: M. C. Bradbrook, Paul Wiley, and Walter F. Wright, for example, argued that there was no decline, and that Conrad's later novels were to be praised as novels of moral affirmation. Over the last twenty years, a third approach has gradually emerged: this bases its positive evaluation of the late fiction not on its supposed moral affirmation but rather on increased attentiveness to its new modes and techniques. This was first adumbrated in an essay by Morton Dauwen Zabel and developed further by John Palmer, Robert Secor, and Gary Geddes. Geddes, for example, argued that the critics of the 1950s misunderstood Conrad's fictional aims through their 'predilection for fictional modes and techniques that were no longer of paramount importance to Conrad' (Conrad's Later Novels, p. 1).