The Long Voyage to Including Sociocultural Analysis in NOAA’s National Marine Fisheries Service

The United States has managed and analyzed its marine fisheries since 1871, and since 1970 via NOAA’s National Marine Fisheries Service (NMFS). As the primary directive moved from aiding fishermen in expanding their operations emphasizing conservation, the government over time recognized that management involves influencing people not fish, and has hired social scientists to complement the biologists who assess fish populations. This change has not always been smooth. We use archival documents and oral histories to trace the development of sociocultural analytic capabilities within NMFS and describe future plans for growing the program. Four points are made. First, NMFS has created the best developed social science program in NOAA. Second, established institutions change slowly; achieving the social science presence in NMFS has taken over 25 years. Third, change needs visionaries and champions with both tenacity and opportunity. Fourth, social science data collection and research helps in making fishery management decisions, but they have also been useful in evaluating the impact and helping with the recovery from Hurricane Katrina. Good work finds other uses.

The Voyage of Impressionism in Three Violin Recitals: To See the World in Different Colors

Impressionism serves as the transition between romantic and modern music. This dissertation examines the varying characteristics and colors of Impressionism in the works of late-romantic French composers, French Impressionistic composers, and composers with Impressionistic influence from countries other than France. Violin Sonata in g minor, L. 140 (1917) is the last work composed by Claude Debussy. The impressionistic characters in this work includes the ambiguous yet innovative and variant sonority and form. As a work also written in 1917, Ottorino Respighi's Violin Sonata in b minor is deeply rooted in Italian Romanticism. Some of the Impressionistic characters can be found in the second movement where the harmonies are in parallel motion. César Franck, a forerunner of impressionism, heavily influenced Debussy with the use of cyclic form. The Violin Sonata in A major (1886) is rich in harmonic language. Ernest Chausson's works mark the transition between Franck and Debussy. The Poème portrays a love story, Song of Love Triumphant by Turgenev. The work is a symphonic poem for violin and orchestra. The Mythes, Op. 30 (1915) by Karol Szymanowski is based on Greek mythology. Ravel's Sonata for Violin and Cello (1922), dedicated to Debussy, points to the future with a sophisticated harmonic language extending into atonality, spare texture, and expanded palate of impressionistic colors and techniques. Ernest Bloch's Violin Sonata No. 1 (1920) portrays the feeling of torment. Beneath the soaring cries of the violin, the harmonic sonority of Impressionism are present. Gabriel Fauré's Violin Sonata No. 1 in A major, op. 13 (1876) is the earliest work of this project. The scherzo movement became a prototype for future scherzo movements for Ravel and Debussy. Ravel's Tzigane (1924), at once a paragon of French impressionism, a delightful gypsy-style dance-fantasy, and a breathtaking virtuoso piece, is the perfect conclusion to my dissertation project. The pieces discussed above were presented in three recitals. Compact disc recordings of these recitals are available in the Michelle Smith Performing Arts Library of the Clarice Smith Performing Arts Center at the University of Maryland.

"L'Invitation au voyage" de Baudelaire :une analyse évocative

This paper presents a detailed analysis of Baudelaire's poem ''L'Invitation au voyage''. It aims to understand the general meaning of this poem, showing that Baudelaire's ''voyage'' comes less to an ideal paradise than to a kind of voluptuous purgatory. We associate together dimensions of the poem that are usually treated separately :biographical background, stylistic and intertextual borrowings (orientalized Holland, Goethe's Mignon, popular song and romance, Weber's music, Biblical episodes), formal structure and cognitive effects. Our method is based on Benoît de Cornulier's theory of metrics, Searle and Vanderveken's speech act theory and Marc Dominicy's theory of poetic evocation. As Dominicy's theory is quite recent, our article provides substantial summary and clarification of its main theoretical and methodological hypothesis.

Actividades elementales en la calculadora graficadora (Ti - 89, Ti – 92 Plus, Voyage 200)

Actualmente la influencia que tiene la tecnología en la Educación Matemática como medio facilitador tanto en el proceso de aprendizaje como en el de enseñanza de algunas temáticas de las matemáticas escolares, ha generado su inclusión en las instituciones educativas como es el caso, de las calculadoras graficadoras. No obstante, en general son varios los profesores de matemáticas que aunque cuentan con este tipo de recursos para desarrollar sus clases, se abstienen de utilizarlos porque no saben cómo ni en qué momento hacerlo. Por tanto, se presenta algunas actividades sobre ciertas temáticas de la matemática escolar en donde sea factible el uso de herramientas básicas de la calculadora.

‘Textes fossiles’: The Metatextual Geology of Verne's Voyage au centre de la Terre

Despite the compelling parallels between George Sand’s Laura; ou, le voyage dans le cristal and Jules Verne’s Voyage au centre de la Terre (both 1864), Sand’s place within the intertextual fabric of Verne’s novel has been occluded. By shifing the terms of the debate away from the vexed issues of borrowing, influence, or inspiration, and focusing on Verne’s sustained engagement with Sand’s work as a specifically geological fiction, this article sheds new light on the imbrication of the scientific and the fictional in Voyage au centre de la Terre, whereby geological and palaeontological references not only guarantee the text’s verisimilitude and underwrite its didactic objectives, but also fulfil an important metatextual function.

Voyage(s) to Sarajevo: Jean-Luc Godard and the Image of War

This essay discusses Jean-Luc Godard’s artistic response to the Bosnian War (1992-95), and its representations in the Western mass media. For Godard, the reluctance of Europe’s advanced liberal democracies to intervene meaningfully in Bosnia – their insistence that 'humanitarianism' rather than protective intervention was the order of the day – was tantamount to supporting Serbian fascism, and – a fortiori – regressing to a policy of appeasement reminiscent of the days of the Munich Agreement. Although Godard's stance set him against some of his former compatriots on the left, speculating on his ideological motivations is beside the point. Rather, it is is in his filmmaking, in his vision of cinema, and how it relates to other histories of the image, that Godard’s sensibility can be most keenly felt and understood. As the essay points out, even his recent contribution to Jean-Michel Frodon's compilation film, Bridges of Sarajevo/Les ponts de Sarajevo (2014, 114 mn.), persists in posing questions about how the past continues to shape the present, and how Sarajevo and its contemporary history still delineates the identity of Europe. 

Relation du voyage de l'ambassadeur que le sultan Mahmoud Ier envoya à l'Empereur d'Allemagne, en l'année 1143 de l'hégire (1730), pour lui notifier son avènement au trône d'Osman.

On lit dans les marges de cet exemplaire des gloses destinées à l'explication des mots étrangers que l'auteur est amené à citer dans son récit, ou d'autres obscurités. Manuscrit de luxe, orné d'un petit sarloh.