Metodología para deducir relaciones de linaje en el catastro de España.

En España, los datos catastrales de acceso público, obtenidos a través de la Sede Electrónica del Catastro (SEC), no incluyen información sobre la genealogía o las relaciones de linaje existente entre las parcelas, de forma que la gestión de la información histórica es muy limitada. Este artículo presenta un método para obtener las relaciones de linaje más frecuentes entre las parcelas (agregación y segregación) y propone un prototipo de estructura relacional para el almacenamiento y la gestión histórica de los datos catastrales de acceso público. El proceso de análisis para deducir el linaje se basa en superposiciones espacio-temporales junto con secuencias de sentencias SQL. El método proporciona un 70% de relaciones de agregación y segregación correctas; el resto presentan errores debidos, en general, a anomalías presentes en los propios datos catastrales. ABSTRACT Public cadastral data in Spain, available through the Electronic Office of Cadastre, do not include any information on the genealogy or lineage relationship among the parcels, so the management of historical information becomes very limit ed. This paper presents a method for obtaining the most common lineage relationships between plots (aggregation and segregation) and proposes a relational structure prototype for the storage and historic management of public cadastral data. The analysis process to deduce the lineage is based on spatio-temporal overlaps coupled with SQL statements sequences. This method provides a 70% of correct aggregation and segregation relationships; the wrong cases are mainly caused by errors existing in the cadastral data themselves.

Edén: relato, imagen y proyecto. El concepto de paraíso terrenal como generador de arquitecturas

Esta tesis, Edén: relato, imagen y proyecto. El concepto de Paraíso terrenal como generador de arquitecturas se realiza con el objetivo de estudiar los vínculos entre la idea de Edén, o Paraíso y la arquitectura. Siempre trabajando desde los tres niveles de representación, relato, imagen y proyecto. En la aproximación al objeto de estudio, se procede a estudiar el relato en sí, y se hallan, en la forma misma del relato, unas implicaciones relacionadas con el mundo mitológico y arquetípico. Estos resultados iniciales son la detección de que cada una de las partes que forman el conjunto edénico, han sido previamente objetos de culto en religiones corte pagano o chamánico, desde la prehistoria. El agua, los árboles, los animales, la tierra y los surcos del huerto, todos ellos han sido objetos de veneración desde tiempos inmemoriales. Trazando la genealogía de estos objetos de culto se acude al análisis arquetípico, que relaciona estos objetos venerados con el inconsciente y con la manifestación espontanea de los mismos en la realidad. Estos estudios arrojan resultados con implicaciones espaciales, arquitectónicas y se concluye que más que un ideal o un lugar en concreto, en el mito o en la realidad, lo que definitivamente parece (y demuestra) ser, es una tipología arquitectónica relacionada en su estructura formal y teórica con la del jardín cerrado. La manifestación en imagen de estos resultados y la investigación misma, llevan a acudir a unas de las imágenes más primitivas del Jardín del Edén, y que de hecho son previas a la “invención” del Hortus Conclusus como tal. Estas son las representaciones mozárabes del Paraíso Terrenal como lugar cierto en la tierra, que aparecen en los mappaemundi incluidos en los Códices de los Beatos. En el estudio de los mismos se comprende la estructura formal y teórica de lo que son las arquitecturas paradisíacas. Su calado en la cultura occidental hace que estos documentos sirvan como exoesqueletos del proyecto paradisíaco. Además, por su variedad arrojan gran número de resultados de índole espacial. Los resultados arrojados por el estudio de las representaciones edénicas de los Beatos llevan la investigación a otro momento e imágenes de la historia de la arquitectura donde, por su radicalidad de planteamientos y tabula rasa con las arquitecturas previas son necesarios nuevos lenguajes de aproximación al tema proyectual por el deseo globalizador que implican estas arquitecturas, esto es en el periodo de la arquitectura moderna. Se utiliza como elemento calibrador El poema del ángulo recto de Le Corbusier. Este documento gráfico no sólo nos da la clave que bullía en este periodo con respecto a una nueva aproximación a la superficie terrestre y al medio. Este instrumento también sirve de catalizador entre lo real y lo ideal y es una síntesis de operaciones arquitectónicas, que mediante la comparación y/o oposición con los resultados previos del estudio arquetípico y de los Beatos, genera grandes grupos de características que se hallan entrelazadas en los proyectos paradisíacos. Gracias a estos documentos se puede concluir con una síntesis de características que comparten los proyectos paradisiacos, que en todo caso son esto, proyectos en plural. No existe la unicidad, ya que se infiere de este estudio que son, en conjunto, una forma de hacer ciertas arquitecturas. Tienen características medibles y reproducibles y unas condiciones tipológicas y de generación de campos que permiten producir muchos tipos de proyectos, todos ellos de tipología paradisíaca. ABSTRACT This thesis, Eden: Tale, Image and Project. The Concept of Terrestrial Paradise as a Generator of Architectures, is carried out with the objective of studying the relations between the idea of Eden or Paradise and architecture. In every case working from the three levels of representation, tale, image and project. On the approximation to the object of study, the investigation is centered on the tale itself, and in the same core of it, are found some implications that relate it with the world of mythology and archetype. These initial results consist of detecting that each one of the parts that form the edenic set; have previously been objects of cult in religions of a pagan or shamanic nature, since pre-historic times. Water, animals, earth and the grooves of the orchard, have all been objects of reverence since the dawn of time. Tracing the genealogy of these objects an archetypal type of analysis is taken on, which relates the revered objects with the subconscious and with the spontaneous manifestation of these in reality. These studies also provide results with spatial and architectonic implications, and it is concluded that more than an ideal or a concrete place, in myth or reality, what it definitely seems (and shows to be) is an architectonic typology, related in its formal and theoretical structure with that of the enclosed garden. The manifestation in image of these results, and the investigation itself, lead to reach for one of the most primitive set of images of the Garden of Eden, and that are in fact previous to the “invention” of the Hortus Conclusus as such. A collection of mozárabe representations of the Terrestrial Paradise as a concrete place on Earth. These are the mappaemundi included in the Codexes of the Beatos. By their study, the formal and theoretical structure of paradisal architectures is understood. Their importance in occidental culture makes these documents bring out their side as exoskeletons of the paradisal Project. Also, for their variety, they cast a great number of results of a spatial nature. The results released by the study of the edenic representations of the Beatos take the investigation to another moment and set of images within the history of architecture, where the radicality of the approaches to architecture, and the tabula rasa in relation to previous architectures make it necessary to invent new languages of approximation to the subject of project. This happens because of the globalizing tones that imply these architectures. The lapse of time referred to would be during the general practice of modern architecture. The object of calibration would be The Poem of the Right Angle, by Le Corbusier. The graphic document not only gives us the key of what flowed during that time when a new approximation to the surface of earth and to the environment was retrieved. This instrument also serves as a catalyst between real and ideal, and it is a synthesis of architectural operations that by comparison and/or opposition with the previous results of the archetypal study, and of the Beatos, generates large groups of characteristics that are intertwined in the paradisal project. Due to these documents we can conclude the investigation with a series of characteristics that share the paradisal projects, which in any case are this, projects, in plural. There is no uniqueness. From these findings, it can be inferred that a Paradisal Project is a way to undertake a project, and certain kinds of architecture. They are measurable and are underlaid by a consistent pattern, they also have typological conditions and of field generation, that make it possible to produce many kinds of projects, all of a paradisal typology.

Las teorías del gótico y su representación gráfica en España el último tercio del siglo XIX. Un estudio sobre: Some Account of Gothic Architecture in Spain, de George Edmund Street

La tesis se centra en el estudio, descripción y análisis del libro publicado por el arquitecto británico George Edmund Street en 1865, bajo el título Some Account of Gothic Architecture in Spain. El libro dio a conocer una de la colecciones más importantes de dibujos realizada en el siglo XIX sobre la arquitectura gótica española, y por lo tanto fue una primera referencia para su estudio, hasta bien entrado el siglo veinte. El volumen incluyó 107 grabados de diversos tipos de edificios con perspectivas y detalles, y 25 láminas con 45 planos de plantas de iglesias y claustros, muchos de ellos publicados por primera vez. Gracias a varias campañas de verano por la mitad norte del país, la casi inexplorada -desde un punto de vista académico- arquitectura española medieval fue finalmente descubierta. Este hecho conduce a una pregunta intrigante que está en el origen de esta investigación ¿cómo pudo Street en pocos viajes sentar las bases de la historia del gótico español que hasta entonces los estudiosos españoles no habían sido capaces de definir? Esta tesis comienza describiendo la obra de Street en su contexto cultural con un breve repaso a su biografía y a su posición profesional y teórica. También su relación con las personas más representativas que participaron en el estudio de la arquitectura gótica, como Robert Willis, William Whewell, Augustus Pugin, o George G. Scott. Se ha prestado especial atención, en explicar su papel relevante en el Gothic Revival, para entender el significado de su interés en la arquitectura gótica continental. Estos capítulos preliminares son seguidos por una revisión del papel del dibujo como herramienta para la arquitectura de los viajeros en sus rutas en busca de la arquitectura gótica. También se trata la influencia de la Royal Academy y sus académicos, (entre los cuales estuvo Street) y su formación académica. Finalmente la tesis entra en el estudio de los planos arquitectónicos que Street hizo durante sus viajes continentales de arquitectura, seguido por una descripción detallada de sus dibujos de España, analizando su método, su técnica, y las nuevas características aportadas, que fueron una novedad en el contexto español. También se lleva a cabo algunos estudios comparativos de los dibujos de España, gracias a una recopilación exhaustiva de bocetos y dibujos originales de Street, que en su gran mayoría se conservan en los archivos del RIBA, cotejándolos con sus versiones finales, con dibujos de la época de otros autores sobre los mismos edificios, y con fotos recientes. La tesis deja claro por qué y cómo Street, gracias a su soporte teórico y habilidades para el dibujo, pudo realizar algo que había pasado desapercibido para los estudiosos españoles de la época (construcción, historia de los estilos, señalamiento de períodos constructivos), lo que le permitió encontrar el lugar adecuado de la arquitectura gótica española en la historia y en el mapa de la arquitectura gótica europea. ABSTRACT This thesis focuses on the study, description and analysis of the book published by the British architect George Edmund Street in 1865, under the title Some Account of Gothic Architecture in Spain. The book displayed one of the most significant collections of drawings on Spanish Gothic Architecture made in the nineteenth century, and therefore was a first reference for its study, until well into the twentieth century. The book included 107 engravings, the surveying of various types of buildings with perspectives and details, and 25 sheets containing 45 ground plans of churches and cloisters, many of them new and published for the first time. Thanks to several summer campaigns in the north half of the country, the almost unexplored -from a scholar point of view- medieval Spanish architecture was eventually revealed. This fact lead to an intriguing question that is at the origin of this research: how could Street in a few trips lay the foundations of the history of Spanish Gothic that until then Spanish scholars had not been able to define? This thesis begins inscribing this Street's work in his cultural context. A brief review of his biography and professional and theoretical positions has been seen as necessary. Also his debts and relationship with the most representative people involved in the study of Gothic architecture, like Robert Willis, William Whewell, Augustus Pugin, or George G. Scott are discussed. Special attention has been paid, taken into account his relevant role in the Gothic Revival, to understand the significance of his interest in continental Gothic architecture. These preliminary chapters are followed by a review of role of drawing as a tool for Architectural travellers in their Tours in search of the Gothic architecture. The influence of the Royal Academy and its academicians, (among which was Street) and his educational background are here tackled. Eventually this thesis enters into the study of the architectural drawings Street made during his continental architectural journeys, which is followed by a detailed description and analysis of the Spanish ones: his methods, his technique, and the new features which were a novelty in the Spanish context are explored. Also in this thesis is carried out some comparative studies thanks to a previous exhaustive gathering of Street's sketches and original drawings, most of which are preserved in the RIBA archives. Their final versions, drawings of the same buildings from other contemporary draughtsman and pictures of their current state are compared with them. This thesis makes clear why and how Street thanks to his theoretical back-ground and portraying skills could realize what have passed unnoticed by contemporary Spanish scholars (construction, genealogy of forms, dating of periods) allowing him to find the proper place of the Spanish architecture in the history and the map of European Gothic architecture.

Active materiality : the agency of matter from the phenomenological perspective = Materialidad activa : la operatividad de la materia desde el punto de vista fenomenológico

The role of matter has remained central to the making and the thinking of architecture, yet many attempts to capture its essence have been trapped in a dialectic tension between form and materiality, between material consistency and immaterial modes of perception, between static states and dynamic processes, between the real and the virtual, thus advancing an increasing awareness of the perplexing complexity of the material world. Within that complexity, the notion of agency – emerging from and within ecological, politico-economic and socio-cultural processes – calls for a reconceptualization of matter, and consequently processes of materialisation, offering a new understanding of context and space, approached as a field of dynamic relationships. In this context, cutting across boundaries between architectural discourse and practice as well as across the vast trans-disciplinary territory, this dissertation aims to illustrate a variety of design methodologies that have derived from the relational approach. More specifically, the intention is to offer new insights into spatial epistemologies embedded within the notion of atmosphere – commonly associated with the so-called New Phenomenology – and to reflect upon its implications for architectural production. In what follows, the intended argumentation has a twofold dimension. First, through a scrutiny of the notion of atmosphere, the aim is to explore ways of thinking and shaping reality through relations, thus acknowledging the aforementioned complexity of the material universe disclosed through human and non-human as well as material and immaterial forces. Secondly, despite the fact that concerns for atmospherics have flourished over the last few decades, the objective is to reveal that the conceptual foundations and procedures for the production of atmosphere might be found beneath the surface of contemporary debates. Hence, in order to unfold and illustrate previously advocated assumptions, an archaeological approach is adopted, tracing a particular projective genealogy, one that builds upon an atmospheric awareness. Accordingly, in tracing such an atmospheric awareness the study explores the notoriously ambiguous nature and the twofold dimension of atmosphere – meteorological and aesthetic – and the heterogeneity of meanings embedded in them. In this context, the notion of atmosphere is presented as parallactic. It transgresses the formal and material boundaries of bodies. It calls for a reevaluation of perceptual experience, opening a new gap that exposes the orthodox space-bodyenvironment relationships to questioning. It offers to architecture an expanded domain in which to manifest itself, defining architectural space as a contingent construction and field of engagement, and presenting matter as a locus of production/performance/action. Consequently, it is such an expanded or relational dimension that constitutes the foundation of what in the context of this study is to be referred to as affective tectonics. Namely, a tectonics that represents processual and experiential multiplicity of convergent time and space, body and environment, the material and the immaterial; a tectonics in which matter neither appears as an inert and passive substance, nor is limited to the traditionally regarded tectonic significance or expressive values, but is presented as an active element charged with inherent potential and vitality. By defining such a relational materialism, the intention is to expand the spectrum of material attributes revealing the intrinsic relationships between the physical properties of materials and their performative, transformative and affective capacities, including effects of interference and haptic dynamics – i.e. protocols of transmission and interaction. The expression that encapsulates its essence is: ACTIVE MATERIALITY RESUMEN El significado de la materia ha estado desde siempre ligado al pensamiento y el quehacer arquitectónico. Sin embargo, muchos intentos de capturar su esencia se han visto sumergidos en una tensión dialéctica entre la forma y la materialidad, entre la consistencia material y los modos inmateriales de la percepción, entre los estados estáticos y los procesos dinámicos, entre lo real y lo virtual, revelando una creciente conciencia de la desconcertante complejidad del mundo material. En esta complejidad, la noción de la operatividad o capacidad agencial– que emerge desde y dentro de los procesos ecológicos, políticos y socio-culturales– requiere de una reconceptualización de la materia y los procesos inherentes a la materialización, ofreciendo una nueva visión del contexto y el espacio, entendidos como un campo relacional dinámico. Oscilando entre el discurso arquitectónico y la práctica arquitectónica, y atravesando un extenso territorio trans-disciplinar, el objetivo de la presente tesis es ilustrar la variedad de metodologías proyectuales que emergieron desde este enfoque relacional. Concretamente, la intención es indagar en las epistemologías espaciales vinculadas a la noción de la atmósfera– generalmente asociada a la llamada Nueva Fenomenología–, reflexionando sobre su impacto en la producción arquitectónica. A continuación, el estudio ofrece una doble línea argumental. Primero, a través del análisis crítico de la noción de atmósfera, el objetivo es explorar maneras de pensar y dar forma a la realidad a través de las relaciones, reconociendo la mencionada complejidad del universo material revelado a través de fuerzas humanas y no-humanas, materiales e inmateriales. Segundo, a pesar de que el interés por las atmósferas ha florecido en las últimas décadas, la intención es demostrar que las bases conceptuales y los protocolos proyectuales de la creación de atmósferas se pueden encontrar bajo la superficie de los debates contemporáneos. Para corroborar e ilustrar estas hipótesis se propone una metodología de carácter arqueológico, trazando una particular genealogía de proyectos– la que se basa en una conciencia atmosférica. Asimismo, al definir esta conciencia atmosférica, el estudio explora tanto la naturaleza notoriamente ambigua y la dimensión dual de la atmósfera– meteorológica y estética–, como la heterogeneidad de significados derivados de ellas. En este contexto, la atmósfera se entiende como un concepto detonante, ya que sobrepasa los limites formales y materiales de los cuerpos, llevando a la re-evaluación de la experiencia perceptiva y abriendo a preguntas la ortodoxa relación espacio- cuerpo-ambiente. En consecuencia, la noción de la atmósfera ofrece a la arquitectura una dimensión expandida donde manifestarse, definiendo el espacio como una construcción contingente, performativa y afectiva, y presentando la materia como locus de producción/ actuación/ acción. Es precisamente esta dimensión expandida relacional la que constituye una base para lo que en el contexto del presente estudio se define como una tectónica afectiva. Es decir, una tectónica que representa una multiplicidad procesual y experiencial derivada de la convergencia entre el tiempo y el espacio, el cuerpo y el entorno, lo material y lo inmaterial; una tectónica en la que la materia no aparece como una substancia pasiva e inerte, ni es limitada al significado considerado tradicionalmente constructivo o a sus valores expresivos, sino que se presenta como elemento activo cargado de un potencial y vitalidad inherentes. A través de la definición de este tipo de materialismo afectivo, la intención es expandir el espectro de los atributos materiales, revelando las relaciones intrínsecas entre las propiedades físicas de los materiales y sus capacidades performativas, transformativas y afectivas, incluyendo efectos de interferencias y dinámicas hápticas– o dicho de otro modo, protocolos de transmisión e interacción. Una expresión que encapsula su esencia vendría a ser: MATERIALIDAD ACTIVA

Coalescent estimates of HIV-1 generation time in vivo

The generation time of HIV Type 1 (HIV-1) in vivo has previously been estimated using a mathematical model of viral dynamics and was found to be on the order of one to two days per generation. Here, we describe a new method based on coalescence theory that allows the estimate of generation times to be derived by using nucleotide sequence data and a reconstructed genealogy of sequences obtained over time. The method is applied to sequences obtained from a long-term nonprogressing individual at five sampling occasions. The estimate of viral generation time using the coalescent method is 1.2 days per generation and is close to that obtained by mathematical modeling (1.8 days per generation), thus strengthening confidence in estimates of a short viral generation time. Apart from the estimation of relevant parameters relating to viral dynamics, coalescent modeling also allows us to simulate the evolutionary behavior of samples of sequences obtained over time.

Phylogeny of genes for secretion NTPases: Identification of the widespread tadA subfamily and development of a diagnostic key for gene classification

Macromolecular transport systems in bacteria currently are classified by function and sequence comparisons into five basic types. In this classification system, type II and type IV secretion systems both possess members of a superfamily of genes for putative NTP hydrolase (NTPase) proteins that are strikingly similar in structure, function, and sequence. These include VirB11, TrbB, TraG, GspE, PilB, PilT, and ComG1. The predicted protein product of tadA, a recently discovered gene required for tenacious adherence of Actinobacillus actinomycetemcomitans, also has significant sequence similarity to members of this superfamily and to several unclassified and uncharacterized gene products of both Archaea and Bacteria. To understand the relationship of tadA and tadA-like genes to those encoding the putative NTPases of type II/IV secretion, we used a phylogenetic approach to obtain a genealogy of 148 NTPase genes and reconstruct a scenario of gene superfamily evolution. In this phylogeny, clear distinctions can be made between type II and type IV families and their constituent subfamilies. In addition, the subgroup containing tadA constitutes a novel and extremely widespread subfamily of the family encompassing all putative NTPases of type IV secretion systems. We report diagnostic amino acid residue positions for each major monophyletic family and subfamily in the phylogenetic tree, and we propose an easy method for precisely classifying and naming putative NTPase genes based on phylogeny. This molecular key-based method can be applied to other gene superfamilies and represents a valuable tool for genome analysis.

Historia, política y responsabilidad : Oscar Terán y la autocrítica entre los intelectuales de izquierda en Argentina

Este trabajo pretende reconstruir la genealogía de la autocrítica al interior de los sectores intelectuales de la izquierda argentina a partir del itinerario de Oscar Terán, uno de sus principales protagonistas e historiadores. Se revisa su principal obra historiográfica y sus intervenciones en revistas político-culturales a fines de delimitar rupturas y continuidades en la construcción de un relato que da cuenta del proceso de radicalización política en Argentina. Así, veremos cómo dicho relato se desplaza desde una lectura contemplativa en los años 1980 hacia una operación de clausura en los años 1990 y principios del presente siglo

Tracing an American Yoga: Identity and Cross-Cultural Transaction

This dissertation looks at the creative identity of an American yoga, both rooted in its Indic origins and radically transformed in its U.S. manifestations. It traces the broad historical transactions of yoga in terms of East and West, Secular and Religious, authenticity and idealized conception, as well as provides a critical historical genealogy of Anusara and Sridaiva yoga. Furthermore, the project relates yoga to the identity, power, and knowledge dynamics of pre-modern, modern, and postmodern histories and interpretations of yoga and Tantra, multiple theoretical discourses, and the embodied practices of individuals within Indian and American contexts. I argue that there is a unique and polysemous yogic identity in America, and that this identity has developed from a messy process of transaction between Indian and Western modes of being and knowing. Furthermore, the current Americanized culture of yoga brings along with it narratives of specific value. American yoga displays a particularly consumptive quality of yogic lifestyle that reflects a cultural atmosphere of reinvention and a merging of profit and personal purpose. American yoga’s identity today is entrepreneurial, branded, business oriented, and marketed for consumption. This dissertation shows how the American yogic identity is in flux, continuously fracturing and multiplying into various and novel understandings that relate to yoga’s past and to the market value for today’s American consumer. It examines the moving nature of yoga in the American landscape as what Jared Farmer calls a “center of creativity” and as a display of excess and choice. The discussion of yoga is further located in John Friend’s styles of yoga and/or lifestyle practices, Anusara and Sridaiva, as they both redefine and further remove yoga from established Indian markers of identity. My locations as American yogi, as comparativist, as ethnographer, and as a Bachelor of Science in Advertising and Marketing also situate this analysis.

Muro Mediterráneo: búnkeres y baterías para la defensa del litoral (1936-1939)

The Mediterranean wall, which is a collection of defensive constructions along the coast, was built during the Spanish War (1936-39) to prevent enemy attacks. It´s called this way like the Atlantic Wall, which was built after the Second World War. These group of buildings consist of batteries, bunkers and barracks placed along the coastline, sometimes next to another kind of infrastructure. Its location (typical of a military strategy) and its peculiar morphology are like another ones: the historical watchtowers ones. They were built by the Kingdom of Spain in the same geography four centuries earlier although, in our case, the buildings are updated to the conditions of contemporary wars: camouflage against air raids. A collection of anti-aircraft devices, placed along the coast since the late 1937, were risen following the instructions of the Valencian State to defend both citizens and cities from the aviation´s bombings. The following military settlements, organized from North to South, are part of the most relevant ones of the coast of Alicante: the Denia and Javea ones, the North of Alicante and Southwest of Alicante ones, the Portichol one, the Galvany´s Clot one and, finally, the Cape and Bay of Santa Pola ones. Remains of more than 60 architectural elements, that document the first concrete´s ruins, are still there. This paper tries to document all of them (providing their location, their morphological genealogy and including some drawings of the current state) to contribute to their revaluation and to help to their necessary protection. They are a legacy of architectural heritage which consolidates and increases the memory of our culture.

History of the Cotton family : manuscript, [ca. 1728]-1755

History of the Cotton family with biographical information on Cotton, his mother, father, siblings, and some distant relations, including information on the Rosseter family, his mother's family line; often with transcripts of family letters. Also contains further genealogical information added by a later hand.

Letters from Timothy Pickering to his brother and father, 1797-1798

These two handwritten letters by Timothy Pickering were written on February 14, 1797 and June 14, 1798 to his brother John Pickering and his father Timothy Pickering, respectively. The letter to his brother, John, discusses mutual friends, classmate Thomas Lee, and John’s recent attendance at a sermon by Dr. Joseph Priestley. The letter from Timothy to his father includes a discussion of Timothy’s expenses and the amount of money needed to pay his debts, a request for new shoes for commencement, the news of Timothy’s invitation to join honor society Phi Beta Kappa, and a few comments on his forensics course at Harvard.

Ṭalʻat al-mushtarī fī al-nasab al-Jaʻfarī

taʼlīf Abī al-ʻAbbās Sayyidī Aḥmad ibn Khālid al-Nāṣirī al-Jaʻfarī al-Zaynabī.

Kashf al-ghayn ʻammā bi-wādī al-Shardad min dhurrīyat al-sibṭayn : manuscript, [ca. 1918]

Title not mentioned in Brockelmann, S, II, 548.

Fleshing Out and Losing Flesh: The Decomposing Corpse as Narrative Object in American Hardboiled Detective Fiction

This dissertation examines the corpse as an object in and of American hardboiled detective fiction written between 1920 and 1950. I deploy several theoretical frames, including narratology, body-as-text theory, object relations theory, and genre theory, in order to demonstrate the significance of objects, symbols, and things primarily in the clever and crafty work of Dashiell Hammett (1894-1961) and Raymond Chandler (1888-1959), but also touching on the writings of their lesser known accomplices. I construct a literary genealogy of American hardboiled detective fiction originating in the writings of Edgar Allan Poe, compare the contributions of classic or Golden Age detective fiction in England, and describe the socio-economic contexts, particularly the predominance of the “pulps,” that gave birth to the realism of the Hardboiled School. Taking seriously Chandler’s obsession with the art of murder, I engage with how authors pre-empt their readers’ knowledge of the tricks of the trade and manipulate their expectations, as well as discuss the characteristics and effect of the inimitable hardboiled style, its sharpshooting language and deadpan humour. Critical scholarship has rarely addressed the body and figure of the corpse, preferring to focus instead on the machinations of the femme fatale, the performance of masculinity, or the prevalence of violence. I cast new light on the world of hardboiled detective fiction by dissecting the corpse as the object that both motivates and de-composes (or rots away from) the narrative that makes it signify. I treat the corpse as an inanimate object, indifferent to representation, that destabilizes the integrity and self-possession, as well as the ratiocination, of the detective who authors the narrative of how the corpse came to be. The corpse is all deceptive and dangerous surface rather than the container of hidden depths of life and meaning that the detective hopes to uncover and reconstruct. I conclude with a chapter that is both critical denouement and creative writing experiment to reveal the self-reflexive (and at times metafictional) dimensions of hardboiled fiction. My dissertation, too, in the manner of hardboiled fiction, hopes to incriminate my readers as much as enlighten them.

On the pragmatics of social theory. The case of Elias's "On the Process of Civilization"

This paper proposes a new approach to the study of sociological classics. This approach is pragmatic in character. It draws upon the social pragmatism of G.H. Mead and the sociology of texts of D.F. McKenzie. Our object of study is Norbert Elias’s On the Process of Civilization. The pragmatic genealogy of this book reveals the importance of taking materiality seriously. By documenting the successive entanglements between human agency and non-human factors, we discuss the origins of the book in the 1930s, how it was forgotten for thirty years, and how in the mid-1970s it became a sociological classic. We explain canonization as a matter of fusion between book’s material form and its content, in the context of the paperback revolution of the 1960s, the events of May 1968, and the demise of Parsons’ structural functionalism, and how this provided Elias with an opportunity to advance his model of sociology.