The role of evacuation and fire modelling in the development of safer air travel

Computer based mathematical models describing the aircraft evacuation process and aircraft fire have a role to play in the design and development of safer aircraft, in the implementaion of safer and more rigorous certification criteria and in post mortuum accident investigation. As the cost and risk involved in performing large-scale fire/evacuation experiments for the next generation 'Very Large Aircraft' (VLA) are expected to be high, the development and use of these modelling tools may become essential if these aircraft are to prove a viable reality. By describing the present capabililties and limitations of the EXODUS evacuation model and associated fire models, this paper will examine the future development and data requirements of these models.

An analysis of masculine and feminine writings in postings within a series of health and social care online undergraduate courses

This study aims to extend understanding of pedagogic dialogue by analysing the effect that the gender of the student has on interaction within a selection of ordinary health and social care on line courses.

Amorous Ex/Incursions: Love in Writings of Badiou, Weil, Fromm, and Barthes

My dissertation explores the enabling contributions of love to the practice of ethico-political and cultural critique. Engaging with the work of Alain Badiou, Simone Weil, Erich Fromm, and Roland Barthes, I examine love in terms of the following modalities: waiting, giving, and looking. I place the aforementioned thinkers in dialogue with selected literary and cinematic texts to explicate and interrogate the meaningful possibilities of their discourse on love. In my chapter on Alain Badiou, I discuss his ontology, which I draw upon heavily to set the theoretical parameters of my study. I also discuss the logic of love that he develops in his philosophy. Speaking to the problem of pre-Evental agency that critics of his work identify, I suggest that waiting as attention, as theorized by Simone Weil, might be the closest form of agency that a pre-Evental (amorous) being can experience. In my discussion of Erich Fromm, I reevaluate his “art of loving” within the constellation of late capitalism. Reading his work through a Lacanian lens, I explore the utility of his prescriptions by examining Chuck Palahniuk’s controversial novel Fight Club. In my chapter on Roland Barthes, I theorize the possibility of cinematic looking that does not depend on the antagonism inherent in the binaries masculine/ feminine and (Gazing) spectator/ (to-be-looked-at) image. Towards this objective, I propose the “amorous look,” a mode of viewing occasioned by cinematic punctual encounters, that I contend is beyond the domain of desire and perversion. I deploy the “amorous look” as I reflect on Aureus Solito’s film Ang Pagdadalaga ni Maximo Olivares (The Blossoming of Maximo Olivares) and its representations of love and waiting.

'What say you to [this] book? Is it yours?'::Oral and Collaborative Narrative Trajectories in the Mediated Writings of Anna Trapnel

This article argues that, when a printed page is initially orally generated and then transcribed, either at the time or on a subsequent occasion by a listener or an interlocutor, there are important critical implications for the “I” of the account. It takes as a case study Anna Trapnel's first published works. Appearing within a few weeks of each other in 1654, The Cry of a Stone and Strange and Wonderful News are both mediated texts, large parts of which depend on the agency of a relater. The article begins by examining the textual traces of the relater, arguing for the centrality of his role and other agencies in the shaping of the works which bear Trapnel's name. Situating itself in relation to a current orientation in feminist autobiographical theory that places emphasis on the external requirement to narrate one's life, rather than on the spontaneous production of autobiography by an inner self, the article emphasizes notions of coaxing, witnessing and intersubjectivity to point up an appreciation of women's life writing as a species of cultural production in which various historical actors—male and female—participate. This dialogic process, which persists into the afterlife of transcription, owes part of its genesis to the political vagaries of 1654 and precipitates two contrasting—but equally “authentic”—versions of Trapnel's life and self. Mapping this movement, discussion concentrates on the ways in which a critical confrontation with women's oral narrative is as much an activity of disentangling as it is of reconstructing, an activity which is revealing of the extent to which a spectrum of social and cultural networks participates in and facilitates the female writing act.

‘Ghosts in the Head and Ghost Towns in the Field: Ethnography and the Experience of Presence and Absence’

This article is about an anthropologist coming to terms with the field and fieldwork. In 1995, I left – was evacuated from – my fieldsite as a volcanic eruption started just as my period of fieldwork drew to a close. These eruptions dramatically and instantaneously altered life on the island of Montserrat, a British colony in the Caribbean. While Montserrat the land, and Montserratians the people, migrated and moved on with their lives, Montserrat and Montserratians were preserved in my mind and in my anthropological writings as from “back home.” Revisiting Montserrat several years into the volcano crisis, I drove through the villages and roads leading to the former capital of the island, where I had worked from. My route to this modern-day Pompeii threw up a stark contrast between absence and presence, the imagined past and the experienced present. This is understood, in part, by examining the literary work of two other travelers through Montserrat, Henry Coleridge and Pete McCarthy, both of whom have a very different experience of the place and the people.

Both English and Latin: Bilingualism and Biculturalism in Milton's Neo-Latin Writings (219pp.)

Review by Emma A. Wilson, Milton Quarterly 49.1 (March, 2015), 54-59:

‘This volume provides an invaluable new perspective on both Milton’s neo-Latin poems and also the major vernacular poetry by insisting politely but firmly upon the bilingualism of their author and the manifest effects of that bilingualism upon style and intertextuality in his corpus. Through a dextrous combination of manuscript research, modern understandings of bilingualism, and crucially meticulous and demanding close readings, this volume succeeds in vivifying a wealth of new relationships between Milton’s neo-Latin works and his vernacular poems … Haan is expert in probing and elucidating the multiple linguistic and cultural lenses through which Milton projects his work, and the resulting volume brings a new set of historical contexts and consequences for both the major and minor texts, whilst also more importantly furnishing an exciting new method with which to approach these works as a whole ... Haan's linguistic expertise and meticulous archival research combine to create a critical work in which discoveries gradually accumulate and speak to one another in very specific, nuanced dialogues between chapters ... opening up exciting new reading vistas ... The final two chapters, in which Haan harvests some of the fruits of her considerable and fantastic labor in the archives and in current linguistic research into bilingualism, bring to light fresh perspectives on some of Milton's major published poetic works.’


Both English and Latin: Bilingualism and Biculturalism in Milton’s Neo-Latin Writings (2012) (Back Cover):

Gordon Campbell, University of Leicester:
‘Estelle Haan is the world’s foremost authority on Milton’s Latin poetry, and probably the most distinguished student of that poetry in the history of critical commentary. This is a work of extraordinary authority written by a scholar at the height of her powers. In short, this is a terrific book, elegant and informative.’

Anne Mahoney, Tufts University:
‘This book ssucceeds in presenting Milton's poetry as a single, unified body of work. Its biggest strength is the many close readings of Milton's Latin verse as engagements with classical Latin literature. In addition to introducing the Latin verse to new readers, it provides a new approach to Paradise Lost, one that accounts for one of the difficulties of Milton’s text—its language—in a novel way.’


Abstract:

Both English and Latin examines the interplay of Latin and English in a selection of John Milton's neo-Latin writings. It argues that this interplay is indicative of an inherent bilingualism that proceeds hand-in-hand with a self-fashioning that is bicultural in essence. Interlingual flexibility ultimately proved central to the poet of Paradise Lost, an epic uniquely characterized by its Latinate vernacular and its vernacular Latinitas.

'False, fleeting, perjured Clarence': pseudonymity and criminality in the writings of James Clarence Mangan

This article explores the significance of the adopted partial pseudonym “Clarence” to James Clarence Mangan (1803-1849), who is increasingly regarded as the most important Irish poet before W. B. Yeats. Tracing the literary history of “Clarence” from Shakespeare to Maria Edgeworth, this essay argues that the intriguing adoption exposes a preoccupation with themes of unlawful textual copying that is at the centre of Mangan’s imagination. These tropes assume singular significance when appreciated alongside Mangan’s profession as a scrivener. While literary criticism has separated Mangan the poet from Mangan the legal scribe, his hitherto under-explored assumption of “Clarence” provides a clue to their close and crucial connection. These themes of pseudonymity, copying, and criminality combine with particular resonance in his quasi-translation “The Man in the Cloak” (1838) to open up new perspectives on Mangan’s writing and its participation in wider European cultural contexts and concerns. The essay will conclude with a salient comparison of Mangan’s story with Nikolay Gogol’s seminal story “The Overcoat”, or, “The Cloak” (1842).