It runs in the family : the Bradfords, print, and liberty (1680-1810)

En se basant sur l’histoire des Bradfords, l’une des plus grandes familles d’imprimeurs de l’histoire américaine, ce mémoire étudie la relation entre l’imprimé, les imprimeurs, et divers discours sur la liberté au cours du « long » 18e siècle. Il retrace la transition entre une ère de la « liberté de parole, » née des débats sur la liberté de presse et d’expression de la période coloniale, et une ère de la « parole de la liberté, » née au cours de la Révolution et entretenue sous la jeune république. Cette transition fut le produit de la transformation du discours des contemporains sur la liberté, mais s’effectua également en lien avec la transformation du milieu de l’imprimerie et de la culture de l’imprimé. Selon les circonstances politiques, sociales, économiques et culturelles particulières des périodes coloniale, révolutionnaire, et républicaine, l’imprimé et les imprimeurs américains furent appelés à disséminer et à contribuer au discours sur la liberté. Ils établirent ainsi une forte association entre l’imprimé et la liberté dans la culture de l’imprimé du 18e siècle, qui était destinée à être transmise aux siècles suivants. Mots-

Who is the consumer? Who is the reader?

Lecture video slides and also the audio files

The boy who cried wolf : based on a fable of Aesop.

Cumple los requisitos del currículo de Inglaterra, Gales y Escocia aportando los conocimientos básicos relacionados con el aprendizaje de la lectura y escritura. Material para desarrollar la conciencia fonológica, conciencia de los sonidos en las palabras habladas,y el conocimiento de las relaciones simbolo y sonido, concentrándose en rimas y sonidos de las letras. La conciencia de los sonidos en los niños empieza con las palabras y las sílabas, pasa a los sonidos en las palabras y a continuación a los fonemas, los más difíciles de identificar, a excepción de cuando ocupan la posición inicial en una palabra. Para discriminar, escribir y leer el fonema oy. Para niños a partir de siete años.

The tiger who came to tea.

Suena el timbre y Sophie abre la puerta. Se encuentra con un gran, peludo y rayado tigre, que le pregunta si puede pasar porque tiene hambre. Se sienta con ella y su mamá a la mesa de la cocina mientras toman el té y le ofrecen unos bollitos. El tigre no solo se come toda la merienda que hay sobre la mesa y se bebe toda la leche de la lechera y todo el té de la tetera, sino que además se zampa toda la comida de las cacerolas, del frigorífico y de la despensa. Se bebe el resto de la leche, todo el zumo de naranja y la cerveza de papá.

The fish who could wish.

En el profundo mar azul, vive Swam un pez que quería un deseo y cada deseo se hace realidad. Desea un castillo, un coche, un caballo, desea volar, esquiar. Pero un día, quiere ser igual que los otros peces.

Reactions of NO3 with the man-made emissions 2-methylpent-2-ene, (Z)-3-methylpent-2-ene, ethyl vinyl ether, and the stress-induced plant emission ethyl vinyl ketone

Rate coefficients for reactions of nitrate radicals (NO3) with the anthropogenic emissions 2-methylpent-2-ene, (Z)-3-methylpent-2-ene.. ethyl vinyl ether, and the stress-induced plant emission ethyl vinyl ketone (pent-1-en-3-one) were determined to be (9.3 +/- 1.1) x 10(-12), (9.3 +/- 3.2) x 10(-12), (1.7 +/- 1.3) x 10(-12) and (9.4 + 2.7) x 10(-17) cm(3) molecule(-1) s(-1). We performed kinetic experiments at room temperature and atmospheric pressure using a relative-rate technique with GC-FID analysis. Experiments with ethyl vinyl ether required a modification of our established procedure that might introduce additional uncertainties, and the errors suggested reflect these difficulties. Rate coefficients are discussed in terms of electronic and steric influences. Atmospheric lifetimes with respect to important oxidants in the troposphere were calculated. NO3-initiated oxidation is found to be the strongly dominating degradation route for 2-methylpent-2-ene, (Z)-3-methylpent-2-ene and ethyl vinyl ether. Atmospheric concentrations of the alkenes and their relative contribution to the total NMHC emissions from trucks can be expected to increase if plans for the introduction of particle filters for diesel engines are implemented on a global scale. Thus more kinetic data are required to better evaluate the impact of these emissions.

The look: style, technology and televisuality in the New Who

This chapter explores the distinctive qualities of the Matt Smith era Doctor Who, focusing on how dramatic emphases are connected with emphases on visual style, and how this depends on the programme's production methods and technologies. Doctor Who was first made in the 1960s era of live, studio-based, multi-camera television with monochrome pictures. However, as technical innovations like colour filming, stereo sound, CGI and post-production effects technology have been routinely introduced into the programme, and now High Definition (HD) cameras, they have given Doctor Who’s creators new ways of making visually distinctive narratives. Indeed, it has been argued that since the 1980s television drama has become increasingly like cinema in its production methods and aesthetic aims. Viewers’ ability to view the programme on high-specification TV sets, and to record and repeat episodes using digital media, also encourage attention to visual style in television as much as in cinema. The chapter evaluates how these new circumstances affect what Doctor Who has become and engages with arguments that visual style has been allowed to override characterisation and story in the current Doctor Who. The chapter refers to specific episodes, and frames the analysis with reference to earlier years in Doctor Who’s long history. For example, visual spectacle using green-screen and CGI can function as a set-piece (at the opening or ending of an episode) but can also work ‘invisibly’ to render a setting realistically. Shooting on location using HD cameras provides a rich and detailed image texture, but also highlights mistakes and especially problems of lighting. The reduction of Doctor Who’s budget has led to Steven Moffat’s episodes relying less on visual extravagance, connecting back both to Russell T. Davies’s concern to show off the BBC’s investment in the series but also to reference British traditions of gritty and intimate social drama. Pressures to capitalise on Doctor Who as a branded product are the final aspect of the chapter’s analysis, where the role of Moffat as ‘showrunner’ links him to an American (not British) style of television production where the preservation of format and brand values give him unusual power over the look of the series.

Merely the man in the street: community consultation in the planning of 1920s Melbourne

It is an accepted tenet of planning history that Australia's planning practice in the first half of the 20th century was dominated by experts delivering a package of international planning ideas. Is this story made more    complicated, however by the attitudes of the lay Australian to urban planning at this time? What role have the approaches of planners and planning  bodies played in advising the public of the best routes to take  towards comprehensive and appropriate planning? This paper discusses these  issues with use of examples of the general public's letters to  Melboume's Metropolitan Town Planning Commission (MTPC)( 1923-30) about planning issues in Melbourne; the MTPC's responses; and responsive propaganda generated by prominent Melbourne planner Saxil Tuxen (1885-1975).