James Evans : inventor of the syllabic system of the Cree language / by John McLean ... (Robin Rustler).

http://www.archive.org/details/jamesevans00maclrich

The story of the Fuh-Kien mission of the Church missionary society, by Eugene Stock ...

http://www.archive.org/details/thestoryofthefuh00stocuoft

Biologically Inspired Approaches to Automated Feature Extraction and Target Recognition

Ongoing research at Boston University has produced computational models of biological vision and learning that embody a growing corpus of scientific data and predictions. Vision models perform long-range grouping and figure/ground segmentation, and memory models create attentionally controlled recognition codes that intrinsically cornbine botton-up activation and top-down learned expectations. These two streams of research form the foundation of novel dynamically integrated systems for image understanding. Simulations using multispectral images illustrate road completion across occlusions in a cluttered scene and information fusion from incorrect labels that are simultaneously inconsistent and correct. The CNS Vision and Technology Labs (cns.bu.edulvisionlab and cns.bu.edu/techlab) are further integrating science and technology through analysis, testing, and development of cognitive and neural models for large-scale applications, complemented by software specification and code distribution.

Claude McKay and the transnational novel

This thesis considers the three works of fiction of the Jamaican author Claude McKay (1889-1948) as a coherent transnational trilogy which dramatises the semi-autobiographical complexities of diasporic exile and return in the period of the 1920s and 1930s. Chapter One explores McKay’s urban North American novel, Home to Harlem (1928). I suggest that we need to ‘reworld’ conceptions of McKay’s writing in order to release him from his canonical confinement in the Harlem Renaissance. Querying the problematics of the city space, of sexuality and of race as they emerge in the novel, this chapter considers McKay’s percipient understanding of the need to reconfigure diasporic identity beyond the limits set by American nationalism. Chapter Two engages with McKay’s novel of portside Marseilles, Banjo (1929), and considers the homosocial interactions of the vagabond collective. A comparison of North America and France as supposed exemplars of individual liberty highlights the unsuitability of nationalistic prerogatives to an internally diverse black diaspora. Paul Gilroy’s Black Atlantic construct provides a suggestive space in which to re-imagine the possibilities of affiliation in the port. The latter section of the chapter examines McKay’s particular influence on, and relationship, to the Négritude movement and Pan-African philosophies. Chapter Three focuses on McKay’s third novel, Banana Bottom (1933). I suggest here that the three novels comprise a coherent New World Trilogy comparable to Edward (Kamau) Brathwaite’s trilogy, The Arrivants. This chapter considers both the Caribbean and the transnational dimensions to McKay’s work.

Precursor chemistry for oxide related materials

This thesis describes modelling, synthesis, spectroscopic and physical characterisation, as well as application of Magnesium, Calcium and Copper β-diketonate, β-ketoiminate, β-diiminate, Schiff base, amide and fluorenyl compounds. The selected compounds could potentially find application in materials deposition using Atomic Layer Deposition (ALD), MOCVD, CVD and Sol-Gel techniques. Quantum chemical modelling was used as a tool to perform the comprehensive and rapid study of magnesium and calcium precursor molecules in order to predict which of them would be more successful in ALD of metal oxides. Precursor chemistry plays a key role in ALD, since precursors must be volatile, thermally stable, chemisorb on the surface and react rapidly with existing surface groups. This Thesis describes one aspect of this, surface reactivity between ligands and hydroxyl groups, via a gas-phase model with energetics computed at the level of Density Functional Theory (DFT). A number of different synthetic strategies, both aerobic and anaerobic, were investigated for the synthesis of the described metal complexes. These included the use of different metal starting reagents such as, anhydrous and hydrated inorganic metal salts, metal alkyls and Grignard reagents. Some of previously unreported metal complexes of homoleptic and heteroleptic magnesium, calcium and copper β-diketonates, β-ketoiminates, β-diiminates, amides and Schiff base type were synthesised and characterised: [Mg(hfpd)2(DipPa)], [Mg(hfpd)2(MapH)2], [Mg(hf-ebp)(THF)2], [Mg(tf-Pap)Cl(THF)2], [Ca(PhNacnac)2], [Cu(tf-Pap)2], [Cu(PhNacnac)2], [Cu(hf-ebp)], [Cu(DipPa)] and [Cu(DipPa)2(4,4’-bypy)]. A comprehensive study on the thermal properties of magnesium, calcium and copper β-diketonates, β-ketoiminates, β-diiminates, Schiff base, amide and fluorenyl complexes was performed using TGA and sublimation of selected compounds. Atomic Layer Deposition of MgO using magnesium β-ketoiminate – [bis{(4-N-phenyl)-2-pentonato} magnesium] and β-diketonate - [bis(1,1,1,5,5,5-hexafluoropentane-2,4-dionato)(THF)magnesium hydrate] was performed on Si(100) substrates at 180°C and 0.2 Torr using O2 plasma.

FLUTE MUSIC FROM THE MID-TWENTIETH CENTURY BY THREE FRENCH COMPOSERS: JEAN-MICHEL DAMASE, ANDRE JOLIVET, AND HENRI TOMASI

Jean-Michel Damase (b.1928), Andre Jolivet (1905-1974), and Henri Tomasi (1901-1971) are three prominent French composers ofthe twentieth century. Tomasi won the Prix de Rome in 1927, and Damase won the Prix de Rome in 1947. All three composers were educated and lived in Paris around the same period; however, their musical styles are quite distinct. Most of Jolivet's compositions for flute are well known and are often selected as international competition repertoire. The compositions for flute by Damase and Tomasi are not as recognized as those of Jolivet, and most of their works for flute still have not been commercially recorded. The purpose of this dissertation is to provide a more comprehensive guide to the compositions for flute by Damase, Jolivet and Tomasi, and, in addition, to make the works ofDamase and Tomasi familiar to flutists. This dissertation will focus on the compositions ofDamase, Jolivet, and Tomasi for flute alone and those for flute and piano, written between 1928 and 1971 (1928 is the year Damase was born, and 1971 is the year that Tomasi died). Damase continues French romanticism, and his music is always playful, elegant, and accessible with rhythmic and harmonic surprises, but with an underlying complexity. His compositions for flute include three concertos, two double concertos, one flute solo work, and nine works for flute and piano. Jolivet's compositions make use of ancient rituals, incantations, and spirituality, as well as repeated phrases and single notes, irregular rhythmic patterns, dissonant effects, and rhythmic drive. He composed one flute concerto, three works for flute solo, and four works for flute and piano. Tomasi's compositions also continue French romanticism and contain melodies which often seem to tell a story, and which are not only full of flourishes and vitality, but are also delicate, colorful, and romantic. Virtuosic technical demand is another characteristic of his style. Tomasi composed three flute concertos, three works for solo flute, and one work for flute and piano. Appendix I is a list of the compositions for flute by Damase, Jolivet, and Tomasi, and Appendix II is a discography of their works.

RECORDING PROJECT: THE COMPLETE (PUBLISHED) PIANO WORKS OF ROBERT HELPS

This recording represents the complete solo piano works of Robert Helps (1928-2001). As of this writing (March, 2008), approx.120 minutes of Helps' solo piano music has been published, all of which is included on the Digital Media (CD). This project includes the following works: Trois Hommages, Quartet, Nocturne, Valse Mirage, In Retrospect, Three Etudes, Portrait, Three Etudes for the Left Hand, Starscape, Recollections, Shall We Dance and Image. (His few remaining pieces are officially "pending publication" and are therefore not included in this project.) Robert Helps, American pianist and composer, enjoyed a successful career on both fronts, teaching at such institutions as San Francisco Conservatory, Stanford University, the University of California, Berkeley, the New England Conservatory, the Manhattan School of Music and Princeton University. Helps, never the recipient of a university or conservatory degree, received private instruction from pianist Abby Whiteside and composer Roger Sessions. His recording of the Sessions' Sonatas is considered to be their benchmark performance. As a composer, he received commission and awards from the American Academy of Arts and Letters, the Ford Foundation, the Guggenheim Foundation and the National Endowment for the Arts. Helps' compositions were anachronistic in style: his compositional style ranges from Post-Impressionism, Neo­ Romanticsim and early 20th century Atonalism, although he never engaged in serial practices. Since his death in 2001, the Robert Helps Trust has been established at the University of South Florida. Funds are being used to support the continued publishing of his scores. The Robert Helps International Composition Competition and Festival was established in 2005.

SELECTED AMERICAN VIOLIN WORKS AND THEIR EUROPEAN CONTEXT

For my dissertation, I did a study and performance of American violin works by Charles Ives, Aaron Copland, Leonard Bernstein, and John Corigliano, along with contemporaneous European works by Paul Hindemith, Bela Bartok, Igor Stravinsky, Sergei Prokofiev, and Francis Poulenc. The selected American violin works display the development of a distinctively American style and cover a significant formative period (1914-1963) of American classical music. I intend that the European works form a backdrop for setting in relief any distinctly American qualities possessed by the American works. This is because they cover a similar time period and have significant stylistic affinities and shared influences. My topic stems from a question, "What defines the American Sound?" I attempted to find the answer by looking at the time when American composers consciously searched for their identities, and declared their music to be distinctly American. I found that those distinctive qualities stemmed from three sources: folk music, jazz and hymns. Ives and Copland can be viewed as American in content for their inclusion of such elements, while Bernstein and Corigliano can also be considered as "ideologically American" for their adventurous and eclectic spirit. The simplicity derived from singing a hymn or crooning a popular song; the freedom inspired by jazz; the optimism of accepting all possibilities-these elements inform the common spirit that I found in the music of these four American composers. FIRST RECITAL Sonatafor Violin Solo Op.3112 (1924), Paul Hindemith (1895-1963) Suite Italiennefor Violin and Piano (1932), Igor Stravinsky (1882-1971) Sonatafor Violin and Piano (1963), John Corigliano (b.1938) SECOND RECITAL Second Sonatafor Violin and Piano (1914-17), Charles Ives (1874-1954) First Rhapsody for Violin and Piano (1928), Bela Bart6k (1881-1971) Violin Sonata No.1 infminor (1938-46), Sergei Prokofiev (1891-1953) THIRD RECITAL Nocturne for Violin and Piano (1926), Aaron Copland (1900-1990)Sonata for Violin and Piano, Op. 119 (1942-3, rev.1949), Francis Poulenc (1899-1963)Serenade (after Plato's "Symposium'') (1954) by Leonard Bernstein (1918-1990) The pianists were Sun Ha Yoon (Bart6k) and Grace Eunae Cho (all other repertoire).

‘The trouble with Year 10’: 13 – 16 year old school students’ attitudes to higher education

This study looked at the impact of Widening Participation interventions on the attitudes of young people towards higher education. A total of 2731 adolescents aged 13–16 years completed a self-report measure of their attitudes to higher education, general and academic self concept and identification with school, family and peers. This was matched with data on the students’ academic attainment and social backgrounds. As expected, attainment scores were significantly positively correlated with take up of Widening Participation activities aimed at increasing participation in higher education, attitudes towards going to university and academic motivation. However, attainment was negatively correlated with perceptions of family attending university and identification with family. Regression analyses found that perceptions of family views about attending university were not a predictor of taking part in Widening Participation activities but were a predictor of attitudes towards higher education. Students in Year 10 aged 14–15 were significantly more negative on most factors than either older or younger students.