Universities and their sons; history, influence and characteristics of American universities, with biographical sketches and portraits of alumni and recipients of honorary degrees.

Special editors approved by authorities of the respective universities: Harvard, William Roscoe Thayer, Yale, Charles Henry Smith: Princeton, John De Witt, Jesse Lynch Williams: Columbia, J. Howard Van Amringe. Biographical editors, Charles E. L. Wingate, Albert Lee, Jesse Lynch Williams and Henry G. Paine.

Washington and the generals of the American Revolution : with finely-engraved portraits, from original pictures.

"Edited by Griswold, with the assistance of William Gilmore Simms, E.D. Ingraham, and others"--Boston Athenaeum, Catalogue of Washington collection, 1897, p. 361. R.W. Griswold wrote about one-third of the work. Cf. Passages from the correspondence ... of Rufus W. Griswold, 1898, p. 230.

Secretaries of war and secretaries of the army : portraits & biographical sketches /

"First printed 1981"--T.p. verso.

Bismarck; some secret pages of his history; being a diary kept by Dr. Moritz Busch during twenty-five years' official and private intercourse with the great chancellor, with portraits.

Mode of access: Internet.

Eene halve eeuw, 1848-1898;

Mode of access: Internet.

Biographical catalogue of the portraits at Weston, the seat of the Earl of Bradford.

Includes index.

Mélanges Henri Weil. Recueil de mémoires concernant l'histoire et la littérature grecques dédié à Hneir Weil ...

Mode of access: Internet.

John W. Bennett, University of Michigan football captain 1898

Cropped from 1898 team photo.

School of Nursing Class of 1981

Top Row: Mary Jo Ambrozy, Carolyn, Ashley, Gail Marie Barbaza, Jeanne Barr, Susan Bauer, Lynn Eva Becker, Christine Bibilikow, Kathy Biehl, Lisa Bloomfield, Bail M. Borowiak, Susan, M. Browning, Diane Louise Burgoon, Camille Carlson, Cindy marie Chaltry, Kathleen Anne Clegg, Ann cline

Row 2: Wendy Cogan, Annette Robin Cole, Barbara Compton, Elizabeth Connors, Norma K. Marshall, Michele Betts, Donna Jean Holihan, Pamela S. Harden, Kathleen McLaughlin, Mary M. Walker, Mary Lohr, Julia Cooney, Carol Crapo, Deborah D. Davis, Mary Dreisig

Row 3: Athena Eary, Eleanor Eckrich, Patti M. Eidenberger, Catherine Elmlinger, Annette Englund, Cynthis Fellencer, Karen Fischer, Carolyn B. Forbes, Nancy Ellen Freedman, Susan P. George, Annette Gervaix, Beverly Glogowski

Row 4: Jayne Goodrich, June A. R. Grimm, Marie Guerrini, Douglas Leon Hankins, Yvonne M. Harwoor, Linda Hecimovich, Catherine M. Herbel, Kelly Hocker, Brenda Lee Horness, Theresa A. Hosey, Karin E. Hunt, Beth Jackson

Row 5: Karen Sue Jaffe, Roland Jemerson, Tamera Johnson, Susan Kaczmarek, Laura S. Keverian, Julie A. Kimbrough, Eva Marie Kline, Nancy L. Kuehn, Margaret J. Labadie, Lori K. Lane, Elizabeth Lang, Linda Lawton, Judy Linden, Peggy Little, Sharon Lois Longe, Claire Lonstein

Row 6: Deloris Macon, Karen Marie Macsay, Susan E. Mapley, Maria Y. Maquera, Ann McCullough, Michael Meade, Barbara Messink, Mary Elizabeth Mick, Susie E. Mikolajewski, Marilyn Millman, Debra A. Mills, Lu Ann Minore, Jean M. Mischel, Terri Ann Mitchell, Catherine Jean Moore, Michelle A. Mourad

Row 7: Mary Lynn Musial, Kathleen Myles, Denise Oliphint, Patrice M. Orlowski, Susan Orne, Carolyn Pernell, Holly Perry, Paula L. Petkoff, Arlene Ann Popovich, Barbara A. Quinn, Carol Reid, Sandra J. Remington, Gisselle Rodriguez, Susan Roelant, Laura S. Rogers, Nancy Rudd

Row 8: Karen Beth Salem, Barbara Santavy, Linda Schairer, Marie B. Schneider, Julie Schoettley, Julie Rose Schuster, Mary V. Seibert, Tracy Shafer, Claire E. Sharda, Susan D. Shortino, Judith Simon, Phillis Simpson, Donna Sledz, Cynthia Smith, Diane L. Smith, Mary Kay Smith

Row 9: Susan R. Smith, Sharon stansberry, Linda Suchocki, Susan Swoiskin, Leslie Ann Urban, Mary B. Van Wingen, Gretchen M. Vermeulen, Verland Z. Walker, Jayne Walworth, Elaine Devorah Webber, Julie Ann Webster, Sora Weller, Julie L. Weyburne, Malorie Whitefield, Frances Wiecha, Anne C. Wise

Les portraits de Marie-Antoinette : étude d'iconographie critique /

Exemplaire, no. 280.

Increasing socio-economic inequalities in drug-induced deaths in Australia : 1981-2002

Introduction and Aims: Since the 1990s illicit drug use death rates in Australia have increased markedly. There is a notable gap in knowledge about changing socio-economic inequalities in drug use death rates. Some limited Australian and overseas data point to higher rates of drug death in the lowest socio-economic groups, but the paucity of available studies and their sometimes conflicting findings need to be addressed. Design and Methods: This paper uses data obtained from the Australian Bureau of Statistics (ABS) to examine changes in age-standardised drug-induced mortality rates for Australian males over the period 1981 – 2002. Socio-economic status was categorised as manual or non-manual work status. Results: With the rapid increase in drug-induced mortality rates in the 1990s, there was a parallel increase in socio-economic inequalities in drug-induced deaths. The decline in drug death rates from 2000 onwards was associated with a decline in socio-economic inequalities. By 2002, manual workers had drug death rates well over twice the rate of non-manual workers. Discussion: Three factors are identified which contribute to these socio-economic inequalities in mortality. First, there has been an age shift in deaths evident only for manual workers. Secondly, there has been an increase in availability until 1999 and a relative decline in the cost of the drug, which most often leads to drug death (heroin). Thirdly, there has been a shift to amphetamine use which may lead to significant levels of morbidity, but few deaths. [Najman JM, Toloo G, Williams GM. Increasing socio-economic inequalities in drug-induced deaths in Australia: 1981–2002.

An Analysis of UK Farmland : 1981-2004

The importance of agriculture in many countries has tended to reduce as their economies move from a resource base to a manufacturing industry base. Although the level of agricultural production in first world countries has increased over the past two decades, this increase has generally been at a less significant rate compared to other sectors of the economies. Despite this increase in secondary and high technology industries, developed countries have continued to encourage and support their agricultural industries. This support has been through both tariffs and price support. Although the average farm production property may require this support to maintain long-term production, the better farms can actually achieve production levels and commodity prices that result in these units being competitive on a free market basis. This paper will analyse the total return performance of UK farmland over the period 1981-2004. This analysis will compare the total return from rural properties in the UK and compare this performance to commercial property returns (total, office, retail, industrial), equities and gilts over this 24-year period. The analysis will be based on the IPD UK let land index and the IPD property index. The portfolio diversification and risk-reduction benefits of UK farmland will be highlighted. The analysis shows that rural property has negative correlations with equities and gilts, as well as insignificant positive correlations with retail, industrial and office property. Rural property also provides portfolio diversification benefits.

Stripping Sight Bare : Alison Jones’ ‘Portraits by Proxy’

In this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image.