"I have nothing to say, only to show": appropriation in the poetries of Trevor Joyce, Alan Halsey, and Susan Howe

This thesis studies contemporary poetry’s innovations in textual borrowing and the range and scope of its appropriative practices. The restrictions of the inherited definitions of appropriation include a limited capacity for expression and meaningfulness, a partial concept of appropriation’s critical capacity, and an inadequate sense of the poet’s individual and unique practice of appropriation. This thesis resolves the problematic constraints limiting contemporary definitions of appropriation by tracing the history of the practice to reveal an enduring relation between appropriation and poetic expression. Close readings of Trevor Joyce’s, Alan Halsey’s, and Susan Howe’s poetry serve as evidence of contemporary poetry’s development of appropriation beyond the current ascriptions and offer some direction on how the critical understanding of appropriation might be extended and redefined. Here, appropriation is recognized as another source of lyric expression, critical innovation, and conceptual development in contemporary poetry. This thesis encourages a new perspective on the purpose and processes of poetic appropriation and the consequences of its declarative potential for both poet and poem.

Experimentación, intertextualidad e historia en la obra de Susan Howe

Programa de doctorado: Estudios interdisciplinares de lengua, literatura, cultura, traducción y tradición clásica

Thelma and Disease : Susan Gilman's Undress Me in the Temple of Heaven [A Review]

In the nineteenth century, when female travel narratives of miss(adventure) were still read as excursions rather than expeditions, it was common for women travellers to preface their writing with an apology or admission of guilt—a type of disclaimer that excused the author for engaging in such inappropriate activity and bothering the reader with their trivial endeavours. Susan Gilman’s Undress Me in the Temple of Heaven offers no such thing. Instead Gilman begins her memoir with a confession about its lack of lies, half-truth and spin. ‘This is a true story,’ she writes, ‘recounted as accurate as possible and corroborated by notes I took at the time and by others who were present.’

Susan Carson in conversation with Donna Lee Brien on research higher degree examination administration

This paper is the edited transcript of a conversation between Susan Carson and Donna Lee Brien about an administrator’s perspective of the process of examining doctoral theses in the creative industries. Susan was central to the process in the Faculty of Creative Industries from 2008 to 2012, and has overseen the carriage of examination for creative arts theses in the creative industries disciplines of creative writing, performance studies, media and communication, journalism, film and television, visual arts, and interaction and visual design.

Patrick and Susan Matthiesen playing chess at Aenny Catzenstein nee Gottschalk's 80th birthday; London Portraits Family

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Patrick and Susan Matthiesen playing chess at Aenny Catzenstein nee Gottschalk's 80th birthday; London Portraits Family

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School group class portrait including Susan (Susi) Ehrlich; Ulm Portraits; Groups

(l-r): Ruth Altman, Irene Hirsch, Hilde Dannhauser, Suse Barth, Anneliese Hirsch, Suse Saenger, Esther Nathan, Hannelore Baer, Heinz Koerner, Ruth Bauland, Marianne Leiter, Heinz Krippel, Hanna Ullmann, Edith Weil, Otto Eckstein, Susi Ehrlich, Hans Klein, Julie Klappholz, Hanna Chose, Minna Hirsch and Rudolf Loewy

CTFS-ForestGEO: a worldwide network monitoring forests in an era of global change

Global change is impacting forests worldwide, threatening biodiversity and ecosystem services including climate regulation. Understanding how forests respond is critical to forest conservation and climate protection. This review describes an international network of 59 long-term forest dynamics research sites (CTFS-ForestGEO) useful for characterizing forest responses to global change. Within very large plots (median size 25ha), all stems 1cm diameter are identified to species, mapped, and regularly recensused according to standardized protocols. CTFS-ForestGEO spans 25 degrees S-61 degrees N latitude, is generally representative of the range of bioclimatic, edaphic, and topographic conditions experienced by forests worldwide, and is the only forest monitoring network that applies a standardized protocol to each of the world's major forest biomes. Supplementary standardized measurements at subsets of the sites provide additional information on plants, animals, and ecosystem and environmental variables. CTFS-ForestGEO sites are experiencing multifaceted anthropogenic global change pressures including warming (average 0.61 degrees C), changes in precipitation (up to +/- 30% change), atmospheric deposition of nitrogen and sulfur compounds (up to 3.8g Nm(-2)yr(-1) and 3.1g Sm(-2)yr(-1)), and forest fragmentation in the surrounding landscape (up to 88% reduced tree cover within 5km). The broad suite of measurements made at CTFS-ForestGEO sites makes it possible to investigate the complex ways in which global change is impacting forest dynamics. Ongoing research across the CTFS-ForestGEO network is yielding insights into how and why the forests are changing, and continued monitoring will provide vital contributions to understanding worldwide forest diversity and dynamics in an era of global change.

Design of a timber Howe truss highway bridge

The span of the bridge was assumed as 100 feet. The type of bridge used is the timber Howe Truss. The height of truss was taken as 20 feet between center lines of top and bottom chords. The width was taken as 18 feet center to center of trusses. The truss was divided up into five panels 20 feet long.

It was designed according to the "General Specifications for Steel Highway Bridges" by Ketchum. For the live load for the floor and its supports, a load of 80 pounds per square foot of total floor surface or a 15 ton traction engine with axles 10 feet centers and 6 feet gage, two thirds of load to be carried by rear axles.

For the truss a load of 75 pounds per square foot of floor surface.

For the wind load the bottom lateral bracing is to be designed to resist a lateral wind load of 300 pounds per foot of span; 150 pounds of this to be treated as a moving load.

The top lateral bracing is to be designed to resist a lateral wind force of 150 pounds per foot of span.

The timber to be used in the bridge is to be Douglas fir.

The unit stresses used for timber are those of the American Railway Engineering Association.