Shelley’s editing process in the preface to Epipsychidion

Prefaces are often disregarded by readers who, more often than not, start without taking time to peruse them first. Sir Walter Scott knew this perfectly well, and he wrote about it, very wittily, in "A PostScript Which Should Have Been a Preface", the last chapter of his novel Waverley written in 1814: "most novel readers, as my own conscience reminds me, are apt to be guilty of the sin of omission respecting the same matter of prefaces". Scott refers to novel readers but poetry readers are also "guilty of the sin of omission", maybe even more so in so far as they may wish, understandably enough, to read only poetry and not a prose introduction. Many critics include prefaces in their analysis, but most of the time only as a means of interpreting the work they precede. Thus critics limit the role of prefaces simply to introductory materials and exclude any other potential interpretation. It is sometimes forgotten that the very presence or absence of a preface is already pregnant with meaning. [...]

RNA editing in kinetoplastids

RNA editing in kinetoplastid protozoa is a post-transcriptional process of uridine insertion or deletion in mitochondrial mRNAs. The process involves two RNA species, the pre-edited mRNA and in most cases a trans-acting guide RNA (gRNA). Sequences within gRNAs define the position and extend of mRNA editing. Both mRNAs and gRNAs are encoded by mitochondrial genes in the kinetoplast DNA (kDNA), which consists of thousands of small circular DNA molecules, called minicircles, encoding thousands of gRNAs, catenated together and with a few mRNA encoding larger circles, the maxicircles, to form a huge DNA network. Editing has been shown to result in translatable mRNAs of bona fide mitochondrial genes as well as novel alternatively edited transcripts that are involved in the maintenance of the kDNA itself. RNA editing occurs within large protein-RNA complexes, editosomes, containing gRNA, preedited and partially edited mRNAs and also structural and catalytically active proteins. Editosomes are diverse in both RNA and protein composition and undergoe structural remodeling during the maturation. The compositional and structural diversity of editosomes further underscores the complexity of the RNA editing process.

Page Composition using PPML as a Link-editing Script

The advantages of a COG (Component Object Graphic) approach to the composition of PDF pages have been set out in a previous paper [1]. However, if pages are to be composed in this way then the individual graphic objects must have known bounding boxes and must be correctly placed on the page in a process that resembles the link editing of a multi-module computer program. Ideally the linker should be able to utilize all declared resource information attached to each COG. We have investigated the use of an XML application called Personalized Print Markup Language (PPML) to control the link editing process for PDF COGs. Our experiments, though successful, have shown up the shortcomings of PPML's resource handling capabilities which are currently active at the document and page levels but which cannot be elegantly applied to individual graphic objects at a sub-page level. Proposals are put forward for modifications to PPML that would make easier any COG-based approach to page composition.

Sublime acts : desire in the studio

Acknowledging the recent call to review design creativity and consideration of the body's affective states in education, this paper explores how desire, conceptualized as an immanent force (Deleuze & Guattari, 1987) and an irresistible force (Burke, 1753) can be a means of deeper engagement within the design studio. Positing 'disruption or blockage' as a key agent which propels subjects from fields of normalcy to fields of otherness, and subsequently mobilises distinct modes of desire, this paper takes Edmund Burke's Romantic sublime and Patricia Yaeger's feminine sublime as critical lenses through which to review a first year interior program posited around the body. The paper highlights how the embodiment of 'desirous processes' within the design program and relational encounters within the studio represent an overarching pedagogical 'hinge' (Ellsworth, 2005). Rather than being a point of beginning, the start of first year is seen and experienced as a threshold opening to a new rhythm in a proces of becoming that is already underway.

Orchids, intersex and the auto/biographical project

Auto/biographical documentaries ask audiences to take a ‘leap of faith’, not being able to offer any real ‘proof’ of the people and events they claim to document, other than that of the film-maker’s saying this is what happened. With only memory and history seen through the distorting lens of time, ‘the authenticity of experience functions as a receding horizon of truth in which memory and testimony are articulated as modes of salvage’. Orchids: My Intersex Adventure follows a salvaging of the film-maker’s life events and experiences, being born with an intersex condition, and, via the filming and editing process, revolving around the core question: who am I? From this transformative creative documentary practice evolves a new way of embodying experience and ‘seeing’, playfully dubbed here as the ‘intersex gaze’.

Creating a German–Basque Electronic Dictionary for German Learners

Revista OJS

Accounts of debates in the House of Commons, March– April 1731, supplementary to the diary of the first earl of Egmont

John Perceval (1685–1748), 1st Viscount Perceval and (from 1733) 1st Earl of Egmont, was an assiduous recorder of his own life and times. His diaries, published by the Historical Manuscripts Commission from manuscripts in the British Library, are the best source for parliamentary debates at Westminster in the 1730s. For the years 1730-1733, when Perceval sat in the Commons (as an Irish peer) they are remarkably full. His practice seems to have been to prepare two versions (presumably on the basis of notes taken in the House), the first attributing speeches to individuals, and the second, entered up in the diary, which listed speakers and summarized all arguments on each side. His letterbooks for 1731 contain accounts of five debates that embody his first editing process, with speeches attributed to individuals. They were sent to an Irish correspondent, Marmaduke Coghill, and largely omitted from the diary because Perceval had already transcribed them elsewhere. They are new to historians and cast light on two main issues: the unsuccessful attempts by Perceval and the ‘Irish lobby’ to persuade the British parliament to settle the Irish woollen trade, a question bedevilling Anglo-Irish relations in this period; and an attempt by the opposition to stir up anger against perceived Spanish aggression against Gibraltar. One of the most interesting features is the insight afforded into the Commons performances of Sir Robert Walpole: his management of debates, his own style of speaking, and his sharp exchanges with opponents like William Pulteney.

Can the Revised UK Code Direct Practice?

The Nursing and Midwifery Council, the United Kingdom regulator of nursing and midwifery has recently revised its professional code of practice. This paper begins by arguing that a professional code must be capable of sustaining close reading and of action guidance. Using four exemplar clauses it is argued that the new revised code does not met this purpose. First, I show that in setting out requirements for consent and documentation, the meaning of the relevant clause has changed significantly during the editing process so that a literal reading of the final document bears little relation to established professional practice. Second, I argue that the clause concerning the nature of professional relationships has also been altered during the editing process so that it is inconsistent with other professional groups and established accounts of the professional nurse-patient relationship. Third, I argue that the clause concerning disclosure of confidential information, which survived revision and editing with its meaning intact is nevertheless factually incorrect and inconsistent with UK law and authoritative guidance. Finally, fourth, I argue that use of the word ‘inappropriate’ is inappropriate as it amounts to meaningless circularity, discussed in relation to a clause on expressing personal beliefs. Taken together, these examples demonstrate that the Code is seriously flawed and does not fulfil its purpose. One way that simple prescriptive clauses in the Code can be usefully understood is through the provision of detailed guidance. I argue that the NMC has changed its position on its view of the value of guidance and has significantly reduced the amount of written guidance and advice is provides. The paper concludes by arguing that in order to meet its action directing function, further clarifying revision and the provision of detailed guidance is required.

Wikis as individual student learning tools : the limitations of technology

This paper presents research into the attitudes and behaviours of students using wikis for individual writing tasks. The wiki-based assignment differs from the use of wikis normally researched because it was an individual task, not involving collaborative writing. This activity provides an excellent opportunity to learn more about how wikis are actually used by students in higher education. The research finds there is no compelling evidence that the wiki on its own improves performance over and above the general aptitude of students. It also finds that students generally did not utilise the wikis for high-intensity editing and revision. However, students did report that the wiki was valuable as a way of aiding them to review and develop their ideas. We conclude that using wikis for individual writing tasks can, where appropriate active instructions are given to support development of cognitive abilities, lead to improved outcomes for students.

As relações no processo de montagem cinematográfica entre os filmes Um homem com uma câmera e Koyaanisqatsi

Pós-graduação em Comunicação - FAAC

As edições não póstumas de Inocência (1872/1884), de Visconde de Taunay: análise do primeiro capítulo

Pós-graduação em Letras - FCLAS

A mentora literária de Guy de Maupassant

Laure Le Poittevin, Guy de Maupassant’s mother (1850-1893), had from his early childhood, a key role in the literary education of her son. This intelligent and sensitive woman, who was always passionate about arts, especially literature, to whom Maupasssant entrusted his projects and literary adventures, was his fi rst and eternal critic. In the letters he writes her, most of the time he takes the opportunity to plan and discuss his future projects; he presents a text in progress, he draws its guiding lines, he foreshadows its structures and points out some procedures based on a series of principles and recommendations of personal and universal values. Therefore, by reading again these letters, the readers nowadays can follow the writer’s daily life, the progression of his ideas and his literary development, the editing process of his book and his moments of sorrow and joy, anger and affection.

Artemídia impermanente: do transe ao trânsito de um editor de conteúdo de livros didáticos

Pós-graduação em Artes - IA

Le collocazioni in traduzione e interpretazione tra italiano e inglese: Uno studio su eptic_01_2011

The aim of this dissertation is to investigate the differences in the phraseological patterns used by Italian and English translators and interpreters through the intermodal corpus EPTIC_01_2011. First, the most important studies and theories about corpus linguistics and collocations are introduced. After defining the notion of “corpus”, the different types of corpora are categorised, giving particular attention to the intermodal one. Then the dissertation focuses on a description of collocations, as defined by the main linguistics scholars, and it describes some attempts to apply corpus linguistics to the study of collocations. Secondly, EPTIC_01_2011 is presented, with a description of its structure and of the text editing process carried out applying specific editing conventions and adding a set of metadata before each text. The analysis of collocation candidate bigrams (adjective+noun/noun+adjective) from a quantitative point of view, was conducted applying a methodology adapted from Durrant and Schmitt (2009). Qualitative analysis was also performed on a subsection of the data. The results of the study are presented through examples and graphs, giving particular attention to the interpretation of the data analysed from a qualitative perspective. Finally, results are summarised and categorised, and suggestions are made concerning the diverging choices made in translation and interpreting. The final section concentrates on further studies that could be carried out in the future, as well as on suggestions for corpus enlargement.

Where Stories Collide : Montage and the Short Story Cycle

This thesis uses Sergei Eisenstein’s filmic theories of montage to examine the modernist American short story cycle, a genre of independent short stories that work together to create a larger and interrelated whole. Similar to the shot-by-shot editing process of montage, the story cycle builds its intertextual meaning story-by-story from an aggregate of abrupt narrative transitions and juxtapositions. Eisenstein famously felt that montage, the editing together of film fragments, was not a process of linkage, but of collision –each radically different shot in a film should crash into the next shot, until audience members were intellectually provoked into synthesizing these collisions through dialectical processes. I offer montage as an interpretive strategy for negotiating the narrative collisions in story cycles such as Sherwood Anderson’s Winesburg, Ohio, William Faulkner’s Go Down, Moses, and Eudora Welty’s The Golden Apples. For Go Down, Moses, I argue that Eisenstein’s politically rendered “montage of attractions” provides a template for investigating the shock tactics behind Faulkner’s chronologically and racially entangled stories of whites and African Americans. For The Golden Apples, I consider the opposites and doubles in Welty’s fiction with Eisenstein’s similar belief in the “opposing passions” of the world. Not only, then, do I suggest that the modernist story cycle bears a cinematic influence, but I also offer Eisenstein’s theories of montage and collision as a heuristic for formal, thematic, and even political patterns in a genre infamous for its resistance to definition and classification.