Proof Sheets Research Articles

Listening for the Pictures

This essay is inspired by the words of Pulitzer Prize–winning Chicago Sun Times photographer John White, who once told me to “listen for the pictures.” His message rang clear but never more so than when in 1990 we were covering the release of Nelson Mandela in Cape Town, South Africa. The Cape Town scene was alive and filled with so much vibrance. I was keenly aware that I must not just look, but I must listen, and use all my God-given senses to take it in. I can only describe the moment I started listening to the layer of sound, which was my own clicking camera superimposed on the chorus of sounds that surrounded me as both meta and sonorific. There was a certain rhythm to the sensation I felt in being one with my camera. It transported me to a wonderful place in time where visuals and cadences danced together. I realized there was alchemy in this and in all the other moments and locations I had spent behind a camera developing and exercising that “inner ear” my ancestors, some gone, like Gordon Parks, but others here, like White, taught me to revere. This essay is a snapshot of some of those moments—a proof sheet, if you will—from a life that began, as did the civil rights era, with instances of terror and triumph. This essay chronicles my journey as a young photographer and the many influences that shaped my creative process and eventually my worldview. This essay is an invitation to travel with me through time and see life as my camera and I witnessed it, and to hear and sense the world as I do.

Embedded Authorship: Thomas Carlyle, Ralph Waldo Emerson, and Nineteenth-Century “Transatlantic Bibliopoly”

Embedded Authorship: Thomas Carlyle, Ralph Waldo Emerson, and Nineteenth-Century “Transatlantic Bibliopoly” Tim Sommer (bio) I. Transatlantic Circulation between the “Two Englands” In 1870, Thomas Carlyle donated a large part of his private library to Harvard University in an effort to demonstrate his “gratitude to New England” for its encouraging reception of his writings over the previous three and a half decades.1 Carlyle’s American friend and one-time de facto literary agent Ralph Waldo Emerson had emphatically urged that Harvard, his own alma mater, would be “the right beneficiary, as being the mother real or adoptive of a great number of” Carlyle’s “lovers & readers in America.”2 The role of the intermediary in the scheme fell to Charles Eliot Norton, a fellow Harvard graduate and transatlantic man of letters who subsequently became the first editor of the Carlyle–Emerson correspondence. As a gesture at once material and diplomatic, the gift, Norton suggested, would further consolidate a “bond between the people of the two Englands.”3 Through this public recognition of the support of his American “lovers & readers,” Carlyle was paying back his debt in the form of books, the same currency in which he had originally incurred it. When the volumes from his shelves arrived in Cambridge, this transatlantic migration of material objects provided the concluding chapter to a long history of exchanges that had seen the circulation of manuscripts, proof sheets, individual copies, and whole cargoes of Carlyle’s and Emerson’s books between Britain and the United States. This sustained Anglo-American interaction had not only established a lasting bond between the two writers, but also contributed to the emergence of the interconnected print market of what Norton described as “the two Englands.” While the study of transatlantic literary relations has burgeoned over the past two decades, only a fraction of the critical output this scholarship has [End Page 352] generated is concerned with such specifically book historical contexts and with tackling the archival evidence required to answer the questions they raise.4 Still largely dominated by a history of ideas approach, the field has for a long time “neglected the material exchanges of transatlantic culture” in favor of inquiries into transnational influences and conceptual transfer.5 A simultaneous flourishing of research in the history of the book has, on the other hand, yielded similarly few instances of scholarship devoted to topics that genuinely cut across the boundaries of national book markets and regionally specific print cultures.6 In a recent survey of the nexus between these two scholarly traditions, Emily Todd has accordingly called for new work that engages both paradigms at the same time. “Transatlantic studies needs book history,” she argues, just as much as the latter needs the former.7 A subfield in which the history of the book has already made a contribution to our understanding of transatlantic literary culture is the study of nineteenth-century practices and discourses of reprinting. Catalyzed by Meredith McGill’s pioneering American Literature and the Culture of Reprinting, 1834–1853 (2003), research in this area has retraced in rich historical detail the manifold “routes” that texts were traveling in a complex international system of book and periodical publishing.8 Described as subject to decontextualization, reformatting, and decentralized dissemination, writing here tends to take precedence over authors, who often figure as the hapless victims of impersonal market structures that extend far beyond single individuals. Where reprinting is read as a practice that “disrupted the connections of books as human transmissions and de-valued the author’s text,” publication emerges “as an independently signifying act”—independent, that is, from authors as historical agents and participants in the publishing process.9 Looking at the close collaboration between Carlyle and Emerson and recovering the extent of their involvement with the print market reveals a different picture of the place of authors in nineteenth-century reprint culture. Confronted with a vibrant transatlantic market environment in which their writings from the late 1830s onwards were increasingly targeted by unauthorized reprinters, the two entered the fray and took up the roles of agents and editors to reassert their intellectual, legal, and economic authority over their texts. The transatlantic culture of print in...

Russell’s Corrected Page Proofs of <em>Principia Mathematica</em>

We report here on the set of complete proofs of Volumes I and II of Whitehead and Russell’s Principia Mathematica newly acquired by the Bertrand Russell Archives. These proof sheets, marked with a number of corrections, were likely bound for Russell by Cambridge University Press, though not exactly the same as the first edition. We assess the information to be gained from the texts and the corrections, most significantly around *110 in Vol. II and the lost dot of the empty relation in Vol. I. All are in Russell’s hand and described in an appendix. We also note several revisions in the first edition that were made after these proofs. We discuss the provenance of the volumes, and Russell’s correspondence about proofs of PM with M. H. Dziewicki, but we find that there is insufficient evidence to determine the chain of possession from Russell to their discovery for sale in Australia in recent years.

How to utilize weed proof sheets for vegetation hazard management.

How to utilize weed proof sheets for vegetation hazard management.

Russell’s Corrected Page Proofs of Principia Mathematica

We report here on the set of complete proofs of Volumes 1 and 11 of Whitehead and Russell’s Principia Mathematica newly acquired by the Bertrand Russell Archives. These proof sheets, marked with a number of corrections, were likely bound for Russell by Cambridge University Press, though not exactly the same as the first edition. We assess the information to be gained from the texts and the corrections, most significantly around *110 in Vol. 11 and the lost dot of the empty relation Λ in Vol. 1. All are in Russell’s hand and described in an appendix. We also note several revisions in the first edition that were made after these proofs. We discuss the provenance of the volumes, and Russell’s correspondence about proofs of PM with M. H. Dziewicki, but we find that there is insufficient evidence to determine the chain of possession from Russell to their discovery for sale in Australia in recent years.

Efficacy studies on ECO2FUME® phosphine fumigant for complete control of Sitophilus zeamais and Tribolium castaneum in stored maize in Thailand.

ECO2FUME® fumigation of maize bag stacks under gas proof sheets was conducted to establish the optimal dosages (application rate) and exposure times (fumigation period) against mixed-age cultures of Sitophilus zeamais and Tribolium castaneum. The Complete Randomized Design (CRD) experimental design was employed, with 3 replications and 4 treatments. The experiments were divided into three groups: 1) treatment with a 25 g/m3 ECO2FUME® application rate (350 ppm phosphine) for 3, 4, and 5 days and a control treatment; 2) treatment with an ECO2FUME® application rate of 50 g/m3 (700 ppm phosphine) for 2, 3, and 4 days and a control treatment; and 3) treatment with a 70 g/m3 ECO2FUME® application rate (1,000 ppm phosphine) for 1, 2, and 3 days and a control treatment. The three target phosphine concentrations of 350 ppm, 700 ppm and 1,000 ppm were maintained during the whole fumigation period. Results of the studies showed that no insect was alive at all dosages and exposure times. The studies also indicated that fumigation with ECO2FUME® could reduce the fumigation period by increasing the phosphine concentration. The effective fumigation protocols on maize against mixed-age cultures of S. zeamais and T. castaneum were ECO2FUME® application rates of 25 g/m3 for 3 days, 50 g/m3 for 2 days and 70 g/m3 for 1 day. The target phosphine concentration must be maintained throughout the fumigation period to achieve 100% mortality of all stages of insects.

The Capital Warning of “Annabel Lee”

The Capital Warning of “Annabel Lee”

A New Corrected Proof Sheet from Shakespeare's First Folio (1623)

This note describes a sixth extant corrected proof sheet found in an Oxford copy of Shakespeare's First Folio (1623), and what it adds to the understanding of the printing process of King Lear .

Status of fumigation in stored grains in India

India, a leading producer of food grains with an estimated output (inclusive of pulses) 257.07 Mt in 2014–15 has been storing grains as bag- stacks in warehouses (covered godowns). Due to shortage of space in conventional warehouses, about 20% of the stock (wheat and paddy rice) has been held outdoors in open storage called cover and plinth (CAP) storage. Lately, under new schemes such as Private Entrepreneurs Guaranteed Scheme, 2008 (PEGS) and Public Private Partnerships (PPP), steps have been undertaken to augment the overall storage capacity. Accordingly new warehouses have been built, metal silos erected and silo bags for wheat introduced in place of CAP storage. Grains stored in all types of storages are infested by beetle and moth pests. The pest activity is exacerbated by bag-stack storage system and favorable climatic conditions (25–35°C and 50–80% RH). Phosphine (from aluminium phosphide tablet and powder formulations) is the only fumigant used for grain protection in India since 1970s. In recent years, indigenous onsite phosphine generators have been deployed for fumigation of grains stored in bulk in metal silos. Multiple phosphine applications (every 3 months during a storage period of 1 to 3 years) of grain stacks are common. Inadequacies in current fumigations such as use of substandard gas proof sheets and sand snakes, shorter exposure periods (3 to 5 days), failure to measure gas levels, and poor maintenance of gas concentrations during exposure period have been discussed.

다공질필름 피복이 망고 과실 품질에 미치는 영향

다공질필름 피복이 망고 과실 품질에 미치는 영향

Samuel Johnson. Edited by John H. Middendorf The Lives of the PoetsThe Lives of the Poets. Samuel Johnson. Edited by, John H. Middendorf. The Yale Edition of the Works of Samuel Johnson, vols. 21–23. Edited by, Robert DeMaria Jr. New Haven, CT: Yale University Press, 2010. Pp. xii+1583.

<i>Samuel Johnson</i>. Edited by <i>John H. Middendorf</i> The Lives of the Poets<i>The Lives of the Poets</i>. Samuel Johnson. Edited by, John H. Middendorf. The Yale Edition of the Works of Samuel Johnson, vols. 21–23. Edited by, Robert DeMaria Jr. New Haven, CT: Yale University Press, 2010. Pp. xii+1583.

Creative Constraints: Translation and Authorship by Rita Wilson &amp; Leah Gerber, ed.

156 World Literature Today reviews once attributed to a photograph. Despite this broad generalization, the photograph still has the power to stun us and capture our attention. Such is the case with Robert Adams’s traveling retrospective exhibition organized by Yale University Art Gallery and represented in the three-volume catalog The Place We Live, which covers the period from 1964 to 2009. Adams’s black-andwhite images are at once sublime and uneventful. His document of the American landscape is not the grandeur of Ansel Adams (no relationship) but a carefully considered portrait of our daily surroundings presented in a manner that gradually leaves us more breathless than the magnificent photographs of Ansel. Robert approaches his subjects with a simplicity and formality that belies the complexity of visual cognition that frame his work. He exploits the image to inform us about the presence of humanity and the delicate balance that mankind shares with nature. The character of his images is accurately revealed in this catalog and covers a lifetime of image-making from Colorado and beyond. The first and second volumes portray the explorations that are revealed in many of his projects and their resulting books; the exhibit, just as the catalog reinforces, is sequenced according to the project presented. Each reproduction maintains the elegance of the original museum experience by carefully isolating the image from its immediate surroundings while simultaneously retaining its connection to the pieces selected to represent a project. The decision to place the texts at the end of the book allows readers to consult additional resources without interfering with the photographs themselves. Adams’s images are lyrical and poetic , portraying the qualities that light (or dark) reveal. Extreme care has gone into the editing and production of this work, including numerous cross-country travels to carry the proof sheets to Adams for final approval. The results are memorable. The third volume offers the reader an overview of each of the projects Adams has produced as a book represented by the cover design and several page spreads accompanying. The Place We Live confirms not only the significance of Robert Adams’s contributions to photographic art but, more importantly , his singular commitment to his own vision. It is, like the exhibition it stems from, a confirmation that in the right hands, photography remains a powerful medium. Andrew L. Strout University of Oklahoma Creative Constraints: Translation and Authorship. Rita Wilson & Leah Gerber, ed. Clayton, Victoria, Australia. Monash University Publishing (isbs, distr.). 2012. isbn 9781921867897 Participants in the 2011 inaugural Literary Translation Summer School— run under the auspices of Monash University’s School of Languages, Cultures, and Linguistics in collaboration with the British Centre for Literary Translation—wrote most of the contributions to Creative Constraints. Each essay discusses the relationship between the creative freedom of the literary translator and the many constraints to which translation is subject ; and each, in its own way, shows that translation is a re-creation, an interpretation, or an actual creative writing based on an original in another language and thus a transmutation of the original. The old saying “traduttore, tradittore ” is very apt. It enabled Octavio Paz, the translator, to turn it into “traduttore, creatore”—as Graciela Isnardi said in praising his translations . Fidelity to the original text is Rane Willerslev On the Run in Siberia Coilín ÓhAiseadha, tr. University of Minnesota Press Danish anthropologist Rane Willerslev embarks on a mission to start a fair-trade fur cooperation with the indigenous Yukaghir, but things quickly turn dangerous. Facing starvation and the harsh trials of winter, this memoir chronicles a year spent in isolation and on the run from political corruption. march –april 2013 • 157 Ivan Vladislavić The Loss Library and Other Unfinished Stories Sunandini Banerjee, ill. Seagull Books Part personal examination, part descriptive musing, these short stories and essays paired with striking illustrations by Sunandini Banerjee delve into the writing process, particularly looking at stories that are never finished. Vladislavić analyzes his literary failures to discover why they did not succeed while also offering homages to his favorite authors. Nota Bene practiced best when combined with creative imagination in translating, much as when Emily Dickinson, urging poets to tell the truth, said, “tell...

Digital Photography in the Modern Plastic Surgery Practice

Sir:FigureAlthough many specialties take advantage of visual documentation, no other field takes this more to heart than plastic surgery. Photography to plastic surgery is like radiography to orthopedic surgery. The average digital camera and memory card can store thousands of high-quality photographs. Retrieving these photographs in an efficient, expedited manner becomes important for cataloguing patients and cases for oral board examinations, documentation and improvement of patient outcomes, medicolegal aspects, and clinical research, to name a few. The litigious climate of modern medicine further necessitates meticulous, careful organization.1 A misfiled photograph is an image never taken. The senior author (M.A.L) developed and tailored a simple Dewey Decimal System–like classification system for photographs, the Lesavoy Enumeration System, over a period of 35 years designed to encompass the entire spectrum of his and most plastic surgery practices. Such a system has never been described, and would benefit all students, residents, and plastic surgeons alike. In a manner similar to the Dewey Decimal System, the current system assigns numbers from 1 to 163+. These numbers are split among three categories: general plastic surgery (1 to 87), hand surgery (87.5 to 140.7), and craniofacial surgery (141 to 163). Microsurgery and cosmetic surgery disciplines are included in the general plastic surgery category. Among the general categories, the individual sections are alphabetical. Multiple categories may be assigned to the same patient. For example, if a plastic surgeon wanted to classify a cosmetic patient who received fillers, abdominoplasty, and breast augmentation, the following classifications may be used: 1 (abdominoplasty), 11 (breast augmentation), and 16.45 (Restylane). If a file were to be renamed, according to a [date][patient name][(categories)(categories)].jpg type scheme, the file name would be “10.17.11_Miss Jones(1)(11)(16.45).jpg” (Fig. 1). The Lesavoy Enumeration System photograph classification may be downloaded at the http://www.drlesavoy.com.Fig. 1: Sample photograph. The series of photographs would be printed onto a proof sheet by office staff for the surgeon to review. The surgeon would then label a series of photographs according to their Lesavoy Enumeration System category. For example, these photographs were labeled with the patient's name, date, and the following Lesavoy Enumeration System categories: 8.5 (Mohs' excision), 60 (nasal reconstruction), and 35 (grafts).The power of the Lesavoy Enumeration System is the customizability: additional decimal points may be added if further subclassification is required. For example, suction lipectomy is 78.3. Further classification allows specification of regions: 78.301 for abdomen, 78.31 for arms, and 78.313 for breast. Frequently used coding numbers will become familiar, allowing for quick naming and searching with search functions discussed in the next section. Photographs are taken digitally, and a staff member downloads photographs from the memory card at intervals of the surgeon's desire. Before each clinical photograph, a picture is taken of the patient's name and date to identify subsequent clinical photographs. The photographs are then downloaded onto a proof sheet. Categories from the Lesavoy Enumeration System are then assigned to each group of photographs by the surgeon, and undesirable photographs are deleted. The staff member then takes the proof sheet and renames each photograph in the predetermined scheme and files are stored in triplicate by Lesavoy Enumeration System category, name of patient, and date (Fig. 2). Alternatively, the user can choose one method of storage that suits their need the most (e.g., storage by category) and use search features to search for dates and names. Each photograph is printed and placed in the clinical chart. This allows surgeons and patients to view photographs without cumbersome disks and computers in every examination room.Fig. 2: Basic workflow management. This scheme provides a simple method of renaming files by a preset scheme. Files are then copied in triplicate and placed in respective folders. LENS, Lesavoy Enumeration System.The Lesavoy Enumeration System is also an excellent tool for clinical research. Assistants can retrospectively retrieve photographs of a relevant category—for example, eyelid ptosis reconstruction, 27.6—and obtain all photographs of the surgeon's eyelid ptosis cases, names, and surgery date. The researcher can retrieve the clinical charts of patients and initiate a clinical chart review. The Lesavoy Enumeration System has stood the test of time, and has been given to almost every one of the senior author's students, residents, and colleagues, with excellent feedback. It is time and cost saving, and affords standardized photograph classification in the modern plastic surgeon's practice. Malcolm A. Lesavoy, M.D. Division of Plastic and Reconstructive Surgery, David Geffen School of Medicine at the UCLA, Los Angeles, Calif. Kenneth L. Fan, M.D. Department of Plastic Surgery, Georgetown University Hospital, Washington, D.C. DISCLOSURE The authors have no financial interest to declare in relation to the content of this article.

Sonoma State University's North Bay Historic Preservation Digital Collection: Starting a Digital Project

A number of years ago, a staff member in the Sonoma State University (SSU) Library’s regional and special collections department discovered a box of mounted photographs and accompanying display material of Sonoma County sites. A bit of detective work led to further identification of these photos as part of a larger compilation of materials associated with History 362, a course offered at SSU in the mid-1970s. More recently, additional materials were connected to this original discovery, including photo negatives, proof sheets, and some slides; a dozen audiotaped interviews of Sonoma County residents; student papers on the architectural styles of buildings in the county; resource inventories of historic county sites; and files from the offices of two history professors who were involved in the work to create these documents. And History 362 wasn’t the only course with which various documents were associated. The organization of materials continues to this day, but the regional and special collections department staff has managed to piece together most of the history of this unique collection.

Yeats, “Leda,” and the Aesthetics of To-Morrow : “The Immortality of the Soul”

Yeats, “Leda,” and the Aesthetics of To-Morrow: “The Immortality of the Soul” Bernard McKenna In August 1924, a small literary magazine, To-Morrow, went on sale in Dublin. As its title implies, the magazine’s editors, Francis Stuart and Cecil Salkeld, were buoyed with optimism.1 They hoped for a new cultural movement in the arts that would parallel its development and, in turn, influence the newly founded Irish Free State. The young editors felt that “mainstream Irish literature was narrow and that no outlets were available for young writers to publish innovative or experimental work; nor was there a forum for the discussion of developments in poetry, painting, and philosophy.”2 In early 1924, Stuart and his friends had decided to launch To-Morrow: They approached such well-known writers as Lennox Robinson and Liam O’Flaherty for stories, plus their friends Joseph Campbell and F. R. Higgins, who contributed poems, and O’Flaherty’s mistress, Margaret Barrington, who offered a short story.3 After some trouble with a Dublin printer over Robinson’s story, the group had the journal printed in Manchester. Its first issue was well received, but after its second issue in September 1924, political pressures prevented the magazine from appearing again. This was not uncommon; as David Miller and Richard Price note, “Ireland in the 1920s and 30s when seen through the lens of the literary magazine is a country where immense . . . creative forces are faced and faced off by a sensitive and censoring emergent state.”4 The editors of To-Morrow did not shrink from confronting the sensitivities of the new nation. Indeed, [End Page 16] they hoped to confront, expose, and change the more restrictive of those sensibilities, while advancing a program for a new cultural movement. To-Morrow’s editors specifically hoped to start a cultural revolution with Ireland as a base that could stand against both restrictive versions of spirituality—a rigid Catholicism, and such contemporary, secular artistic movements as Cubism, which Stuart and Salkeld viewed as spiritually destructive. The journal’s historical context in part explains the editors’ sense of mission. The early days of the Free State were also infused with optimism. Ireland had its own seat in the League of Nations, with the right to an “independent policy line.”5 In addition, the Irish Civil War had ended, and to celebrate the peaceful new nation, the Free State government relaunched the “Tailteann Festival,” designed to commemorate Irish culture, atheltics, and artisanship. However, the new nation seemed less focused on defining herself than on “self-definition against Britain,” on the institutionalization of a rigorous religious conservatism, and on the maintenance of a ruthlessly self-reliant economic policy.6 To-Morrow expressed the optimism of the new nation and stood against a self definition based in restrictive conceptualizations of religious, political, and material ideologies. 7 William Butler Yeats, as a Free State senator, also tried to curb the restrictive nature of the new nation. As a recent Nobel laureate, he took a prominent role in literary and cultural affairs, actively encouraging the founders of To-Morrow by contributing, under Stuart’s and Salkeld’s names, an editorial and offering “Leda and the Swan” for publication in the new “little magazine.” On June 21, 1924,Yeats wrote “in high spirits” to Olivia Shakespear, foreseeing “an admirable row.” Yeats “heard that a group of Dublin poets . . .were about to publish a review.”8 He suggested they found themselves “on the doctrine of the immortality of the soul”: [End Page 17] They had adopted my suggestion and were suppressed by the printers for blasphemy. I got a bottle of Sparkling Moselle, which I hope youthful ignorance mistook for champagne, and we swore alliance. . . . I saw a proof sheet marked by the printer. . . . My dream is a wild paper of the young which will make enemies everywhere and suffer suppression, I hope a number of times, with the logical assertion, with all fitting deductions, of the immortality of the soul.9 Yeats’s letter reveals both that the editors of To-Morrow expected to encounter hostility from the religious hegemony they hoped to challenge, and that Yeats had faith in the magazine’s...

Twisty Little Passages: The Several Editions of Lady Caroline Lamb's "Glenarvon"

Glenarvon was published in 1816 by Henry Colburn, who advanced Lady Caroline Lamb [pounds sterling]200 an agreement pay [pounds sterling]300 upon publication. He must have anticipated decent sales, for he had recently paid an established writer, Lady Morgan, about the same amount for her novel O'Donnel (Erickson 156). Glenarvon is an interesting case study in the winding paths of revision, which began as soon as Lamb detected editorial changes in the proofs: shall be seriously angry if any alteration is made whatever either in punctuation or orthography & I entreat you send me the proof sheets. Remember and send the remainder of the 1st vol. - for I have been obliged alter it all back again ... (2) was also vex'd when Colburn left two musical settings by Isaac Nathan out of the galleys. (3) perhaps felt Nathan's music would be selling point, because the second volume of Byron and Nathan's successful Hebrew Melodies, had just appeared. Colburn put the music back in, but the proofreading continued practically up the day Glenarvon was published anonymously on May 9, 1816. There were errors, including mis-numbering of chapters, (4) but the author was proud, and sent copies of the novel her circle of associates. Her pride turned alarm, however, when her sister-in-law and others began accuse her of betraying them this kiss and tell, or as Byron put it, --and publish confessional (Byron's Letters and Journals 5: 85). When John Cam Hobhouse announced his intention counter-attack on Byron's behalf for Lamb's expropriation of his character in the novel by some of Lamb's letters. Lamb expressed nothing but astonishment (Douglass 185). spent the next period of her life revising Glenarvon for its second and third editions, adding preface, and then an introduction for fourth edition, (5) trying repair the damage. And yet, she never altered any passages that would change the novel's core message. Lamb's reputation for insanity is largely based upon the act of social suicide Glenarvon became. paid heavily for portraying Byron both as an irresistible lover and a coward and hypocrite, smooth dissembler, who smiles--but he smiles he stabs (Works 1: 342). Frustrated passion and simultaneous anger Byron motivated the writer, no doubt, but her deeper anger lay the society that excused him while condemning her for their adultery. That double standard irked, then enraged her, and she began see it as confirmation of the pervasive she had witnessed first hand for years. Of Calantha, the novel's heroine. Lady Caroline wrote, She heard folly censured till she took it be criminal; but crime she saw tolerated if well concealed (Works 1: 54). In Glenarvon, Lamb was able dramatize her own attempt defy society rife hypocrisy and deceit (Works 1: 71). Lamb had other motives besides family distress for revising her work. The press had been severe her first novel--overly so, in retrospect. Glenarvon has significant flaws, but the reaction of journals and magazines was certainly out of proportion its offenses. The British Critic described it as composed of scenes of seduction and adultery representing the morals of Paris and Vienna (i.e., Sodom and Gomorrah) by an author bent on publishing the world her own shame, who seemed to glory in her guilt. The Critic's reviewer said that the novel ought be read with mixed feeling of abhorrence and pity. (6) The Theatrical Inquisitor similarly found Glenarvon tiresome and revolting and described it as pornographic work comparable John Cleland's Fanny Hill. (7) The British Lady's Magazine bemoaned the novel as wretched production which was disgusting, immoral, and tawdry, and notwithstanding these grave charges, completely farcical. (8) The Monthly Review did not charge Glenarvon moral or religious harm, but rather inquired into the novel's oddity. …

A grangerized copy of Weld's History of the Royal Society

Restricted accessMoreSectionsView Full TextView PDF ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InRedditEmail Cite this article Moore Keith 2008A grangerized copy of Weld's History of the Royal SocietyNotes Rec. R. Soc.62245–250http://doi.org/10.1098/rsnr.2007.0012SectionRestricted accessA grangerized copy of Weld's History of the Royal Society Keith Moore Keith Moore [email protected] Google Scholar Find this author on PubMed Search for more papers by this author Keith Moore Keith Moore [email protected] Google Scholar Find this author on PubMed Search for more papers by this author Published:05 March 2008https://doi.org/10.1098/rsnr.2007.0012ReferencesNotes1Charles Richard Weld, A history of the Royal Society, with memoirs of the Presidents. Compiled from authentic documents (John W. Parker, London, 1848). Google Scholar2For a short biography of Broadley, see Who was Who 1916–1928 (A. & C. Black, London, 1962) vol. 2, pp. 127–128. Other examples of Broadley's work in grangerized books can be found; for example, Annals of the Haymarket and Some social, political and literary landmarks of Bath and Piccadilly, 1711–1911 are in the City of Westminster Archive Centre, Napoleon in caricature is in the Bodleian Library, Oxford, and The true story of the Chevalier d'Eon is at the Brotherton Library, Leeds. Google Scholar3RS Council Minutes, vol. 20, p. 338 (1957–61). Google Scholar4A. M. Broadley, ‘The British immortals, 1662–1912’, The Outlook, Saturday, 13 July 1912. Proof sheet in MS/849/1. Google Scholar5A. M. Broadley, Chats on autographs (T. Fisher Unwin, London, 1910). Google Scholar6Specifically, letters by Davy (see note 11 below) and Brougham. Including John Evelyn, Robert and Edward Harley, Hans Sloane, Peter Le Neve and James West, ibid., pp. 35–36. Google Scholar7Royal Society Manuscript MS/648. Google Scholar8John Britton, Memoir of John Aubrey, F.R.S. embracing his auto-biographical sketches … (J. B. Nichols and Son, London, 1845), pp. 37–38. Coincidentally, Britton also grangerized books and included Aubrey material. Google Scholar9MS/849/2 pp. 246–247 J. Aubrey to T. Hobbes, 30 August 1661. Google Scholar10MS/849/4 pp. 478–479 M. Folkes to E. Mendes da Costa, 9 August 1747. Google Scholar11Cited in essays including G. S. Rousseau and David Haycock, ‘The Jew of Crane Court: Emanuel Mendes da Costa (1717–91), natural history and natural excess’, Hist. Sci.38, 127–170 (2000), and G. Cantor, ‘The rise and fall of Emanuel Mendes da Costa: a severe case of “the Philosophical Dropsy”?’, Engl. Historical Rev.126 (467), 584–603 (June 2001). Google Scholar12MS/849/4 pp. 526–527 E. Mendes da Costa to M. Folkes, 14 September 1747. Google Scholar13MS/849/6 pp. 112–113 C. Blagden to Sir J. Banks, 9 September 1781. Google Scholar14Georg Forster (1754–1794) and Georg Christoph Lichtenberg FRS (1744–1799) edited the Göttingisches Magazin der Wissenschaft und Literatur. Google Scholar15MS/849/7 pp. 210–211 B. Thompson to Sir J. Banks, 6 July 1784. Google Scholar16Michael J. Crowe (ed.) A calendar of the correspondence of Sir John Herschel (Cambridge University Press, 1998). The letter is MS/849/6 pp. 192–193 J. F. W. Herschel to J. Davies, 28 April 1839. Google Scholar17William Herschel, ‘Experiments on the Solar, and on the Terrestrial Rays That Occasion Heat …’ Phil. Trans. R. Soc.90, 293–326 (1800). William Herschel's letter is at MS/849/6 pp. 146–147. Google Scholar18Martin Hilbert, ‘Herschel's investigation of the nature of radiant heat: the limitations of experiment’, Ann. Sci.56, 357–378 (1999). Google Scholar19F. A. J. L. James, ‘How big is a hole?: the problems of the practical application of science in the invention of the miners’ safety lamp by Humphry Davy and George Stephenson in late Regency England', Trans. Newcomen Soc.75, 175–227 (2005). Google Scholar20Broadley, op. cit. (note 5), pp. 97–98. Google Scholar21MS/849/7 pp. 288–289 H. Davy to J. Buddle, 6 February 1817. Google Scholar22MS/849/6 pp. 116–117 C. Babbage to R. Penn, 4 May 1829. Google Scholar23MS/849/7 pp. 288–289 G. Stephenson to T. Brassey, 14 March 1839. Google Scholar Previous ArticleNext Article VIEW FULL TEXT DOWNLOAD PDF FiguresRelatedReferencesDetailsCited by Ionescu C Introduction: Extra-illustration in a critical context, Journal of Illustration, 10.1386/jill_00036_2, 8:1, (3-17) (2008) Current Bibliography of the History of Science and Its Cultural Influences, 2008, Isis, 10.1086/597813, 99:S1, (i-320), Online publication date: 1-Dec-2008. This Issue20 June 2008Volume 62Issue 2 Article InformationDOI:https://doi.org/10.1098/rsnr.2007.0012Published by:Royal SocietyPrint ISSN:0035-9149Online ISSN:1743-0178History: Manuscript received31/05/2007Manuscript accepted21/09/2007Published online05/03/2008Published in print20/06/2008 License:© 2008 The Royal Society Citations and impact

Identifying Foreign Bodies: New Philosophers and Hottentots in Elizabeth Hamilton's Memoirs of Modern Philosophers

My mother got a packet of brown snuff from London ... wrapped in two proof sheets of the quarto edition of Political Justice. I eagerly snatched up the paper, and notwithstanding the frequent fits of sneezing it occasioned, from the quantity of snuff contained in every fold, I greedily devoured its contents. I read and sneezed, and sneezed and read, till the germ of philosophy began to fructify my soul. From that moment I became a philosopher and need not inform you of the important consequences.—Bridgetina Botherim

管理型廃棄物埋立護岸遮水シートの敷設面不陸に対する変形追随性

Laboratory examinations were undertaken to clarify the deformation behaviors of water proof sheet, applied at a seepage control structure in an offshore waste disposal site. We examined a pressure resistance of PVC sheet which is installed upon backfilling stones of gravity-type bulkhead. As the result, the more the penetrating point of stone is smartened, the more the maximum strain occurred near the point. Pressurizing for 24 hours on a backfilling slope modeled actual seepage control structure in a waste disposal site, PVC sheet was deformed due to unevenness of backfilling stones, however, no breakage was observed. Local large strains (more than 10 %) were measured upon large degree of unevenness near the penetrating point of a stone. Those results indicate that the behavior of waterproof sheetdeformation during the penetration of a backfilling stone could be applied to the evaluation of waterproof sheet deformation due to unevenness of backfilling slope in a controlled waste disposal site.

関東地域に建設された木造戸建住宅の気密性に関する実態把握及び漏気量推定

The 80 detached houses in Kanto area, which were built by using Government Housing Loan in 2000 Fiscal Year, were measured of their equivalent leakage area per unit floor area. The samples consisted mainly of the houses, which did not comply with the 1999 national energy code for residential buildings to improve the thermal performance and the air tightness. The following findings were obtained, although further survey is necessary in order to collect more accurate and broad information on the air tightness of recent houses. 1. For the post-and-beam construction (ZAIRAI) without using plywood panel for the exterior walls, mean equivalent leakage area per unit floor area is 5.5 cm^2/m^2, while it is 2.2 cm^2/m^2 for the two-by-four construction. 2. By analyzing the relationship between the air tightness and the specifications of insulation technique, the usage of plywood panels on the exterior wall and the floor, the usage of water proof sheet on the exterior wall and the existence of vented cavity on the exterior wall were proved to be significantly related with the air tightness. 3. Air leakage rate in summer and winter was estimated by using the existing predictive equation, which has been developed by the author. For summer, the air leakage is estimated to be 0.1 ACH for the post-and-beam construction and 0.05 ACH for the two-by-four construction, respectively. For winter, it is estimated to be 0.24 ACH for the post-and-beam construction and 0.1 ACH for the two-by-four construction, respectively.