Relevant bibliographies by topics / Grace-Smith

Academic literature on the topic 'Grace-Smith'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Grace-Smith"

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James, Bruce. "Grace Cossington Smith." Woman's Art Journal 15, no. 1 (1994): 55. http://dx.doi.org/10.2307/1358509.

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Smith, P. "Peter Smith talks to Mike Grace." British Dental Journal 183, no. 6 (September 1997): 193–95. http://dx.doi.org/10.1038/sj.bdj.4809462.

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Smith, J. "Mike Grace speaks to Jacqui Smith." British Dental Journal 178, no. 4 (February 1995): 128–29. http://dx.doi.org/10.1038/sj.bdj.4808676.

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Clayman, Ralph V., and John Denstedt. "IntroductionArthur D. Smith, MD: Humility, Hard Work, and Grace." Journal of Endourology 31, S1 (April 2017): S—1—S—2. http://dx.doi.org/10.1089/end.2017.29027.int.

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Seale, Doug. "Kimberly K. Smith, Wendell Berry and the Agrarian Tradition: A Common Grace." Journal of Agricultural and Environmental Ethics 22, no. 5 (April 16, 2009): 481–85. http://dx.doi.org/10.1007/s10806-009-9167-4.

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Boersma, Gerald. "J. Warren Smith, Christian Grace and Pagan Virtue: The Theological Foundation of Ambrose’s Ethics." Augustinianum 54, no. 2 (2014): 593–98. http://dx.doi.org/10.5840/agstm201454241.

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Allison, Tanine. "Race and the digital face: Facial (mis)recognition in Gemini Man." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (July 29, 2021): 999–1017. http://dx.doi.org/10.1177/13548565211031041.

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Ang Lee’s 2019 film Gemini Man features the most realistic digital human to grace the cinematic screen, specifically a computer-generated version of young Will Smith who battles his more aged self throughout the film. And for the first time in film history, this photorealistic digital human is Black. This essay explores why this groundbreaking achievement has not been acknowledged or celebrated by the film's production or publicity teams. I argue that Will Smith’s particular “post-racial” identity mediates contemporary concerns related to the racialized implications of facial recognition and other digital imaging technologies, as well as to the future of the film industry in the digital age. In the second half of the essay, I examine how the appearance of Will Smith in deepfake parody videos illustrates how race circulates on screens of various media formats. I conclude with a call to use digital visual effects, deepfake tools, and other advanced technologies to further racial justice instead of repeating the problematic usage of the past.
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Selby, Andrew M. "Christian Grace and Pagan Virtue: The Theological Foundation of Ambrose’s Ethics. By J. Warren Smith." Augustinian Studies 44, no. 1 (2013): 176–79. http://dx.doi.org/10.5840/augstudies201344121.

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Davidson, I. J. "Christian Grace and Pagan Virtue: The Theological Foundation of Ambrose's Ethics. By J. WARREN SMITH." Journal of Theological Studies 64, no. 2 (August 14, 2013): 729–31. http://dx.doi.org/10.1093/jts/flt125.

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Martin, Chris A., Jean C. Stutz, and Robert W. Roberson. "VESICULAR-ARBUSCULAR MYCORRHIZAL (VAM) FUNGI ALTER ROOT GROWTH OF PROSOPIS ALBA (CHILEAN MESQUITE) IN CONTAINERS." HortScience 27, no. 6 (June 1992): 688f—688. http://dx.doi.org/10.21273/hortsci.27.6.688f.

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Effects of VAM fungal inoculum, Glomus intraradices Schenk & Smith, on the growth of Chilean mesquite in containers were investigated as part of a nursery container system for production of xeric trees. Seedling liners of Chilean mesquite were transplanted into 27-liter containers filled with a 3 pine bark : 1 peat moss : 1 sand medium. Before transplanting, 50% of the trees were band-inoculated at a depth of 8 to 12 cm below the growth medium surface with 35 g per container of Glomus intradices (Nutrilink, NPI, Salt Lake City, UT), approximately 1,000 spores g-1. All trees were top-dressed with 15 g Osmocote 18N-2.6P-9.9K (Grace-Sierra, Milpitas, CA) and 3 g Micromax (Grace-Sierra, Milpitas, CA) fertilizers and grown in a fiberglass greenhouse under 50% light exclusion. After 4 months, all inoculated tree root systems were colonized, and the percent infection was 47%. Noninoculated trees remained nonmycorrhizal. There were no differences in height, total shoot length, shoot dry weight, or root dry weight between inoculated and non-inoculated trees; however, total root length and specific root length of inoculated trees were less than those of noninoculated trees. These results suggest that the VAM fungi altered the root architecture of inoculated trees such that root systems of these trees had thicker roots with fewer fine roots elongating into the growth medium profile.
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Books on the topic "Grace-Smith"

1

Smith, Grace Cossington. Grace Cossington Smith. Edited by Hart Deborah 1959-, National Gallery of Australia, Art Gallery of South Australia., Art Gallery of New South Wales., and Queensland Art Gallery. [Canberra]: National Gallery of Australia, 2005.

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2

James, Bruce. Grace Cossington Smith. Roseville, NSW: Craftsman House, 1990.

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3

Wolf, Bernard. Amazing grace: Smith Island and the Chesapeake watermen. New York: Macmillan, 1986.

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Wolf, Bernard. Amazing grace: Smith Island and the Chesapeake watermen. New York: Macmillan, 1986.

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Cue the Easter bunny. London: Orion, 2005.

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JFK is missing! London: Orion, 2000.

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Barking! London: Orion, 2001.

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Don't mess with Mrs In-Between. London: Orion, 2001.

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9

Daniel, Thomas. Grace Cossington Smith: A life : from drawings in the collection of the National Gallery of Australia. Canberra: The Gallery, 1993.

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10

Barking!: A Grace Smith Investigation (Grace Smith Investigations). Orion Media, 2005.

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Book chapters on the topic "Grace-Smith"

1

Cook, Linda Byrd. "Lee Smith: A Diamond from the Rough." In Rough South, Rural South. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496802330.003.0015.

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This chapter discusses Lee Smith's fiction, which consistently probes the crises of identity that plague so many contemporary Americans, particularly women. Born on November 1, 1944, in the southwestern Virginia coal-mining town of Grundy, Lee Smith was an only child and a voracious reader. Smith recalls that growing up in Grundy, she consciously tried to conform to the image of an aspiring southern “lady.” Initially Smith wrote about romantic and foreign subjects, but after encountering Eudora Welty's work in a southern literature course, she realized the importance of writing from one's experience. Like other members of her generation of southern writers, Smith creates a full, complex world of characters who confirm some stereotypes and transcend others. Her novels include The Last Day the Dogbushes Bloomed (1968), The Last Day the Dogbushes Bloomed— Something in the Wind (1971), Fancy Strut (1973), Black Mountain Breakdown (1980), Family Linen (1985), Fair and Tender Ladies (1988), Saving Grace (1995), and On Agate Hill (2006).
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Haverty-Stacke, Donna T. "Sisterhoods." In The Fierce Life of Grace Holmes Carlson, 80–118. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479802180.003.0004.

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Chapter 3 first traces how Grace built a public career for herself in the SWP, working as Minnesota state organizer and running for US Senate in 1940. The chapter also examines how Grace became one of the eighteen Trotskyists who was convicted of violating the Smith Act in 1941. Of vital importance to Grace’s experiences within the SWP and to her survival at Alderson prison in 1944 was her sisterhood of women comrades, which included her biological sister, Dorothy Schultz. Grace’s rich correspondence during the year she spent in prison reveals not only the connections and concerns shared by her and her women friends but also Grace’s relationship with the mostly poor and very young women incarcerated with her at Alderson. Both these experiences served as the inspiration for the working-class Marxist feminism that Grace came to articulate in her writings for the Militant and in her 1945 “Women in Prison” speaking tour. Grace’s experiences and writings were part of the Left’s answer to the woman question during the 1940s. Her story adds to the history of feminisms on the left during the 1940s and early 1950s, the period between the first and second waves.
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Bremer, Francis J. "Congregationalism Advanced." In One Small Candle, 150–67. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510049.003.0011.

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While the rest of New England followed the Congregationalist lead of Plymouth, there was unity without uniformity. Other churches sought the advice of Brewster and other Plymouth leaders on a variety of religious, political, and judicial matters. Various dissenters arose to challenge the New England Way. One was Roger Williams, who spent time in and developed some of his views in Plymouth. Plymouth had found a minister in Ralph Smith, who participated in the regional synod at Cambridge, Massachusetts, to define errors that had arisen during the Free Grace controversy. Samuel Gorton was another troubler of the established order who spent time in Plymouth. As Plymouth grew, individuals hived off from the original settlement to form new settlements in the colony such as Scituate, Duxbury, and Marshfield. This growth posed challenges to the values of the colony.
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Bellamy, Suzanne. "The Reception of Virginia Woolf and Modernism in Early Twentieth-Century Australia." In The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature, 62–78. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448475.003.0004.

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This chapter surveys Woolf’s reputation in Australia from the 1920s to the 1970s as it was moulded by colonial cultural politics. The competing influences of cosmopolitanism and nationalism shaped the ebb and flow of Woolf’s reception in Australia during these decades. The rise of the more nationalist Leavisite curriculum in Australian universities from the later 1930s, coupled with ambivalent responses to Woolf’s death in 1941, led to more a more divisive reception of Woolf and modernism in Australia in the mid-century. Australian literary critics Nettie Palmer and Margaret (Margot) Hentze espoused a cosmopolitanism that they found reflected in Woolf’s work, a focus also embraced by Nuri Mass, who, in 1942, submitted the first student thesis on Woolf at University of Sydney. Finally, the chapter examines how three women Australian painters, including Grace Cossington Smith, were influenced by Woolf and the Bloomsbury group.
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