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Bibliografias temáticas / Freemont Post No

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Literatura científica selecionada sobre o tema "Freemont Post No"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Freemont Post No"

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Fowler, T. Kenneth, e Dmitri Ryutov. "Richard Freeman Post". Physics Today 68, n.º 7 (julho de 2015): 56–57. http://dx.doi.org/10.1063/pt.3.2855.

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Kenneth Fowler, T., e Dmitri Ryutov. "Richard Freeman Post (14 November 1918–7 April 2015)". Nuclear Fusion 57, n.º 1 (11 de outubro de 2016): 010401. http://dx.doi.org/10.1088/0029-5515/57/1/010401.

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Mahmood, Talat. "Survival of Newly Founded Businesses: The Post-Entry Performance". Pakistan Development Review 37, n.º 4II (1 de dezembro de 1998): 577–94. http://dx.doi.org/10.30541/v37i4iipp.577-594.

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A number of studies have been undertaken on industry dynamics or about the process by which new firms either survive and grow, or else exit from the industry. A new literature has emerged in the last few years, which focuses on the question, what happens to new firms subsequent to their entry?, both in terms of their likelihood of survival and their growth patterns. Most of the studies use a theory of organisational ecology by Hannan and Freeman (1989), which emphasises organisational characteristics and environmental conditions; particularly the number of employees and invested capital. In addition, the theory offers a comprehensive set of factors that influence the hazard rate of newly founded business organisations. In particular, this theory deals with the evolutionary process within or between populations of organisations observed over long periods of time [see also Singh and Lumsden (1990)]. Originally, Stinchcombe (1965) directed the attention of organisational theorists, based on a hypothesis of a "liability of newness", to the age-dependent decline in organisational death rates. A number of studies [Freeman, Carroll, and Hannan (1983)] found that the organisational death risk declines monotonically with age. Later, BrUderl and SchUssler (1990) also empirically tested the Stinchcombe's "liability of newness" hypothesis and showed that it is not a good representation of the mortality (hazard) of business organisations. Organisational ecologists often discuss the "liability of smallness" in connection with the liability of newness [Aldrich and Auster (1986); Briiderl and SchUssler (1990); Audretsch and Mahmood (1994)]. The assumption is that large new businesses have better survival prospects than small new businesses. Initial size may be measured in terms of either the amount of financial capital or the number employed at the time of founding.

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Davies-Husband, C. R., C. Harker, T. Davison e P. D. Yates. "Post-surgical tympanostomy tube follow up with audiology: experience at the Freeman Hospital". Journal of Laryngology & Otology 126, n.º 2 (11 de novembro de 2011): 142–46. http://dx.doi.org/10.1017/s0022215111002982.

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AbstractBackground:Tympanostomy tube (grommet) insertion is a common procedure, with little guidance in the current literature regarding post-operative surveillance. Our institution implemented a protocol to follow up post-surgical grommet patients via audiology at six weeks.Methods:A retrospective audit of all patients less than 16 years old who had undergone grommet insertion during a three-month period.Results:A total of 149 patients had grommets inserted. Exclusion criteria left a cohort of 123 individuals; 82 (67 per cent) were followed up by audiology. Of these, 13 (11 per cent) did not attend follow up, and were discharged; 53 (43 per cent) were discharged from audiology with normal thresholds; and 16 (13 per cent) were referred back to a consultant. Therefore, the overall reduction in patients followed up by an otolaryngologist was 54 per cent.Conclusion:We recommend a six-week follow up with audiology following grommet insertion, allowing for referral back to ENT services in the event of related complications.

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Shukur, Haider A., Mitsunobu Sato, Isao Nakamura e Ichiro Takano. "Characteristics and Photocatalytic Properties of Thin Film Prepared by Sputter Deposition and Post-N+Ion Implantation". Advances in Materials Science and Engineering 2012 (2012): 1–7. http://dx.doi.org/10.1155/2012/923769.

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TiO2thin films of a rutile, an anatase, and a mixture type with anatase and rutile were fabricated by a magnetron sputtering method. The fabricated films were irradiated by N+ions with several doses using the Freeman ion source. Atomic force microscopy (AFM), X-ray diffraction (XRD), X-ray photoelectron spectroscopy (XPS), and UV-VIS spectrophotometer were employed to investigate morphology, structure, chemical state, and optical characteristics, respectively. Photocatalytic activity was evaluated by degradation of a methylene blue solution using UV and visible light. TiO2thin films with each structure irradiated by N+ions showed the different N concentration in the same N+ion dose and the chemical state of XPS results suggested that an O atom in TiO2lattice replaced by an N atom. Therefore the photocatalytic activity of TiO2thin films was improved under visible light. The maximum photocatalytic activity of TiO2thin films with each structure was indicated at N concentration of 2.1% for a rutile type, of 1.0% for an anatase type, and of 3.8% for a mixture type under the condition of ions/cm2in N+ion dose.

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Freeman, Sara. "Towards a Genealogy and Taxonomy of British Alternative Theatre". New Theatre Quarterly 22, n.º 4 (20 de outubro de 2006): 364–78. http://dx.doi.org/10.1017/s0266464x06000558.

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In the third volume of The Cambridge History of British Theatre (2004), editor Baz Kershaw initiates his chapter ‘Alternative Theatres, 1946–2000’ with a short discussion of ‘contesting terms’ used by commentators to describe theatre outside the mainstream in the second half of the twentieth century. Kershaw's discussion serves as a necessary preface to ground his use of multiple historiographical strategies to address the subject with necessary brevity. But teasing out the terminology used to describe alternative theatre remains a fascinatingly complex task, constitutive of precisely the issues at stake in the variant historiographical approaches to the post-war period. Using a genealogical approach inspired by Foucault, and drawing on first-person interviews with artists who worked with alternative theatre companies such as Joint Stock/Out of Joint, Gay Sweatshop, and Women's Theatre Group/The Sphinx across the closing decades of the twentieth century, Sara Freeman analyzes the branching relationships of these terms, arguing the need to develop useful rather than funerary or bewildered historiographical approaches to the 1980s and 1990s. Sara Freeman is Assistant Professor of Theatre at Illinois Wesleyan University. Her research focuses on contemporary women playwrights and British alternative theatre, and she has published articles and reviews in Theatre Survey, Modern Drama, Comparative Drama, New England Theatre Journal, and Theatre Journal. Work on this article was supported by an Artistic and Scholarly Development Grant from Illinois Wesleyan University.

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Adams, Justin R., Tracy L. Rowlandson, Steven J. McKeown, Aaron A. Berg, Heather McNairn e Stewart J. Sweeney. "Evaluating the Cloude–Pottier and Freeman–Durden scattering decompositions for distinguishing between unharvested and post-harvest agricultural fields". Canadian Journal of Remote Sensing 39, n.º 4 (30 de outubro de 2013): 318–27. http://dx.doi.org/10.5589/m13-040.

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Murphy, C. F., e B. A. Croft. "FOREST ANT COMPOSITION AND FORAGING FOLLOWING AERIAL SPRAYING OF CARBARYL TO SUPPRESS WESTERN SPRUCE BUDWORM". Canadian Entomologist 122, n.º 4 (agosto de 1990): 595–606. http://dx.doi.org/10.4039/ent122595-7.

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AbstractAn outbreak of western spruce bud worm, Choristoneura occidentalis Freeman, in the Blue Mountains of eastern Oregon, USA, was treated with helicopter-applied carbaryl. Effects on forest ants were determined from pre- and post-spray samples taken from replicated 0.75-ha sprayed and unsprayed plots. Arboreally foraging ants were sampled with sticky drop traps placed under trees. Ground-foraging ants were sampled from food-baited boards. During 8 weeks of sampling, 13 225 ants from seven genera and 19 species were collected. Seven species were known budworm predators. After spraying, ant species diversity decreased in sprayed plots. Post-spray foraging decreased in all plots, but the decrease was more rapid and pronounced in sprayed plots. Among ground-foragers, budworm predators were clearly affected by spraying. Arboreal foragers, nearly all budworm predators, showed a significantly lower foraging rate in sprayed plots. Varying effects on different species were noted. Overall ant foraging remained depressed for at least 6 weeks after spraying, long enough for budworm development to be completed. Reduced ant predation on sparse budworm populations after spraying may contribute to budworm resurgence.

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Trabold, Erica. "Searching for Sappho: The Lost Songs and World of the First Woman Poet by Philip Freeman". Pleiades: Literature in Context 37, n.º 2S (2017): 27–28. http://dx.doi.org/10.1353/plc.2017.0177.

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Thompson, Philip E. "IV. Being Made a Patient People". Horizons 45, n.º 2 (29 de novembro de 2018): 402–6. http://dx.doi.org/10.1017/hor.2018.77.

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I begin with thanks to Professor Freeman for a helpful article, and with the admission that I am torn by this topic. On the one hand, I have shared by direct experience and that of friends the same pain Freeman describes of being unable to commune at the Saturday evening mass at the CTS/NABPR convention. I remember Sandra Yocum's words of public lament in her 2014 CTS presidential address. Some of us may remember our convention at Spring Hill in 2005 when the celebrant at the Saturday mass that year, Fr. David Robinson, who grew up a New England Congregationalist, spoke with deep anguish of his deep desire to share communion with the Baptists, coupled with the inability to do so. We had sung Susan Toolan's “I Am the Bread of Life,” hearing in our own voices Christ's promise of being raised up on the last day. And then we sensed how that day was not yet. But we should remember that the “last day” when we will unquestionably be one, if I may borrow words from the poet W. H. Auden, “is not in our present, and not in our future, but in the fullness of time.” So we ask now about the prospects of provisionally—proleptically—embodying that oneness this side of the eschaton.

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Mais fontes

Teses / dissertações sobre o assunto "Freemont Post No"

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Kokkinn, M. J. (Michael J. ). "A control strategy for `Tanytarsus barbitarsis` Freeman (Diptera : Chironomidae), a small-scale pest organism / M.J. Kokkinn". Thesis, 1986. http://hdl.handle.net/2440/20989.

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Kokkinn, M. J. (Michael J. ). "A control strategy for `Tanytarsus barbitarsis` Freeman (Diptera : Chironomidae), a small-scale pest organism / M.J. Kokkinn". 1986. http://hdl.handle.net/2440/20989.

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Bibliography: leaves 214-235
iv, 235 leaves : ill ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, Dept. of Zoology, 1987

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Livros sobre o assunto "Freemont Post No"

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Lewis, Faba. John C. Freemont Post 729 GAR applications. Alliance, OH: The Alliance Genealogical Society, 2006.

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Spiers, Emily. British Pop-Feminism on the Literary Marketplace. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198820871.003.0005.

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This chapter investigates post-chick-lit debates concerning the ‘democratization’ of fiction which collide with claims that the UK’s publishing industry inclines increasingly towards simplifying and sexualizing literary fiction written by women. Long-standing debates within feminist scholarship concerning the practices of reading first-person narratives written by women become compounded by the contemporary frameworks of market and genre within which those narratives are situated. Spiers examines three examples of pop-literary fiction by British writers Scarlett Thomas, Helen Walsh, and Gwendoline Riley, reading these against the corpus of British pop-feminist non-fiction and life narrative written by journalists Polly Vernon, Caitlin Moran, Ellie Levenson, and Hadley Freeman, and academics Catherine Redfern and Kristin Aune.

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Hollifield, James F. The Politics of Controlling Immigration. Oxford University Press, 2018. http://dx.doi.org/10.1093/acrefore/9780190846626.013.343.

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Migration is linked to various dimensions of politics: the procedural or distributional dimension (who gets what, when, and how), the legal or statist dimension (which involves issues of sovereignty and legitimacy), and the ethical or normative dimension (which deals with questions of citizenship, civil society, justice, and participation). The key concept surrounding migration and politics is one of interest. According to Gary Freeman, the demand for immigration policy is heavily dependent on the play of organized interests. An alternative to Freeman’s explanation is the historical-institutional approach, also known as the “liberal state” thesis, which contends that, irrespective of economic cycles, the play of interests, and shifts in public opinion, immigrants and foreigners have acquired rights. Therefore, the capacity of liberal states to control immigration is constrained by laws and institutions. The extension of rights to non-nationals has been an extremely important part of the story of international migration in the post-World War II period. In an age of increasing globalization, the pace of migration accelerated and created the so-called liberal paradox, perfectly illustrated by the difficulty of using guest workers for managing labor markets in Western Europe. International migration is likely to intensify in coming decades. There are several challenges that immigration scholars need to address, such as devising a framework that will allow us to understand the relationship between the politics of immigration control and the politics of integration.

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Capítulos de livros sobre o assunto "Freemont Post No"

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Georghiou, Luke, J. Stanley Metcalfe, Michael Gibbons, Tim Ray e Janet Evans. "Freeman Fox & Partners: Severn Bridge Design". In Post-Innovation Performance, 164–70. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-07455-6_16.

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"THE POST-FREEMAN YEARS". In Nurturing the Love of Music, 174–92. 3rd Party US, 2021. http://dx.doi.org/10.2307/j.ctv1m8d6hr.17.

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"Chapter Twelve THE POST-FREEMAN YEARS". In Nurturing the Love of Music, 174–92. Boydell and Brewer, 2021. http://dx.doi.org/10.1515/9781800103627-015.

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"Reading Freeman Again, Anew". In New Perspectives on Mary E. Wilkins Freeman, editado por Stephanie Palmer, Myrto Drizou e CÉcile Roudeau, 1–22. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399504478.003.0001.

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This introduction explores the history of Mary E. Wilkins Freeman’s reception from the end of the nineteenth century to today’s post-recovery critical approaches. Acknowledging various critical turns, from the emphasis on a women’s ethics of care to a focus on female rebellion, the introduction proposes that women’s power in her work involves the same contradictions and abuse of boundaries that any kind of power entails. The introduction then moves to more recent and unexpected ways of reading Freeman, emphasizing the fetish, the Gothic, even the criminal. Freeman is political: labor-capital relations in her work should receive more attention. But Freeman’s social awareness, important as it is, should not be decoupled from racial anxiety. Reading Freeman at the intersection of questions of gender, class and ethnic identity is important. Her critical regionalism speaks back to us when reassessed from the perspectives of queer historicism and queer ecology, and if she sometimes wrote to formula, a renewed attention to her aesthetic choices, well after the turn of the century, is needed. Her oeuvre might productively be read against the periodization that has relegated late (married) Freeman to oblivion, beyond regionalism and in conversation with world literature.

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Fogels, Audrey. "Deconstructing Upper-Middle-Class Rites and Rituals: Reading Mary E. Wilkins Freeman’s Stories Alongside Mary Louise Booth’s Harper’s Bazar". In New Perspectives on Mary E. Wilkins Freeman, 182–200. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399504478.003.0011.

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This chapter explores the ways in which the short stories Mary E. Wilkins Freeman published in Harper’s Bazar when Mary Louise Booth was its editor (1867-1899) contributed to the magazine’s covert but clear feminism. Shedding light on the ways US post-bellum consumer culture and periodical culture created rigid gender roles and delegitimized women who could not have access to those newly available commodities, Freeman’s stories underwrote the magazine’s feminist stance, providing her upper-middle-class readers with tools to question their own lives. Read in the thick cultural context of this high-end publication that made room for both fashion and its criticism, Freeman’s quaint New England stories worked as inverted mirrors paradoxically pointing to the affiliations of class, gender and race that were pre-requisite for social visibility in the 1880s.

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Bellows, Amanda Brickell. "Illustrated Periodicals and Lithographs". In American Slavery and Russian Serfdom in the Post-Emancipation Imagination, 72–107. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655543.003.0004.

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This chapter categorizes and analyzes representations of Russian peasants and African Americans in illustrated periodicals and lithographs between 1865 and 1905. It examines popular American publications including Harper’s Weekly, Frank Leslie’s Illustrated Newspaper, the Indianapolis Freeman, the Colored American Magazine, and the lithographs of Currier and Ives. It also assesses widely circulated Russian periodicals Niva and Vsemirnaia illiustratsiia, as well as lubochnaia literatura and lubki, illustrated materials written for the peasantry. The range of portrayals reveals both the multiplicity and evolution of perspectives of peasants and freedpeople during the four decades that followed emancipation.

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"Anne Dutton, Neée King, Later Howe (1621-after 1671)". In Early Modern Women Poets (1520-1700), editado por Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy e Julie Saunders, 294. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0105.

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Abstract Anne was The last child of John King, Bishop of London, and Joan Freeman, and The sister of Henry King, poet, and Bishop of Chichester. Three oTher broThers-John, William, and Philip-were also poets. In 1648 she became The second wife of John Dutton of Sherborne, Gloucestershire, a graduate of Exeter College and The Inner Temple, and Doctor of Civil Law. He was twenty-five years her senior and one of The richest men in England. Known as ‘Crump Dutton’ because of his hunch-back, he is said to have been a strict disciplinarian in his own household, but affable and unassuming in The company of his friends, who included The poet Endymion Porter.

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Freeman, Hugh. "Mental Health and the Urban Environment". In Mind, Brain, and the Environment, 124–43. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198549925.003.0007.

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Abstract Professor Hugh Freeman, DM, FRCPsych, has been Honorary Consultant Psychiatrist to the Salford Health Authority and to the Medical School of Manchester University since 1988. He took his first degree, in medicine, at the University of Oxford and was subsequently commissioned in the Royal Army Medical Corps. He then held appointments as Registrar at the Bethlem Royal and Maudsley Hospitals in London and at Littlemore Hospital in Oxford before taking up the post of Consultant Psychiatrist at Salford Royal Hospital. This began a long association with the Departments of Health and Social Services in Salford which continued until 1988. Professor Freeman has chaired or served on numerous public committees, panels, and working parties in the fields of mental health and psychiatry and is the author of a wide range of publications in these fields. He was Editor of the British Journal of Psychiatry and of Current Opinion in Psychiatry; he edited and contributed to Mental Health and the Environment, which was published in 1985.The relationship between mental health and the environment is a surprisingly neglected subject in spite of the greatly increased importance of the environment as a political and scientific issue in recent years. As a result, it is a scientific area that still lacks both adequate data and rigorously defined concepts. The problem was well expressed by the great environmentalist, Rene Dubos (1972): ‘The study of man as an integrated unit and of the ecosystems in which he functions is grossly neglected because it is not in the tradition which has dominated science since the seventeenth century’. As a result, there is now an urgent need to examine those aspects of people’s physical and social surroundings which are likely to influence mental health.

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Malley, Shawn. "Introduction". In Excavating the Future, 1–18. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941190.003.0001.

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The introductory chapter establishes relationships between archaeology as a trope within SF film and television and as a cultural site from which to investigate the medium’s critical engagement with post 9/11 geopolitics. Arguing that the imagination of the future is indelibly overrun by the past, scholars like Fredric Jameson, Gary Wolfe and Carl Freeman contend that SF is a historicist genre that exposes its master fantasy of progress to the kinds of real and symbolic assaults on Western global power represented by 9/11. The introduction contends that SF film and television offer resistant readings of the ways mediatized weapons of retaliation on the West circulate within popular culture as potent images of threat and fear that have leant Western governments extraordinary powers of surveillance and control over its citizens and the world in the name of freedom and security. The introduction historicises the cinematic and televisual response to 9/11 and its aftermath by looking back to Stanley Kubrick’s 2001: A Space Odyssey (1968), a film that speaks obliquely to the terrible events of the year it imagines, in which the cinematics of terror have been naturalized within the SF cinematic imagination.

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Giddins, Gary. "Aqui Se Habla Espanol (David Murray)". In Weather Bird, 543–46. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0132.

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Abstract No career in jazz during the past 30 years has proven more consistently unpredictable and rewarding than that of David Murray. When he first showed up in New York—a 20-year-old student on furlough from Pomona College, playing “Flowers for Albert” in Stanley Crouch’s Bowery loft—he had two big things going for him. First, he didn’t sound like anyone else, certainly not Albert Ayler, though one could imagine that Ayler’s example encouraged his penchant for the split-tones and squeals of the so-called hidden register. The classic Texas tenor Buddy Tate, who also favored upper-register cries, once advised young musicians to find their own sound, which isn’t only easier said than done but almost impossible to do. The sound is you and not something out there awaiting discovery. But Tate came up in the ‘20s, when every saxophonist—every musician—of note had a distinctive sound. That Hawkins, Webster, and Young existed in the same world indicated the tenor saxophone’s extraordinary range; if those three and others (like Herschel Evans, Bud Freeman, and Chu Berry) represented unmistakably distinctive attacks, the spaces between them offered all kinds of possibilities. Tate, for one, started out blending Evans and Hawkins before finding his own place. The ‘70s offered a parallel challenge: the post-war tenor hierarchy had handed down alternatives no less distinct in the work of Gordon, Gray, Getz, Rollins, and Coltrane. Yet for a while it looked as if the tenor would be buried in a welter of Coltrane imitators. Murray, however, proved to be merely the youngest in an influx of musicians who demonstrated that many “sounds” were yet to be had—especially, for some reason, on alto sax (no fan could confuse Anthony Braxton, Arthur Blythe, Julius Hemphill, and Oliver Lake), but that’s another story.

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Trabalhos de conferências sobre o assunto "Freemont Post No"

1

Chen, Qihao, Linlin Li, Ping Jiang e Xiuguo Liu. "Building collapse extraction using modified freeman decomposition from post-disaster polarimetric SAR image". In IGARSS 2016 - 2016 IEEE International Geoscience and Remote Sensing Symposium. IEEE, 2016. http://dx.doi.org/10.1109/igarss.2016.7730507.

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