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Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Sununu, John E., 1964-"

1

Holden, Constance. "Was John Sununu Joking?" Science 252, no. 5002 (April 5, 1991): 35. http://dx.doi.org/10.1126/science.252.5002.35.d.

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HOLDEN, C. "Was John Sununu Joking?" Science 252, no. 5002 (April 5, 1991): 35. http://dx.doi.org/10.1126/science.252.5002.35-c.

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Cohen, David B. "George Bush's Vicar of the West Wing: John Sununu As White House Chief of Staff." Congress & the Presidency 24, no. 1 (March 1997): 37–59. http://dx.doi.org/10.1080/07343469709507824.

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4

Kanabar, Varsha, Jeremy P. T. Ward, and Clive P. Page. "Obituary: Stuart John Hirst (1964–2009)." Pulmonary Pharmacology & Therapeutics 23, no. 4 (August 2010): 229–30. http://dx.doi.org/10.1016/j.pupt.2010.05.005.

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Doud, Richard K., and John Vachon. "An Interview with John Vachon 28 April 1964." Archives of American Art Journal 45, no. 1/2 (January 2005): 18–32. http://dx.doi.org/10.1086/aaa.45.1_2.25435101.

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White, Nicholas J. "‘Ungentlemanly capitalism’: John Hay and Malaya, 1904–1964." Management & Organizational History 14, no. 1 (September 4, 2018): 98–122. http://dx.doi.org/10.1080/17449359.2018.1465826.

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7

Morgenstern, Leon. "From Cardiology to Laparoscopy: John Carroll Ruddock, MD (1901-1964)." Surgical Innovation 12, no. 3 (September 2005): 185–86. http://dx.doi.org/10.1177/155335060501200301.

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8

Hughes, John M., and Anthony R. Kampf. "Who's Who in Mineral Names: John Francis Rakovan (b. 1964)." Rocks & Minerals 92, no. 1 (December 6, 2016): 81–84. http://dx.doi.org/10.1080/00357529.2017.1241694.

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9

Cooke, Lez. "Six and ‘Five More’: Experiments in Filmed Drama for BBC2." Journal of British Cinema and Television 14, no. 3 (July 2017): 298–323. http://dx.doi.org/10.3366/jbctv.2017.0375.

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In 1964–6 John McGrath produced two series of filmed dramas for BBC2, the first under the series title Six, while the second series, provisionally titled ‘Five More’, was transmitted without a series title. At a time when most drama was being produced from the television studio, some of it still being transmitted live, this was a new departure, with the first six films pre-dating Up the Junction (1965) and the second series predating Cathy Come Home (1966), the two Wednesday Plays which have been celebrated for making the breakthrough to filmed drama at the BBC. Unlike the Loach/Garnett films, which were made by the Drama Department, McGrath's series were commissioned by Huw Wheldon's Documentary and Music Programmes department, which also produced Peter Watkins’ Culloden (1964), and were described as a hybrid of ‘documentary fiction’. In fact, they were an eclectic mix of different forms and styles, from Ken Russell's silent cinema pastiche, The Diary of a Nobody (1964) to Philip Saville's experimental The Logic Game (1965) and John Irvin's lyrical Strangers (1966). This article seeks to reconsider these films as examples of forgotten television drama from the mid-1960s and to examine the claim that they represent a new form of ‘documentary fiction’.
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10

Boardman, Thomas J., David R. Brillinger, and John W. Tukey. "The Collected Works of John W. Tukey, Volume I, Time Series: 1949-1964." Technometrics 27, no. 3 (August 1985): 319. http://dx.doi.org/10.2307/1269718.

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Дисертації з теми "Sununu, John E., 1964-"

1

McLoughlin, P. J. "John Hume and the revision of Irish Nationalism, 1964-79." Thesis, Queen's University Belfast, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419501.

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2

Monkman, James. "John Cheever's relationship with the American magazine marketplace, 1930 to 1964." Thesis, University of Nottingham, 2015. http://eprints.nottingham.ac.uk/31066/.

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John Cheever published over two hundred short stories in an array of small-, mid-, and large-circulation magazines between 1930 and 1981. One hundred and twenty of these stories appeared in The New Yorker. During Cheever’s career and since his death in 1982, many critics have typically analysed his short stories in isolation from the conditions of their production, lest Cheever’s subversive modernist tendencies be confused with the conservative middlebrow ethos of The New Yorker, or the populist aspect of other large-circulation magazines. Critics, including Cheever’s daughter and his most recent biographer Blake Bailey, also claim that Cheever was a financial and, ultimately, artistic victim of the magazine marketplace. Drawing on largely unpublished editorial and administrative correspondence in the New Yorker Records and editorially annotated short story typescripts in the John Cheever Literary Manuscripts collection, and using a historicised close-reading practice, this thesis examines the influence of the magazine marketplace on the short fiction that Cheever produced between 1930 and 1964. It challenges the critical consensus by arguing that Cheever did not dissociate his authorship from commerciality at any point during his career, and consistently exploited the magazine marketplace to his financial and creative advantage, whether this meant temporarily producing stories for little magazines in the early 1930s and romance stories for mainstream titles in the 1940s, or selling his New Yorker rejections to its rivals, which he did throughout his career. Cheever also developed strong working relationships with his editors at The New Yorker during the 1940s and 1950s. This thesis re-evaluates these relationships by analysing comparatively the drafts, archival materials that have hitherto been neglected by critics, and published versions of some of Cheever’s best known New Yorker stories. In so doing, this thesis demonstrates the crucial role that editorial collaboration played in Cheever’s writing process.
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3

Regnauld, Arnaud. "La tentation de l'érotisme dans la fiction de John Hawkes (1964-1997)." Paris 3, 2002. http://www.theses.fr/2002PA030101.

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L'érotisme dans l'œuvre de Hawkes est de l'ordre de la tentation, tension vers un horizon inaccessible à la représentation qu'il ne saurait atteindre que sur le mode du détour : Hawkes ne parvient jamais à figurer le sexe si ce n'est en marge de la représentation, comme si l'imaginaire de la faute chrétienne hantait encore son texte. Nous partons du postulat que c'est la tension qui précède l'assouvissement du désir, la jouissance toujours différée qui est érotique, et non la scène. Lorsque l'écriture touche à sa propre limite, prête à basculer vers le non-sens, elle pose la question de l'incarnation de la lettre dans le texte hors de toute transcendance du verbe (la mort de Dieu signifie, pour la fiction, celle de la figure de l'écrivain en démiurge tout puissant), c'est-à-dire de la possibilité d'inscrire le corps, irrémédiablement absent, au sein de l'écrit. Le corps qui nous préoccupe est moins figuré que figural, situé sur le fil de l'horizon du texte : le verbe ne peut plus s'incarner que dans la plaie du sens qui s'épanche, abject. Le corps n'apparaît qu'en tant que trace, empreinte ou plutôt frayage d'une présence doublement différée d'une chair de la langue qui n'affleure que dans la rencontre de deux désirs, celui du lecteur et celui de l'auteur. Or cette rencontre n'est possible que dans l'espacement de la langue assuré par la poétique du texte qui tend à la limite du sens, et ce faisant suscite l'émotion en faisant vibrer les connotations affectives de la langue. Le lyrisme des textes de Hawkes, cet appel constant en direction de l'autre dont il cherche à s'assurer la présence, nous incite à envisager l'intersubjectivité du point de vue de la relation esthétique telle qu'elle se noue dans le langage poétique. Le geste autotélique de la métafiction vers laquelle s'oriente Hawkes dans ses dernières œuvres ne peut exclure l'autre de sa visée car il ne s'agit pas d'écrire pour quelqu'un mais bien à un autre, quitte à s'écrire (à) soi-même comme (à) un autre
Eroticism in John Hawkes's works is relevant to the notion of temptation ; his writing aims at a frontier which representation can only grasp through indirect means. Hawkes can only figure sexuality within the boundaries of meaningful representation, as if his writing revealed an obsessional concern with the Original Sin. We will posit that the tension which precedes the satiation of desire, this constantly differed bliss are truly erotic. When Hawkes brings the act of writing to its limit, throwing it to the brink of nonsense, he raises the issue of the incarnation of the letter within the boundaries of the text. The transcendence of the divine word (the end of metaphysics, i. E God's death, entails that of the writer as an omnipotent demiurge on the fictional level) is irrelevant to the incarnation of the letter, i. E the possibility of inscribing a body irretrievably absent from the written word. We are therefore far less concerned with the figuration of the body than with its figurality as it remains on the fringes of the text. The body appears only as the trace, the imprint, or rather, the tracing out of a twice-differed presence, that of the flesh of language which surfaces when two desires converge: that of the reader, and that of the author. This convergence of desires is only possible within the poetic process which dislocates language as it tends toward the very limit of meaning, arousing our emotion as it strikes the chords of the affective connotations borne by language. Hawkes's lyricism, this constant call toward the other whose presence the author tries to ensure, prompts us to envisage intersubjectivity from the angle of the aesthetic relation as it occurs within poetic language. The autotelic nature of metafiction which Hawkes embraces in his later works cannot exclude the other, for Hawkes's concern lies not with writing for someone in particular, but rather to an other, be it writing (to) oneself as (to) an other
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Curtis, Jesse. "Awakening the Nation: Mississippi Senator John C. Stennis, the White Countermovement, and the Rise of Colorblind Conservatism, 1947-1964." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1396962537.

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Spicer, Jeffrey A. "The Changing Face of the Western: An Analysis of Hollywood Western Films from Director John Ford and Others During the Years 1939 to 1964." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1336436304.

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Callahan, Angelina Long. "Satellite meteorology in the cold war era: scientific coalitions and international leadership 1946-1964." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/50350.

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Анотація:
In tracing the history of the TIROS meteorological satellite system, this dissertation details the convergence of two communities: the DOD space scientists who established US capability to launch and operate these remote sensing systems and the US Weather Bureau meteorologists who would be the managers and users of satellite data. Between 1946 and 1964, these persons participated in successive coalitions. These coalitions were necessary in part because satellite systems were too big—geographically, fiscally, and technically—to be developed and operated within a single institution. Thus, TIROS technologies and people trace their roots to several research centers—institutions that the USWB and later NASA attempted to coordinate for US R&D. The gradual transfer of persons and hardware from the armed services to the non-military NASA sheds light on the US’s evolution as a Cold War global power, shaped from the “top-down” (by the executive and legislative branches) as well as the “bottom-up” (by military and non-military scientific communities). Through these successive coalitions, actor terms centered on “basic science” or the circulation of atmospheric data were used to help define bureaucratic places (the Upper Atmospheric Rocket Research Panel, International Geophysical Year, NASA, and the World Weather Watch) in which basic research would be supported by sustained and collaboration could take place with international partners.
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7

Huftier, Arnaud. "Ecrire un pays qui n'existe pas : réception et re-création : les littératures belges à travers l'exemple de Jean Ray / John Flanders." Valenciennes, 2001. https://ged.uphf.fr/nuxeo/site/esupversions/296cafbc-25b1-40a4-88ab-d7bf1f3afd70.

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La production de R. De Kremer a été écrite en deux langues, français et néerlandais, et sous deux noms Jean Ray et John Flanders. Cette dualité ontologique est accentuée d'une double situation de périphérie : le regard, en tant que Belge bilingue, sur les centres voisins Paris et Amsterdam. Si bien que, par cette production nationalement marquée, il est possible d'opérer une coupe d'un siècle des littératures belges, selon leurs réceptions et codifications. Autour de la paratopie de Ray/Flanders, partant du système émetteur belge, ouverture est faite sur les principaux systèmes récepteurs. La réception pose les bases d'un enfermement, générique et national. Partant, l'approche de la production de R. De Kremer a pour perspective de ne pas uniquement voir l'institution de la littérature, mais l'institution dans la littérature, de ne pas uniquement, selon l'aspect populaire exacerbé, penser sa production en sous-littérature, mais voir le mouvement dynamique d'écriture sous la littérature
R. De Kremer's litecherary output was in two languages : French and Dutch, and under two names : Jean Ray and John Flanders. This ontological duality is emphasized by a dual situation of periphery : the way, as a bilingual Belgian, he looks at the neighbouring centers : Paris and Amsterdam. So much so that with that distinctly national output, it is possible to section a century of Belgian literatures according to their receptions and codifications. Around the paratopy of Ray / Flanders and from the Belgian sending system, there is an opening on the main receiving systems. Reception lays the foundations for a national and generic imprisonment. From there, R. De Kremer's approach in his works is not only to consider literature as an institution, but the institution in literature, and not only to see his works as second-rate literature, according to popular and exarcerbated aspect, but to see the dynamic movement of writing beneath literature
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8

Coughlan, Peter Joseph. "The search for a positive definition or description of the laity from Vatican II's Lumen Gentium, 1964, to John Paul II's Christifideles Laici, 1988 : a no-through road." Thesis, Heythrop College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417936.

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9

Henry, Lucas Aaron. "Freedom Now!: Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.
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10

Flynn, Kevin 1970. "Destination nation : writing the railway in Canada." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38189.

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Анотація:
Since the completion of the CPR, the railway has held an important place in the Canadian imagination as a symbol of national unity, industry, and cooperation. It would seem to follow, given the widely held belief that national literatures help to engender national self-recognition in their readers, that Canadian literature would make incessant use of the railway to address themes of national community and identity. This assumption is false. With a few notable exceptions, Canadian literature has in fact made very little deliberate effort to propagate the idea that the railway is a vital symbol of Canadian unity and identity.
Literary depictions of the railway do, however, exhibit a tension between communitarian and individualist values that may itself lie at the heart of the Canadian character. Some of the earliest representations of the railway, in travel narratives of the late nineteenth century, make explicit reference to the notion that the railway was a sign and a product of a common national imagination. But poets of this period virtually ignored the railway for fear that its presence would disturb the peaceful contemplation, and thus the identity, of the individuals who populated the pastoral spaces of their verse. Modern poets did eventually manage to include the train in their work, but used it most often as a vehicle to continue the private musings of their individual lyric speakers rather than to explore the terrain of the national consciousness. One prominent exception to this tendency is E. J. Pratt's Towards the Last Spike, in which imposing individuals such as Sir John A. Macdonald and William Van Horne and thousands of unnamed rail workers combine their efforts in order to construct the railway, which stands as a symbol of how individuals and communities can work together in the national interest. Canadian fiction demonstrates the same impulses as Canadian poetry by using the railway as a means of depicting the thoughts, feelings, and experiences of individuals, but it also challenges the myth of the railway's creation of a unitary national culture by showing how diverse communities---of race, class, and region---imagine their relationship to the railway in very different ways.
The varied character of Canada's literary treatment of one of the country's central national symbols suggests that a tension between individualism and communitarianism also informs Canadian literature itself, whose writers have used the railway to fulfill their goals in individual texts but have rarely employed it as a symbol of national community.
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Книги з теми "Sununu, John E., 1964-"

1

Peart, John. John Peart: Paintings 1964-2004. Campbelltown, N.S.W: Campbelltown Arts Centre, 2004.

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2

Sununu, John H. Presentation of the portrait of the honorable John H. Sununu, June 12, 1996, the State House, Concord, New Hampshire. [Salem, N.H: John Sununu, 1994.

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3

Office, General Accounting. Military bases: Status of prior base realignment and closure rounds : report to the Honorable John E. Sununu, House of Representatives. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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4

Bellany, John. John Bellany: Paintings, watercolours and drawings, 1964-86. [Edinburgh]: Trustees of the National Galleries of Scotland, 1986.

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5

Froemke, John August. Memoirs of John August Froemke, 1893-1988: Professor of natural sciences (chemistry), 1930-1964 : professor emeritus, 1964-88. Sioux Falls, SD: Dept. of Chemistry, Augustana College, 1988.

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6

Harris, Betty Clayton. John R. Emens College-Community Auditorium: 25th anniversary souvenir, 1964-1989. Muncie, Ind: Ball State University, 1989.

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7

Hlavacek, John. Assignment the world: This is the John Hlavacek report, 1964-1966. Omaha, Nebraska: Hlucky Books, 2011.

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8

Healey, Charles J. Pope St. John XXIII National Seminary: The First Fifty Years (1964-2014). Weston, Mass: Seminary Press, 2014.

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9

Schlesinger, Arthur M. (Arthur Meier), jr., 1917-2007, Kennedy, Caroline (Caroline Bouvier), 1957-, Beschloss Michael R. 1955-, Ridder, Rob de (Robert Josephus Maria), 1950-, and Appelman Martin, eds. Mijn leven met John F. Kennedy: Historische gesprekken met Arthur M. Schlesinger Jr. 1964. Houten: Spectrum, 2011.

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10

Mandalam, Ravi. The kotal route sketches: Royal Society Kinabalu expedition 1964 : original field sketches of Prof. John Corner. Kota Kinabalu: Sabah Society, 2011.

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Частини книг з теми "Sununu, John E., 1964-"

1

Hernández, Paola S., and Analola Santana. "John Leguizamo (Bogotá, Colombia/New York City 1964–)." In Fifty Key Figures in Latinx and Latin American Theatre, 101–4. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003144700-22.

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2

"1964." In The Selected Letters of John Berryman, 499–523. Harvard University Press, 2020. http://dx.doi.org/10.4159/9780674250345-036.

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3

"1964." In The Selected Letters of John Berryman, 499–523. Harvard University Press, 2020. http://dx.doi.org/10.2307/j.ctv33wwtmq.38.

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4

"JOHN UPDIKE in 'New Yorker,' 1964." In Samuel Beckett, 273–76. Routledge, 2003. http://dx.doi.org/10.4324/9780203197318-60.

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"“No Betrayal of Despair”: The Night of the Iguana (1964)." In John Huston's Filmmaking, 92–110. Cambridge University Press, 1997. http://dx.doi.org/10.1017/cbo9780511624339.008.

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6

"JOHN DESMOND BERNAL Fünfundzwanzig Jahre später [1964]." In Die soziale Funktion der Wissenschaft, 1–18. De Gruyter, 1986. http://dx.doi.org/10.1515/9783112645864-003.

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7

Bolick, Harry, Tony Russell, T. DeWayne Moore, Joyce A. Cauthen, David Evans, Harry Bolick, Tony Russell, et al. "John Studivan Gatwood." In Fiddle Tunes from Mississippi, 178–91. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835796.003.0018.

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As the winner of a local Mississippi fiddle contest, John Gatwood (6/23/1903–3/17/1964) was asked to record by Columbia Records. On December 15, 1928, at a hotel in New Orleans, LA, Gatwood recorded four fiddle tunes: “Crawford March” and “Engineer Frank Hawk” with the Rainey Old Time Band, “Shear The Sheep Bobbie” and “Third Party” with the Gatwood Square Dance Band.
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"George E. Welhvarth: John Osborne: ‘Angry Young Man’? (1964)." In John Osborne: Look Back in Anger. Bloomsbury Academic, 1991. http://dx.doi.org/10.5040/9781350403178.0015.

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"Technology and aggregate demand in J.S.Mill'seconomic system (1964)." In John Stuart Mill on Economic Theory and Method, 12–24. Routledge, 2000. http://dx.doi.org/10.4324/9780203439036-8.

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"HACKER, John (fl. 1790s) HACKETT, Arthur Everton (1901–1964)." In Dictionary Of British And Irish Botantists And Horticulturalists Including plant collectors, flower painters and garden designers, 1389. CRC Press, 2002. http://dx.doi.org/10.1201/b12560-727.

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Тези доповідей конференцій з теми "Sununu, John E., 1964-"

1

FLEURY, PAUL A. "INTRODUCTION OF GOVERNOR JOHN SUNUNU." In Proceedings of the Memorial Symposium. WORLD SCIENTIFIC, 2006. http://dx.doi.org/10.1142/9789812773562_0005.

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Звіти організацій з теми "Sununu, John E., 1964-"

1

Coombs, HC with Mr John Reed, at opening of art exhibition by Sidney Nolan Qantas House - 1964. Reserve Bank of Australia, September 2022. http://dx.doi.org/10.47688/rba_archives_pn-002887.

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