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Beowulf as Children's Literature brings together a group of scholars and creators to address important issues of adapting the Old English poem into textual and pictorial forms that appeal to children, past and present.

IntroductionNicotinamide adenine dinucleotide (NAD+) is an essential pyridine nucleotide that serves as a key hydride transfer coenzyme for several oxidoreductases. It is also the substrate for intracellular secondary messenger signalling by CD38 glycohydrolases, DNA repair by poly(adenosine diphosphate ribose) polymerase, and epigenetic regulation of gene expression by a class of histone deacetylase enzymes known as sirtuins. The measurement of NAD+ and its related metabolites (hereafter, the NAD+ metabolome) represents an important indicator of cellular function.ObjectivesA study was performed to develop a sensitive, selective, robust, reproducible, and rapid method for the concurrent quantitative determination of intracellular levels of the NAD+ metabolome in glial and oocyte cell extracts using liquid chromatography coupled to mass spectrometry (LC/MS/MS).MethodsThe metabolites were separated on a versatile amino column using a dual HILIC-RP gradient with heated electrospray (HESI) tandem mass spectrometry detection in mixed polarity multiple reaction monitoring mode.ResultsQuantification of 17 metabolites in the NAD+ metabolome in U251 human astroglioma cells could be achieved. Changes in NAD+ metabolism in U251 cell line, and murine oocytes under different culture conditions were also investigated.ConclusionThis method can be used as a sensitive profiling tool, tailoring chromatography for metabolites that express significant pathophysiological changes in several disease conditions and is indispensable for targeted analysis.

This book began with my discovery of a New York Times review by Charles McGrath¹ of not just one, but three versions of Beowulf adapted for children² published in 2007, that annus mirabilis for Beowulfiana. Once I purchased these, and, in particular, saw James Rumford’s intelligent and moving adaptation of the poem in watercolours, I decided to become a collector. From there, I bought illustrated versions of the poem as I found them in Syd Allan’s rich online catalogue of Beowulf translations,³ with its chronological listing and cover and frontispiece reproductions, and then moved on to methodical searches through the

When Wealhþeow first appears in Beowulf, she makes her entrance amid a joyous sonority, with three consecutive phrases marking the sound of men in communal pleasure preceding her. Then, as she comes forth, resplendent with gold, the ceremony turns from one of auditory delight to one of visual grace, to a demonstration of ritual as this most important female human figure in the poem honours her husband and receives the foreign noblemen in turn by bearing them the cup. The alliteration binds her to her role, for she, as cwen, is “cynna gemyndig,” mindful of courtesy; yet, as we will

With a focus on the last five years, art employing artificial intelligence (AI) has been defined by a spectrum of activity, from the deep learning explorations of neural network researchers to artists critiquing the broader social implications of AI technology. There is an emergence of and increasing access to new tools and techniques for repurposing and manipulating material in unprecedented ways in art. At the same time, there is a dearth of language outside the scientific domain with which to discuss it. A combination of contextual review, comparison of artistic approaches, and practical projects explores speculation that the conceptual repertoire for remix studies can open up to art enabled by AI and machine learning (ML). This research contributes a practical, conceptual and combinatorial approach for artists who do not necessarily have a grounding in engineering or computer science. A bricolage methodology-described by Annette Markham as combining serendipity, proximity and contingency-reveals the poetics of AI-enabled art in the form of an assemblage of techniques that understands poetics as active making (poiesis) as well as an approach to manipulating language. The poetic capacity of AI/ML is understood as an emergent form of remix technique, with the ML at its core functioning like a remix engine. This practice based research presents several projects founded on an interrelation of body, text Bruce Gilchrist. Poetics of Artificial Intelligence in Art Practice: (Mis)apprehended Bodies Remixed as Language. 3 and predictive technology enabled by a human-action-recognition algorithm combined with a natural language generator. A significant number of artistic works have been made around object and facial recognition, while very little (if any) artist activity has focused on human-action-recognition. For this reason, I concentrated my research there.

The consensus concerning the reception and study of Boethius’s De Consolatione Philosophiae in early England is that as no complete surviving manuscript of Anglo-Saxon provenance dates from earlier than the second half of the tenth century scholars are therefore profoundly limited in positing earlier knowledge of the text. This stricture co-exists, jarringly, with the attribution to King Alfred (d. 899) of two complete translations of the Consolatio into Old English, one entirely in prose, the second prosimetric, as is the original; the attribution is both built into the translations in the form of proems and held by later historians such as Æthelweard and William of Malmesbury.There is thus a scholarly impasse in having an attributed translation exist before a surviving source-text copy available for that same translation; Malcolm Godden has also sought, determ-inedly, to sever the Old English translation of the Consolatio from Alfred’s authorship on logical and thematic grounds, thereby indirectly placing it in accord with the later manuscript evidence. Moreover, the Anglo-Saxonist treatment of the Consolatio has largely been filtered through the source-study of the Alfredian translation, particularly in trying to find where the Carolingian commentaries of Auxerre and Sankt Gallen could explain the deviations and expansions present in the Old English versions. This has resulted in a backwards way of looking at the reception of the Consolatio reception in Anglo-Saxon England, and has restricted it to minute and tendentious philosophical argumentation based on glosses and secondary commentary.This thesis, however, aligns the reception of the Consolatio in England with an earlier axis of transmission on the continent, one not of whole copies of the Consolatio studied at the highest level of scholastic interrogation, but one of excerpted metra used for the teaching of metre and for devotional study. This alternate axis, deeply researched by Sam Barrett, is therefore not prima facie philosophical but rather musical and contemplative, treating the metra as holy song in themselves.Yet, Barrett’s study, while enormous and diachronic in scope, overlooks a particular manuscript witness in an early tenth-century insular hand because its excerpted metra do not contain musical notation in the form of neumes. Nevertheless, the four Cotton Vespasian D.xiv metra inscribed as an envelope to an early ninth century copy of Isidore’s Synonyma, itself a philosophical dialogue as is the Consolatio, should be considered as continuous with this earlier tradition because while their layout on the leaves is varied and appears puzzling, it indeed registers a scribe (or two scribes) who is aware of the individual metrical form of each verse, and who lays each out correspondingly, perhaps even experimentally. This presentation is markedly different from typical continental and later insular manuscripts that level all the metra to a single continuous design, however ornamental or functional it be.The four D.xiv metra should thus be recognized not only as the earliest insular witness of the Consolatio in England, and indeed possibly within the date range of the Alfredian translations (s.ixex/xin) and the king’s authorship of the Boethius, but also as song in themselves, for they are verse written as verse. In order to prove these claims, the thesis presents a type facsimile of the D.xiv metra based on eyewitness study and digital photography that reproduces, as faithfully as possible given the partial damage to the leaves, the manuscript context of these previously neglected metres. Though no correspondence is found in terms of shared errors or layout with an earlier or contemporaneous manuscript, thereby limiting claims of common ancestry, the evidence points to these four metra in D.xiv belonging to a particular tradition of reception, one arguing for a metrical—if not philosophical—knowledge of the Consolatio in the post-Alfredian court.

Discusses the eighth amendment's guarantee against disproportionate punishment and its application.

Dear Mr. Sullivan: I detest Vancouver -- Now that I've got that off my chest let me discuss your latest article (Toronto's 19th Nervous Breakdown -- Aug. 4).

All those comments on Vancouver were absolutely spot on. My wife and I have lived here for 10 years and have to endure the locals' anti-Ontario diatribes constantly. Vancouverites feel entitled to denigrate all other areas of Canada, but if David Duchovny dares to mention the obvious (that it rains 340 days a year), then they are incensed.