Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
24
result(s) for
"Golston, Michael"
Sort by:
Petalbent Devils: Louis Zukofsky, Lorine Niedecker, and the Surrealist Praying Mantis
Over the past twenty years, Louis Zukofsky's sestina Mantis and its companion poem, Mantis, An Interpretation, have come to occupy a prominent position in the reception of the poet's work and in general discussions of the Objectivist movement. Most accounts focus on one of three issues--the poems' relations to marxism, their relations to imagism, or their relations to formalism. The latter is especially well represented in the critical literature--in the words of Zukofsky's biographer Mark Scroggins, the general consensus seems to be that the knowledge that the poem bears is a function of its relational structure rather than its referential reach. Golston examines the poem's \"referential reach.\"
Journal Article
Petalbent Devils: Louis Zukovsky, Lorine Niedecker, and the Surrealist Praying Mantis
Discusses the use of the image of the praying mantis in Louis Zukovsky's sestina 'Mantis' and the associated poem ''Mantis,' An Interpretation'' and the relationship of the works to the Objectivist and Surrealist movements. The author explains that previous interpretations of Zukovsky's work have failed to comprehend the relationship of the works to Surrealism, notes the importance of the image of the mantis to Surrealist artists, and argues that the work of Zukovsky and Lorine Niedecker reveals an early meeting point of the art movements of Objectivism and Surrealism. He focuses on Zukovsky's encounters with Surrealism in the early 1930s, outlines the influence of Roger Caillois's essay 'Le Mante Religieuse' (1934) on Zukovsky's use of the image of the praying mantis in his work, and refers to Salvador Dalí's use of the image of the mantis between 1930 and 1934. He compares Zukovsky's and Caillois's use of the mantis image, arguing that Zukovsky's two poems amount to a commentary on Surrealism, analyses Zukovsky's relationship with the poet Lorine Niedecker and their adoption of different approaches to Surrealism, and reports on the influence of Dalí's work 'Archaeological Reminiscence of Millet's Angelus' (1933-35; illus.) on an untitled poem (1934) by Niedecker. He suggests that Zukovsky's two poems constitute a warning to Niedecker about the effects of surrealism on the artist, and argues that his short essay 'Influence' (1930) reveals the motivation behind the two poems.
Journal Article
Bayesian Estimation of Finite Population Quantities from Spatially Correlated Data Under Ignorable and Nonignorable Survey Designs
Data which is geographically referenced has become increasingly common in many fields of study, such as public health, education, forestry, medicine, and agriculture. When data is sampled from a population, there is often knowledge pertaining to the units not sampled, such as a total count and simple demographics. This knowledge can be leveraged to estimate finite population quantities such as the population total or mean, using design or model-based estimators. However, it is unknown how these estimators perform in the presence of spatial correlation, that is, when the outcome sampled is assumed to be a partial-realization of a spatial process. This dissertation first presents an analysis predicting store patronage and fruit and vegetable expenditures during a corner store intervention using Bayesian spatial techniques and then presents a brief example of finite population estimation in an ignorable sampling setting. Next a general Bayesian framework is presented that accounts for both study design and spatial association. Under this, posterior samples of finite population quan- tities can be retrieved. This framework is first given under the assumption of an ignorable sampling design and is used to construct four models to account for two-stage designs with spatial dependence. These models are first applied to simulated data and then are used in an analysis of nitrate levels in California groundwater. We find that models accounting for both study design and spatial association perform best. This general framework is then extended to allow for a nonignorable sampling design, specifically to account for missing data patterns seen in reported annual household income in the corner store data. Through this, we are able to construct finite population estimates of the percent of income spent on fruits and vegetables. Such a framework provides a flexible way to account for spatial association and complex study designs in finite populations.
Dissertation
From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century
[...]Ashton claims, Stein practices \"a logical formalism irrevocably at odds with both the phenomenological commitments of poststructuralist linguistics and the materialist commitments of language poetry\" (68). According to Ashton, neither Stein nor (Riding) Jackson had time for such a reader-friendly aesthetic and in fact articulated their respective poetics against adventures in interpretation. [...]the language poets conceive of the poem as a locus for linguistic experiment in a manner that would have been anathema to the New Critics, for whom, in the words of I. A. Richards in Poetries and Sciences - a text that figures importantly in Ashton's study - poetry begins as \"the possibility of emotional experience instigated, if not wholly controlled, through ordered words\" (48). According to Richards, consciousness exists prior to words, which are \"brought into\" the mind by its \"interests\" and \"represent\" its experience - hence Watten's \"language as symbols for objects.\"
Book Review
Hop Bittering Compounds During Brewing
Iso-α-acids are the primary bittering component in beer and therefore essential to beers flavor. During production and overtime iso-α-acids precipitate, oxidize, and degrade. The purpose of this study was to investigate whether individual iso-α-acids had an affinity for loss and whether the mode of hopping (pellets or extracts) impacted the losses observed during production. Five beers were brewed, in duplicate, and samples of liquid and particulates were collected and extracted for analysis via HPLC-DAD. The trans/cis-ratio observed for the loss rarely correlated to that measured in the liquid and ultimately, it appeared that precipitation/adsorption played a minimal role in the loss of these compounds. The best retention of iso-α-acids was observed with the use of isomerized kettle extract and overall during production the loss of cis-iso-α-acids was favored for all brews. Minimizing foaming using suppressants had no effect on the retention of iso-α-acids.
Dissertation
Rhythm and ideology in twentieth-century poetry and poetics
In this dissertation, I show how rhythm became politicized in a number of discourses--for example, physiology, psychology, music theory, genetics and eugenics, and aesthetics--during the Modernist period, and then focus on its role in the poetry and poetics of W. B. Yeats and Ezra Pound. I argue that each articulates an ideology of rhythm that intersects with the political views within his poetry and generates his celebrated formal innovations. According to these writers, rhythm is a \"hidden\" ideological effect which can be used by the poet to activate unconscious political energies: both claim that \"invisible\" or \"inaudible\" rhythms comprise the political machinery of their poems. Pound describes the science of rhythm as an invisible \"strata\" (sic) fundamental to the inception of modernism; Yeats discusses rhythm with the same terminology he uses to speak of ghosts. I show that the idea of rhythm as a inaudible and unconscious political force is common in the scientific and aesthetic discourses of the period and assumes prominence in Fascist theories of power. By reading these writers' poetry through their own statements about rhythm as well as through theories of rhythm in other disciplines, I develop a contingent politics of modern rhythm. The formal component of Modernist poetic innovation is, I argue, grounded in theories of rhythm which were themselves overdetermined by ideas of rhythm in the body, in the blood, in the race, in the workplace, and in the body politic. I indicate how theories of rhythm, body and race invited or compelled innovations in poetic form, and argue that such innovations dovetail with what eventually become the authoritarian sympathies of some of the High Moderns. I end with an epilogue examining W. C. Williams' rejection of the term \"rhythm\" and his development of an alternative sense of \"measure.\" By reading Yeats and Pound as part of a network of extra-poetic texts and ideas, I contribute a chapter to the history of Modernism. I historicize Modernist rhythm in order to theorize the formal choices poets made for their radically innovative work, as well as to bridge the gap between formalist analysis and cultural studies.
Dissertation