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The Roaring Girl or Moll Cutpurse (eBook)
Description
The Roaring Girl or Moll Cutpurse / Thomas Dekker and Thomas Middleton. This is the epub edition of the play. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
jacobean | language | theatre | elizabethan | renaissance | #greatwriters | english | jacobean | language | theatre | elizabethan | renaissance | #greatwriters | englishLicense
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See all metadataThe Duchess of Malfi: John Webster
Description
In dramatizing a woman's sexual choices in a notably sympathetic manner, this tragedy articulates perennial questions about female autonomy and class distinction. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
jacobean | language | theatre | elizabethan | renaissance | #greatwriters | english | jacobean | language | theatre | elizabethan | renaissance | #greatwriters | englishLicense
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The Duchess of Malfi / Webster, John, 1580?-1625. This is the epub edition of the play. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
jacobean | language | theatre | elizabethan | renaissance | #greatwriters | english | jacobean | language | theatre | elizabethan | renaissance | #greatwriters | englishLicense
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See all metadataIs there ever a Faithful Translation?
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Second part of the What is Translation podcast series. In this part, the question of whether there can be a faithful translation; does the act of translating a text change the meaning of the original is discussed. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
homer | #greatwriters | theatre | poetry | tragedy | greek | roman | translation | classics | fidelity | homer | #greatwriters | theatre | poetry | tragedy | greek | roman | translation | classics | fidelityLicense
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Third part of the What is Translation podcast series. In this part, the question of whether poetry be translated. Is there something within the original that is lost in the translation? Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
#greatwriters | theatre | poetry | greek | roman | translation | tragedy | #greatwriters | theatre | poetry | greek | roman | translation | tragedyLicense
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Fourth part of the What is Translation Podcast series. In this part, the question of who is best placed to translate classic texts; academics, poets, dramatists and who is best placed to receive the translation, students, scholars or the general public. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
#greatwriters | theatre | poetry | drama | greek | roman | translation | classics | #greatwriters | theatre | poetry | drama | greek | roman | translation | classicsLicense
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First dialogue between Oliver Taplin and Joshua Billings on tragedy: they discuss what 'tragedy' means, from its origins in Greek culture to philosophical notions of what tragedy and tragic drama are. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
aesthetics | Euripides | theatre | philosophy | Sophocles | drama | #greatwriters | shakespeare | aristotle | tragedy | greek literature | aesthetics | Euripides | theatre | philosophy | Sophocles | drama | #greatwriters | shakespeare | aristotle | tragedy | greek literatureLicense
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Image from ?Catharine and Petruchio; a comedy in three acts. As it is perform?d at the Theatre-Royal in Drury-Lane. Alter?d [by David Garrick] from Shakespeare?s Taming of the Shrew?, 003354036 Author: Shakespeare, William Page: 39 Year: 1756 Place: London Publisher: J. & R. Tonson, and S. Draper Following the link above will take you to the British Library?s integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer?. Click on the 'related items? to search for the electronic version of this work.Subjects
bldigital | bl_labs | britishlibrary | 1756 | similar_to_63069100675_place_of_publishing | similar_to_63069100675_slantyness | similar_to_63069100675_bubblyness_avesize | similar_to_63069100675_bubblyness_y | floral motifLicense
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Calf on a drip, under a heat lamp for intensive careLicense
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See all metadataFoundations for politics Foundations for politics
Description
This is a module framework. It can be viewed online or downloaded as a zip file. As taught Autumn Semester 2010/2011. This module introduces students to the intellectual and practical skills they will need for the successful study of politics. Module Code: M11014 Suitable for study at: Undergraduate level 1 Credits:10 Professor Philip Cowley, School of Politics and International Relations Professor Cowley's research interests are primarily in British politics, especially political parties, voting and Parliament. He has three future projects, one major, two more minor. The first is to write the next volume in the British General Election of xxxx series, with Dennis Kavanagh, taking over from David Butler, after his 50+ years involved in the project. As two sidelines, he is This is a module framework. It can be viewed online or downloaded as a zip file. As taught Autumn Semester 2010/2011. This module introduces students to the intellectual and practical skills they will need for the successful study of politics. Module Code: M11014 Suitable for study at: Undergraduate level 1 Credits:10 Professor Philip Cowley, School of Politics and International Relations Professor Cowley's research interests are primarily in British politics, especially political parties, voting and Parliament. He has three future projects, one major, two more minor. The first is to write the next volume in the British General Election of xxxx series, with Dennis Kavanagh, taking over from David Butler, after his 50+ years involved in the project. As two sidelines, he isSubjects
UNow | UNow | ukoer | ukoer | module code M11014 | module code M11014 | politics and international relations | politics and international relations | intellectual and practical skills | intellectual and practical skills | developing effective arguments | developing effective arguments | George Orwell and the politics of the English language | George Orwell and the politics of the English language | Having a heated debate | Having a heated debate | study of politics | study of politicsLicense
Except for third party materials (materials owned by someone other than The University of Nottingham) and where otherwise indicated, the copyright in the content provided in this resource is owned by The University of Nottingham and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike UK 2.0 Licence (BY-NC-SA) Except for third party materials (materials owned by someone other than The University of Nottingham) and where otherwise indicated, the copyright in the content provided in this resource is owned by The University of Nottingham and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike UK 2.0 Licence (BY-NC-SA)Site sourced from
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This is a module framework. It can be viewed online or downloaded as a zip file. As taught in Autumn/Spring Semesters 2009/2010 This resource presents material from four different courses taught across the School of American and Canadian Studies and Film and Television Studies. It addresses various aspects of nineteenth and early twentieth century American entertainment culture. You can view module outlines for 4 modules taught within the school: * American Drama (undergraduate year 3 level) * American Sensations (undergraduate year 3 level) * Film History (undergraduate year 1 level) * Emergence of Mass Culture (undergraduate year 2 level) The information contained within the module outlines includes: module objectives, lecture schedules, reading lists, teaching and l This is a module framework. It can be viewed online or downloaded as a zip file. As taught in Autumn/Spring Semesters 2009/2010 This resource presents material from four different courses taught across the School of American and Canadian Studies and Film and Television Studies. It addresses various aspects of nineteenth and early twentieth century American entertainment culture. You can view module outlines for 4 modules taught within the school: * American Drama (undergraduate year 3 level) * American Sensations (undergraduate year 3 level) * Film History (undergraduate year 1 level) * Emergence of Mass Culture (undergraduate year 2 level) The information contained within the module outlines includes: module objectives, lecture schedules, reading lists, teaching and lSubjects
UNow | UNow | UKOER | UKOER | American and canadian studies | American and canadian studies | Film and television studies | Film and television studies | Sensational novels 1850 | Sensational novels 1850 | Mass market magazines 1900 | Mass market magazines 1900 | Movie palaces 1920 | Movie palaces 1920 | Depession-era theatre 1930 | Depession-era theatre 1930 | Media studies | Media studies | American literature | American literature | Amercian society and culture | Amercian society and cultureLicense
Except for third party materials (materials owned by someone other than The University of Nottingham) and where otherwise indicated, the copyright in the content provided in this resource is owned by The University of Nottingham and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike UK 2.0 Licence (BY-NC-SA) Except for third party materials (materials owned by someone other than The University of Nottingham) and where otherwise indicated, the copyright in the content provided in this resource is owned by The University of Nottingham and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike UK 2.0 Licence (BY-NC-SA)Site sourced from
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See all metadataCu 21, Sn 79 (wt%), peritectic transformation
Description
This microstructure is generated via a peritecticâ�²s reaction (L+�µ = �·), which bears some similarities to the more familiar eutectic reaction (L = �±+�²). Upon cooling from the liquid phase field, primary �µ is formed, which can be seen here as a slightly darker phase than the sheath of �· surrounding it. The �· sheath is the product of a peritectic reaction between �µ and liquid. The peritectic reaction rarely goes to completion, since the formation of �· around the �µ phase separates it from the liquid and inhibits further growth. Eventually, the remaining liquid transforms by a eutectic reaction to �· and Sn. In this micrograph, the constituents of the eutectic mixture cannot be distinguished and it appearsSubjects
alloy | bronze | copper | metal | peritectic reaction | tin | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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See all metadataCu 21, Sn 79 (wt%), peritectic transformation
Description
This microstructure is generated via a peritectic reaction (L+? = ?), which bears some similarities to the more familiar eutectic reaction (L = ? + ?). Upon cooling from the liquid phase field, primary ? is formed, which can be seen here as a slightly darker phase than the sheath of ? surrounding it. The ? sheath is the product of a peritectic reaction between ? and liquid. The peritectic reaction rarely goes to completion, since the formation of ? around the ? phase separates it from the liquid and inhibits further growth. Eventually, the remaining liquid transforms by a eutectic reaction to ? and Sn. In this micrograph, the constituents of the eutectic mixture cannot be distinguished and it appears uniformly dark.Subjects
alloy | bronze | copper | metal | peritectic reaction | tin | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Blackheart cast iron is produced by heating white cast iron at 900-950 °C for many days before cooling slowly. This results in a microstructure containing irregular though equiaxed nodules of graphite in a ferritic matrix. The term "blackheart" comes from the fact that the fracture surface has a grey or black appearance due to the presence of graphite at the surface. The purpose of the heat treatment is to increase the ductility of the cast iron.Subjects
alloy | carbon | iron | metal | white cast iron | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Blackheart cast iron is produced by heating white cast iron at 900-950 °C for many days before cooling slowly. This results in a microstructure containing irregular though equiaxed nodules of graphite in a ferritic matrix. The term "blackheart" comes from the fact that the fracture surface has a grey or black appearance due to the presence of graphite at the surface. The purpose of the heat treatment is to increase the ductility of the cast iron.Subjects
alloy | carbon | iron | metal | white cast iron | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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See all metadataAl-4 wt% Cu, age hardened alloy
Description
This alloy was solution treated. Hardening is achieved by the controlled rejection of copper from a supersaturated solid solution. There is some additional hardening from precipitates such as MgSi2. From the phase diagram for the pure aluminium-copper binary system, it can be seen that the solubility of copper in -aluminium increases with increasing temperature up to the eutectic temperature of about 550°C. The equilibrium microstructure below the eutectic temperature is a two-phase mixture of -aluminium and the Al2Cu intermetallic phase (also known as ? phase). The initial solution heat treatment aims to obtain the maximum possible concentration of copper in solution. Rapid quenching from the solution temperature prevents the kinetically slow precipitation of , forming a highly superSubjects
aged | alloy | aluminium | copper | hardening | heat treatment | metal | quenching | vacancy | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Prolonged heat treatment above 150°C to 200°C has led to the evolution of the stable CuAl2 phase (?). The CuAl2 phase is visible at high magnifications. It does not contribute to the strength of the alloy and the over aged aluminium has poor mechanical properties.Subjects
aged | alloy | aluminium | copper | hardening | heat treatment | metal | quenching | vacancy | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Prolonged heat treatment above 150°C to 200°C has led to the evolution of the stable CuAl2 phase (?). The CuAl2 phase is visible at high magnifications. It does not contribute to the strength of the alloy and the over aged aluminium has poor mechanical properties.Subjects
aged | alloy | aluminium | copper | hardening | heat treatment | metal | quenching | vacancy | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Prolonged heat treatment above 150°C to 200°C has led to the evolution of the stable CuAl2 phase (?). The CuAl2 phase is visible at high magnifications. It does not contribute to the strength of the alloy and the over aged aluminium has poor mechanical properties.Subjects
aged | alloy | aluminium | copper | hardening | heat treatment | metal | quenching | vacancy | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Prolonged heat treatment above 150°C to 200°C has led to the evolution of the stable CuAl2 phase (?). The CuAl2 phase is visible at high magnifications. It does not contribute to the strength of the alloy and the over aged aluminium has poor mechanical properties.Subjects
aged | alloy | aluminium | copper | hardening | heat treatment | metal | quenching | vacancy | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Prolonged heat treatment above 150°C to 200°C has led to the evolution of the stable CuAl2 phase (?). The CuAl2 phase is visible at high magnifications. It does not contribute to the strength of the alloy and the over aged aluminium has poor mechanical properties.Subjects
aged | alloy | aluminium | copper | hardening | heat treatment | metal | quenching | vacancy | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Carbon-carbon composites are manufactured from continuous carbon fibres which are woven in a two or three dimensional pattern. The fibres are then impregnated with a polymeric resin. After the component has been shaped and cured the matrix is pyrolysed by heating in an inert atmosphere. This converts the matrix to carbon chain molecules which are densified by further heat treatments. The resulting composite consists of the original carbon fibres in a carbon matrix. Carbon-carbon composites have low density, high strength and high modulus. These properties are retained to temperatures above 2000°C. Creep resistance and toughness are also high, and the high thermal conductivity and low thermal expansion coefficient provide thermal shock resistance. The woven structure of this composite canSubjects
carbon-carbon composite | composite material | polymeric resin | pyrolysis | toughness | woven continuous carbon fibres | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Carbon-carbon composites are manufactured from continuous carbon fibres which are woven in a two or three dimensional pattern. The fibres are then impregnated with a polymeric resin. After the component has been shaped and cured the matrix is pyrolysed by heating in an inert atmosphere. This converts the matrix to carbon chain molecules which are densified by further heat treatments. The resulting composite consists of the original carbon fibres in a carbon matrix. Carbon-carbon composites have low density, high strength and high modulus. These properties are retained to temperatures above 2000°C. Creep resistance and toughness are also high, and the high thermal conductivity and low thermal expansion coefficient provide thermal shock resistance. The woven structure of this composite canSubjects
carbon-carbon composite | composite material | polymeric resin | pyrolysis | toughness | woven continuous carbon fibres | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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Carbon-carbon composites are manufactured from continuous carbon fibres which are woven in a two or three dimensional pattern. The fibres are then impregnated with a polymeric resin. After the component has been shaped and cured the matrix is pyrolysed by heating in an inert atmosphere. This converts the matrix to carbon chain molecules which are densified by further heat treatments. The resulting composite consists of the original carbon fibres in a carbon matrix. Carbon-carbon composites have low density, high strength and high modulus. These properties are retained to temperatures above 2000°C. Creep resistance and toughness are also high, and the high thermal conductivity and low thermal expansion coefficient provide thermal shock resistance. The woven structure of this composite canSubjects
carbon-carbon composite | composite material | polymeric resin | pyrolysis | toughness | woven continuous carbon fibres | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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See all metadataDescription
Carbon-carbon composites are manufactured from continuous carbon fibres which are woven in a two or three dimensional pattern. The fibres are then impregnated with a polymeric resin. After the component has been shaped and cured the matrix is pyrolysed by heating in an inert atmosphere. This converts the matrix to carbon chain molecules which are densified by further heat treatments. The resulting composite consists of the original carbon fibres in a carbon matrix. Carbon-carbon composites have low density, high strength and high modulus. These properties are retained to temperatures above 2000°C. Creep resistance and toughness are also high, and the high thermal conductivity and low thermal expansion coefficient provide thermal shock resistance. The woven structure of this composite canSubjects
carbon-carbon composite | composite material | polymeric resin | pyrolysis | toughness | woven continuous carbon fibres | DoITPoMS | University of Cambridge | micrograph | corematerials | ukoerLicense
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