Search Results
Abstract
In his famous "Statement" in 1955 Philip Larkin said: "I feel that my prime responsibility is to the experience itself." His first mature collection of poems (which can be read as an organic whole) is a demonstration of this credo, but also a manifestation of his sceptical attitude. In most poems of The Less Deceived he made efforts to preserve experience, but also had to admit at least a partial failure. The first and the last poems ("Lines on a Young Lady's Photograph Album" and "At Grass") form a frame: in both texts Larkin realizes that knowing the past of other individuals is impossible for him, therefore his experience is incomplete: it is an experience about not having an experience. Although Larkin was a central figure of the Movement, and as such, denied any kind of literary inspiration, still intertextuality enriched these poems. Some of the poems can be read as responses to other poems ("Lines on a Young Lady's Photograph Album", "Wedding Wind"), and some texts as parodies ("I Remember, I Remember", "Church Going"). In my analyses I distinguish between the real poet, the implied poet and the speaker in the poem. The speakers in most cases cannot be identified with Larkin, but through the masks he wears and the characters he constructs he represents questions about his own life strategies. The whole volume can be read as the work of a conventional poet who still responds to the questions of the postmodern age.
Abstract
A 14 MeV neutron generator system with a new sealed tube (Philips 18604) was evaluated for total body in vivo neutron activation analysis (TBIVNAA). The neutron output, angular distribution, rise time, reproducibility of short irradiations and leakage of tritium were investigated. The 18604 tube meets all the requirements of TBIVNAA within its normal operating specification.
Abstract
Cancer research outputs in India have expanded greatly in recent years, with some concomitant increase in their citation scores. Part of the increase in output is attributable to greater coverage in the Web of Science of Indian journals, which are more clinical than international ones, and much less often cited. Other measures of esteem have also increased, such as the percentage of reviews and the immediacy with which Indian cancer articles are cited. Most of the output came from just nine of the 35 Indian states and Union Territories, led by New Delhi and Maharashtra. The distribution of the amount of research by cancer site correlates moderately positively with the relative disease burden, with mouth (head and neck) cancer (often caused by the chewing of tobacco or areca, betel or paan) causing the highest number of deaths and also being well researched. We also analysed the articles by type of research, with articles in genetics and chemotherapy being the most numerous. For articles published in 2009–2010, data were available on the funding acknowledgements, and we found, as expected, that articles in clinical subjects were less often supported by external funding than ones in basic research. The major source of support was the Government of India, with relatively small contributions from charities and industry, unlike the situation in the UK and other western European countries.
Abstract
A program is presented for the analysis of γ-ray spectra from Ge(Li) multichannel spectrometer systems. The program is written in ALGOL-60 for off-line working with a large Philips Electrologica X8 computer. It has been extensively used in thermal neutron activation analysis practice.
Andrássy út 96.: egy másik Herzl Tivadar háza. A Herzl-Hernádi – Szász-Koburg – Gothai hercegi – ideiglenes köztársasági elnöki palota
No. 96, Andrássy avenue: the house of another Theodor Herzl. The Herzl-Hernádi – Saxe-Coburg – Gotha ducal palace – temporary residence of the president of the republic
Abstract
Two centrally symmetrical squares, Octogon and Rondeau divide into three sections the representative avenue of Budapest, Andrássy út, lined mostly with neo-renaissance buildings. The two sections closer to the city centre are built up in a closed line with the building height decreasing towards the City Park while the section ending in the park comprises detached villas. There is a short connecting section between the Rondeau and the villas, which is also closed but the buildings with front gardens are on a smaller scale. No public buildings were erected here; all is residential housing, some being palaces of single families, the rest rental housing. One of them is discussed in this paper, joined into a visual unity with its larger and more richly decorated neighbours.
The rusticated façade of the three-storied neo-renaissance residential building has eight evenly spaced out axes; what alone upsets the perfect symmetry of the apertures is the entrance in the first axis on the left. The broad cornice running along the entire façade and the identical windows by stories make the front look strongly horizontal. The plastic aediculae of the second storey suggest that it is the principal storey, but unusually the piano nobile is the mezzanine. The courtyard facades of the L-shaped building with a single courtyard wing are more massively articulated. To the court side of the street wing a single-storey high central addition and a tower-like elevator-shaft are added. On the courtyard face of the court wing a glazed balcony runs along the whole length to the cylindrical tower with a pointed steeple in the northern corner of the courtyard also attached to the courtyard wing of the rear neighbor, no. 59 Aradi utca. In the western corner there is a similar staircase tower belonging to the next rear neighbor at the end of the other courtyard wing of the Aradi street building.
The barrel-vaulted doorway is divided into sections by 5 pairs of Corinthian pilasters and the archivolts. Both the archivolts and the vault sections are coffered. Restorers have found that the coffers had decorative painting and the pilaster capitals were gilded. The staircase opens from the doorway on the right. The staircase of a square plan has wrought iron railing with an ornate candelabrum at the start. The bottom of the landing on each floor is decorated with plasterwork geometric motifs and rosettes originally gilded. The ground-plans of the mezzanine and the storey above it are identical. Next to the staircase there is a narrow anteroom with its axis perpendicularly to the main walls. It has a small extension projecting into the courtyard. Next to it, in the middle of the courtyard front, there is an oblong room also extended into the courtyard in the middle.
There are twice four rooms in the street tract. The most richly decorated space in the piano nobile and the entire building is the reception room in the courtyard tract of the mezzanine. Up to half the length of the side walls and the entire ceiling is paneled. The doors leading to the anteroom and street tract are highly embellished, lined with pilasters but the aperture heads they used to hold are missing. The courtyard projection looks like a bay window from the inside; wall investigation has exposed ornamental painting on a gilded ground on the walls. The anteroom and two outer (single-window) rooms have stucco ceilings. None of the original interior decoration of the two inner rooms (with two and three windows) survives, and little of the second-storey interior is original, too.
The plot was purchased by Theodor Herzl and his wife Sarolta Herzog in 1881. He is only a namesake of the founder of Zionism also born in Budapest. This Herzl was born in 1830, nearly 30 years before his world-famous namesake. His career was connected to one of the most successful families of merchants and haute bouregoises rising into the ranks of the aristocracy by the turn of a century, the Herzogs, who had a real palace built for themselves along Andrássy út, right across from the Herzl house. Herzl contracted Adolf Feszty (1846–1900) who had 11 buildings erected along the Avenue. All are in the closed-row sections in neo-renaissance style, none being villas or public buildings. The majority is four-storied rental buildings, and only two three-storied building were private palaces. The one in question was built in 1881–83; the original plans are lost. In this phase of construction, the entire street wing and a short courtyard section attached to the street wing were built. There is no information on the original furnishings. Since the ornaments possibly date from the subsequent reconstruction, it is presumed that there were higher middle-class apartments (one per storey) in the building of decent quality but reserved interior decoration, which is more in line with the facade of a residential rather than palatial appearance.
Herzl and his wife bought the Aradi utca plot behind no. 96, Andrássy út in two installments. In 1890 they applied for permission to unite the two plots and enlarge the building towards Aradi street. The new building section was planned by Swiss-born Lajos Ray Rezső (1845–1899), a fashionable architect of his age, the planner of the Herzog palace. A greater part of the extension fell on the Aradi utca plot; Ray actually added a separate tenement building to the Herzl palace with an atelier on the fourth floor. The character of the property was modified by this enlargement, a rental building being added to a palace. As a result, a typical Budapest complex of mixed palatial and rental housing emerged. The combination of the two building types of different functions was required by economy, by the aim to recover the building costs. In terms of architecture, there were several variants. There could be rented apartments within a palace (in a separate wing or storey – as it was here at the beginning), in a separate building of rented apartments next to the palace (behind a common façade or also separated on the front), or (like in this case) behind the palace. The point was that the two should constitute a cadastral or architectural unity. The discussed variant is unique in that the rental building was erected a decade or so later and occupied a part of the palatial plot as well. The visual unity of the two courtyards, the palace yard not being separated, is unusual. It is also peculiar that the architectural design of the courtyards is predominated by the rental building. The decoration of the reception room in the original building probably also dates from the time of reconstruction (it has only written accounts now).
Theodor Herzl had two sons schooled by the father abroad. At the turn of the century they adopted the Hungarian name Hernádi and both made a considerable career in their respective professions. The better known was Kornél, the younger one, who studied painting with Sándor Liezen-Mayer and Gyula Benczúr in Munich and Jules Lefebrve and Francois Flameng in Paris where he eventually settled. He usually returned to Hungary for exhibitions. He was a master of conservative genre-painting of peasant and soldier's scenes. His best-known work shows E. A. Poe with the raven. He has a single painting – Women cleaning fish – in the Hungarian National Gallery. The elder son, Mór, was a literary historian. He studied at several German universities and later presumably also in France. He was an expert of medieval Provencal and Catalonian literature. In the History of universal literature published in 1905 he wrote the sections on these themes. After their father's death in 1902 they inherited the Andrássy út property. Mór Hernádi died in 1907, Kornél in 1910.
In 1911 Philip, prince of Saxon-Coburg-Gotha, a well-known aristocrat at the turn of the century, became the owner of the building. He was the scion of the Hungarian line of the family whose members ruled several countries from Belgium to Bulgaria. Prince Philip moved to Budapest in 1875 and had a former apartment building on the Danube bank converted into a palace by the leading conservative architect of the age, Alajos Hauszmann. It was replaced by the headquarters of one of the largest banks in the early 20th century, and Philip the landowner, famous traveler, hunter and medal collector moved to the former Herzl-Hernádi palace. In 1912 he had minor redecorations carried out by the son of the former planner, Vilmos Rezső Ray (1876–1938).
Prince Philip died in 1921 but no new owner can be documented before 1936 when Mrs József Bún, widow of a well-known banker bought it. She ordered no change on the building but through her the Andrássy út palace assumed political significance after World War II. Mrs Bún's nephew who adopted the Hungarian name Csornoky in 1945 married the daughter of one of the best-known Hungarian politicians, Zoltán Tildy. He thus became the son-in-law of the first (and last) freely elected president of the second Hungarian Republic proclaimed in 1946. Not much later Csornoky was accused of spying on trumped-up charges, sentenced to death and executed by the Hungarian Stalinists. Tildy lived in this building already in 1945, thus in 1946 it became the temporary presidential residence. It had this function until the completion of the conversion of the former Esterházy palace in the so-called aristocratic district behind the National Museum. When the Andrássy út palace was the president's residence, it was still owned by Mrs. Bún who applied for permission to divide the unified plot again into an Aradi street and an Andrássy út property in June 1949. The authorities complied and the plot demarcation defined in 1949 and left unchanged by the nationalization is still in effect. The building is again privately owned but in bad state of repair and its prospected function is unknown.
the manuscript and agreed to submit it to IMAGING for publication. Conflict of interest J.v.B, N.W, S.K.-H, T.H, A.G, D.B, M.B, and S.Y are all employees of Philips. Funding sources D.P. was funded by the Federal Ministry of Education and Research
association between recollected engagement with these legal youth gambling machines and adult gambling behavior. Funding source This research was funded by a start-up grant awarded to Philip Newall from the University of Bristol. Authors' contributions The
The function of that particular class of legends known as myths is to express dramatically the ideology under which a society lives; not only to hold out to its conscience the values it recognizes and the ideals it pursues from generation to generation, but above all to express its very being and structure, the elements, the connections, the balances, the tensions that constitute it; to justify the rules and traditional practices without which everything within a society would disintegrate.
The presence of war elephants in the Near East between the late third and early seventh centuries, and especially in Romano-Sasanian conflicts, is frequently reported in a wide variety of contemporary sources. The purpose of this paper is to examine the evidence for the military use of elephants over this period. This study gives particular attention to the literary concerns of individual authors, whether writing in Latin, Greek, Armenian, or Arabic, which might have influenced their inclusion of vivid depictions of war elephants. Informed by comparative evidence from Indian sources, this assessment also identifies a more diverse range of military applications and capabilities of elephants than in the 'classic' age of elephant warfare in the Hellenistic period.
