19 David Jones, In Parenthesis (1937)

2021 ◽  
pp. 323-336
Author(s):  
Samantha Rayner
Keyword(s):  
1973 ◽  
Vol 42 (3) ◽  
pp. 258-288 ◽  
Author(s):  
William Blissett
Keyword(s):  

Author(s):  
Francesca Brooks

The early Middle Ages provided twentieth-century poets with the material to reimagine and rework local, religious, and national identities in their writing. Poet of the Medieval Modern focuses on a key figure within this tradition, the Anglo-Welsh poet and artist David Jones (1895–1974), and represents the first extended study of the influence of early medieval culture and history from England on Jones and his novel-length late modernist poem The Anathemata (1952). The Anathemata, the second major poetic project after In Parenthesis (1937), fuses Jones’s visual and verbal arts to write a Catholic history of Britain as told through the history of man-as-artist. Drawing on unpublished archival material including manuscripts, sketches, correspondence, and, most significantly, the marginalia from David Jones’s Library, Poet of the Medieval Modern reads with Jones in order to trouble the distinction we make between poetry and scholarship. Placing this underappreciated figure firmly at the centre of new developments in modernist and medieval studies, Poet of the Medieval Modern brings the two fields into dialogue and argues that Jones uses the textual and material culture of the early Middle Ages—including Old English prose and poetry, Anglo-Latin hagiography, early medieval stone sculpture, manuscripts, and historiography—to re-envision British Catholic identity in the twentieth-century long poem. In The Anathemata Jones returned to the English record to seek out those moments where the histories of the Welsh had been elided or erased. At a time when the Middle Ages are increasingly weaponized in far-right and nationalist political discourse, the book offers a timely discussion of how the early medieval past has been resourced to both shore up and challenge English hegemonies across modern British culture.


2014 ◽  
Vol 23 (3) ◽  
pp. 348-354 ◽  
Author(s):  
Maurício Orlando Wilmsen ◽  
Bruna Fernanda Silva ◽  
César Cristiano Bassetto ◽  
Alessandro Francisco Talamini do Amarante

Gastrointestinal nematode infections were evaluated in sheep raised in Botucatu, state of São Paulo, Brazil between April 2008 and March 2011. Every month, two tracer lambs grazing with a flock of sheep were exposed to natural infection with gastrointestinal nematodes for 28 consecutive days. At the end of this period, the lambs were sacrificed for worm counts. Haemonchus contortus presented 100% of prevalence. The seasons exerted no significant influence on the mean intensity of H. contortus, which ranged from 315 worms in November 2010 to 2,5205 worms in January 2011. The prevalence of Trichostrongylus colubriformis was also 100%, with the lowest mean intensity (15 worms) recorded in February 2011 and the highest (9,760 worms) in October 2009. In the case of T. colubriformis, a significant correlation coefficient was found between worm counts vs. rainfall (r = −0.32; P <0.05). Three other nematodes species were found in tracer lambs, albeit in small numbers. Their prevalence and mean intensity (in parenthesis) were as follows: Oesophagostomum columbianum 28% (25.2), Cooperia curticei 7% (4.5) and Trichuris spp. 2% (1). In conclusion, the environmental conditions of the area proved to be highly favorable for the year-round transmission of H. contortus and T. colubriformis.


Author(s):  
Rob Gossedge

David Jones, the poet, painter and engraver, was born in Brockley, Kent, in 1895. He was the youngest son of James Jones, a printer’s overseer from North Wales, and Alice Bradshaw, a former governess and talented amateur artist of Anglo-Italian descent. Although his family was English-speaking and Low Church in religious practice, from an early age Jones was drawn to the culture of his father’s Welsh ancestors, and to the rituals of the Catholic Church (he was to convert in 1921). Both influences would prove crucial to Jones’s maturity as both artist and writer. In January 1915, after several years training as an artist at Camberwell School of Arts and Crafts, Jones enlisted in the ‘London Welsh’ battalion of the Royal Welch Fusiliers, and served as a private until the end of the First World War. He was wounded in the leg during the assault on Mametz Wood, as part of the 1916 Somme Offensive. These experiences would serve as the narrative basis of his first major literary work, In Parenthesis (1937). Though that title was meant to convey his understanding of the war as a kind of parenthesized experience for him and his fellow amateur soldiers, he remained, artistically, unable to step outside of its brackets, and each of his major subsequent works would be shaped by his time in the trenches.


Weed Science ◽  
1982 ◽  
Vol 30 (2) ◽  
pp. 169-174 ◽  
Author(s):  
Victor Raboy ◽  
Herbert J. Hopen

The persistence and effectiveness in pumpkin [Cucurbita moschata(Puch.) Poir.] weed control of several starch xanthide (SX) and commercial formulations of the ammonium (NH3) salt and methyl (CH3) ester of chloramben (3-amino-2,5-dichlorobenzoic acid) were studied in the laboratory and field. The soluble concentrate (SC) of chloramben NH3salt and the emulsifiable concentrate (EC) of chloramben CH3ester controlled weeds throughout the growing season on a silt loam soil. SC chloramben NH3salt was not effective, and EC chloramben CH3ester was inconsistent in weed control on sandy soil. Manipulation of the SX formulation produced products with slow, uniform release rates. The release rates (crosslinking reagent in parenthesis) rank as follows, from fastest to slowest: SX(Ca2+) CH3ester = SX(H2O2) acid > SX(H2O2) CH3ester > SX(Fe3+) acid > SX(Fe3+) CH3ester. In trials on silt loam and sand, SX formulations did not control weeds better than EC chloramben CH3ester.


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