scholarly journals Killer Zucchini

M/C Journal ◽  
1999 ◽  
Vol 2 (7) ◽  
Author(s):  
Ric Masten
Keyword(s):  
Olive Oil ◽  
String Quartet ◽  
Fine Art ◽  
Creative Work ◽  
Sour Cream ◽  
Renaissance Man ◽  
The One

Slice and boil the one that got away the one that would play the lead in the Squash that Ate Chicago... the monster that always has the crowd wild eyed and screaming my god! is that really      A zucchini.      Strain off the water      Adding one bouillon cube (any kind)      and one tablespoon of olive oil      Puree and serve hot and steaming      with a slug of cold sour cream   dumped into the center of each portion.      Top with a sprinkle of dill seed,      salt and season to taste. and now let us praise the chef the only artist whose creative work must speak to every sense the literary labors of Shakespeare are immense feeding and filling the soul... but a steady diet of language leaves the stomach growling and although it would garnish your life and delight your eye a garden salad by Picasso would be as tasty as old canvas and varnish and whatever the sculpture Rodin might put on the table would be a masterpiece for sure but nothing you could get your teeth into no doubt the sound of a string quartet is more uplifting than the sizzle of bacon in a pan but by intermission a sweaty musician doesn't smell as good the fine art of cookery demands the heart hand and eye of a complete renaissance man and as always muttering into her napkin counterpoint to this my wife:  "Why is it when a woman   cooks a meal it is just a meal   but when a man   cooks a meal   it's such a big big deal!" Citation reference for this article MLA style: Ric Masten. "Killer Zucchini." M/C: A Journal of Media and Culture 2.7 (1999). [your date of access] <http://www.uq.edu.au/mc/9910/zucchini.php>. Chicago style: Ric Masten, "Killer Zucchini," M/C: A Journal of Media and Culture 2, no. 7 (1999), <http://www.uq.edu.au/mc/9910/zucchini.php> ([your date of access]). APA style: Ric Masten. (1999) Killer zucchini. M/C: A Journal of Media and Culture 2(7). <http://www.uq.edu.au/mc/9910/zucchini.php> ([your date of access]).

Cooperatives as Responsible and Innovative Entrepreneurial Ecosystems in Smart Territories

2017 ◽  
pp. 459-490
Author(s):  
Francisca Castilla-Polo ◽  
Dolores Gallardo-Vázquez ◽  
M. Isabel Sánchez-Hernández ◽  
María del Consuelo Ruiz-Rodríguez
Keyword(s):  
Social Responsibility ◽  
Olive Oil ◽  
Rural Areas ◽  
Business Models ◽  
Social Value ◽  
The Other ◽  
Entrepreneurial Ecosystem ◽  
Entrepreneurial Ecosystems ◽  
The One ◽  
The Relationship

Nowadays, and more than never, businesses´ stakeholders are demanding Social Responsibility (SR) and innovation. In this situation, any business is concerned about how to implement social and innovative practices in creating economic and social value at the same time. This chapter analyzes the relationship between SR and innovation in cooperatives. On the one hand, even acknowledging that the degree of implementation of SR is still different in companies, cooperatives seem to be responsible by nature. However, on the other hand, traditionally innovation has been not a visible strength in the cooperative enterprises. The focus is centered on a specific place: the olive oil cooperatives in the south of Spain and we will describe the cooperative entrepreneurial ecosystem created around this territory, demonstrating how SR and innovation are important features related to competitiveness and success. Cooperatives are strategic business models able to foster development in traditional rural areas, so we can define them as an entrepreneurial ecosystem in smart territories.

An Exchange Between Scotland and Germany in 1879: Ebrard of Erlangen and Matheson of Inellan

1989 ◽  
Vol 42 (3) ◽  
pp. 341-366
Author(s):  
A. I. C. Heron
Keyword(s):  
Nineteenth Century ◽  
Church History ◽  
Karl Barth ◽  
Historical Novels ◽  
Reformed Theology ◽  
Reformed Church ◽  
Renaissance Man ◽  
The One ◽  
The University ◽  
And Linguistics

In 1988 the Reformed Church in Bavaria commemorated the life and work of August Ebrard (1818–1888), the first Professor Ordinarius of Reformed Theology in the University of Erlangen. Ebrard is today almost completely forgotten; Karl Barth is reported to have opined that his theology was ‘deader than dead’. Yet he was a remarkable man, successively Professor in Erlangen, Konsistorialrat in Speyer, independent author and lecturer, finally minister of the French Reformed congregation in Erlangen (as his father had been long before). He contributed considerably to the maintenance and strengthening of the Reformed witness in Germany in the nineteenth century, took up the cudgels to defend the faith against D. F. Strauss on the one hand and Haeckel's Darwinism on the other, and published voluminous theological works, from biblical exegesis through church history to dogmatics, apologetics and practical theology, including liturgies, hymnology and sacramentalia. His interests were wider still; he was a kind of nineteenth century ‘renaissance man’, his studies extending inter alia to geology, mineralogy, musical theory and linguistics; learned, cultivated, busily writing up to the day of his death. Alongside his specifically theological works stand historical novels (written under the pen-name Gottfried Flammberg), poems, travel reports, an autobiography of Herculean proportions and such special gems as a System of Musical Acoustics and a Handbook of Middle Gaelic. Ground enough there alone for a Scot occupying Ebrard's chair a century after his death to look more closely at the man and his writings! Ebrard's papers are preserved in the Erlangen City Archives.

scholarly journals The synergetic effects of a harvesting and conservation method designed for small producers on the quality parameters of the produced olive oil.

2020 ◽  
Author(s):  
Eddy Plasquy ◽  
María del Carmen Florido ◽  
Gregorio Blanco-Roldan ◽  
José María García-Martos
Keyword(s):  
Olive Oil ◽  
Quality Parameters ◽  
First Year ◽  
Specific Storage ◽  
Quality Product ◽  
The One ◽  
Small Producers ◽  
Conservation Method ◽  
Conservation Factor

The production of ‘Premium’ olive oil depends in a large part on the quality of the fruit. Small producers see themselves confronted with vast investments and logistic snags when they intend to optimize the harvesting. Today, manual harvesting devices promise less damaged fruit when compared to the traditional methods with nets while the use of a cooling room on the farm is suggested as a solution when the harvesting needs to be stretched out over several days. The use of a manual inverted umbrella during the harvest, together with a storage up to 14 days at 5 °C at a family farm, was studied for three cultivars, ‘Arbequina’, ‘Picual’, and ‘Verdial’. Ten quality parameters of the produced oil were examined in two consecutive years together with an extended sensory analysis in the first year. The results underline the importance of the used harvesting and conservation method on the quality of the extracted oil. The strength of each factor varied in time and according to the cultivar. The ‘Arbequina’ c.v. showed a rapid increase in the importance of the conservation factor, while ‘Picual’ c.v. was the most resistant to deterioration, presenting a lower explanatory value of the conservation factor as compared to the harvesting one. The results indicate that small producers with financial and logistic restrictions can obtain a high-quality product. Either by combining both methods or by choosing the one that guarantees the best results given the cultivar and the specific storage time they need to consider.

scholarly journals Form, Topics, and Harmonic Schemata in Beethoven’s String Quartet Op. 18 No. 4/I, in C Minor

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Mítia D'Acol
Keyword(s):  
String Quartet ◽  
18Th Century ◽  
Analytical Techniques ◽  
Cultural Contexts ◽  
Musical Discourse ◽  
The One ◽  
Topic Theory ◽  
Constant Interest ◽  
Different Levels

Bridging the gap between different cultural contexts such as the one between a modern listener and an 18th-century listener has been a constant interest of contemporary musicologists and theorists— especially those dedicated to the study of galant schemata, topic theory, and formal functions. Although these theories are usually used separately when analysing a musical discourse, recent studies have been leaning on the benefits of entwining them in order to build a richer understanding of a piece of music. Therefore, the aim of this paper is to present an analysis of the first movement of Beethoven’s String Quartet in C Minor, Op. 18 No. 4 where all of the aforementioned analytical techniques are used to better expose different levels of interpretation that emerge from overlapping topic theory, formal functions, and galant schemata analyses.

scholarly journals Creative derivatives the poetics of derivation and its formative assumptions

2021 ◽  
pp. 233-252
Author(s):  
Jagor Bučan
Keyword(s):  
The Other ◽  
Common Denominator ◽  
Creative Work ◽  
Work Of Art ◽  
Cognitive Insight ◽  
Other Hand ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The One ◽  
Existing Form

The creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.

scholarly journals Evolution of V.B. Sven’s Creative Work: From Essays and Stories to the Big Epic Form

2018 ◽  
Vol 15 (3) ◽  
pp. 330-339
Author(s):  
M. E. Babicheva
Keyword(s):  
Literary Analysis ◽  
Evolutionary Development ◽  
Creative Work ◽  
Wide Audience ◽  
Cultural Phenomenon ◽  
Diffi Cult ◽  
Creative Style ◽  
The One ◽  
Second Wave ◽  
120Th Anniversary

The article for the fi rst time attempts to introduce into the Russian cultural circulation the creative heritage of V.B. Sven, whose 120th anniversary of birth was celebrated in 2017. This writer of the second wave of Russian emigration is now almost unknown in homeland. His works, however, deserve to be noticed by Russian readers and researchers. Firstly, V.B. Sven’s works, due to their high artistic level, are an integral part of Russian culture. Secondly, the writer refl ected in his literature a number of interesting historical and cultural phenomena, characteristic of the era he wrote about. A literary analysis of V.B. Sven’s works is given in correlation with his unusual biography. Many facts from the writer’s life are refl ected only in sources diffi cult to access; they are presented to a wide audience in this work for the fi rst time. The article considers the specifi cs of V.B. Sven’s creative style in the evolutionary development. The article develops a periodization of the literary array created by the writer and justifi es the conditionality of its division into periods. It shows the infl uence of M.M. Prishvin on the work of V.B. Sven, determines the place of the writer in the emigrant literature, analyzes the reviews of his works written by his contemporary critics-emigrants. Much attention is paid to the artistic innovation of V.B. Sven, his experiments in the fi eld of artistic form, inherent in later works. The article highlights the mystical element in the worldview and, accordingly, in works of the writer, and the specifi c cultural phenomenon closely associated with it — Miklashevsky’s “system”, which became the content and structural center of one of his works. The article distinguishes between the diffi culty of seeing any V.B. Sven’s lifetime printed publications, on the one hand, and the availability of texts of his works in digitized form, on the other. There is emphasized the importance, in a situation like this, of information about the existence of the works, about their merits and accessibility. The references to the article include a list of sites where the main works of the author can be found.

scholarly journals Iimitation of Personal and Professional Responsibility under the Terms of the Directives

2020 ◽  
pp. 27-41
Author(s):  
Elena V. Kamneva ◽  
Nikolai S. Prjazhnikov ◽  
Elizaveta V. Babanova ◽  
Svetlana M. Buyanova
Keyword(s):  
Common Sense ◽  
Labor Relations ◽  
The Other ◽  
Professional Responsibility ◽  
Good Work ◽  
Creative Work ◽  
High Quality ◽  
The Public ◽  
The One ◽  
Education Culture

Responsibility is understood as altruistic activity based on awareness of the consequences of one's activities. The article justifies the forced need to imitate responsibility, when an employee is required to have activities contrary to his professional conscience and common sense. Contradictions related to different understandings of “good” work (honest, high-quality, socially oriented) by different subjects of labor relations, including the employee and the bearers of policy prescriptions (leadership, colleagues, members of the public etc.) are analyzed. It proposes a model of predicting possible imitations of personal and professional responsibility, based on the reflection of these contradictions. In the case of creative work (science, education, culture etc.), under strong bureaucratic pressure of various policy prescriptions, the ideas of the development of “parallel” science are proposed, when, on the one hand, it is necessary to imitate a certain activity (ostentatious “workholism”), and on the other hand, to find opportunities for real creativity.

scholarly journals A Futurist Emulation of Horace

Literary Fact ◽  
2021 ◽  
pp. 297-311
Author(s):  
Manfred Schruba
Keyword(s):  
Creative Work ◽  
Russian Poetry ◽  
The One

The article presents an analysis of Alexey Kruchenykh’s and Velimir Khlebnikov’s collective poem Pamiatnik (The Monument), published in the futurist brochure Slovo kak takovoe (“The Word as Such”; 1913). The poem belongs to the “genre” of emulations of Horace’s “Exegi monumentum aere perennius…” (Carmina III, 30), quite widespread and important in Russian poetry. Kruchenykh’s and Khlebnikov’s poem contains, on the one hand, parodistic references to the well-known “monument” poems of Alexander Pushkin and Gavriil Derzhavin. At the same time, the futurist Monument represents an entirely serious continuation of the tradition of the Horace emulations, reflecting the authors’ self-confident conviction of their poetic immortality and of the avoidance of the oblivion by means of the proper creative work.

scholarly journals Manchester, RNCM: Robin Holloway's String Quartet, op. 97

Tempo ◽  
2004 ◽  
Vol 58 (228) ◽  
pp. 64-66
Author(s):  
Edward Venn
Keyword(s):  
String Quartet ◽  
The Other ◽  
60Th Birthday ◽  
The World ◽  
Initial Inability ◽  
The One ◽  
World Premiere

The world première of Robin Holloway's String Quartet, given by the Endellion Quartet at the RNCM on 13 October 2003, came in the midst of a number of concerts around the country marking the composer's 60th birthday. (Let us not forget, too, Claridge Press's publication of Holloway's writings, also coinciding with this anniversary.) Clever programming between Haydn's quartet op. 76 no. 4 and Brahms's op. 51 no. 2, enabled one to appreciate Holloway's first essay in this genre in the context (on the one hand) of a composer for whom the string quartet was seemingly an effortless medium, and (on the other) of a composer on whom the quartet tradition weighed heavily. For Holloway too, the string quartet proved problematic, and almost unassailable – his highly biographical programme-note revealed an initial inability to engage with ‘this most hallowed of the classic media, with its incomparably rich literature’. This inhibition threatened to stifle work altogether, for it was only a final attempt in August 2003, after three ‘sterile years’ of trying, that Holloway found a way through the problems the string quartet posed him.

Repair in Translation

2020 ◽  
Vol 14 (1) ◽  
pp. 15-33
Author(s):  
Jenna Grant
Keyword(s):  
Problem Solving ◽  
Medical Care ◽  
Creative Work ◽  
Specialized Knowledge ◽  
Phnom Penh ◽  
X Ray ◽  
Material Practice ◽  
The One ◽  
Broken World ◽  
The Revolution

Abstract In this article, the author juxtaposes writing and conversation about care for, with, and in spite of technology in Cambodia. The scene is medical care, and the actors are radiologists, engineers, cadres, and X-ray machines. A radiologist is forced to repair an X-ray machine for doctors of the revolution; the pressure and constraints are almost unreal, yet his skill in repair affirms his humanity and the specialized knowledge and creativity required for problem solving. An engineer teaches repair as he fixes an old X-ray machine. He finds words and necessary tools are missing in Phnom Penh, a familiar story of lack, yet repair is material practice that enables improvisation in spite of linguistic and epistemic challenges. A radiologist, the same one from before, in the twilight of his life, questions the dominance of technologies within medical care and the deskilling of doctors. Juxtaposing these stories bolsters attention for the mundane and creative work of keeping things going in a “broken world,” in line with the ways that care and repair are mobilized in STS. It also shows how the radical potential of “broken world thinking” is circumscribed when a broken world is the one from which people are struggling to distance themselves. What we are left with are multiple, overlapping, fraught stories of modernity in which need, choice, and pleasure of repair all have a place.

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