DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations Mining, Metalworking, and the Epic Underworld: The Corruption of Epic Heroism and the Emergence of Commercial Ethos as Represented in the Epic Line from Homer to Milton By: Warren Tormey May 2008 UMI Number: 3309131 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3309131 Copyright 2008 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 Mining, Metalworking, and the Epic Underworld: The Corruption of Epic Heroism and the Emergence of Commercial Ethos as Represented in the Epic Line from Homer to Milton Warren Tormey vJftUiAfr- CLA^-UsC*^ Dr. Tom Strawman Dissertation Director Dr\. Bill Connelly / Dissertation Reader fl-uXlAJJK Dr. Tom Strawman English Department Chair (JLMI& o«k/ Michael D. Allen Dean, College of Graduate Studies 1 Dedication I consider this dissertation as an exercise in recovery and an effort to revisit those aspects of reading and literary study that compelled me first to major in English as an undergraduate. However, no dissertation is written autonomously. The input of others helps to provide shape and direction for any project, and in this space I would like to offer my sincere thanks to those who made this particular effort possible. First, to my two readers: Drs. Connelly and Strawman, thank you for your patience, support, supervision, and encouragement in what I'm afraid was a very demanding and time- consuming experience. Dr. Strawman, I particularly appreciate your meticulous attention to the quality of my work, and your willingness to read page after page and offer suggestions, even as your own department duties grew more pressing. I also appreciate the conversations we've had about this topic, especially those that took place on trails in the Smoky Mountains and in the South Cumberland State Recreation Area. I look forward to many more such conversations and to our continuing friendship and exchange of ideas. Dr. Connelly, I particularly appreciate your encouragement to continue in my pursuit of a doctorate after my abortive first effort, and your continuing interest in a project that continued into your own retirement. Your allowing me to sit in your Medieval Literature seminars as an unattached adjunct faculty member helped to rekindle my interest in the topics I'd set aside. Thank you especially for allowing me to discuss the matter of lynx urine (and other peculiarities of medieval lapidaries) with your graduate students, and for your effective and thoughtful stewardship of a department in transition. Also, I thank other members of the MTSU English department and community who provided support and mentoring along the way: Drs. Kevin Donovan, Michael Neth, and Julia Fesmire provided models for effective research and scholarship in their graduate seminar classes. Dr. Alan Boehm provided valuable input as a reader of early drafts of the first few chapters, and served at points as a sounding board when my ideas were still in development. His input helped greatly to shape the current project. Drs. Keith Taylor and Pete McCluskey helped in similar ways, and to all I offer my appreciation tor your helpful and timely guidance. I also express thanks for the help and instruction offered by select faculty members at the University of Arizona, who planted the seeds that took almost two decades to take root in this project. Friends provided valuable diversions and consistent encouragement along the way. To Drs. Michael and Sara Dunne, I thank you for the friendship which has developed in both personal and professional spheres. Your timely mentoring over the course of my dissertation experience provided valuable support at times when motivation was waning. And to Drs. Ron and Jenn Kates, thank you also for the many diversions and timely distractions which helped remind me about what was truly important in the whole process of dissertation writing. And to my family members, who accepted my undertaking and didn't ask too many questions during the lengthy process of its composition Finally, to my wife, Kim. Thank you for taking a chance on a struggling graduate student and for sharing the journey with me. It's been a great ride, and you've been around for just about all of it. You've helped make the job worthwhile, and I'm excited about what the future will bring with it now behind us. Thanks also for the family we've created together. 2 Dissertation Abstract Mining, Metalworking, and the Epic Underworld: The Corruption of Epic Heroism and the Emergence of Commercial Ethos as Represented in the Epic Line from Homer to Milton By: Warren Tormey I contend that economic realities and practices give shape to the epic form and define its motifs as much as the traditions and conventions of the genre that epic poets inherit and reinvent. Epic poetry is traditionally read as a repository for values associated with heroism in Western Civilization. My focus instead seeks to establish that the epic text also reflects and comments upon a culture's identity in economic and social spheres. Moreover, when biographical and historical details about the epic writer's life are available, these likewise help to reveal the pool of imaginative resources that the epic poet draws upon. In this way, epic literature documents the economic and social lives of a developing tribal culture as much as it does the chivalric ethos or proto-mercantile dimensions, or the colonial ambitions or early industrial efforts of a more developed national entity. This pattern of economic and social development is evident in the "epic line" that connects the battle and underworld images in the pre- Christian works of Homer and Virgil, the anonymously composed tribalism depicted in Beowulf and chivalric grandeurs of the Song of Roland, the proto-commercial travel narratives of Dante's Inferno and Chaucer's Canterbury Tales, the colonial subtext of Spenser's Faerie Queene, and the incipient industrial motifs used to depict Hell in Milton's Paradise Lost. I read all of these texts with an eye on the economic and social systems which shape and are represented in them, and I locate the common symbol that connects the epic genre to the economic and social life of a culture in the symbols and imagery of metals and metalworking. Metals are the materials of empire, as they are essential and fundamental to a culture's immediate survival, as well as to its long- term economic health. They help to define and transform its social hierarchy, and most frequently represent the currency that defines its class system. Moreover, they figure prominently in the common epic motifs of battle (weapons), journey, underworld descent, and the articulation of social strata. Likewise, mining is the activity that makes metals available to human commerce and industry, and it requires both a large-scale manipulation of the landscape and a descent into underworld regions. The significance of underworld imagery in epic is in part determined by the essential importance of mining and metalworking to cultures of varying degrees of development. Within the epic narrative, the underworld regions represent a problematic, morally ambiguous space where metals figure prominently and comment most vividly on the commercial and social ambivalences of the epic poet's world. Whether represented by the prophetic visions worked by Olympian smiths, in the arms and armor donned by epic heroes, the currencies that both dictate the interactions within emergent mercantile societies and determine their moral standards, or in the weapons of warfare used by celestial rebels, metals constitute the essential imagistic substance of epic. They are drawn from subterranean recesses which shed light on the economic realities of the epic poet's world, and in the line connecting Homer and Milton the conjoined motifs of metals and the underworld depict important stages in a larger pattern of economic and social development in western civilization that proceeds in close conjunction with the perpetuation and reinvention of the epic genre. 3 Table of Contents Dedication: 1 Abstract: 2 Contents: 3 Introduction: Mining, Metalworking, and the Epic Underworld: The 4 Formation of State Identity to the Seventeenth Century, or The Epic Line from Homer to Milton and its Economic and Military Foundations. Chapter 1: Metals, Money, and Militarism: Milton's Ambivalence 31 Toward Early Industrial and Commercial Progress in Paradise Lost. Chapter 2: The Homeric Epics: Introducing Metalworking Motifs, 83 Defining Class Relations, and Establishing a Basis for the Christian Underworld. Chapter 3: The Politicized Underworld: The Imperial Incentive in 128 the Aeneid. Chapter 4: Christianizing Virgilian Images: Syncretizing the Aeneid, 171 the Chruch Fathers, and the Epic influences from the Nordic and Germanic Worlds. Chapter 5: The Appropriation of Virgilian Motifs into Ideals of Germanic 209 Heroism in Beowulf, and the Development of an Anglo-Saxon National Consciousness. Chapter 6: The Sword and the Coin I: The Monetary Perversion of 250 Chivalric Idealism in the Song of Roland. Chapter 7: The Sword and the Coin II: The Appropriation of Chivalry, 297 and the Confrontation of Godly Morals with the Mercantile Economy in Dante's Inferno. Chapter 8: Negotiating Salvation and Reconciling God and Commerce 345 in Chaucer's Canterbury Tales. Chapter 9: Revisiting Virgil: Propagandizing Colonial Hegemony and 389 Realizing Social Mobility in Spenser's Faerie Queene.
Load more

Recommended publications
  • Wonder Woman & Associates
    ICONS © 2010, 2014 Steve Kenson; "1 used without permission Wonder Woman & Associates Here are some canonical Wonder Woman characters in ICONS. Conversation welcome, though I don’t promise to follow your suggestions. This is the Troia version of Donna Troy; goodness knows there have been others.! Bracers are done as Damage Resistance rather than Reflection because the latter requires a roll and they rarely miss with the bracers. More obscure abilities (like talking to animals) are left as stunts.! Wonder Woman, Donna Troy, Ares, and Giganta are good candidates for Innate Resistance as outlined in ICONS A-Z.! Acknowledgements All of these characters were created using the DC Adventures books as guides and sometimes I took the complications and turned them into qualities. My thanks to you people. I do not have permission to use these characters, but I acknowledge Warner Brothers/ DC as the owners of the copyright, and do not intend to infringe. ! Artwork is used without permission. I will give attribution if possible. Email corrections to [email protected].! • Wonder Woman is from Francis Bernardo’s DeviantArt page (http://kyomusha.deviantart.com).! • Wonder Girl is from the character sheet for Young Justice, so I believe it’s owned by Warner Brothers. ! • Troia is from Return of Donna Troy #4, drawn by Phil Jimenez, so owned by Warner Brothers/DC.! • Ares is by an unknown artist, but it looks like it might have been taken from the comic.! • Cheetah is in the style of Justice League Unlimited, so it might be owned by Warner Brothers. ! • Circe is drawn by Brian Hollingsworth on DeviantArt (http://beeboynyc.deviantart.com) but coloured by Dev20W (http:// dev20w.deviantart.com)! • I got Doctor Psycho from the Villains Wikia, but I don’t know who drew it.
    [Show full text]
  • 1379073031293.Pdf
    SUPERHERO 44 TABLE OF CONTENTS FORWARD . 1 INTRODUCTION . .1-2 WORLD ALMANAC 2044. 2 TECHNOLOGY . 2-3 PSYCHOLOGY AND ECONOMICS . .3 POLITICS ON INGURIA . 3 NEWSPAPERS . 3-4 FORMALHAUTIANS . .4 PLACES TO SEE IN INGURIA, ISLAND PARADISE . 4-5 THE STREETS OF INGURIA . .5 THE CITY OF BLOOMBERG . .6 KIA, Köln INSTITUTE ALUMNI . 7 ATA, ASSOCIATION OF TECHNICAL . .7 THE HUNTER CLUB . 7 UNIQUEX . 7 THE SCIENCE POLICE . .8 THE SUPERHERO SHOP . 9 IPSP, THE INGURIA PROTECTION AND SERVING PROGRAM . .10 THE FREEDOM LEAGUE . 10 CHARACTER DESIGN . .10-11 EFECTS OF PRIME REQUISITE SCORES . 12 FILLING OUT THE WEEKLY PLANNING SHEET . .12 COMBAT SEQUENCE . 14 INJURIES . .15 KINDS OF COMBAT . 15 WEAPONS EFFECTS . 17 HANDICAPS . .18 NOTES ON DESIGNING HANDICAPPING SCENARIO . 18 EXAMPLES OF HANDICAPPING SCENARIO . .19 PATROL . .20 SALARIES . .24 LITIGATION . .24 LIVING EXPENSES . .24 RESEARCH . .24 CRIMEFIGHTING EQUIPMENT . 24 GENERAL EQUIPMENT . 25-26 SUPERHERO 44 SOLO RULES . 27 OPTIONAL SUPERHERO RULES . .29 By Donald Saxman (Based on an idea supplied by Mike Ford.) © 1977 Gamescience, Inc. All rights reserved. Graphics: Mike Cagle, Michsel Ktirtick, Vines Zahnle,, Mike Ford, Don Saxman. Typing: Kathy Edge, Jane Simmons The author wishes to thank Geneva Spencer, Mike Ford, John Railing, Aaron Giles, Eric Brewer, Dan Fox, Guy Mc Limore, Samanda Jeude and the other members of the Indiana University Science Fiction Club who helped playtest Superhero 44 for their suggestions, comments and time. This gamebook is dedicated to Doc, Kal-el, and the Shadow. Without them it never would have been published. Superhero 44 Copyright 1978 Donald Saxman. All rights reserved. No part may be used or reproduced without permission of the author, except for brief quotations in critical articles or reviews.
    [Show full text]
  • Superman(Jjabrams).Pdf
    L, July 26, 2002 SUPERMAN FADE IN: . .. INT. TV MONITOR - DAY TIGHT ON a video image of a news telecast. Ex ~t th efs no one there -- just the empty newsdesk. Odd. e Suddenly a NEWSCASTER appears behind the desk - rushed and unkempt. Fumbles with his clip mic trembling. It's unsettling; be looks up at us, desperately to sound confident. But his voice Nm?!3CASTER Ladies and gentlen. If you are watching this, and are taking shelter underground, we strongly urg you -- all of vou -- to do so immediately. Anywhere-- anywhere e are, anywhere you can find. (beat) At this hour, all we know is that there are visitors on this planet-- and that there's a conflict between 'v them-- the Giza Pyramids have been @ destroyed-- sections of Paris. Massive fires are raging from Venezuela to Chile-- a great deal of Seoul, Korea ... no longer exists ... All this man wants to-do is cry. But he's a realize now that werite been SLOWLY PUSHING IN NEWSCASTER ( con t ' d ) Only weeks ago this report would've seemed.. ludicrous. Aliens.. usi Earth as a battleground. .. ( then, with growing venom: ) ... but that was before Superman. (beat1 It turns out that our faith was naive. Premature. Perhaps, given Y the state pf the world. .- simply desperate-- .. , Something urgent is YELLED from behind the c Newscaster looks off, ' fied -- he yells but it's masked by a SHATT!L'RING -- FLYING GLASS -- the video . .. camera SHAKES -- . -.~. &+,. 9' .. .-. .. .. .: . .I _ - - . - .. ( CONTINUED) . 2. CONTINUED: 4 -. A TERRIBLE WHI.STLE, then an EXPIX)SION -- '1 WHIPPED OUT OF FRAME in the same horrible inst .
    [Show full text]
  • Why No Wonder Woman?
    Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends.
    [Show full text]
  • 137733NCJRS.Pdf
    If you have issues viewing or accessing this file contact us at NCJRS.gov. -.. ~ r---~~~--------' • Thru: 3/31/92 U.S. COAST GUARD \ " DIGEST OF LAW ENFORCEMENT ~. L STATISTICS Compiled by (G-OLE -1 ) I I!:'::l, , L~.~Jr CJ" If"\i. .§J~ ;J f I I. '-----_________----1 II I The U.S. Coast Guard's General Digest of Law Enforcement Statistics is published semi-annually. It is distributed primarily within the Coast Guard. It is, however, provided to interested agencies and individuals on request. • This booklet represents the most recent information available for the reported period. Some changes may occasionally be noted for prior year information as cases are reviewed and updated. The information presented herein is compiled, reviewed, and promulgated by the Operational Law Enforcement Division of U.S. Coast Guard Headquarters. To provide comments or ask questions please call (202) 267-1766 (FTS callers use same number without area code). To aid the reader in corresponding with this office, our mailing address is provided below: Commandant (G-OLE-1) USCG Headquarters Room 3110 2100 2nd Street, S.W. Washington, D.C. 20593-0001 • 137733 U.S. Department of Justice National Institute of Justice This document has been reproduced exactly as received from the person or organization originating it. Po in Is of view or opinions stated in this document are those of the authors and do not necessarily represent the official position or policies of the National Institute of Justice. Permission to reproduce this nqa '1'%1 material has been granted by U.S. Coast GJard~ ___________ to the National Criminal Justice Reference Service (NCJRS).
    [Show full text]
  • “Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
    ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ...................................................................................................................................
    [Show full text]
  • Metals in the Bible: Silver (Part 1)
    The Testimony, August 2004 329 times of restitution of all things” (Acts 3:21, AV). the last verse of his song does look forward to In contrast, the song of Moses in chapter 32 pre- the time of blessing when the Gentiles will re- dicts future rebellion and consequent punish- joice with God’s people and atonement will have ment that would occur before the final glory been provided for both land and people (v. 43). would be attained by the nation. Nevertheless, (To be continued) New feature Metals in the Bible 3. Silver (Part 1) Peter Hemingray In 1996 and 1997 The Testimony published two two-part articles under the title, “Metals in the Bible”, in which we looked at iron and copper.1 We considered the ancient technology of iron, and how this knowledge helps illuminate the Biblical references to it. In particular, we saw how the introduction of iron during the period of the conquest affected the Israelites, who had to overcome superior technology through the power of God. For copper (or brass, as the AV terms it) the ancient metalworking methods were illuminated with illustrations from Timnah in Palestine, and we argued for the symbology of copper in the Bible being primarily that of strength, and only rarely that of the strength of sin. The intention was to complete these studies on metals of the Bible by considering silver, then gold. This we have now done in two further two-part articles to be published in this and the coming months, God willing. E WILL CONTINUE the theme of il- • examine the references to refining and cruci- lustrating the Biblical passages about bles in the light of our knowledge of ancient Wmetals with descriptions of the ancient metalworking practices metalworking techniques, as we consider silver, • look at the few references to lead in the Bible, the next metal up in Nebuchadnezzar’s image often associated with silver for reasons we after the iron and brass already considered.
    [Show full text]
  • DROSS in DUCTILE IRON by Hans Roedter, Sorelmetal Technical Services
    98 DROSS IN DUCTILE IRON by Hans Roedter, Sorelmetal Technical Services WHAT IS “DROSS ”? magnesium with other elements. Dross also Dross is a reaction product which is formed from occurs in the form of long stringers instead of Mg treatment and during subsequent reoxidation concentrated “slag like” areas. When it occurs in of Mg rejected from the molten metal before it this string like form it acts like cracks or flake solidifies. It is therefore just another word for a graphite in the structure and so fatigue strength specific type of slag (reaction product). and impact strength of the material are lowered considerably. The reaction binds magnesium with sulphur, oxygen and silicon and forms continuously. This “dross” is light weight and so it will generally be found in the upper surfaces and under cores, but it can be entrained throughout the metal as well, especially with colder pouring tempera - tures. It is very difficult to completely avoid the reaction of magnesium with these other elements, since we need magnesium to form nodules. We are always confronted with the problem of dross in the production of Ductile Iron. WHAT IS PROMOTING “DROSS ” AND WHAT CAN BE DONE TO KEEP THE “DROSS ” OUT OF THE CASTING ? Since “dross” is always connected with magnesium, it is necessary to keep the magnesium level as low as possible. Good inoculation practice with some late inoculation in conjunction with sufficient magnesium will When looking at “dross” in the microscope you produce nice round small nodules. See will almost always find flake graphite in Suggestion Sheet 76.
    [Show full text]
  • Lecture 8: Casting Technology
    Lecture 8: Casting Technology MT321: Principles of Materials Processing Lecture 8:Casting Technology 1 Design of Gating Systems Functions of a gating system: To deliver liquid metal to mould cavity within a short time. To minimise turbulent flow. To keep dross and/or inclusion particles from entering mould cavity. MT321: Principles of Materials Processing Lecture 8:Casting Technology 2 MT321: Principles of Materials Processing Lecture 8:Casting Technology 3 How to deliver liquid metal fast? By using a sufficient large cross sectional area; By using multiple runners. How to minimise turbulent flow? By using tapered sprue and runners. By bottom filling of the liquid into the mould cavity. By regulating the change of cross sectional area of the channels according to fluid dynamics principles. MT321: Principles of Materials Processing Lecture 8:Casting Technology 4 How to keep dross and inclusion particles from entering mould cavity? By using dross traps. By using filters. MT321: Principles of Materials Processing Lecture 8:Casting Technology 5 Various types of ceramic filters that may be inserted into the gating systems of metal castings MT321: Principles of Materials Processing Lecture 8:Casting Technology 6 MT321: Principles of Materials Processing Lecture 8:Casting Technology 7 Solidification Shrinkage The liquid of most metals and alloys shrinks during solidification. Solidification shrinkage (percent) of some common engineering metals and alloys MT321: Principles of Materials Processing Lecture 8:Casting Technology 8 Two considerations must be made in designing a casting mould, due to the solidification shrinkage: A riser, which is a reservoir of liquid, is needed to compensate for the shrinkage of the whole casting.
    [Show full text]
  • Download European Recycling Services Brochure
    ALPHA Reclamation Services Brochure Maximize Your Metal Recovery Return macdermidalpha.com August, 2020 Europe ASSEMBLY SOLUTIONS ALPHA Metal Reclamation Services Minimise Your Environmental Liability, Maximise the Value of Your Waste Materials Environmental legislation specifies the importance of proper waste management, recovery and recycling techniques to reduce pressure on resources and improve their use. Due to these requirements and considering that metal waste is recyclable, it is now essential for you to have a reliable and efficient recycler. Alpha, a brand of MacDermid Alpha Electronics Solutions, offers a safe and efficient recycling service which helps companies to meet their environmental and legislative requirements and at the same time, maximize the value of their waste stream. • Alpha’s experienced staff are dedicated to reclamation efforts and will maximize the amount of metal processed from your reclaim material. • Reclaim material sent to Alpha is carefully processed and no material that has a metal content is sent to a landfill. • Alpha provides tough, sealable and disposable metal recycling buckets and drums. • All shipments are lot traceable and certification can be provided on request. • Alpha’s Certified Recycling Partner Program enables our customers to work with local partners operating throughout Europe who are legally authorized to collect waste from electronics assembly processes. 2 ALPHA Metal Reclamation Services Recycling Waste Streams Wave Solder Dross and Hot Air Solder Level (HASL Dross) – Oxidation particles that form on the surface of molten metal (solder). This material can be skimmed off and recycled. Solder Paste – Paste that has expired its shelf life or been removed from the stencil Empty Paste Jars and Cartridges Solder Bar and Wire – Expired solder bar and wire Pot Dump and Contaminated Solder Bath – From wave and selective soldering machines.
    [Show full text]
  • Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
    Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.
    [Show full text]
  • Cinemeducation Movies Have Long Been Utilized to Highlight Varied
    Cinemeducation Movies have long been utilized to highlight varied areas in the field of psychiatry, including the role of the psychiatrist, issues in medical ethics, and the stigma toward people with mental illness. Furthermore, courses designed to teach psychopathology to trainees have traditionally used examples from art and literature to emphasize major teaching points. The integration of creative methods to teach psychiatry residents is essential as course directors are met with the challenge of captivating trainees with increasing demands on time and resources. Teachers must continue to strive to create learning environments that give residents opportunities to apply, analyze, synthesize, and evaluate information (1). To reach this goal, the use of film for teaching may have advantages over traditional didactics. Films are efficient, as they present a controlled patient scenario that can be used repeatedly from year to year. Psychiatry residency curricula that have incorporated viewing contemporary films were found to be useful and enjoyable pertaining to the field of psychiatry in general (2) as well as specific issues within psychiatry, such as acculturation (3). The construction of a formal movie club has also been shown to be a novel way to teach psychiatry residents various aspects of psychiatry (4). Introducing REDRUMTM Building on Kalra et al. (4), we created REDRUMTM (Reviewing [Mental] Disorders with a Reverent Understanding of the Macabre), a Psychopathology curriculum for PGY-1 and -2 residents at Rutgers Robert Wood Johnson Medical School. REDRUMTM teaches topics in mental illnesses by use of the horror genre. We chose this genre in part because of its immense popularity; the tropes that are portrayed resonate with people at an unconscious level.
    [Show full text]