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61 results

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The Weather Observer's Handbook
  • 2nd edition
  • Stephen Burt
  • Coming soon
  • Expected online publication date: February 2024
  • Print publication: 29 February 2024

  • 12 - In Praise of Meteorology Field Courses

  • from Part II - Essays: Inspiring Fieldwork
  • Edited by Tim Burt, Durham University, Des Thompson
  • Book: Curious about Nature
  • Published online: 11 February 2020
  • Print publication: 20 February 2020, pp 161-164

  • Summary

    It’s early September, just before the start of the autumn university term. I’m in western Scotland with a group of undergraduate and Masters students, just about to launch a radiosonde (a device to measure vertical temperature, humidity and wind profiles through the bottom 20 km or so of the atmosphere). A cold front is imminent, and the rain is both horizontal and cold. No doubt about it – it must be a meteorology field course.

  • Measuring and Explaining the Decline in U.S. Cotton Productivity Growth

  • Stephen C. Cooke, W. Burt Sundquist
  • Journal: Journal of Agricultural and Applied Economics / Volume 23 / Issue 1 / July 1991
  • Published online by Cambridge University Press: 08 February 2017, pp. 105-120

  • Tornquist input quantity indices were used to derive total and partial factor productivity measures for U.S. cotton across time, region, and scale. Total factor productivity for U.S. cotton increased .2 percent per year between 1974 and 1982. Partial productivity measures revealed that yield growth was about .6 percent and input use grew about .4 percent per year. Cotton enterprises in Alabama and Mississippi gained and those in the Texas High Plains lost competitive advantage relative to California. In 1982, very large (1750-5900 acres) and large (950-1749 acres) cotton enterprises were 2 percent more productive than medium-size enterprises (570-949 acres).

  • Chapter 50 - American Poetry at the End of the Millennium

  • from Part IV - Beyond Modernism: American Poetry, 1950–2000
  • Edited by Alfred Bendixen, Princeton University, New Jersey, Stephen Burt, Harvard University, Massachusetts
  • Book: The Cambridge History of American Poetry
  • Published online: 05 December 2014
  • Print publication: 27 October 2014, pp 1144-1166

  • Summary

    This chapter focuses on the work of two apparently quite different American poets, namely Thylias Moss and Charles Bernstein, in order to consider how poets responded to, resisted, and participated in exchanges about the significance of style as those assumptions unfolded and changed between 1980 and 1990. Moss's early poems are at least as clearly in conversation with Richard Wilbur's or Wallace Stevens's lyricism and with social realities, settings in which white sheets would call to mind the violent history of lynchings, not angels, as with Language poetry. The chapter suggests that the apparently opposed poetry camps of the 1980s reveal in effect a continuing late Romantic understanding of poetry's purpose, namely that, however the self and the world are defined, poetry expands or recasts the borders between self and world, a process seen to require accuracy of seeing and feeling.

  • Selected Bibliographies

  • Edited by Alfred Bendixen, Princeton University, New Jersey, Stephen Burt, Harvard University, Massachusetts
  • Book: The Cambridge History of American Poetry
  • Published online: 05 December 2014
  • Print publication: 27 October 2014, pp 1167-1196

  • Summary

    For much of the twentieth century, critics, scholars, writers, and readers often set American literature's parameters to exclude African American literary artists. The story of contemporary African American poetics begins with Gwendolyn Brooks and her collection A Street in Bronzeville. Bob Kaufman's poem expands on Hughes's imagist inclination, but it veers sharply from the solid modernist elements of Robert Hayden's or Gwendolyn Brooks's poetry. In his musicological works, Blues People and Black Music, Amiri Baraka argues that bebop and avant-garde jazz are rooted in the African American experiential continuum, but still offer listeners and other artists routes toward surreal, experimental, modern, and revolutionary practices. Like Baraka and Kaufman before him, Ishmael Reed's early poems are drawn from American popular culture, African American cultural particulars, and various mythological systems. Baraka's poetic concept of othering the self makes improvisation a metaphor for both intellectual work and African American identity.

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