Cambridge is a university city and the county town of Cambridgeshire, England, on the River Cam 50 miles north of London. At the United Kingdom Census 2011, its population was 123,867 including 24,506 students. Cambridge became an important trading centre during the Roman and Viking ages, there is archaeological evidence of settlement in the area as early as the Bronze Age; the first town charters were granted in the 12th century, although modern city status was not conferred until 1951. The world-renowned University of Cambridge was founded in 1209; the buildings of the university include King's College Chapel, Cavendish Laboratory, the Cambridge University Library, one of the largest legal deposit libraries in the world. The city's skyline is dominated by several college buildings, along with the spire of the Our Lady and the English Martyrs Church, the chimney of Addenbrooke's Hospital and St John's College Chapel tower. Anglia Ruskin University, which evolved from the Cambridge School of Art and the Cambridgeshire College of Arts and Technology has its main campus in the city.
Cambridge is at the heart of the high-technology Silicon Fen with industries such as software and bioscience and many start-up companies born out of the university. More than 40% of the workforce have a higher education qualification, more than twice the national average; the Cambridge Biomedical Campus, one of the largest biomedical research clusters in the world, is soon to house premises of AstraZeneca, a hotel and the relocated Papworth Hospital. The first game of association football took place at Parker's Piece; the Strawberry Fair music and arts festival and Midsummer Fair are held on Midsummer Common, the annual Cambridge Beer Festival takes place on Jesus Green. The city is adjacent to the A14 roads. Cambridge station is less than an hour from London King's Cross railway station. Settlements have existed around the Cambridge area since prehistoric times; the earliest clear evidence of occupation is the remains of a 3,500-year-old farmstead discovered at the site of Fitzwilliam College.
Archaeological evidence of occupation through the Iron Age is a settlement on Castle Hill from the 1st century BC relating to wider cultural changes occurring in southeastern Britain linked to the arrival of the Belgae. The principal Roman site is a small fort Duroliponte on Castle Hill, just northwest of the city centre around the location of the earlier British village; the fort was bounded on two sides by the lines formed by the present Mount Pleasant, continuing across Huntingdon Road into Clare Street. The eastern side followed Magrath Avenue, with the southern side running near to Chesterton Lane and Kettle's Yard before turning northwest at Honey Hill, it was converted to civilian use around 50 years later. Evidence of more widespread Roman settlement has been discovered including numerous farmsteads and a village in the Cambridge district of Newnham. Following the Roman withdrawal from Britain around 410, the location may have been abandoned by the Britons, although the site is identified as Cair Grauth listed among the 28 cities of Britain by the History of the Britons.
Evidence exists that the invading Anglo-Saxons had begun occupying the area by the end of the century. Their settlement – on and around Castle Hill – became known as Grantebrycge. Anglo-Saxon grave goods have been found in the area. During this period, Cambridge benefited from good trade links across the hard-to-travel fenlands. By the 7th century, the town was less significant and described by Bede as a "little ruined city" containing the burial site of Etheldreda. Cambridge was on the border between the East and Middle Anglian kingdoms and the settlement expanded on both sides of the river; the arrival of the Vikings was recorded in the Anglo-Saxon Chronicle in 875. Viking rule, the Danelaw, had been imposed by 878 Their vigorous trading habits caused the town to grow rapidly. During this period the centre of the town shifted from Castle Hill on the left bank of the river to the area now known as the Quayside on the right bank. After the Viking period, the Saxons enjoyed a return to power, building churches such as St Bene't's Church, merchant houses and a mint, which produced coins with the town's name abbreviated to "Grant".
In 1068, two years after his conquest of England, William of Normandy built a castle on Castle Hill. Like the rest of the newly conquered kingdom, Cambridge fell under the control of the King and his deputies; the first town charter was granted by Henry I between 1120 and 1131. It recognised the borough court; the distinctive Round Church dates from this period. In 1209, Cambridge University was founded by students escaping from hostile townspeople in Oxford; the oldest existing college, was founded in 1284. In 1349 Cambridge was affected by the Black Death. Few records survive; the town north of the river was affected being wiped out. Following further depopulation after a second national epidemic in 1361, a letter from the Bishop of Ely suggested that two parishes in Cambridge be merged as there were not enough people to fill one church. With more than a third of English clergy dying in the Black Death, four new colleges were established at the university over the following years to train new clergymen, namely Gonville Hall, Trinity Hall, Corpus Christi and Clare.
In 1382 a revised town charter effects a "diminution of the liberties that the community had enjoyed", due to Cambridge's pa
Système universitaire de documentation
The système universitaire de documentation or SUDOC is a system used by the libraries of French universities and higher education establishments to identify and manage the documents in their possession. The catalog, which contains more than 10 million references, allows students and researcher to search for bibliographical and location information in over 3,400 documentation centers, it is maintained by the Bibliographic Agency for Higher Education. Official website
The Fens known as the Fenlands, are a coastal plain in eastern England. This natural marshy region supported a rich ecology and numerous species, as well as absorbing storms. Most of the fens were drained several centuries ago, resulting in a flat, low-lying agricultural region supported by a system of drainage channels and man-made rivers and automated pumping stations. There have been unintended consequences to this reclamation, as the land level has continued to sink and the dykes must be built higher to protect it from flooding. A fen is the local term for an individual area of former marshland, it designates the type of marsh typical of the area, which has neutral or alkaline water chemistry and large quantities of dissolved minerals, but few other plant nutrients. Fenland lies around the coast of the Wash, occupying an area of nearly 1,500 sq mi in Lincolnshire and Norfolk. Most of the Fenland lies within a few metres of sea level; as with similar areas in the Netherlands, much of the Fenland consisted of fresh- or salt-water wetlands.
These have been artificially drained and continue to be protected from floods by drainage banks and pumps. With the support of this drainage system, the Fenland has become a major arable agricultural region in Britain for grains and vegetables; the Fens are fertile, containing around half of the grade 1 agricultural land in England. The Fens have been referred to as the "Holy Land of the English" because of the former monasteries, now churches and cathedrals, of Crowland, Peterborough and Thorney. Other significant settlements in the Fens include Boston, Cambridge and Wisbech; the Fens are low-lying compared with the chalk and limestone uplands that surround them – in most places no more than 10 m above sea level. As a result of drainage and the subsequent shrinkage of the peat fens, many parts of the Fens now lie below mean sea level. Although one writer in the 17th century described the Fenland as above sea level, the area now includes the lowest land in the United Kingdom. Holme Fen in Cambridgeshire, is around 2.75 metres below sea level.
Within the Fens are a few hills, which have been called "islands", as they remained dry when the low-lying fens around them were flooded. The largest of the fen-islands is the Isle of Ely, on which the cathedral city of Ely was built: its highest point is 39 m above mean sea level. Without artificial drainage and flood protection, the Fens would be liable to periodic flooding in winter due to the heavy load of water flowing down from the uplands and overflowing the rivers; some areas of the Fens were once permanently flooded, creating small lakes or meres, while others were flooded only during periods of high water. In the pre-modern period, arable farming was limited to the higher areas of the surrounding uplands, the fen islands, the so-called "Townlands", an arch of silt ground around the Wash, where the towns had their arable fields. Though these lands were lower than the peat fens before the peat shrinkage began, the more stable silt soils were reclaimed by medieval farmers and embanked against any floods coming down from the peat areas or from the sea.
The rest of the Fenland was dedicated to pastoral farming, fishing and the harvesting of reeds or sedge for thatch. In this way, the medieval and early modern Fens stood in contrast to the rest of southern England, an arable agricultural region. Since the advent of modern drainage in the 19th and 20th centuries, the Fens have been radically transformed. Today arable farming has entirely replaced pastoral; the economy of the Fens is invested in the production of crops such as grains and some cash crops such as rapeseed and canola. Drainage in the Fenland consists of both river drainage and internal drainage of the land between the rivers; the internal drainage was organised by levels or districts, each of which includes the fen parts of one or several parishes. The details of the organisation vary with the history of their development, but the areas include: The Great Level of the Fens is the largest region of fen in eastern England: including the lower drainage basins of the River Nene and the Great Ouse, it covers about 500 sq mi.
It is known as the Bedford Level, after Francis Russell, 4th Earl of Bedford, who headed the so-called adventurers in the 17th-century drainage in this area. In the 17th century, the Great Level was divided into the North and South Levels for the purposes of administration and maintenance. In the 20th century, these levels have been given new boundaries; the South Level lies to the southeast of the Ouse Washes and surrounds Ely, as it did in the 17th century. The Middle Level lies between the Ouse Washes and the Nene, but was defined as between the Ouse Washes and Morton's Leam, a 15th-century canal that runs north of the town of Whittlesey; the North Level now includes all of the fens in Cambridgeshire and Lincolnshire between the Nene and the River Welland. It included only a small part of these lands, including the ancient parishes of Thorney and Crowland, but excluding most of Wisbech Hundred and Lincolnshire, which were under their own local jurisdictions. Deeping Fen, in the southern part of Lincolnshire, lies between the River Welland and the River Glen with its tributary the Bourne Eau.
The Black Sluice District, much of, known as the Lindsey Level when it was first drained in 1639, extends from the Glen and Bou
An artist is a person engaged in an activity related to creating art, practicing the arts, or demonstrating an art. The common usage in both everyday speech and academic discourse is a practitioner in the visual arts only; the term is used in the entertainment business in a business context, for musicians and other performers. "Artiste" is a variant used in English only in this context. Use of the term to describe writers, for example, is valid, but less common, restricted to contexts like criticism. Wiktionary defines the noun ` artist'. A person who makes and creates art as an occupation. A person, skilled at some activity. A person whose trade or profession requires a knowledge of design, painting, etc; the Oxford English Dictionary defines the older broad meanings of the term "artist": A learned person or Master of Arts One who pursues a practical science, traditionally medicine, alchemy, chemistry A follower of a pursuit in which skill comes by study or practice A follower of a manual art, such as a mechanic One who makes their craft a fine art One who cultivates one of the fine arts – traditionally the arts presided over by the muses The Greek word "techně" translated as "art," implies mastery of any sort of craft.
The adjectival Latin form of the word, "technicus", became the source of the English words technique, technical. In Greek culture each of the nine Muses oversaw a different field of human creation: Calliope: chief of the muses and muse of epic or heroic poetry Clio: muse of history Erato: muse of love or erotic poetry and marriage songs Euterpe: muse of music and lyric poetry Melpomene: muse of tragedy Polyhymnia or Polymnia: muse of sacred song, lyric and rhetoric Terpsichore: muse of choral song and dance Thalia: muse of comedy and bucolic poetry Urania: muse of astronomyNo muse was identified with the visual arts of painting and sculpture. In ancient Greece sculptors and painters were held in low regard, somewhere between freemen and slaves, their work regarded as mere manual labour; the word art derives from the Latin "ars", although defined means "skill method" or "technique" conveys a connotation of beauty. During the Middle Ages the word artist existed in some countries such as Italy, but the meaning was something resembling craftsman, while the word artesan was still unknown.
An artist was someone able to do a work better than others, so the skilled excellency was underlined, rather than the activity field. In this period some "artisanal" products were much more precious and expensive than paintings or sculptures; the first division into major and minor arts dates back at least to the works of Leon Battista Alberti: De re aedificatoria, De statua, De pictura, which focused on the importance of the intellectual skills of the artist rather than the manual skills. With the Academies in Europe the gap between fine and applied arts was set. Many contemporary definitions of "artist" and "art" are contingent on culture, resisting aesthetic prescription, in much the same way that the features constituting beauty and the beautiful cannot be standardized without corruption into kitsch. Artist is a descriptive term applied to a person. An artist may be defined unofficially as "a person who expresses him- or herself through a medium"; the word is used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice.
Most the term describes those who create within a context of the fine arts or'high culture', activities such as drawing, sculpture, dancing, filmmaking, new media and music—people who use imagination, talent, or skill to create works that may be judged to have an aesthetic value. Art historians and critics define artists as those who produce art within a recognized or recognizable discipline. Contrasting terms for skilled workers in media in the applied arts or decorative arts include artisan and specialized terms such as potter, goldsmith or glassblower. Fine arts artists such as painters succeeded in the Renaissance in raising their status similar to these workers, to a decisively higher level; the term may be used loosely or metaphorically to denote skilled people in any non-"art" activities, as well— law, mechanics, or mathematics, for example. Discussions on the subject focus on the differences among "artist" and "technician", "entertainer" and "artisan", "fine art" and "applied art", or what constitutes art and what does not.
The French word artiste has been imported into the English language. Use of the word "artiste" can be a pejorative term; the English word'artiste' has thus a narrower range of meaning than the word'artiste' in French. In Living with Art, Mark Getlein proposes six activities, services or functions of contemporary artists: Create places for some human purpose. Create extraordinary versions of ordinary objects. Record and commemorate. Give tangible form to the unknown. Give tangible form to feelings. Refresh our vision and help see the world in new ways. After looking at years of data on
Robert Gillmor is an ornithologist, illustrator and editor, from England. He is a founder member of the Society of Wildlife Artists and has been its secretary and president, he has contributed to over 100 books, in 2001 was a recipient of the RSPB Medal. Gillmor was educated at Leighton Park School and the School of Fine Art at Reading University, he was just 16. When he was a student in the art department of Reading University, he illustrated his first book, A Study of Blackbirds. Gillmor taught art and craft at his old school for six years, Leighton Park in Reading before commencing a freelance career as a wildlife artist in 1965. Gillmor's output has been enormous and in a variety of forms, line drawing watercolour, lino-cuts and silk screen. Since his first book in 1958, his work has since appeared in over 100 books. Moving from Reading to Cley next the Sea in Norfolk in 1998 proved an inspiring influence on his work, he resumed making lino-cuts. He is a keen ornithologist, has served on council for all three of the national organisations, RSPB, British Ornithologists' Union and the British Trust for Ornithology.
He designed the first version of the RSPB's Avocet logo. He has illustrated the covers of the annual reports of the Berkshire Ornithological Club since 1950, he is a long-standing member of the Reading Guild of Artists. After founding the Society of Wildlife Artists with Eric Ennion in the early 1960s, Robert served as its secretary and chairman for many years, he was elected president in 1984 and served for two five-year periods, he is a vice-president of the society. As well as working to promote current work, Robert has done much to promote work of past artists, including Charles Tunnicliffe, his grandfather, Professor Allen W. Seaby, who instilled in him a love of printmaking. In 2011, Gillmor completed lino-cuts for four sets of postage stamps for Royal Mail, with a further three sets to come in 2012. A retrospective of Gillmor's work was exhibited at Reading Museum from 23 October 2011 to 29 April 2012. —. Cutting Away: the linocuts of Robert Gillmor. Peterborough. ISBN 978-1-904078-14-2. Archived from the original on 1 November 2011.
—. Birds and Stamps: Post & Go Birds of Britain. Reading: Two Rivers Press. ISBN 978-1-901677-79-9. —. Robert Gilmor's Norfolk Bird Sketches. Tunnicliffe, Charles. Sketches of Bird Life. Gollancz. ISBN 0-575-03036-4; the Birds of the Western Palaearctic, nine volumes, 1977–1994 Birds of Berkshire, 1996 David Snow. A Study of Blackbirds. – Gillmor's first book, undertaken while a student J. Denis Summers-Smith; the Sparrows. J. Denis Summers-Smith; the Tree Sparrow. Tony Soper; the Bird Table Book. ISBN 978-0-7153-2413-4. Birds New to Norfolk. ISBN 978-0-9542545-3-7. Clare, John. Eric Robinson and Richard Fitter, ed. John Clare's Birds. Oxford. ISBN 0192129775. Wood, J. Duncan. Horace Alexander: 1889 to 1989: Birds and Binoculars. York: William Sessions Limited. ISBN 1-85072-289-7; the dust jackets of each of the New Naturalist series since 1985. Sample works on SWLA website
An author is the creator or originator of any written work such as a book or play, is thus a writer. More broadly defined, an author is "the person who originated or gave existence to anything" and whose authorship determines responsibility for what was created; the first owner of a copyright is the person who created the work i.e. the author. If more than one person created the work a case of joint authorship can be made provided some criteria are met. In the copyright laws of various jurisdictions, there is a necessity for little flexibility regarding what constitutes authorship; the United States Copyright Office, for example, defines copyright as "a form of protection provided by the laws of the United States to authors of "original works of authorship". Holding the title of "author" over any "literary, musical, certain other intellectual works" gives rights to this person, the owner of the copyright the exclusive right to engage in or authorize any production or distribution of their work.
Any person or entity wishing to use intellectual property held under copyright must receive permission from the copyright holder to use this work, will be asked to pay for the use of copyrighted material. After a fixed amount of time, the copyright expires on intellectual work and it enters the public domain, where it can be used without limit. Copyright laws in many jurisdictions – following the lead of the United States, in which the entertainment and publishing industries have strong lobbying power – have been amended since their inception, to extend the length of this fixed period where the work is controlled by the copyright holder. However, copyright is the legal reassurance that one owns his/her work. Technically, someone owns their work from the time. An interesting aspect of authorship emerges with copyright in that, in many jurisdictions, it can be passed down to another upon one's death; the person who inherits the copyright enjoys the same legal benefits. Questions arise as to the application of copyright law.
How does it, for example, apply to the complex issue of fan fiction? If the media agency responsible for the authorized production allows material from fans, what is the limit before legal constraints from actors and other considerations, come into play? Additionally, how does copyright apply to fan-generated stories for books? What powers do the original authors, as well as the publishers, have in regulating or stopping the fan fiction? This particular sort of case illustrates how complex intellectual property law can be, since such fiction may involved trademark law, likeness rights, fair use rights held by the public, many other interacting complications. Authors may portion out different rights they hold to different parties, at different times, for different purposes or uses, such as the right to adapt a plot into a film, but only with different character names, because the characters have been optioned by another company for a television series or a video game. An author may not have rights when working under contract that they would otherwise have, such as when creating a work for hire, or when writing material using intellectual property owned by others.
In literary theory, critics find complications in the term author beyond what constitutes authorship in a legal setting. In the wake of postmodern literature, critics such as Roland Barthes and Michel Foucault have examined the role and relevance of authorship to the meaning or interpretation of a text. Barthes challenges the idea, he writes, in his essay "Death of the Author", that "it is language which speaks, not the author". The words and language of a text itself determine and expose meaning for Barthes, not someone possessing legal responsibility for the process of its production; every line of written text is a mere reflection of references from any of a multitude of traditions, or, as Barthes puts it, "the text is a tissue of quotations drawn from the innumerable centres of culture". With this, the perspective of the author is removed from the text, the limits imposed by the idea of one authorial voice, one ultimate and universal meaning, are destroyed; the explanation and meaning of a work does not have to be sought in the one who produced it, "as if it were always in the end, through the more or less transparent allegory of the fiction, the voice of a single person, the author'confiding' in us".
The psyche, fanaticism of an author can be disregarded when interpreting a text, because the words are rich enough themselves with all of the traditions of language. To expose meanings in a written work without appealing to the celebrity of an author, their tastes, vices, is, to Barthes, to allow language to speak, rather than author. Michel Foucault argues in his essay "What is an author?" that all authors are writers, but not all writers are authors. He states that "a private letter may have a signatory—it does not have an author". For a reader to assign the title of author upon any written work is to attribute certain standards upon the text which, for Foucault, are working in conjunction with the idea of "the author function". Foucault's author function is the idea that an author exists only as a fun