On old and new inventions for keeping pictorial works of art : with addenda : prepared to be read before the Society of Arts /

Caption title: On old and new inventions for preserving pictorial works of art.

Sir David Lyndesay's Works ...

Henry Charteris's preface to 1568 ed. of Lindsay's Works, with reproduction of original t.-p.: 13* p. appended.

The poetical works of Sir David Lyndsay,

"Limited to four hundred and eighty-five copies...No.391."

The works of James Ferguson, F.R.S., comprising Astronomy, explained upon Sir Isaac Newton's principles; Lectures on select subjects; and Essays and treatises.

"A short account of the life of the author, written by himself": v. 3, p. [v]-xxii.

David Skene-Melvin papers, 1918, 1995, n.d.

David Skene-Melvin, literary historian and bibliographer, donated his extensive collection of books on Crime, Mystery and Detective fiction to the Popular Culture Program at Brock University in July 2001. The donation forms a significant part of the Skene-Melvin Collection of Crime, Mystery and Detective Fiction, James A. Gibson Library, Brock University.

Niagara Falls Stereo Cards collection, 1885-1903, n.d.

This collection contains 40 stereo cards of Niagara Falls and the Niagara River. Images include Niagara Falls in winter (the ice bridge); Prospect Point; the Whirlpool Rapids and the Whirlpool; the Upper River rapids; the Maid of the Mist; and Dixon crossing the Niagara River on a tightrope below the Great Cantilever Bridge. Twenty of the cards were published by Underwood & Underwood. The remaining cards are from various publishers including Keystone View Company, American Stereoscopic, Griffith & Griffith, H.C. White Company, E. & H.T. Anthony & Company, and Realistic Travels Publisher. George E. Curtis and Geo. Barker are listed as photographers on a few of the cards.

Rare and remarkable animals of Scotland, represented from living subjects: with practical observations on their nature. By Sir John Graham Dalyell, baronet ...

1

Sir David Wilkie /

Spine title: Wilkie.

The life of General, the Right Honourable Sir David Baird, bart.

Mode of access: Internet.

The works of David Ricardo, Esq., M.P. : with a notice of the life and writings of the author /

Mode of access: Internet.

The works of Sir William Jones : with the life of the author /

Mode of access: Internet.

Sir David Wilkie, R. A.,

Appendices. --1. Wilkie pictures in public galleries. --II. Wilkie pictures named in this book. --III. Wilkie's etchings.

Les sympathies dans l’œuvre de David Hume

La sympathie comme principe par lequel une idée se convertit en impression n’est pas la seule espèce de sympathie employée par David Hume dans ses ouvrages. Le terme «sympathie» possédait des sens variés dans le langage courant au XVIIIème siècle, et il arrive que le philosophe écossais se serve du terme «sympathie» dans l’un ou l’autre de ces sens. C’est ainsi que, outre son concept philosophique, Hume se sert du terme «sympathie» suivant cinq autres sens. L’identification des différentes sortes de sympathie présentes dans les ouvrages de Hume a permis de mieux comprendre ce qu’il en était de la nature de son concept philosophique de sympathie. Ainsi, on a pu comprendre quels rapports la sympathie entretenait avec un autre principe de production d’affections mentionné à l’occasion par Hume : la contagion. Ainsi, on a également pu comprendre quels rapports la sympathie entretenait avec d’autres éléments de la philosophie humienne, tels que les esprits animaux, leurs mouvements et les émotions. Les analyses ont démontré, par ailleurs, que les esprits animaux et leurs mouvements jouaient un rôle de premier plan dans la théorie humienne des passions et que le principe de la sympathie, au final, désignait l’augmentation de l’agitation des esprits animaux. C’est ainsi que la sympathie entendue comme principe par lequel une idée était convertie en impression désignait un mécanisme physiologique chez Hume. Les analyses ont également démontré que les impressions que Hume nommait «émotions» désignaient plus particulièrement le mouvement des esprits animaux. Qu’ainsi, l’on devait considérer qu’il y avait dans la taxonomie du philosophe écossais non seulement des perceptions de l’entendement humain (idées, passions, sentiments, etc.) mais également des perceptions du corps humain (émotions) et que celles-ci étaient en correspondance étroite avec celles-là. On peut ainsi faire l’hypothèse qu’il y a dans la philosophie humienne des éléments susceptibles de fonder une théorie de l’union entre l’âme et le corps. La considération de la sympathie comme un principe physiologique d’agitation des esprits animaux permet que l’on jette un regard nouveau sur la façon dont David Hume concevait la nature humaine.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.