999 resultados para Schirmer, Friedrich (18..-19..) -- Correspondance


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"The Lesson of Facism" (GS 8, S. 9-37); 1. Beitrag zum UNESCO- Projekt "Tensions Affecting International Understanding", Paris, 1948; veröffentlicht in: Hadley Cantril (editor), "Tensions That Cause Wars", Urbana, I 11., 1950, Seite 209-242. a)-d) Typoskripte mit eigenständigen und ,oder handschriftlichen Korrekturen e) deutscher Entwurf, Typsokript ,15 Blatt f) dass., Teilstück, Typoskript, 5 Blatt g) dassselbe, Typoskript mit eigenhändigen Korrekturen, 12 Blatt h)-k) deutsche Fassung, übersetzt vom Institut für Sozialforschung, 1961 h) Typoskript mit eigenhändigen und handschriftlichen Korrekturen, mit dem Titel "Die Lehren aus dem Faschismus", 30 Blatt i) Typoskript mit handschriftlichen Korrekturen, mit dem Titel "Lehren des Nationalsozialismus", 30 Blatt; mit 1 eigenhändigen Memorandum von Friedrich Pollock, 1 Blatt k)Typoskript mit handschriftlichen Korrekturen von Friedrich Pollock, 19 Blatt; 2. Eigenhändige Notizen und Entwürfe, 21 Blatt; 3. Max Horkheimer, Gordon W. Allport, Gilbert Freyre, Georges Gurvitch, Arne Naess, John Rickman, Harry S. Sullivan, Alexandre Szalai: "Statment on Tensions Affecting International Understanding"; Typsokript mit eigenhändigen Unterschriften, 5 Blatt; 4. Biographische und bibliographische Angaben zu den Verfassern von 3. a) 4 Blatt, mit eigenhändigen Notizen von Max Horkheimer b) 9 Blatt; 5. 2 Photos; 6. Max Horkheimer [?]: "An International Social Science Institut"; Typoskript mit eigenhändigen Ergänzungen, 2 Blatt; 7. Cantril, Hadley: "The Human Sciences and World Peace. The Unesco Projekt 'Tensions Affecting International Understanding'" a) Drucksache, 4 Blatt, mit eigenhändigen Notizen von Max Horkheimer b) als Typoskript vervielfältigt 4 Blatt; 8. Einladungen, 4 Blatt; 9. Kehoe, Kathleen, UNESCO: 1 Brief mit Unterschrift an Max Horkheimer, Paris, 18.06.1948, 1 Blatt; 10. Janowitz, Morris: 1 Brief- Kopie an Max Horkheimer, New York, 17.06.1948, 1 Blatt;

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El objetivo de este proyecto se materializa en el diseño acústico y electroacústico de las salas de cine con número 18, 19, 20 y 21 del centro de cines Kinépolis situado en la Ciudad de la Imagen. Dichas salas son idénticas por lo que con el estudio y análisis de una se podrán extrapolar los resultados a las demás, por tanto a partir de ahora se realizará el diseño acústico y electroacústico centrado en la sala 18. Así pues se procederá a certificar que dicha sala cumple la norma THX. En dicho recinto se habrán aplicando con anterioridad diferentes técnicas de acondicionamiento sonoro (insonorización mediante el uso de materiales tanto absorbentes como reflectantes, arquitectura de la sala ), así como todos los acondicionamientos propios de un espacio de uso público cumpliendo las consiguientes normativas de seguridad. Se analizará la sala en su estado de partida mediante medidas acústicas in-situ tanto del tiempo de reverberación como del ruido de fondo, así como medidas espaciales con un medidor de alta precisión (láser); para posteriormente realizar las simulaciones en el programa EASE 4.01 de manera que la simulación sea lo más fidedigna posible. Estas medidas se realizarán de acuerdo a lo especificado en la norma UNE-EN ISO 3382. Cuando el comportamiento acústico del modelado de la sala sea el mismo que el de la sala real (respondan con el mismo Tiempo de Reverberación), mediante la introducción de los materiales adecuados y del ruido de fondo; se procederá al diseño electroacústico del equipo necesario para implementar el sistema de sonido multicanal Dolby (R). En el estudio electroacústico se distribuirán los diferentes altavoces que correctamente insertados ajustados sus niveles y retardos cubrirán con su señal uniformemente la sala cumpliendo los requisitos de la norma Dolby (R). Y finalmente una vez propuesto el sistema electroacústico y comprobado su correcto funcionamiento y por tanto el cumplimiento de la norma THX se propondrán mejoras en el sistema. Hay que señalar que aunque las recomendaciones THX son conocidas como norma THX no es una norma como tal, sino un conjunto de recomendaciones, que aconsejan utilizar una norma u otra para cada requisito. De ahora en adelante se referirá en este documento como norma THX. Se recuerda una vez más que dado que las salas son idénticas, y que las medidas realizadas en cada una de ellas son similares, se procederá en adelante al estudio de la sala única sala, la sala 18, siendo todos los estudios, análisis, comentarios y conclusiones aplicables a las otras 3 salas. Abstract The aim of this Project is the acoustic and electroacoustic design of the projection rooms 18th, 19th, 20th and 21st of the theater kinépolis, which is located at “Ciudad de la imagen”. These rooms are equal so with the studing and analazing of one of them , the results can be extrapolted from this one to the others, therefore as from now the and electroacoustic design will focus on the 18th room. As result the room will be certified that it comply with the standard THX. The starting point of the room will be analized such on-spot acoustical measures as the reverberation time and the noise level, in the same way the spatial measurements will be make with a precise laser meter, in order to perform simulations with the data obtained with the EASE 4.01 program. These mesurements should be made in accordance with the standard UNE-EN ISO 3382. Once the acoustical behavior of the simulated room became the same as the real room (the same reverberation times), through the configuration of the suitable materials and the background noise, previously measured, the electroacoustic design of the equipment necessary to develop the multichannel sound system Dolby (R) will be completed. In the electroacoustic design the sound power level and the dealys of the speakers and its amplifiers will be configurated till amplifiers provide an uniform coverage over the entire room in compliance with the Dolby (R) standard. Finally, once an electroacoustic system will be proposed and checked it works correctly in compliance with the THX standard, posible improvements will be identified. Abstract. Acoustic and electroacoustic study of the 18th room of the movie theater Kinépolis (Madrid) It must however be pointed out that although the THX standard is known as a standard it is actually a set of recommended practices made by Lucasfilm Ltd, anyway, from now on we will call it THX standard.

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Cover title.

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With frontispiece of author.

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v. 1-3. De la recherche de la vérite.--v. 4. Conversations chrétiennes.--v. 5. Traité de la nature et de la grâce.--v. 10. Méditations chrétiennes et métaphysiques.--v. 11. Traité de moral.--v. 12-13. Entretiens sur la métaphysique et sur la religion. Entretiens sur la mort.--v. 14. Traité de l'amour de Dieu.--v. 15. Entretien d'un philosophie chrétien et d'un philosophie chinois.--v. 16. Réflexions sur la prémotion physique.--v. 17. Pièces joimtes, ecrits divers.--v. 18. Correspondance, actes et documents, 1638-1689.--v. 19. Correspondance, actes et documents, 1690-1715.

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Dissertação de mest. em Aquacultura, Unidade de Ciências e Tecnologias dos Recursos Aquáticos, Univ. do Algarve, 1999

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In the early twentieth century, musicology was established as an academic discipline in the United States. Nonetheless, with the exception of Iberian medieval and Renaissance repertories, U.S. scholars largely overlooked the music of the Spanish- and Portuguese- speaking world. Why should this have been the case, especially in light of Spain’s strong historical presence in the United States? This autobiographical essay examines this question by tracing the career of an individual musicologist, the Hispanist musicologist Carol A. Hess. Evaluated here are disciplinary shifts in U.S. musicology —methodological, philosophical, and ideological— over the past thirty years. These transformations have combined to make this repertory a viable field of study today. Musicologists in the United States can now make their careers by specializing in Iberian and Latin American music, as well as the music of the Hispanic diaspora. They research topics ranging from the avant-garde composer Llorenç Barber to the rapper Nach Scratch or the popular bandleader Xavier Cugat and his U.S. audiences of the 1940s, while others also pursue the time-tested areas of medieval and Renaissance music. Iberian and Latin American music is regularly offered in postsecondary institutions while instructors now have a variety of textbooks and other pedagogical resources from which to choose. All add up to a disciplinary freedom that would have been unthinkable only a few decades ago.

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This work revisits the fruits of Iryanthera juruensis and Virola pavonis and the leaves from V. michelii, as well as describing a study of the fruits of V. mollissima. In I. juruensis aryltetraline neolignan (1) and tetrahydrofuran neolignan (2), were found while from V. pavonis neolignans of benzofuran type (6-9), the tetrahydrofuran type (2, 11-13, 17) and the biphenyl type (10), in addition to diastereoisomers of the 8.O.4'-oxyneolignan type (14 and 15) and others were isolated. The V. mollissima accumulates the aryltetralone neolignan 4 and its seco derivative (5). The lignoids 1 and 2 obtained from I. juruensis arils possess antileishmanial activity against the promastigote form of Leishmania amazonensis.

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This work presents the fabrication of two-dimensional diffraction gratings in diamond-like carbon (DLC) thin films, with applications in computer-generated holography and micro optics. In order to achieve high diffraction efficiency and to have a very simple manufacturing process, the device is designed to modulate only the phase of an incoming coherent monochromatic laser beam (632.8 nm, HeNe laser). This modulation is obtained by implementing a binary microrelief in the DLC film, responsible for generating a localized optical path difference of half a wavelength. This microrelief is obtained by anisotropic reactive ion etching of the DLC surface in an oxygen based plasma. The DLC layer was grown by reactive magnetron sputtering, using a methane-based plasma chemistry. AFM measurements show a low-level surface roughness of less than 1% of the operation wavelength, and optical characterization shows a good quality of the reconstructed diffraction patterns. (C) 2010 Elsevier B.V. All rights reserved.

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The superiority of superaustenitic stainless steel (SASS) lies in its good weldability and great resistance to stress corrosion and pitting, because of its higher chromium, molybdenum, and nitrogen contents, when compared to general stainless steels. However, some of its applications are limited by very poor wear behavior. Plasma-nitriding is a very effective treatment for producing wear resistant and hard surface layers on stainless steels without compromising the corrosion resistance. In this work, UNS S31254 SASS samples were plasma-nitrided at three different temperatures (400, 450, and 500 degrees C), under a pressure of 500 Pa, for 5 h, in order to verify the influence of the temperature on the morphology, wear, and corrosion behavior of the modified surface layers. The plasma-nitrided samples were analyzed by means of optical microscopy, micro-hardness. X-ray diffraction, wear, and corrosion tests. Wear tests were conducted in a fixed ball micro-wear machine and corrosion behavior was carried out in natural sea water by means of potentiodynamic polarization curves. For the sample which was plasma-nitrided at 400 degrees C, only the expanded austenite phase was observed, and for the treatments performed at 450 and 500 degrees C, chromium nitrides (CrN and Cr(2)N) were formed in addition to the expanded austenite. Wear volume and Knoop surface hardness increased as the plasma-nitriding temperature increased. Higher wear rates were observed at high temperatures, probably due to the increment on layer fragility. The sample modified at 400 degrees C exhibited the best corrosion behavior among all the plasma-nitriding conditions. (C) 2010 Elsevier B.V. All rights reserved.

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It is well known that structures subjected to dynamic loads do not follow the usual similarity laws when the material is strain rate sensitive. As a consequence, it is not possible to use a scaled model to predict the prototype behaviour. In the present study, this problem is overcome by changing the impact velocity so that the model behaves exactly as the prototype. This exact solution is generated thanks to the use of an exponential constitutive law to infer the dynamic flow stress. Furthermore, it is shown that the adopted procedure does not rely on any previous knowledge of the structure response. Three analytical models are used to analyze the performance of the technique. It is shown that perfect similarity is achieved, regardless of the magnitude of the scaling factor. For the class of material used, the solution outlined has long been sought, inasmuch as it allows perfect similarity for strain rate sensitive structures subject to impact loads. (C) 2009 Elsevier Ltd. All rights reserved.

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Although theoretical models have already been proposed, experimental data is still lacking to quantify the influence of grain size upon coercivity of electrical steels. Some authors consider a linear inverse proportionality, while others suggest a square root inverse proportionality. Results also differ with regard to the slope of the reciprocal of grain size-coercive field relation for a given material. This paper discusses two aspects of the problem: the maximum induction used for determining coercive force and the possible effect of lurking variables such as the grain size distribution breadth and crystallographic texture. Electrical steel sheets containing 0.7% Si, 0.3% Al and 24 ppm C were cold-rolled and annealed in order to produce different grain sizes (ranging from 20 to 150 mu m). Coercive field was measured along the rolling direction and found to depend linearly on reciprocal of grain size with a slope of approximately 0.9 (A/m)mm at 1.0 T induction. A general relation for coercive field as a function of grain size and maximum induction was established, yielding an average absolute error below 4%. Through measurement of B(50) and image analysis of micrographs, the effects of crystallographic texture and grain size distribution breadth were qualitatively discussed. (C) 2011 Elsevier B.V. All rights reserved.