Saint Martin's biological survey report, Bangladesh: fauna and flora checklist

This report presents an overview of the land-based biodiversity of the St Martin's Island, based on field visits during October 2014 and from historical data.

Report on Saint Martin's Island ecosystem boundary, Bangladesh: final report

This report seeks to strengthen national capacity on managing Marine Protected Area (MPAs) in Bangladesh. St Martin's Island was used as the pilot ecosystem boundary delineation.

1736～1999年西安与汉中地区年冬季平均气温序列重建

基于现代气象资料所建立的西安、汉中地区冬季降雪天数与年冬季平均气温之间的相关关系,根据清代档案所记载的西安与汉中地区冬季降雪日数,恢复了西安与汉中地区1736～1910年的年冬季平均气温,重建了1736～1999年西安与汉中地区年冬季平均气温序列。序列分析表明,这两个地区年冬季平均气温变化趋势一致:18世纪和20世纪为暖期,19世纪为冷期,且20世纪的增暖趋势明显。与利用树轮重建的镇安初春(3～4月)温度序列对比分析表明:西安、汉中地区冬季平均气温与镇安初春温度的低频变化趋势基本一致,但镇安较西安与汉中有

1736年以来长江中下游梅雨变化

利用清代雨雪分寸资料,复原了1736~1911年长江中下游地区的梅雨入出日期、雨期长度,重建了1736年以来长江中下游地区梅雨雨量变化序列,分析了梅雨的变化特征;并根据梅雨期长度与东亚夏季风指数之间的关系,分析了1736年以来东亚夏季风的强弱及与之对应的雨带位置阶段性变化特征.结果表明:长江中下游地区入、出梅日期及雨期长度均存在明显的年-年代际变化,雨期长度除具有2,7~8,20~30及40a的年际与年代际周期外,还具有百年波动的信号.1736年以来,雨期长短、中国东部季风雨带位置移动与东亚夏季风强弱变化

Manifestations of heavenly light and fire and the construction of a saint: sanctity, mission and salvation in Adomnán's Vita Columbae

This thesis examines the late seventh-century Latin Life of Columba (Vita Columbae) in a context sympathetic to the spiritual aims and formative intellectual background of its author, Adomnán of Iona. It argues that the Vita Columbae is a sophisticated work, shaped by Adomnán’s spiritual and theological concerns. This sophistication is revealed by a forensic examination of Adomnán’s representation of Columba’s sanctity through a series of miracles, in particular, miracle stories depicting divine manifestations of fire and light. This thesis considers the form and function of these miracle stories in the context of biblical, patristic and medieval interpretations of their archetypes, towards revealing the underlying influence of scriptural, hagiographical and monastic models of sanctity. Chapter one evaluates the function of the Vita Columbae, and outlines the core themes of sanctity which pervade the work, by considering the technical terminology and literary devices found in the opening prefaces in the context of the wider monastic tradition. Chapter two examines Adomnán’s use of biblical models of sanctity to establish Columba’s sanctity, and their relationship between these models and certain miraculous episodes in the Vita Columbae. Chapter three investigates Adomnán’s description of the Holy Spirit as an illuminating fire, and its significance for his portrayal of the saint, by means of a forensic examination of biblical, exegetical and hagiographical treatments of the image. Chapter four examines the missiological, soteriological and providential elements contributing to Adomnán’s portrayal of Columba’s sanctity, as conveyed through the presence of biblical models, particularly the image of the column of fire. Chapter five establishes the influence of monastic examinations of the contemplative life on Adomnán’s portrayal of Columba’s sanctity, and shows how that sanctity is confirmed in terms of his ability to contemplate divine light.

Le cycle de l'enfance du Christ dans l'église rupestre de Saint-Jean Baptiste à Deir Abou Hennis

Publication des peintures et inscriptions des murs nord et est du narthex de l'église rupestre du Deir Abou Hennis

Kant, le philosophe parodié: “mauvais usage” de la Critique de la raison pure dans le Saint Genet de Sartre

Aachen

Écrits intimes et prophétiques de Madame Krüdener 1785-1807, Lyon 1975, 283 p.

info:eu-repo/semantics/published

THE LESSER-KNOWN PIANO CHAMBER MUSIC OF CAMILLE SAINT-SAENS: A RECORDING PROJECT

Throughout his long and industrious lifetime, Camille Saint-Saens (1835-1921) devoted himself unconditionally to music both as a composer and a performer. Saint-Saens was a self-described traditionalist and musical purist, yet his works are distinctly expressive and imaginative, and they reflect the composer's own unique musical language which incorporates recognizably modem traits such as chromaticism and frequent modulation. As a performer, Saint-Saens preferred to premiere his own works and often included his chamber music in his concert programs. Regarded primarily as a symphonic composer in the present day, however, his extensive and varied collection of chamber music works is sadly neglected. Six varied small-ensemble works with piano from his chamber music repertoire have been selected for study and recording for this project: Piano Trio No. 1 in F Major, Op. 18 (1864); Sonata for Cello and Piano No. 1 inC Minor, Op. 32 (1872); two pieces for two pianos, Le Rouet d'Omphale (The Spinning Wheel ofOmphale), Op. 31 (1871) and Phaeton, Op. 39 (1874); piano duet Konig Harald Haifagar (King Harald Haarfager), Op. 59 (1880); and a wind quartet, Caprice sur des airs Danois et Russes (Caprice on Danish and Russian Airs) for Flute, Oboe, Clarinet and Piano, Op. 79 (1887). Analyses of the forms and harmonic structures of these compositions will be included in this dissertation paper as well as studies from the viewpoint of Saint-Saens' compositional style, ensemble characteristics, and writing for the piano. The recordings for this project were made in four sessions in LeFrak Concert Hall at Queens College, the City University of New York. On September 24, 2003, Op. 31, Op. 39 and Op. 59 were recorded with Professor Morey Ritt, piano. On March 2, 2004, Op. 18 was recorded with Elena Rojas, violin, and Clare Liu, cello, and on March 15, 2004, Op. 32 was recorded, also with Ms. Liu. The Caprice, Op. 79 was recorded on June 27, 2008 with Laura Conwesser, flute; Randall Wolfgang, oboe; and Steve Hartman, clarinet. The recordings may be found on file in the library at the University of Maryland, College Park.