The life and labours of Saint Thomas of Aquin /

Mode of access: Internet.

A vibrational spectroscopic study of the phosphate mineral lulzacite Sr2Fe2+(Fe2+,Mg)2Al4(PO4)4(OH)10

The mineral lulzacite from Saint-Aubin des Chateaux mine, France, with theoretical formula Sr2Fe2+(Fe2+,Mg)2Al4(PO4)4(OH)10 has been studied using a combination of electron microscopy with EDX and vibrational spectroscopic techniques. Chemical analysis shows a Sr, Fe, Al phosphate with minor amounts of Ga, Ba and Mg. Raman spectroscopy identifies an intense band at 990 cm�1 with an additional band at 1011 cm�1. These bands are attributed to the PO3� 4 m1 symmetric stretching mode. The m3 antisymmetric stretching modes are observed by a large number of Raman bands. The Raman bands at 1034, 1051, 1058, 1069 and 1084 together with the Raman bands at 1098, 1116, 1133, 1155 and 1174 cm�1 are assigned to the m3 antisymmetric stretching vibrations of PO3� 4 and the HOPO2� 3 units. The observation of these multiple Raman bands in the symmetric and antisymmetric stretching region gives credence to the concept that both phosphate and hydrogen phosphate units exist in the structure of lulzacite. The series of Raman bands at 567, 582, 601, 644, 661, 673 and 687 cm�1 are assigned to the PO3� 4 m2 bending modes. The series of Raman bands at 437, 468, 478, 491, 503 cm�1 are attributed to the PO3� 4 and HOPO2� 3 m4 bending modes. No Raman bands of lulzacite which could be attributed to the hydroxyl stretching unit were observed. Infrared bands at 3511 and 3359 cm�1 are ascribed to the OH stretching vibration of the OH units. Very broad bands at 3022 and 3299 cm�1 are attributed to the OH stretching vibrations of water. Vibrational spectroscopy offers insights into the molecular structure of the phosphate mineral lulzacite.

Gibbs energy of formation of CuCrO4 and phase relations in the system Cu-Cr-O below 735 K

A solid state galvanic cell incorporating yttria-stabilized zirconia electrolyte and ruthenium(IV) oxide electrodes has been used to measure the equilibrium chemical potential of oxygen corresponding to the decomposition of CuCrO4 in the range 590–760 K. For the reaction CuO(tenorite) + CuCr2O4(spinel) + 1.5O2(g)→2CuCrO4(orth), ΔGXXX = −183540 + 249.6T(±900) J mol−1. The decomposition temperature of CuCrO4 in pure oxygen at a pressure of 1.01 × 105 Pa is 735(±1) K. By combining the results obtained in this study with data on the Gibbs energy of formation of CuCr2O4 and CuCrO2 reported earlier, the standard Gibbs energy of formation of CuCrO4 and the phase relations in the system Cu-Cr-O at temperatures below 735 K have been deduced. Electron microscopic studies have indicated that the decomposition of CuCrO4 to CuCr2O4 is topotactic.

A finite element method for the Saint-Venant torsion and bending problems for prismatic beams

In this work, we present a finite element formulation for the Saint-Venant torsion and bending problems for prismatic beams. The torsion problem formulation is based on the warping function, and can handle multiply-connected regions (including thin-walled structures), compound and anisotropic bars. Similarly, the bending formulation, which is based on linearized elasticity theory, can handle multiply-connected domains including thin-walled sections. The torsional rigidity and shear centers can be found as special cases of these formulations. Numerical results are presented to show the good coarse-mesh accuracy of both the formulations for both the displacement and stress fields. The stiffness matrices and load vectors (which are similar to those for a variable body force in a conventional structural mechanics problem) in both formulations involve only domain integrals, which makes them simple to implement and computationally efficient. (C) 2014 Elsevier Ltd. All rights reserved.

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.

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.

Pen and sunlight sketches of scenery reached by the Grand Trunk Railway and connections : including Niagara Falls, Thousand Islands, Rapids of the Saint Lawrence, Montreal, Quebec, and the mountains of New England.--

At head of title: "The tourist route of America".

The writings of George Eliot; Adam Bede

UANL