Liber pluscardensis,

The first "five books and fourteen chapters of the sixth book, which are as in John of Fordun, are omitted in this edition."--v.2, p. 3.

Lexicographie latine du XIIe et du XIIIe siècle : trois traités de Jean de Garlande, Alexandre Neckam et Adam du Petit-Pont : publiés avec les gloses françaises /

Photocopy.

Speculum vitae humanae : ein Drama /

With reproduction of original t.p.

Památník na oslava padesátiletého panovnickeho junilea jeho veličenstva císarě a krále Frantiska Josefa I. Vědecký a umělecký rozvoj v narode českém, 1848-1898.

Mode of access: Internet.

Official journal.

Included are the Minutes (or Procès-verbal) of the Council from its first meeting, Paris, January 16, 1920, to the session, ; the budget for the 3d- financial period (1921- ) in 1920, no. 7, 1921, no. 9, 1923- no. 1 of each year; statements of the "Present situations as regards international engagements registered with the Secretariat"; Saar Basin, periodical and other reports and papers; reports on the financial reconstruction of Austria, and of Hungary; and many other reports and papers.

At the war /

"Letters, telegrams, cablegrams, and other writings about the war, and kindred matters."

The Lenten Psalms, by the editor.

Mode of access: Internet.

Filip van Marnix, heer van St. Aldegonde, bijzonder aan de hand van Willem I : ter inleiding Margareta van Parma en Katharina de Medicis, Willem I en Hendrik IV /

Mode of access: Internet.

Der streit des cardinals Nicolaus von Cusa mit dem herzoge Sigmund von Österreich als grafen von Tirol. Ein bruchstück aus den kämpfen der weltlichen und kirchlichen gewalt nach dem Concilium von Basel.

Mode of access: Internet.

Kaiser Franz und die europäischen Befreiungskriege gegen Napoleon I. /

Also issued without series for the Volksschriftenverein (Verein zur Verbreitung von Druckschriften für Volksbildung).

Metamorphoses Ovidii : argvmentis quidem soluta oratione, enarrationibus autem & allegoriis elegiaco versu accuratissimè expositae, summaq[ue] diligentia ac studio illustratae /

Includes index.

Maria Theresia,

Mode of access: Internet.

My own story,

Mode of access: Internet.

A IDENTIDADE DA MULTIDÃO NO CULTO CELESTIAL NO APOCALIPSE DE JOÃO

João de Patmos, através de elementos literários e dramáticos e da estrutura cênica e litúrgica, criou no Apocalipse um universo simbólico específico. As imagens deste universo são protagonizadas tanto por seres divinos como também por pessoas humanas que se encontram exaltadas entre os seres celestiais, cantando e louvando a Deus. Durante o processo da composição, o autor da obra se inspirou na tradição apocalíptica e escatológica das tradições visionárias merkavah presentes em Ezequiel, Daniel e 1 Enoque, e fez uma leitura própria destas tradições que obedece aos seus próprios objetivos literários e às necessidades dos leitores / ouvintes do escrito. Os seres celestiais e humanos destacados nas imagens, e a presença de várias confluências de tradições merkavah indicam que o Apocalipse se insere numa vertente da literatura apocalíptica contemporânea do escrito. É notável que, tanto na apocalíptica, em Qumran, na literatura hekhalot como no Apocalipse, há indícios de uma intensa experiência extática de grupos de culto celestial. O cenário de visões é prioritariamente litúrgico, dentro de um templo celestial. As imagens geradas pela leitura das experiências místicas de Ezequiel, 1 Enoque e outros escritos místicos eram contempladas e enriquecidas pelas experiências de viagens celestiais de grupos proféticos durante cultos terrestres. Nas experiências místicas registradas nos fragmentos analisados do Apocalipse de João podem ser percebidas certas feições dos viajantes celestiais. Nos seus discursos sobre a visão do mundo que contemplam e definem, eles revelam suas crenças, desafios e expectativas, a sua auto-compreensão religiosa. Além da identidade dos protagonistas dos cultos celestiais percebe-se também o caráter e a função altamente criadores do fenômeno extático em geral, como também, em particular, no Apocalipse de João. O escrito revela e promove uma estrutura do mundo divino-humano completo e perfeito que está num movimento contínuo, um mundo que, com toda a simbologia inerente, expressa a idéia de criar, recriar e governar o universo inteiro. Os seres humanos participam ativamente deste universo e cooperam com a função reconstituinte dele. Essa cooperação na reconstituição do mundo tem um caráter presente e atual, embora a plenitude desta reconstituição esteja reservada para o futuro.

Inmanencia mistica en la obra de Federico Garcia Lorca

The purpose of this dissertation was to analyze the works of Federico García Lorca within the mystic context that dominates their very genesis. The problematic definition of mysticism was explored lest it be confused with traditional mysticism, which implies union with the divine. The historiography of literature speaks of the Mystic Genre, yet it does not address the mystic mode of artistic creation due to its inability to adhere to rational measure. This mode of conception was explored through Lorca's poetic discourse: ‘Lorquian mysticism’ is the result of the poet's cultivation of an innate spiritual potential enhanced by external influences and technical mastery. ^ There is visible influence of Fray Luis of León in Lorca's early Libro de poemas and El maleficio de la mariposa, as well as of Saint John of the Cross in the later Diván del Tamarit, Sonetos de amor and Yerma. However, definitive echoes of poets from the Sufi and other Eastern mystic traditions were also illustrated in these late works. A persistent longing to elide the physical condition, the greatest obstacle of the transcendental quest, is the essence of Lorca's poetic voice. ^ The object of this analysis was Lorca's language, which reaches levels removed from conventional thought. His dazzling metaphors and his particular use of symbols and of paradox compare equitably with those of great mystic poets. Like them, Lorca was faced with the same limitations of language to describe an ineffable experience; he embraced what Octavio Paz describes as ‘sacred language’: there is a linguistic frugality as well as an ambiguity in Lorca's poetic art that result from his realization of supercognitive states. Yet such an interpretation is rejected by the rationalist approach, invoking the age-old debate between faith and reason and signaling the application of psychoanalytical theory. This limited approach was disputed on the basis of reader-response theory. Lorca was truly an eclectic and a modification of the conventional reader's preestablished horizon of expectations is essential in order to seal the gaps in his late works. This innovative perspective placed Lorca within the framework of a new mysticism in the modern world. ^