Jahrbuch der Gesellschaft für die Geschichte des Protestantismus in Oesterreich.

Publisher varies.

Wear tests of concrete,

Mode of access: Internet.

Chefs-d'oeuvre du théatre russe : Ozerof, Fon-Vizine, Krilof, Schakofskoi.

Translation and notes by Alexis de St.-Priest.

Kurs istorīi Rossīi XIX vi͡eka /

Includes bibliographical references.

J.W. Spencer fonds, 1866, 1881-1921

Joseph William Winthrop Spencer (commonly known as J.W. Spencer) was a geologist and geomorphologist best known for his work on the geology of southern Ontario and the Great Lakes. He was born in Dundas, Upper Canada in 1851, but moved to Hamilton, Ontario in 1867. In 1871, he began studies in geology at McGill College in Montreal. In 1875 he worked in the Michigan copper mines and shortly afterwards prepared a thesis on the copper deposits. He submitted this thesis to the University of Gottingen in Germany in 1877 and was awarded a doctorate in geology, the second Canadian to earn a doctorate in this field. In 1880, he became a professor of geology and chemistry at King’s College in Windsor, N.S. Subsequently, he taught at the University of Missouri, and then the University of Georgia, but moved to Washington, D.C. in 1894, where he worked as a consultant geologist. Spencer spent much of his life studying preglacial river valleys in Ontario and the origins of the Great Lakes, as well as the Niagara River and Falls. In 1907, he published a book titled The Falls of Niagara: their evolution and varying relations to the Great Lakes. His opinions in these areas differed from some of his contemporaries, namely the American geologist Grove Karl Gilbert. Gilbert published a review of the The Falls of Niagara that exposed some flaws and inaccuracies in Spencer’s estimate of the age of the falls. Spencer’s studies also took him to the Caribbean and Central America. In 1920 he moved back to Canada, but died the following year.

Vierzig Jahre Israelitischer Lehrer-Verein für Bayern : 1880-1920 ; den Mitgliedern u. Freunden unseres Vereins gewidmet im Auftr. d. Verwaltung

von S. Dingfelder

Movimiento en el negocio del azafrán [Material gráfico] : desde 16 octubre de 1880 al 15 octubre de 1885 en Valencia

Incluye datos sobre la exportación, las existencias y los precios del azafrán

An index to the Virginia reports, from Jefferson to 33rd Grattan, both inclusive. [1730-1880] With a complete table of cases.

"This book is an index to all the reported decisions of the Supreme Court of Appeals, of the General Court, and of the High Court of Chancery, of Virginia; and, also, of the decisions of the Special Court of Appeals reported in the two volumes of Patton, jr., and Heath's reports."--Pref.

Nietzsche's orphans: music and the search for unity in revolutionary Russia, 1905-1921

At the dawn of the twentieth century, Imperial Russia was in the throes of immense social, political and cultural upheaval. The effects of rapid industrialization, rising capitalism and urbanization, as well as the trauma wrought by revolution and war, reverberated through all levels of society and every cultural sphere. In the aftermath of the 1905 revolution, amid a growing sense of panic over the chaos and divisions emerging in modern life, a portion of Russian educated society (obshchestvennost’) looked to the transformative and unifying power of music as a means of salvation from the personal, social and intellectual divisions of the contemporary world. Transcending professional divisions, these “orphans of Nietzsche” comprised a distinct aesthetic group within educated Russian society. While lacking a common political, religious or national outlook, these philosophers, poets, musicians and other educated members of the upper and middle strata were bound together by their shared image of music’s unifying power, itself built upon a synthesis of Russian and European ideas. They yearned for a “musical Orpheus,” a composer capable of restoring wholeness to society through his music. My dissertation is a study in what I call “musical metaphysics,” an examination of the creation, development, crisis and ultimate failure of this Orphic worldview. To begin, I examine the institutional foundations of musical life in late Imperial Russia, as well as the explosion of cultural life in the aftermath of the 1905 Revolution, a vibrant social context which nourished the formation of musical metaphysics. From here, I assess the intellectual basis upon which musical metaphysics rested: central concepts (music, life-transformation, theurgy, unity, genius, nation), as well as the philosophical heritage of Nietzsche and the Christian thinkers Vladimir Solov’ev, Aleksei Khomiakov, Ivan Kireevskii and Lev Tolstoi. Nietzsche’s orphans’ struggle to reconcile an amoral view of reality with a deeply felt sense of religious purpose gave rise to neo-Slavophile interpretations of history, in which the Russian nation (narod) was singled out as the savior of humanity from the materialism of modern life. This nationalizing tendency existed uneasily within the framework of the multi-ethnic empire. From broad social and cultural trends, I turn to detailed analysis of three of Moscow’s most admired contemporary composers, whose individual creative voices intersected with broader social concerns. The music of Aleksandr Scriabin (1871-1915) was associated with images of universal historical progress. Nikolai Medtner (1879-1951) embodied an “Imperial” worldview, in which musical style was imbued with an eternal significance which transcended the divisions of nation. The compositions of Sergei Rachmaninoff (1873-1943) were seen as the expression of a Russian “national” voice. Heightened nationalist sentiment and the impact of the Great War spelled the doom of this musical worldview. Music became an increasingly nationalized sphere within which earlier, Imperial definitions of belonging grew ever more problematic. As the Germanic heritage upon which their vision was partially based came under attack, Nietzsche’s orphans found themselves ever more divided and alienated from society as a whole. Music’s inability to physically transform the world ultimately came to symbolize the failure of Russia’s educated strata to effectively deal with the pressures of a modernizing society. In the aftermath of the 1917 revolutions, music was transformed from a symbol of active, unifying power into a space of memory, a means of commemorating, reinterpreting, and idealizing the lost world of Imperial Russia itself.