Late piano works. [music] /

Title on v.2 varies: Early and late piano works.

Die mystischen Erscheinungen der menschlichen Natur /

Mode of access: Internet.

Hades : ein Beytrag zur Theorie des Geisterkunde : nebst Anhängen : öffentliche Verhandlungen über Swedenborg und Stilling, ein Beyspiel des Ahnungsvermögens und einen Brief des jüngern Plinius enthaltend /

Mode of access: Internet.

Dissertazioni sopra le apparizioni de' spiriti, e sopra i vampiri, oiredivivi d'Ungheria, di Moravia ec. /

Mode of access: Internet.

Vains efforts de plusieurs évêques, et de Mm. Vrindts, Picot, Lambert, Curzon, A...... G....... etc. en faveur de la jonglerie de Migné [microform] /

Includes bibliographical references.

Human personality and its survival of bodily death,

Edited after the author's death by Richard Hodgson and Alice Johnson.

The art of creation; essays on the self and its powers.

"Chapter II ... was originally given as an address. Chapters VIII and IX on "ʻThe godsʼ ... were published as an article in the Hibbert journal for Jan. 1904."

Blicke in das verborgene Leben des Menschengeistes.

Mode of access: Internet.

Von gespänsten, vnghüren, fälē, vnd anderen wunderbarē Dingen ... kurtzer vnd einfaltiger Bericht ...

Mode of access: Internet.

Providence divine et diable trompeur : représentations des manifestations visionnaires chez les religieux et les religieuses en Nouvelle-France (de 1612 à 1724)

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The Enlightening Supernatural: Ghost Stories in the Late Eighteenth-Century Germany

This dissertation explores the place of ghosts in late eighteenth-century German texts, where they appear with surprising frequency despite widespread disbelief in their ontological reality. These ghosts could simply be lingering remnants of superstition in an age where they no longer belong, but my project argues that they play a central role in the Enlightenment and its ideal of progress. The key texts analyzed in this context include three versions of the story of the Weiße Frau, as well as works by Immanuel Kant, Karl Philipp Moritz, Friedrich Schiller, and Johann Wolfgang von Goethe. In various ways, these texts demonstrate how the presentation of a ghost creates new possibilities in philosophy and aesthetics, as well as opportunities for critique. For some, the ghostly encounter produces an “Enlightening” suspense, disrupting the normal conditions of one’s understanding and creating a demand for resolution that propels one towards the future. Some recognized a dangerous manipulative potential in such suspense, and they used ghost stories to critique Enlightenment thought or imagine alternative aesthetic models. In all of these works, the ghost does not function simply as a relic of the past that needs to be left behind; it features prominently as a means of considering the present and imagining the future.

The relationship between the Enlightenment and superstitious beliefs has either been oversimplified as a basic opposition, or complicated by the recognition that the commitment to reason works as a new form of superstition. Prior scholarship has recognized the German ghost story as a primarily nineteenth-century phenomenon. This dissertation uncovers the roots of the German ghost story in unlikely texts from the eighteenth century and suggests that the relationship between ghostly apparitions and the Enlightenment was more complementary than oppositional. Ghosts do not only represent the persistence of the past, they also disrupt the normal conditions of the present in a way that enables progress towards new possibilities in aesthetics and thought.

Providence divine et diable trompeur : représentations des manifestations visionnaires chez les religieux et les religieuses en Nouvelle-France (de 1612 à 1724)

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The perihelion activity of comet 67P/Churyumov-Gerasimenko as seen by robotic telescopes

Around the time of its perihelion passage the observability of 67P/Churyumov-Gerasimenko from Earth was limited to very short windows each morning from any given site, due to the low solar elongation of the comet. The peak in the comet's activity was therefore difficult to observe with conventionally scheduled telescopes, but was possible where service/queue scheduled mode was possible, and with robotic telescopes. We describe the robotic observations that allowed us to measure the total activity of the comet around perihelion, via photometry (dust) and spectroscopy (gas), and compare these results with the measurements at this time by Rosetta's instruments. The peak of activity occurred approximately two weeks after perihelion. The total brightness (dust) largely followed the predictions from Snodgrass et al. 2013, with no significant change in total activity levels from previous apparitions. The CN gas production rate matched previous orbits near perihelion, but appeared to be relatively low later in the year.

La señorita de Fontenay

160 p.

Close encounters: international exhibitions and the material culture of the British Empire, c.1880-1940

Apparitions of empire and imperial ideologies were deeply embedded in the International Exhibition, a distinct exhibitionary paradigm that came to prominence in the mid-nineteenth century. Exhibitions were platforms for the display of objects, the movement of people, and the dissemination of ideas across and between regions of the British Empire, thereby facilitating contact between its different cultures and societies. This thesis aims to disrupt a dominant understanding of International Exhibitions, which forwards the notion that all exhibitions, irrespective of when or where they were staged, upheld a singular imperial discourse (i.e. Greenhalgh 1988, Rydell 1984). Rather, this thesis suggests International Exhibitions responded to and reflected the unique social, political and economic circumstances in which they took place, functioning as cultural environments in which pressing concerns of the day were worked through. Understood thus, the International Exhibition becomes a space for self-presentation, serving as a stage from which a multitude of interests and identities were constructed, performed and projected. This thesis looks to the visual and material culture of the International Exhibition in order to uncover this more nuanced history, and foregrounds an analysis of the intersections between practices of exhibition-making and identity-making. The primary focus is a set of exhibitions held in Glasgow in the late-1880s and early-1900s, which extends the geographic and temporal boundaries of the existing scholarship. What is more, it looks at representations of Canada at these events, another party whose involvement in the International Exhibition tradition has gone largely unnoticed. Consequently, this thesis is a thematic investigation of the links between a municipality routinely deemed the ‘Second City of the Empire’ and a Dominion settler colony, two types of geographic setting rarely brought into dialogue. It analyses three key elements of the exhibition-making process, exploring how iconographies of ‘quasi-nationhood’ were expressed through an exhibition’s planning and negotiation, its architecture and its displays. This original research framework deliberately cuts across strata that continue to define conceptions of the British Empire, and pushes beyond a conceptual model defined by metropole and colony. Through examining International Exhibitions held in Glasgow in the late-Victorian and Edwardian periods, and visions of Canada in evidence at these events, the goal is to offer a novel intervention into the existing literature concerning the cultural history of empire, one that emphasises fluidity rather than fixity and which muddles the boundaries between centre and periphery.