Kaete Rosenheim; Reichsvertretung der Juden in Deutschland Portraits; Women

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Unidentified woman; Reichsvertretung der Juden in Deutschland Portraits; Women

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Unidentified woman; Reichsvertretung der Juden in Deutschland Portraits; Women

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Unidentified woman; Reichsvertretung der Juden in Deutschland Portraits; Women

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Unidentified woman; Reichsvertretung der Juden in Deutschland Portraits; Women

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Unidentified woman; Reichsvertretung der Juden in Deutschland Portraits; Women

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Kaete Rosenheim; Reichsvertretung der Juden in Deutschland Portraits; Women

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Paul Eppstein; Reichsvertretung der Juden in Deutschland Portraits; Men

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Georg Lubinski; Reichsvertretung der Juden in Deutschland Portraits; Men

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Material growth and device fabrication of highly strained InGaAs/InGaAsP long wavelength distributed feedback lasers

1.6-1.7 mu m highly strained InGaAs/InGaAsP distributed feedback lasers was grown and fabricated by low pressure mentalorganic chemical vapor deposition. High quality highly strained InGaAs/InP materials were obtained by using strain buffer layer. Four pairs of highly strained quantum wells were used in the devices and carrier blocking layer was used to improve the temperature characteristics of the devices. The uncoated 1.66 mu m and 1.74 mu m lasers with ridge wave guide 3 mu m wide have low threshold current (< 15mA) and high output power (> 14mW at 100mA). In the temperature range from 10 degrees C to 40 degrees C, the characteristic temperature T-0 of the 1.74 mu m laser is 57K, which is comparable to that of the 1.55 mu m-wavelength InGaAsP/InP-DFB laser.

新刊全像三寶 (sic) 太監西洋記通俗演義Xin kan quan xiang san bao tai jian xi yang ji tong su yan yi.Histoire du voyage en Occident de l'eunuque San bao, nouvelle édition illustrée.

Par Luo Mu tang (alias deng), surnom Er nan li ren, avec préface de l'auteur (1597). Récit des expéditions maritimes de Zheng He, surnom San bao tai jian († 1431). Portraits au début de chaque livre. Gravé au pavillon Bu yue.20 livres (100 hui).

新刊全像三寶 (sic) 太監西洋記通俗演義Xin kan quan xiang san bao tai jian xi yang ji tong su yan yi.Histoire du voyage en Occident de l'eunuque San bao, nouvelle édition illustrée.

Par Luo Mu tang (alias deng), surnom Er nan li ren, avec préface de l'auteur (1597). Récit des expéditions maritimes de Zheng He, surnom San bao tai jian († 1431). Portraits au début de chaque livre. Gravé au pavillon Bu yue.20 livres (100 hui).

L'art de propagande en Espagne, de la Seconde République au premier franquisme : affiches et portraits officiels

This thesis questions the major esthetic differences between the artistic productions of the Second Spanish Republic (1931-1939) and the nationalist artistic productions of the Civil War years and the first decade of the francoist dictatorship. These differences are analysed using the artistic productions of Josep Renau (1907 Valence – 1982 Berlin East) and of Ignacio Zuloaga (Elibar 1870 – Madrid 1945). Renau was an important artistic figure during the Spanich Republic. In this thesis, we analyse Renau’s different propaganda productions between 1931 and 1939. Zuloaga was an international artist when the nationalist uprising occurred in 1936. He was recognized by the European elites for his portraits of Andalousian and Castillian sceneries. Zuloaga supported the nationalist putsch and the francoist ideology. In 1939, the Caudillo ordered the painting of the portrait that we will be analysing. The theories of François Hartog, Reinhart Koselleck, Paul Ricoeur and Hannah Arendt are used to analyse the historical conceptual confrontation in Spain, portrayed by the artworks that we studied. During the Republic, it was the modern historical regime that was in force. The historical references used are close in time and the history is constructed in the future and attached to the idea of progress. With the nationalists, the historical conception is connected to the Historia magistra where the past is used as an example. In the first francoism, a return to Spain’s glorious past (the Middle Ages, the Golden Century and the Counter Reform) is clearly claimed in order to rescue the country from the ills of modernity. It is with these different historical conceptions in mind that we compare the esthetics specificities of the artworks, the identity and historical references and the mediums used to legitimize the power and the political actions of each front.