Collecção das Leis da República dos Estados Unidos do Brazil de 1892

Parte 1 - - Atos do Poder Legislativo

Imprensa e poder: discursos e projetos políticos de Francisco Salles Torres Homem (1840-1849)

O presente trabalho procura analisar os discursos de Francisco de Salles Torres Homem, produzidos na imprensa entre 1840 e 1849, momento em que fez parte da facção política liberal. No Período Regencial iniciou a sua atuação no jornalismo, e nos primeiros anos do Segundo Reinado, já aparecia como um importante redator de jornais, panfletário e político. Durante a Revolução Liberal de 1842, participou ativamente do conflito, e no período da Revolução Praieira em 1848, e escreveu o seu mais inflamado e comentado panfleto O Libelo do Povo, onde fez duras críticas ao governo, recebendo grande repercussão na imprensa da época. Esta foi considerada pelos seus biógrafos como a sua fase mais revolucionária, seus discursos foram produzidos em momentos específicos de grande debate de ideias, e expressavam as concepções políticas e ideológicas dos liberais. Naquela época, Salles Torres Homem utilizou à palavra impressa, para defender os interesses dos liberais ao poder.

Revisão do gênero Neotropical Gundlachia Pfeiffer, 1849 (Mollusca, Pulmonata, Basommatophora, Planorboidea, Ancylidae): morfologia, distribuição geográfica, sistemática e filogenia

Gundlachia Pfeiffer 1849 é o gênero de molusco de água doce pateliforme com a mais ampla distribuição geográfica dentre os oito gêneros de Ancylidae assinalados para a região Neotropical. A concha pateliforme, considerada uma homoplasia por diversos autores em vários basomatóforos, tem sido historicamente utilizada para definir a unidade da família Ancylidae, apesar dos questionamentos contrários à monofilia do grupo. Dados moleculares confirmaram que "Ancylidae" é um grupo parafilético, principalmente por causa do gênero Burnupia. Os demais gêneros foram incluídos em Ancylinae, dentro de Planorbidae. No entanto, a ausência de todos os gêneros Neotropicais nas filogenias propostas, com base molecular ainda é um assunto que necessita ser investigado. Os principais objetivos desse trabalho foram: (a) revisar as espécies de Gundlachia, através de estudos morfológicos das conchas e partes moles; (b) padronizar as descrições das espécies para iniciar uma análise cladística do gênero Gundlachia; (c) iniciar um estudo de biologia molecular utilizando distintas espécies de representantes de Ancylinae, para verificar as suas interrelações e o provável grupoirmão de Gundlachia; (d) e por fim, construir um mapa de distribuição geográfica. Para isso, examinamos diversas coleções científicas e realizamos coletas nas localidadestipo. A morfologia das conchas foi comparada por análises morfométricas e por microscópio de luz e de varredura. As partes moles dos espécimes foram dissecadas e estudadas sob o microscópio estereoscópico. A análise molecular foi realizada em três espécimes de cada amostra, utilizando os genes da citocromo c oxidase I e o 16S mtDNA. Após o sequenciamento verificamos as distâncias genéticas entre as diferentes espécies de Gundlachia e as suas relações com os outros gêneros por meio do teste Neighbor-joining e Maximum likelihood. Com esse estudo apresentamos a redescrição de algumas espécies de Gundlachia, discutimos a validade de novos táxons descobertos e sequenciamos e analisamos espécies de sete gêneros de Ancylinae que ocorrem na região Neotropical. Com base nesses dados discutimos a monofilia de Gundlachia e o seu provável grupo-irmão. E ainda abordamos a validade dos demais gêneros neotropicais

A new species of Henneguya (Myxosporida, Protozoa) from West African catfish, Clarias lazera Val., with a review of the genus Henneguya Thelohan, 1892

A new species of myxosporida, Henneguya clariae, is described from the gills of Claria’s Iazera caught from various waters in Nigeria. Pathogenic effects in the destruction of the components of the branchial system are about 25% of Clarias lazera. A review of the genera Henneguya myxobilatus, and Neohenneguya is made and these were synonymised, with some reservations in the case of to Henneguya. A checklist of the genus Henneguya is given.

Un Bywyd o Blith Nifer: Cofiant Saunders Lewis, 1892-1985

Chapman, T. (2006). Un Bywyd o Blith Nifer: Cofiant Saunders Lewis, 1892-1985. Llandysul: Gwasg Gomer.

Lights and shades of mission work, or, Leaves from a worker's note book : being reminiscenses of seven years service at the capital, 1885-1892 / by B.H.W.

http://www.archive.org/details/lightsandshades00bhwuoft

Goodbird the Indian : his story / told by himself to Gilbert L. Wilson ; illustrated by Frederick N. Wilson.

http://www.archive.org/details/goodbirdindian00goodiala

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

The Evolution of Rachmaninov's Pianistic Style from 1892 to 1941 as Seen in Selected Original Works and Transcriptions for Piano

Unlike some other major composer-pianists (Franz Liszt and Alexander Scriabin being the most notable examples), Sergei Rachmaninov did not experience any dramatic changes in his compositional style; one can, however, notice certain stylistic differences between piano works composed during different periods of his long creative life. This dissertation argues that a clear evolution of Rachmaninov's pianistic style through his three creative periods can be traced by examining a selection of his compositions, from his first significant cycle for piano, 5 Marceaux de fantaisie, Op. 3 (1892), all the way through to his last piano work, a transcription of P.I.Tchakovsky's Lullaby, Op. 16, No. 1 (1941). Rachmaninov's life as a composer can be divided into three periods. His early period was ended abruptly by the disastrous premiere ofhis First Symphony in 1897, which caused a deep psychological crisis in the life of the young composer. Piano works of this period are often characterized by relatively simple homophonic texture, when Rachmaninov was clearly influenced by some of his Russian predecessors, most notably Tchaikovsky. His second and most productive period, also known as the period of"Russian maturity," started in 1900, when he began working on the Second Suite for two pianos, Op. 17, and the Second Concerto, Op. 18; this phase ended with the Russian Bolshevik revolution of 1917. Works of this time exhibit a mature style of piano writing, with rich, virtuosic - often considered excessive by many critics - texture and ever-increasing use of chromatic harmonies. Rachmaninov's works of the third period are limited in number owing to the composer's preoccupation with a career as pianist. Original works for piano now give way to revisions of earlier compositions and transcriptions: Rachmaninov's piano writing becomes more efficient and economical without losing any of its virtuosic brilliance. This dissertation project examines in detail, over the course of three piano recitals, a variety of works composed during the "Russian maturity" period, from several Preludes from Op. 23 (1903), the first major cycle for solo piano of the period, to 9 Etudes-Tableaux, Op.39 (1917), the last one; the early period is represented by 3 of 5 Marceaux defantaisie, Op. 3 (1892), while the late period is shown through several piano transcriptions and revised versions of the remaining 2 pieces from Op. 3.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

Repeated mapping of reefs constructed by Sabellaria spinulosa Leuckart 1849 at an offshore wind farm site

Sabellaria spinulosa reefs are considered to be sensitive and of high conservation status. This article evaluates the feasibility of using remote sensing technology to delineate S. spinulosa reefs. S. spinulosa reef habitats associated with the Thanet Offshore Windfarm site were mapped using high resolution sidescan sonar (410 kHz) and multibeam echo sounder (<1 m2) data in 2005 (baseline), 2007 (pre-construction baseline) and 2012 (post-construction). The S. spinulosa reefs were identified in the acoustic data as areas of distinct irregular texturing. Maps created using acoustic data were validated using quantitative measures of reef quality, namely tube density (as a proxy for the density of live S. spinulosa), percentage cover of S. spinulosa structures (both living and dead) and associated macrofauna derived from seabed images taken across the development site. Statistically significant differences were observed in all physical measures of S. spinulosa as well the number (S) and diversity (H׳) of associated species, derived from seabed images classified according to the presence or absence of reef, validating the use of high resolution sidescan sonar to map these important biogenic habitats. High precision mapping in the early stages allowed for the micro-siting of wind turbines in a way that caused minimal damage to S. spinulosa reefs during construction. These habitats have since recovered and expanded in extent. The surveys undertaken at the Thanet Offshore Windfarm site demonstrate the importance of repeat mapping for this emerging industry, allowing habitat enhancement to be attributed to the development whilst preventing background habitat degradation from being wrongly attributed to the development.