Social New York under the Georges, 1714-1776 : houses, streets, and country homes, with chapters on fashions, furniture, china, plate, and manners /

Includes index.

A history of the four Georges,

Mode of access: Internet.

Georges /

Attributed by Mirecourt to Mallefille.

A copious and critical English-Latin lexicon, founded on the German-Latin dictionary of Dr. Charles Ernest Georges.

Mode of access: Internet.

Du dandysme et de Georges Brummell. --

Mode of access: Internet.

La rive gauche du Rhin, limite de la République Française. Ou, Recueil de plusieurs dissertations, jugées dignes des prix proposés par un négociant de la rive gauche du Rhin ... Pub. par le citoyen Georges-Guillaume Boehmer ...

Title of pt. 3 reads: ... Recueil de plusieurs dissertations [etc.] suivi des Réflexions d'un conspirateur à Basle, et d'une prédiction mémorable de Condorcet.

Guide du Musée Georges Ráth.

"Il a été de cet ouvrage douze exemplaires numérotés, dont celui-ci porte le No. I."

The Impact of Hurricane Georges on Soft-Bottom, Back Reef Communitites: Site- and Species-Specific Effects in South Florida Seagrass Beds

Seagrass beds are the dominant benthic marine communities in the back reef environment of the Florida Keys. At a network of 30 permanent monitoring stations in this back reef environment, the seagrass Thalassia testudinum Banks & Soland. ex Koenig was the most common marine macrophyte, but the seagrasses Syringodium fi liforme Kuetz., and Halodule wrightii Aschers., as well as many taxa of macroalgae, were also commonly encountered. The calcareous green macroalgae, especially Halimeda spp. and Penicillus spp., were the most common macroalgae. The passage of Hurricane Georges on September 25, 1998 caused an immediate loss of 3% of the density of T. testudinum, compared to 19% of the S. fi liforme and 24% of the calcareous green algae. The seagrass beds at three of the stations were completely obliterated by the storm. Stations that had little to moderate sediment deposition recovered from the storm within 1 yr, while the station buried by 50 cm of sediment and the two stations that experienced substantial erosion had recovered very little during the 3 yrs after the storm. Early colonizers to these severely disturbed sites were calcareous green algae. Hurricanes may increase benthic macrophyte diversity by creating disturbed patches with the landscape, but moderate storm disturbance may actually reduce macrophyte diversity by removing the early successional species from mixed-species seagrass beds.

Le poids des mots : étude du thème de la souveraineté chez Georges Bataille

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

Le poids des mots : étude du thème de la souveraineté chez Georges Bataille

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

The Uses of Print and Writing in Eighteenth Century European Ballet: the Case of The Letters on Dancing and Ballets by Jean-Georges Noverre

This article aims to study the uses of print, especially the Letters on Dancing and Ballets by Jean-Georges Noverre, throughout the emergence of pantomime ballet in the late eighteenth century. Noverre’s discourse is directly associated with a project to revitalize the art of dance. In this sense, books as an object are not only a support for the new aesthetic discourse, but a tool with multiple uses. It simultaneously seeks to modify the spectator’s view of the scene, legitimize the success of the new theatrical genre and value the ballet master profession.

La pintura que no se deja ver. La pintura avergonzada, la pintura escondida (a propósito de los escritos de Ángela de La Cruz, Georges didi-Huberman y Honoré de Balzac)

El artículo «La pintura que no se deja ver: la pintura avergonzada, la pintura escondida» relaciona una de las primeras obras de la artista Ángela de la Cruz ashamed (1995), con La pintura encarnada (1984) de Georges Didi-Huberman, ensayo que a su vez analiza La obra maestra desconocida (1837) de Honoré de Balzac. Entre Ángela de la Cruz, didi-Huberman y Balzac se establece un triángulo en torno al concepto cuadro-cuerpo. A través de una pintura, un ensayo filosófico y un relato, tres autores de tres tiempos distintos recuperan las mismas ideas de carne y piel pictórica y cuadro humanizado. Su objetivo: superar las barreras de representación en la pintura para crear un ser más allá del objeto pictórico. Sin embargo, cuanto más idealizan la pintura y más pretenden superar la pantallapictórica, más se desvanece el concepto de «cuadro»; cuanto más acercan el cuadro a ser, más se aleja de ser un cuadro y menos se permite el acceso a lo que representa. La persecución del ideal implica que el cuadro se vea sometido a su ocultación, al deterioro y a la destrucción de su imagen.