Welland Canal Survey of Lands Francis Goring Parnell, 1826

Survey map and description of Francis Goring Parnell's land created by The Welland Canal Company. Included is a written description of the land along with a drawing of the land. Noteable features include; line between Widow Secord and Parnell's land, line between Rykert and Parnell's land. The deed for the land is dated December 5th, 1826. The land totals 4 acres, 1 road, and 6 perches. Surveyor notes are seen in pencil on the map.

Reflections upon the late correspondence between Mr. Secretary Smith, and Francis James Jackson, esq., Minister Plenipotentiary of His Britannic Majesty

Originally published in the Federal Republican of Baltimore. Printed by Benjamin Edes

Letter - Colonel Albert D. Shaw to Francis Lynde Stetson, 31 March 1892

A letter from Colonel Albert D. Shaw to Francis Lynde Stetson dated March 31, 1892. The letter is in regards to correspondence with the Attorney General in efforts to expedite the passing of an Act through Ontario Parliament. The act was introduced a week later (April 6, 1892) confirming the agreement between the Queen Vctoria Niagara Falls Park and the Canadian Niagara Power Company.

Photograph - Francis Bond Head Willson, 1870

Photograph of Francis Bond Head Willson of Beaverdams. He was the great grandson of Thomas and Abigail Willson. The photographer is Geo. Grenville, Artist, Thorold, Ontario. There are two copies of the photograph in the collection and one has the date 1870 handwritten on the back.

Photograph - Florence (wife of Francis Willson)

A photograph of Florence Upper, the wife of Francis Bond Head Willson.

Letter sent to S.D. Woodruff from Francis Lalor

Letter sent to S.D. Woodruff from Francis Lalor regarding the last estimate of work. Mr. Lalor points out some additional work that was done, including: cart-road, culvert excavation and ditching, Mar. 29, 1855.

Letter from Francis Lalor to S.D. Woodruff

Letter which gives an addition to the estimate for work done by John Brown for Dec. 1855. This is made out to S.D. Woodruff from Francis Lalor. The request is for money for extra ties, fence posts, stone and labour. The letter is slightly singed at the bottom. This does not affect the text, Jan. 3, 1856.

Pay roll voucher #14 from the Engineer Department of Port Dalhousie and Thorold Railway Extension for the Southern Division for the month of April, 1857 approved by F. Shanly, chief engineer and Francis A. Doyle, assistant engineer, April 28, 1857

Pay roll voucher #14 from the Engineer Department of Port Dalhousie and Thorold Railway Extension for the Southern Division for the month of April, 1857 approved by F. Shanly, chief engineer and Francis A. Doyle, assistant engineer, April 28, 1857.

Pay roll voucher #21 from the Engineer Department of Port Dalhousie and Thorold Railway Extension, for the Southern Division approved by F. Shanly, chief engineer and Francis A. Doyle, assistant engineer (copy) June 29, 1857

Pay roll voucher #21 from the Engineer Department of Port Dalhousie and Thorold Railway Extension, for the Southern Division approved by F. Shanly, chief engineer and Francis A. Doyle, assistant engineer (copy) June 29, 1857.

Pay roll voucher #26 from the Engineer Department of Port Dalhousie and Thorold Railway Extension, for the Southern Division, for the month of July, 1857 approved by F. Shanly, chief engineer and Francis A. Doyle (copy), July 28, 1857

Pay roll voucher #26 from the Engineer Department of Port Dalhousie and Thorold Railway Extension, for the Southern Division, for the month of July, 1857 approved by F. Shanly, chief engineer and Francis A. Doyle (copy), July 28, 1857.

Voucher from the Engineer Department of Port Dalhousie and Thorold Railway Extension to Francis A. Doyle for fees at the Fonthill Registry Office (copy), July 28, 1857

Voucher from the Engineer Department of Port Dalhousie and Thorold Railway Extension to Francis A. Doyle for fees at the Fonthill Registry Office (copy), July 28, 1857.

Análisis y control de la frecuencia de sistemas eléctricos de potencia en estado de emergencia [por] Guillermo Francis Medina

Tesis (Maestría en Ciencias de la Ingeniería Eléctrica con Especialidad en Potencia) U.A.N.L.

Misterios de Londres : por Pablo Feval (Sir Francis Crolopp)

UANL

Postures de soldat et devenirs dans Apocalypse Now (1979, 2001) de Francis Coppola

Le présent mémoire aborde les problématiques morales de la scission corps-esprit chez les soldats de la guerre du Việt Nam telles que représentées à travers certains films traitant de cette guerre. Notre démarche sera centrée sur le travail individuel que propose le film Apocalypse Now, plutôt que sur la representation de la guerre. Nous postulons que ce film met les individus devant les contradictions inhérentes d'une société qui prétend justement pacifier le monde en faisant la guerre, et qui plus est, comme ce fut le cas au Việt Nam, au moyen d’un déchainement de violence qui dépasse l'entendement (torture, massacre de masses, napalm et Agent Orange). Notre hypothèse est que le film, à travers son personnage central, nous propose une « voie » qui n’empêche pas la guerre, certes, mais permet du moins d'entreprendre une demarche de distanciation et de redefinition morale individuelle permettant de survivre au(x) temps de guerre(s). Cette mutation morale, chez le personnage principal, s'acquiert au bout d'un voyage réflexif à tout point de vue « au coeur des ténèbres » – de la jungle, tout autant que de son être.

La subjectivité poétique face à la peinture : le cas de L'Atelier contemporain de Francis Ponge

L’Atelier contemporain recueille la plupart des textes sur l’art de Francis Ponge. Malgré sa réputation de « poète des choses », celui-ci n’y écrit pourtant pas avant tout sur les œuvres finies (les tableaux), mais plutôt sur les artistes mêmes. S’appuyant sur un approfondissement de la conceptualisation de la poétique pongienne comme érotique entre le sujet et l’objet, ce mémoire cherche à découvrir, à travers les questions particulières que la peinture pose à l’écriture de Ponge, les raisons du déplacement du regard de l’écriture de la chose muette à la personne parlante. Il semble que Ponge, face à des œuvres artistiques non verbales, soit à la recherche d’une signifiance qu’il ne peut trouver, ce qui l’oblige à se tourner vers les personnes. Mais ces personnes finissent toujours par céder la première place, dans L’Atelier contemporain, au « je » du poète.