985 resultados para First Presbyterian Church (Mocksville, N.C.)
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Includes bibliographical references.
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Edited by John Mason Good.
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Mode of access: Internet.
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Distributed to some depository libraries in microfiche.
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The influence of the fiber geometry on the point-by-point inscription of fiber Bragg gratings using a femtosecond laser is highlighted. Fiber Bragg gratings with high spectral quality and strong first-order Bragg resonances within the C-band are achieved by optimizing the inscription process. Large birefringence (1.2×10-4) and high degree of polarizationdependent index modulation are observed in these gratings. Potential applications of these gratings in resonators are further illustrated.
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The influence of the fiber geometry on the point-by-point inscription of fiber Bragg gratings using a femtosecond laser is highlighted. Fiber Bragg gratings with high spectral quality and strong first-order Bragg resonances within the C-band are achieved by optimizing the inscription process. Large birefringence (1.2x10-4) and high degree of polarizationdependent index modulation are observed in these gratings. Potential applications of these gratings in resonators are further illustrated. © 2007 Optical Society of America.
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General note: Title and date provided by Bettye Lane.
One of the first Consciousness Raising (C.R.) group meetings at the first women's center in New York
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General note: Title and date provided by Bettye Lane.
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Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].
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Discusses Montague's post-war prose work in terms of peace and silence.
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Bibliographical footnotes.
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The paper is centred on southern Tuscany on the archaeological complex of Pieve di Pava where archaeological research have been conducted since the 2000 by the University of Siena. The parish church is first mentioned as the baptisterium Sancti Petri in Pava in a document of AD 715 part of a long dispute between the bishop of Siena and the bishop of Arezzo. But the archaeological excavation revealed a longer history of the site that start from the Roman period with a villa dated between the second to the fourth century BC. The villa continued to grow in Late Antiquity since it was transformed by a church. The paper is centred on these fluctuations of the site and on the implications of the transformations on the landscape. One of the stronger element of the Pava site, in addition to the very particular plan of the early church (built with two opposing apses) was the huge cemetery around the church that was used from the seventh century BC until the Middle Ages. The 900 excavated graves make this one of the largest and most long-lasting late-Roman to medieval cemeteries excavated in Europe.
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This thesis examines the early stages of the transformation of emblematic political prints into political caricature from the beginning of the Seven Years' War (1756) to the Treaty of Paris, which ended the American Revolutionary War (1783). Both contextual and iconographical issues are investigated in relation to the debates occasioned by Britain's imperial project, which marked a period of dramatic expansion during the Seven Years' War, and ended with the loss of the American colonies, consequently framing this thesis as a study of political prints during the rise and fall of the so-called 'First British Empire'. Previous studies of eighteenth-century political prints have largely ignored the complex and lengthy evolutionary process by which the emblematic mode amalgamated with caricatural representation, and have consequently concluded that political prints excluded emblems entirely by the end of the 1770s. However, this study emphasizes the significance of the Wilkite movement for the promotion and preservation of emblems, and investigates how pictorial political argument was perceived and received in eighteenth-century British society, arguing that wider tastes and opinions regarding the utilization of political prints gradually shifted to accept both modes of representation. Moreover, the marketplace, legal status, topicality, and manufacturing methods of political prints are analyzed in terms of understanding the precarious nature of their consumption and those that endeavoured to engage in political printmaking. The evolution, establishment, and subsequent appropriation of pictorial tropes is discussed from the early modern period to the beginning of the so-called Golden Age of caricature, while tracing the adaptation of representational models in American colonial prints that employed emblems already entrenched in British pictorial political debate. Political prints from the two largest print collections, the British Museum and the Lewis Walpole Library at Yale are consulted, along with a number of eighteenth-century newspapers and periodicals, to develop the earlier research by M. Dorothy George, Charles Press, Herbert Atherton, Diana Donald, Amelia Rauser, and Eirwen Nicholson.