A library of Fathers of the Holy Catholic Church, anterior to the division of the East and West /

Editors and translators: E.B. Pusey, J. Keble, J.H. Newman, et al.

Early English prose romances : with bibliographical and historical introductions /

Originally issued separately (?) in 1827, with cover-title: Early prose romances. A collection of ancient English fictions.

The works of Mr. Thomas Brown, serious and comical, in prose and verse.

Mode of access: Internet.

The history of the revolutions of Russia to the accession of Catharine the First : including a concise review of the manners and customs of the sixteenth and seventeenth centuries /

Includes bibliographical references and index.

Moments of Rupture: Narratological Readings of Contemporary German Literature

Thesis (Ph.D.)--University of Washington, 2016-08

Seasonal variation of epiphytic hydroids (Cnidaria: Hydrozoa) associated to a subtropical Sargassum cymosum (Phaeophyta: Fucales) bed

Hydroids are broadly reported in epiphytic associations from different localities showing marked seasonal cycles. Studies have shown that the factors behind these seasonal differences in hydroid richness and abundance may vary significantly according to the area of study. Seasonal differences in epiphytic hydroid cover and richness were evaluated in a Sargassum cymosum C. Agardh bed from Lázaro beach, at Ubatuba, Brazil. Significant seasonal differences were found in total hydroid cover, but not in species richness. Hydroid cover increased from March (early fall) to February (summer). Most of this pattern was caused by two of the most abundant species: Aglaophenia latecarinata Allman, 1877 and Orthopyxis sargassicola (Nutting, 1915). Hydroid richness seems to be related to S. cymosum size but not directly to its biomass. The seasonal differences in hydroid richness and algal cover are shown to be similar to other works in the study region and in the Mediterranean. Seasonal recruitment of hydroid species larvae may be responsible for their seasonal differences in algal cover, although other factors such as grazing activity of gammarid amphipods on S. cymosum must be taken into account.

Sensory phenomena in obsessive-compulsive disorder and tic disorders: A review of the literature

Introduction: A variety of subjective experiences have been reported to be associated with the symptom expression of obsessive-compulsive disorder (OCD) and Tourette syndrome (TS). First described in TS patients, these subjective experiences have been defined in different ways. There is no consensus in the literature on how to best define subjective experiences. This lack of consensus may hinder the understanding of study results and prevents the possibility of including them in the search for etiological factors associated with OCD and TS. Methods: The objective of this article was to review the descriptions of subjective experiences in the English-language literature from 1980-2007. This meta-analytic review was carried out using the English-language literature from 1980-2007 available on MEDLINE, PsycINFO, and the Cochrane Library databases using the following search terms: premonitory urges, sensory tics, ""just-right"" perceptions, sensory phenomena, sensory experiences, incompleteness, ""not just-right"" phenomena, obsessive-compulsive disorder and TS, including OCD and/or TS, in all combination searches. We also searched for the references cited in each article previously found that referred to the aforementioned terms. Thirty-one articles were included in the study. Results: Subjective experiences, in particular, the sensory phenomena, were important phenotypic variables in the characterization of the tic-related OCD subtype and were more frequent in the early-onset OCD subtype. There is a paucity of studies using structured interviews to assess sensory phenomena, their epidemiology and the etiological mechanisms associated with sensory phenomena. Conclusion: The current review provides some evidence that sensory phenomena can be useful to identify more homogenous subgroups of OCD and TS patients and should be included as important phenotypic variables in future clinical, genetic, neuroimaging, and treatment-response studies.

Metastasis of renal cell carcinoma to the buccal mucosa 19 years after radical nephrectomy

Renal cell carcinoma (RCC) has high metastatic potential, which requires early diagnosis to optimize the chance of cure. Metastasis of RCC to the head and neck region is less common and metastasis to the buccal mucosa is extremely rare. This phenomenon occurs mostly in patients with generalized dissemination, especially with lung metastases. In this article we report a case of buccal mucosa metastasis from RCC in a 65-year-old man who presented 19 years after undergoing a left radical nephrectomy for clear cell RCC. Surgical excision of the buccal lesion was performed without evidence of recurrence or new metastatic lesions after 6 years of followup. To our knowledge, this is the first case of metastasis to the buccal mucosa from a RCC reported in the literature.

Aalenian to Cenomanian Radiolaria of the Bermeja Complex (Puerto Rico) and Pacific origin of radiolarites on the Caribbean Plate

The study of the radiolarian ribbon chert is a key in determining the origins of associated Mesozoic oceanic terranes and may help to achieve a general agreement regarding the basic principles on the evolution of the Caribbean Plate. The Bermeja Complex of Puerto Rico, which contains serpentinized peridotite, altered basalt, amphibolite, and chert (Mariquita Chert Formation), is one of these crucial oceanic terranes. The radiolarian biochronology presented in this work is mainly based by correlation on the biozonations of Baumgartner et al. (1995) and O'Dogherty (1994) and indicates an early Middle Jurassic to early Late Cretaceous (late Bajocian-early Callovian to late early Albian-early middle Cenomanian) age. The illustrated assemblages contain about 120 species, of which one is new (Pantanellium karinae), and belonging to about 50 genera. A review of the previous radiolarian published works on the Mariquita Chert Formation and the results of this study suggest that this formation ranges in age from Middle Jurassic to early Late Cretaceous (late Aalenian to early-middle Cenomanian) and also reveal a possible feature of the Bermeja Complex, which is the younging of radiolarian cherts from north to south, evoking a polarity of accretion. On the basis of a currently exhaustive inventory of the radiolarite facies s.s. on the Caribbean Plate, a re-examination of the regional distribution of Middle Jurassic sediments associated with oceanic crust, and a paleoceanographic argumentation on the water currents, we come to the conclusion that the radiolarite and associated Mesozoic oceanic terranes of the Caribbean Plate are of Pacific origin. Eventually, a discussion on the origin of the cherts of the Mariquita Formation illustrated by Middle Jurassic to middle Cretaceous geodynamic models of the Pacific and Caribbean realms bring up the possibility that the rocks of the Bermeja Complex are remnants of two different oceans.

Public health significance of bipolar disorder: implications for early intervention and prevention.

OBJECTIVES: Early intervention and preventive strategies have become major targets of research and service development in psychiatry over the last few years. Compared to schizophrenia, bipolar disorder (BD) has received limited attention in this regard. In this paper, we review the available literature in order to explore the public health significance of BD and the extent to which this may justify the development of early intervention strategies for this disorder. METHODS: The main computerized psychiatric literature databases were accessed. This included Medline and PsychInfo, using the following keywords: bipolar, early intervention, staging model, burden, caregiver, public health, and manic depression. RESULTS: BD is often recurrent and has an impact that goes well beyond symptomatic pathology. The burden it incurs is linked not only to its cardinal clinical features, but also to cognitive dysfunction, poor functional outcome, poor physical health, high rate of comorbidities, and suicide. At a societal level, BD induces enormous direct and indirect costs and has a major impact on caregivers. The available literature reveals a usually long delay between illness onset and the start of treatment, and the absence of specific guidelines for the treatment of the early phase of BD. CONCLUSIONS: Considering the major impact of BD on patients and society, there is an urgent need for the development of early intervention strategies aimed at earlier detection and more specific treatment of the early phase of the disorder.

Early Modern Persian, Urdu, and English Historiography and the Imagination of Islamic India under British Rule

This paper analyses the early modern transformations of South Asian literary cultures through the production of historiography in Persian, English, and Urdu. In the 18th-19th centuries, South Asian communities experienced and participated in a major restructuring of the languages of the subcontinent. Urdu and English were institutionalized as governmental languages and utilized in new literary productions as Persian was gradually marginalized from the centre of literary and governmental polities. Three interrelated colonial policies reshaped the historical consciousness of South Asia and Britain: the production of new Persian histories commissioned under British patronage, the initiation of Urdu historiography through the translation of Persian and English histories, and the construction of the British history of India written in English. This article explores the historical and social dynamics of these events and situates the origins and evolution of the colonial historiographical project. Major works discussed are the Tārīkh-i Bangālah of Salīm Allāh Munshī (fl. 1763), James Mill's (1773-1836) The History of British India first published in 1817, Mīr Sher ʿAlī Afsos' the Ārāʾish-i mahfil, as well as the production of original Urdu histories such as Muḥammad Zakāʾ-Allāh's (1832-1910) the Tārīkh-i Hindustān.

St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing

The present study examines the repertory of liturgical chant known as St. Petersburg Court Chant which emerged within the Imperial Court of St. Petersburg, Russia, and appeared in print in a number of revisions during the course of the 19th century, eventually to spread throughout the Russian Empire and even abroad. The study seeks answers to questions on the essence and composition of Court Chant, its history and liturgical background, and most importantly, its musical relationship to other repertories of Eastern Slavic chant. The research questions emerge from previous literary accounts of Court Chant (summarized in the Introduction), which have tended to be inaccurate and generally not based on critical research. The study is divided into eight main chapters. Chapter 1 provides a survey of the history of Eastern Slavic chant and the Imperial Court Chapel of St. Petersburg until 1917, with special emphasis on the history of singing traditional chant in polyphony, the status of the Court Chapel as a government authority, and its endeavours in publishing church music. Chapter 2 deals with the liturgical background of Eastern chant, the chant genres, and main repertories of Eastern Slavic chant. Chapter 3 concentrates on chant sources: it introduces the musical notations utilised, after which a typology of chant books is presented. The discussion continues with a survey of the sources of Court Chant and their content, the specimens selected for closer analysis, the comparative materials from other repertories, and ends with a commentary on some chant sources that have been excluded. The comparative sources include a specimen from around the beginning of the 12th century, a few manuscripts from the 17th century, and printed and manuscript chant books from the early 18th to early 20th century, covering the geographical area that delimits to the western Ukraine, Astrakhan, Nizhny Novgorod, and the Solovetsky Monastery. Chapter 4 presents the approach and methods used in the subsequent analytical comparisons. After a survey of the pitch organization of Eastern Slavic chant, the customary harmonization strategy of traditional chant polyphony is examined, according to which a method for meaningful analysis of the harmony is proposed. The method is based on the observation that the harmonic framework of chant polyphony derives from the standard pitch collection of monodic chant known as the Church Gamut, specific pitches of which form eight harmonic regions that behave like the usual tonalities of major and harmonic minor. Because of the considerable quantity of comparative chant forms, computer-assisted statistical methods are applied to the analysis of chant melodies. The primary chant forms and their respective comparative forms have been pre-processed into reduced chant prototypes and divided into redactions. The analyses are carried out by measuring the formal dissimilarities of the primary chant forms of the Court Chant repertory against each comparative form, and also by measuring the reciprocal dissimilarities of all chant versions in a redaction, the results of which are subjected to agglomerative hierarchical clustering in order to find out how the chant forms relate to each other. The dissimilarities are determined by applying a metric dissimilarity function that is based on the Levenshtein Distance. Chapter 5 provides the melodic and harmonic analyses of generic chants (chants used for multiple texts of different lengths), i.e., chants for stichera samoglasny and troparia, Chapter 6 of pseudo-generic chants (chants that are used for multiple texts but with certain restrictions), i.e., chants for heirmoi, prokeimena, and three other hymns, and Chapter 7 of non-generic chants, covering nine chants that in the Court repertory are not shared by multiple texts. The results are summarized and evaluated in Chapter 8. Accordingly, it can be established that, contrary to previous conceptions, melodically, Court Chant is in effect a full part of the wider Eastern Slavic chant tradition. Even if it is somewhat detached from the chant versions of the Synodal square-note chant books and the local tradition of Moscow, it is particularly close to chant forms of East Ukraine and some vernacular repertories from Russia. Respectively, the harmonization strategies of Court Chant do not show significant individuality in comparison with those of the available polyphonic comparative sources, the main difference being the part-writing, which generally conforms to western common practice standard, whereas the deviations from this tend to be more significant in other analysed repertories of polyphonic chant. Thus, insofar as the subsequent prevalence of Court Chant is not based on its forceful dissemination by authorities (as suggested in previous literature but for which little tangible evidence could be found in Chapter 1), in the present author’s interpretation, Court Chant attained its dominance principally because musically it was considered sufficiently traditional, and as a chant body supported by the government, was conveniently available in print in serviceable harmonizations.

Vers une scène commune : rapports croisés entre poésie et chanson chez Raoul Duguay (1966-1970)

Ce mémoire porte sur les deux premiers recueils de Raoul Duguay (ruts et or le cycle du sang dure donc). Il cherche à examiner les liens étroits qu’entretient la poésie de Duguay avec la production parallèle du poète, qui s’oriente dès la fin des années 1960 vers la chanson. Le mémoire s’attachera d’abord, dans le premier chapitre, à présenter l’histoire des liens entre les poètes et la chanson au Québec afin de relever les points de contact significatifs au cours des années 1960 et de poser le cadre théorique de la chanson comme objet d’étude. Dans un deuxième temps, l’analyse des deux premiers recueils de poèmes de Duguay nous mènera à une réflexion sur la présence de la métaphore du chant, puis de la parole poétique en poésie québécoise, qui annonce un changement de paradigme dans l’approche du lyrisme et du sujet lyrique. Enfin, le troisième chapitre se penchera sur le contexte contre-culturel québécois, pour examiner le discours et le contre-discours sur la poésie, pour expliquer le phénomène de décloisonnement des genres qui conduit Raoul Duguay à investir le champ de la culture populaire de sa poésie. Il y sera aussi question du sujet « dans le langage », de l’expérience de la langue et de la subjectivité de la voix.

No Laughing Matter: Shakespearean Melancholy and the Transformation of Comedy

Mon projet de thèse démontre le rôle essentiel que tient la mélancolie dans les comédies de Shakespeare. J’analyse sa présence au travers de multiples pièces, des farces initiales, en passant par les comédies romantiques, jusqu’aux tragicomédies qui ponctuent les dernières années de sa carrière. Je dénote ainsi sa métamorphose au sein du genre comique, passant d’une représentation individuelle se rapportant à la théorie des humeurs, à un spectre émotionnel se greffant aux structures théâtrales dans lesquelles il évolue. Je suggère que cette progression s’apparent au cycle de joie et de tristesse qui forme la façon par laquelle Shakespeare dépeint l’émotion sur scène. Ma thèse délaisse donc les théories sur la mélancolie se rapportant aux humeurs et à la psychanalyse, afin de repositionner celle-ci dans un créneau shakespearien, comique, et historique, où le mot « mélancolie » évoque maintes définitions sur un plan social, scientifique, et surtout théâtrale. Suite à un bref aperçu de sa prévalence en Angleterre durant la Renaissance lors de mon introduction, les chapitres suivants démontrent la surabondance de mélancolie dans les comédies de Shakespeare. A priori, j’explore les façons par lesquelles elle est développée au travers de La Comedie des Erreurs et Peines d’Amour Perdues. Les efforts infructueux des deux pièces à se débarrasser de leur mélancolie par l’entremise de couplage hétérosexuels indique le malaise que celle-ci transmet au style comique de Shakespere et ce, dès ces premiers efforts de la sorte. Le troisième chapitre soutient que Beaucoup de Bruit pour Rien et Le Marchand de Venise offrent des exemples parangons du phénomène par lequel des personnages mélancoliques refusent de tempérer leurs comportements afin de se joindre aux célébrations qui clouent chaque pièce. La mélancolie que l’on retrouve ici génère une ambiguïté émotionnelle qui complique sa présence au sein du genre comique. Le chapitre suivant identifie Comme il vous plaira et La Nuit des Rois comme l’apogée du traitement comique de la mélancolie entrepris par Shakespeare. Je suggère que ces pièces démontrent l’instant où les caractérisations corporelles de la mélancolie ne sont plus de mise pour le style dramatique vers lequel Shakespeare se tourne progressivement. Le dernier chapitre analyse donc Périclès, prince de Tyr et Le Conte d’Hiver afin de démontrer que, dans la dernière phase de sa carrière théâtrale, Shakespeare a recours aux taxonomies comiques élucidées ultérieurement afin de créer une mélancolie spectrale qui s’attardent au-delà des pièces qu’elle hante. Cette caractérisation se rapporte aux principes de l’art impressionniste, puisqu’elle promeut l’abandon de la précision au niveau du texte pour favoriser les réponses émotionnelles que les pièces véhiculent. Finalement, ma conclusion démontre que Les Deux Nobles Cousins représente la culmination du développement de la mélancolie dans les comédies de Shakespeare, où l’incarnation spectrale du chapitre précèdent atteint son paroxysme. La nature collaborative de la pièce suggère également un certain rituel transitif entre la mélancolie dite Shakespearienne et celle développée par John Fletcher à l’intérieure de la même pièce.

Réécriture romantique du Moyen Âge, le chevalier transformé et réactualisé

En France, les changements sociaux, culturels et politiques du tournant des XVIIIe et XIXe siècles vont imposer au romantisme naissant une autre base d’inspiration que l’Antiquité qui fut celle du classicisme : le Moyen Âge. Victor et Hugo et Honoré de Balzac feront partie des auteurs romantiques qui adapteront les ressources imaginaires des œuvres médiévales dont la figure du chevalier. Pourquoi les romantiques ont-ils perçu en cette figure une source de sens ? Quels sont les aménagements nécessaires pour qu’une figure aussi liée au Moyen Âge soit réactualisée dans l’esthétique romantique? Cette étude se propose de répondre à ces question en observant la figure du chevalier dans des œuvres médiévales, Le chevalier de la charrette (Chrétien de Troyes) et Le Lancelot en prose (auteur inconnu), comparée au chevalier romantique présenté dans La légende du beau Pécopin et de la belle Bauldour (Victor Hugo) et Le frère d’armes (Honoré de Balzac). Cette comparaison permettra de mettre en lumière que cette figure est représentée dans ces œuvres transformée et actualisée.