al- Khazrajīyah : manuscript, 1640

Copied in 1050 AH? [1640 or 1641 AD?]

Der beyân-ı şengerf-i rûmî : manuscript, undated

Cream laid paper with watermarks. 19.9 x 14.3 cm.

Sharḥ al-Ḥamāsah : manuscript, undated

Volume 1 of a two-volume set.

Sharḥ al-Waraqāt / lil-Imām al-Maḥallī : manuscript, 1649

Dated 16 Rajab 1059 [July 26, 1649].

Zubdat al-mukhtaṣarāt fī sharḥ al-Waraqāt : manuscript, 1553

Copy completed on 26 Jumādá al-ūlá 960 [May 9, 1553] (f. 37v).

al- Sāmī fī al-asāmī : manuscript, 1251

Written in one column, from 19 (ff. 1r-92v) to 21 (ff. 93r-114v) lines per page, in black now faded and red.

Nuzhat al-nāẓirīn fī tārīkh man waliya Miṣr min al-khulafāʼ wa-al-nāṣirīn : manuscript, 1777

بسم الله الرحمن الرحيم وبه تعال قال العبد الفقير الى الله تعالاى مرعي بن يوسف الحنبلي ... :Incipit

Description of the domains of Egypt : manuscript, undated

Title supplied by cataloger.

Kalimāt al-shuʻarāʼ : manuscript, undated

Unbound.

Kitāb Fatḥ al-fayyāḍ fī ʻilm al-farāʼiḍ : manuscript, 1911

Title translation : The Endowment of the Generous [i.e. God] regarding the Science of Inheritance.

Tarjamah-ʹi Tārīkh-i Yangī Dunyā : manuscript, 18th cent

Title supplied by the cataloger.

Short nomenclator or vocabular in English and Hebrew: composed alphabetically for the use and benefit of my pupils in particular and for the advantage of those who are desirous to obtain the knowledge of the Hebrew tongue in general, which may be that great help to understand not only ye sacred oracles in their original, but even any Jewish author (so far as concern owns) as also it may give great insight in ye tongue to those, as to compose it, a work altogether new, [ca. 1735]

Headed on the first page with the words "Nomenclatura hebraica," this handwritten volume is a vocabulary with the Hebrew word in the left column, and the English translation on the right. While the book is arranged in sections by letter, individual entries do not appear in strict alphabetical order. The small vocabulary varies greatly and includes entries like enigma, excommunication, and martyr, as well as cucumber and maggot. There are translations of the astrological signs at the end of the volume. Poem written at the bottom of the last page in different hand: "Women when good the best of saints/ that bright seraphick lovely/ she, who nothing of an angel/ wants but truth & immortality./ Verse 2: Who silken limbs & charming/ face. Keeps nature warm."

An Hebrew grammar, collected chiefly from those of Mr. Israel Lyons, teacher of Hebrew in the University of Cambridge; and the Rev. Richard Grey, D.D. rector of Hinton, in Northamptonshire: To which is subjoined a praxis, taken from the sacred classics, and containing a specimen of the whole Hebrew language: with a sketch of the Hebrew poetry

as retrieved by Bishop Hare ...

Art in early childhood : the discourse of 'proper' teaching

This thesis is a problematisation of the teaching of art to young children. To problematise a domain of social endeavour, is, in Michel Foucault's terms, to ask how we come to believe that "something ... can and must be thought" (Foucault, 1985:7). The aim is to document what counts (i.e., what is sayable, thinkable, feelable) as proper art teaching in Queensland at this point ofhistorical time. In this sense, the thesis is a departure from more recognisable research on 'more effective' teaching, including critical studies of art teaching and early childhood teaching. It treats 'good teaching' as an effect of moral training made possible through disciplinary discourses organised around certain epistemic rules at a particular place and time. There are four key tasks accomplished within the thesis. The first is to describe an event which is not easily resolved by means of orthodox theories or explanations, either liberal-humanist or critical ones. The second is to indicate how poststructuralist understandings of the self and social practice enable fresh engagements with uneasy pedagogical moments. What follows this discussion is the documentation of an empirical investigation that was made into texts generated by early childhood teachers, artists and parents about what constitutes 'good practice' in art teaching. Twenty-two participants produced text to tell and re-tell the meaning of 'proper' art education, from different subject positions. Rather than attempting to capture 'typical' representations of art education in the early years, a pool of 'exemplary' teachers, artists and parents were chosen, using "purposeful sampling", and from this pool, three videos were filmed and later discussed by the audience of participants. The fourth aspect of the thesis involves developing a means of analysing these texts in such a way as to allow a 're-description' of the field of art teaching by attempting to foreground the epistemic rules through which such teacher-generated texts come to count as true ie, as propriety in art pedagogy. This analysis drew on Donna Haraway's (1995) understanding of 'ironic' categorisation to hold the tensions within the propositions inside the categories of analysis rather than setting these up as discursive oppositions. The analysis is therefore ironic in the sense that Richard Rorty (1989) understands the term to apply to social scientific research. Three 'ironic' categories were argued to inform the discursive construction of 'proper' art teaching. It is argued that a teacher should (a) Teach without teaching; (b) Manufacture the natural; and (c) Train for creativity. These ironic categories work to undo modernist assumptions about theory/practice gaps and finding a 'balance' between oppositional binary terms. They were produced through a discourse theoretical reading of the texts generated by the participants in the study, texts that these same individuals use as a means of discipline and self-training as they work to teach properly. In arguing the usefulness of such approaches to empirical data analysis, the thesis challenges early childhood research in arts education, in relation to its capacity to deal with ambiguity and to acknowledge contradiction in the work of teachers and in their explanations for what they do. It works as a challenge at a range of levels - at the level of theorising, of method and of analysis. In opening up thinking about normalised categories, and questioning traditional Western philosophy and the grand narratives of early childhood art pedagogy, it makes a space for re-thinking art pedagogy as "a game oftruth and error" (Foucault, 1985). In doing so, it opens up a space for thinking how art education might be otherwise.

Mathematical notebook attributed to Thaddeus Mason Harris, ca. 1787

Hardcover notebook containing handwritten transcriptions of rules, cases, and examples from 18th century mathematical texts. The author and purpose of the volume is unclear, though it has been connected with Thaddeus Mason Harris (Harvard AB 1787). Most of the entries include questions and related answers, suggesting the notebook was used as a manuscript textbook and workbook. The extracts appear to be copied from John Dean's " Practical arithmetic" (published in 1756 and 1761), Daniel Fenning's "The young algebraist's companion" (published in multiple editions beginning in 1750), and Martin Clare's "Youth's introduction to trade and business" (extracts first included in 1748 edition).