État des communes à la fin du XIXe siècle /

Each volume deals with a single commune.

Histoire des biens communaux en France, depuis leur origine jusqu'à la fin du XIIIe siècle,

"Ouvrage couronné par l'Académie des inscriptions et belles-lettres."

(La) peinture de diableries à la fin du moyen-âge, Jérôme Bosch ...

Mode of access: Internet.

Sulla ricomposizione e ricostruzione della cantoria di Giovanni Pisano. Sommario esame di alcuni studi fin qui fatti proposte.

"Progetto di ricomposizione della cantoria di Giovanni Pisano. Rapporti coi pulpiti della Scuola Pisana e con altri progetti" (2 pl., accordion fold.) in pocket.

Mémoires pour servir à l'histoire des événemens de la fin du dix-huitième siècle depuis 1760 jusqu'en 1806-1810,

t. 1. 1. section. De la destruction des jésuites. 2. section. Des dernières années du règne de Louis XV. 3. section. Du règne de Louis XVI jusqu'a l'Assemblée des notables.--t. 2. 4. section. Du fameux procés du collier. 5. section. De la révolution français.--t. 3-5. [5. section, suite] De la révolution française.--t. 6. Sur la route de poste de Fribourg en Brisgaw à Saint-Pétersbourg. Voyage à Saint-Pétersbourg.

Variations of fin whale vocalizations in the Northeast Pacific and the effects of environmental parameters on acoustic sensitivity

Senior thesis written for Oceanography 445

Homology of fin lepidotrichia in osteichthyan fishes

Lepidotrichia are dermal elements located at the distal margin of osteichthyan fins. In sarcopterygians and actinopterygians, the term has been used to denote the most distal bony hemisegments and also the more proximal, scale-covered segments which overlie endochondral bones of the fin. In certain sarcopterygian fishes, including the Rhizodontida, these more proximal, basal segments are very long, extending at least half the length of the fin. The basal segments have a subcircular cross section, rather than the crescentic cross section of the distal lepidotrichial hemisegments, which lack a scale cover and comprise short, generally regular, elements. In rhizodonts and other sarcopterygians, e.g. Eusthenopteron, the basal elements are the first to appear during fin development, followed by the endochondral bones and then the distal lepidotrichia. This sequence contradicts the 'clock-face model' of fin development proposed by Thorogood in which the formation of endochondral bones is followed by development of lepidotrichia. However, if elongate basal 'lepidotrichia' are not homologous with more distal, jointed lepidotrichia and if the latter form within a distal fin-fold and the former outside this fold, then Thorogood's 'clock-face' model remains valid. This interpretation might indicate that the fin-fold has been lost in early digited stem-tetrapods such as Acanthostega and Ichthyostega and elongate basal elements, but not true lepidotrichia, occur in the caudal fins of these taxa.

Fin spacing interaction in fluidized bed heat exchangers

The work presented in this thesis is concerned with the heat transfer performance of a single horizontal bare tube and a variety of finned tubes immersed in a shallow air fluidized bed. Results of experimental investigations with the bare tube indicate that the tube position in the bed influences its performance narticularly where fine bed materials are used. In some cases the maximum heat transfer is obtained with the tube in the particle cloud just above the dense phase fluidized bed - a phenomenon that has not been previously observed. This was attributed to the unusual particle circulation in shallow beds. The data is also presented in dimensionless correlations which may be useful for design purposes. A close approximation to the bare tube data can be obtained by using thetransient heating of a spherical robe and this provides a valuable way of accumulating a lot of data very rapidly. The experimental data on finned tubes shows that a fin spacing less than twenty times the average particle diameter can cause a significant reduction in heat transfer due to the interaction which takes place between the particles and the surface of the fins. Furthermore, evidence is provided to show that particle shape plays an important part in the interaction with spherical particles being superior to angular particles at low fin spacing/particle diameter ratio. The finned tube data is less sensitive to tube position in the bed than bare tubes and the best performance is when the tube is positioned at the distributor.A reduction in bed depth decreases the thermal performance of the finned tube but in many practical installations the reduction in pressure drop might more than comnensate for the reduced heat flux. Information is also provided on the theoretical uerformance of fins and the effect of the root contact area between the fins and the tube was investigated.

Die Behandlung englischen Kulturgutes im Wiener fin de siècle:am Beispiel von Hugo von Hofmannsthal, Hermann Bahr und Peter Altenberg

This study explores the fascination which English culture represented in turn-of-the-century Vienna. The writers that are going to be discussed are the renowned Anglophile Hugo von Hofmannsthal, the more ambivalent Hermann Bahr and the idealizing, but Janus-faced Peter Altenberg. With the more widely known poet, prose writer and playwright, Hofmannsthal, individual aspects of his engagement with English culture have already been well researched; the same, however, cannot be said in the case of Hermann Bahr, whose extensive literary oeuvre has now largely been forgotten, and who has, instead, come to be valued as a prominent figure in the culture life of modernist Vienna, and Peter Altenberg, whose literary fame rests mainly on his prose poems and who, a legend in his life-time, has in recent years also increasingly attracted research interest as a phenomenon and ‘embodiment’ of the culture of his time: while their engagement with French literature, for example, has long received its due share of attention, their debt to English culture has, until now, been neglected. This thesis, therefore, sets out to explore Hofmannsthal’s, Bahr’s and Altenberg’s perception and portrayal of English civilization – ranging from English character and stereotypes, to what they saw as the principles of British society; it goes on to investigate the impulses they derive from Pre-Raphaelite art (Rossetti, Burne-Jones, Whistler) and the art and crafts-movement centred around William Morris, as well as their inspiration by the art criticism of John Ruskin and Walter Horatio Pater. In English literature one of the focal points will be their reading and evaluation of aestheticism as it was reflected in the life and writings of the Dubliner Oscar Wilde, who was perceived, by these Austrian authors, as a predominant figure of London’s cultural life. Similarly, they regarded his compatriot George Bernard Shaw as a key player in turn-of-the-century English (and European) culture. Hermann Bhar largely identified with him. Hofmannsthal, on the other hand, while having some reservations, acknowledged his importance and achievements, whereas Peter Altenberg saw in Shaw a model to reassure him, as his writings were becoming more openly didactic and even more miniaturistic than they had already been. He turned to Shaw, too, to explain and justify his new goal of making his texts more intelligent to a wider circle of readers.

La escultura, el medio, su entorno y su fin

La primera parte de esta tesis se dedicó sobre todo a los aspectos relacionados con el concepto de la escultura. En la introducción y en los cuatro primeros capítulos se plantean los fundamentos que tratan los aspectos más personales tanto en la poética en que se encuadra el quehacer escultórico, como las aspiraciones éticas, estéticas y técnicas del trabajo. Para ello se ha realizado un análisis y reflexión sobre los tres artistas que mayor relevancia y peso han tenido y tienen sobre el realismo y la figuración española: Francisco López, Julio López y Antonio López. El Medio ( el Taller), es un recorrido por los espacios y las técnicas, los procesos y los materiales en los que se mueven los artistas en general a través de la historia, y en particular de los creadores que son materia de nuestro estudio. En el capítulo, El Entorno hacemos un breve recorrido por la historia del taller del artesano al taller del escultor en base al aprendizaje, y su evolución hasta la formación en las escuelas y sus procesos. Desde el plano personal hacemos una breve indagación sobre la influencia de las vivencias en la sensibilidad y las emociones en relación con la creación artística...

Un modèle complexe de la prise de décisions de soins en fin de vie

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Les prédicteurs psychologiques de la fin prématurée du traitement chez des agresseurs sexuels judiciarisés

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

Reimagining the Baroque in Italian Modernism. From the fin-de-siècle to Lucio Fontana

While Italian art of the twentieth century is usually associated with either the avant-garde practices of Futurism or the classicism of Fascist visual culture, the Italian modernists' complex engagement with concepts of the ‘Baroque’ has yet to be explored. Through an extensive analysis of paintings, sculptures, publications, collecting practices, and exhibitions, my dissertation addresses this lacuna by investigating how the Baroque was discursively constructed and visually represented in Italian modernist artistic and cultural debates between 1880 and 1945. I study how artists and critics such as Umberto Boccioni, Giorgio De Chirico, Adolfo Wildt, Lucio Fontana, and Roberto Longhi championed or disparaged the Baroque in the context of heated debates over the import of Italy’s rich cultural heritage, its status in modern Europe, and the potential role of avant-garde art as a catalyst for national regeneration. In contrast to previous scholars I argue that the development of modern art in Italy was actively shaped by cultural perceptions about the Baroque. My dissertation therefore sheds new light on the role of style in the cultural politics of Italy, which in turn will transform our understanding of visual culture in modern Italy, and of twentieth-century representations of the Baroque in art, literature, and aesthetics.