Noughts and crosses ; stories, studies, and sketches.

The omnibus.--Fortunio.--The outlandish ladies.--Statement of Gabriel Foot, highwayman.--The return of Joanna.--Psyche.--The Countess of Bellarmine.--A cottage in Troy.--Old Aeson.--Stories of Bleakirk.--A dark mirror.--The small people.--The mayor of Gantick.--The doctor's foundling.--The gifts of Feodor Himkoff.--Yorkshire Dick.--The carol.--The paradise of choice.--Beside the bee-hives.--The magic shadow.

Women's League party, 1911

Detached image from student scrapbook

Report.

Vols. for 1849-58 issued in the series of Documents of the House of Representatives of the General Court of Massachusetts; 1849-58 issued in the series of Documents of the House of Representatives of the General Court of Massachusetts; 1859- in the series of Public documents of Massachusetts.

An autobiography ...

At head of title: Margot Asquith.

Four worthies : John Chamberlain, Anne Clifford, John Taylor, Oliver Heywood.

Mode of access: Internet.

The (Wo)Man in the Masque: Cross-Dressing as Disguise in Early Modern English Literature

Characters’ identities are integral to how audiences relate to them. But what happens when the character suddenly alters his or her outward appearance? Are they still the same person? This thesis seeks to argue that disguise does not alter a character’s true nature, as evidenced by Pyrocles in Sir Philip Sidney’s The Countess of Pembroke’s Arcadia and the Prince in Margaret Cavendish’s The Convent of Pleasure. Both Pyrocles’ suit of Philoclea and the Prince’s suit of Lady Happy are successful because, however subversive they appear at first, they ultimately adhere to societal norms of the time. The relationship between the cross-dressed prince and his love interest in both works only appears to subvert heteronormative expectations for the time, but ultimately adheres to these societal norms once the disguised character’s true identity is revealed to his chosen partner.

The addresses and messages of the presidents of the United States, inaugural, annual, and special, from 1789 to 1849 : with a memoir of each of the presidents and a history of their administrations; also the Constitution of the United States, and a selection of important documents and statistical information /

Half-title : The Stateman's manual.

A collection of the most approved pieces of music from various authors: transcribed while member of Harvard University, from July 1789 to July 1793

John Pierce kept this journal while he was a student at Harvard College. It consists of manuscript musical scores with annotations indicating the occasions at which the music was performed. These occasions included commencements, public exhibitions and Dudleian lectures. A note indicates that one anthem was prepared by Samuel Holyoke at Pierce's request, to be performed at Pierce's class commencement exercises, held on July 13, 1793. Several annotations were made in May 1794, the year following Pierce's graduation. There is a table of contents on the last page.

A compilation of the messages and papers of the presidents, 1789-1902 /

v. 1. 1789-1817 -- v. 2. 1817-1833 -- v. 3. 1833-1841 -- v. 4. 1841-1849 -- v. 5. 1849-1861 -- v. 6. 1861-1869 -- v. 7. 1869-1881 -- v. 8. 1881-1889 -- v. 9. 1889-1897 -- v. 10. 1897-1902 -- Index / revised and enlarged by George Raywood Devitt.

A compilation of the messages and papers of the presidents, 1789-1897.

Vols. 1-10 issued also as House misc. doc. no. 210, 53d Cong., 2d sess.

Pleopod Cuticular Morphology as an Index of Moult Stage in the Ornate Rock Lobster, Panulirus ornatus (Fabricius 1789)

Seven discrete stages and substages of moulting in the ornate rock lobster, Panulirus ornatus, have been distinguished by microscopic examination of the cuticle and setae of the pleopods . The diagnostic features and the duration of each of the stages are described. Freezing did not visually alter the tissue features used to identify each moult stage. Pleopod morphology can reliably indicate whether a lobster has moulted within the previous 24 h or is within 72 h of the next ecdysis.

Fictionalising Trauma : The Aesthetics of Marguerite Duras's India Cycle

Marguerite Duras (1914−1996) was one of the most original French writers and film directors, whose cycles are renowned for a transgeneric repetition variation of human suffering in the modern condition. Her fictionalisation of Asian colonialism, the India Cycle (1964−1976), consists of three novels, Le ravissement de Lol V. Stein (1964), Le Vice-consul (1966) and L'amour (1971), a theatre play, India Song (1973), and three films, La Femme du Gange (1973), India Song (1974) and Son nom de Venise dans Calcutta desért (1976). Duras’s cultural position as a colon in inter-war ‘Indochina’ was the backdrop for this “théâtre-text-film”, while its creation was provoked by the atrocities of World War II and post-war decolonisation. Fictionalising Trauma analyses the aesthetics of the India Cycle as Duras’s critical working-through of historical trauma. From an emotion-focused cognitive viewpoint, the study sheds light on trauma’s narrativisation using the renewed concept of traumatic memory developed by current social neuroscience. Duras is shown to integrate embodied memory and narrative memory into an emotionally progressing fiction. Thus the rhetoric of the India Cycle epitomises a creative symbolisation of the unsayable, which revises the concept of trauma from a semiotic failure into an imaginative metaphorical process. The India Cycle portrays the stagnated situation of a white society in Europe and British India during the thirties. The narratives of three European protagonists and one fictional Cambodian mendicant are organised as analogues mirroring the effects of rejection and loss on both sides of the colonial system. Using trauma as a conceptual prism, the study rearticulates this composition as three roles: those of witnessing writers, rejected survivors and colonial perpetrators. Three problems are analysed in turn by reading the non-verbal markers of the text: the white man as a witness, the subversive trope of the madwoman and the deadlock of the colonists’ destructive passion. The study reveals emotion and fantasy to be crucial elements in critical trauma fiction. Two devices intertwine throughout the cycle: affective images of trauma expressing the horror of life and death, and self-reflexive metafiction distancing the face-value of the melodramatic stories. This strategy dismantles racist and sexist discourses underpinning European life, thus demanding a renewal of cultural memory by an empathic listening to the ‘other’. And as solipsism and madness lead the lives of the white protagonists to tragic ends, the ‘real’ beggar in Calcutta lives in ecological harmony with Nature. This emphasises the failure of colonialism, as the Durasian phantasm ambiguously strives for a deconstruction of the exotic mythical fiction of French ‘Indochina’.

Food composition and digestive enzymes in the gut of the African electric catfish Malapterurus electricus (Gmelin 1789) (Malapteruridae)

Analyses of stomach contents of 330 Malapterurus electricus (standard length, 10.1-30.5 cm) in Mahin Lagoon (southwestern Nigeria) established it as a bottom feeder. There was a preponderance of insects accounting for >80% occurrence and >25% of total volume in stomachs of specimens, suggesting a stenophagous predatory habit. Qualitative and quantitative assays of digestive enzymes in the different regions of the gut (oesophagus, stomach, duodenum, ileum, rectum) were investigated. Carbohydrases (amylase, maltase), chitinase, proteases (pepsin, chymotrypsin, trypsin) and lipases were detected in different gut regions with different activity. The pattern of distribution and relative activity of the enzymes correlated with the predatory diet

The journal of the Bishop of Montreal : during a visit to the Church Missionary Society's north-west America mission; to which is prefixed, by the secretaries, an introduction, giving an account of the formation of the mission and its progress to August 1848.

http://www.archive.org/details/journalofthebish00mounuoft