Wax portraits and silhouettes;

"A record of wax portraits": p. 72-88.

Quellen zur Geschichte der deutschen Kaiserpolitik Oesterreichs während der französischen Revolutionskriege. 1790-1801. Urkunden, Staatschriften, dipolmatische und militärische Actenstücke,

Vols. 3-5 are a continuation by Heinrich Ritter von Zeissberg, under the direction of the Kaiserliche Akademie der Wissenschaften.

Spectacular Disappearances : Celebrity and Privacy, 1696-1801 /

How can the modern individual control his or her self-representation when the whole world seems to be watching? This question is a familiar one amid the the twenty-first century's architecture of 24-hour newsrooms, chat rooms and interrogation rooms, but this book traces this question back to the stages, the pages, and the streets of eighteenth-century London--and to the strange and spectacular self-representations performed there by England's first modern celebrities. These self-representations include the enormous wig that the actor, manager, and playwright Colley Cibber donned in his most famous comic role as Lord Foppington--and that later reappeared on the head of Cibber's cross-dressing daughter, Charlotte Charke. They include the black page of 'Tristram Shandy,' a memorial to the parson Yorick (and his author Laurence Sterne), a page so full of ink that it cannot be read. And they include the puffs and prologues that David Garrick used to hiehgten his publicity while protecting his privacy; the epistolary autobiography, modeled on the sentimental novel, of Garrick's protégée George Anne Bellamy; and the elliptical poems and portraits of the poet, actress, and royal courtesan Mary Robinson, known throughout her life as Perdita. Linking all of these representations is a quality that Fawcett terms "over-expression." 'Spectacular Disappearances' theorizes over-expression as the unique quality that allows celebrities to meet their spectators' demands for disclosure without giving themselves away. Like a spotlight so brilliant it is blinding, these exaggerated but illegible self-representations suggest a new way of understanding some of the key aspects of celebrity culture, both in the eighteenth century and today. They also challenge many of the disciplinary divides between theatrical character and novelistic character in eighteenth-century studies, or between performance studies and literary studies today. Drawing on a wide variety of materials and methodologies, 'Spectacular Disappearances' provides an overlooked but indispensable history for scholars and students of celebrity studies, performance studies, and autobiography--as well as to anyone curious about the origins of the eighteenth-century self.

Vancouver's discovery of Puget Sound; portraits and biographies of the men honored in the naming of geographic features of northwestern America,

Chapters 5-12 (p. 60-334) include a portion of Vancouver's journal, reprinted from v. 2 of his Voyage of discovery to the North Pacific Ocean, and round the world: 2d edition. London, 1801. The reprint "is designed to follow that explorer from the time he strikes the shore of the present state of Washington ... on into Puget Sound, and around Vancouver Island, and, finally, through the negotiations at Nootka".

History of the South Carolina college, from its incorporation, Dec. 19, 1801, to Dec. 19, 1865,

Mode of access: Internet.

Autobiographies and portraits of the President, cabinet, Supreme court, and Fifty-fifth Congress.

Mode of access: Internet.

Quellen zur geschichte der deutschen kaiserpolitik Oesterreichs während der französischen revolutionskriege. 1790-1801.

Mode of access: Internet.

Political pamphlets (United States) from the Durrett collection...1801-[1878] arranged chronologically.

Title page typewritten.

Stripping Sight Bare : Alison Jones’ ‘Portraits by Proxy’

In this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image.

Genetic population structure of red snappers (Lutjanus malabaricus Bloch & Schneider, 1801 and Lutjanus erythropterus Bloch, 1790) in central and eastern Indonesia and northern Australia

The genetic population structure of red snapper Lutjanus malabaricus and Lutjanus erythropterus in eastern Indonesia and northern Australia was investigated by allozyme electrophoresis and sequence variation in the control region of mtDNA. Samples were collected from eight sites in Indonesia and four sites in northern Australia for both species. A total of 13 allozyme loci were scored. More variable loci were observed in L. malabaricus than in L. erythropterus. Sequence variation in the control region (left domain) of the mitochondrial genome was assessed by RFLP and direct sequencing. MtDNA haplotype diversity was high (L. erythropterus, 0.95 and L. malabaricus, 0.97), as was intraspecific sequence divergence, (L. erythropterus, 0.0-12.5% and L. malabaricus, 0.0-9.5%). The pattern of mtDNA haplotype frequencies grouped both species into two broad fisheries stocks with a genetic boundary either between Kupang and Sape (L. malabaricus) or between Kupang and Australian Timor Sea (L. erythropertus). The allozyme analyses revealed similar boundaries for L. erythropterus. Seven allozymes stocks compared to two mtDNA stocks of L. malabaricus including Ambon, which was not sampled with mtDNA, however, were reported. Possible reasons for differences in discrimination between the methods include: i) increased power of multiple allozyme loci over the single mtDNA locus, ii) insufficient gene sampling in the mtDNA control region and iii) relative evolutionary dynamics of nuclear (allozyme loci) and mitochondrial DNA in these taxa. Allozyme and haplotype data did not distinguish separate stocks among the four Australian locations nor the central Indonesian (Bali and Sape locations) for both L. malabaricus and L. erythropterus.

Outdoor portrait of Jenny Gutman (left) and Erna Strasburger with unidentified young boy Portraits Groups

Digital Image

Unidentified nurses and injured World War I soldiers celebrating with champagne and flowers Portraits Groups

Handwritten correspondence on verso covered over with pasted black paper