Performed acculturation at Fort Marion : a case study of Zotom's drawings

This study examines how Native American warriors imprisoned at Fort Marion in St. Augustine, Florida, between 1875 and 1878, used their drawings to perform acculturation. I use the Kiowa warrior Paul Caryl Zotom’s drawings as a case study to demonstrate how the prisoners became methodical and formulaic in their subject matter and artistic style. Euro-American visitors to Fort Marion appreciated particular drawings over others, thereby directing subject matter. Prisoners adopted European artistic standards, thus, connected with their White audience further. Zotom’s embrace of both the subject matter and artistic style that the Euro-American audience appreciated most indicates his desire to demonstrate how successful he and his fellow prisoners were at adopting the white man’s road. I argue that much of the apparent change displayed visually in Zotom’s drawings was performed rather than true acculturation.

Saint Augustine, Saint Johns County, Florida, illustrated : pictorial edition of the St. Augustine Evening Record : history and guide.

Cover title.

The history of Saint Augustine, Florida, with an introductory account of the early Spanish and French attempts at exploration and settlement in the territory of Florida;

Mode of access: Internet.

Effects of plant regulators on the growth and flowering of Saint Augustine grass plants

The objective of this work was to evaluate the effects of three plant growth inhibitors on the development and emission of floral rachis of Saint Augustine grass [Stenotaphrum secundatum (Walt.) Kuntzel] plants. The study was carried out in a 15 month old lawn with the experimental plots being distributed in accordance with a complete randomized block design with four replications. The treatments consisted of sole application of trinexapac-ethyl (113, 226, 452, 678, and 904 g ai ha(-1)), prohexadione-calcium (100 and 200 g ai ha(-1)), and bispyribac-sodium (40 and 60 g ai ha(-1)) plus a check treatment in which the plants were not submitted to any of the plant growth inhibitors. The effects of those products were evaluated in terms of visual signs of plant intoxication, plant height, emission and height of floral rachises, and chip total dry matter production. All the plant growth inhibitors resulted in visible injury to the plants but these intoxication signs practically disappeared 28 days after the application. Trinexapac-ethyl at the dose of 904 g ai ha(-1) reduced plant height by 59.7%, the emission of floral rachis by 96.4%, and the amount of chip dry matter production by 87.7%. Plant growth inhibitors may reduce the number of times of lawn plants cutting up to 119 days after their application with no harmful effects on the plants visual aspect.

On old and new inventions for keeping pictorial works of art : with addenda : prepared to be read before the Society of Arts /

Caption title: On old and new inventions for preserving pictorial works of art.

Sir Francis Drake revived : who is or may be a pattern to stirre up all heroicke and active spirits of these times, to benefit their countrey and eternize their names by like noble attempts : Being a summary and true relation of foure severall voyages made by the said Sir Francis Drake to the West-Indies ... His voyage made with Chistopher Carleill, Martin Frobusher, Francis Knollis, and others, Their taking the townes of Saint Jago, Sancto Domingo, Carthagena and Saint Augustine : His last voyage (in which he dyed) being accompanied with Sir John Hawkins, Sir Thomas Baskerfield, Sir Nicholas Clifford, with others : His manner of buriall /

La primera obra relata el viaje de 1572-1573, la segunda el viaje de 1577-1580, la tercera el de 1585-1586 y la última del viaje de 1595-1596, en el que murió.

Albert Camus' hellenic heart, between Saint Augustine and Hegel

This chapter situates Camus' Hellenism in the context of other French modernists in literature. It examines Camus' youthful Hellenism, rooted in his own experiences growing up in French Algeria. It then examines the philosophical dimensions of his defence of classical mesure, in the context of the 20th century European disaster. It also looks at his reading of Greek tragedy, and his key contrast of Prometheus as rebel, with Satan.

The harbour of St. Augustín in East Florida.

Scale approximately 1:32,500.

O tempo e sua reflexão a partir da obra de Iannis Xenakis

Pós-graduação em Música - IA

Voz narrativa e memória: a busca de identidade pelas protagonistas de Felicidade clandestina, de Clarice Lispector e de Lives of girls and women, de Alice Munro. -

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Labyrinthum capellae. Le "Annotationes in Marcianum" di Giovanni Scoto Eriugena e la fortuna del neoplatonismo cristiano

The labyrinthum Capella quoted in the title (from a Prudentius of Troyes epistle) represents the allegory of the studium of the liberal arts and the looking for knowledge in the early middle age. This is a capital problem in the early Christianity and, in general, for all the western world, concerning the relationship between faith and science. I studied the evolution of this subject from its birth to Carolingian age, focusing on the most relevant figures, for the western Europe, such Saint Augustine (De doctrina christiana), Martianus Capella (De Nuptiis Philologiae et Mercurii) and Iohannes Scotus Eriugena (Annotationes in Marcianum). Clearly it emerges that there were two opposite ways about this relatioship. According to the first, the human being is capable of get a knowledge about God thanks to its own reason and logical thought processes (by the analysis of the nature as a Speculum Dei); on the other way, only the faith and the grace could give the man the possibility to perceive God, and the Bible is the only book men need to know. From late antiquity to Iohannes Scotus times, a few christian and pagan authors fall into line with first position (the neoplatonic one): Saint Augustine (first part of his life, then he retracted some of his views), Martianus, Calcidius and Macrobius. Other philosophers were not neoplatonic bat believed in the power of the studium: Boethius, Cassiodorus, Isidorus of Seville, Hrabanus Maurus and Lupus of Ferriéres. In order to get an idea of this conception, I finally focused the research on Iohannes Scotus Eriugena's Annotationes in Marcianum. I commented Eriugena's work phrase by phrase trying to catch the sense of his words, the reference, philosophical influences, to trace antecedents and its clouts to later middle age and Chartres school. In this scholastic text Eriugena comments the Capella's work and poses again the question of the studium to his students. Iohannes was a magister in schola Palatina during the time of Carl the Bald, he knew Saint Augustine works, and he knew Boethius, Calcidius, Macrobius, Isidorus and Cassiodorus ones too. He translated Pseudo-Dionysius the Areopagite and Maximus the Confessor. He had a neoplatonic view of Christianity and tried to harmonize the impossibility to know God to man's intellectual capability to get a glimpse of God through the study of the nature. According to this point of view, Eriugena's comment of Martianus Capella was no more a secondary work. It gets more and more importance to understand his research and his mystic, and to understand and really grasp the inner sense of his chief work Periphyseon.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Letters of Montiano; siege of St. Agustine [sic]

A collection of 36 letters dated from Nov. 11, 1727 to Jan. 2, 1741, copied from letter books in the East Florida archives at St. Augustine for F. L. Hawks and certified by the archivist in 1844. No. 1 is signed by Manuel Joseph de Justis, the others (bearing certain numbers between 2 and 248) by Manuel Montiano.