Bernisches Mausoleum, oder Vorderst GOTT Zur Ehr/ Lob/ und Danck:

Bound in full blue-gray marbles paper covered boards. Title in gilt on red leather label mounted on spine.

Las épocas de la historia alemana

UANL

Die aera Bülow;

Mode of access: Internet.

Das Leben Johannes Oekolampads und die Reformation der Kirche zu Basel /

Appendix in Latin.

Kaikkialla minne hän katsoo, hän näkee Sinut : Johannes Viiniköynnöksen käsitys ruumiillisten ja hengellisten aistien merkityksestä Jumalan tuntemisessa

Johannes Viiniköynnös oli 700-luvulla syyrialaisella kielialueella elänyt erakko ja mystikko, jonka värikkäissä ja runollisissa kirjoituksissa käsitellään monenlaisia hengellisen elämän kysymyksiä. Eräs merkille pantava piirre hänen ilmaisussaan on hengellisten aistikielikuvien runsaus. Tässä pro gradu -tutkielmassa Johannes Viiniköynnöksen kirjoitukset liitetään osaksi patristista hengellisten aistien traditiota. Tutkielmassa selvitetään, miten Johannes ymmärtää sisäisen ja ulkoisen aistitoiminnan merkityksen ja muutoksen hengellisen elämän eri vaiheissa. Kysymys sisältää sekä epistemologisen että antropologisen tason: Ensinnäkin analysoidaan, mikä on ruumiillisen ja hengellisen aistitoiminnan tiedollinen merkitys hengellisessä elämässä ja Jumalan tuntemisessa. Sen ohella pohditaan, minkä roolin Johannes antaa ruumiille ja sielulle tässä prosessissa ja millaisia muutoksia niiden suhteessa tapahtuu hengellisen elämän edetessä. Tutkielmassa tarkastellaan Johanneksen käsitystä aistitoiminnasta sekä askeettisen kilvoittelun että mystisen kontemplaation yhteydessä. Analyysissa osoittautuu, että Johanneksen käsitys ihmisen langenneesta aistitoiminnasta sisältää stoalaisen havaintoteorian elementtejä, jotka ovat välittyneet hänelle Evagrios Pontoslaisen kautta. Johannes painottaa, että ihmisen on irtauduttava aistimaailman impulsseista ja käännettävä katseensa omaan sisimpäänsä, sillä Jumala voidaan oppia tuntemaan vain sielun peilistä kuvastuvana heijastuksena. Johannes Viiniköynnökselle mystinen elämä merkitsee yhdistymistä Kristuksen mieleen, jonka kautta avautuvat kaikki hengelliset salaisuudet. Ne vastaanotetaan aistien kaltaisilla kyvyillä, joita Johannes kutsuu sielun voimiksi . Analyysi hengellisen aistivaikutuksen välittymisestä osoittaa, että Johanneksen aistiteologiassa tapahtuu askeesista kontemplaatioon siirryttäessä myös siirtymä stoalaisen havainto-opin periaatteista uusplatonistiseen emanaatiomalliin, jossa aistivaikutus välittyy intellektin kautta sieluun ja lopulta ruumiiseen. Tutkielmassa tuodaan esiin, että hengelliseen aistikieleen sisältyy myös tiettyjä ongelmia. Se kuvaa aina väistämättä olemisen tapaa, joka muistuttaa ihmisen ruumiillista eksistenssiä aineellisessa maailmassa. Tarkastelussa kuitenkin osoittautuu, että Johannes on tietoinen tästä ongelmasta ja vastaa siihen kuvaamalla mystisen yhtymyksen huipentuman tilaksi, jossa kaikki aistinta lamaantuu. Tästä tilasta voidaan puhua vain apofaattisesti negaatioilla ja paradokseilla, jotka irrottavat Jumalan aistimaailman lainalaisuuksista. Tutkielmassa kiinnitetään huomiota arvoon, jonka Johannes antaa sekä aineelliselle luodulle että ihmisruumiille Jumalan tuntemisessa, ja korostetaan, ettei platonistisen filosofian vaikutus väistämättä tarkoita ruumiin ja hengen dualismia. Lopuksi esitetään, että hengellisten aistien ideaa on hedelmällisintä tarkastella koko hengellisen elämän kattavana tiedollisten kykyjen transformaationa eikä pelkkänä mystisen kontemplaation erityisaspektina.

THE PIANO MUSIC OF ROBERT SCHUMANN (1810-1856) AND JOHANNES BRAHMS (1833- 1897): A SURVEY OF CONCERTI, VARIATIONS, AND CHARACTER PIECES

Robert Schumann (1810-1856) and Johannes Brahms (1833-1897), in some ways Robert Schumann's artistic descendant, are the most important and representative German piano composers during the Romantic period. Schumann was already a mature and established musician in 1853 when he first met the young Brahms and recognized his talents, an encounter that had a long-lasting affect on the lives and careers of both men. After Schumann’s mental breakdown and death, Brahms maintained his admiration of Schumann’s music and preserved an intimate relationship with Clara Schumann. In spite of the personal and musical closeness of the two men, Schumann’s music is stylistically distinct from that of Brahms. Brahms followed traditions from Baroque and Classical music, and avoided using images and expressive titles in his music. Brahms extraordinarily intermingled earlier musical forms with multicolored tones of German Romanticism. In contrast, Schumann saw himself as a radical composer devoted to personal emotionalism and spontaneity. He favored programmatic titles for his character pieces and extra-musical references in his music. While developing their own musical styles as German Romantic composers, Schumann and Brahms both utilized the piano as a resourceful tool for self-realization and compositional development. To investigate and compare the main characteristics of Schumann and Brahms’s piano music, I looked at three genres. First, in the category of the piano concerto, I chose two major Romantic works, Schumann’s A minor concerto and Brahms’s B-flat major concerto. Second, for the category of piano variations I included two sets by Brahms because the variation framework was such an important vehicle for him to express his musical thoughts. Schumann’s unique motivic approach to variation is displayed vividly in his character-piece cycle Carnaval. Third, the category of the character piece, perhaps the favorite medium of Romantic expression at the piano, is shown by Schumann’s Papillons and Brahms’s sets of pieces Op.118 and Op.119. This performance dissertation consists of three recitals performed in the Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

Defining the role of common variation in the genomic and biological architecture of adult human height

Using genome-wide data from 253,288 individuals, we identified 697 variants at genome-wide significance that together explained one-fifth of the heritability for adult height. By testing different numbers of variants in independent studies, we show that the most strongly associated 1/42,000, 1/43,700 and 1/49,500 SNPs explained 1/421%, 1/424% and 1/429% of phenotypic variance. Furthermore, all common variants together captured 60% of heritability. The 697 variants clustered in 423 loci were enriched for genes, pathways and tissue types known to be involved in growth and together implicated genes and pathways not highlighted in earlier efforts, such as signaling by fibroblast growth factors, WNT/I 2-catenin and chondroitin sulfate-related genes. We identified several genes and pathways not previously connected with human skeletal growth, including mTOR, osteoglycin and binding of hyaluronic acid. Our results indicate a genetic architecture for human height that is characterized by a very large but finite number (thousands) of causal variants.

Heinrich e Cécile Daniker-Haller - A música doméstica na vida de um casal de negociantes entre Zurique e o Rio de Janeiro na primeira metade do século XIX

O casal de suíços, Heinrich (1795–1866) e Cécile Däniker-Haller (1816–1887), com seus filhos, viveu no Rio de Janeiro entre 1828 e 1852. Comerciantes prósperos, cosmopolitas e melômanos, deixaram grande quantidade de informações sobre suas atividades de música em ambiente doméstico daquele período, mas também depois de terem voltado a se estabelecer na Suíça. O Genealogisches Archiv der Helene und Cécile Rübel Familienstiftung (FA HCR), na cidade de Zurique, documenta a história desta família. As informações registradas pelo casal estudado, principalmente em forma de cartas e diários, permitem-nos conhecer e analisar a prática musical em ambiente doméstico das famílias estrangeiras no Rio de Janeiro, e demonstrar quais eram os repertórios por eles utilizados. Entre as conclusões tiradas, inclui-se o fato de que o romantismo alemão teria feito sua entrada no ambiente musical brasileiro através dos salões musicais das famílias estrangeiras, exatamente como foi o caso em outras cidades do mundo não germânico. Nos documentos deixados pela família Däniker-Haller encontram-se os mais antigos testemunhos até hoje encontrados da execução de Lieder de Schubert em ambiente doméstico no Rio de Janeiro. Por outro lado, a prática da Hausmusik na cidade de Zurique vem descrita e comparada àquela carioca. A análise destes relatos também nos permite descrever a diferença que havia entre os eventos musicais em ambiente doméstico íntimo e informal, e os "salões musicais", onde diletantes se produziam em esfera semi-pública previamente preparados e ensaiados, e a marcante diferença no repertório destes dois tipos de eventos sociais.

Haller Jacques, Royal club nautique de Gand [skiff, Mâcon, 15/8/20, championnats d'Europe d'aviron] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60531

Johannes Halensis in Psalmos (Jean de Galles).

Carmes.