Sketches of the life and character of the Rev. Lemuel Haynes, A. M., for many years pastor of a church in Rutland, Vt., and late in Granville, New-York.

Mode of access: Internet.

Correspondance entre le comte de Mirabeau et le comte de La Marck pendant les années 1789, 1790 et 1791.

Mode of access: Internet.

Supplement to the Rural sports /

"A catalogue of books on angling": p. [1]-29.

Rural sports,

Imprint varies: v. 2-3, Printed by the Philanthropic Society.

Rural sports.

Engraved t.-p.

Rural sports.

Mode of access: Internet.

State of South Carolina : Governor Hayne’s message

Governor Hayne speaks of the superiority of individual state sovereignty and states’ rights over mandates by the federal government. Hayne’s speech comes after President Andrew Jackson’s Nullification Proclamation that disputed a state’s right to nullify a federal law, in response to South Carolina’s ordinances declaring the tariff acts of 1828 and 1832 unconstitutional.

The biology of Australian weeds, Limnocharis flava

The genus name Limnocharis is derived from the Greek limno (meaning marsh or pond) and charis (meaning grace) (Haynes and Holm-Nielson 1992) and flava is Latin for yellow. The genus is generally accepted to have two species, Limnocharis flava (Linneaus) Buchenau 1868 and L. laforestii (Duchass. ex Griseb) 1858. L. flava was first named Alisma flava by Linneaus in 1753 (Haynes and Holm-Nielsen 1986). Since then, other synonyms have included Damasonium flavum Mill. 1772, Limnocharis emarginata Humb. and Bonpl. 1808, Limnocharis plumieri Rich. 1815, Limnocharis laforestii Duchas. ex Griseb (1858) and Limnocharis mattogrossensis O. Ktze. (1893) (Woodson and Schery 1943).

Collecção das Leis do Imperio do Brasil de 1833

Parte 1 - Atos do Poder Legislativo

Eusébio de Queirós: chefe de polícia da Corte (1833-1844)

Nesta dissertação apresentamos uma análise da trajetória de Eusébio de Queirós no período em que ele ocupava o cargo de chefe de polícia da Corte (1833-1844), momento de grande turbulência social no Império, e consolidação das posições do Regresso Conservador. Mostramos como Eusébio de Queirós se precipitou sobre o "vazio" de atribuições que caracterizava a função de chefe de polícia, tornando-se um articulador da administração da justiça na Corte, após assumir a direção de uma Secretaria de Polícia da Corte com uma estrutura precária, em meio às discussões acerca do regime policial estabelecido com a adoção do Código de Processo Criminal de 1832. A ideia de que no compartilhamento da informação entre as autoridades estava a pedra angular da segurança pública foi uma constante na trajetória de Queirós, exemplificados na abordagem dada à Revolta dos Malês (1835) e às Revoltas Liberais de 1842. Esta pesquisa trabalha uma entre as possíveis caracterizações de Eusébio de Queirós, considerando as implicações de ordens biográfica e historiográfica, procurando problematizar por meio de uma trajetória específica aspectos que circundam o processo de construção do Estado nacional no Brasil.

On a new genus and new species of xanthid crab (Crustacea, Decapoda, Brachyura, Xanthinae) from the South China Sea, with notes on the genus Liagore De Haan, 1833

A new genus and new species of xanthid crab, Ovatis simplex, is described from the South China Sea. The genus is closest to Liagore but can be distinguished by a suite of carapace and male gonopod characters. The systematic position of Liagore is also considered, and both genera, Liagore and Ovatis, are here referred to the subfamily Xanthinae. Comparisons with the allied genera, Paratergatis and Pulcratis, are also provided.

Letter to V.V. Haynes, 04/02/1878

Two page letter from Daniel D. Whedon to V.V. Haynes. Dated March 2, 1878.

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.