108 research outputs found
Fungiacyathus (Fungiacyathus) stephanus
No full textFungiacyathus (F.) stephanus (Alcock, 1893) Bathyactis stephanus Alcock, 1893: 149, pl. 5, figs. 12, 12a. Fungiacyathus stephanus.– Cairns, 1989a: 7–9, pl. 1a–k, 2a,b (description, synonymy); 1995: 31–31, pl. 1, figs. a–c (NZ).– Cairns & Zibrowius, 1997: 68–69 (NT).– Cairns, 1998: 369 (WA); 1999a: 54–56 (synonymy, tabular comparison). New records. NEW SOUTH WALES: Kapala 75/5/5, 1, AM G16414; Kapala 78/27/5, 1, AM G16384; NZOI U219, 1, AM G16556; NZOI U222, 1, AM G16610. — WESTERN AUSTRALIA: Bhagwan 4, 1, WAM Z13056; Lady Basten 1031403, 1, WAM Z16002. Types. The holotype is presumed to be deposited at the Calcutta Museum, India (Cairns, 1989a), although it has not been examined by the author. Type Locality: 15°43'30"N 81°19'30"E (off Kistna Delta, Bay of Bengal), 1240 m.Published as part of Cairns, S. D., 2004, The Azooxanthellate Scleractinia (Coelenterata: Anthozoa) of Australia, pp. 259-329 in Records of the Australian Museum 56 on page 27
Philoponus, Stephanus and the De Anima
No full textThe Greek commentary on Aristotle’s De Anima is assigned by Michael Hayduck to Philoponus, except that he assigns Book 3 to Stephanus. The true continuation of Books 1 and 2 is now known to be a Latin text which claims to be a translation from Philoponus. Peter Lautner, however, contends that both the full commentary and the stray Book 3 are by Philoponus. Pantelis Golitsis argues that Philoponus composed the stray Book 3 while the full commentary is by his tutor Ammonius. Here it will be argued that: (a) Lautner is probably right to deny the stray Book 3 to Stephanus; (b) the criteria employed by Golitsis suggest that Philoponus had a hand in both the Greek and the Latin Book 3; (c) Philoponus is therefore likely to be the author of both the full commentary, as editor of Ammonius, and the stray Book 3 in his own right
Ex-Centric Hermeneutics in Stephanus Muller's <i>Nagmusiek</i>
No full textIn this review article the author reads Nagmusiek – Stephanus Muller's monumental metafictional biography of South African composer Arnold van Wyk – as an extended allegory on the geopolitics of academic writing. She argues that the book articulates, through its unusual physical apparatus, narratological techniques and metafictional hermeneutic deconcealment, a valuable theory-in-praxis of the aporetics of peripheral writing. In so doing, Muller materializes Walter Mignolo's notion of ‘epistemic delinking’ in radically original and risky ways.</jats:p
The observations of a voyager: Stephanus Hanewinckel on the dialects of the Meijerij
No full textThis paper describes the relatively unknown genre of the travelogues, travel journals in which a dilettante anthropologist author presents information about unknown cultures and regions. Some of these travelogues contain linguistic information that is overlooked so far. In this paper a Dutch author of printed travel journals, Stephanus Hanewinckel, will be introduced. His early dialectological remarks and data will be presented and analyzed. Moreover the history of the Parable of the Prodigal Son as a sample text for dialect comparison will be discussed. The article ends with an edition of Hanewinckel’s early 19th century version of the Parable of the Prodigal Son in a Dutch dialect from the province of North Brabant
The “Sic et Non” of Stephanus Gobarus
No full textIn the older, as well as in the current, books on church history, and at some points in New Testament introduction, patristics, and the history of doctrine, a certain work is referred to under the name of “Stephanus Gobarus.” The problems arising out of the quotations from this book are of great interest; but we are given virtually no information about the author beyond his name, and the book itself remains a complete mystery. Only the industry of Walch, in Part VIII of his “Entwurf einer vollständigen Historie der Ketzereien” (1778, pp. 877 ff.) has analyzed it, or, rather, made unsatisfactory and incorrect extracts from it, to which he has added a few observations of his own. With this exception, it seems as if ever since the tenth century scholars had entered into a conspiracy to maintain complete silence about this work, or at least to content themselves with a few scanty remarks.In the following pages I shall endeavor to come closer to the work and its author. I do not undertake to give a commentary, for that would require a book; but shall confine myself to the main points, going into detail only with reference to passages that relate to the literature of the first three centuries.</jats:p
Erratum to: A multi-cohort study of the immune factors associated with M. tuberculosis infection outcomes (Nature, (2018), 560, 7720, (644-648), 10.1038/s41586-018-0439-x)
No full textThe spelling of author Qianting Yang was corrected; the affiliation of author Stephanus T. Malherbe was corrected; and graphs in Fig. 4b and c were corrected owing to reanalysis of the data into the correct timed intervals
Traditional Topoi in the historical epic Tyrnavia nascens (Stephanus Csiba, Tyrnaviae 1706)
No full textThe epic poem
Tyrnavia nascens
(Tyrnaviae: Typis academicis 1706) was published in honour of the solemn graduation of the new bachelors of
Universitas Tyrnaviensis
that took place in 1706. Due to this fact we can say it belongs to a special group of occasional literary works usually published by the professors of the university in honour of the solemn graduations (
gratulationes promotionum
). Its author, Stephanus Csiba SJ celebrated in it foundation of Trnava as well as establishment of
Universitas
Tyrnaviensis
. The traditional topic motifs we meet in the poem show deeper coherence with the traditional ways of composing an epic poem as well as they point out some of the classical models the author had followed. Even though showing a deep respect for the traditional techniques, the work of our poet can be in many ways regarded original
Music for classical guitar by South African composers : a historical survey, notes on selected works and a general catalogue
No full textIncludes abstract.Includes bibliographical references (leaves 296-309).This is the first comprehensive investigation of music for, or including, the classical guitar by South African composers. The focus of this research has been, firstly, to uncover as much of the repertoire as possible, and, secondly, to collate, study, catalogue and report on the information. A brief historical survey of the guitar in South Africa provides the context within which this study was conducted. The primary sources of quantitative data collection were through the archival catalogues of the South African Music Rights Organisation and through personal contact with guitarists, composers and guitar teachers. Other sources consulted were publishers, broadcasting corporations, recording companies, libraries and the internet. The body of the dissertation comprises biographical sketches, background notes, analyses and technical notes on 17 selected solo and chamber works dating from 1947 to 2007 by some of South Africa's most prominent composers and guitaristcomposers. The repertoire ranges in style from the traditional and ethnically inspired to the experimental and abstract. As this is an empirical survey, each selected entry includes details on instrumentation, duration, level of difficulty, number of pages, scordatura, commissions or requests, sources or publishers, premières and recordings. A biography of each composer is provided as well as background notes which offer an overview of the selected work. The notes discuss historical, cultural, musical and extra-musical influences, and frequently include references to interview material. The commentaries on the selected works, with musical examples, include an analytical component describing structure, form, stylistic and compositional elements, while the technical observations include performance suggestions and a grading for each work
Introducing Greek Alchemy to Christianity. Inclusion and Exclusion of Religious Elements in Stephanus’ s Lessons
No full textOne of the most noticeable features distinguishing Byzantine works on alchemy from the earlier Greco-Egyptian alchemical tradition is the widespread presence of Christian prayers and direct references to specifically Christian ideas and beliefs. By focusing on Stephanus’s Lessons (7th cent.), the first alchemical work including extensive references to Christianity, the paper will explore how alchemy was Christianised in the early Byzantine period. The first part of this study will analyse the strategies adopted by the author of the Lessons to frame alchemy as a Christianised discipline aiming at discovering the divine principle hidden in the natural world. In the second part, the limitations of this process of Christianisation of alchemy will be pointed out by examining if and to what extent specifically Christian ideas were included in Stephanus’ treatment of alchemy and its operations, and if the introduction of a Christianised framework into an alchemical work entailed the exclusion of previous non-Christian alchemical ideas. The results of this twofold analysis will show the complexity and inextricable tensions of the process of Christianisation undergone by the alchemical discipline when it started to be practiced in the socio-cultural context of the Byzantine world
Die skryf van ʼn lewe: Die funksionaliteit van ruimte in Stephanus Muller se Nagmusiek (2014)
No full textThis study investigated the functionality of space in Stephanus Muller’s Nagmusiek (2014). The influential works of Gaston Bachelard, Henri Lefebvre and Michel Foucault with regard to the house as a place of shelter and protection, social space as a social product and the principle of heterotopia were used as theoretical approaches to the analysis of the text. In this study the focus of analysis and discussion was on the relationship of Werner Ansbach, the fictional biographer, with the various spaces he enters. Ansbach’s relationship with his private space as well as his experience of public and social spaces in the Stellenbosch area and during his fieldwork, undertaken outside the geographical borders of the town, was investigated. This study discusses the influence that space has on the character as well as the character’s role in and contribution to the functionality of the space. The overlapping of and connection between various spaces through concrete as well as on a symbolic means were subjected to scrutiny. The connection of space highlights the relationship between private and public, between inside and outside, and the overlapping and merging of the concrete author with his fictitious biographer and with the South African composer Arnold van Wyk, the biographical subject of Nagmusiek
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