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Postcard Written by Gerard L. Duhamel to the Bryant College Service Club Dated December 15, 1943
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G. L. Duhamel, AS, USNR Navy v -12 Unit 103 Massachusetts Hall Dartmouth College Hanover, N.H.
UNITED STATES NAVY POST CARD
Bryant Service Club Bryant College Providence, R.I.
[Written on reverse of postcard:]
12/15/43
Dear Friends,
Thank you very much for the tobacco and candy you sent me. Received the tobacco last week and the box of candy yesterday. Both packages were in good condition and were appreciated a great deal.
Am now studying + training at Dartmouth College with the Navy v-12 unit.
Thanks again for your gift.
Gerard L. Duhamel [Transcription ends
Letter Written by Gerard L. Duhamel to the Bryant College Service Club Dated April 9, 1944
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NAVY V-12 UNITDartmouth CollegeHanover, N. H.
April 9, 1944
Dear Friends,
Thank you for the tobacco and the letter.
Glad to get some news about former classmates even though it may not be good news. Buzz Frechette was a good friend of mine.
Heard from Henry Kovacs ’41 recently. He is stationed in England.
My address has changed since I last wrote. I now live in 202 Streeter Hall instead of 103 Mass. Hall.
Sincerely,
Gerard L. Duhamel
[Transcription ends
Bifurcation Experiments: Timeseries, Images, Topographic Scans, St. Anthony Falls Laboratory, 2016-2017
No full textPlease see readme.txt for detailed documentation. In this dataset, we provide time series of water and sediment flux through each branch of the bifurcation, time series of front positions, topographic scans of water and bed surface elevations, and overhead images. For completeness, both raw and processed versions of the data are available, as well as the processing scripts/data needed to convert between them.We ran a set of five experiments at the St. Anthony Falls Laboratory in Minneapolis, Minnesota to study how the dynamics of a bifurcation are affected by the downstream boundary (deposition vs. bypass). These data accompany our publication in Earth Surface Dynamics.National Science Foundation Graduate Research Fellowship under Grant No. 00039202Salter, Gerard L; Voller, Vaughan; Paola, Chris. (2019). Bifurcation Experiments: Timeseries, Images, Topographic Scans, St. Anthony Falls Laboratory, 2016-2017. Retrieved from the University Digital Conservancy, https://doi.org/10.13020/ngys-r052
Letter Written by Gerard L. Duhamel to the Bryant College Service Club Dated March 26, 1943
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NAVY RECRUITING STATION 255 WATER STREET AUGUSTA, MAINE
March 26, 1943
Dear Friends,
I received your letter and the pound of tobacco you sent me last week and I thank you very much for them. Your letter was very interesting; it is good to hear what is going on a [sic] Bryant these days.
I was glad to learn that Mr. Shors has been appointed a lieutenant in the Naval Reserve. Will you please send me his address as I would like to communicate with him.
My address, after March 28, 1943 will be Navy Recruiting Station Post Office Building Bangor, Maine
Thank you again for the tobacco and the letter.
Yours very truly,
Gerard L. Duhamel Y3c, USNR [Transcription ends
M & L Jaargang 21/3
No full textL. Smolderen Een Art-Decofestival: de internationale tentoonstelling van Antwerpen in 1930. Het droombeeld van hoofdarchitect Jos Smolderen. [An Art Deco festival: the International Exhibition of Antwerp in 1930.]Gerard Otten De Bredase Boulevards. Brussel als voorbeeld voor Breda. [The Breda Boulevards. Brussels as a model for the city-planning of Breda.]Summar
Ryhiner-Kartensammlung / 36 L' Asie divisée en ses principales regions et ou se peuvent voir l'estendüe des empires, monarchies, royaumes, et estats qui partagent presentement l'Asie
No full textpar Gerard Valck"Auec priuilege"Titelkartusche oben links, Massstabskartusche oben rechtsTitelvariante oben: "L'Asie, distenguée en ses principales parties sçavoir la Turquie en Asie, l'Arabie, ...
The naked eye: vision and risk in the work of Gerard Manley Hopkins
No full textThis thesis takes as its subject vision and risk in the work of Gerard Manley Hopkins, 1844-1889. Because Hopkins's poetry displays so evident a fascination with the particulars of language, it is unsurprising that the critical tradition on his work has thus far been heavily dominated by matters of sound: by the verbal, the rhythmic, the musical, and the aural. However, in this thesis I move from the sounded to the seen, identifying in Hopkins's work a central preoccupation with the visual, with looking and seeing, and the possibilities and dangers inherent in each. Here was a man driven to look for beauty, yet this compulsion to look was matched only by a desperate desire to look away. I shall argue that it is this dichotomy, and the excitement of the many and various possibilities it engenders, that so characterises Hopkins's engagement with the visual world.
Born into a rapidly-changing late Victorian world, Hopkins was fascinated by sight and by the increasingly problematic act of seeing. He frequently characterises himself in explicitly visual terms, and his poetry is littered with numerous references to eyes, eyeballs, eyelashes, eyelids, and eyesight, in addition to many metaphors of sight in its various forms. He demonstrates a recurring notably obsessive anxiety over the health of his eyes and the acuity of his sight, yet repeated medical reassurance does nothing to quell his fears over his perceived loss of vision. Counter to, but inextricably linked with, this fear for the loss of sight is an intense awareness of the danger of sight. This paradox is central to Hopkins's conception of himself and of his roles as both poet and priest.
Chapter One considers Hopkins's engagement with the intensely visual Victorian cultural environment. Hopkins was a keen draughtsman and painter in his youth and for a while considered becoming a professional poet-painter like Dante Gabriel Rossetti, with whose family he was well acquainted. Although he decided to relinquish his artistic ambitions in favour of the priesthood, he remained a keen critic of art and architecture throughout his life. His diaries and journals, littered with sketches and accounts of visits to galleries and exhibitions, are fascinating for what they reveal of this intensely eye/I-driven individual, and the acute anxieties he experienced when confronted by beauty, in whatever form.
Chapter Two continues this concern with beauty and its inherent dangers, but now moves to consider Hopkins's often anxious visual encounters with other people. As a vigilant social observer, his writing ranges from delightedly detailed depictions of other individuals, particularly young men, to deeply uneasy descriptions of massed crowds and formless groups of people. This chapter shows a particular concern, as Hopkins did, with the purpose of mortal beauty, and the dangers and challenges it could pose.
Chapter Three develops the concerns of the previous chapter, by pursuing the additional dimension of people looking. In this chapter I consider a group of Hopkins's strangest and yet most celebratory poems, united by a concern with people looking at others who are themselves looking. With the uneasy concept of the voyeur never far away, this chapter raises questions about the moral, psychological and social dimensions of seeing within Hopkins's work, and thus I assess the meaning of licit and illicit sight, whether on the part of the benevolent or neutral observer, the systematic enquirer, the voyeur or the enlightened seer. This chapter argues that the dynamic nature of this relationship between perceiver and object, the seer and the seen, is central to his endlessly complex dialectic of vision and visuality. It closes by moving to consider the ultimate unseen seer, God. In the figure of Christ we find the ultimate exemplar of mortal beauty, and the chapter returns to the concerns explored in Chapter Two, now from a Christological perspective.
In Chapter Four, the concluding chapter, the concerns elicited in the previous chapters are pulled together in a discussion of Hopkins's longest and greatest symphonic poem, The Wreck of the Deutschland (1875-1876). This poem has at its heart an intense concern with seeing and the seeing of seeing, with the act of witness, and the role of the martyr, while foregrounding the reciprocal qualities of beauty and danger. The thesis concludes with a close reading of this electrifying poem about vision and sight in the many senses explored in the course of the study as a whole
Gerard Mercator´s Three Astrolabes
No full textNo scientific instruments made by Gerard Mercator (1512- 1594), the great cartographer, were known to exist, though it is recorded that he made astrolabes and other brass artefacts. In early 1992, the present author identified an unsigned astrolabe in Florence as being made in Mercstor's Duisburg workshop. By 1994, the 400th anniversary of Mercator's death, two fiírther astrolabes had been identified as being by his hand. They are in museums in Augsburg and Brno. This paper describes the mcthod of identifícation of these unsigned instruments, culminating in the discovcry of Mercator's monogram on the rim of the astrolabe in Brno
Gerard van Swieten
No full textBotanico: Swieten, Gerard van (1700-1772).
Titolo sul recto, dove compaiono gli estremi cronologici.
1 incisione ; 201 x 116 mm.
Vai alla scheda bibliografica: https://galileodiscovery.unipd.it/discovery/fulldisplay?context=L&vid=39UPD_INST:VU1&search_scope=MyInst_and_CI&tab=Everything&docid=alma99001599073020604
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