1,865 research outputs found
Repertori¯u generale et succinctum ver¯utamen valde vtile atq[ue] necessari¯u, contentor¯u in quatuor collectoriis acutissimi ac profundissimi ... Gabrielis Biel super quatuor libros Sententiarum.
No full textLugar e impresor constan en colofónMarca tip. de "Vincentius de Portonariis ..." en port. principal y en la port. propia de cada uno de los libros excepto en el cuartoSign. : 2A\p8\s, 2B\p4\s, a-n\p8\s ; 2a-2m\p8\s, 2n\p4\s ; A-M\p8\s, N\p4\s, [cristus]A\p8\s ; 2A-2X\p8\sTexto a dos colPort. con orla xil. y a dos tintasLa port. propia de cada uno de los cuatro Libros tiene orla xilContiene: Gabriel Biel super prim¯u librum Sententiarum c¯u Inuentario [et] adnotam¯etis marginalibus aliquot in locis nuper adiecris, con port. propia ; Gabriel Biel in secundum librum Sententiar¯u ..., con port. propia ; Gabriel Biel in tertium libr¯u Sententiar¯u ..., con port. propia ; Gabriel Biel in quartum librum Sententiar¯u ..., con port. propi
Repertoriu[m] generale et succinctum veru[m]tamen valde vtile atq[ue] necessari?, contentoru[m] in quatuor collectoriis acutissimi ac profundissimi ... Gabrielis Biel super quatuor libros Sententiarum.
No full textContiene, con portada propia: Gabriel Biel super primu[m] librum Sententiarum cu[m] Inuentario [et] adnotame[n]tis marginalibus aliquot in locis nuper adiecris ; Gabriel Biel in secundum librum Sententiaru[m] ... ; Gabriel Biel in tertium libru[m] Sententiaru[m] ... ; Gabriel Biel in quartum librum Sententiaru[m] ...CCBE S. XVIMode of access: Internet.Marca tip. de "Vincentius de Portonariis ..." en portada principal y en la portada de cada uno de los libros, excepto en el cuarto.Lugar e impresor constan en colofón.La portada de cada uno de los cuatro libros tiene orla xil.Portada con orla xil. y a dos tintas.Texto a dos col.Sign. : 2A8, 2B4, a-n8 ; 2a-2m8, 2n4 ; A-M8, N4, [cristus]A8 ; 2A-2X8
William Walker and Eugene Cramer, Utah Uranium Oral History Project
No full textTranscript (36 pages) of an interview by Kathy Biel with William Walker and Eugene Cramer, on June 30, 1970. From tape number 87 in the Uranium History SeriesKathleen Biel interviewed Walker (manager of public information) and Cramer (engineer) at the offices of Advanced Energy Systems in Los Angeles, California. Subjects: nuclear power, construction of the San Onofre plant, fuels, public attitudes, AEC, breeder reactors, radioactive waste (36 pages)
Writer
No full textJoe Biel's Writer is neither an archetype of the struggling artist nor a simple allusion to the martyred Saint Sebastian, riddled with arrows. In fact, Biel's drawing directly references a young Franz Kafka, caught not in the act of writing fiction but of reading the Torah, Torah pointer in hand, seated in a desolate environment that the artist calls "a sort of existential desert." Biel explains, "I was thinking very directly about Kafka as a vulnerable figure, torn apart by writing and at the same time having a sense of real strength about his own artistic vision. For me, the arrows and wounds are more psychic than physical - I often show internal states though external circumstances in my work." While Kafkaesque themes of human suffering abound in Biel's oeuvre, Writer is one of only a handful of drawings in which the Czech author makes a cameo appearance. Common to all of Biel's works, however, are his masterful drawing technique, the precise arrangement of figure and props (including, here, an animal skull, which Biel calls "an obvious vanitas object"), and the foreboding sense of tension that makes images like Writer transcend their affinities with storybook illustration, to echo instead the mises-en-scène of artful and evocative film noir. Joe Biel earned a BFA from Drake University, Des Moines, in 1988 and an MFA from the University of Michigan in 1990. - Meredith M. Moor
Biel staje się bielsza. O "Wyjściu"
No full textThe author approaches the poem *** [biel się nie smuci...] ("*** [the white is not sad...]") opening the collection Wyjście ("Exit") as essential introduction to the volume, the interpretation of which begins with confronting the title with the image on the cover. The significance of the poem about the white is highlighted by a double depiction – printed version (black letters) and the negative of the manuscript (white letters). The theme of white, always present in Różewicz\u27s works, operating as a multi-functional sign, refers the author to the poem Biel ("The White"), in which the poet mourns a lamb. Analysis of the poem leads to the conclusion that it is a record of the dying of senses, sensations, memories, words. Allusion to the figure of a lamb which "takes away the sin of the world" provides eschatological sense. The white brightens death, it is a sign of perfect ignorance, of what is unknowable and inexpressible. The white combines the "gray area" with suffering (which cleanses) and death (of man, of poetry). Given the bankruptcy of exhausted words, the white, as a sign of peace and silence, leads the poet to "exit" – beyond the reality of the surrounding world, into a zone of peace and silence. The poet says nothing about death, using typography instead (black letters on a white page, white on a black one), as well as dialogue and play with its cultural representations.Otwierający tom Wyjście wiersz *** biel się nie smuci autorka traktuje jako istotne wprowadzenie do tomu, którego interpretację zaczyna od konfrontacji tytułu z obrazem na okładce. Wagę wiersza o bieli podkreśla dwojaki zapis – wersja drukowana (czarne litery) i negatyw rękopisu (białe litery). Motyw bieli – w twórczości Różewicza stale obecny, będący znakiem wielofunkcyjnym, odsyła autorkę do wiersza Biel, w którym poeta opłakiwał baranka. Analiza utworu pozwala wnioskować, że jest on zapisem zamierania zmysłów, wrażeń, pamięci, słów. Aluzyjnie przywołana figura baranka, który „gładzi grzechy świata” wnosi sens eschatologiczny. Biel rozjaśnia śmierć, jest tutaj znakiem doskonałej niewiedzy, tego, co niepoznawalne i niewyrażalne. Biel łączy „szarą strefę” z cierpieniem (które oczyszcza) i śmiercią (człowieka, poezji). Wobec bankructwa słów zużytych, biel jako znak ciszy i milczenia prowadzi poetę do „wyjścia” – poza rzeczywistość otaczającego świata, w strefę ciszy i milczenia. O śmierci poeta nie mówi, wyręcza się typografią (na białej kartce czarne litery, na czarnej – białe), dialogiem, grą z jej kulturowymi wyobrażeniami
Sacri canonis misse tam mystica quam litteralis expositio
No full textBogensignaturen: a-z⁸, A-I⁸, K-L⁶, 1⁸, 2⁶Impressum gemäss Kolophon auf Blatt L6r: "a magistro Jacobo Pforczense Basilee co[m]mendata: octauo kale[n]das marcias: anno partus virginei millesimo quingentesimo decimo
Subaquatic slope instabilities: The aftermath of river correction and artificial dumps in Lake Biel (Switzerland)
No full textRiver engineering projects are developing rapidly across the globe, drastically modifying water courses and sediment transfer. Investigation of the impact of engineering works focuses usually on short-term impacts, thus a longer-term perspective is still missing on the effects that such projects have. The 'Jura Water Corrections' - the largest river engineering project ever undertaken in Switzerland - radically modified the hydrological system of Lake Biel in the 19th and 20th Century. The deviation of the Aare River into Lake Biel more than 140 years ago, in 1878, thus represents an ideal case study to investigate the long-term sedimentological impacts of such large-scale river rerouting. Sediment cores, along with new high-resolution bathymetric and seismic reflection datasets were acquired in Lake Biel to document the consequences of the Jura Water Corrections on the sedimentation history of Lake Biel. Numerous subaquatic mass transport structures were detected on all of the slopes of the lake. Notably, a relatively large mass transport complex (0 center dot 86 km(2)) was observed on the eastern shore, along the path of the Aare River intrusion. The large amount of sediment delivered by the Aare River since its deviation into the lake likely caused sediment overloading resulting in subaquatic mass transport. Alternatively, the dumping since 1963 in a subaquatic landfill of material excavated during the second phase of river engineering, when the channels flowing into and out of Lake Biel were widened and deepened, might have triggered the largest mass transport, dated to 1964 or 1965. Additional potential triggers include two nearby small earthquakes in 1964 and 1965 (M-W 3 center dot 9 and 3 center dot 2, respectively). The data for this study indicate that relatively large mass transports have become recurrent in Lake Biel following the deviation of the Aare River, thus modifying hazard frequency for the neighbouring communities and infrastructure.APHY
Sermones dominicales de t[em]p[or]e ta[m] hyemales q[uam] estiuales diuini ...
No full textEnc. perg.Pie de imp. consta en colofón de "De festiuitatibus Christi Sermones..."Sign.: []10, a-t8, v6, x8, y6, z8, [et]8, [cum]8, [rum]8, 2a8, 2b-2c6, 2d-2k8, 2l6, 2m7.Letra gót.Sello del Instituto y provª.de Huesca. Biblioteca.Ex-libris ms. "de S. Victorian"Contiene: "De festiuitatibus Christi Sermones spectabilis ... Grabielis Biel ...", h. CLXVII-CCXCIII con port. propi
Doctrinal de los caballeros
No full textCopia digital : Memòria Digital de CatalunyaCopia digital : Real Academia de la Historia, Biblioteca DigitalCopia digital : Biblioteca Digital Hispánica (Biblioteca Nacional de España)Copia digital : Universidad de Santiago de Compostela, Biblioteca Genera
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