1,338 research outputs found
Jacob Viner’s Reminiscences from the New Deal (February 11, 1953)
This paper presents and reproduces an unpublished oral history interview given by Jacob Viner in 1953. The interview released by Viner for the Columbia Oral History Project gives us a valuable opportunity to throw light on his advisory activity during the New Deal Era. In our introduction we attempt to make a critical appraisal of Viner's reminiscences and to state the contribution they can provide to our general knowledge of the period. In addition, we also attempt to find out some biographical and interpretative elements useful to understand Viner’s own vision and his contribution to important economic policy processes during the New Deal.
Les Mathématiques naturelles
@book{OL-CHEMILLIER-2007, author = {Chemillier, M.}, editor = {}, title = {Les Mathématiques naturelles}, publisher = {Odile Jacob}, year = {2007}, address = {Paris}, series = {240 pages}
The works of Jacob Behmen, the Teutonic theosopher : to which is prefixed, the life of the author /
Frontispiece, v. 1, is engraved port. of the author. Vol. 3 includes Law's diagrams. Fig. 1 is a folded, hand-colored engraving entitled: The true principles of all things. Fig. 2 is a hand-colored engraving entitled: The tree of the soul. Plates numbered I-XIII are untitled, and are mostly cosmic diagrams. Fig. I, no. 1 is entitled: The origin of things and the process of Christ; it consists of 2 folded leaves joined together to form a single plate hinged in at the center fold, with an additional folded sheet overlaying. Fig. II, a single leaf, is entitled: The constituent parts of man. Three final plates ("The first [second, third] table") are single leaves depicting the human body with up to 8 levels of overlays. The first and second tables show males, the third female.Vol. 3-4 have publisher: Printed for G. Robinson in Pater-noster Row.v. 1. The aurora. The three principles -- v. 2. The threefold life of man. The answers to forty questions concerning the soul. The treatise of the incarnation. The clavis, or, An explanation of some principal points and expressions in his writings -- v. 3. The mysterium magnum, or, An explanation of Genesis. Four tables of divine revelation -- v. 4. Signatura rerum. Of the election of grace, or, Of God's will towards man, commonly called predestination. The way to Christ. A discourse between a soul hungry and thirsty after the fountain of life, the sweet love of Jesus Christ; and a soul enlightened. Of the four complexions. Of Christ's testaments, baptism, and the supper.Hogart, R. Alchemy,Mode of access: Internet
De Maiestate / Praeside M. Jacobo Thomasio, Moralis Philosoph. P. P., publice disputabit Johannes Dunte, R. L. Author & Respon: ad diem 9. Septembr. H L. Q. C.
DE MAIESTATE / PRAESIDE M. JACOBO THOMASIO, MORALIS PHILOSOPH. P. P., PUBLICE DISPUTABIT JOHANNES DUNTE, R. L. AUTHOR & RESPON: AD DIEM 9. SEPTEMBR. H L. Q. C.
De Maiestate / Praeside M. Jacobo Thomasio, Moralis Philosoph. P. P., publice disputabit Johannes Dunte, R. L. Author & Respon: ad diem 9. Septembr. H L. Q. C. (1)
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Funaxopsis Heyer & Castro, 2009, gen. nov.
Funaxopsis gen. nov. Type species: Cunaxoides passerinae Den Heyer, 1981b. Diagnosis. This genus can be distinguished from other genera by the following set of characteristics: tibia IV with 2 sts and 1 long sts; setae c2 and h2 smooth and depression for pe organ on tarsus I lacking. Etymology. The senior author just added a few more letters to the stem-“..unaxo..” and ending it on a taxonomically recognized suffixPublished as part of Heyer, Jacob Den & Castro, Tatiane M. M. G., 2009, SiGe-Space-Synthesizer-Entwicklung eines SiGe-Synthesizerdemonstrators: SISSI; Schlussbericht, pp. 1-15 in Zootaxa 2140 on page 13, DOI: 10.2314/gbv:620362286, http://zenodo.org/record/531966
JACOB CORNELISZ VAN OOSTSANEN IN STROSSMAYER GALERIE
U jednoj poslijeratnoj akviziciji Strossmayerove galerije JAZU (ulje na drvetu 1,295 x 0,840 m), autor ovog teksta prepoznaje djelo Jacoba Cornelisza van Oostsanena (oko 1470-1533). Citira komparativni materijal iz Kassela i Berlina, pa predpostavlja da su zagrebački sveti Jakob i Katarina morali nastati oko 1515. godine. Aluzije na njemački renesansni krug slikara autor objašnjava popularnošću Durerovih grafika u Nizozemskoj, što je više nego očigledno u drvorezbarskom opusu Jacoba Cornelisza. Na osnovu prenaglašenog kontraposta unutar čvrste tektonske kompozicije, otvara se ovdje pitanje o maniri kao preteči manirizma. U daljem tekstu autor povezuje zaštitničku ulogu svetaca s ondašnjom pripadnošću Nizozemske španjolskoj kruni. Naime, u toplini i bogatstvu pejzaža iza svete Katarine, autor vidi urbanizirani Sjever, za razliku od dalekog, pustog i siromašnog krajobraza Španjolske u pozadini svetoga Jakoba.In an acquisition made by the Strossmayer Gallery of the Yugoslav Academy of Sciences and Art (oil on wood 1,295 x 0,840 m) after World War II, the author of this text recognizes a work by Jacob Cornelisz van Oostsanen (c. 1470-1533). He quotes comparative material from Kassel and Berlin, supposing that the painting of St Jacob and St Catherine in Zagreb must have originated about 1515. Allusions to the German circle of Renaissance painters are explained by the author as resulting from the popularity of Durer's prints in the Netherlands, quite evident in the woodcuts of Jacob Cornelisz. The overstressed counterpoint existing within this firm tectonic composition confronts us here with the question of manner as a forerunner of mannerism. The author further relates the protective role of the saints with the fact that the Netherlands were
ruled by the Spanish crown at that period: in the warmth and lusciousness of the landscape behind St Catherine the author sees an urbanized North, contrasted to the distant, barren and deserted Spanish vista in the background of St Jacob.ln einem in den Nachkriegsjahren fur die Strossmayer-Galerie der Jugoslawischen Akademie der Wissenschaften und Kunste in Zagreb erworbenen Gemalde (Oel auf Ho/z, 1,295xO,840 m) erkennt der Verfasser ein Werk des Jacob Comelisz van Oostsanan (um 1470-1533). Er fuhrt Vergleichsmaterial aus Kassel und Berlin an, und setzt voraus, daf3 das Zagreber Bild des hl. Jakob und der hl. Katharina um 1515 entstanden ist. Anklange an den Kreis der deutschen Renaissancemaler erklart der Verfasser mit der Volkstumlichkeit von Durers graphischen Werken in Holland, was auch bei den Holzstichen von Jacob Comelis klar zutage tritt. Aufgrund des uberbetonten Kontrapostes innerhalb einer festen tektonischell Komposition stellt sich die Frage der Manier als Vo ria uf erin des Manierismus. lm weiteren Text stellt der Verfasser die Patronatsrolle der beiden Heiligen in Verbindung mit der damaligen Zugehorigkeit von Holland zur Spanischen Krone. Er sieht namlich in der Warme und Vielfa ltigkeit des landschaftlichen Hintergrunds der hl. Katharina den urbanisierten Norden, im Gegensatz zu der femen, eins amen und wi1sten Landschaft Spaniens im Hintergrund des hl. Jakobs
Reynolds, Jacob Owen
Jacob Owen Reynolds, LL.B.
Lexington, Kentucky
ΔΧ; ΑΔΣ;
Humorist Idea Staff (2-3); Y. M. C. A. Cabinet (4); Assistant Editor Idea (3-4); Class Poet (4); Henry Clay Law Society; Choral Society; Democrat Club; Pennyroyal Club.
Law take thy victim. Better watch out for J. Owen--he is apt to hand you a joke when you are least expecting it. He is the most popular man in the class, well versed in law, and a big brother to all the girls. Some day when he is a lawyer and all his friends take their troubles to him, as they do now, he may get past that big brother stage.
-The Kentuckian, 1915-----------------------------------
Jacob Owen Reynolds (February 13, 1893 - December 12, 1964) was born in Slaughters, Kentucky to Warren Lee Reynolds and Ida Katherine Goodson. Reynolds practiced law in Lexington after receiving his LL.B.. His brother, Goodson Reynolds (UK Law \u2720), joined his practice in the 1920s. Reynolds was, at one time, the president of the Lexington chapter of the Red Cross. He was also the author of a pamphlet titled History of Epworth Methodist Church, Lexington, Kentucky (published in 1960). He married twice--his wives were Lucille Howard (1935-1937) and Winnifred Starks (1940-1964).https://uknowledge.uky.edu/klapp_1915/1024/thumbnail.jp
The neuropeptide VGF produces antidepressant-like behavioral effects and enhances proliferation in the hippocampus
Brain-derived neurotrophic factor (BDNF) is upregulated in the hippocampus by antidepressant treatments and BDNF produces antidepressant-like effects in behavioral models of depression. In our previous work, we identified genes induced by BDNF and defined their specific roles in hippocampal neuronal development and plasticity. To identify genes downstream of BDNF that may play roles in psychiatric disorders, we have examined a subset of BDNF-induced genes also regulated by serotonin (5-HT), which includes the neuropeptide VGF (non-acronymic). To explore the function of VGF in depression, we first investigated the expression of the neuropeptide in animal models of depression. VGF was downregulated in the hippocampus following both the learned helplessness (LH) and forced swim test (FST) paradigms. Conversely, VGF infusion in the hippocampus of mice subjected to FST reduced the time spent immobile for up to 6 days, thus demonstrating a novel role for VGF as an antidepressant-like agent. Recent evidence indicates that chronic treatment of rodents with antidepressants increases neurogenesis in the adult dentate gyrus and that neurogenesis is required for the behavioral effects of antidepressants. Our studies using 3H-thymidine and bromodeoxyuridine (BrdU) as markers of DNA synthesis indicate that chronic VGF treatment enhances proliferation of hippocampal progenitor cells both in vitro and in vivo with survival up to 21d. By double immunocytochemical analysis of hippocampal neurons, we demonstrate that VGF increases the number of dividing cells that express neuronal markers in vitro. Thus VGF may act downstream of BDNF and exert its effects as an antidepressant-like agent by enhancing neurogenesis in the hippocampus.Peer reviewe
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