215 research outputs found
The royal chancery of Stanislaus Leszczyński in 1705-1710. Outline of the issue
No full textThe article is an outline of the problem of organization of the Crown chancery in the years of the reign of Stanislaus Leszczyński. In the first part of the article, the author presents the picture of the king and the times of his reign. Next, he depicts the organization of the chancery: its beginnings, work rhythm and staff. In the last part of the article, the author describes the Crown Metrica written during the reign of Leszczyński, currently not existing, and reasons of its destruction. The article is an attempt to describe the chancery of Stanislaus I.</p
A Polish saint. Historical-national themes in Franz Liszt’s oratorio ‘St Stanislaus’
No full textSaint Stanislaus, a Polish bishop murdered in 1079 by King Boleslaus the Bold, is the title character of Franz Liszt’s oratorio St Stanislaus. The libretto of St Stanislaus has several authors - the first author was the Cracow man of letters and folklore scholar Lucjan Siemieński, whom Liszt asked to write a text for his oratorio. The libretto, completed in 1869, was translated by Peter Cornelius, who made certain changes to the order of events. Not until 1874 did Liszt set about writing the music for his oratorio in earnest, and that was when he asked Cornelius to revise the libretto. The author’s premature death thwarted that intention, and so Liszt was forced to seek other authors. The version prepared several years later by Karl Erdmann Edler finally met the composer’s expectations. In its final version, the libretto comprises four scenes, which form a logical sequence of events and at the same time serve to emphasise Stanislaus’ spiritual strength and the causative power of his actions. Liszt did riot succeed in setting the whole text of the libretto; the extant material covers only scenes 1 and 4. The musical style of St Stanislaus indicates that the composer drew on various types of musical inspiration and technique. Hence the work is characterised by a certain heterogeneity - a synthetic character that encapsulates a nineteenth-century aesthetics. Nevertheless, the oratorio is undoubtedly one of the most distinctive manifestations of Liszt’s interest in Polish subjects. The presence of quotations from the Polish songs ‘Boże, coś Polskę’ and ‘Jeszcze Polska nie zginęła’ lends the work a distinct national colouring and evokes a mood of solemnity and religious contemplation, as well as the aura of triumph, victory and domination. Such an attitude may be symptomatic of the typically nineteenth-century perception of Poland as a tormented nation deprived of its statehood, which thanks to its valour and resilience will ultimately regain its independence
A Polish saint. Historical-national themes in Franz Liszt’s oratorio ‘St Stanislaus’
No full textSaint Stanislaus, a Polish bishop murdered in 1079 by King Boleslaus the Bold, is the title
character of Franz Liszt’s oratorio St Stanislaus. The libretto of St Stanislaus has several authors – the
fi rst author was the Cracow man of letters and folklore scholar Lucjan Siemieński, whom Liszt asked
to write a text for his oratorio. The libretto, completed in 1869, was translated by Peter Cornelius, who
made certain changes to the order of events. Not until 1874 did Liszt set about writing the music for his
oratorio in earnest, and that was when he asked Cornelius to revise the libretto. The author’s premature
death thwarted that intention, and so Liszt was forced to seek other authors. The version prepared
several years later by Karl Erdmann Edler fi nally met the composer’s expectations. In its fi nal version,
the libretto comprises four scenes, which form a logical sequence of events and at the same time serve
to emphasise Stanislaus’ spiritual strength and the causative power of his actions.
Liszt did not succeed in setting the whole text of the libretto; the extant material covers only scenes 1
and 4. The musical style of St Stanislaus indicates that the composer drew on various types of musical
inspiration and technique. Hence the work is characterised by a certain heterogeneity – a synthetic
character that encapsulates a nineteenth-century aesthetics. Nevertheless, the oratorio is undoubtedly
one of the most distinctive manifestations of Liszt’s interest in Polish subjects. The presence of
quotations from the Polish songs ‘Boże, coś Polskę’ and ‘Jeszcze Polska nie zginęła’ lends the work a
distinct national colouring and evokes a mood of solemnity and religious contemplation, as well as
the aura of triumph, victory and domination. Such an attitude may be symptomatic of the typically
nineteenth-century perception of Poland as a tormented nation deprived of its statehood, which thanks
to its valour and resilience will ultimately regain its independence
Mesin Ayak Dua Saluran Dilengkapi Pengarah untuk Produk Beras Jagung
No full textA sieve machine is used to separate groups of granules based on size. Most separation sieves on two groups of sifted/filtered grains move immediately, but the unfiltered grains are removed by the operator turning the sieve sideways or lifting the unfiltered material. In addition, the sifted material is usually poured directly on the sieve wire. This slows the sifting process, and the buildup can damage the sieve. On the other hand, sieve materials, such as corn rice products, require two sizes of sieve wire holes. Design, make, and study the function, "The Sieve Machine's two-channel Equipped with Directions for Rice Corn". The specification of the sieve machine is as follows; it has two sifting channels, the sieve filter can be replaced, a swing arm drives the filter, the dynamo operates on 3/4 hp, rotation 1400 rpm, the capacity for one stage is ± 44.8 kg/hour, the capacity for corn rice ± 22 kg/hour (it's time to change the sieve). The study of engine performance on several variables showed that the smaller the lightening angle, the capacity increases; it is inversely proportional to the length of the spring and rotation. At angle 50 sieve capacity is 23.3 kg/hour, with the length of the spring being 90.5 mm, and on the size of the spring becoming 100.5 mm, the sieva capacity of 24.6 kg/hour. For angle 150, the capacity is reduced by 20.4 kg/hour. At rotation 230 rpm, 50 angles, decreased capacity, only 20.3 kg/hour, spring length 90.5 m
Mesin ayak dua saluran dilengkapi pengarah untuk beras jagung
No full textSieve machine is used to separate groups of granules based on size. Most separation sieves on 2 groups of sifted/filtered grains move immediately, but the unfiltered grains are removed by the operator turning the sieve sideways or lifting the unfiltered material. In addition, the sifted material is usually poured directly on the sieve wire. This slows down the sifting process and the buildup can damage the sieve. On the other hand, sieve materials such as corn rice products, require 2 sizes of sieve wire holes. For that, do the design, made and studied the function, "The Sieve Machine’s two channel Equipped with Directions for Rice Corn". The specifications of the sieve machine as follows; has 2 sifting channels, the sieve filter can be replaced, the filter is driven by a swing arm, dynamo drive 3/4 hp, rotation 1400 rpm, the capacity for one stage is ± 44.8 kg/hour, the capacity for corn rice ± 22 kg/hour (it's time to change the sieve). The study of engine performance on several variables resulted in the smaller the angle of lightening the capacity increases, it is inversely proportional to the length of the spring and rotation. At angle 50 sieve capacity is 23.3 kg/hour, with length of the spring is 90.5 mm, and on length of spring becomes 100.5 mm, sieva capacity of 24.6 kg/hour. For angle 150, the capacity is reduced by 20.4 kg/hour. At rotation 230 rpm, 50 angle, decreased capacity, only 20.3 kg/hour, spring length 90.5 mm
State of California [Civilian Exclusion Order No. 50], Stanislaus County, southwest Tuolumne and Calaveras counties
No full textBroadside instructs Japanese American residents in Stanislaus County and southwest Tuolumne and Calaveras counties, state of California, that they will be excluded from the area by May 14, 1942 and to prepare for evacuation by that date to a Civil Control Office in the area. Residents failing to comply with the Civil Exclusion Order would be subject to criminal penalties and immediately apprehended and interned. Also instructs "responsible family members" to report to the Civil Control Office on May 8 or May 9 for further instruction.The War Relocation Authority (WRA), together with the Wartime Civil Control Administration (WCCA), the Civil Affairs Division (CAD) and the Office of the Commanding General (OFG) of the Western Defense Command (WDC) operated together to segregate and house some 110,000 men women and children from 1942 to 1945. The collection contains documents and photographs relating to the establishment and administrative workings of the (WDC), the (WRA) and the (WCCA) for the year 1942
Masonic topics in the art at the court of Stanislaus Augustus
No full textZa panowania Stanisława Augusta Poniatowskiego bardzo wielu polskich luminarzy sztuki i kultury, a także licznych polityków i mężów stanu, należało do masonerii. Ruch ten w Europie XVIII wieku zyskiwał coraz więcej zwolenników, także wśród głów koronowanych. Do wolnomularstwa należał podobno także sam król Stanisław August. Historycy sztuki, próbując odczytywać ukryte treści dzieł sztuki powstających na dworze tego monarchy, dopatrują się w nich wątków masońskich. W niniejszym artykule została przedstawiona próba odrzucenia tych interpretacji. Głównym powodem jest dla autorki brak dowodów w postaci źródeł, które mogłyby potwierdzić słuszność tych twierdzeń.During the reign of Stanislaus Augustus many Polish luminaries of art and culture, and numerous politicians and statesmen belonged to the freemasonry order. In 18th century Europe this organisation was gaining more and more members, including individuals from royalty. It has been presumed that King Stanislaus Augustus was also a member. Art historians have tried to uncover hidden messages in the artwork commissioned by the king in the search for masonic motives. This article is an attempt to refute such interpretations. The author finds no proof in sources researched that would confirm the validity of such interpretations
Medieval cycles presenting the life and martyrdom of St. Stanislaus the Bishop and the miracles after his death
No full textThe author has presented the state of research on the works existing in Poland as well as the ones connected with the country. Then he has compiled and discussed the same theme scenes. That compilation of cycles presenting the life and martyrdom of St. Stanislaus the Bishop and the miracles after his death shows typological similarities and differences in depicting the events recorded before and after the canonization of the Saint. Those examples do not represent any faithful imitation of some earlier work; one can only trace some similarities and concepts based on iconographie models already existing in depicting Christ and the saints
The praise of the humanities : de ratione studii of Stanislaus Sokołowski
No full textThe main purpose of the paper is to provide a bilingual (Latin - English) edition of a brief essay De ratione studii (On the Programme of Studies) by Stanislaus Sokołowski (1537-1593), a professor of rhetoric at the Academy of Cracow and a royal preacher at Stephen Báthory’s court. A short introduction examines the rhetorical strategies used by the author in the description of “good letters” (bonae litterae) and “more humane studies” (humaniora). It also considers the place of rhetoric in humanist studies. Sokołowski and many Renaissance authors of educational treatises combined studies in three verbal arts (artes sermocinales: grammar, rhetoric, dialectic) with aspirations to moral excellence (virtue). In this way, the praise of “good letters” turns out to be the praise of man. The transcription, translation, and some notes on the text are presented in the second part of this paper
Wątki masońskie w sztuce na dworze Stanisława Augusta : Masonic topics in the art at the court of Stanislaus Augustus
No full textZa panowania Stanisława Augusta Poniatowskiego bardzo wielu polskich luminarzy sztuki i kultury, a także licznych polityków i mężów stanu, należało do masonerii. Ruch ten w Europie XVIII wieku zyskiwał coraz więcej zwolenników, także wśród głów koronowanych. Do wolnomularstwa należał podobno także sam król Stanisław August. Historycy sztuki, próbując odczytywać ukryte treści dzieł sztuki powstających na dworze tego monarchy, dopatrują się w nich wątków masońskich. W niniejszym artykule została przedstawiona próba odrzucenia tych interpretacji. Głównym powodem jest dla autorki brak dowodów w postaci źródeł, które mogłyby potwierdzić słuszność tych twierdzeń.
During the reign of Stanislaus Augustus many Polish luminaries of art and culture, and numerous politicians and statesmen belonged to the freemasonry order. In 18th century Europe this organisation was gaining more and more members, including individuals from royalty. It has been presumed that King Stanislaus Augustus was also a member. Art historians have tried to uncover hidden messages in the artwork commissioned by the king in the search for masonic motives. This article is an attempt to refute such interpretations. The author finds no proof in sources researched that would confirm the validity of such interpretations
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