Littérature scientifique sur le sujet « Joseph Manuscripts »
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Articles de revues sur le sujet "Joseph Manuscripts"
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Nagel, W., et V. Weiß. « Joseph Mecke’s Last Fragmentary Manuscripts - a Compilation ». Journal of Contemporary Mathematical Analysis (Armenian Academy of Sciences) 54, no 1 (janvier 2019) : 51–60. http://dx.doi.org/10.3103/s1068362319010060.
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Kahn, Didier. « Towards a History of Joseph Du Chesne's Manuscripts ». Ambix 60, no 1 (février 2013) : 25–30. http://dx.doi.org/10.1179/0002698012z.00000000021.
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Zewi, Tamar. « Representation of Arabic and Syriac in the Samaritan Version of Saadya Gaon’s Translation of the Pentateuch ». Intellectual History of the Islamicate World 8, no 1 (20 janvier 2020) : 39–51. http://dx.doi.org/10.1163/2212943x-00702009.
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Abstract Saadya ben Joseph al-Fayyumi (Saˁīd b. Yūsuf al-Fayyūmī, Saadya Gaon, b. Egypt 882—d. Baghdad 942) translated the Pentateuch as well as several other parts of the Bible into Arabic in the first half of the 10th century. The translation, named tafsīr by Saadya himself, was transmitted in two versions, one in Hebrew letters, probably intended for and used by Jewish-Rabbanite communities, and another in Arabic letters, probably intended for and used by other communities. Several manuscripts holding a Saadyan version in Arabic letters were used by Christian communities in the Near East. Some of these manuscripts probably reached the Samaritans, or at least one Samaritan community. The main source consisting of the Samaritan version of Saadya Gaon’s translation of the Pentateuch is MS London BL OR 7562. The article discusses the status of this manuscript among the other Samaritan Arabic translations, its characteristics, and demonstrates the reflections of Arabic and Syriac vocabulary in its Samaritan script.
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Kinloch, David. « The Art of the Missing Postscript : Some Unpublished Manuscripts of Joseph Joubert ». Nottingham French Studies 24, no 2 (octobre 1985) : 12–27. http://dx.doi.org/10.3366/nfs.1985-2.002.
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Beringer, Alison. « The Pictorial Difference : The Old Testament Joseph Cycle in Two Related Manuscripts ». Manuscripta 53, no 2 (janvier 2009) : 153–77. http://dx.doi.org/10.1484/j.mss.1.100690.
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Martin, Herbert Woodward. « Forgotten Manuscripts : "To My Friend—Joseph S. Cotter," by Paul Laurence Dunbar ». African American Review 43, no 2-3 (2009) : 357–58. http://dx.doi.org/10.1353/afa.2009.0012.
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Suciu, Alin. « A Coptic Fragment from theHistory of Joseph the Carpenterin the Collection of Duke University Library ». Harvard Theological Review 106, no 1 (janvier 2013) : 93–104. http://dx.doi.org/10.1017/s0017816012000302.
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TheHistory of Joseph the Carpenter(BHO 532–533; CANT 60;clavis coptica0037) is readily accessible in many collections of New Testament Apocrypha. The text is fully preserved in Arabic and Bohairic, which was the regional dialect of Lower Egypt, and fragmentarily in Sahidic (i.e., the dialect of Upper Egypt). The present paper introduces P. Duk. inv. 239, a previously unidentified Sahidic fragment of this writing, which surfaced recently among the manuscripts in the Special Collections Library of Duke University. The new textual witness supplies us with a portion of theHistory of Joseph the Carpenterpreviously unattested in Sahidic. Moreover, the Duke fragment displays at least one interesting variant reading, unrecorded in the Bohairic and Arabic versions of the text.
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Miltenova, Anissava. « Slavonic Apocrypha : New Discoveries, New Perusals ». Scrinium 14, no 1 (20 septembre 2018) : 273–88. http://dx.doi.org/10.1163/18177565-00141p18.
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Abstract The mixed-content miscellanies could be defined as a unifying genre of the 'readable' type of unstable makeup and varied content. Manuscripts that reflect the nucleus of characteristic works in expanded or reduced form, providing they feature sufficient textological proof of common origin or typological similarity, could be classified with a certain type. The present study on the Dispute between Our Lord Jesus Christ and the Antichrist and on the The Story about beautiful Joseph has two objectives: 1) to introduce several so far unstudied South Slavonic manuscripts that contain mainly apocrypha, and 2) to reveal how the differences between initial translations and secondary editing of Slavonic apocrypha are indicative of the intervention of the Slavic writer.
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FENS-DE ZEEUW, LYDA, et ROBIN STRAAIJER. « Long-s in Late Modern English manuscripts ». English Language and Linguistics 16, no 2 (1 juin 2012) : 319–38. http://dx.doi.org/10.1017/s136067431200010x.
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It is a generally accepted fact that the use of long-s, or <ſ>, was discontinued in English printing at the close of the eighteenth century and that by the end of the first quarter of the nineteenth century this allograph had all but disappeared. This demise of <ſ> in printing has been fairly well documented, but there is virtually no literature on what happened to it in handwritten documents. The disappearance of <ſ> and <ſs> (as in ʃeems and buʃineʃs) in favour of <s> and <ss> is generally ascribed to the printers’ wishes to simplify their type-settings. But at what point and to what extent did this simplifying process influence private writing of the period? In this article we have documented the rules, as observed by printers, for the use of long-s in the Late Modern English period, and we illustrate how printing practice during this period compared to the usage of this particular grapheme in letters written by two well-known codifiers of the English language, the grammarians Joseph Priestley and Lindley Murray.
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Vine, Angus. « Search and Retrieval in Seventeenth-Century Manuscripts : The Case of Joseph Hall's Miscellany ». Huntington Library Quarterly 80, no 2 (2017) : 325–43. http://dx.doi.org/10.1353/hlq.2017.0019.
Texte intégralThèses sur le sujet "Joseph Manuscripts"
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Santos, Christian Fausto Moraes dos. « Uma cosmologia do novo mundo : os dialogos geoicos de Joseph Barbosa de Sáa no anno de 1769 ». reponame:Repositório Institucional da FIOCRUZ, 2005. https://www.arca.fiocruz.br/handle/icict/6143.
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Previous issue date: 2005Fonte documental do Brasil setecentista ainda inédita, os “Dialogos Geograficos Chronologicos, Politicos, e naturais, escriptos por Joseph Barbosa de Sáa Nesta Vila Reyal do Senhor Bom Jesus do Cuyaba - Anno de 1769.”, até então depositado no Instituto Histórico e Geográfico Brasileiro (Rio de Janeiro), constituem um manuscrito com 926 páginas. É dividido por seu autor em duas partes, a primeira constante de 10 capítulos e a segunda de 11. Nesta primeira parte dos Diálogos Geográficos, José Barbosa de Sá aborda os temas concernentes não somente à geografia física, mas também ao continente americano, às raças que povoam e povoaram as Américas, além de explicar como os animais foram trazidos a este continente; a segunda parte é composta de 11 capítulos que tratam principalmente da descrição de animais, plantas e minerais. Neste sentido, elegemos enquanto objeto de análise e estudo nos Diálogos Geográficos, as teorias de seu autor para explicar a ocupação do Novo Mundo pelos seres humanos e animais. Para além da investigação acerca das teorias cosmológicas contidas nos Diálogos Geográficos, procedemos a um levantamento sobre a vida e as obras de José Barbosa de Sá e elaboramos um índice explicativo com os autores por ele citados. Pretende-se assim fornecer subsídios não somente para uma maior compreensão do manuscrito Diálogos Geográficos, mas, principalmente, do Brasil setecentista, palco histórico onde José Barbosa de Sá concebeu sua maior obra.
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Shannon, Jacqueline Faissal. « Establishing paper-types for manuscript dating purposes : filigranology, rastrology and their application to HR III 4 1/2 2 427 and other manuscripts from the Oettingen-Wallerstein Music Collection / ». Thesis, Connect to this title online ; UW restricted, 2000. http://hdl.handle.net/1773/11225.
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Zora, Viktoria. « Sergei Prokofiev's Violin Sonatas Op. 80 and 94bis : a historical and comparative study of manuscripts, early editions and interpretations by David Oistrakh and Joseph Szigeti ». Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20535/.
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The thesis investigates Sergei Prokofiev’s Violin Sonatas (Op. 80 and Op. 94bis) within the historical contexts of their years of composition (1938-46), dissemination (1944-48) and publication (1946-51) in the Soviet Union, the USA and, partially, the UK. It therefore considers Sergei Prokofiev’s Soviet years (1936-53) from a new perspective and unfolds the Western dissemination history of the Violin Sonatas and Prokofiev’s relationship with Western musicians during the Second World War and the Stalinist era. Moreover, the thesis sheds light upon the Soviet and Western cultural and diplomatic organisations that facilitated the dissemination and publication of the Violin Sonatas in the USA and the UK during the 1940s. The thesis examines and deduces via extensive study of primary sources the chronology of the composition of the Violin Sonatas. The First Violin Sonata (Op. 80, 1938-46), which has hitherto been examined most briefly in the literature, is traced from sketches to the Autograph Manuscript. The sketches are organised chronologically around the interrupted compositional period (1939-44), while the Autograph Manuscript dates from 1946. The Second Violin Sonata (Op. 94bis, 1944), a transcription of the Flute Sonata, is examined via copyist manuscripts, which trace the collaboration process between Prokofiev and the violinist David Oistrakh, who initiated the transcription of the Flute Sonata into the Second Violin Sonata, and subsequently became the dedicatee of the First Violin Sonata. Furthermore, the thesis evaluates the perception of the Violin Sonatas through the press reviews of premieres and interpretations of the works during the 1940s, both in the Soviet Union by David Oistrakh, and in the USA by Joseph Szigeti. The analysis of the first performance editions edited by Oistrakh and Szigeti in late 1940s and early 1950s (Muzgiz, Leeds Music Corporation, Anglo-Soviet Music Press) sheds light upon different historical approaches to the interpretation of the Violin Sonatas and is reflected in the recital that supplements the thesis.
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Lalanne, Bérengère. « Un manuscrit lyonnais : medee et jason de l'abbe simon-joseph pellegrin et joseph-francois salomon. archeologie d'une tragedie lyrique au xviiieme siecle ». Paris 4, 1999. http://www.theses.fr/1999PA040154.
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Cette these s'appuie sur un manuscrit conserve au fonds ancien de la bibliotheque municipale de lyon : medee et jason de simon-joseph pellegrin et joseph-francois salomon. Le premier volume porte sur l'evolution du mythe de medee chez les anciens jusqu'au xviiieme siecle, definissant les sources d'inspirabilite de pellegrin. La dissertation attribuee avec certitude au librettiste, permet de definir son modele, la medee de longepierre, tragedie classique. La mise en parallele des deux oeuvres montre les faiblesses du livret. Celles-ci sont compensees par une recherche du spectaculaire et du merveilleux comme il est d'usage dans les tragedies lyriques et par une mise en musique qui pallie au manque de nuances des vers. Nous nous sommes interesses au principe d'imitation et au pouvoir expressif de la musique, langage des passions. Le second volume presente la restitution du livret lyonnais (1744) et le fac-simile de la partition lyonnaise (1732). Nous avons etudie les remaniements en confrontant les documents lyonnais aux editions parisiennes et avons rassemble l'ensemble des morceaux composes pour cette meme tragedie, ce qui a permis de trouver un morceau original ajoute a la partition. Enfin, nous avons replace les deux documents dans le contexte musical lyonnais.
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McNutt, Genevieve Theodora. « Joseph Ritson and the publication of early English literature ». Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31497.
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This thesis examines the work of antiquary and scholar Joseph Ritson (1752-1803) in publishing significant and influential collections of early English and Scottish literature, including the first collection of medieval romance, by going beyond the biographical approaches to Ritson's work typical of nineteenth- and twentieth-century accounts, incorporating an analysis of Ritson's contributions to specific fields into a study of the context which made his work possible. It makes use of the 'Register of Manuscripts Sent to the Reading Room of the British Museum' to shed new light on Ritson's use of the manuscript collections of the British Museum. The thesis argues that Ritson's early polemic attacks on Thomas Warton, Thomas Percy, and the editors of Shakespeare allowed Ritson to establish his own claims to expertise and authority, built upon the research he had already undertaken in the British Museum and other public and private collections. Through his publications, Ritson experimented with different strategies for organizing, systematizing, interpreting and presenting his research, constructing very different collections for different kinds of texts, and different kinds of readers. A comparison of Ritson's three major collections of songs - A Select Collection of English Songs (1783), Ancient Songs (1790), and Scotish Songs (1794) - demonstrates some of the consequences of his decisions, particularly the distinction made between English and Scottish material. Although Ritson's Robin Hood (1795) is the most frequently reprinted of his collections, and one of the best studied, approaching this work within the immediate context of Ritson's research and other publications, rather than its later reception, offers some explanation for its more idiosyncratic features. Finally, Ritson's Ancient Engleish Metrical Romance's (1802) provides a striking example of Ritson's participation in collaborative networks and the difficulty of finding an audience and a market for editions of early English literature at the beginning of the nineteenth century.
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Wright, Jonathon. « After antiquity : Joseph and Aseneth in manuscript transmission : a case study for engaging with what came after the original version of Jewish Pseudepigrapha ». Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:38ecdcb2-1e34-406a-9905-f946dae4b790.
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The story of Joseph and Aseneth expands a few verses from the book of Genesis into a novella-length work. In recent years, the story has attracted considerable scholarly attention. Interest has focused on questions of provenance: whether the 'longer' or 'shorter' version of the text has priority, and what this means for its interpretation. Like other works of the so-called 'Jewish Pseudepigrapha', it is increasingly used as a source for Judaism and Christianity at the turn of the Common Era. But few have engaged with the story's manuscript witness and transmission. This thesis returns to the sources. It considers how the redaction and translation of Joseph and Aseneth affected its interpretation, and looks at the interests of the redactors and copyists. It warns against placing too much weight on details that lack such an importance in the manuscript tradition. The introduction surveys modern secondary literature on the story. Section 1 investigates the translation and transmission context of the two earliest preserved versions, the Syriac and Armenian translations. Despite their text-critical importance, they have received little attention. Section 2 focuses on the Greek manuscripts of the three longest families (f, Mc, a). It argues that these redactions, and the variety within their witnesses, need to be understood within a Byzantine context, in particular, within hagiographic trends for works produced in monastic environment. Section 3 looks at how the story could be abridged and edited. It identifies the key elements of the story shared by redactors. Four versions are compared: family d, E, Latin 1 and so-called "early modern Greek". The appendices contain a synoptic presentation of Greek versions of the story, an edition and translation of the story from manuscript E, and a translation of the Greek text from manuscript 661.
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Dias, Vivian Lis Ferreira Nogueira. « Um resgate do patrimonio musical paulista : transcrições musicologicas e considerações analiticas de tres missas de Manoel Jose Gomes, mestre-de-capela em Campinas ». [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284648.
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Orientador: Lenita Waldige Mendes NogueiraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem como objetivo o resgate do patrimônio histórico e musical campineiro, através de transcrições musicológicas e considerações analíticas de três Missas de Manoel José Gomes (Santana de Parnaíba, 1792 - Campinas, 1868), conhecido sob a alcunha de Maneco Músico, figura central no panorama musical da cidade de Campinas durante o século XIX. Pai do compositor Carlos Gomes (1836-1896) e mestre-de-capela na cidade por mais de cinqüenta anos, sua produção musical integra o acervo da Coleção Manoel José Gomes, tematicamente organizada por Lenita W. M. Nogueira e publicada no livro Museu Carlos Gomes: Catálogo de Manuscritos Musicais. Dentre as sessenta e duas obras atribuídas a este compositor, as Missas focalizadas neste estudo foram escritas para coro a quatro vozes e orquestra, dispostas em manuscritos autógrafos em partes cavadas, datados do período de maior atividade do compositor (décadas de 40 e 50). A pesquisa foi dividida em três capítulos, organizados em dois volumes, um destinado às considerações analíticas e o outro às transcrições. Cada capítulo é dedicado a uma Missa, apresentada em ordem cronológica decrescente (1854 a 1852). A abordagem de cada obra compreende observações analíticas referentes às indicações contidas nas partes manuscritas e elementos musicais relacionados a texto/forma, orquestração/textura e estrutura harmônica (Volume I), e à transcrição musicológica com notas de edição (Volume II). O primeiro volume apresenta um quarto capítulo, quando são apontados aspectos comuns às três Missas, tendo em vista os parâmetros analíticos utilizados para cada uma, numa tentativa de se esboçar alguns procedimentos composicionais característicos de Maneco Músico. O resultado da pesquisa apresenta às orquestras e corais contemporâneos a partitura em notação atualizada, possibilitando uma interpretação que coloca músicos e público em geral em contato com obras representativas de um momento histórico no qual a execução de música sacra era evento da maior importância no contexto histórico-musical brasileiro
Abstract: The objective of this work is to compile the historical and musical patrimony of Campinas (São Paulo-Brazil), through musicological transcriptions and analytical considerations of three Manoel José Gomes' masses (Santana de Parnaíba, 1792 - Campinas, 1868). He was known as Maneco Músico (Musician Maneco) and regarded as key figure in the musical panorama of Campinas during the 19th century. Maneco Músico was the composer Carlos Gomes' (1836-1896) father and he was the chapel-master of Campinas for more than fifty years. Manoel Gomes' musical production integrates the Manoel José Gomes' Collection, thematically organized by Lenita W. M. Nogueira and published on the book Museu Carlos Gomes: Catálogo de Manuscritos Musicais (Carlos Gomes' Museum: Musical Manuscripts Catalog). Among the sixty-two works attributed to this composer, the masses focused in this study were written for four voices choir and orchestra disposed in autograph manuscripts in individual parts dated from the composer's intense activity period (40-50 decades). The research was divided in three chapters which were organized in two volumes: one destined to analytical considerations and the other to transcriptions. Each chapter is dedicated to a particular mass and presented in decreasing chronological order (1854-1852). The approach of each work consists of analytical observations regarding to the indications contained in the manuscript parts and musical elements related to text/form, orchestration/texture and harmonic structure (Volume I) and to the musicological transcription with edition notes (Volume II). The concluding section points common aspects of the three masses considering the analytical parameters used for each one in an attempt to sketch Manoel Gomes' composing process. The result of the research presents to the orchestras and contemporary chorals the score music in updated notation. Therefore, making possible the performance that will put musicians and general public in contact with representative pieces of work of a historical moment in which the sacred music was of great importance in Brazil
Doutorado
Doutor em Música
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Bennett, Russ Kay. « Joseph Smith—History : From Dictation to Canon ». BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3245.
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This thesis seeks to answer the question of how Joseph Smith—History found in The Pearl of Great Price developed into a part of the canon of The Church of Jesus Christ of Latter-day Saints. When the prophet Joseph Smith first dictated the text to his scribes it seems he had not intended for the work to become scripture, but simply to follow the Lord's divine mandate to keep a record. Additionally he provided the purpose in his document to "disabuse the public mind, and put all inquirers after truth in possession of the facts, as they transpired." The format he proposed for the Manuscript History illustrates how it was originally not purposed for scripture. The compiling of that history took the efforts of many men and women and spanned the length of almost twenty years to complete. Joseph Smith had begun the dictation to his scribe George Robinson in 1838, but it was unfinished. Joseph later began the dictation anew to his scribe James Mulholland, first having the man rewrite what he had told to Robinson and then picking up the dictation from there. While the prophet had started and stopped histories before, this particular dictation began the enduring effort. The Manuscript History was developed from the original 59 pages that were scribed by Mulholland. By the efforts of other scribes, but mostly Willard Richards, the history was completed. The official statement of Brigham Young and Orson Pratt upon its completion said nothing of extracting portions for canon. But Mulholland's work seemed destined for a different purpose than the rest of the Manuscript History. It was printed serially in the Times and Seasons, and a few apostles seemed to catch a vision of what the manuscript could do for potential converts and members of the Church. Orson Pratt was especially a proponent of communicating certain key events as illustrated in his missionary tract "Remarkable Visions." A later apostle, Franklin D. Richards, would see the benefit of using the official history to distribute the history of the restoration of the Church to others. He extracted portions from Mulholland's text that covered certain main events in Joseph's life and printed them in his missionary tract The Pearl of Great Price. This pamphlet would eventually be canonized by The Church of Jesus Christ of Latter-day Saints in 1880. Joseph Smith-History's inclusion in the reclamation of revelation that occurred in 1880 was deserved. This is evidenced by examining the process of canonization and the guiding principles of canonization employed by the Church of Jesus Christ of Latter-day Saints. It was canonized at the same time as many other revelations and at a General Conference saturated with many important events. Consequently it is difficult to gauge the reaction to its inclusion in canon, except in how it has been used since its canonization. After its inclusion into scripture the text has become a foundational piece of literature for the Church. The impact the text has had can be seen in the culture, missionary work, and doctrine of the Church. The focus of this thesis is to map the text's journey from birth to canonization.
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Aparisi, Aparisi José. « Recepción de la música eclesiática de Joseph Haydn en los archivos catedralicios de la Comunidad Valenciana : sus fuentes ». Doctoral thesis, Universitat Politècnica de València, 2015. http://hdl.handle.net/10251/59242.
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[EN] As far as I know, no research has been done so far on the reception of Joseph Haydn's music, particularly that concerning the liturgical repertoire, in Latin, in the main centres of production of church music in the Valencian Community. The first source with music by Haydn, dated in Valencia in 1789, when the musician's composing activity was at its best -the organ part of the "Grosse Orgelsolomesse" ("Great Organ Solo Mass")-, appears n Valencia only three years after he composed Die sieben letzten Worte unseres Erlösers am Kreuze ("The Seven Last Words of our Saviour on the Cross") commissioned to Haydn by the Hermandad of the Santa Cueva in Cadiz. On the other hand, the number of compositions wrongly attributed to Joseph Haydn is, in all probability, much higher when it comes to church music than any other genre, which offers a wide and interesting field to study.[ES] Hasta donde conozco, no se ha realizado hasta la fecha un estudio sobre la recepción de la música, particularmente en lo referido al repertorio litúrgico -en latín- de Joseph Haydn, en los principales centros de producción musical eclesiástica de la Comunidad Valenciana. La primera fuente con música de Haydn datada en Valencia, en 1789, en plena actividad compositiva del músico de Rohrau -la parte para el órgano de la "Grosse Orgelsolomesse" ("Gran misa para solo de órgano")-, aparece en Valencia sólo tres años después de la composición de Die sieben letzten Worte unseres Erlösers am Kreuze ("Las siete últimas palabras de nuestro salvador en la cruz"), fruto del encargo que hiciera la iglesia de la Santa Cueva de Cádiz al compositor. Por lo demás, el número de atribuciones de composiciones, equivocadamente adjudicadas a Joseph Haydn es, seguramente en el campo de la música de iglesia, mucho mayor que en otros géneros, lo que ofrece un amplio e interesante campo sobre el cual poder investigar.
[CAT] Fins hui, no s'ha fet cap estudi sobre la recepció de la música, en particular el cas referit al repertori litúrgic -en llatí- de Joseph Haydn, en els principals centres de producció musical eclesiàstica de la Comunitat Valenciana. La primera font amb música de Haydn datada en València, en 1789, en plena activitat compositiva del músic de Rohrau -la part per a l'orgue de la "Grosse Orgelsolomesse" ("Gran Missa per a solo d'orgue")-, apareix en València només tres anys després de la composició de Die sieben letzten Worte unseres Erlösers am Kreuze ("Les set paraules de nostre Salvador en la Creu"), fruit del encàrrec que fera la cofraria de la Santa Cova de Cádiz al compositor. A banda d'això, el nombre d'atribucions de composicions, adjudicades per equivocació a Joseph Haydn és, segurament en el camp de la música d'església, molt més gran que en altres gèneres, la qual cosa oferix un ampli i interessant camp sobre el que poder investigar.
Aparisi Aparisi, J. (2015). Recepción de la música eclesiática de Joseph Haydn en los archivos catedralicios de la Comunidad Valenciana: sus fuentes [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59242
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Belo, André. « Nouvelles d'Ancien Régime : la Gazeta de Lisboa et l'information manuscrite au Portugal (1715-1760) ». Paris, EHESS, 2005. http://www.theses.fr/2005EHES0093.
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Cette thèse propose une lecture historique des nouvelles de la gazette de Lisbonne entre 1715 et 1760. L'analyse part des silences politiques des nouvelles de la Gazeta de Lisboa pour s'étendre ensuite aux textes manuscrits qui accompagnaient l'actualité parallèlement au périodique imprimé. Les rapports entre ces deux supports de circulation des nouvelles, l'imprimé et lemanuscrit, sont observés et caractérisés comme étant à la fois structuraux et complémentaires, chacun jouant un rôle social. En passant par les mêmes personnes, l'information était l'objet d'une publication différenciée selon les contraintes et les caractéristiques relatives de chacun des supports. Le rapport entre nouvelles imprimées et manuscrites est ainsi le socle méthodologique de l'analyse, l'axe autour duquel tournent d'autres aspects fondamentaux étudiés : les nouvelles de la gazette comme genre discursif paradoxal, situé entre l'histoire et la périodicité, et les enjeux idéologiques de la circulation, à Lisbonne et au Portugal, de nouvelles sur les conflits entre les principales puissances diplomatiques de l'Europe du XVIIIe siècleThis thesis proposes a historical reading of the news of the Lisbon gazette considered in its first phase of existence, between 1715 and 1760, during the kingdoms of D. João V (1707-1750) and D. José I (1750-1777). Starting from the political silences of the gazette's news items, the scope of the analysis extends to the handwritten information that circulated contemporaneously to the printed newspaper. Handwritten and printed news were exchanged within the same social networks. From it resulted a diffesrentiated publication, according to the social and political features of each media. The relationship between these two different media is described as both structural and complementary, and it forms the axis of the research. It will lead us to two other fundamental aspects described in this dissertation : a description of the gazette as a paradoxical textual genre, located between history and periodicity; and the ideological meaning of the circulation of news on European warfare in XVIIIth century Portugal
Livres sur le sujet "Joseph Manuscripts"
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Foundation, Dia Art, dir. Joseph Beuys. New York : Dia Art Foundation, 1987.
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J, Matthews Robert, et Faulring Scott H, dir. Joseph Smith's New translation of the Bible : Original manuscripts. Provo, Utah : Religious Studies Center, Brigham Young University, 2004.
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Beuys, Joseph. Joseph Beuys : Early watercolors. London : Schirmer's Visual Library, 1988.
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Beuys, Joseph. Joseph Beuys : A private collection. München : A11 Artforum, 1990.
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Metzger, Thérèse. Die Bibel von Meschullam und Joseph Qalonymos : Ms. M 1106 der Universitätsbibliothek Breslau (Wroclaw). Würzburg : Kommissionsverlag Ferdinand Schöningh, 1994.
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Kulturbesitz, Staatsbibliothek Preussischer, dir. Joseph und Michael Haydn : Autographe und Abschriften : Katalog. München : G. Henle, 1990.
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Grinten, Franz Joseph van der. et Galerie der Stadt Kornwestheim, dir. Joseph Beuys : Plastische Bilder 1947-1970. Stuttgart : Gerd Hatje, 1990.
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Beuys, Joseph. Joseph Beuys : Zeichnungen, Skulptur, Objekte, Multiples. Köln : Galerie und Verlag Heinz Holtmann, 1990.
Trouver le texte intégralChapitres de livres sur le sujet "Joseph Manuscripts"
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Malé, Jordi. « La ironia tropical de Josep Carner ». Dans Del manuscrit a la paraula digital / From Manuscript to Digital Word, 177–90. Amsterdam : John Benjamins Publishing Company, 2018. http://dx.doi.org/10.1075/ivitra.16.09mal.
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Bobichon, Philippe. « Censure des livres hébreux (XVIe-XVIIe s.) : l’exemple du Sefer ha-‘Iqqarim (Joseph Albo, XVe s.) ». Dans Manuscrits hébreux et arabes, 297–332. Turnhout : Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.bib.1.102097.
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Hu, Wesley. « Marjo Korpel And Josef Oesch, Eds. Layout Markers In Biblical Manuscripts And Ugaritic Tablets ». Dans Perspectives on Hebrew Scriptures III, 450–51. Piscataway, NJ, USA : Gorgias Press, 2008. http://dx.doi.org/10.31826/9781463214821-060.
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Brown, Samuel Morris. « The Task of the Book of Mormon ». Dans Joseph Smith's Translation, 127–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190054236.003.0005.
Texte intégralRésumé :
Joseph Smith saw himself as a seer called to rescue the Bible from Protestantism. Smith’s first scripture, his Book of Mormon, repaired, expanded, and revised the Protestant Bible in order to tell America’s primeval history. This Mormon scripture pointed out and exploited the Bible’s weaknesses even as it relied on the infrastructure of that very Bible. The Book of Mormon demonstrated strength where the Bible showed weakness—access to original manuscripts, plain language, canonization, transmission, ecclesiastical direction, and translation itself. The Book of Mormon wasn’t ever intended to be an independent scripture, but instead to be integrated with the Bible it had transformed. Through the Book of Mormon, Smith translated the Bible from one world and vision of scripture to another, in a way that obliterated the temporal separation of the generations of human history. He became thereby a time traveler, with scripture as his time machine.
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Clark, Frederic. « Dares Survives ». Dans The First Pagan Historian, 251–304. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190492304.003.0007.
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Chapter 6 moves both forward in time and outward in scope. It traces Dares’ afterlife well into the seventeenth century, and in doing so it moves beyond treatments of the text in isolation. Instead, it examines the afterlives of Dares’ “fellow travelers”—i.e., texts that circulated with him either in manuscripts, printed editions, or even the minds of critics—and reconstructs how together they wove webs of error and confusion that kept Dares alive for longer than we might think possible. These textual companions included such diverse sources as Joseph of Exeter, Dictys, (pseudo)-Pindar, and even Homer himself. As this chapter suggests, the legacy of medieval manuscript culture—and its many unintended consequences—was felt long into the early modern period. The second half of the chapter discusses the role that Dares, along with Dictys, played in debates over the historicity of the distant Trojan past, in an age marked by newfound historical skepticism.
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Fleming, James R. « Joseph Fourier’s Theory of Terrestrial Temperatures ». Dans Historical Perspectives on Climate Change. Oxford University Press, 1998. http://dx.doi.org/10.1093/oso/9780195078701.003.0010.
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The concept of the greenhouse effect has yet to receive adequate historical attention. Although most writing ahout the subject is concerned with current scientific or policy issues, a small but growing fraction of the literature contains at least some historical material, which, as this chapter shows for the case of Joseph Fourier, is largely unreliable. Jean Baptiste Joseph Fourier is best known today for his Fourier series, a widely used mathematical technique in which complex functions can be represented by a series of sines and cosines. He is known among physicists and historians of physics for his book Théorie analytique de la chaleur (1822), an elegant but not very precise work that Lord Kelvin described as “a great mathematical poem.” Most of his contemporaries knew him as an administrator, Egyptologist, and scientist. Fourier’s fortunes rose and fell with the political tides. He was a mathematics teacher, a secret policeman, a political prisoner (twice), governor of Egypt, prefect of Isère and Rhône, friend of Napoleon, baron, outcast, and perpetual member and secretary of the French Academy of Sciences. Most people writing on the history of the greenhouse effect merely cite in passing Fourier’s descriptive memoir of 1827 as the “first” to compare the heating of the Earth’s atmosphere to the action of glass in a greenhouse. There is usually no evidence that they have read Fourier’s original papers or manuscripts (in French) or have searched beyond the obvious secondary sources. Nor are most authors aware that Fourier’s paper, usually cited as 1827, was actually read to the Académie Royale des Sciences in 1824, published that same year in the Annales de Chimie et de Physique, and translated into English in the American Journal of Science in 1837! No one cites Fourier’s earlier references to greenhouses in his magnum opus of 1822 and in his earlier papers. Nor do they identify the subject of terrestrial temperatures as a key motivating factor in all of Fourier’s theoretical and experimental work on heat. Moreover, existing accounts assume far too much continuity in scientific understanding of the greenhouse effect from Fourier to today.
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Rémy, Bernard. « L’apport des manuscrits de Joseph-Marie de Suarès (1599-1677) à l’élaboration du Corpus des inscriptions latines de Vaison-la-Romaine et de son territoire ». Dans Altera pars laboris. Venice : Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-374-8/015.
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Joseph-Marie de Suarès (1599-1677), Bishop of Vaison (1633-66), made a substantial contribution to the study of the epigraphy of the Vocontii. His works are gathered in several manuscripts of which the most important are the Codices Barberini and the Codices Vaticani. In incorporating the unspecified pieces, he has counted sixty-seven inscriptions in Vaison and twenty-six in its nearby territory, that is ninety-three texts. Since his death, a great number of the listed inscriptions have been lost. For the town of Vaison only seventeen texts have survived, as well as eight for its territory. It is a tremendous loss, especially since fifty-five at least are only known from Suarès.
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Raylor, Timothy. « Noble Tutor ». Dans Philosophy, Rhetoric, and Thomas Hobbes, 25–64. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198829690.003.0002.
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This chapter investigates Hobbes’s teaching of William Cavendish, second Earl of Devonshire, at Hardwick Hall, Derbyshire in the 1610s. It sets Hobbes’s tutoring in the general context of aristocratic education in early-modern England, and, through evidence of library purchases and surviving manuscripts, explores the particular context of tutoring at Hardwick. In so doing it confirms the distinctively aristocratic and Tacitean complexion of humanism at Hardwick. The chapter examines the composition of the Discourse against Flatterie and the other essays and discourses appearing in Horae subsecivae, evaluating the influence on them of Bacon, and demonstrating their dependence on Joseph Lange’s anthology, Polyanthea nova. These works are shown to constitute something of an apology for young Cavendish’s various indiscretions.
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Morris, Larry E. « “I Have Lost My Soul” ». Dans A Documentary History of the Book of Mormon, 271–86. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190699093.003.0006.
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In June of 1828, after Joseph Smith and Martin Harris had translated 116 pages of the Book of Mormon, Harris convinced Joseph to let him take the manuscript for family members to read. Harris agreed to show the document only to a small group of people. Right after Harris’s departure, Emma Smith gave birth to her and Joseph’s first child, a boy, but the baby was either stillborn or died shortly after birth. After caring for Emma for some time, Joseph went north and west to the Manchester, New York, area to check on the manuscript. When Smith arrived in New York, Martin Harris confessed that he had lost the manuscript. Lucy Harris is later said to have stolen or burned it. Smith feared that all was lost but was reassured by the first revelation for which a text has survived.
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« Le manuscrit ». Dans Joseph Seniri : Commentary on the Former Prophets, 249–58. BRILL, 2014. http://dx.doi.org/10.1163/9789004255920_007.
Texte intégralActes de conférences sur le sujet "Joseph Manuscripts"
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Alonso de Armiño Pérez, Luis, Gonzalo Vicente-Almazán Pérez de Petinto et Vicent Cassany i Llopis. « Housing form and city form : Urban morphology and local identity ». Dans 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia : Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5772.
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Housing form and city form: Urban morphology and local identityKeywords (3-5): Building type, urban morphology, Valencia, housing, house floor-plan design This paper aims to analyse the processes of typological evolution of residential buildings in Valencia as a way to outline an 'affiliation' within the city's housing types, capable of endowing a local identity profile beyond European influences that began to generalise from mid-XIX century. The residential fabric of Valencia maintained a certain continuity/ intelligibility in its morphological evolution until the 1970s, in which the development of the 1966 PG marked a turning point, with the progressive incorporation of "modern" forms of housing, vaguely related to the diffusion of CIAM architectural principles. Nevertheless, a most substantial part of the city fabric, amounting to two-thirds of all residential buildings, was built before the 1966 PG, and therefore away from 'modern' housing practices. Most of this fabric, corresponding to neighbourhoods resulting from urban extension projects starting in the second half of the nineteenth century, is made out of serially-aggregated, multi-family buildings or 'houses of flats', forming perimeter blocks, whose profile still characterises visually the city's townscape. To a large extent, these 'houses of flats' are the result of a progressive codification of building prototypes that first appeared in the historic city, originating from the transformation of the traditional city-house. Initially, the transformation began with increasing the number of storeys, successively followed with processes of plot-aggregation, all combined with an horizontal division configuring new housing floor-plans. These processes progressively generated larger buildings, in which the plot shape and dimensions appear as determining instances. References (100 Word) ALONSO DE ARMIÑO, L. y PIÑON, J.L. (1986). La formazione del la Valencia moderna. Sutoria Urbana, (37), 89-114. AZAGRA, J. (1993). Propiedad inmueble y crecimiento urbano. Valencia 1800-1931. Madrid: Síntesis. BRIGUZ Y BRU, G. (1837). Escuela de Arquitectura Civil. Valencia: Joseph de Orga. HERMOSILLA, J. (1750). La architectura civil (manuscrito). DALY, M.C. (1864). L’architecture privée au XIXème siècle, sous Napoléon III MOLEY, C. (1999). Regard sur l’immeuble privé. Architecture d’un habitat 1880-1970. Paris: Le Moniteur. PIÑÓN, J.L. (1988). Los orígenes de la Valencia moderna PONS, A. y SERNA, J. (1992). La ciudad extensa. Valencia: Diputació de València. SANCHO, A. (1855). Mejoras materiales de Valencia. Valencia: Imprenta de José Mateu.