Gotowa bibliografia na temat „Notes written by Hubert J”

Petrine epoch is often seen as both rapidly adopting Western values and revolutionary regarding the antecedent Russian cultural tradition, although still strongly depending upon it. Manuductio ad linguam Germanicam, written in 1706 by J. W. Paus and preserved at the Library of the Russian Academy of Sciences, is an example of this, as it combines Church Slavonic terminology and basic definitions with European conceptual models, a feature that became characteristic of many early eighteenth-century bilingual manuals. Manuductio ad linguam Germanicam are draft notes, concerning how to compile a foreign language manual for Russian students in their native tongue. The text has attracted some scholarly attention; however, until now, no one has analyzed its linguistic conception and terminology. Paus’s ideas were pioneering. The text allows us to reconstruct how German was taught at the Moscow gymnasium: the mentor spoke Russian, often resorting to Latin terminology and occasionally – to German definitions. Paus borrowed the basic structure of his manual from Smotrytsky, while some of his comments indicate an orientation on seventeenth-century German “universal” grammars such as those by Ch. Helvig and J. Bödiker.

AbstractThe concept of sign (M. K. Cohen, P. Ricoeur, C. G. Jung, S. Langer, L. Wittgenstein; Boethius, St Augustine). The signs of the notes as a spatial form of music. Syntax, morphology and phonetics in language, including musical language. Interpretation as knowing the meaning from the sign (J. Grondin). The sign has meaning only to the extent that it can be understood (V. Daujotytė). The written signs as the potentiality, and the language and the expression as the actualisation. A text is a system of signs: the sign is something which exists not as an end in itself but as a reference to something other than itself. The result of perception of the intonational links in the structure of the text is expressive intonational activity.

AbstractNote-taking is prevalent in academia—it is the basis of scholarly work, i.e. searching for information, collecting and reading literature, writing and collaborating, referred to as a “primitive” that assists these information activities (e.g., Palmer, C. L., Teffeau, L. C., & Pirmann, C. M. (2009). Scholarly information practices in the online environment: Themes from the literature and implications for library service development. OCLC Research. https://accesson.kisti.re.kr/upload2/i_report/1239602399570.pdf). Researchers and higher education students take notes throughout the inquiry cycle, i.e. while designing research, collecting data, analysing data, and writing the report. In addition, with written assignments being a considerable part of student academic work, notes are taken in the writing process, from generating ideas for writing tasks, through text planning and drafting to its editing. As this process may be challenging, digital note-taking has the potential to facilitate writing in academic contexts (Matysek, A., & Tomaszczyk, J. (2020). Digital wisdom in research work. Zagadnienia Informacji Naukowej—Studia Informacyjne, 58(2A(116A)), 98–113. https://doi.org/10.36702/zin.705). Yet, despite the availability of literature concerning formal requirements of writing, such as style, structure, referencing, etc., relatively little literature deals with the note-taking activity that assists academic writing, and even less with digital note-taking. In order to bridge this gap, this chapter focuses on the note-taking activity and shows how digital tools can support note takers in the academic writing context.

Abstract In these two letters from the grandson of blackface performer Thomas “Daddy” Rice, Dean J. Rice informs Foster collector Josiah K. Lilly of how he came to own two unknown and unpublished songs he believed were written by composer Stephen C. Foster. He claims that his grandfather got to know the songwriter in New York and that Foster approached him with two songs to sing, “Long Ago Day” and “This Rose Will Remind You.” His grandfather never performed them. The manuscripts supposedly remained in the family’s possession, and Dean J. Rice transcribed them before losing the originals. Christopher Lynch provides an introduction and annotations with notes and corrections.

Abstract Sanskrit. Various transcription systems have been used to romanize Skt.; the system used here is in accord with current practice. The Skt. short vowels are a (pronounced [J ]), i, and u; the long counterparts are ii, T, and ii, respectively. The symbols r and ! (the latter only occurring in a few forms from a single root) are syllabic liquids, and are short vowels in the Skt. grammatical tradition; f, which is of secondary origin in Indic, is to r as ii is to a. The letters e and o stand for syllabics which the native grammarians call diphthongs; they reflect Pinlr. * ay and * aw, respectively, and although not marked as such they are always LONG as to literal duration (but they are nevertheless at the same time ‘short diphthongs’). In Ved. devf nom.sg. ‘goddess’ < Pinlr. * daywi < PIE * deyw-iH2 both syllabics are long, even though only one letter carries a macron. The ‘long diphthongs’ (63-4) corresponding to e and o are are written iii and iiu, respectively. Many of the letters used in transcribing consonants are self-explanatory, such as m, r, p. The sound system of Indic, though complex, is highly patterned; the following is the scheme of the native grammarians, and is incidentally the order of the letters of the Devanagari’ writing system (read across):

Abstract The attention given to the arpeggio in eighteenth-century treatises is minimal by comparison with the detail in which other ornaments are discussed. The reason for this may not be, as Neumann believes, that theorists resorted to a few stereotyped comments and standard realizations because of the difficulty of describing and illustrating the actual performance of this ornament, but because the arpeggio in galant and Classical keyboard music is relatively unproblematic. The complex notational systems used in French keyboard music of the early part of the eighteenth century to distinguish between ascending and descending arpeggios and to indicate various types of arpeggios ornamented with passing notes are not relevant to Haydn's keyboard music, or, in general, to music and treatises on performance practice from the second half of the eighteenth century. Problems relating to the performance of passages written as a series of chords but marked ‘arpeggio’ (such as occur in J. S. Bach's Chromatic Fantasy in D minor, BWV.903, or in a number of C. P. E. Bach's freien Fantasien) are also irrelevant to a discussion of Haydn's keyboard music, since passages of this type do not occur: continuous arpeggios are, of course, found in Haydn's music but they are figurative and written with precise note values rather than being a function of improvisation. Arpeggios, as ornaments, in Haydn's music occur relatively infrequently, are almost always associated with the strongest beats in the bar, and, I would suggest, primarily serve the purpose of accentuation.

In this work, Eulerian transport equations are derived for a polydispersed cloud of droplets in a turbulent carrier flow, which take into account the effects of polydispersion and coalescence. The approach is an extension of the Direct Quadrature Method Of Moments (DQMOM) formalism initially proposed by Marchisio and Fox (2005, J. Aerosol Sci., 36, pp. 43–95). In the initial DQMOM approach of Marchisio and Fox, the effects of polydispersion and coalescence can only be accounted for in the mass balance equations. By combining the DQMOM approach and the joint fluid-particle pdf approach of Simon