scholarly journals II.—On an Examination of the Grave of St. Cuthbert in Durham Cathedral Church, in March, 1899

Archaeologia ◽  
1900 ◽  
Vol 57 (1) ◽  
pp. 11-28 ◽  
Author(s):  
J.T. Fowler
Keyword(s):  
Human Remains ◽  
The Body ◽  
The Other ◽  
Great Weight ◽  
Strong Feeling ◽  
Made In

Our Fellow and Local Secretary, Canon Greenwell, has recently devoted much time, thought, and labour to the piecing together of the broken portions of St. Cuthbert's coffin that were removed from the grave in 1827. Special attention having thus been directed to the matter, it was thought desirable that another examination of the grave should be made in order to recover, if possible, some of the missing fragments. For Dr. Raine expressly states that the new coffin provided in 1827 was “deposited in the bottom of the original grave, upon a mass of broken wood, iron rings, and iron bars, the remnants of the two outer coffins of the Saint, which had been thrown into the grave.” It was further considered that an examination of the human remains might throw some light upon the longdisputed question of the identity of the body that was placed in the grave in 1542 with that of St. Cuthbert, which had for nearly 840 years been enclosed in the coffin. After many delays, caused by the strong feeling in the minds of some whose objections rightly carried great weight, it was decided that the grave should be opened, the coffin of 1542 carefully raised, the other contents of the grave taken out, and the coffin returned to its place with its contents undisturbed.

scholarly journals THE COMPARATIVE VIABILITY OF PNEUMOCOCCI ON SOLID AND ON FLUID CULTURE MEDIA

1913 ◽  
Vol 18 (5) ◽  
pp. 584-590
Author(s):  
L. J. Gillespie
Keyword(s):  
Chemical Composition ◽  
Solid Medium ◽  
Culture Media ◽  
The Body ◽  
The Other ◽  
Made In ◽  
Fluid Culture

1. Pneumococci, when freshly isolated from the body, are able to live and multiply when a small number of them are inoculated into a small amount of broth. If, however, the inoculations are made in large amounts of broth, many more bacteria must be inoculated in order that they may grow. 2. It requires much smaller numbers of pneumococci to start a growth on agar than are required to start a growth in broth. 3. This predilection for solid medium disappears when the bacteria are grown for some time outside the body. 4. This phenomenon is not dependent on differences in chemical composition between the two media employed or on the presence of more available oxygen in one case than in the other. 5. It is probably dependent entirely on physical differences in the two kinds of media, and bears some relation to the differences in possibilities for diffusion in the two media.

Punishment and the physiology of the Timaeus

1996 ◽  
Vol 46 (2) ◽  
pp. 357-370 ◽  
Author(s):  
R. F. Stalley
Keyword(s):  
Physical Health ◽  
Moral Philosophy ◽  
The Body ◽  
The Other ◽  
The One ◽  
Mental And Physical Health ◽  
Health And Sickness ◽  
Made In

It hardly needs to be said that the parallel between mental and physical health plays an important part in Plato's moral philosophy. One of the central claims of the Republicis that justice is to the soul what health is to the body (443b–444e).1 Similar points are made in other dialogues.2 This analogy between health and sickness on the one hand and virtue and vice on the other is closely connected to the so–called Socratic paradoxes. Throughout his life Plato seems to have clung in some sense to the ideas that justice is our greatest good, that the unjust man is correspondingly miserable and that no one is therefore willingly unjust. It follows from these ideas that the unjust man, like the sick man, is in a wretched state which is not of his own choosing.

The Analysis of Static Pose Error for a Multi-Joint Climbing Robot

2014 ◽  
Vol 670-671 ◽  
pp. 1397-1402
Author(s):  
Lei Wang ◽  
Xue Liang Huang
Keyword(s):  
Error Compensation ◽  
The Body ◽  
Industrial Robots ◽  
The Other ◽  
Climbing Robot ◽  
Analysis Theory ◽  
In Series ◽  
Angle Parameter ◽  
Made In ◽  
Parameter Error

The research object was a 5-joint climbing robot in series, whose structure consisted of the body links and two symmetrical end-claws. The analysis theory of industrial robots was proposed to make systematical research on the static pose error. The kinematics model of static pose error is established, according to the kinematics D-H theory. Set the claw fixed on the climbing target as the base, and then the motion was transmitted to the other claw by the 5 joints. The equations of static pose error were derived. Calculations and analysis were made in MATLAB providing the theory reference to the research on error compensation and controlling. The results indicate that angle parameter error has great affect on the end-pose error of the robot which is in proportion to the angle parameters, so measures to reduce the angle parameter error need to be made to improve the precision of robot.

Larva and pupa of Nilio (Linio) lanatus Germar, 1824 (Coleoptera: Tenebrionidae)

Zootaxa ◽  
2009 ◽  
Vol 2175 (1) ◽  
pp. 51-56 ◽  
Author(s):  
MARIANNA V. P. SIMÕES ◽  
HINGRID Y. S. QUINTINO ◽  
MARCELA L. MONNÉ
Keyword(s):  
Atlantic Forest ◽  
Rio De Janeiro ◽  
The Body ◽  
The Other ◽  
Black And White ◽  
Parque Nacional Do Itatiaia ◽  
Made In ◽  
Coleoptera Tenebrionidae

The larva and pupa of Nilio (Linio) lanatus Germar, 1824 are described and illustrated. The larva of Nilio (L.) lanatus differs from the other known larvae of the genus mainly by the body elongate covered with black and white hairs, the head with four stemmata and the mesothorax with one pair of ventral annular spiracles. Biological observations were made in Atlantic Forest, in the Parque Nacional do Itatiaia, Rio de Janeiro (Brazil).

scholarly journals Ciała pozbawiane powierzchni. Imago

Schulz/Forum ◽  
2019 ◽  
pp. 3-4
Author(s):  
Stanisław Rosiek
Keyword(s):  
20Th Century ◽  
The Body ◽  
The Other ◽  
Outer Side ◽  
Psychological Study ◽  
Artistic Activity ◽  
Individual Traits ◽  
The One ◽  
Two Stages ◽  
Made In

Both drawings (the one from the first page of the fascicle and the other from the outer side of the cover) show two degrees, two stages of the decomposition of form. In the same process, bodies lose their integrity. They were shown by Schulz as a series of leaping aspects which are disconnected, hence discontinuous. The drawings were made in the 1930s. The beginning of the draughtsman’s development did not anticipate such a great catastrophe of bodily forms. In his works from the second and in part also third decade of the 20th century Schulz defined human figures precisely and unambiguously. Then, however, the proud poses which he took when drawing himself (e. g., in his narcissistic Lvov portrait) or other figures (Budracka or Weingarten) probably could not be repeated. In the final decade of his life (and artistic activity) Schulz was drawing differently, perhaps because he perceived himself and the others in a different way. The body? The draughtsman presents it as just a cluster of vibrating lines. A self-portrait? It is possible only as a psychological study, an exaggerated caricature that stresses individual traits or an icon of oneself (the big head with a hat on top, a small size). In hundreds of compulsive sketches drawn in the 1930s even those principles were not respected any more. The bodies that Schulz drew then, no matter if it was his own body or someone else’s, often approach a boundary behind which there is only trembling. Displacement and movement. Schulz’s sketches do not search for form. They are testimonies of its destruction or maybe better, its palpitation, solution and scattering. For the eye, the body is a phenomenon of the surface. It is only the reduction of distance in an act of love (or aggression) or even a common handshake that change that state. Perhaps then the problem of Schulz’s representation of the body is reduced to perception. The drawn body has no smell or weight (or taste – it is not “meaty”). One cannot even touch it. A hand that makes an attempt to touch naked women, who in Schulz’s drawings take majestic and provocative poses, touches only a sheet of paper. The drawn body exists just for the eye. Thus the last chance for the existing body is keeping its surface. Why is it then that the body from Schulz’s late drawings loses its integrity, why does it so often fall apart under our eyes? What is the body for Schulz-the draughtsman and Schulz-the writer? How does he experience his own corporeality? How does he see himself? How do others see him?

Measurements of the Flow Field on a 15° Semi-Vertex Angle Blunt Cone at M=8.6

1969 ◽  
Vol 20 (1) ◽  
pp. 88-98
Author(s):  
N. B. Wood
Keyword(s):  
Mach Number ◽  
Flow Field ◽  
Theoretical Calculations ◽  
The Body ◽  
The Other ◽  
Vertex Angle ◽  
Blunt Cone ◽  
Pitot Pressure ◽  
Made In

SummaryMeasurements of the pitot pressure between the body and shock on a 15° semi-vertex angle, spherically blunted cone were made in the RARDE Hypersonic Gun Tunnel at a Mach number of 8·6. Using these measurements, together with the measured shock shape, the other flow field parameters were calculated. The results were compared with results of inviscid theoretical calculations for a similar cone at a Mach number of 10.

scholarly journals Profit, Entry and Changes in Concentration: The Case of the Malaysian Food Manufacturing Sector

2020 ◽  
Author(s):  
Mohamad-Hanapi Mohamad
Keyword(s):  
Small Groups ◽  
Manufacturing Sector ◽  
Empirical Studies ◽  
Theory Of The Firm ◽  
The Body ◽  
The Other ◽  
Significant Progress ◽  
Food Manufacturing ◽  
Economic Analyses ◽  
Made In

One of the major concerns of the body of economic analyses surrounding the theory of the firm is whether the profit behavior of oligopolistic industries differs from that of competitive industries. Theory suggest that where small groups of sellers accounts for a substantial proportion of an industry’s output, the recognition of mutual interdependence will result years significant progress has been made in developing a theoretical model to explain concentrating impact among consumer goods industries, and a number of empirical studies have been carried out to test the hypotheses which have been advanced. The findings however, are not conclusive. The work of Ekelund and Maurice (1969) has shown that concentration has no effect on profitability. Mann, Henning and Meehan (1967) on the other hand contended that the two are intimately connected. Similar findings were recorded in the work of Comanor and Wilson (1967) as well as that of Collins and Preston (1969).  

scholarly journals Les restes humains archéologiques en France : entre objets de science et sujets de droit

2019 ◽  
Vol 2 (3) ◽  
pp. 97-108
Author(s):  
Rozenn Colleter ◽  
Paul-Anthelme Adèle
Keyword(s):  
Human Remains ◽  
The Other ◽  
General Interest ◽  
Archaeological Material ◽  
Scientific Rigour ◽  
Other Hand ◽  
The One ◽  
Scientific Documentation ◽  
Made In ◽  
Ethical Virtues

Over the past 40 years, the increase in the number of archaeological excavations of large funeral complexes in France has led to a considerable increase in the number of human remains in the State’s excavation sites. These remains are not strictly speaking part of the archaeological material but are instead considered “scientific documentation”. On the one hand, the requirements of science necessitate the mobilization of all available techniques in order to better understand the populations that have left us these traces. On the other hand, material and cultural limitations necessarily lead to sampling techniques being seen as an efficient archaeological system. On the other hand, the mission of general interest that is archaeological research requires particular care be taken with these remains, sparing them from an overly managerial and short-term vision. The ethical virtues of archaeological excellence must not be forgotten; archaeological knowledge must be based on the requirement of scientific rigour. This primary requirement is questioned in particular by the choices made in the management of human remains collections. A second ethical requirement leads to questions about the legal or moral limits of the first. Should scientific rigour be limited in certain cases, particularly when the research involves human remains? Should remains be subject to a specific legal or ethical status that would distinguish them from other elements of archaeological material? This article addresses these questions through the prism of the study of the case of the perfectly preserved body of Louise de Quengo, a 17th century Breton noble discovered in 2014 in Rennes (France).

Reading the World Rightly and Squarely: Bonaventure's Doctrine of the Cardinal Virtues

Traditio ◽  
1983 ◽  
Vol 39 ◽  
pp. 183-218 ◽  
Author(s):  
Kent Emery
Keyword(s):  
Thirteenth Century ◽  
Twelfth Century ◽  
The Body ◽  
The Other ◽  
Symbolic Model ◽  
Cardinal Virtues ◽  
Seven Deadly Sins ◽  
Theological Virtues ◽  
The World ◽  
Made In

In an article concerning the seven deadly sins, Siegfried Wenzel distinguishes one model for the traditional topic of vices and virtues which he calls ‘ cosmological’ or ‘ symbolic.’ This model develops the idea that ‘ man is a septenary,’ a composite of three powers of the soul and four elements of the body. The association of the three theological virtues with the three powers of the soul and the four cardinal virtues with the four elements of the body was current in the twelfth century. In the first half of the thirteenth century, Robert Grosseteste developed the analogy in the context of a metaphysics of light, somewhat unexpectedly in a treatise on confession. The ‘connection between virtues and vices on one hand and physiology on the other,’ Wenzel remarks, ‘is an area that needs much further study.’ Perhaps the fullest development of the cosmological or symbolic model of the virtues was made in the last half of the thirteenth century by Bonaventure. Indeed, for him the cardinal virtues (the concern of this study) are the four poles of the created universe.

Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)

2019 ◽  
Vol 4 (2) ◽  
pp. 179-191 ◽  
Author(s):  
Viveka Kjellmer
Keyword(s):  
Social Change ◽  
Female Body ◽  
The Body ◽  
The Other ◽  
Set Design ◽  
Creative Work ◽  
Visual Thinking ◽  
Main Character ◽  
Vital Part ◽  
Made In

In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915‐18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.

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