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No group is quotedand misquotedmore often than America's founders. When a political controversy heats up, the nation's speechwriters, politicians, reporters, editorial writers, and talking heads try to influence the debate by quoting their words. Year in and year out, teachers and political buffs look to their wisdom to illuminate the issues.

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A practical and systematic elaboration on the analysis, design and control of grid integrated and standalone distributed photovoltaic (PV) generation systems, with Matlab and Simulink models Analyses control of distribution networks with high penetration of PV systems and standalone microgrids with PV systems Covers in detail PV accommodation techniques including energy storage, demand side management and PV output power regulation Features examples of real projects/systems given in OPENDSS codes and/or Matlab and Simulink models Provides a concise summary of up-to-date research around the word in distributed PV systems

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Tyler isn't thrilled to be spending yet another mundane afternoon at Great Uncle John's. And that's putting it mildly! But after his visit sparks a chain of inexplicable events, he delightedly discovers magic at his fingertips.

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In the city of Ismyre, something is stirring... An aristocratic businessman reveals the latest must have: a pillar of crystals that allows for the creation of beautiful illusions and powerful spells to be performed. At the same time, Henriett, a disgraced biology professor, feels the disquiet in the air as specimens she has studied for years begin inexplicably dying out. On travelling to Ismyre, to warn the current Prime Minister and council of an imbalance within the world's ecosystem and magic, she encounters a young magician called Niklas who is there for a very different reason. Alongside a crew of ex-academics and inhabitants of smaller surrounding villages, Henriett and Niklas work together to uncover the strange imbalance being created in the world. In moving pencil and watercolour artwork, this graphic novel explores the motives and back story of Ismyre's mysterious eco-anarchist wizards and their terroristic, floral tendencies.

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Mastering Street Photography is a practical guide to capturing the candid moments that reveal life at its most dramatic, absurd or beautiful. Principal and Course Tutor of the Streetsnappers workshops, Brian Lloyd Duckett presents the techniques that can elevate images of the urban landscape from the ordinary to the extraordinary. He demonstrates how the successful street photographer needs to be an unseen observer, with the camera a mirror of everyday scenes and unaware subjects. A guide to equipment and technical skills leads into lessons in finding inspiration, developing projects and composing different subjects and scenes.

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Fully revised with 100 percent new photography, this best-selling guide takes a radical approach to creativity by explaining how it is not just an inherent ability but a skill that can be learned and applied. Using inventive photos from his own stunning portfolio, author and veteran photographer Bryan Peterson deconstructs creativity for photographers. He details the basic techniques that go into not only taking a particular photo, but also provides insights on how to improve upon it - helping readers avoid the visual pitfalls and technical dead ends that can lead to dull, uninventive photographs. This revised edition features a complete section on colour as a design element and all new photographs to illustrate Peterson's points. Learning to See Creatively is the definitive reference for any photographer looking for a fresh perspective on their work.

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From the fan-favorite author of Underneath the Sycamore Tree comes the next installment in a raw, real romance series following the lives of the Lindon U football players and the complicated girls who change their lives forever.When Skylar Allen decided to move across the country for college, she thought it'd be the perfect chance to reinvent herself. But then one party changed the course of her entire freshman year.Just when she thinks she's about to drown in the foggy memories of her night spent partying at the football house, Daniel Bridges walks into her life. Lindon University's wide receiver. A total flirt. And a total threat.Because he can help her take away the memories she does remember from that night.What Skylar doesn't anticipate is the friendship she forms with the witty football player as months go on. And how easy it is to fall for him as he teaches her how to trust again...and so much more.

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From New Yorker cover artist Bob Staake, this inspirational guide to finding your authentic self through life�s challenges is a hip new take on the graduation book. Award-winning author and New Yorker cover artist Bob Staake�s lyrical words and stunning illustrations will lead children and adults alike to discover the encouraging truth that our path through life is not only challenging and beautiful�it is all our own to discover and invent. With a bonus The Path poster from Bob Staake inside the jacket! �You will walk. You will walk along a well-worn path that many people have taken�and long before you.� So begins this inspirational journey over gentle, grassy hills, through fields of wildflowers, over raging rivers, up steep mountains, and even through a dark, chilly cave. When it splits in two, you will have to decide what to do next�and you�ll create a path that�s unique to you.

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Without equal anywhere in print today, this is the most complete guide to oil painting materials, and how to use them to derive best results from the medium.

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Veteran photographer and instructor Bryan Peterson is best known for his arresting imagery using bold, graphic color and composition. Here he explores his signature use of color in photography for the first time, showing readers his process for creating striking images that pop off the page. He addresses how to shoot in any type of light, and looks at color families and how they can work together to make compelling images in commercial and art photography. He also helps readers understand exposure, flash, and other stumbling blocks that beginning and experienced photographers encounter when capturing images, showing how to get the most out of any composition. With its down-to-earth voice and casual teaching style, Understanding Color in Photography is a workshop in a book, helping any photographer take their images to the next level.

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Celebrate the splendor of wood with these wood-crafting projects. From simple woven panels to making a functional yurt, Woodland Craft features an array of easy-to-follow projects that include crafts for the farm, garden, wood fuel, building and domestic use. In fact, there's something here to satisfy all your project desires! Green wood - wood that has been recently cut and is therefore still moisture-rich - is the predominant material used in the projects featured in this essential guide for craftsman of all levels. Be inspired to work with one of nature's most beautiful and classic materials. Wood can offer you the look and feel, and even scent, that no other natural material can provide. With Woodland Craft you'll learn all you need to know about tools and devices, both old and new. You'll browse through the handy directory of tree species and identify the best uses for each. You'll appreciate and admire the massive display of illustrations and photographs throughout - nearly 700 combined! And you'll gain the insight you need to make practically anything out of this clean, crisp, beautiful element. AUTHOR: Ben Law, woodsman, craftsman, eco-builder, teacher and writer, lives and works in Prickly Nut Wood in West Sussex, UK. The building of his unique woodland home was featured on Channel 4's Grand Designs in the UK and was voted by viewers as the most popular episode ever. In addition to the coppicing of his own woodland, he runs courses on sustainable woodland management and permaculture, runs a specialist eco- building company and trains apprentices. 185 illustrations, 496 photographs in full colour

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Paul of Venice joined the Austin Friars at an early age and was sent by them from Padua to study at Oxford in 1390. When he returned, full of ideas and laden with books, he began his prodigious writing career with several books on logic, including the Logica Magna, which runs to some half a million words. The current volume contains the final treatise, on insolubles—that is, logical paradoxes. After surveying fifteen previous solutions, Paul develops his own, based on the idea that such propositions falsify themselves. Besides a critical edition of the Latin text, the volume also contains an English translation, a detailed commentary, excerpts from two other logical works of Paul’s, and a substantial introduction. The introduction describes the fourteenth-century background to Paul’s treatise; it also gives a detailed rebuttal of a recent claim that the Logica Magna is not by Paul because its content clashes with genuine works of his. All in all, the volume greatly enhances our understanding of the development of logic, in particular of the semantics of propositions, during a crucial century in its history.

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When gazing into the vast expanse of 'the universe', humankind experiences the universal desire to fathom the mystery of its creation. We utilize our unique ability to express ourselves through artistic means to make this mystery tangible, transmuting the secrets of the cosmos into stunning objects and ingenious symbols. Through a deep engagement with recent iconological methods the author travels up and down a methodological Jacob's ladder, between the artist's gazes from the earth to the sky. The reader is treated to studies on a wide variety of objects and mediums, ranging from the embroidery of Girone, the Hereford mappa mundi to the genesis cycle in the Saint Mark's Basilica in Venice. The author reconsiders the iconic gaze of van Eyck's lamb and enters Danaë's uncanny, voyeuristic space in the painting by Jan Gossaert. Meanwhile, she allows other thinkers to explore these questions alongside her. She turns to Erwin Panofsky, who writes about his fascination with Galileo Galilei's telescope, and finally Lars von Trier and his movie Melancholia gets to call it Schluss. All the artworks in this captivating book contribute to unravel the largest mystery that surrounds us: the cosmos. The image blooms into the countenance of that majestic, astonishing black pupil above us. Or as Aby Warburg once wrote: "Contemplation of the sky is the grace and the curse of humanity."

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Les livres de Samuel (1 S 1 – 1 R 2)se présentent comme un récit à prétention historiographique. Ils relatent le siècle d’histoire qui va de la naissance de Samuel à la mort de David. Pour raconter cette longue période dans la durée relativement brève du récit, le narrateur ne cesse d’opérer des choix temporels d’ordre divers. Le présent ouvrage s’intéresse à la construction du temps du récit. Il s’agit de voir comment cette construction vise non seulement à rendre compte du cours de l’histoire mais surtout à le qualifier. En effet, l’ensemble des choix temporels semble conduit par un souci mimétique mais il constitue surtout un propos implicite sur la signification des événements rapportés. Les formes et les modes de l’articulation entre le temps du récit et le temps de l’histoire se révèlent donc être un lieu privilégié pour appréhender la visée du projet historiographique de 1 S 1 – 1 R 2. Les composantes les plus significatives de cette articulation sont les indications calendaires qui balisent la narration, la prééminence donnée à l’unité du jour, l’organisation de séquences de jours, la conjugaison des ressources temporelles propres aux trois genres littéraires présents en 1 S 1 – 1 R 2: le récit, l’oracle prophétique et le poème lyrique. Chacun de ces éléments fait l’objet d’une étude systématique. Ils sont ensuite envisagés ensemble, dans leur contribution commune à la mise en valeur de ce qu’on pourrait appeler «le temps qui compte» dans ce siècle d’histoire. La tapisserie de Gleb, qui illustre la couverture, représenteles quatre lettres hébraïques du nom divin hwhy YHWH. Elles sont disposées detelle sorte qu’on peut y voir également une figuration humaine. Cette œuvreentre en résonance avec la recherche menée dans le présent ouvrage. Dansl’épaisseur du «tissu» narratif, dans sa texture où se croisent comme autant defils des voix aux temporalités distinctes, les modalités de l’articulationserrée entre l’action divine et celle des humains sont finement explorées. Ellesinvitent le lecteur à un examen attentif. Qui voit-il à l’œuvre dansl’histoire?

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«Fatigues et peine, veilles souvent; faim et soif, jeûne souvent; froid et dénuement; sans compter tout le reste, ma préoccupation quotidienne, le souci de toutes les Églises» (2 Co 11,27-28). L’apôtre Paul a montré avec quelle obstination il convenait de poursuivre le bien de l’Église – de toutes les Églises, qui font vibrer par leur diversité la gloire du Dieu unique, à l’instar des variantes de la cathédrale de Rouen où Monet saisit l’infinie variété des couleurs que distille sur les pierres chatoyantes le soleil de Normandie. «Le souci de toutes les Églises» constitue le fil rouge des contributions présentées dans ce volume d’hommage offert au professeur Joseph Famerée à l’occasion de son éméritat. Une première partie traite de l’œcuménisme sous l’angle d’un regard rétrospectif et d’une vision prospective. La communion espérée entre les Églises ne relève pas d’une volonté d’uniformité entre les cultures et les traditions qui ont su accueillir l’Évangile. Elle se recommande du témoignage dû au Dieu Un – le Dieu d’amour, impatient de rassembler dans l’unité ses enfants dispersés. Cheminant dans l’opacité des mémoires, par-delà la pesanteur des institutions, le désir de faire prévaloir la communion sur l’acrimonie des divisions ne peut se dispenser d’un long travail d’histoire et de théologie. Une deuxième partie aborde les questions ecclésiologiques les plus actuelles: la requête de synodalité et de conciliarité, qui se fait jour tant dans l’Église catholique que dans l’Église orthodoxe; la réforme du ministère pétrinien, que recommande le bien suprême de la communion; la conception du ministère dans l’Église, où «il n’y a plus ni Juif, ni Grec; il n’y a plus ni esclave, ni homme libre; il n’y a plus l’homme et la femme; car tous, vous n’êtes qu’un en Jésus-Christ» (Ga 3,28). La troisième partie envisage la trajectoire et l’influence d’un théologien de l’unité qui a puissamment contribué au ralliement tardif de l’Église catholique à la tâche œcuménique: Yves Congar (1904-1995) – il convenait, en effet, d’évoquer l’œuvre majeure du dominicain français, auteur de prédilection du professeur Joseph Famerée. En guise d’ouverture, après une réflexion sur le poids de la culture dans le développement des sociétés africaines, l’ultime contribution invite la théologie à tourner son regard vers les vastes cieux que l’astronomie offre à sa contemplation émerveillée, non sans lui assigner de nouvelles tâches.

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The word enthusiasm is derived from the Greek enthousiasmos and means being captivated by a god. Even today, we use `enthusiasm’ to describe a special energy that can suddenly overwhelm us: an emotional affect that holds the glow for the subject within oneself, and which radiates inspiration out to an audience. Yet, through the ages, the concept has not always carried with it the positive connotations it had in ancient Greece. Despite a few flickers on the cultural historical time line, enthusiasm has mostly been marginalised in modern Western philosophy: as an excessive urge or as a harmful exaggeration of emotions. In this essay, I work towards a rehabilitation of inspiration within intellectual thought. Is enthousiasmos the subject of any iconographic traditions? Is enthousiasmos also an aesthetic concept? And can enthousiasmos be part of an epistemology?

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Le Psautier constitue un recueil de textes d’époques diverses, aux préoccupations variées. On peut distinguer des psaumes ayant eu une existence indépendante, avant la constitution du Psautier actuel, et des psaumes littéraires liés à la rédaction du Psautier en tant que tel. Une étape intermédiaire a été la constitution de recueils, avec les psautiers davidiques, le psautier coréite et le psautier asaphite. La constitution des psautiers davidiques est liée à la structuration d’ensemble du Psautier autour de l’espérance messianique davidique. Ils ont permis d’intégrer des psaumes aux perspectives très différentes dans le cadre de la question messianique, par le moyen des «titres» utilisant souvent des rapprochements verbaux avec les livres de Samuel. La rédaction finale du Psautier doit se comprendre en fonction d’un système d’inclusion. La partie centrale, fondamentale pour la question messianique, même si le terme « Messie » n’y est jamais utilisé, est constituée par le psautier élohiste Ps 42-83, construction artificielle mais hautement symbolique avec le rôle du nombre 42. Après le constat de la disparition du Messie davidique (Ps 89) et sa substitution par le messie sacerdotal (Ps 84,10), l’alliance avec les patriarches prend la place de celle avec David (Ps 105). David est finalement réintégré en tant que fondateur du culte, en relation avec le transfert de l’arche à Jérusalem. Une ultime rédaction de sagesse n’a pas modifié la structuration du Psautier. The Psalter constitutes a collection of texts from different periods and with various preoccupations. We can distinguish some psalms that have an independent origin, before the construction of our current Psalter, and some literary psalms linked with the constitution of the Psalter. An intermediary stage was the constitution of some collections, with the Davidic psalters, the Coreitic psalter, and the Asaphite psalter. The constitution of the Davidic psalters has a link with the overall structuring of the Psalter around the hope placed in the Davidic Messiah. This aspect has enabled psalms with very different perspectives to be incorporated within the framework of the messianic issue, by the use of “titles” which generally infer some verbal connections with the Books of Samuel. The final drafting of the Psalter must be understood on the basis of an inclusion system. The central part of the Psalter, which is fundamental to the messianic issue, even if the word “Messiah” is never used, is made up of the Elohistic psalter, Ps 42-83, an artificial yet highly symbolic construction with the use of the number 42. After the disappearance of the Davidic Messiah (Ps 89) and his replacement by the priestly Messiah (Ps 84,10), the alliance with the patriarchs take the place of the alliance with David (Ps 105). In the end, David is reinstated as founder of the temple cult, in relation to the transfer of the arch to Jerusalem. One final wise piece of editing has not modified the structuring of the Psalter.

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A stain is the evidence of something that was. It’s a trace. A stain may be something quite ordinary: the ink stain on my index finger; the mark of your fingers on this book. A stain may also be embarrassing: lipstick on a cheek; sweat rings under the arms; a bloody discharge. A stain may be forensically incriminating. A stain may be kept for sentimental reasons. Moreover, every stain has its own particular texture. Texture denotes the consistency of a surface and the sensory, often tactile imprint that is left on it. The stain may be absorbed in the thing that supports it; then again, it may stay on the surface, something separate. Every stain is unique. In this essay the author deals with seven factors that make the stain into a powerful model for rethinking the visual: the stain as prototype and prefiguration, the stain as relic, the stain of Veronica, the stain as a psycho-energetic symptom, the stain as pars pro toto for the womb, the stain and le désir mimétique and finally the stain as an image paradigm of the residue.

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This essay, a meditation on the butterfly and its resonance in art history, is organized in three parts. I begin with Aby Warburg's fascination with moths and butterflies as documented by (1) his letters to André Jolles (e.g. the letter from 1900 known as 'But such high-flown movements are not for me'), (2) the Kreuzlingen pathological report and archives by Ludwig Binswanger (1881-1966) preserved in Tübingen, and (3) the Ninfa fiorentina file in the Warburg Institute. As Seelentierchen - soul animals, psychè - butterflies are archetypically connected to deep cultural affects regarding the soul, resurrection and immortality. Part 2 of the paper considers the butterfly as paradigm for the visual medium and the oculocentric paradigms in art history. Indeed, the butterfly has a specific visual (and sensory) impact on humankind with its flashy, quick, vibrant and hypnotic wings, its medusian eyes and its capability to camouflage itself (cf. 'Sciences diagonales' by Roger Caillois (1913-1978)). Hypnosis, Medusa and camouflage are three important paradigms with which to consider the essence of the image as a dis/appearing, enchanting, and deceiving medium. In Part 3, the three paradigms become the basis for new reflections about art history (and the history of art history) as a study of the butterfly, in short, as 'lepidopterology'.

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Le Timée est le dialogue platonicien le plus cité, lu et commenté. « Bible » des médio-platoniciens, il a fait l'objet de multiples exégèses dans le monde grec, de Crantor à Proclus. C'est d'abord que le Timée, qui traite de la « création » du monde et de celle de l'homme, se présente comme un mythe. C'est ensuite qu'en proposant un modèle d'univers physique, il offre une véritable encyclopédie scientifique dont la brièveté même ajoutait à la difficulté. Cette dualité explique qu'on en trouve de très nombreuses traces dans le monde latin, notamment médiéval, où traductions et commentaires servent, entre autres, à l'exégèse biblique. À la Renaissance, retrouvant l'héritage hellène, les humanistes disposent des traditions grecque et latine du « dialogue ». C'est précisément ce moment de rencontre des deux traditions que l'on interroge dans ce recueil, à travers l'étude de nombreux champs de la philosophie et de la science.

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Ce livre a pour objet l'etude de deux conjurations (Kuleli en 1859 et Meslek en 1867), fomentees dans la capitale de l'Empire ottoman, Istanbul, et revelees au moment ou les conjures s'appretaient a passer a l'action en vue de detroner le sultan - premieres tentatives de detronement depuis la suppression en 1826 des janissaires, qui etaient auparavant les principaux "defaiseurs" de sultans. Cet ouvrage analyse ce nouveau type de revoltes et de revoltes qui ont envisage de "defaire" le sultan ottoman. Il s'attache a reecrire l'histoire de ces deux conjurations, a examiner leur structure, leur fonctionnement et leurs strategies, tout en eclairant les motivations, les revendications politiques et les profils sociaux des conjures. Il s'interroge sur les specificites de ces deux tentatives dans le contexte des transformations sociales et politiques des annees 1850 et 1860, et contribue ainsi a une meilleure comprehension des changements de l'espace politique ottoman a cette epoque. Quelle etait la place des "sujets" et du sultan dans la structure du pouvoir politique durant les premieres decennies des Tanzimat, alors que les mentalites et les "techniques" de gouvernement de l'administration centrale etaient en train d'etre reformulees et que l'opinion publique devenait un acteur politique de plus en plus influent? Telle est la question fondamentale qui est abordee tout au long ce livre.

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Le Traite du ciel d'Albert de Saxe a exerce une enorme influence sur les conceptions cosmologiques de la fin du Moyen Age et de la Renaissance, notamment sur des penseurs tels que Nicolas de Cues, Nicolas Copernic, Leonard de Vinci et Galilee, qui, tout en les contestant sur certains points, s'en sont inspires. Le nombre de manuscrits et d'editions imprimees consacres a cet ouvrage, specialement en Allemagne, en Italie et dans l'Est de l'Europe, temoigne de cette grande renommee.>br/>Pourtant, ce n'est pas tellement la pensee d'Albert qui se reflete dans ces textes que celle de ses maitres, a savoir Buridan (surtout) et Oresme, dont l'influence est omnipresente. Il faudrait donc parler de l'enorme importance de ces deux grands maitres dans le discours de leur disciple et des repercussions que leurs hypotheses ont eues sur les siecles subsequents. C'est, en definitive, a cela que sert la presente edition critique des Quaestiones in De caelo d'Albert de Saxe: donner un texte definitif qui puisse permettre une evaluation de l'apport de chacun, sans craindre de balayer les idees recues.

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Entre le monse referentiel (reel ou imaginaire) et l'expression a travers une langue, se situe la conceptualisation, enonciative dans le parcours onomasiologique de l'emetteur et interpretative dans celui de recepteur.Le choix des entites amene a categoriser (cf. les classificateurs, les affinites combinatoires...) et il en va de meme des schemes analytiques d'evenements (cf. les diatheses, les aspects...). Quant au JE, il se projette particulierement dans le vaste domaine de la modalisation (cf. modalites, hierarchisations...). Les categorisations, a vocation universelle, se realisent dans les categories de chaque langue de facon originale pour chacune d'elles.La "volonte de dire", floue et indefinie, se coule dans les structures linguistiques en les remodelant constamment, permettant ainsi au locuteur de s'exprimer en un hapax discursif adequat, et a la langue d'evoluer lentement au cours du temps.Des modeles mentaux sont proposes (chronoexperentiel, chronoexistentiel, chronoevenementiel, chronodeietique), comme supports universels des principales categorisations retenues par les langues.

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