Archivum franciscanum historicum online dating
Several links on this page (marked with a PDF icon) can have a substantial loading time because they point to sizeable files. : Paul Verlaine (1846-96), La bonne chanson (1870): untitled poem (initial and final lines: “La lune blanche”, “C’est l’heure exquise”) (6th poem out of 21), in Œuvres poétiques, ed. : Maurice Rollinat (1846-1903), from a group entitled “Les spectres”, which of part of “Les névroses” (1882 or 1883), in Œuvres (Paris: Lettres modernes, Minard), 1972), vol.
Since the scores may not be public domain in every country, the user must comply with the regulations of his or her country. : Henri de Régnier (1864-1936), sonnet from “Médailles votives” (first of four parts that make up “Les médailles d’argile”), 15th poem out of 21, in Œuvres (Paris: Mercure de France, 1921-31; repr. : Pierre Louÿs (1870-1925), “Roses dans la nuit”, from Les chansons de Bilitis, part 1, “Bucoliques en Pamphylie” (33rd poem out of 46), in “Les Chansons de Bilitis”, “Pervilegium Mortis” avec divers textes inédits, ed. 2, Les névroses, 323 (original edition: Paris: Charpentier, 1923).
The “Archimagus” used for the third section may be a reference to the title borne by the High Priest of the Persian Magi or simply mean “great magician”. : Montague Rhodes James (1862-1936), “Canon Alberic’s Scrap-Book” (1894), in The National Review (London) 25, no. James (London: Edward Arnold; New York: Longmans, Green, 1931), 1-19. Unter Mitwirkung von Egon Petri und Bruno Mugellini herausgegeben von Ferruccio Busoni, 25 vols. 13; Giuletta and Niklausse, with chorus; Choudens score). Richard Church and Mildred Bozman, modern supplement chosen by Dame Edith Sitwell, Everyman’s Library, no.
: The titles of the seven movements refer to bodily centres and functions in tantric and shaktic yoga, with translitterations from Arthur Avalon (1865-1936, pseud. 145 (March 1895): 132-41, as “The Scrap-Book of Canon Alberic”, repr. : Johann Sebastian Bach (1685-1750), French Suite in E-flat Major, BWV 815a: “Prelude” (doubtful authenticity), in •Joh.
Direct links to scores in the public domain available on IMSLP — Petrucci Music Library are given.
In the case of works often offered in several parts, like operas, the link is to the specific part. : Laurent Tailhade (1854-1919), “Hymne à Aphrodite”, 7th poem out of 28 in a section entitled “Poèmes et bas-reliefs” (1880), in Le jardin des rêves: poésies (Paris: Alphonse Lemerre, Éditeur, 1880), 143-45.
In the case of vocal works, there is always a possibility that he knew the texts from individual editions or anthologies rather than from complete editions.
Links to online versions of literary texts at stable sites like Project Gutenberg are provided whenever possible.
At the same time, I began to explore the medieval jurists' contribution to the concept of individual rights; Bartolus of Saxoferrato, the so-called , was the nominal anchor point of this new project, but it has since expanded into a more general exploration of thirteenth- and fourteenth-century developments.I am currently enrolled in the JD programme at Osgoode Hall Law School, but I continue to work on medieval topics that fall, roughly, within the ambit of legal and political thought.I am also a post-doctoral researcher in a collaborative project based at the University of Helsinki entitled Natural Rights and Needs in Medieval and Early Modern Politics (1200–1600).This page identifies the musical and literary sources that have inspired Sorabji to write several of his works, usually those bearing a descriptive or evocative title.In some cases references are given not to explain a title but to account for sources of inspiration or for quotations found within the works themselves.
Various titles incorporate the name of a dedicatee, in which cases only a brief note (further biographical details are given elsewhere).