The monastery supported impoverished students and in its turn received donations and novices from the circles round the university. The monastery gradually built up a significant library, particularly through its contact with the university, mainly through the gifts of new entrants to the monastery, and also through legacies from university staff and local clergy. For example, in 1537 the monastery inherited the library (consisting of c. 390 books) and the estate of Otmar Nachtgall.
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The onomatopoeia lyric "Ding Dong Ding Dong" is spoken during the first verse, whilst the rest is rapped in Japanese. The chorus opens with the English lyrics; "I've been running in circles, round and around", carries on with Japanese, and ends with "Welcome to no man's land". The second verse includes the phrases "Zero zero" and "so look at deep", whilst performed in Japanese. The bridge section has Koda singing in English; "No matter where I go, this is still my home" and "my home", whilst performing in Japanese.
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Michael Faraday and James Clerk Maxwell, first introduced the concept of a field in his 1831 paper on electromagnetic induction, (called "lines of magnetic and electric force" in this publication): > "...by line of magnetic force, or magnetic line of force, or magnetic curve, > I mean that exercise of magnetic force which is exerted in the lines usually > called magnetic curves, and which equally exist as passing from or to > magnetic poles, or forming concentric circles round an electric current. By > line of electric force, I mean the force exerted in the lines joining two > bodies, acting on each other according to the principles of static electric > induction."Assis, Andre & Ribeiro, A & Vannucci, A. (2009). The field > concepts of Faraday and Maxwell. 34.
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Carnap's critique of Heidegger's "What is Metaphysics". Specifically, they argue that the verb "is" is transitive and pre-fixed to a predicate (e.g., an apple is red) (without a predicate, the word "is" is meaningless), and that existentialists frequently misuse the term in this manner. Wilson has stated in his book The Angry Years that existentialism has created many of its own difficulties: "we can see how this question of freedom of the will has been vitiated by post-romantic philosophy, with its inbuilt tendency to laziness and boredom, we can also see how it came about that existentialism found itself in a hole of its own digging, and how the philosophical developments since then have amounted to walking in circles round that hole".
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The Seminar, Book XI. The Four Fundamental Concepts of Psychoanalysis Lacan posits the drives as both cultural and symbolic constructs—to him, "the drive is not a given, something archaic, primordial." He incorporates the four elements of the drives as defined by Freud (the pressure, the end, the object and the source) to his theory of the drive's circuit: the drive originates in the erogenous zone, circles round the object, and returns to the erogenous zone. Three grammatical voices structure this circuit: # the active voice (to see) # the reflexive voice (to see oneself) # the passive voice (to be seen) The active and reflexive voices are autoerotic—they lack a subject. It is only when the drive completes its circuit with the passive voice that a new subject appears, implying that prior to that instance, there was not subject.
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To the left on the south side, is the garden of mixed herbaceous borders in wide concentric bands around The Secret Garden water lily pool, dedicated in 1936 to the memory of Frances Hodgson Burnett, with sculpture by Bessie Potter Vonnoh. Some large shrubs, like tree lilac, magnolias, buddleias and Cornus alba 'elegantissima' provide vertical structure and offer light shade to offset the sunny locations, planted by Lynden Miller with a wide range of hardy perennials and decorative grasses, intermixed with annuals planted to seem naturalized. This garden has seasonal features to draw visitors from April through October. Untermyer Fountain/Three Dancing Maidens by Walter Schott To the right of the central formal plat is a garden also in concentric circles, round the Untermyer Fountain, which was donated by the family of Samuel Untermyer in 1947.
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Michael Faraday introduced a visual analogy for this, in the form of imaginary magnetic lines of force: those in the conductor form concentric circles round the conductor; those in the externally applied magnetic field run in parallel lines. If those on one side of the conductor are running (from the north to south magnetic pole) in the opposite direction to those surrounding the conductor, they will be deflected so that they pass on the other side the conductor (because magnetic lines of force cannot cross or run contrary to each other). Consequently, there will be a large number of magnetic field lines in a small space on that side of the conductor, and a dearth of them on the original side of the conductor. Since the magnetic field lines of force are no longer straight lines, but curved to run around the electrical conductor, they are under tension (like stretched elastic bands), with energy bound up in the magnetic field.
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Strong (1975), p.5 – Paulet seems careful to avoid any suggestion of emigration in this despatch home. He remained until 1578–79, mixing in the artistic circles round the court, staying with Germain Pilon and George of Ghent, respectively the Queen's sculptor and painter, and meeting Ronsard, who perhaps paid him the rather double-edged compliment later quoted by Hilliard: "the islands indeed seldom bring forth any cunning man, but when they do it is in high perfection".Strong (1975), p.6 d'Alençon, 1577 He appears in the papers of the duc d'Alençon, a suitor of Queen Elizabeth, under the name of "Nicholas Belliart, peintre anglois", in 1577, receiving a stipend of 200 livres. The miniature of Madame de Sourdis, certainly the work of Hilliard, is dated 1577, in which year she was a maid of honour at the French court; and other portraits which are his work are believed to represent Gabrielle d'Estrées (niece of Madame de Sourdis), la princesse de Condé, and Madame de Montgomery. Money was a persistent problem for Hilliard. The typical price for a miniature seems to have been £3 – which compares well with prices charged by Cornelis Ketel in the 1570s of £1 for a head-and-shoulders portrait and £5 for a full-length.
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