Search

16th century document on vellum, signed by the Earl of Kildare and dated 21 September 1569. This Charter (written in Latin) of Gerald Earl of Kildare and his trustees, relates to Conlan Mac Geoghegan, "Captain of his nation" and lands in Co. Westmeath, giving details of various holdings, castles, townslands etc. Many remainders, listing members of the Mac Geoghegan family in order of succession. A number of witnesses on reverse side of deed. it bears eight signatures (The Earl and his trustees) at the bottom including Nugent and Coffe, each with seal. There are two Irish names in Irish script on the verso. 7 seals + one partial seal. Extent: 1 item; 18x37 cm.

This thesis is not available on this repository until the author agrees to make it public. If you are the author of this thesis and would like to make your work openly available, please contact us: thesis@repository.cam.ac.uk., The Library can supply a digital copy for private research purposes; interested parties should submit the request form here: http://www.lib.cam.ac.uk/collections/departments/digital-content-unit/ordering-images, Please note that print copies of theses may be available for consultation in the Cambridge University Library's Manuscript reading room. Admission details are at http://www.lib.cam.ac.uk/collections/departments/manuscripts-university-archives

Lactobacillus paracasei strains are common members of the nonstarter microbiota present in various types of cheeses. The draft genome sequences of three strains isolated from mature cheddar cheeses are reported here.

This article investigates whether there are different attitudes about information and communication technologies and information privacy among members of different generations. Specifically we consider: do different generations experience information and communication technology-mediated environments in the same way or not? Are there disjunctures or continuities in the experience of privacy across one generation? Do different generations have dissimilar attitudes about what constitutes a privacy invasion and different levels of concern about such invasions? Or is privacy a concern that develops as one ages through her life cycle and becomes more invested in the social and economic world? In other words, is information privacy, instead, something of a middle-age concern? To answer these questions, we first review the literature on generational differences, as well as the literature on privacy attitudes and introduce a number of hypotheses. We then analyze responses to two survey questions that have been as...

The primacy of the Greeks in the canon of Western literature is neither an accident nor the result of a decision imposed by a higher authority; it is simply a reflection of the intrinsic worth of the material, its sheer originality and brilliance.Bernard Knox, The Oldest Dead White European MalesTo see the Acropolis is a dream one treasures without even dreaming to realize it. I don't know why this hill harbours the essence of artistic thought. I can appreciate the perfection of these temples and realize that nowhere else are they so extraordinary; and a long time ago I accepted the fact that this place should be like a repository of a sacred standard…Le Corbusier, Journey to the EastBy recalling the beginnings of history when Being unveiled itself in the thinking of the Greeks, it can be shown that the Greeks from the very beginning experienced the Being of beings as the presence of the present.Martin Heidegger, Existence and BeingGreece has played many roles in Europe's story. For a country that, unlike Rome, had very little geopolitical influence on Europe, these roles are neither, in their extent, expectable, nor, in their variety, consistent. Why Greece? As for territory, Egypt and Asia seem to have been more colonisable projects for the Greeks. The texts of Herodotus, Thucydides (Book VIII), Xenophon (ubiquitously) suggest a continuing engagement with Eastern cultures.

This paper has two principal, though interrelated, objectives: to survey issues concerning the status of the texts of Greek Tragedy, particularly with respect to specific distinctions between a play as text-based and as audience experienced, between the “eye” of the reader of a play text and the eye of the theatrical spectator; and to consider some implications of these distinctions for Euripidean drama, above all with respect to The Bacchae, since its procedures, albeit more developed or extravagant than elsewhere, may be construed as characteristic for this drama. Much of what I shall say has reference also to the other—Aeschylean, Sophoclean—texts that we have of Greek Tragedy. But it is with Euripides that the terms of the relationship of text and play are most explicit, and controversial, and, it seems to me, most dislocated. We have “read’ Euripides sometimes very wrongly because we have been reading Euripidean texts.

The objective of this study was to investigate the cultivable Lactobacillus population in adult and infant faecal material to identify strains shared across a number of individuals. A range of lactobacilli isolated on Lactobacillus-selective agar from faeces of 16 infants and 11 adults were genetically fingerprinted and further characterized by 16S rRNA gene sequencing. The relatedness of all the Lactobacillus strains isolated to known species was also determined both genetically and phenotypically. This study revealed that the human intestine is initially colonized by only a few (1-2) different cultivable strains whereas in adults the pattern becomes more complex with a higher diversity of strains. The adult samples contained three genetically distinct Lactobacillus strains in some cases, while infant samples generally harboured only one dominant Lactobacillus strain. Moreover, the species in general appeared to differ with Lactobacillus rhamnosus and Lactobacillus casei/paracasei found mainly in adults, whereas Lactobacillus gasseri and Lactobacillus salivarius were more commonly isolated in infant samples. The data reaffirm the differences in Lactobacillus populations both between individual subjects and between the infant and adult, with an overall change in the diversity and complexity from early stages of life to adulthood.

Expandable sealant and baffle compositions and methods of forming and using such compositions are provided wherein the compositions comprise a first thermoplastic resin, an epoxy resin, preferably a second thermoplastic resin different from the first thermoplastic resin, and optionally a compound selected from the group consisting of pigments, blowing agents, catalysts, curing agents, reinforcers, and mixtures thereof. The resulting compositions are formed as self-sustaining bodies which can be heat-expanded into a lightweight, high strength product for sealing hollow structural members of vehicles, substantially decreasing the noise which travels along the length of those members as well as strengthening those members with minimal increases in their weights. In a preferred embodiment, the first thermoplastic resin is an SBS block co-polymer, the epoxy resin is a bisphenol A-based liquid epoxy resin, the second thermoplastic resin is a polystyrene, and the reinforcer is hydrated amorphous silica. The compositions can be formed into free-standing, self-sustaining parts or into U-shaped members supported on lattice-type nylon supports.

Goran Gentele, who had risen to international prominence as a regisseur and as intendant of Stockholm’s Royal Opera, succeeded Rudolf Bing as general manager of the Metropolitan Opera. On July 18, 1972, however, Gentele was killed in an automobile accident during a brief vacation in Sardinia. In the emergency, New York-born Schuyler G. Chapin, a recently appointed assistant who had served as vice president of Lincoln Center and who had been associated with Leonard Bernstein’s Amberson Productions, was named acting general manager. On May 9, 1973, Chapin would be accorded full title.

Herbert Witherspoon, a voice teacher at the Juilliard School of Music and from 1908–16 a bass on the roster of the Metropolitan Opera, was successor to Giulio Gatti-Casazza as the company’s general manager. Only days after taking office, however, Witherspoon died of heart failure, and, thus, his responsibilities fell to his assistant, the tenor Edward Johnson, who had decided to conclude his singing career. After the long, steady experience of Gatti, the company found itself guided by a tyro, and one who had to run a large operation despite the exigencies of the Great Depression and, during years to come, a world war.

Rudolf Bing, formerly general manager of the Glyndebourne Festival and artistic director of the Edinburgh Festival, launched the first of twenty-two seasons with the Metropolitan Opera. A British subject of Austrian birth, the new general manager announced a commitment to revamp the company’s repertory scenically and dramatically. In pursuit of this aim, he frequently employed designers and directors who had made their names in the legitimate theater.

Heinrich Conried of Bielitz, Silesia, a former actor trained in Vienna with many years’ experience in New York as impresario for German-language theaters, became the new general manager of the Metropolitan Opera, a post he would hold for five terms. Felix Mottl, an associate of Wagner at Bayreuth, was listed in the season prospectus as general music director, making his company debut conducting Die Walkure.

Through a good part of the nineteenth century, the artistic heart of New York lay at Fourteenth Street and Irving Place, where the Academy of Music opened its doors in 1854. Here the world’s most famous singers regularly appeared— Etelka Gerster, Minnie Hauk, Adelina Patti. As years went by, however, and new fortunes were made in banking, railroads and real estate, more millionaires materialized in New York than the scanty boxes of the Academy could accommodate.

As the Metropolitan Opera observed the silver anniversary of its founding, thirty-nine-year-old Giulio Gatti-Casazza took office as general manager. Born in Udine, in the north of Italy, he previously had served for a decade as director of La Scala, Milan. His tenure at the Met would last a record twenty-seven seasons.

For the second season of the Metropolitan Opera, the board of directors engaged Leopold Damrosch as general manager and music director. A friend of Wagner and Liszt, he was founder and conductor of the New York Symphony and New York Oratorio Society. In contrast to the theater’s inaugural season, when high-priced international stars performed all operas in Italian, Damrosch proposed a roster of experienced but economic singing-actors from Central Europe, with all works sung in German. Damrosch’s orchestra was part of the agreement, performing in the pit of the opera house for seven seasons, and members of the Oratorio Society on occasion augmented the new chorus recruited in Germany.

Beginning this season, the Metropolitan Opera was administered by a troika: Anthony A. Bliss as executive director, James Levine as music director and John Dexter as director of production. Bliss, a New York-born lawyer, was the son of the late Cornelius N. Bliss, chairman of the Met’s board of directors from 1938 to 1945. He himself had served on the board from 1949, acting as its president from 1956 until 1967. He had been among the earliest advocates of building the new opera house at Lincoln Center. In his new post, Bliss instituted ambitious fund-raising and marketing programs. New productions of five operas were mounted during 1975–76: Le Nozze’ di Figaro (November 20), Il Tabarro and Suor Angelica joined with the existing staging of Gianni Schicchi (December 19), Aida (February 3) and I Puritani (February 25). The Puccini triple bill was the Met’s first complete Il Trittico since 1920.

Henry E. Abbey, general manager of the Metropolitan Opera during its inaugural season, 1883–84, returned to the company in partnership with Maurice Grau and John B. Schoeffel, long-time associates from other theatrical ventures. Grau originally came from Brno, Czechoslovakia, Schoeffel from Rochester, New York.