scholarly journals Ketel and De Keyser

2021 ◽  
Vol 69 (4) ◽  
pp. 358-367
Author(s):  
Frits Scholten
Keyword(s):  
The Other ◽  
Strong Resemblance ◽  
Close Friendship

In 1858 the Rijksmuseum acquired a modest portrait of a man (inv. no. SK-A-244) that has since then been attributed on good grounds to the colourful Amsterdam painter Cornelis Ketel (1548-1616). Until now it has been regarded as a likeness of the goldsmith Paulus van Vianen, an identification for which there is no plausible evidence.The author suggests that the man should be identified as the Amsterdam city sculptor Hendrick de Keyser. Arguments in favour of this, aside from the convincing similarities between the man’s features and a portrait engraving of De Keyser, are the close friendship between Ketel and the sculptor, and the typical sculptor’s attribute – a statuette – that the man holds in his hand. This figurine – probably a model in reddish-brown wax – bears a strong resemblance to a statue of Eurydice that Hendrick de Keyser made for a fountain in Het Oude Doolhof, a pleasure ground in Amsterdam.According to Karel van Mander, in the biography of Ketel in his 1604 Schilder-Boeck, Ketel made De Keyser’s portrait twice. He painted one portrait with his fingers, the other with a brush, which was described as ‘the head of the must artistic sculptor Hendrick de Keyser ... a very good likeness’. It is safe to assume that the latter work is the portrait in the Rijksmuseum.

scholarly journals Extraction of an Erythropoietin-Producing Factor from a Particulate Fraction of Rat Kidney

Blood ◽  
1966 ◽  
Vol 28 (3) ◽  
pp. 330-343 ◽  
Author(s):  
JOSEPH F. CONTRERA ◽  
ALBERT S. GORDON ◽  
ARTHUR H. WEINTRAUB
Keyword(s):  
Rat Kidney ◽  
Deae Cellulose ◽  
Mitochondrial Fraction ◽  
Normal Serum ◽  
The Other ◽  
Step Method ◽  
Renal Vasculature ◽  
Rat Serum ◽  
Normal Rat ◽  
Strong Resemblance

Abstract 1. A two-step method for the extraction of erythropoietin from hypoxic kidneys has been developed which allows residual plasma erythropoietin in renal vasculature to be separated from that of intracellular origin. 2. Renal extracts have been purified by DEAE cellulose chromatography and found to contain 2 major erythropoietically active fractions. One bears strong resemblance to plasma erythropoietin. The other component is unique in that it has practically no erythropoietic-stimulating activity unless previously incubated with normal rat serum. This activation phenomenon is used to identify this kidney component as the renal erythropoietic factor (REF). The REF has the capacity to produce erythropoietin or become erythropoietically active when incubated with normal rat serum. 3. Differential centrifugation technics revealed that the REF is confined to particles present in the light mitochondrial fraction of kidney. 4. Extracts of the light mitochondrial fraction of kidneys from normal rats produced significant amounts of erythropoietin when incubated with normal serum. The quantity found, however, was less than that evoked by similar extracts of kidneys from hypoxic rats. 5. The product of the incubation extracts of the renal light mitochondrial fraction with normal rat serum showed the same log dose/response regression as sheep plasma erythropoietin standard. 6. It is hypothesized that either (a) the REF is a precursor of erythropoietin which must be complexed with a carrier present in normal serum in order to become physiologically active, or (b) the renal factor is an enzyme which produces erythropoietin by its action on a particular serum protein.

A general theory for skid steering of tracked vehicles on firm ground

2001 ◽  
Vol 215 (3) ◽  
pp. 343-355 ◽  
Author(s):  
J Y Wong ◽  
C F Chiang
Keyword(s):  
General Theory ◽  
Close Agreement ◽  
The Other ◽  
Unified Approach ◽  
Tracked Vehicles ◽  
Strong Resemblance ◽  
Turning Resistance ◽  
Skid Steering ◽  
Turning Radius ◽  
The Moment

A general theory for skid steering of tracked vehicles under steady state conditions on firm ground, taking into account the shear stress-shear displacement relationship on the track-ground interface, is presented. The steering behaviour predicted using the general theory bears a strong resemblance to that observed in the field. The variations of sprocket torques for the outer and inner tracks with turning radius predicted by the general theory are in reasonably close agreement with available experimental data. On the other hand, predictions based on Steeds’ theory developed earlier differ greatly from measured results. Using the general theory, the lateral coefficient of friction used in the conventional method for predicting the moment of turning resistance of the track can be quantitatively determined as a function of turning radius. It is believed that the new theory presented in this paper provides a unified approach to the study of the mechanics of skid steering of tracked vehicles and that it may be extended to the study of transient handling behaviour of tracked vehicles.

The dentitions of the Tritheledontidae (Therapsida: Cynodontia)

1980 ◽  
Vol 208 (1173) ◽  
pp. 461-481 ◽  
Keyword(s):  
The Other ◽  
Single Specimen ◽  
The Family ◽  
Strong Resemblance ◽  
First Time

Three previously described monospecific genera of ictidosaurians (Tritheledontidae) are recognized on the basis of their postcanine dentitions. The least specialized is Pachygenelus monus , Watson (1913), the complete dentition of which is described for the first time: five specimens are described and referred to this species. The postcanine teeth of Diarthrognathus broomi , Crompton (1958) are described for the first time; they are derivable from those of Pachygenelus though considerably more specialized. Tritheledon riconoi , Broom (1912), from which the family derives its name, consists of a single specimen containing upper post-canines only; these are not closely comparable with the uppers of the other two genera but bear a strong resemblance to the lower postcanines of Diarthrognathus . The family is closely implicated in the origin of mammals and the possibility of polyphyly in the origin of mammals is raised.

scholarly journals St. Symeon the New Theologian and Western Dissident Movements

2012 ◽  
Vol 2 ◽  
pp. 137-144
Author(s):  
Bernard Hamilton ◽  
Janet Hamilton
Keyword(s):  
Eleventh Century ◽  
The Other ◽  
Northern Europe ◽  
Religious Dissent ◽  
Corporate Worship ◽  
Spiritual Director ◽  
Strong Resemblance ◽  
Byzantine Church ◽  
Institutional Church ◽  
Vision Of God

The trial at Orleans in 1022 of a group of aristocratic clergy, who included the confessor of Queen Constance of France, and their followers on the charge of heresy is the most fully reported among the group of heresy trials which were conducted in the Western Church during the first half of the eleventh century. Although the alleged heretics of Orleans are usually considered a part of a wider pattern of Western religious dissent, the charges brought against them differ considerably from those levelled against the other groups brought to trial in that period. The heterodox beliefs with which the canons of Orleans were charged bear a strong resemblance to the teachings of the Byzantine abbot, St. Symeon the New Theologian, who died in 1022. St. Symeon taught that it was possible for a Christian to experience the vision of God in this life if he or she received ascetic guidance from a spiritual director, who need not be a priest. In the late tenth and early eleventh centuries a significant number of Orthodox monks visited northern Europe, including Orleans, and some of them settled there. It is therefore possible that the Canons of Orleans who were put on trial had been trained in the tradition of St. Symeon by one of those Orthodox monks who were familiar with it. St. Symeon was part of the Hesychast tradition in the Byzantine Church. Even so, his emphasis on the supremacy of personal religious experience at the expense of the corporate worship of the institutional Church was strongly criticised by some of his contemporaries. A study of his writings shows that he was, in fact, completely Orthodox in faith and practice and that these criticisms were ill-judged. Nevertheless, if, as we have suggested, the Canons of Orleans had tried to live in accordance with his teachings, the hostile reactions of the Western hierarchy would be comprehensible. For there was no tradition of Hesychasm in the spirituality of the Western Church, and the fact that the dissidents at Orleans saw little value in observing the rituals of the established Church would have alarmed conventional churchmen.

scholarly journals Bow Jewels of the Golden Age

2018 ◽  
Vol 66 (1) ◽  
pp. 4-23
Author(s):  
Monique Rakhorst
Keyword(s):  
Seventeenth Century ◽  
The Netherlands ◽  
Golden Age ◽  
The Other ◽  
Low Countries ◽  
Strong Resemblance ◽  
The Hague ◽  
The Republic

The bow jewel in the Rijksmuseum collection is one of the finest examples of its kind. The provenance of this piece of jewellery is unclear, as is generally also true of the other extant bow jewels. The strong resemblance to a number of ornament prints has often led to the suggestion that the Rijksmuseum’s bow brooch, and bow jewellery in general, was a French concept that came about in the late sixteen-fifties or early sixties, but seventeenth-century Dutch portraits and inventories indicate that in the Netherlands it was already a popular jewel by then. Bow jewels could be acquired from jewellers in the Low Countries in the early sixteen-thirties and at the end of the decade they were worn at court in The Hague. Princess Amalia of Solms-Braunfels owned several diamond bow jewels in 1640, and in a portrait made a few years earlier she wears a pearl bow on her dress. The aristocracy and the wealthy citizens in the Republic started following this example and the bows set with diamonds and pearls stayed in fashion throughout the rest of the century. The bow jewel was already in fashion in the Low Countries thirty years before it became in vogue in France.

Ch.7 Non-performance, s.3: Termination, Introduction to Section 7.3 of the PICC

2015 ◽  
Author(s):  
Huber Peter
Keyword(s):  
United Nations ◽  
Basic Structure ◽  
Contract Law ◽  
The Other ◽  
Basic Rule ◽  
European Contract ◽  
Crucial Question ◽  
Strong Resemblance ◽  
United Nations Convention ◽  
European Contract Law

Section 7.3 of the UNIDROIT Principles of International Commercial Contracts (PICC) deals with the aggrieved party's right to terminate the contract if the other party does not perform. However, the PICC also severely restrict the scope of termination as a remedy. The crucial question is not whether there is a right to terminate, but rather when it will be available to the aggrieved party. Art 7.3.1(1) accepts the doctrine of fundamental breach as the basic rule for the availability of termination. For cases of delay, Art 7.3.1(3) introduces the Nachfrist mechanism. The basic structure of the system of remedies in Section 7.3 bears a strong resemblance to both the Commission on European Contract Law, Principles of European Contract Law (1998), and the United Nations Convention on Contracts for the International Sale of Goods (CISG) regimes.

New Music in London

Tempo ◽  
1946 ◽  
pp. 19-23
Author(s):  
Colin Mason ◽  
Ernest Chapman
Keyword(s):  
Eighteenth Century ◽  
High Speed ◽  
New Music ◽  
The Other ◽  
New Work ◽  
Strong Resemblance ◽  
The One

Rarely can one safely say from a purely aural knowledge of a single performance that any new work is a masterpiece. But at last such an opportunity has come with the Zorian's performance of Tippett's third Quartet. Beside it, many fine quartets of this century are dwarfed, and Bartók's alone seem of comparable stature. There is indeed a strong resemblance to Bartók's fifth Quartet. In both works the composers are most accessible, yet most individual; both achieve amazing textural clarity in combination with exquisite new sonorities; lastly, both quartets have five movements, alternately fast and slow, of approximately corresponding character. There is in each work a profound first movement, a jaunty high-speed, folkish third, (Tippett's containing bagpipe effects similar to those in certain movements of Bartók marked Cornemuse) and a puzzling fifth, problematical because it presents no problems, which makes us unsure how to interpret it. Not that these two movements have anything else in common except that they are fine music. Bartók's is a wry sneer at the eighteenth-century rondo, Tippett's a gentle epilogue, but just as the sneer is out of place and puzzling in the one very serious quartet, so is the ingenuousness of the epilogue in the other.

Pour en finir avec la prétendue synonymie de pareil et identique

Revue Romane ◽  
2009 ◽  
Vol 44 (1) ◽  
pp. 127-150
Author(s):  
Céline Corteel
Keyword(s):  
The Other ◽  
Subjective Judgment ◽  
Strong Resemblance ◽  
Semantic Properties

The goal of this paper is to tease apart the semantic differences between pareil and identique. After a brief discussion of the syntactic and semantic properties shared by the two adjectives, attention is given to data illustrating their specificity. It is shown that identique is similar to symmetric relational adjectives. In an objective way, identique emphasizes a strong resemblance between distinct entities which usually have the same referential status. By contrast, pareil often serves to point out an asymmetric relationship between two referents, of which one tends to be more virtual than the other. The adjective often expresses a subjective judgment, allowing the speaker to focus (possibly by means of a type) on certain salient properties of a referent.

scholarly journals Friendly Relationships among Youths

2015 ◽  
Vol 5 (1) ◽  
pp. 40
Author(s):  
Alma Vögeli ◽  
Ada Ruçi
Keyword(s):  
High School ◽  
Social Relationship ◽  
Early Adulthood ◽  
Personal Characteristics ◽  
The Other ◽  
State University ◽  
Primary Interest ◽  
Randomized Sampling ◽  
Economic State ◽  
Close Friendship

This study will be focused on a very important social relationship that is friendship. Humans are social being and are born to be socialized with others. Isolation and solitude is not its characteristic. Friendship refers to a close and personal relationship, the care with its attributes such as: reciprocity, common choices, trust, openness and loyalty. Circumstances affect the types of friendship at youth age or early adulthood. (Adams and Blieszner, 1996). Friendly relationships in high school are based upon interests is the hypothesis this study will be based on.Subjects that will be part of this study are youths. The study is conducted among students of the State University of Tirana. 50% of selected subjects study at social-oriented departments and the other 50% study at science-oriented departments. The selected methodology is quantitative. The type of systematic randomized sampling is used on this study. The hypothesis this study was based on resulted to be true. The study proved that friendships at faculty are based upon interests. The primary interest where the friendship relationships are based includes interests related directly to school. The main subjects resulted to be the free time spent together and doing the homework together. The females resulted to be more sociable, as the major number of students has mostly female friends within their close friendship circle. Students socialize with individuals that meet their economic state, expectations in school grades and personal characteristics. Reciprocity in friendship relationships while at faculty is very important and males value it more than females.

Entrée

Frenzy ◽  
2018 ◽  
pp. 29-44
Author(s):  
Ian Cooper
Keyword(s):  
The Other ◽  
The Novel ◽  
First Choice ◽  
Strong Resemblance ◽  
New Year’S Eve

This chapter examines the making of Alfred Hitchcock's Frenzy (1972). Hitchcock called the writer Anthony Shaffer on New Year's Eve of 1970 to ask him to write the screenplay for Frenzy. Shaffer seems to have got on well with Hitchcock; so well in fact that they planned future collaborations, although the director's failing health would prevent this. The director's first choice for the role of Bob Rusk was Michael Caine, who had a strong resemblance to Neville Heath. However, Caine found the script ‘disgusting’, so Hitchcock settled on Barry Foster. The other actors cast in the film include Jon Finch, Vivian Merchant, and Billie Whitelaw. Meanwhile, the plot recycles a number of Hitchcock themes and motifs, but the events follow Arthur La Bern's novel closely. Some of the digressions in the novel are either left out or cut-down and the bitter misanthropy has been replaced by a slightly less bitter kind of black comedy.

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