LEADER 02058nam 2200529I 450 001 9910705291503321 005 20140904160832.0 035 $a(CKB)5470000002448448 035 $a(OCoLC)889961622 035 $a(EXLCZ)995470000002448448 100 $a20140904j201307 ua 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aComparing a Fischer-Tropsch alternate fuel to JP-8 and their 50-50 blend $eflow and flame visualization results /$fYolanda R. Hicks and Kathleen M. Tacina 210 1$aCleveland, Ohio :$cNational Aeronautics and Space Administration, Glenn Research Center,$dJuly 2013. 215 $a1 online resource (15 pages) $ccolor illustrations 225 1 $aNASA/TM ;$v2013-217884 300 $aTitle from title screen (viewed on Sept. 4, 2014). 300 $a"July 2013." 300 $a"Prepared for the Central States Section Spring Technical Meeting sponsored by the Combustion Institute, Dayton, Ohio, April 22-24, 2012." 320 $aIncludes bibliographical references (page 15). 517 $aComparing a Fischer-Tropsch alternate fuel to JP-8 and their 50-50 blend 606 $aJet engine fuels$2nasat 606 $aFischer-Tropsch process$2nasat 606 $aFuel-air ratio$2nasat 606 $aJP-8 jet fuel$2nasat 606 $aFlow visualization$2nasat 606 $aCombustion chambers$2nasat 615 7$aJet engine fuels. 615 7$aFischer-Tropsch process. 615 7$aFuel-air ratio. 615 7$aJP-8 jet fuel. 615 7$aFlow visualization. 615 7$aCombustion chambers. 700 $aHicks$b Yolanda R$g(Yolanda Royce),$01393253 702 $aTacina$b Kathleen M. 712 02$aNASA Glenn Research Center, 712 02$aFundamental Aeronautics Program (U.S.), 801 0$bGPO 801 1$bGPO 906 $aBOOK 912 $a9910705291503321 996 $aComparing a Fischer-Tropsch alternate fuel to JP-8 and their 50-50 blend$93449165 997 $aUNINA LEADER 03929nam 22005895 450 001 9910383859003321 005 20240405191206.0 010 $a0-691-04994-7 010 $a1-4008-3247-0 024 7 $a10.1515/9781400832477 035 $a(OCoLC)900633343 035 $a(MdBmJHUP)muse45426 035 $a(DE-B1597)459753 035 $a(OCoLC)979910838 035 $a(DE-B1597)9781400832477 035 $a(MiAaPQ)EBC1925981 035 $a(dli)HEB05961 035 $a(MiU)MIU01200000000000000000038 035 $a(PPN)259898325 035 $a(CKB)3710000000341573 035 $a(EXLCZ)993710000000341573 100 $a20190708e20102000 fg 101 0 $aeng 135 $aurun#|||uuuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBallet and Opera in the Age of Giselle /$fMarian Smith 205 $a1st ed. 210 1$aPrinceton, NJ :$cPrinceton University Press,$d[2010] 210 4$d©2000 215 $a330p 225 0 $aPrinceton Studies in Opera ;$v21 300 $aIncludes libretto for Giselle in French with English translation. 311 $a1-322-66852-3 311 $a0-691-14649-7 320 $aIncludes bibliographical references, and index. 327 $tFront matter --$tContents --$tList of Tables and Illustrations --$tPreface --$tAcknowledgments --$tNote to the Reader: A Few Terms --$tChapter One. Introduction: Music and the Story --$tChapter Two. A Family Resemblance --$tChapter Three. The Lighter Tone of Ballet-Pantomime --$tChapter Four. Ballet-Pantomime and Silent Language --$tChapter Five. Hybrid Works at the Opéra --$tChapter Six. Giselle --$tAppendix One. Ballet-Pantomimes and Operas Produced at the Paris Opera, 1825 -1850 --$tAppendix Two. The Giselle Libretto --$tAppendix Three. Sources for Musical Examples --$tNotes --$tIndex 330 $aMarian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830's through the 1840's), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ? 410 0$aPrinceton studies in opera. 606 $aBallet$zFrance$zParis$xHistory$y19th century 606 $aOpera$zFrance$zParis$y19th century 615 0$aBallet$xHistory 615 0$aOpera 676 $a782.1/09/034 700 $aSmith$b Marian Elizabeth$01266010 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910383859003321 996 $aBallet and Opera in the Age of Giselle$92968532 997 $aUNINA