LEADER 01201nam a22002771i 4500 001 991002462249707536 005 20040320143041.0 008 040407s1967 xxc|||||||||||||||||eng 035 $ab12926498-39ule_inst 035 $aARCHE-090610$9ExL 040 $aDip.to Scienze Storiche$bita$cA.t.i. Arché s.c.r.l. Pandora Sicilia s.r.l. 082 04$a230 100 0 $aAlexandre :$cde Hales$d<1190?-1245>$0486662 245 10$aAlexander of Hales' theology of the hypostatic union /$c[a cura di] Walter H. Principe 260 $aToronto :$bPontificial Institute of mediaeval studies,$c1967 300 $a254 p. ;$c25 cm 440 4$aThe theology of the hypostatic union in the early thirteenth century ;$v2 600 04$aGesù Cristo$xConcezione$xMedioevo 650 4$aTeologia$xDottrina ipostatica$xMedioevo 700 1 $aPrincipe, Walter Henry 907 $a.b12926498$b02-04-14$c16-04-04 912 $a991002462249707536 945 $aLE009 MSM VIII Coll. 13/12$g1$i2009000196735$lle009$o-$pE0.00$q-$rn$so $t0$u0$v0$w0$x0$y.i13499798$z16-04-04 996 $aAlexander of Hales' theology of the hypostatic union$9304381 997 $aUNISALENTO 998 $ale009$b16-04-04$cm$da $e-$feng$gxxc$h0$i1 LEADER 01887nam 2200349 450 001 996280520903316 005 20231207080943.0 010 $a0-7381-4329-4 024 7 $a10.1109/IEEESTD.1989.82404 035 $a(CKB)3780000000089990 035 $a(NjHacI)993780000000089990 035 $a(EXLCZ)993780000000089990 100 $a20231207d1989 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aIEEE Std 1139-1988 $eIEEE Standard Definitions of Physical Quantities for Fundamental Frequency and Time Metrology /$fInstitute of Electrical and Electronics Engineers 210 1$a[Place of publication not identified] :$cIEEE,$d1989. 215 $a1 online resource 330 $aThis standard covers the fundamental metrology for describing physical quantities of importance to frequency and time metrology. Quantities covered are frequency instability, phase instability, spectral densities, time instability variances, time prediction, and confidence limits when estimating the variance from a finite data set. In addition, recommendations are made for the reporting of measurements of frequency and phase instabilities, especially regarding the recording of experimental parameters, experimental conditions and calculation techniques. This standard also covers translation between the frequency domain and time domain terminology and provides an extensive bibliography of the relevant literature. 517 $aIEEE Std 1139-1988: IEEE Standard Definitions of Physical Quantities for Fundamental Frequency and Time Metrology 606 $aTime measurements 615 0$aTime measurements. 676 $a529.7 801 0$bNjHacI 801 1$bNjHacl 906 $aDOCUMENT 912 $a996280520903316 996 $aIEEE Std 1139-1988$92576486 997 $aUNISA LEADER 03344nam 22005655 450 001 9910590046503321 005 20240329115022.0 010 $a9783030889159$b(electronic bk.) 010 $z9783030889142 024 7 $a10.1007/978-3-030-88915-9 035 $a(MiAaPQ)EBC7078031 035 $a(Au-PeEL)EBL7078031 035 $a(CKB)24748101800041 035 $a(DE-He213)978-3-030-88915-9 035 $a(EXLCZ)9924748101800041 100 $a20220826d2022 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Art of Copying Art /$fby Penelope Jackson 205 $a1st ed. 2022. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2022. 215 $a1 online resource (252 pages) 311 08$aPrint version: Jackson, Penelope The Art of Copying Art Cham : Springer International Publishing AG,c2022 9783030889142 320 $aIncludes bibliographical references and index. 327 $a1. Introduction: A Case for Copies -- 2. Apprentice Artists -- 3. Copies for the Colonies -- 4. Paintings-within-Paintings -- 5. Education and Entertainment. - 6. Copies in Public Collections. - 7. Protecting the Past. - 8. Cash for Copies. - 9. Conclusion: Sorting the Wheat from the Chaff. . 330 $aThis book is a study of the history, role and significance of copying art. Copies have enjoyed a different status from authentic artworks and though often acknowledged, very rarely have they been considered collectively as a genre in their own right. This volume showcases a variety of examples-from copies of famous artworks made and used as props in movies to those made innocently by student artists as part of their training. Examining the motivations for making copies, and reflecting on the reception of copies, is central to this book. Copies have historically filled voids in collections, where some sadly languish, and have become a curatorial burden. In other cases, having a copy assists in conservation projects and fills the place of a lost work. Ultimately by interrogating a copy's role and intent we might ask ourselves if viewing a copy changes our experience and perception of an artwork. Penelope Jackson is a former public artgallery curator and director. Jackson is the chair of the New Zealand Art Crime Research Trust. She is the author of Art Thieves, Fakers & Fraudsters: The New Zealand Story (2016), Females in the Frame: Women, Art, and Crime (Palgrave, 2019) and has contributed to Art Crime and its Prevention (2016) and the Journal of Art Crime. In 2020 she was the recipient of a University of Auckland/Michael King Writers Centre Residency. 606 $aCulture$xStudy and teaching 606 $aArts 606 $aArt$xHistory 606 $aVisual Culture 606 $aFine Art 606 $aArt History 615 0$aCulture$xStudy and teaching. 615 0$aArts. 615 0$aArt$xHistory. 615 14$aVisual Culture. 615 24$aFine Art. 615 24$aArt History. 676 $a702.872 676 $a702.872 700 $aJackson$b Penelope$0913684 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 912 $a9910590046503321 996 $aThe Art of Copying Art$92908201 997 $aUNINA