La Nariz by Nikolai Gogol, , available at Book Depository with free delivery worldwide. Buy La Nariz (Spanish Edition) by Nikolai Gogol (ISBN: ) from Amazon’s Book Store. Everyday low prices and free delivery on eligible orders. La nariz: : Nikolái Gogol: Books. La nariz (Spanish) Hardcover – by Nikolái Gogol (Author). Be the first to review this item.
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Our customer support team is here for you! Why Shop With Us? Customer Support We answer within 48 hours! La nariz Spanish Edition. Description El protagonista de esta historia descubre un buen dia con gran preocupacion que ha perdido su nariz, hasta que la encuentra casualmente por la calle y con vida propia La nariz es un relato fantastico, humoristico, disparatado y muy divertido, que combina esa fantasia con un marco de personajes y ambientes muy reales, los de la Rusia en la que vivio Gogol.
Es una critica a la vanidad humana, a la ambicion de poder y a la excesiva preocupacion por las convenciones sociales. Una excelente forma de conocer a Gogol. You may also like: Sabiduria de la nariz, La.
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Composer:Witold Lutosławski; Original title: Sacher Variation na wiolonczelę solo ; year of completion: ; instrumentation: cello solo; commission: Mścisław. Written as a 70th birthday tribute to Paul Sacher and based on the letters of his name. The work was requested by Mstislav Rostropovich, who gave the first. Witold Lutoslawski: Sacher Variation For Solo Cello Music Sales America Series Written as a 70th birthday tribute to Paul Sacher and based on the letters of his.
Skip to main content. Log In Sign Up. It will be seen that Lutoslawski, who excludes serial techniques and works with extremely limited pitch material, provides the formal development through a mechanical system and also uses the looseness as a formal element beside the organization. This translation of the article, which is made by the author himself, is unpublished.
As seen in Example 1 below, there are four letters that directly correspond to the note names in German: A, C, H the German name of the pitch class Band E; and there are two letters that do not indicate any specific pitch classes by themselves: The Sacher hexachord Forte number: Although the mere repetition of the pitch material without any derivation, Lutoslawski has succeeded in creating a development that continues throughout the work by means of a simple but highly effective mechanism.
Ten of the twelve compositions, namely all works with the exception of those of Berio and Henze, were performed by Rostropovich himself on May 2,in Zurich, Switzerland Dunnagan It will be seen that not only varixtions, but also other musical parameters such as the dynamic, the octave register, and the direction of the melodic contour are functioning as formal elements.
The formal elements that are organized according to the particular principles and those that show a lack of an organization principle in this sense reflect a well-balanced whole, thus the looseness is also used as a formal element beside the organization.
Analysis of the Work2 The pitch material of the work is divided into two sections: Besides that, each musical thread processes its material on its very own way. Example 3 below shows the first four lines of the score. The octave sadher of the pitches has not taken into consideration in this stage. However, unlike some of these examples, the row in Example 2 has nothing to do with the concept hexachordal combinatoriality, which describes a particular construction of the twelve-tone row that consists of two lutoslaqski which have in terms of the set theory the same prime forms, which means that the two hexachords are unchanged, lktoslawski, or retrograded transpositions of each other see Cope The into two sections divided pitch material of the work.
The first four lines of the score London: The excerpt given in Example 3 contains the major structural character- istics of the work within itself. While the first phrase of sacyer Thread I, which is located at the very beginning of the score, contains only one note E flatthere ssacher two notes lutoslawzki the second A and Cand four notes in the third phrase B, E, D, and E flat.
The increase in the numerical quantity of the notes in the phrases is based on the simple principle shown in Table 1. Beginning with 1 as the numerical quantity of the first phrase, the number of the notes in each one of the following phrases is determined by the sum of the rotation number and the numerical quantity of the former phrase.
This progress continues in the same way until the ninth phrase.
Sacher Variation for cello solo – Three composers – Ninateka
The principle which the increase of variationz numerical quantity of the phrases is based on. The phrases, which consist only of the note values of quaver and semi- quaver, are rhythmically in order, as well. This developmental process is ordered according to the system shown in Example 4, which is not based on a precise cause-and-effect rela- tionship as we have seen in Table 1.
The rhythmic order of the phrases luotslawski Thread I. Disregarding whether it is a quaver or a semiquaver, the last note of the third lutoslawsji the following phrases have only one functionality: Thus the perception of the former one is much easier.
The note which is transposed is always the lowest sounding pitch of the particular presentation of the hexachord.
Witold Lutosławski – Sacher Variation for solo cello () – Music Sales Classical
After this transposition, the note D becomes the lowest sounding pitch of the second presentation. This pitch is also transposed up by an octave in the third presentation, and this process continues until the 18th presentation of the hexachord. After the repetition of the remaining first two notes four times, Thread I is ended with the note E flat, which is the first note of both the hexachord and the work. However, while the rhythmic patterns in Messagesquisse are formed by the letters S-A-C-H-E-R to be realized through rhythmic values according to the long and short signals in the Morse code see Bonnet However, the last necessary transposition for achieving the initial arrangement of the row three octave higher, namely the transposition of the note B by an octave in the non-existent 19th presentation of the row, does not take place.
A possible reason for this is that the composer regarded the pitch A two octave above the first open string as the highest limit because it was undesirable for the composer to enter into a register where the characteristic timbre of the violoncello would not be present any more.
Unlike Lutoslawski, Holliger does not show any systematic approach to changing the octave registers of the pitches see Usman a: The systematic progression of the pitches of the Sacher hexachord from the lowest to the highest register of the violoncello.
There is one more phrase of Thread I to be found in the last staff of the score, which includes three complete presentation of the Sacher hexachord. In contrast to the rest of Thread I, here the dynamic levels mf, p, and pp are present, and the notes of the hexachord are used simultaneously for the first time. The microtonal pitches, which are not contained by Thread I and thus which represent one of the main contrasting elements between the two formations, do not have a structural role in Thread II.
Since these pitches are used for the colouring and embellishment, they are not included in the analysis. Another contrast between the formations are observed in the organiza- tion of the pitch material. While Thread I uses a strictly working mechanism to organize pitches, the pitch material of Thread II is used freely, without being organized systematically. In Example 6, the pitches that the phrases 11 “The piece ends in a rather amusing way.
As the first presentation of the Sacher hexachord in Thread I see Example 5the pitches of this phrase also are in the lowest octave register to be played by the violoncello. Another remarkable characteristic of Thread II is that all the phrases except the last one end with the notes B flat and D flat, which may or may not be respectively. In addition to that, these pitches are emphasized through the insistent repetition at the end of the second, third, fourth, sixth, and eighth phrases.
Due to these reasons, it is thought that these two pitches have been given a structural significance. It would not be surprising that a composer like Lutoslawski, who has often worked with cluster chords and determined chromatic fields, shows such an approach.
In this article, it has been assumed that the composer has a total freedom to create his work regarding to the endless possibilities that music offers, that the technics and principles he uses are not obligations, but only means bringing results, and that the composer makes the decision where and in what extent he gives place to these technics and principles, or if he prefer a compositional process which is completely independent of them.
Thus, it has been accepted that the discussed formations could be results of extremely complex, interwoven principles which cannot be explained with a view from the outside, as well as they could be determined by the completely personal choices. Therefore, in the analysis, it has been considered appropriate to indicate the formations in which it is not possible to explain the principles they based on clearly and to be restricted with the speculations on them.
However, as it can be seen in Table 2 at the end of the analysis, Thread I and Thread II have completely opposite structures in many aspects, hence the formation of Thread II, which apparently does not have any organization principle in regard to the pitch material, contrasts the formation of Thread I, which is based on an extremely mechanical system, thereby taking place in the overall construction of the work.
In the first two measures of the movement, which is written with the twelve-tone technique, ten pitches of the twelve-tone row are played by the mandolin and guitar, and two pitches that remains are played by the violin and bass clarinet respectively. In this way, the melody and accompaniment functions, which are highlighted through the use of the instruments that aurally differ from each other, are also supported in regard to the pitches see Vogt The pitches of the Thread II divided into phrases.
The relation between the emphasized pitches B flat and D flat and the Sacher hexachord.
Ninateka – Three composers – Sacher Variation for cello solo
In reply to the systematic progression of the pitches of the Sacher hex- achord from the lowest to the highest register of the violoncello in Thread I, Thread II progresses from a higher register to the lowest. The differences between the two threads of the work are given in Table 2 altogether. The differences between the two threads of the work. Variagions work ends with a short addition in the character of a codetta ap- proximately in the octave register in which the two threads have previously intersected.
That the phrases of Thread I, whose development is realized due to the highly consistent organization lutoslawskj, carry the structure in a similar way that strong columns carry the building plays the most important role to provide the integrity of the work, of course. This robust structure varjations very diverse musical elements to exist together. Thread II contrasts with Thread I in every respect.
Thanks to succession of contrasting elements without ceasing, luyoslawski work never loses its vitality while it constantly maintains its mechanic development. Besides all these, the Sacher hexachord, which is aurally in the fore- ground, does structurally not play any effective role in the work, such that the row variqtions repeated in its original arrangement and without being trans- posed throughout the work.
The two developmental processes related to the hexachord, namely the gradual extension of the phrases of Thread I and the progression of the hexachord from the lowest to the highest register of the violoncello throughout the work, should not be considered as technics applied particularly to the hexachord.
These processes do not cause any transformation of the hexachord except the change of the octave register, and nor the acquired result is determined by the hexachord. In other words, the development is provided by the global technics that can be applied to any pitch material, and not sachsr the Sacher saher itself. The Sacher hexachord is nothing but the subject of these technics. Through his sachet based on derivation, Holliger represents a completely opposite way of compos- ing and derives the pitch material of the whole work except the first section from the Sacher hexachord see Usman a: The work bases its existence mainly on the aural world that is a result of this derivation.
That the whole aural world, which is the primary foundation of the work, is going to be change if only one note in the Sacher hexachord is replaced with another one shows how integrated the Sacher hexachord with the overall structure of the work is.
The percep- tion of the opposite directions of the threads, the changes in the number of the notes each varuations contains, and the individuality of the threads becomes possible only through the restriction of the pitch material development. References Beck, Conrad et al.
Contemporary Music Review, 2: Techniques of the Contemporary Composer. Materials and Techniques of Twentieth-Century Music. Serial Composition and Atonality 6th edition. University of California Press. The Cambridge Companion to the Cello.
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Twenty-five years ago, when Pat Robertson and other radio and televangelists first spoke of the United States becoming a Christian nation that would build a global Christian empire, it was hard to take such hyperbolic rhetoric seriously. Today, such language hedgse longer sounds like hyperbole but poses, instead, a very real threat to our freedom and heeges way of life. In American Fascists, Chris Hedges, veteran journalist and author of the National Book Award finalist War Is a Force That Gives Us Meaning, challenges the Christian Right’s religious legitimacy and argues that at its core it is a mass movement fueled by unbridled nationalism and a hatred for the open society.
Hedges, who grew up in rural parishes in upstate New York where his father was a Presbyterian pastor, attacks the movement as someone steeped in the Bible and Christian tradition. He points to the hundreds of senators and members of Congress who have earned between 80 and percent approval ratings from the three most influential Christian Right advocacy groups as one of many signs that the movement is burrowing deep inside the American government to subvert it.
The movement’s call to dismantle the wall between church and state and the intolerance it preaches against all who do not conform to its warped vision of a Christian America are pumped into tens of millions of American homes through Christian television and radio stations, as well as reinforced through the curriculum in Christian schools.
The movement’s yearning for apocalyptic violence and its assault on dispassionate, intellectual inquiry are laying the foundation for a new, frightening America. American Fascists, which includes interviews and coverage of events such as pro-life rallies and weeklong classes on conversion techniques, examines the movement’s origins, its driving motivations and its dark ideological underpinnings. Hedges argues that the movement currently resembles the young fascist movements in Italy and Germany in the s and ’30s, movements that often masked the full extent of their drive for totalitarianism and were willing to make concessions until they achieved unrivaled power.
The Christian Right, like these early fascist movements, does fxscists openly call for dictatorship, nor does it use physical violence to suppress opposition. In short, the movement is not yet revolutionary. But the ideological architecture of a Christian fascism is being cemented in place. The movement has roused its followers to a fever pitch of despair and fury. All it will take, Hedges writes, is one more fascosts crisis on the order of September 11 for the Christian Right to make a concerted drive to destroy American democracy.
American Fascists | Book by Chris Hedges | Official Publisher Page | Simon & Schuster
The movement awaits a crisis. At that moment they will reveal themselves for what they truly are — the American heirs to fascism.
Hedges issues a potent, impassioned warning. We face an imminent threat. Fasciets book reminds us of the dangers liberal, democratic societies face when they tolerate the intolerant.
American Fascists: The Christian Right and the War On America
Onward to the apocalypse
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 Noack G. Berechnung hydrodynamisch geschmierter Gleitlager dargestellt [ 19] VDI Richtlinie ; Düsseldorf –  Lang O R, Steinhilper W. Gleitlager. VDI-Z. () 14, p. Lang, O.R.: Moderne Berechnungsverfahren bei der Auslegung von Dieselmotoren. 69 Lang, O.R.; Steinhilper, W.: Gleitlager. O.R. Lang and W. Steinhilper. Gleitlager. Springer, A. Boyaci, H. Hetzler, W . Seemann, C. Proppe, and J. Wauer. Analytical bifurcation analysis of a rotor.
Sliding contacts at bearings, running surfaces of cylinders or cam transmissions have an steinhilpe influence on the mechanical operating conditions of machines, combustion engines or turbines. High value is placed on the construction of compact machines and, therefore, improved thermal and mechanical efficiency is required.
This causes a saturation of many machine components, for example, sliding bearings.
Under unfavorable circumstances, the minimal lubricating gap becomes so small that a complete hydrodynamic separation of shaft and bearing is no longer guaranteed. Friction and wear increase quickly, leading finally to a failure of the bearing. The failure of a bearing in a ship motor may represent a threat to the machine, ship and environment, as well as to human lives.
Failure-free running machines demand efficient and reliable monitoring systems, which can report on the current condition of the bearing arrangement while in operation.
At the Institute of Product Development of the University of Karlsruhe, the procedure of acoustic emission AE analysis to detect damage in sliding bearings is being examined. The noise emerging from metallic contacts between sliding surfaces is measured with emission acoustic sensors and further evaluated by spectral analysis. Measurement of the noise level can be done far away from the metallic contacts, even outside of the housing, and therefore requires no type of mechanical changes in the engine compartment.
The evaluation of machines by noise monitoring in the audible sound range is a commonly used method. Numerous failure symptoms can be identified at an increased noise level or at a typical frequency range.
Acoustic Emission Mean Amplitude vs. Shaft Rotational Speed, Loading Force: The characteristic curve falls to a minimum value and then increases.
This course corresponds with the progress of the Stribeck-curve which describes the correlation between sliding speed and friction coefficient in sliding contacts Figure 2.
The region up to the minimum of the Stribeck-curve is determined through boundary and mixed lubrication. To the right of the mixed lubrication regime, the subsequent increasing of the Stribeck-curve is referred to as the elastohydrodynamic regime. In this region, the two machine surfaces are separated by a lubricant film. This transition is reflected in increasing noise levels at the measured curve.
These results support an argument for the use of AE analysis to be used as a condition surveillance method for sliding bearings based on the correlation between the friction condition and the measuring average noise level. The spontaneous release of energy from a loaded elastic body is responsible for the emission of noise.
This can be caused in boundary, mixed or elastohydrodynamic lubrication regimes as well as by the appearance and propagation of cracks, fracture processes, cavitations phenomena and phase changes, or through plastic deformations. The frequency range of the noise emission extends from audible to ultrasonic.
In the audible sound range, environmental interferences are so large that the measuring signal is no longer useful. Therefore, it must be measured in an ultrasonic range, at approximately kHz, where normal operating vibrations of machines and engineering equipment have no influence.
In experiments carried out with axial and radial bearings, a steinholper of syeinhilper was determined in order to evaluate the acoustic signal at high frequencies. By calculating the impulse density, conclusions on the existence of damages in bearings can be determined. The adjusted limiting of noise level plays a central role in this procedure, while amplitudes too high or too low can generate incorrect diagnostics.
These glritlager use only part of the information contained in the AE signal. In the case of the impulse density measurement only the frequency is used, and in the case of the effective value measurement only the amplitude is used.
The new procedure principle proposes the use of both frequency and amplitude to prematurely detect bearing failures. The test bench consists of a steel shaft supported by two bearings. The test bearing is located between both supporting bearings, which can be loaded using a hydraulic cylinder with a static loading force of up to 60 gleitlater 13, pounds Figure 3. Sliding Bearing Test Bench. The test bench enables testing with half- and complete shells.
Speed of the shaft can vary between and 3, rpm. For the tests, lead-copper-tin-bearings of the type Glyco 40 and bronze-bearings with a diameter of Measured parameters gleitlagre as speed, driving torque, loading force, bearing rear temperatures and inlet lubricant temperature were determined.
The AE-sensor was mounted on the outside of the housing Figure 3. The loading force was increased to the point where asperity contacts began to occur. The possibility of preheating the lubricant facilitated a further reduction of the loading capacity of the bearing due to the viscosity decreasing as temperature rises. In this instance, a bearing failure could be induced by applying slight loading forces. Frequency Spectra of Undamaged Bearings.
Figure 4 shows the frequency spectrum for an undamaged surface under hydrodynamic condition and slight load is shown against the frequency spectrum for a failed gleitlagef. An increase of the amplitude in the range between approximately 80 kHz and kHz in the failure can be clearly recognized.
This response is characteristic to all the tests conducted and gleitlagre observed in the generation of bearing damage. In addition, the slight increase of the amplitude between kHz and steinhiper is characteristic of the intact running bearings. These vibrations are attributed to the noise emitted by the test bench motor.
This range of measurements will not be lagn into account in the subsequent signal evaluation.
To document the progress of the bearing failure, the acoustic signal was measured and evaluated continuously every second. The result of the measurement using a Glyco 40 half-shell under slowly increasing continuous load, with a speed of 3, rpm, is represented in Figure 5. Time Variation of the Frequency Spectra. In Figure 5, the variation in time of every frequency spectral analysis is properly sfeinhilper. The progress of the bearing damage can be clearly observed. At the beginning of the measurements, the same frequency pattern is vleitlager with those seen in Figure 4.
Starting at the 16th test series, the amplitude in the range between 80 steunhilper kHz is clearly pronounced, showing the beginning of metallic contact between shaft and shell, and eventually leading to a bearing failure.
To establish a relationship between these results and the other measured variables at the test bench, the integral of the frequency spectra values sgeinhilper ranges between 80 kHz and kHz was calculated to characterize the AE signal. In Figure 6, the value of this integral is given next to the progress courses of load, torque and bearing back temperature. The initial bearing damage can be recognized where the loading force at the bearing was gradually increased up to 4.
Monitoring Lubrication Regimes in Sliding Bearings
This corresponds with the lany increase of the torque signal. The increase of the composite acoustic spectral emission precedes the increase observed in the torque and temperature curve. This procedure clarifies that with the AE signal a bearing failure can be recognized seconds before steinhilpr occurs. After testing, the sliding bearing was classified as defective. Further analysis is required to fully explain the extent to which each of the measured variables influence the acoustic signal.
All of the variables – shell material, speed, temperature and lubricant viscosity – are of interest. Further investigations presented similar results although bearing shells with different diameters and materials were used. These studies demonstrated that acoustic emission analysis is an appropriate measurement procedure to detect incipient failures at sliding bearings through the correlation between the emitted acoustic signal and the energy dissipated in the sliding metallic contacts.
Steinhhilper can be recognized independently of contact geometry, sliding speed, shell-material, rear shell temperature, and lubricant temperature with a significant increase of the amplitude in the frequency range around kHz. A detailed examination of the variables, which are normally involved in the friction process, determined that physical and mechanical parameters of the friction surface, where steel surfaces were involved, did not generate appreciably differing results.
Bearing damage could always be recognized before steinnhilper initial stage of steinhulper failure which was expressed by increasing torque. The monitoring of the bearing back temperature, which is often used to supervise bearings, clearly reacted later than the AE signal.
On the basis of these severities, this measurement procedure shows a large potential for stenhilper practical use in the early recognition of bearing failures. Acoustic emission analysis also has an extra advantage with the AE-sensor.
It can be mounted far away from the metallic contacts and therefore outside of the housing. Relative to engine analysis, there are no changes required for the engine compartment, cabling or housing configurations. The transferability of these results to nonstationary loaded bearings, for example in combustion engines, remains uncertain and its investigation could become the main laang for further works.
The success of a continuous surveillance system will depend on its configuration relative to the specific mechanical interactions.
Monitoring Lubrication Regimes in Sliding Bearings
Machine-specific data collection parameters and data management functions will need to be developed to enable integration of the right criteria, and identification of incipient failure. For continuous surveillance systems, significant storage and processing capacity is required to manage the relatively large amounts of data and processing algorithms.
Toggle navigation Toggle search. Current Issue Archive Advertise. Acoustic Emission Analysis The evaluation of machines by noise monitoring in the audible sound range is a commonly used method. Stribeck Curve The region up to the minimum of the Stribeck-curve is determined through boundary and mixed lubrication. Sliding Bearing Test Methods and Apparatus The test bench consists of a steel shaft supported by two bearings. Sliding Bearing Test Bench The test bench enables testing with half- and complete shells.
Frequency Spectra of Undamaged Bearings Figure 4 shows the frequency spectrum for an undamaged surface under hydrodynamic condition and slight load is shown against the frequency spectrum for a failed bearing. Time Variation of the Frequency Spectra In Figure 5, the variation in time of every frequency spectral analysis is properly arranged.
Result of Static Applied Load Test on Half-shell Glyco 40 Bearing In Figure 6, the value of this integral is given next to the progress courses of load, torque and bearing back temperature. Conclusions These studies demonstrated that acoustic emission analysis is an appropriate measurement procedure to detect incipient failures at sliding bearings through the correlation between the emitted acoustic signal and the energy dissipated in the sliding metallic contacts. Deutsches Komitee Instandhaltung Veranst.
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Wissenschaftliche Berichte THZ Antriebstechnisches Kolloquium Rheinland Munsterman, About the Author M. Sealed or Shielded Bearings? How to Tell the Difference. The Best Gets Better: Maintenance Services and Products.
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