Letter to V.V. Haynes, 04/02/1878

Two page letter from Daniel D. Whedon to V.V. Haynes. Dated March 2, 1878.A letter discussing a legal deed concerning Daniel D. Whedon's nephew, Daniel Avery Whedon

Collisional excitation of doubly and triply deuterated ammonia ND2_2H and ND3_3 by H2_2

The availability of collisional rate coefficients is a prerequisite for an accurate interpretation of astrophysical observations, since the observed media often harbour densities where molecules are populated under non--LTE conditions. In the current study, we present calculations of rate coefficients suitable to describe the various spin isomers of multiply deuterated ammonia, namely the ND$_2$H and ND$_3$ isotopologues. These calculations are based on the most accurate NH$_3$--H$_2$ potential energy surface available, which has been modified to describe the geometrical changes induced by the nuclear substitutions. The dynamical calculations are performed within the close--coupling formalism and are carried out in order to provide rate coefficients up to a temperature of $T$ = 50K. For the various isotopologues/symmetries, we provide rate coefficients for the energy levels below $\sim$ 100 cm$^{-1}$. Subsequently, these new rate coefficients are used in astrophysical models aimed at reproducing the NH$_2$D, ND$_2$H and ND$_3$ observations previously reported towards the prestellar cores B1b and 16293E. We thus update the estimates of the corresponding column densities and find a reasonable agreement with the previous models. In particular, the ortho--to--para ratios of NH$_2$D and NHD$_2$ are found to be consistent with the statistical ratios

Reflections on Simon Hantaï: Daniel Buren in conversation with Daniel Sturgis, Varennes-Jarcy, 23 September 2014

This essay, in the form of a conversation between Daniel Buren and Daniel Sturgis, reflects upon Daniel Buren’s friendship and respect for the work of Simon Hantaï. Daniel Buren talks of his introduction to Simon Hantaï’s work, and how Hantaï influenced not only himself but also other artists from his generation and in particular Michel Parmentier. Daniel Buren also looks critically at the Simon Hantaï retrospective at the Centre Pompidou in 2013, which he felt did not fully capture the radical qualities that first drew him to Hantaï paintings and installations

Fricke S-duality in CHL models

open2siopenPersson, Daniel; Volpato, RobertoPersson, Daniel; Volpato, Robert

Letter to nephew, 11/14/1881

Three page handwritten letter to nephew, Daniel Avery Whedon, from Daniel D. Whedon. Dated 11/14/1881.A letter to his nephew, Daniel Avery Whedon, regarding the writing of a book review for the quarterly and discussion of the season's orange crop

Letter to D. A. Whedon. Pittsfield. July 12, 1844.

Letter from Daniel Denison Whedon to Daniel A. Whedon, his nephew

Letter to Daniel A. Whedon. New York. April 13, 1867

Handwritten 1867 letter from Daniel D. Whedon to his nephew, Daniel A. Whedon, requesting books

Letter to nephew, 02/06/1868

Letter from Daniel Whedon to nephew, Daniel Avery Whedon. Dated February, 6, 1868.A letter to nephew regarding an appointment in Jersey City

Samuel Daniel's The Complaint of Rosamond and the arrival of Tasso's Armida in England

This essay argues that the earliest English work to offer a sustained poetic engagement with the figure of Armida, the celebrated pagan enchantress from Tasso’s Gerusalemme liberata (1581), is Daniel’s The Complaint of Rosamond (1592). Unlike Spenser in The Faerie Queene (1590), who pays little attention to the enchantress herself even as he imitates Tasso directly in his construction of the Bower of Bliss, Daniel’s portrayal of his long-dead royal mistress is repeatedly, if unexpectedly, associated with Armida’s beauty. The essay considers how Daniel might have first encountered Tasso’s character in Italy, and goes on to demonstrate how frequently he translated from Tasso in describing the analogous impact of Rosamond’s beauty at the court of Henry II. A few of Daniel’s direct imitations from the Italian were detected by his contemporary Francis Davison, but many others were missed, and they have all been entirely ignored in modern criticism. This essay then seeks to demonstrate their centrality to Daniel’s conception of his spectral narrator, concluding that his translation and creative adaptation of material related to Armida from Tasso’s poem adds a significant level of interpretative ambiguity to the figure of Rosamond