Studies about the monstrance of 1590 baring relics of the passion of Christ in the ducal residence in Munich

Bei der 1590 datierten Monstranz mit Reliquien der Passion Christi handelt es sich um das zentrale Stück des ab dem frühen 17. Jahrhunderts in der Geheimen Cammerkapelle der Residenz München aufbewahrten Reliquienschatzes, den die bayerischen Herzöge Wilhelm V. und Maximilian I. als ihren kostbarsten Besitz ansahen. Die über 1,15 m hohe Monstranz aus getriebenen und gegossenem Silberteilen und graviertem Glas ist sehr reich mit goldgeschmelzten Figuren und Ornamentapplikationen, mit gefassten Smaragden, Rubinen, Diamanten und Perlen verziert. Sie kann als ein bedeutendes Monument der süddeutschen Goldschmiedekunst aber auch der konfessionellen Politik der Herzöge von Bayern gelten, die mit der Reliquienverehrung eine von der Reformation verdammte Kultpraxis propagierten. Die Arbeit diskutiert zuerst die relevante kunsthistorische Literatur. Dann wird die Bedeutung der Reliquien, das ikonographische Programm und die Funktion der Monstranz als Kultmittel des kirchlich geleiteten Reliquienkults und dessen Ausprägung am Münchner Hof um 1600 – im Speziellen innerhalb der Geheimen Cammerkapelle – betrachtet. Die Reliquienmonstranz war nicht nur Ausdruck der Frömmigkeit, sondern Teil einer Repräsentationsstrategie der Herzöge und soll daher auch im Zusammenhang mit anderen wichtigen Elementen der fürstlichen Selbstdarstellung gesehen werden. Es schließen sich stilkritische Betrachtungen über die in verschiedenen Goldschmiede- und Juweliertechniken gearbeiteten Bestandteile der Monstranz an. Dabei werden die Treibarbeiten und gegossenen Teile, die Emailkunst und die Art und Weise der Edelsteinfassungen ebenso behandelt, wie die architektonischen oder ornamentalen Verzierungen. Neben der Beurteilung der bisherigen Datierung werden in den stilkritischen Betrachtungen auch eine Gruppe von verwandten Goldschmiedewerken herausarbeitet, die aus derselben Werkstatt stammen dürften. Als Schöpfer der Monstranz wird Georg Bernhard angenommen, der zwar kein zünftiger Meister war, jedoch für den Münchner Hof über viele Jahre meisterliches gearbeitet hat.The Great Monstrance baring relics of the Passion of Christ, is the centrepiece of Duke Wilhelm V.’s of Bavaria and his son Maximilian I.’s relics treasure that was kept in the so called Geheime Cammerkapelle in their Ducal Residence in Munich. This collection was regarded as their most precious treasure. The monstrance, more than 1,15 m high, manufactured from embossed and casted silver and engraved glass elements, is richly decorated with enamelled gold figures, ornamental mountings with rubies, emeralds and diamonds. The Monstrance represents as well an important monument of South German goldsmith-art but also the confessional politic of the Bavarian Dukes including their propaganda of the veneration of relics, with was damned by protestant theology. Firstly the relevant art historical literature is discussed. Thereafter the iconological program and the function of the monstrance as a medium of the veneration of relics in church characteristic for the catholic Court of Munich particularly in the socalled Geheime Cammerkapelle of the Residence in Munich is explained. The monstrance was not only the expression of piety of the Bavarian Dukes but also of their concept of representation their ducal power and it corresponds with other elements of this strategy. The examination of the various goldsmith-techniques includes into its consideration the embossed and carved silver elements as well as the mounted jewels, enamelled gold figures, micro-architectures und ornaments of the described object. Besides of the critical analysis of the dating (1590), the monstrance is compared with a group of related goldsmith works, probably manufactured by the same workshop, whose leader is considered to be Georg Bernhard from Augsburg. Even though he was known not to be a master craftsman of the guild of goldsmiths it is well documented, that he produced numerous masterpieces for the Bavarian court

Электроснабжение установки перекачки нефти п. Пионерный ОАО «Томскнефть»

РЕФЕРАТ Выпускная квалификационная работа 149 с., 23 рис., 32 табл., 29 источников, 6 прил. Ключевые слова: нефтепровод, насос, электрооборудование, схема электроснабжения, линия, сеть, электроприемник, нагрузка, оборудование, защита, ток, напряжение, мощность. Объектом исследования является электрическая часть УПН п. Пионерный ОАО «Томскенефть». Цель работы – проектирование схемы электроснабжения предприятия, выбор оборудования. В процессе исследования проводился сбор исходных данных в ходе производственной практики на объекте исследования. В результате была спроектирована схема электроснабжения от подстанции энергосистемы, до конечного электроприемника. Были выбраны кабели и провода, коммутационное оборудование, были сделаны необходимые проверки. Также результатом работы сталESSAY Final qualifying work 149 p., 23 fig., 32 tab., 29 sources, 6 adj. Keywords: oil, pump, electrical equipment, power supply circuit, line, network, power-consuming equipment, load equipment, protection, current, voltage, power. The object of research is the electrical part of UPN claim. Pionerny of "Tomskeneft". The purpose of work - designing enterprise power scheme, the choice of equipment. The study was conducted to collect baseline data in the course of practical training on the subject of the study. As a result, power supply circuit has been designed from the substation grid, appliance, to the end. Were selected cables and wires, switching equipment, the necessary checks have been made. It is also the result of the work became an economic calculation of capital costs for the con

Speech and melody recognition in binaurally combined acoustic and electric hearing

Speech recognition in noise and music perception is especially challenging for current cochlear implant users. The present study utilizes the residual acoustic hearing in the nonimplanted ear in five cochlear implant users to elucidate the role of temporal fine structure at low frequencies in auditory perception and to test the hypothesis that combined acoustic and electric hearing produces better performance than either mode alone. The first experiment measured speech recognition in the presence of competing noise. It was found that, although the residual low-frequency (< 1000 Hz) acoustic hearing produced essentially no recognition for speech recognition in noise, it significantly enhanced performance when combined with the electric hearing. The second experiment measured melody recognition in the same group of subjects and found that, contrary to the speech recognition result, the low-frequency acoustic hearing produced significantly better performance than the electric hearing. It is hypothesized that listeners with combined acoustic and electric hearing might use the correlation between the salient pitch in low-frequency acoustic hearing and the weak pitch in the envelope to enhance segregation between signal and noise. The present study suggests the importance and urgency of accurately encoding the fine-structure cue in cochlear implants. (c) 2005 Acoustical Society of America

Shifting fundamental frequency in simulated electric-acoustic listening

Previous experiments have shown significant improvement in speech intelligibility under both simulated [Brown, C. A., and Bacon, S. P. (2009a). J. Acoust. Soc. Am. 125, 1658–1665; Brown, C. A., and Bacon, S. P. (2010). Hear. Res. 266, 52–59] and real [Brown, C. A., and Bacon, S. P. (2009b). Ear Hear. 30, 489–493] electric-acoustic stimulation when the target speech in the low-frequency region was replaced with a tone modulated in frequency to track the changes in the target talker’s fundamental frequency (F0), and in amplitude with the amplitude envelope of the target speech. The present study examined the effects in simulation of applying these cues to a tone lower in frequency than the mean F0 of the target talker. Results showed that shifting the frequency of the tonal carrier downward by as much as 75 Hz had no negative impact on the benefit to intelligibility due to the tone, and that even a shift of 100 Hz resulted in a significant benefit over simulated electric-only stimulation when the sensation level of the tone was comparable to that of the tones shifted by lesser amounts