This study examines the life and works of the poet Friedrich Leopold Graf zu Stolberg(1750-1819). It begins with an analysis of Stolberg's essays on poetic expression in relation to Romantic thinking, and the impact of his poetic style on Novalis's early poetry. Stolberg's aesthetic education in Italy is examined as well as his challenge to the idea that classical sculpture was always the pinnacle of beauty and that the culture of antiquity was the highest form of humanity, The detection of melancholy in Greek sculpture, which arises from the transfer of anxieties about redemption from the artist to the artefact, affected his response and detracted from the beauty of the sculpture. This view amounted to an attack on Goethe and Schiller, as it identified the issue of salvation and death as a weakness in the classical paradigm. The picture of Italy that Stolberg offered was overshadowed by a crisis of confidence in the aesthetic insights both of Winckelmann and of Lessing and was also the basis for lib reception of Raphael and Michelangelo, Stolberg arrived at a response to Renaissance art and artists that marginally predates the early German Romantic worship of artists in the 1790s. The book concludes with a discussion of Stolberg's support of Romantic politics and Romantic conversions.

It is forty years since Burgeff published, in 1926, the first comprehensive catalogue of the genus Zygaena Fabricius, forming part 33 of the Lepidopterorum Catalogus. Following the pattern and general layout of Burgeff's work, we have attempted to produce a catalogue in which all names in the genus Zygaena are included, with references to the literature where these names were originally published. Additional references are included when these refer to illustrations of a species, subspecies or form, or to a taxonomic change, e.g., a change in status. References to misidentifications are generally omitted unless a new species has been described at a later date. In compiling this work we have adhered to the International Code of Zoological Nomenclature as adopted by the XV International Congress of Zoology. However, although the International Commission on Zoological Nomenclature recognises the necessity of names of lower rank than subspecies, they do not at present deal with such names. The provisions of the Code do not apply to them and, therefore, such names have no nomenclatural status. Every subspecies is given equal status in the catalogue although their relative value is not always the same. Certain authors have very often separated sub species on minute differences and a subsequent examination of further material, taken over a number of years, has shown that the differences are not always constant. In many cases, however, we have been unable to verify the status of each subspecies.

Given a familiar object extracted from its surroundings, we humans have little difficulty in recognizing it irrespective of its size, position and orientation in our field of view. Changes in lighting and the effects of perspective also pose no problems. How do we achieve this, and more importantly, how can we get a computer to do this? One very promising approach is to find mathematical functions of an object's image, or of an object's 3D description, that are invariant to the transformations caused by the object's motion. This book is devoted to the theory and practice of such invariant image features, so-called image invariants, for planar objects. It gives a comprehensive summary of the field, discussing methods for recognizing both occluded and partially occluded objects, and also contains a definitive treatmentof moment invariants and a tutorial introduction to algebraic invariants, which are fundamental to affine moment invariants and to many projective invariants. A number of novel invariant functions are presented and the results of numerous experiments investigating the stability of new and old invariants are discussed. The main conclusion is that moment invariants are very effective, both for partially occluded objects and for recognizing objects in grey-level images.

The original edition of Kant: Political Writings was first published in 1970, and has long been established as the principal English-language edition of this important body of writing. In this new, expanded edition two important texts illustrating Kant's view of history are included for the first time, his reviews of Herder's Ideas on the Philosophy of the History of Mankind and Conjectures on the Beginning of Human History, as well as the essay What is Orientation in Thinking?. In addition to a general introduction assessing Kant's political thought in terms of his fundamental principles of politics, this edition also contains such useful student aids as notes on the texts, a comprehensive bibliogaphy and a new postscript, looking at some of the principal issues in Kantian scholarship that have arisen since the first edition.

Louise von Francois (1817-1893) was a German realist writer whose work appeared in several editions during her lifetime and was translated abroad. Her most famous novel, Die letzte Reckenburgerin, attracted significant critical attention from her contemporaries and was regarded as one of the most innovative novels of the century. Her other prose fiction, however, is less well known. In the context of the ongoing re-assessment of nineteenth-century women writers, this book evaluates the thematic preoccupations and narrative technique of Francois's creative work as a whole. Through a study of ten representative texts, most of which have not been subject to detailed literary analysis in the past, the author considers Francois's powerful portrayals of female self-reliance, and seeks to elucidate aspects of her most cherished convictions, which centred on values of honour and duty, and on a vision of a more equitable and decent society.

This study examines the life and works of the poet Friedrich Leopold Graf zu Stolberg(1750-1819). It begins with an analysis of Stolberg's essays on poetic expression in relation to Romantic thinking, and the impact of his poetic style on Novalis's early poetry. Stolberg's aesthetic education in Italy is examined as well as his challenge to the idea that classical sculpture was always the pinnacle of beauty and that the culture of antiquity was the highest form of humanity, The detection of melancholy in Greek sculpture, which arises from the transfer of anxieties about redemption from the artist to the artefact, affected his response and detracted from the beauty of the sculpture. This view amounted to an attack on Goethe and Schiller, as it identified the issue of salvation and death as a weakness in the classical paradigm. The picture of Italy that Stolberg offered was overshadowed by a crisis of confidence in the aesthetic insights both of Winckelmann and of Lessing and was also the basis for lib reception of Raphael and Michelangelo, Stolberg arrived at a response to Renaissance art and artists that marginally predates the early German Romantic worship of artists in the 1790s. The book concludes with a discussion of Stolberg's support of Romantic politics and Romantic conversions.