APA Newsletters NEWSLETTER on FEMINISM and PHILOSOPHY
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The Newsletter of the London Guild of Weavers, Spinners and Dyers Issue 237 March 2010 Warp and Weft Issue 237 March 2010
Warp&Weft Contents Contact details 2 Editorial 3 Meetings: December - Competitions 18 February - Lucy Norris 5 Future Meetings 24 Features: Introducing: Prick Your Finger 7 Postcard from Downunder 13 Wetlands Wallhanging 15 Snow and Tell 16 Guild Summer Holiday 23 Regulars: Weave Study Group 10 Spinning Skills-sharing 11 Library News 20 Membership News 21 Guild News 25 AGM 2010 Agenda 28 What's On in Textiles 29 The Newsletter of the London Guild of Weavers, Spinners and Dyers Issue 237 March 2010 Warp and Weft Issue 237 March 2010 London Guild of Weavers, Spinners and Dyers Editorial feature on this London textile artist. And our ‘postcard’ this time comes www.londonguildofweavers.org.uk Today I pulled out the boxes of old from the antipodes, from a recent trip W&Ws that lie stashed in the depths Sonia Tindale made to Australia and President of my cupboard and searched through New Zealand. their yellowing pages for the March Now that winter might finally be Daphne Ratcliffe - [email protected] 020 8997 0291 1963 edition. I was curious about nearly over, there are exhibitions how the Guild coped with that other to entice us on the road again, for Vice Presidents memorable winter. I must confess I example ‘Kaleidoscope’ opening in was also hoping to find that they’d Mansfield on 17 April (details p. 30) Aileen Kennedy had to cancel a meeting too, that and the exciting prospect of a Guild Nancy Lee Child we weren’t just 21st century softies. Summer School in Norfolk (p. 23). Mary Smith Sorry folks, we are! And should we get a freak snowstorm Melanie Venes I quote: 12 January 1963 or two in the coming months, then “In spite of the Siberian weather, a there’s always our exhibition in October Executive Committee: Officers large number packed themselves into and the December competitions (p.26) Room 4 in Church House…” to start working on. -
Printable Cherry Candy Cane Potholder Pattern PDF by Liz
Cherry Candy Cane Potholder 10 inches by 10 inches A Knitting Pattern by Liz Chandler @PurlsAndPixels MATERIALS Two 87-Yard Skeins of Lion Brand Yarns Wool- No. 17/12 MM 32-inch circular needles or 14- Ease Thick and Quick, Hudson Bay (or your inch straight needles (or size needed to obtain preferred color). Alternatively, divide one 87- gauge) yard skein into two matching balls, ensuring the yarn colors will line up when knit with two Measuring tape strands held together. Tapestry needle Uses about 87 yards (5 oz.) Cherry Candy Cane Potholder A Knitting Pattern by Liz Chandler @PurlsAndPixels Size 10 inch by 10 inch square About this Pattern This extra-thick, oversize potholder is made by doubling up strands of super bulky yarn. When using a self-striping yarn, as recommended, make sure you use a single dye lot and line up the striping colors before you begin knitting. Using two skeins from the same dye lot ensures you will have enough yarn for a complete square; however, you may try dividing one skein equally in separate balls. Shown in the color “Hudson Bay,” this quick knitting project is reminiscent of cherry candy canes. It can make a fun holiday piece, but is subdued enough to be used year-round. Gauge 7 stitches and 11 rows in stockinette = 4 inches Abbreviations k = Knit. _____________________________________________________________________________________ ©2017, Liz Chandler of PurlsAndPixels. This pattern is only for personal use, gifting, and charitable donation of completed items. You may also sell items made using this pattern. Do not copy this pattern and distribute it. -
Ascribing Sexual Orientations
Atlantis Vol. 13 No.2 Spring/Printemps 1988 Ascribing Sexual Orientations Christine Overall Queen's University ABSTRACT The goal of this paper is to suggest a somewhat different approach to the contemporary discussion of human sexual orientations. Instead of examining the nature of sexual orientation itself, it discusses the meanings of ascriptions of sexual orientation. (The discussion is confined to cases where the subject of ascription is female.) The paper begins with a survey of some prevalent ways of interpreting ascriptions of sexual orientation. It then comments on the variations in their meanings, and considers what the speaker is doing when uttering such an ascription. It concludes with some comments about an apparently anomalous sexual orientation, bisexuality. My interest in the ascription of sexual orientations what it is to be a lesbian (let alone a lesbian bisexual), and arose, in part, from three observations which I made over how one is to know whether any person (including one• the course of the past year.1 First, in my investigations of self) is one. ethical issues pertaining to reproductive technology, it became very clear that access to such processes as in vitro I was troubled, then, by both ontological and epistemo- fertilization and artificial insemination by donor is regu• logical problems: What is it to be lesbian or heterosexual lated and limited by means of the physician-enforced stip• or bisexual? How does one know whether a person is ulation that the female candidates for these technologies lesbian or heterosexual -
Sample Cover Page of Heartstrings #A45 Smoke Ring with Lace
SAMPLE PAGE OHeartStringsNL Pattern: A45CY - 6054 Smoke Ring with Lace Edging This versatile accessory can be worn pulled down around the neck to lie on the shoulders as a dressy neckline, or pulled up over the head as an elegant head covering. Knitting is begun with a strip of lace edging. Then stitches are picked up and knit in the round in another lace stitch pattern. A decorative bind off completes the knitted tube. Sizing Directions are written for a smaller 22" size, with changes for a larger 24" size given in brackets [ ]. Finished measurements are 18" long for both sizes and 22 [24]" around. Materials Laceweight or fingering weight yarn, approximately 300 [325] yards Size 6 US (4.0 mm) circular needle, or size to obtain planned gauge, in 16” - 24" length Optional: Straight needles in same size as above (for knitting lace edging) GAUGE: 5½ stitches per inch over stockinette stitch Crochet hook in a comparable size to knitting needle (slightly larger is OK) Skill Level: Intermediate knitter Caution: Yarn requirements are based on the planned dimensions and gauge stated in this pattern. You may need additional yarns in same dye lot if you are adjusting these instructions. Abbreviations eor - end-of-round st(s) - stitch(es) k - knit stockinette stitch - knit on the right side, purl on the k2tog - knit 2 stitches together wrong side ndl(s) - needle(s) tog - together p - purl WS - wrong side (the side of the knitted fabric worn to p2tog - purl 2 stitches together the inside) rep from *'s - repeat all instructions from the previous wyif- with yarn in front of work asterisk yo - yarn over rnd(s) - round(s) Note: Instructions are written assuming you are knitting RS - right side (the side of the knitted fabric worn to the stitches off your left-hand needle point onto your outside) right-hand needle point. -
A History of Women Philosophers Vol. IV
A HISTORY OF WOMEN PHILOSOPHERS A History of Women Philosophers 1. Ancient Women Philosophers, 600 B.C.-500 A.D. 2. Medieval, Renaissance and Enlightenment Women Philosophers, 500-1600 3. Modern Women Philosophers, 1600-1900 4. Contemporary Women Philosophers, 1900-today PROFESSOR C. J. DE VOGEL A History of Women Philosophers Volume 4 Contemporary Women Philosophers 1900-today Edited by MARY ELLEN WAITHE Cleveland State University, Cleveland, U.S.A. Springer-Science+Business Media, B. V. Library of Congress Cataloging in Publication Data Contemporary women philosophers : 1900-today / edited by Mary Ellen Waithe. p. cm. -- (A History of women philosophers ; v. 4.) Includes bibliographical references (p. xxx-xxx) and index. ISBN 978-0-7923-2808-7 ISBN 978-94-011-1114-0 (eBook) DOI 10.1007/978-94-011-1114-0 1. Women philosophers. 2. Philosophy. Modern--20th century. r. Waithe. Mary Ellen. II. Series. Bl05.W6C66 1994 190' .82--dc20 94-9712 ISBN 978-0-7923-2808-7 printed an acid-free paper AII Rights Reserved © 1995 Springer Science+Business Media Dordrecht Originally published by Kluwer Academic Publishers in 1995 Softcover reprint ofthe hardcover lst edition 1995 No part of the material protected by this copyright notice may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without written permission from the copyright owner. Contents Acknowledgements xv Introduction to Volume 4, by Mary Ellen Waithe xix 1. Victoria, Lady Welby (1837-1912), by William Andrew 1 Myers I. Introduction 1 II. Biography 1 III. -
A Cultural Study of Gendered Onscreen
VEG-GENDERED: A CULTURAL STUDY OF GENDERED ONSCREEN REPRESENTATIONS OF FOOD AND THEIR IMPLICATIONS FOR VEGANISM by Paulina Aguilera A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL August 2014 Copyright by Paulina Aguilera, 2014 11 VEG-GENDERED: A STUDY OF GENDERED ONSCREEN REPRESENTATIONS OF FOOD AND THEIR IMPLICATIONS FOR VEGANISM by Paulina Aguilera This thesis was prepared under the direction of the candidate's thesis advisor, Dr. Christine Scodari, School of Communication and Multimedia Studies, and has been approved by the members of her supervisory committee. It was submitted to the faculty of The Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Master of Arts. SUPERVISORY COMMITTEE: ~t~;,~ obe, Ph.D. David C. Williams, Ph.D. Interim Director, School of Communication and Multimedia Studies Heather Coltman, DMA Dean, ;~~of;candLetters 0'7/0 /:fdf4 8 ~T.Fioyd, Ed.D~ -D-at_e _ _,__ ______ Interim Dean, Graduate College 111 ACKNOWLEDGEMENTS The author wishes to acknowledge Dr. Christi ne Scodari for her incredible guidance and immeasurable patience during the research and writing of this thesis. Acknowledgements are also in order to the participating committee members, Dr. Chris Robe and Dr. Fred Fejes, who provided further feedback and direction. Lastly, a special acknowledgement to Chandra Holst-Maldonado is necessary for her being an amazing source of moral support throughout the thesis process. -
Spanish Moss Shawl
SPANISH MOSS SHAWL Designed and woven by John Mullarkey Overview: Inspired by a gift skein of sock yarn from a friend, and enhanced by not being able to find the same dye lot, this shawl was woven with a Zoom Loom and joined with crochet. The color and drape reminded me of the Spanish moss I saw hanging in trees when I lived in East Texas. Difficulty rating: Easy weaving with crochet join Size: 70” width; short edges 50” Yarn: Dream in Color Smooshy (450yds/4 oz.), Cloud Jungle, 1 skein (MC). Dream in Color Smooshy, either a different dye lot of Cloud Jungle, or a different but analogous colorway (CC). Crochet thread, #10 (350 yards), black or coordinating color. Other notions, equipment or tools: size 6 crochet hook; tapestry or yarn needle; scissors. Weaving and Assembly: ■ Weave 56 squares using the Zoom Loom in color MC. Work in all ends as you weave. ■ Weave 22 squares in color CC. Work in all ends as you weave. Total of 78 squares woven. ■ Using the layout chart below, join the squares by crochet- ing a single crochet (sc) in each loop pair. ■ Chain (ch) 3, sc in loop pair of adjoining square using cro- chet thread. ■ Repeat above for all rows and columns of squares. ■ After all squares have been joined, crochet a border of sc in loop pair, ch 3 around. You may want to do ch 2 where cor- ners meet to tighten up the joined edges. Finishing: Hand wash in lukewarm water. Roll in a towel to remove excess water. -
Vogue Knitting LIVE Launches in New York City in January
NEW YORK, NEW YORK 6,000 Knitters and Industry “Knitterati” to Gather for New Event Vogue Knitting LIVE Launches in New York City in January. Popular Classes Already Sold Out More than 53 million people know how to knit or crochet—and the number is growing. Following the successful premier of Vogue Knitting LIVE in Los Angeles last year, Vogue Knitting magazine announces a new event at the Hilton New York January 14–16, 2012 . Knitting, an ages-old craft, is taking the world by storm. Professionals, Hollywood A-listers, and rock stars have all joined the ranks of knitters, and Ravelry, a popular social media site for stitchers, boasts close to 2 million members. Its benefits are renown: A Harvard study from 2007 concluded that knitting may be as effective as medication in reducing stress. “We know that knitters love getting together at yarn stores to learn new techniques, compare projects, and hear from top designers. We’ve simply taken that to the next level by creating the largest live gathering of knitters in New York,” says Trisha Malcolm, editor of Vogue Knitting and originator of Vogue Knitting LIVE. Vogue Knitting LIVE caters to knitters at all levels—from the knit-curious to experienced designers and crafters. In 2012, knitters can expect: • More than 75 how-to sessions, some of which are already sold out. Topics like “An Overture to Estonian Lace” and “Working with Antique and Vintage Knitting Patterns” bring 200-year old techniques to new generations. Other sessions such as “Happy Hat Knitting” and “Sock Innovation” focus on specific types of projects. -
Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience
Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience Jennifer L. Lindsay Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2010 ©2010 Jennifer Laurel Lindsay All Rights Reserved TABLE OF CONTENTS LIST OF ILLUSTRATIONS.............................................................................................iii PREFACE........................................................................................................................... x ACKNOWLDGEMENTS ............................................................................................... xiv INTRODUCTION .............................................................................................................. 1 CHAPTER 1. CRANBROOK: “[A] RESEARCH INSTITUTION OF CREATIVE ART”............................................................................................................ 11 Part 1. Founding the Cranbrook Academy of Art............................................................. 11 Section 1. Origins of the Academy....................................................................... 11 Section 2. A Curriculum for Modern Artists in Modern Times ........................... 16 Section 3. Cranbrook’s Landscape and Architecture: “A Total Work of Art”.... 20 Part 2. History of Weaving and Textiles at Cranbrook..................................................... 23 -
Introduction
Notes Introduction 1. ‘Medicine’, in William Morris, ed., The American Heritage Dictionary (Boston: Houghton Mifflin, 1976); ‘medicine n.’, in The Oxford American Dictionary of Current English, Oxford Reference Online (Oxford University Press, 1999), University of Toronto Libraries, http://www.oxfordreference.com.myaccess.library.utoronto.ca/ views/ENTRY.html?subview=Main&entry=t21.e19038 [accessed 22 August 2008]. 2. The term doctor was derived from the Latin docere, to teach. See Vern Bullough, ‘The Term Doctor’, Journal of the History of Medicine, 18 (1963): 284–7. 3. Dorothy Porter and Roy Porter, Patient’s Progress: Doctors and Doctoring in Eighteenth-Century England (Cambridge: Polity, 1989), p. 11. 4. I am indebted to many previous scholars who have worked on popular healers. See particularly work by scholars such as Margaret Pelling, Roy Porter, Monica Green, Andrew Weir, Doreen Nagy, Danielle Jacquart, Nancy Siraisi, Luis García Ballester, Matthew Ramsey, Colin Jones and Lawrence Brockliss. Mary Lindemann, Merry Weisner, Katharine Park, Carole Rawcliffe and Joseph Shatzmiller have brought to light the importance of both the multiplicity of medical practitioners that have existed throughout history, and the fact that most of these were not university trained. This is in no way a complete list of the authors I have consulted in prepa- ration of this book; however, their studies have been ground-breaking in terms of stressing the importance of popular healers. 5. This collection contains excellent specialized articles on different aspects of female health-care and midwifery in medieval Iberia, and Early Modern Germany, England and France. The articles are not comparative in nature. -
Lettuce Knit Arm Warmers
Knitting Needles: 4.5mm [US 7]. Place markers (2), small stitch holder, yarn needle. GAUGE: 19 sts = 4”; 26 Rows = 4” in St st. CHECK YOUR GAUGE. Use any size needle to obtain the gauge. SPECIAL ABBREVIATIONS M1 (make one stitch) = Lift running thread before next stitch onto left needle and knit into the back loop. K1, p1 Rib (worked over an odd number of sts) Row 1 (Right Side): K1, * p1, k1; repeat from * across row. Row 2: P1, * k1, p1; repeat from * across row. Repeat Rows 1 and 2 for K1, p1 rib. ARM WARMERS Right Arm Cast on 41 (45) sts. Cuff Begin with Row 1, work in K1, p1 rib until piece measures 1½”, end by working a wrong side row. Begin Pattern Row 1: P3 (4), k13, p7 (8), k1, p17 (19). Row 2: K17 (19), p1, k7 (8), p13, k3 (4). Row 3: P3 (4), k4tog, [yo, k1] 5 times, yo, k4tog-tbl, p7 (8), k1, p17 (19). Row 4: Repeat Row 2. Repeat Rows 1 - 4 until piece measures 8½” from beginning, then work Rows 1 and 2 once more. Shape Thumb Row 3: P3 (4), k4tog, [yo, k1] 5 times, yo, k4tog-tbl, p7 (8), place marker, M1, k1, M1, place marker, p17 (19)– 43 (47) sts. lettuce knit Row 4: K17 (19), p3, k7 (8), p13, k3 (4). arm warmers Keeping continuity of pattern, continue to inc 1 st after first marker and before second marker every right side row 5 (6) times more, working extra sts into pattern–53 (59) sts; 13 (15) sts SN0111 between markers. -
Origins of Fair Isle Knitting
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America Spring 2004 Traveling Stitches: Origins of Fair Isle Knitting Deborah Pulliam [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Pulliam, Deborah, "Traveling Stitches: Origins of Fair Isle Knitting" (2004). Textile Society of America Symposium Proceedings. 467. https://digitalcommons.unl.edu/tsaconf/467 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Traveling Stitches: Origins of Fair Isle Knitting Deborah Pulliam Box 667, Castine ME 04421 207 326 9582 [email protected] The tradition of Fair Isle knitting seems to have been emerged too well developed to have actually started in the islands north of Scotland. This paper suggests a source in the Baltic region of Eastern Europe. Like much of the “history” of knitting, much published information on the history of Fair Isle-type knitting is folklore. The long-standing story is that a ship, El Gran Grifon, from the Spanish Armada, was wrecked on Fair Isle in 1588. The 17 households on the island took the sailors in. That much is true, and documented. The knitting story is that, in return, the Spaniards taught the islanders the brightly colored patterned knitting now known as Fair Isle. Not surprisingly, there appears to have been no multi-colored knitting tradition in Spain in the sixteenth century.