DOCSLIB.ORG

INTERVENTIONS NEW STUDIES in MEDIEVAL CULTURE Ethan Knapp, Series Editor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
INTERVENTIONS NEW STUDIES in MEDIEVAL CULTURE Ethan Knapp, Series Editor INTERVENTIONS NEW STUDIES IN MEDIEVAL CULTURE Ethan Knapp, Series Editor All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. THE ART of VISION T Ekphrasis in Medieval Literature and Culture Edited by ANDREW JAMES JOHNSTON, ETHAN KNAPP, and MARGITTA ROUSE THE OHIO STATE UNIVERSITY PRESS COLUMBUS All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Copyright © 2015 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data The art of vision : ekphrasis in medieval literature and culture / edited by Andrew James John- ston, Ethan Knapp, and Margitta Rouse. pages cm — (Interventions: new studies in medieval culture) Includes bibliographical references and index. ISBN 978-0-8142-1294-3 (cloth : alk. paper) 1. Ekphrasis. 2. Literature, Medieval--History and criticism. 3. Description (Rhetoric)—His- tory—To 1500. I. Johnston, Andrew James, editor. II. Knapp, Ethan, 1966– editor. III. Rouse, Margitta, 1970– editor. IV. Series: Interventions (Columbus, Ohio) PN682.E46A78 2015 809'.02—dc23 2015019905 Cover design by Mia Risberg Type set in Adobe Minion Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Contents Acknowledgments vii INTRODUCTION THE DYNAMICS OF EKPHRASIS Andrew James Johnston, Ethan Knapp, and Margitta Rouse 1 PART I EKPHRASIS AND THE OBJECT 1 EKPHRASIS AND THE OBJECT Valerie Allen 17 2 MULTILINGUAL LISTS AND CHAUCER’S “THE FORMER AGE” Sarah Stanbury 36 3 SPEAKING IMAGES? ICONOGRAPHIC CRITICISM AND CHAUCERIAN EKPHRASIS John M. Bowers 55 PART II THE DESIRE OF EKPHRASIS 4 VISION AND DESIRE IN MARY MAGDALENE AND THE WINTER’S TALE Claudia Olk 79 5 FEELING THINKING: PEARL’S EKPHRASTIC IMAGINATION Anke Bernau 100 All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. vi | CONTENTS 6 FROM ENSLAVEMENT TO DISCERNMENT: LEARNING TO SEE IN GOTTFRIED’S TRISTAN Kathryn Starkey 124 PART III THE EPISTEMOLOGY OF EKPHRASIS 7 EKPHRASIS AND RELIGIOUS IDEOLOGY IN SPENSER’S LEGEND OF HOLINESS Darryl J. Gless 149 8 FACING THE MIRROR: EKPHRASIS, VISION, AND KNOWLEDGE IN GAVIN DOUGLAS’S PALICE OF HONOUR Andrew James Johnston and Margitta Rouse 166 9 EKPHRASIS AND STASIS IN CHRISTINE DE PIZAN’S LIVRE DE LA MUTACION DE FORTUNE Suzanne Conklin Akbari 184 PART IV THE BORDERS OF EKPHRASIS 10 FACES IN THE CROWD: FACIALITY AND EKPHRASIS IN LATE MEDIEVAL ENGLAND Ethan Knapp 209 11 THE SOUL OF EKPHRASIS: CHAUCER’S “MERCHANT’S TALE” AND THE MARRIAGE OF THE SENSES Hans Jürgen Scheuer 224 12 EKPHRASIS, TROPE OF THE REAL; OR, WHAT THE PEARL-DREAMER SAW Larry Scanlon 243 Bibliography 269 About the Contributors 295 Index 299 All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Acknowledgments irst and foremost, the editors wish to thank the contrib- utors, who have been a pleasure to work with and who Fhave shown great patience as this collection has evolved. Further, we would like to thank the German Research Association, which funded the Art of Vision workshop at Freie Universität Berlin in March 2010. The workshop sparked off the idea for this book, bring- ing together an international cohort of medievalists currently working in the field of visuality. We would also like to thank our colleagues and friends who supported the project during various stages: Aranye Fradenburg, Elisabeth Kempf, David Matthews, Jenna Mead, Wolfram Keller, Jennifer Wawrzinek, Russell West-Pavlov, and Kai Wiegandt. Special thanks go to Martin Bleisteiner and Sven Durie, our graduate assistants, for offering invaluable help in putting the manuscript into a publishable form, and Malcolm Litchfield and Eugene O’Connor, our editors at The Ohio State University Press, for shepherding us through the publication process. Lastly, we would like to express our sorrow for the passing of one of the contributors, Darryl J. Gless. His presence was a highlight of the conference at which this collection began, both in the excellence of his scholarship and the pleasure of his company. THE EDITORS vii All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Introduction THE DYNAMICS OF EKPHRASIS Andrew James Johnston, Ethan Knapp, and Margitta Rouse kphrasis has long asserted itself as a durable provocation within the field of the literary. It is, to say the least, a very old E issue. Indeed, one might even call it old-fashioned—not only because it goes back to Homer and the very beginnings of the Western canon as we know it, but also because the ekphrastic has been accused of possessing a suspect tendency to be enlisted in the service of aes- thetic conservatism. Yet, at the same time, the increasing interest in the intermedial we have been witnessing for the last thirty years, and especially the growing fascination with visual culture that has been in evidence since about 1990, has placed ekphrasis at the center of a variety of contemporary debates, suggesting that, far from being old- fashioned, ekphrasis is lodged at the site of a radical nexus between the apparently incommensurable modes of visual and verbal representa- tion. In medieval English studies in particular, ekphrasis and the rela- tions between the visual and the literary in general have over the last decade and a half received a prominence that testifies to their continu- ing potential for generating passionate debate.1 1. To mention only some of the most important publications of the last fif- teen years or so: Suzanne Conklin Akbari, Seeing through the Veil: Optical Theory and Medieval Allegory (Toronto: University of Toronto Press, 2004); Claire Barbetti, 1 All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. 2 | INTRODUCTION: JOHNSTON, KNAPP, AND ROUSE The trope of ekphrasis has played a surprisingly significant role in recent considerations of late medieval cultural history. Take, for example, James Simpson’s magisterial account of late medieval English literature, Reform and Cultural Revolution. In his historical analysis of literary writing in English during the transition from the medieval to the early modern period, Simp- son pointedly excludes the Lollards from the realm of the literary and thus from the purview of his study. He argues that because their well-attested iconophobia prevented them from producing truly artistic texts, Lollard writers do not merit a place of their own in a literary history of England.2 Taking their claims to iconophobia literally, he dismisses them from the lit- erary field and implicitly banishes them to the ostensibly unattractive sphere of religious polemic. Consequently, there are comparatively few Lollards in what, at the beginning of the twenty-first century, has arguably become the definitive literary history of England’s later Middle Ages. As was to be expected, this did not exactly meet with general approval. Bruce Holsinger, especially, criticized this aspect of Simpson’s account, main- taining that, for all their professed iconophobia, Lollard writings do actu- ally possess a powerful visual streak and tend to be fully conversant with a time-honored ekphrastic rhetoric meant to render verbal descriptions vividly lifelike according to the classical concept of enargeia. Amongst other things, Holsinger argues that Lollard texts employ their highly developed capacity for a vivid rhetorical rendering of aesthetic and visual experience in the context of an effective critique of the late medieval Church’s ever-increasing tendency toward splendid display. Due to their willingness and ability to incorporate visual experience into textual experience, Lollard texts betray, therefore, an impressive degree of aesthetic self-consciousness; that is, the type of aesthetic self-consciousness conventionally taken as one of the defining markers of the Ekphrastic Medieval Visions: A New Discussion in Interarts Theory (New York: Palgrave Mac- millan, 2011); Suzannah Biernoff, Sight and Embodiment in the Middle Ages (Houndmills: Palgrave Macmillan, 2002); Peter Brown, Chaucer and the Making of Optical Space (Oxford: Peter Lang, 2007); Emma Campbell and Robert Mills, eds., Troubled Vision: Gender, Sexual- ity, and Sight in Medieval Text and Image (New York: Palgrave Macmillan, 2004); Carolyn P. Collette, Species, Phantasms and Images: Vision and Medieval Psychology in The Canterbury Tales (Ann Arbor: University of Michigan Press, 2001); Dallas G. Denery II, Seeing and Being Seen in the Later Medieval World: Optics, Theology and Religious Life (Cambridge: Cambridge University Press, 2005); Jeremy Dimmick, James Simpson, and Nicolette Zee- man, Images, Idolatry, and Iconoclasm in Late Medieval England: Textuality and the Visual Image (Oxford: Oxford University Press, 2002); Shannon Gayk, Image, Text, and Religious Reform in Fifteenth-Century England (Cambridge: Cambridge University Press, 2010); Maidie Hilmo, Medieval Images, Icons, and Illustrated English Texts: From the Ruthwell Cross to the Ellesmere Chaucer (Farnham: Ashgate, 2004); Sarah Stanbury, The Visual Object of Desire in Late Medieval England (Philadelphia: University of Pennsylvania Press, 2008). 2. James
Load more

Recommended publications
  • THE ART of DREAMING by Carlos Castaneda
    THE ART OF DREAMING By Carlos Castaneda [Version 1.1 - Originally scanned, proofed and released by BELTWAY ] [If you correct any errors, please increment the version number and re-release.] AUTHOR'S NOTE: Over the past twenty years, I have written a series of books about my apprenticeship with a Mexican Yaqui Indian sorcerer, don Juan Matus. I have explained in those books that he taught me sorcery but not as we understand sorcery in the context of our daily world: the use of supernatural powers over others, or the calling of spirits through charms, spells, or rituals to produce supernatural effects. For don Juan, sorcery was the act of embodying some specialized theoretical and practical premises about the nature and role of perception in molding the universe around us. Following don Juan's suggestion, I have refrained from using shamanism, a category proper to anthropology, to classify his knowledge. I have called it all along what he himself called it: sorcery. On examination, however, I realized that calling it sorcery obscures even more the already obscure phenomena he presented to me in his teachings. In anthropological works, shamanism is described as a belief system of some native people of northern Asia-prevailing also among certain native North American Indian tribes-which maintains that an unseen world of ancestral spiritual forces, good and evil, is pervasive around us and that these spiritual forces can be summoned or controlled through the acts of practitioners, who are the intermediaries between the natural and supernatural realms. Don Juan was indeed an intermediary between the natural world of everyday life and an unseen world, which he called not the supernatural but the second attention.
    [Show full text]
  • Making Their Mark 17
    Making Their Mark 17 A CELEBRATION OF GREAT WOMEN ARTISTS Susan Mary "Lily" Yeats, in a 1901 portrait by Photograph of Susan Mary "Lily" Yeats (left) and Elizabeth Corbet "Lolly" Yeats (right). Elizabeth Corbet "Lolly" Yeats, in an 1887 Jack Butler Yeats. National Gallery of Ireland. portrait by Jack Butler Yeats. Sisters Susan Mary "Lily" Yeats (1866-1949, above, left) and Elizabeth Corbet "Lolly" Yeats (1868-1940, above, right) were pivotal figures in the advancement of the Arts and Crafts style in Ireland. Founded in England by the British designer William Morris, the Arts and Crafts Movement advocated traditional, handcrafted objects as a rebellion against soulless factory-made furnishings. The Yeats sisters were from a preeminent Irish family--their father John and brother Jack were noted painters, and their other brother was the renowned poet William Butler Yeats. Born in Enniscrone, County Sligo, Ireland, Lily Yeats was a frequent visitor to William Morris when her family moved to London in the 1870s; she would learn embroidery from his daughter, May Morris. Younger sister Lolly Yeats, also in the Morris circle, was more interested in painting and printing; by the end of the century she had written and illustrated four instructional books on sketching directly with a brush. Upon returning to Ireland, both sisters would co-found the Dun Emer Guild, a Arts and Crafts group in Dublin managed and staffed entirely by women, with the textile designer Evelyn Gleeson (1855-1944). Guilds, as opposed to factories, were a return to the Medieval and Renaissance guilds that once served as the primary centers of art production.
    [Show full text]
  • The Culture of Literature and Language in Medieval and Renaissance Scotland
    The Culture of Literature and Language in Medieval and Renaissance Scotland 15th International Conference on Medieval and Renaissance Scottish Literature and Language (ICMRSLL) University of Glasgow, Scotland, 25-28 July 2017 Draft list of speakers and abstracts Plenary Lectures: Prof. Alessandra Petrina (Università degli Studi di Padova), ‘From the Margins’ Prof. John J. McGavin (University of Southampton), ‘“Things Indifferent”? Performativity and Calderwood’s History of the Kirk’ Plenary Debate: ‘Literary Culture in Medieval and Renaissance Scotland: Perspectives and Patterns’ Speakers: Prof. Sally Mapstone (Principal and Vice-Chancellor of the University of St Andrews) and Prof. Roger Mason (University of St Andrews and President of the Scottish History Society) Plenary abstracts: Prof. Alessandra Petrina: ‘From the margins’ Sixteenth-century Scottish literature suffers from the superimposition of a European periodization that sorts ill with its historical circumstances, and from the centripetal force of the neighbouring Tudor culture. Thus, in the perception of literary historians, it is often reduced to a marginal phenomenon, that draws its force solely from its powers of receptivity and imitation. Yet, as Philip Sidney writes in his Apology for Poetry, imitation can be transformed into creative appropriation: ‘the diligent imitators of Tully and Demosthenes (most worthy to be imitated) did not so much keep Nizolian paper-books of their figures and phrases, as by attentive translation (as it were) devour them whole, and made them wholly theirs’. The often lamented marginal position of Scottish early modern literature was also the key to its insatiable exploration of continental models and its development of forms that had long exhausted their vitality in Italy or France.
    [Show full text]
  • Collection List A19
    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List 19 Augustine Henry and Evelyn Gleeson Papers (MS 13,698) (Accession 2501) Partial calendar with brief description of letters sent by Augustine Henry and Evelyn Gleeson between 1879 and 1928. Letters are arranged according to year and date. 1 Introduction Henry, Augustine (1857–1930), botanical collector and dendrologist, was born on 2 July 1857 in Dundee, the first of six children of Bernard Henry (c.1825–1891) and Mary MacNamee. His father, at one time a gold-prospector in California and Australia, was a native of the townland of Tyanee on the west bank of the River Bann in co. Londonderry. Soon after Austin (as Augustine was called within his family) was born, the family moved to Cookstown, co. Tyrone, where his father was in business as a flax dealer and owned a grocery shop. Henry was educated at Cookstown Academy and in Queen's College, Galway. He studied natural sciences and philosophy, graduating with a first-class bachelor of arts degree and a gold medal in 1877. Henry then studied medicine at Queen's College, Belfast, where he obtained his master of arts degree in 1878. For a year he was in the London Hospital, and during a visit to Belfast in 1879, at the suggestion of one of his professors, he applied for a medical post in the Chinese imperial maritime customs service. Henry completed his medical studies as rapidly as he could, became a licentiate from the Royal College of Physicians in Edinburgh, passed the Chinese customs service examinations (for which he required a working knowledge of Chinese) and and left for China in the summer of 1881.
    [Show full text]
  • Which Vernacular Revival? Burns and the Makars R.D.S
    Studies in Scottish Literature Volume 30 | Issue 1 Article 4 1-1-1998 Which Vernacular Revival? Burns and the Makars R.D.S. Jack Follow this and additional works at: http://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Jack, R.D.S. (1998) "Which Vernacular Revival? Burns and the Makars," Studies in Scottish Literature: Vol. 30: Iss. 1. Available at: http://scholarcommons.sc.edu/ssl/vol30/iss1/4 This Article is brought to you for free and open access by the USC Columbia at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. R. D. S. Jack Which Vernacular Revival? Burns and the Makars When I was introduced to Bums at university, he was properly described as the senior member of a poetic trinity. With Ramsay and Fergusson, we were told, he initiated something called "The Vernacular Revival." That is, in the eighteenth century these poets revived poetic use of Scots ("THE vernacular") after a seventeenth century of treacherous anglicization caused by James VI and the Union of the Crowns. Sadly, as over a hundred years had elapsed, this worthy rescue effort might resuscitate but could never restore the national lan­ guage to the versatility in fullness of Middle Scots. This pattern and these words-national language, treachery, etc.-still dominate Scottish literary history. They are based on modem assumptions about language use within the United Kingdom. To see Bums's revival of the Scots vernacular in primarily political terms conveniently makes him anticipate the linguistic position of that self-confessed twentieth-century Anglophobe, C.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • FURHTURE, TAPESTRY and EMBROIDERY of YESTERDAY AID TODAY MARLBOROUGH HOUSE Wednesday April 25™
    ROYAL SCHOOL OF NEEDLEWORK Patron : H.M. QUEEN ELIZABETH THE QUEEN MOTHER LOAN EXHIBITION FURHTURE, TAPESTRY AND EMBROIDERY OF YESTERDAY AID TODAY MARLBOROUGH HOUSE Wednesday April 25™ TO Wednesday May 30™ PRICE 6 ° Ma r II)o ± ough ho use by Sir Owen Morshead. Whitehall Palace having been destroyed by fire in 1698, it was in St. James' Palace that Queen Anne set up her residence in 1702; and the Court of St. James' is still the term in official use to-day. Within a year she had created her Lord Privy Seal (John Sheffield) Duke of Buckingham, and he proceeded to erect for himself the big house looking down the length of the Mall which, rebuilt since, is known to us as Buckingham Palace. Shortly afterwards she allowed her Mistress of the Robes and close confidante, Sarah Duchess of Marlborough, to build the house in which the present exhibition is being held. From his campaign in the Low Countries the Duke had written to his wife: "You,know I never lik'd to build it at all. 'Tis not a proper Place for a great House. And I am sure," he added knowingly, "when you have built a little one you will not like it." The one which Sir Christopher Wren designed for her in 1709 is the present house minus the two top floors and certain additional rooms in the side wings. Built on so confined a site it has had to expand upwards, to the detriment of its appearance. The mettlesome Duchess was vexed by the inadequacy of its entrance from the street, and she resented too its domination by the houses in Pall Mall.
    [Show full text]
  • Mono and Multifocals.Wps
    Monovision and Multifocal Lenses THE GOAL: To provide you good functional vision without glasses at both distance and near most of the time. There are some demanding visual tasks in which monovision or multifocal (bifocal) lenses may not provide acceptable vision and additional glasses may be needed. MONOVISION Monovision interrupts the natural binocular (both eyes together) vision process by using one eye for distance viewing (usually the dominant eye) and the other eye for intermediate and near viewing. This is not how our visual systems were made, but monovision is an accepted modality and has been used for decades. Adapting to having one eye for distance and one for near takes time to adjust to , and is something that is very easy for some and very difficult for others. As the adaptation process proceeds vision becomes clear at all distances, as the brain suppresses the eye that is not being used. Initially you may feel that your distance vision is blurred by your near eye, as your near eye is focused for near and intermediate distances. This perception of distance blur should be reduced over time as the brain learns to suppress the near eye. Noticing a reduction in stereo vision, or depth perception is normal , as the eyes are not working, or teamed together. Noticing a mild reduction in night vision is normal with monovision. Everybody adapts differently , but is good to continue to try monovision for several consecutive days, or longer, to let the adaptation process begin. Monovision is a learned technique, and everybody’s timetable for adaptation is different.
    [Show full text]
  • The Bayeux Tapestry
    The Bayeux Tapestry The Bayeux Tapestry A Critically Annotated Bibliography John F. Szabo Nicholas E. Kuefler ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by John F. Szabo and Nicholas E. Kuefler All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Szabo, John F., 1968– The Bayeux Tapestry : a critically annotated bibliography / John F. Szabo, Nicholas E. Kuefler. pages cm Includes bibliographical references and index. ISBN 978-1-4422-5155-7 (cloth : alk. paper) – ISBN 978-1-4422-5156-4 (ebook) 1. Bayeux tapestry–Bibliography. 2. Great Britain–History–William I, 1066–1087– Bibliography. 3. Hastings, Battle of, England, 1066, in art–Bibliography. I. Kuefler, Nicholas E. II. Title. Z7914.T3S93 2015 [NK3049.B3] 016.74644’204330942–dc23 2015005537 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
    [Show full text]
  • Suzi Fleiszig Researches the Cornea's Resistance To
    UNIVERSITY OF CALIFORNIA VOL. 2, NO. 1 | FALL 2009 Berkeley Optometry magazine SUZI FLEISZIG RESEARCHES THE CORNEA’S RESISTANCE TO INFECTION ADVANCING EDUCATION AND RESEARCH AT BERKELEY OPTOMETRY EXECUTIVE EDITOR Lawrence Thal dean’s message MANAGING EDITOR Jennifer C. Martin EDITOR Barbara Gordon EXECUTIVE ART DIRECTOR Molly Sharp E ARE BLESSED TO LIVE IN “INTERESTING TIMES”! PHOTOGRAPHY WAt this writing, the U.S. economy is in the tank, the state of California Ken Huie is in the red, and I’m sure I don’t need to tell you that the budget situation at the University of California continues to be challenging. PRODUCTION MANAGER Molly Sharp In this environment, our priorities are to preserve and maintain our funda- mental missions—teaching, research, and public service. And I’m pleased to say WRITERS/CONTRIBUTORS that Berkeley Optometry continues to excel in all of these through the efforts of Suzi Fleiszig, Lu Chen, Cynthia Dizikes, our dedicated faculty and staff. In this spirit, it seems timely to celebrate some Lawrence Thal, Mika Moy, Pam of the highlights of the last year. Satjawatcharaphong, Joy Sarver Among other things, in this issue of Berkeley Optometry Magazine you will see DESIGN that we have a new faculty and student exchange agreement with Peking Medi- ContentWorks, Inc. cal University (PKU) Third Hospital; one of our students, Brian Snydsman, won the 2008 Essilor Optometry Superbowl at the annual meeting of the American Optometric Association and American Optometric Student Asso- Published by University of California, Berkeley, ciation; Professor Clifton Schor received the Charles F. Prentice Medal from School of Optometry Office of External the American Academy of Optometry at its annual meeting last October; and Relations and Professional Affairs Professor Suzanne Fleiszig (see cover) and David Evans won a grant from the Phone: 510-642-2622, Fax: 510-643-6583 Bill and Melinda Gates Foundation as part of the global Grand Challenges Send comments and letters to: Explorations initiative.
    [Show full text]
  • Crochet Patterns Uk Terms
    Crochet Patterns Uk Terms AbnerAphoristic always Gordon undrossy sometimes and ungainful pipetted when any monovalency sicks some asepsis reassign very prolately. indelibly Desmond and feignedly? explore fishily. Is In uk patterns are logged in place to help you have claimed the same in 400 Best Free crochet patterns UK format ideas Pinterest. Note that these intersect in US terms as are all found my patterns and that UK terms are slightly different that example in UK terms too are enemy to. Teach you make patterns terms, uk pattern in summary, your square a problem authenticating your yarn are shown in the term yarn is bigger or just realised there! The pattern scene to follow the round with ws, although one hook back of abbreviations! Hope you are universal terms are no content and site we have turkish terms so i live, food styling and look. UKUS Crochet Terms expect a conversion chart assume you. When upon any crochet patterns not just amigurumi patterns you need to determine whether your stitch abbreviations are US or UKAustralian Why. Crochet Glossary Learn the Lingo YARNutopia by Nadia Fuad. Exploring Our Differences UK and US Terminology I Like. Hope to make several sizes, as an elegant boho bag! How a read crochet patterns parentheses and brackets The Difference between US and UK Crochet Terms but Few Words on Multiples or rise to. Treble crochet UKDouble crochet US Silverpebble. How is Read Crochet Symbol Charts Yarnspirations. Free Rainbow Crochet Pattern in UK crochet terms Abbreviations slst Slip stitch st sts Stitch Stitches ch Chain ch sp Chain space.
    [Show full text]
  • Trade Fairs and Their Influence on Textiles in Central Europe, to Include Italy, France, Flanders and England, from the Tentn Througn the Fifteenth Centuries
    The Woman's College of The University of North Carolina LIBRARY no.304- COLLEGE COLLECTION Gift of 1 rec . ,'urches TRADE: FAIRS AND THEIR INFLUENCE ON TEXTILES IN CENTRAL EUROPE lOtli THROUGH 15th CENTURIES by Mildred M. Furcnes A T:iesis Submitted to tiie Faculty of t.ie Graduate School at Tiie Woman's College of t.ie University of Nortu Carolina in Partial Fulfillment of tie Requirements for the Degree Master of Science in Home Economics Greensboro June, lib! Approved by '*. h docts i f. S-Ulc Director APPROVAL SilEET This tnesis has been approved by tile following committee of tue Faculty of the Graduate Scnool at the Woman's College of the University of Nort.i Carolina, Greensboro, Nortu Carolina. ^c/ /< £ •-/■ A ■ J-y a. Uf- Thesis Director Oral Examination Committee Members - " ■ '/ it./UJ*'Vt • ) ■ ■. *-- - k , - <- > <"/ __A / Date of Examination ii ACKNOWLEDGMENTS The writer wishes to express her gratitude to Mrs. Helen K. Staley, thesis adviser, for her distinguished aid throughout the planning and the writing of the study. She also wishes to thank the members of her thesis committee: Dr. Paulino E. Keeney, Miss Louise Lowe and Dr. John H. Beeler, for their support and instruction. The contribution of Dr. Beeler in the area of historical data was particularly appreciated. Thanks are also expressed to: the staff of the library of The Woman's College of the University of North Carolina for help in securing data; C. S. Hammond & Co., Inc. for providing the valuable map used in the study; and, Mrs. Connie Carr for excellence in the typing of the manuscript.
    [Show full text]