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Hats Off to You, Ladies!
HATS OFF TO YOU, LADIES! by Rhonda Wray 2 Copyright Notice CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Christian Publishers. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Christian Publishers. Questions concerning other rights should be addressed to Christian Publishers. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Christian Publishers. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged. -
Yiwu Longfashijia Industry&Trade Co
Price list Yiwu LongfaShijia Industry&Trade Co., Ltd TEL: +86-579-85876168 Contact: Andy Wang; TEL: +86-15372998684; E-mail: [email protected] ADD: No. 483 DianKou Village Chengxi Street Yiwu Zhejiang China FOB Net NAME OF head Sample item# PHOTO: finish material QTY (shangha Packing weight(g NO/CTN Carton Size: PRODUCT: size Date: i) usd$ ) Fashion paper paper 90101022 straw fedora hat beige 56cm 1000 $1.65 hangtag 108 60 28*28*78 5-7 days straw; with silver band Fashion paper straw fedora hat paper 90101023 pink 56cm 1000 $1.98 hangtag 120 60 28*28*80 5-7 days with braided straw band Fashion paper paper 90101024 straw fedora hat pink 56cm 1000 $1.82 hangtag 145 60 31*31*70 5-7 days straw with silver band Wide Brim paper Straw Hat straw; 90101025 Floppy Foldable beige 56cm 1000 $2.03 hangtag 180 60 32*32*73 5-7 days flower Summer Beach band flower Sun Hats Womens Wide paper Brim Straw Hat straw; 90101026 FloppyFedora ivory 56cm 1000 $2.03 hangtag 159 60 31*31*75 5-7 days shell Summer Beach band Sun Hats paper fringe Wide straw, Brim Straw Hat 90101027 ivory 56cm fabric 1000 $1.89 hangtag 140 60 32*32*75 5-7 days Floppy Fedora pom pom Beach Sun Hats band 5-7days Spray painting paper paper straw hat straw; 90101028 coffee 56cm 1000 $2.35 hangtag 155 60 31*31*72 with back ribbon fabric band band 5-7days Gold color paper Fedora paper straw, 90101030 straw summer Gold 56cm 1000 $2.82 hangtag 126 60 32*32*76 5-7 days fabric hat with leopard band print fabric band Fedora wide paper brim summer straw, 90101029 Pink 56cm 1000 $2.08 hangtag -
Am Yisrael: a Resource Guide to Exploring the Many Faces of the Jewish People
Am Yisrael: A Resource Guide to Exploring the Many Faces of the Jewish People Prepared by Congregation Beth Adam and OurJewishCommunity.org with support from The Jewish Foundation of Cincinnati Table of Contents A Letter to Grownups ....................................................... Page 1 Am Yisrael: One Big Jewish Family ...................................... Page 2 Where Jews Live .............................................................. Page 3 What Jews Look Like ......................................................... Page 4 What Jews Wear ............................................................... Pages 5-8 What Jews Eat ................................................................ Page 9 Fun Jewish Recipes from Around the World ........................... Pages 10-12 I Love Being Jewish ......................................................... Page 13 Discussion Generating Activities ........................................ Pages 14-15 Discussion Questions ....................................................... Page 16 Jewish Diversity Songs ..................................................... Page 17 Coloring Book Pages ........................................................ Pages 18-29 Acknowledgments .......................................................... Page 30 Letter to Grownups When you think of Jews, what do you picture? What do they eat? What language do they speak? How do they dress? What makes them unique? There are so many ways to be Jewish, and so many different Jewish cultures around the world. -
The BOLLI Journal
The BOLLI Journal Volume Ten 2019-2020 Brandeis Osher Lifelong Learning Institute 1 The BOLLI Journal 2019-2020 Table of Contents Editorial Committee WRITING: Creative Nonfiction Sue Wurster, Production Editor Joanne Fortunato, Artistic Editor Short-Changed, Marty Kafka............................................7 The Kiss, Larry Schwirian...............................................10 Literary Editors The Cocoanut Grove, Wendy Richardson.......................12 Speaking of Shells, Barbara Jordan..... ...........................14 Them Bones, Them Bones Marjorie Arons-Barron , Donna Johns........................16 The Hoover Dam Lydia Bogar , Mark Seliber......................................18 Betsy Campbell Dennis Greene Donna Johns THREE-DIMENSIONAL ART Marjorie Roemer Larry Schwirian Shaker Cupboard, Howard Barnstone.............................22 Sue Wurster Fused Glass Pieces, Betty Brudnick...............................23 Mosaic Swirl, Amy Lou Marks.......................................24 Art Editors WRITING: Memoir Helen Abrams Joanne Fortunato A Thank You, Sophie Freud..............................................26 Miriam Goldman Excellent Work, Jane Kays...............................................28 Caroline Schwirian Reaching the Border, Steve Asen....................................30 First Tears, Kathy Kuhn..................................................32 An Unsung Hero, Dennis Greene....................................33 BOLLI Staff Harry, Steve Goldfinger..................................................36 My -
Turkish Literature from Wikipedia, the Free Encyclopedia Turkish Literature
Turkish literature From Wikipedia, the free encyclopedia Turkish literature By category Epic tradition Orhon Dede Korkut Köroğlu Folk tradition Folk literature Folklore Ottoman era Poetry Prose Republican era Poetry Prose V T E A page from the Dîvân-ı Fuzûlî, the collected poems of the 16th-century Azerbaijanipoet Fuzûlî. Turkish literature (Turkish: Türk edebiyatı or Türk yazını) comprises both oral compositions and written texts in the Turkish language, either in its Ottoman form or in less exclusively literary forms, such as that spoken in the Republic of Turkey today. The Ottoman Turkish language, which forms the basis of much of the written corpus, was influenced by Persian and Arabic and used the Ottoman Turkish alphabet. The history of the broader Turkic literature spans a period of nearly 1,300 years. The oldest extant records of written Turkic are the Orhon inscriptions, found in the Orhon River valley in central Mongolia and dating to the 7th century. Subsequent to this period, between the 9th and 11th centuries, there arose among the nomadic Turkic peoples of Central Asia a tradition of oral epics, such as the Book of Dede Korkut of the Oghuz Turks—the linguistic and cultural ancestors of the modern Turkish people—and the Manas epic of the Kyrgyz people. Beginning with the victory of the Seljuks at the Battle of Manzikert in the late 11th century, the Oghuz Turks began to settle in Anatolia, and in addition to the earlier oral traditions there arose a written literary tradition issuing largely—in terms of themes, genres, and styles— from Arabic and Persian literature. -
A Typical Digger a Digger’S Belongings Newspapers, Magazines and Books Were Full of Advice About What Diggers Should Take to the Goldfields
A typical digger A digger’s belongings Newspapers, magazines and books were full of advice about what diggers should take to the goldfields. A typical digger was a man in his 20s, either unmarried Some even provided lists of supplies. Shops in London, or with a young family. Although doctors and lawyers Sydney and Melbourne offered special digger’s kits. came to the goldfields, most diggers were tradesmen such as blacksmiths, builders, butchers, carpenters and Recommended supplies shoemakers. They were well educated and most could James Bonwick published a guide to the Australian read and write. diggings in 1852. He advised diggers not to take too Some people came to the diggings from nearby much as transport was very expensive. As most would cities and towns by coach or on foot. Others came have to walk to the diggings, they should take only from all over Australia or from overseas. For those what they could carry. Bonwick recommended: seeking their fortune, no distance was too far and • hard-wearing clothes Celebrating success no cost too great. • strong boots Some diggers had jewellery Most of the diggers who came from overseas • waterproof coat and trousers of oilskin made to celebrate their were English, but there were also Welsh, Irish and A portrait to send home success. These brooches • a roll of canvas ‘for your future home’ include many of a diggers’ Scottish diggers. Europeans were also keen to make Diggers who had left their • good jacket for Sundays essential belongings: picks their fortune and came from Germany, Italy, Poland, families far behind were keen • pick, shovel and panning dish and shovels, panning dishes, Denmark, France, Spain and Portugal. -
The Public Eye, Summer 2015
SUMMER 2015 The Public Eye When the Exception Is the Rule Christianity in the Religious Freedom Debates editor’s letter perspectives BY LInDsay BeyersTEIn THE PUBLIC EYE quarterly PUBLIsHER Tarso Luís Ramos Struggling to Get Church GUEsT EDIToR Kathryn Joyce Beyond the Hate Frame LAYoUT and State Right Jennifer Hall CoVER art Political Research Associates always strives to see both the trees and the forest: to go Asad Badat Whether it’s a spree killing, a vandalized mosque, or a beyond caricatures to provide fresh research and analysis on individual conservative bias attack on a queer teen, Americans are quick to chalk it PRInTInG activists and coalitions, but also to situate these actors in the larger infrastructure of Red Sun Press up to hate. The label “hate crime” invites us to blame over- the Right. The first piece in our Summer 2015 issue,“Beyond the Hate Frame” (page wrought individuals acting on extreme personal prejudice, EDIToRIAL BoARD , speaks to this ideal: an interview with Kay Whitlock and Michael Bronski, authors of 3) T.F. Charlton • Frederick Clarkson making it seem as if a small cadre of social deviants is our the new book Considering Hate, which explores how “the hate frame” obscures broader Alex DiBranco • Eric Ethington main obstacle to a peaceful society. In fact, such individu- issues of systemic violence. Kapya Kaoma • L. Cole Parke als are products of a society that endorses all kinds of vio- Tarso Luís Ramos • Spencer Sunshine lence against the very same groups who are targeted in hate As this issue is going to press, the Supreme Court has just announced its historic rul- Mariya Strauss crimes. -
Spring/Summer 20/21 Featuring the Very Glamorous & Versatile Summer Poncho
ARCHER HOUSE Spring/Summer 20/21 Featuring the Very Glamorous & Versatile Summer Poncho Here is our NEW SPRING/SUMMER COLLECTION. • Stunning range of lightweight and colourful scarves in this season’s fashion colours. • Our new summer Poncho can be worn 3 ways plus it can be used as a lightweight scarf. • Bags and a great range of new summer hats. • Jewellery including bracelets, necklaces and earrings. Our difficult winter is behind us - let’s look forward to a warm, colourful and very successful summer. kind regards, Paul Refer to the jewellery order form for pricing of jewellery highlighted throughout this scarf order form. Order Form : Summer 2020/2021 Invoice : Customer : Phone No. : Date : Email. : Delivery Address : 1SC642 : Block Leaf Print Scarf 3 SC644 : Rectangles and Circles Scarf 100% Viscose, 70 x 180cm Qty Cost Total $ 100% Viscose, 70 x 180cm Qty Cost Total $ White/Orange/Aqua/Yellow $39.90 White/Olive/Mustard/Tan $39.90 SOLD OUT Total $ White/Yellow/Navy/Orange $39.90 Total $ 2 SC643 : Summer Animal Print Scarf 4 SC645 : Spots and Stripes Scarf 100% Viscose, 70 x 180cm Qty Cost Total $ 100% Viscose, 70 x 180cm Qty Cost Total $ White/Grey/Pale Pink $39.90 White/Lemon/Aqua/Navy/ $39.90 Grey White/Pale Blue/Lemon $39.90 White/Orange/Lime/Navy/ $39.90 Total $ Grey Total $ 20-143 : Genuine Stone 20-153 : Leather Bracelet $19.90 each 18-124 : Button Stud 19-146 : Genuine Dainty Freshwater Pearl Hook Earrings $19.90pr Earrings $19.90pr Hook Earrings $19.90pr 2 of 16 Order Form : Summer 2020/2021 Invoice : Customer : Phone No. -
An Analysis of Keffiyeh/Made in China
Last name 1 Student name English 110 Instructor name Date Art that Dictates Rather than Imitates: An Analysis of Keffiyeh/Made in China The keffiyeh, a checkered black and white scarf worn about the head or neck, is a symbol of Palestinian resistance that dates back to the 1930’s Arab Revolution against British occupation, and it represents the current struggle of Palestinians to control their identity and future in the face of Israeli occupation of their lands (Kreibaum). Dalia Taha, a Palestinian playwright who grew up in Ramallah, a city in the Palestinian West Bank (Moss) uses this powerful symbol in the title of her experimental play Keffiyeh/Made in China. Taha notes, “Art always challenges power structures” (Moss), and she does precisely this in her play. Palestine has had a tumultuous history of occupation and conflict. During the Arab-Israeli War in 1948, Nakba occurred, where thousands of Palestinians were displaced to create Israel. Nakba is the Arabic word for catastrophe, and that is how it is remembered by Palestinians. Thousands of Palestinians continue to die in the Israel- Palestine conflict, and many fight for the right to assert their identity (B'Tselem). In her play Keffiyeh/Made in China, Taha captures this on-going tumultuous struggle by combining historical events with experimental literary structure in order to humanize and educate the world about the Palestinian suffering in the wake of their occupation and to create awareness and support for them lest they be forgotten entirely. In one of the play’s acts called “60 Seconds,” Taha presents a character about to die as the result of a gunshot wound to the face, and she uses the technique of blending fiction Last name 2 with reality to connect the audience more directly to the plight of the Palestinians. -
The Real Face of Arabic Symbols
Rochester Institute of Technology RIT Scholar Works Theses 5-17-2017 The Real Face of Arabic Symbols Leena Yahya Sonbuol [email protected] Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Sonbuol, Leena Yahya, "The Real Face of Arabic Symbols" (2017). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. R.I.T The Real Face of Arabic Symbols By Leena Yahya Sonbuol A Thesis Submitted to the Faculty of The College of Imaging Arts and Sciences School of Art In Candidacy for the Degree of MASTER OF FINE ARTS In Fine Arts Studio Rochester Institute of Technology Rochester, NY Date: May 17, 2017 I Thesis Approval Thesis Title: The Real Face of Arabic Symbols Thesis Author: Leena Yahya Sonbuol Chief Advisor: Eileen Feeney Bushnell (Signature) Date: Associate Advisor: Clifford Wun (Signature) Date: Associate Advisor: Denton Crawford (Signature) Date: Chair, School of Art: Glen Hintz (Signature) Date: II ACKNOWLEDGMENTS I would first like to thank my thesis advisor Eileen Bushnell, and my committee members, Clifford Wun, and Denton Crawford, for the guidance they provide to me while I was working on my thesis. Their doors were always open whenever I ran into a trouble spot or had a question not only regarding my artwork, but also about my life in the USA as an international student. They consistently allowed this paper to be my work but steered me in the right direction whenever they thought I needed it. -
Atavism and Modernity in Time's Portrayal of the Arab World, 2001-2011
Atavism and Modernity in Time's Portrayal of the Arab World, 2001-2011 A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Mary R. Abowd August 2013 © 2013 Mary R. Abowd. All Rights Reserved. This dissertation titled Atavism and Modernity in Time's Portrayal of the Arab World, 2001-2011 by MARY R. ABOWD has been approved for the E. W. Scripps School of Journalism and the Scripps College of Communication by Anne Cooper Professor Emerita of Journalism Scott Titsworth Dean, Scripps College of Communication ii ABSTRACT ABOWD, MARY R., Ph.D., August 2013, Journalism Atavism and Modernity in Time's Portrayal of the Arab World, 2001-2011 Director of Dissertation: Anne Cooper This study builds on research that has documented the persistence of negative stereotypes of Arabs and the Arab world in the U.S. media during more than a century. The specific focus is Time magazine’s portrayal of Arabs and their societies between 2001 and 2011, a period that includes the September 11, 2001, attacks; the ensuing U.S.- led “war on terror;” and the mass “Arab Spring” uprisings that spread across the Arab world beginning in late 2010. Using a mixed-methods approach, the study explores whether and to what extent Time’s coverage employs what Said (1978) called Orientalism, a powerful binary between the West and the Orient characterized by a consistent portrayal of the West as superior—rational, ordered, cultured—and the Orient as its opposite—irrational, chaotic, depraved. -
IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna
XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian