Congressional Record-Senate. April 19
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DOUBLE TROUBLE JUMPER INTERMEDIATE 8MM (US11) NEEDLES © Wool and the Gang LTD
#MADEUNIQUE DOUBLE TROUBLE JUMPER INTERMEDIATE 8MM (US11) NEEDLES © Wool and the Gang LTD. 2016 YOUR KNITTING ADVENTURE STARTS NOW IT’S FUN Knitting is the new yoga. Free your mind, the rest will follow. Namaste. WE’LL BE THERE FOR YOU Find all the video tutorials you need online. YOU’RE GOING TO FEEL GOOD Nothing will make you happier than holding your finished project. RECIPE FOR SUCCESS GET YOUR TOOLS READY. 1 Everything you need to get knitting. FAMILIARISE YOURSELF WITH THE TECHNIQUES. 2 Everything from the stitches used to the finishing touches for your project. GET TO KNOW YOUR YARN. Before you start knitting your piece, play 3 around with your new yarn to get used to it, and to check your tension. WOOL SCHOOL Pick up your needles & yarn and make the 4 magic happen! For a little extra help, check out our Wool School at: www.woolandthegang.com/t/how-to #WOOLANDTHEGANG 5 When you’re done - let the world know. LET’S GET KNITTING Tool kit 5 [5] 6 balls of WATG’s Wool Me Tender 1 pair of 8mm (US11) knitting needles 1 Double Trouble Jumper pattern 1 sewing needle Tension To ensure your knitting has the same measurements as the pattern, it is a good idea to make a tension swatch before you start knitting your project. A tension swatch is a small sample of your knitting where you count the stitches and rows and check them against the tension measurement given in the pattern. If you get MORE stitches/rows than the pattern’s tension, it means your knitting is tighter. -
By Philip Roth
The Best of the 60s Articles March 1961 Writing American Fiction Philip Roth December 1961 Eichmann’s Victims and the Unheard Testimony Elie Weisel September 1961 Is New York City Ungovernable? Nathan Glazer May 1962 Yiddish: Past, Present, and Perfect By Lucy S. Dawidowicz August 1962 Edmund Wilson’s Civil War By Robert Penn Warren January 1963 Jewish & Other Nationalisms By H.R. Trevor-Roper February 1963 My Negro Problem—and Ours By Norman Podhoretz August 1964 The Civil Rights Act of 1964 By Alexander M. Bickel October 1964 On Becoming a Writer By Ralph Ellison November 1964 ‘I’m Sorry, Dear’ By Leslie H. Farber August 1965 American Catholicism after the Council By Michael Novak March 1966 Modes and Mutations: Quick Comments on the Modern American Novel By Norman Mailer May 1966 Young in the Thirties By Lionel Trilling November 1966 Koufax the Incomparable By Mordecai Richler June 1967 Jerusalem and Athens: Some Introductory Reflections By Leo Strauss November 1967 The American Left & Israel By Martin Peretz August 1968 Jewish Faith and the Holocaust: A Fragment By Emil L. Fackenheim October 1968 The New York Intellectuals: A Chronicle & a Critique By Irving Howe March 1961 Writing American Fiction By Philip Roth EVERAL winters back, while I was living in Chicago, the city was shocked and mystified by the death of two teenage girls. So far as I know the popu- lace is mystified still; as for the shock, Chicago is Chicago, and one week’s dismemberment fades into the next’s. The victims this particular year were sisters. They went off one December night to see an Elvis Presley movie, for the sixth or seventh time we are told, and never came home. -
Upper School Uniform Requirements
UNIFORM DRESS CODES FOR UPPER SCHOOL GIRLS Our uniform provider is Flynn O’Hara Uniforms (FOH). All items designated with (FOH) must be purchased from Flynn O’Hara. SAA Spirit Shop (SS) provides limited school attire. Items below without (FOH) or (SS) can be purchased anywhere. FALL AND SPRING Required: Jumper Pastel pink, blue, and yellow --no shorter than 3 inches above the knee (FOH) Polo Shirt White only (FOH) Shoes Black and white Saddle Oxfords (with white shoelaces) or Gray Tennis Shoes with a doctor’s note filed with the dean Socks White crew or tube (with no logos). Socks must be showing. Lanyard Must be the school issued SAA blue lanyard and pocket. Must be worn at all times and be visible. Physical Education Uniform Gray t-shirt, blue shorts (FOH) Other Appropriate undergarments (Colored undergarments must not show through the uniform.) Light colored, solid colored shorts may be worn under uniforms. Optional: Over blouse White with collar showing (FOH) T-shirt A solid white t-shirt may be worn under the blouse. Sleeve of t-shirt must not show. No long-sleeved t-shirts are to be worn under short-sleeved shirts. Turtleneck Solid White Jackets Raingear with school logo (SS) Sweatshirt SAA Sweatshirts (SS) block letter pastel in pink, blue, or yellow *see attached pictures WINTER Required: Skirt Red, gray, and black plaid with pleats (FOH) – no shorter than 3 inches above the knee Polo White, red, black (FOH) Blazer Black with school emblem – required (FOH) Shoes Black and white Saddle Oxfords (with white shoelaces) or Gray Tennis Shoes with a doctor’s note filed with the dean Socks White crew or tube (with no logos) Socks must be showing. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
Lolita Fashion, Like Other Japanese Subcultures, Developed As a Response a to Social Pressures and Anxieties Felt by Young Women and Men in the 1970S and 1980S
Lolita: Dreaming, Despairing, Defying Lolita: D, D, D J New York University a p As it exists in Japan, Lolita Fashion, like other Japanese subcultures, developed as a response a to social pressures and anxieties felt by young women and men in the 1970s and 1980s. Rather than dealing with the difficult reality of rapid commercialization, destabilization of society, n a rigid social system, and an increasingly body-focused fashion norm, a select group of youth chose to find comfort in the over-the-top imaginary world of lace, frills, bows, tulle, and ribbons that is Lolita Fashion. However, the more gothic elements of the style reflect that behind this cute façade lurks the dark, sinister knowledge that this ploy will inevitably end, the real world unchanged. Background: What is Lolita Fashion? in black boots tied with pink ribbon. Her brown If one enters the basement of street fashion hair has been curled into soft waves and a small hub Laforet in Harajuku, Tokyo, one will come pink rose adorns her left ear. across a curious fashion creature found almost exclusively in Japan: an adult woman, usually Although the women (and occasionally men) in in her late teens or early twenties, dressed like Laforet look slightly different, they all share the a doll. Indeed, the frst store one enters, Angelic same basic elements in their appearance: long, Pretty, looks very much like a little girl’s dream curled hair, frilly dresses, delicate head-dresses doll house. The walls and furniture are pink or elaborate bonnets, knee-socks, round-toed and decorated with tea-sets, cookies, and teddy Mary Janes, round-collared blouses and pouffy, bears. -
School Uniform and Dress Code Policy and Expectations 2020-2021
The Haberdashers’ Adams’ Federation Trust Haberdashers’ Abraham Darby School Uniform and Dress Code Policy and Expectations 2020-2021 Introduction Haberdashers’ Abraham Darby believes that the uniform plays a valuable role in contributing to the ethos, setting an appropriate tone and instilling pride. The Academy’s uniform policy is fair and reasonable and fulfils the Academy’s obligations under the Human Rights Act 1998 and the Equality Act 2010. The uniform also plays an important role in: Supporting positive behaviour and discipline, encouraging identity with, and support for the Academy ethos Promoting a strong, cohesive, Academy identity that supports high standards and a sense of identity among pupils. If some children look very different from their peers, this can inhibit integration, equality and cohesion Ensuring pupils of all races and backgrounds feel welcome and protecting children from social pressures to dress in a particular way Nurturing cohesion and promoting good relations between different groups of pupils. All of our pupils must wear the full Academy uniform as laid down in the school uniform and dress code (see Appendix 1) while attending the Academy and Academy functions, and when travelling to and from the Academy, unless other instructions have been given. All items should be clearly named. Detail Appropriate hair styles, that are not extreme, form part of Academy uniform expectations. Shaved heads are not allowed. Nail varnish or false nails are not allowed. Jewellery is not permitted, except for one small plain stud earring in each ear (lower lobe only) and/or a watch. Facial or body piercings are not allowed. -
2020-2021 White Settlement Isd Dress Guidelines
2020-2021 WHITE SETTLEMENT ISD DRESS GUIDELINES ITEM ACCEPTABLE ATTIRE SPECIAL COMMENTS & INTERPRETATIONS All students must wear face coverings which Face coverings may not depict or reference alcohol, include non-medical grade disposable face masks, drugs, tobacco, weapons, nudity, gang affiliation, death, cloth face coverings (over the nose and mouth), and violence, vulgar/obscene language or images/insults full-face shields to protect eyes, nose, and mouth) to race, religion, gender or ethnicity, emblems/writing If a face shield is worn, a mask must also be worn. that could be deemed controversial/political and any If a face mask is worn, only the mask is required. emblems/writing that may cause a disruption or interference with normal school operations. * Tops Tops may be: Students are prohibited from wearing tops that: • Any collared, polo or oxford-style dress • are oversized or immodestly undersized shirts or knit-collared shirts including tops that are tight, low-cut or show • Sweaters, sweatshirts and hoodies (hoods may cleavage or stomach when the arms are raised not be worn in the building) • depict or reference alcohol, drugs, tobacco, • T-shirts and other pullover tops weapons, nudity, gang affiliation, death, violence, • School designs/logos; College/Military: vulgar/obscene language or images/insults to race, Brand names and any/or other appropriate religion, gender or ethnicity, emblems/writing words are acceptable. that could be deemed controversial/political and any emblems/writing that may cause a disruption or interference with normal school operations. * Sleeveless shirts, tank tops and any tops/dresses that expose the back are not allowed. Pants/ Pants must fit appropriately and at the waist. -
Group Menu Group Menu Group Menu
COPPER MINERS LUNCH MENU HOST YOUR $17 Per Person for groups of 12 or more NEXT EVENT AT INCLUDES CHOICE OF ENTRÉE AND BEVERAGE CLAIM JUMPER! EntrÉe Options: BBQ CHICKEN SALAD Grilled chicken with corn, black beans, carrots, tomato, green onions, cilantro GROUP and crisp corn tortilla strips. Tossed with house- TWO GREAT WAYS TO ORDER: made ranch dressing and sweet BBQ sauce. CALI CITRUS CHICKEN SALAD Mandarin 1. Call your local Claim Jumper MENU oranges, green apples, avocado, dried cranberries, red onions, glazed pecans, bleu LET US HOST YOUR NEXT EVENT cheese crumbles and green onions. Tossed with 2. Scan the AT CLAIM JUMPER honey lime vinaigrette dressing. code with your FISH TACOS Grilled or fried white fish, chipotle phone’s camera sauce, fresh pico de gallo, cheese, corn tortillas and homemade salsa. Served with shoe string fries. and fill out our catering contact WIDOW MAKER BURGER* Smoked bacon, onion rings, sliced avocado, American and cheddar form cheese, lettuce, tomato, mayo, red relish and You will hear from us within 24 hours pickle. Served with shoe string fries. CHICKEN TENDER DINNER Hand-breaded tenders served with smoky mesquite BBQ sauce and shoe string fries. MEATLOAF & MASHED POTATOES Beef, pork and vegetables slow-baked with tomato sauce. Served with mashed potatoes, herb gravy and roasted vegetables. ROASTED TRI-TIP* Certified Angus Beef® slow- roasted, sliced and served Medium Rare to Medium with mashed potatoes and roasted vegetables. GLUTEN FRIENDLY Nutritional information available by request. If you have any food allergies or special dietary restrictions, please notify a manager prior to ordering and we will try our best to accommodate you. -
GULDEN-DISSERTATION-2021.Pdf (2.359Mb)
A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I. -
Drawstring Jumper Dress- No Pattern Required By: Burdastyle
Drawstring Jumper Dress- no pattern required By: burdastyle http://www.burdastyle.com/projects/drawstring-jumper-dress-no-pattern-required This easy jumper dress takes no time at all to make- and does not require any pattern! Its an adaptation of a little girl’s jumper. Follow these easy instructions and make one for yourself! Materials 2 yards (1.82 meters) of 60" (152 cm) wide fabric (Recommended fabrics: jersey, knitslight weight cottons, gauze Optional- Cord for straps, otherwise follow instructions here for making your own straps. Ruler Scissors Pins Small Safety Pin 1 Step 1 I am a Burda size 38, or a 6 ready-to-wear. This is an easy fit and should work for sizes 34-42, but you may add or subtract a 1/4" (6mm) on each side seam if you want to change the size. Step 2 2 I was inspired by an old picture of myself wearing a dress my mother made for me in the same style. (I was CUTE!) Step 3 You will need the following: 2 yards (1.82 meters) of 60" (152 cm) wide fabric (Recommended fabrics: jersey, knits, light weight cottons, 3 gauze) Optional- Cord for straps, otherwise follow instructions here for making your own straps. Ruler Scissors Pins Small Safety Pin All measurements for the body of the dress include a 5/8" (1.5 cm) seam allowance. The straps have a 1/4" (6 mm) seam allowance. Step 4 Cut your fabric into two separate pieces, both 1 yard (91.5 cm) in length. Fold in the middle. -
The Career of Owen Davis (1874-1956) in the American Theatre
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1978 The aC reer of Owen Davis (1874-1956) in the American Theatre. Jack Kendall Wann Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Wann, Jack Kendall, "The aC reer of Owen Davis (1874-1956) in the American Theatre." (1978). LSU Historical Dissertations and Theses. 3301. https://digitalcommons.lsu.edu/gradschool_disstheses/3301 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the Him along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. -
Sarah Orne Jewett's Interpretation of Maine Life
2^° SARAH ORME JEWETT'S INTERPRETATION OF MAINE LIFE A THESIS' Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in English) By JESSIE FRENCH BRYAN B. A., Wellesley, 1910 University of Maine Orono June, 19S0 ACKNOWLEDGMENT One of the principal pleasures in writing this thesis has been the anticipation of having it pass under the criticism of Doctor Turner. To her evaluation of the ideas from their first groping toward formulation to their present state, is due whatever merit this slight study may have. To Doctor Ellis, who directed my study, to Doctor Morton Turner and to Doctor Draper I wish to express my appreciation of the help they have given me in my graduate work. Mr. Louis Ibbotson, Librarian of the University, has assisted me over many places where my ability to find material has failed. I thank him and the library force for their patient efforts. Mrs. Hoyt D. Foster has supplied me with informa tion which no one else could give. Her personal acquain tance with two of the authors has thrown light upon their interpretations which has proved invaluable. Mr. Edwin Arlington Robinson very kindly responded to an inquiry telling me where I could be sure of Maine in his poetry. 968 7 9 TABLE OF CONTENTS Foreword Introduction The People Character andCharacterization ......................... p. .1 Culture.......................................................... .. ...p. 40 Social and Economic Conditions......................p. 71Z/ ^ The Countryside.................................. ;..............................p. 113 The Dialect ............................ p. 160 Conclusion................................................................................p. 202 Bibliography FOREWORD There is in Maine a kind of state-consciousness which makes a guest of all who come from other places, no matter how welcome they are made to feel, nor how long they remain.