Exile Vol. III No. 2 Lois Rowley Denison University
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Sys Online Store
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Excerpted from Kathy Peiss, Zoot Suit: the Enigmatic Career of an Extreme Style (Philadelphia: University of Pennsylvania Press, 2011)
Excerpted from Kathy Peiss, Zoot Suit: The Enigmatic Career of an Extreme Style (Philadelphia: University of Pennsylvania Press, 2011). 6 For JTASZooting Around use the World only ‘‘ ome authorities feel that the only thing to do is to let the whole myste- rious business wear itself out and disappear through inner exhaus- Stion of its possibilities,’’ reported Agnes Meyer in the wake of the Los Angeles riot.1 In fact, it was much harder than those authorities thought to shrug off the zoot suit. During the war and for decades there- after, this style traveled across time and place, appealing to youths whose lives otherwise diverged. It turned up in wartime Great Britain and Aus- tralia, despite orders by their governments to conserve cloth for the du- ration. Bahamian farm hands, brought to Florida to pick crops, surprised their hosts by appearing in zoot suits. Canada had its own versions of zoot-suit unrest in the summer of 1944, and in occupied France, zazous sporting long coats and narrow trousers outraged officials. After the war, young people in other countries—from the stiliagi of the Soviet Union to the tsotsis of South Africa—picked up and adapted elements of an extreme style that had originated in American culture. The zoot suit was never a leading cultural product or intentional export of the United States in an era when the nation’s films, music, and consumer goods were reaching around the globe. Yet this seem- ingly ephemeral fashion traveled to many places during and after World War II. It is a telling example of a commodity that circulated 158 Chapter 6 without marketing campaigns and advertising but rather along ob- scure routes and through informal networks of influence—a process that has likely been more common than studies of consumer culture have recognized. -
Clothing Terms from Around the World
Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat. -
Germany and Japan As Regional Actors in the Post-Cold War Era: a Role Theoretical Comparison
Alexandra Sakaki Germany and Japan as Regional Actors in the Post-Cold War Era: A Role Theoretical Comparison Trier 2011 GERMANY AND JAPAN AS REGIONAL ACTORS IN THE POST-COLD WAR ERA: A ROLE THEORETICAL COMPARISON A dissertation submitted by Alexandra Sakaki to the Political Science Deparment of the University of Trier in partial fulfillment of the requirements for the degree of Doctor of Philosophy Submission of dissertation: August 6, 2010 First examiner: Prof. Dr. Hanns W. Maull (Universität Trier) Second examiner: Prof. Dr. Christopher W. Hughes (University of Warwick) Date of viva: April 11, 2011 ABSTRACT Germany and Japan as Regional Actors in the Post-Cold War Era: A Role Theoretical Comparison Recent non-comparative studies diverge in their assessments of the extent to which German and Japanese post-Cold War foreign policies are characterized by continuity or change. While the majority of analyses on Germany find overall continuity in policies and guiding principles, prominent works on Japan see the country undergoing drastic and fundamental change. Using an explicitly comparative framework for analysis based on a role theoretical approach, this study reevaluates the question of change and continuity in the two countries‘ regional foreign policies, focusing on the time period from 1990 to 2010. Through a qualitative content analysis of key foreign policy speeches, this dissertation traces and compares German and Japanese national role conceptions (NRCs) by identifying policymakers‘ perceived duties and responsibilities of their country in international politics. Furthermore, it investigates actual foreign policy behavior in two case studies about German and Japanese policies on missile defense and on textbook disputes. -
October 2009 Volume 7 Issue 3
October 2009 Volume 7 Sandesh Sandesh Issue 3 “The Message” A Newsletter from IndUS of Fox Valley From Editors’ Desk A Brief History of India’s Jewelry Heritage By Joe Elder Dear Readers, As in the previous years this issue Jewelry in the Indus Valley Civilization Descriptions of Jewelry in Classical of Sandesh is dedicated to the Archaeologists excavating Indus-Valley- Texts annual IndUS banquet theme. This civilization sites in contemporary India and The Buddhist Dhammapada described a year‘s theme is: ―The Glorious Pakistan have unearthed large quantities of court woman‘s robe on which was woven a Tradition of Indian Textiles & beads made from shells, glazed peacock with its eyes, neck, and tail Jewelry‖. In this issue, you will earthenware, pottery, soap-stone, agate, feathers made of pearls, its beak made of find articles that describe the role amethyst, carnelian, green feldspar, jasper, coral, and its feathers made of red gold that jewelry and textiles have turquoise, and onyx. Craftpersons living with midribs of silver. According to the played in shaping of India. These thousands of years ago had strung together Dhammapada, five-hundred goldsmiths articles portray the fabric of India some of these beads to form necklaces, worked four months to complete the robe. as colorful, strong and woven over bracelets, and girdles. The skills of those In the Tamil epic poem, the centuries. It has patterns craftpersons were reflected in the variety of Cilappatikaram (―The Jeweled Anklet‖), crisscrossing politics, struggle for the beads‘ shapes and sizes. Archaeologists the crime of a king who executed an freedom, religion and culture. -
Jay Fox: the Life and Times of an American Radical
Eastern Washington University EWU Digital Commons EWU Masters Thesis Collection Student Research and Creative Works 2016 Jay Fox: the life and times of an American radical David J. Collins Eastern Washington University Follow this and additional works at: https://dc.ewu.edu/theses Recommended Citation Collins, David J., "Jay Fox: the life and times of an American radical" (2016). EWU Masters Thesis Collection. 338. https://dc.ewu.edu/theses/338 This Thesis is brought to you for free and open access by the Student Research and Creative Works at EWU Digital Commons. It has been accepted for inclusion in EWU Masters Thesis Collection by an authorized administrator of EWU Digital Commons. For more information, please contact [email protected]. JAY FOX: THE LIFE AND TIMES OF AN AMERICAN RADICAL A Thesis Presented To Eastern Washington University Cheney, Washington In Partial Fulfillment of the Requirements for the Degree Master of Arts in History By David J. Collins Spring 2016 ii iii iv Acknowledgements First, I have to acknowledge Ross K. Rieder who generously made his collection of Jay Fox papers available to me, as well as permission to use it for this project. Next, a huge thanks to Dr. Joseph U. Lenti who provided guidance and suggestions for improving the project, and put in countless hours editing and advising me on revisions. Dr. Robert Dean provided a solid knowledge of the time period through coursework and helped push this thesis forward. Dr. Mimi Marinucci not only volunteered her time to participate on the committee, but also provided support and guidance to me from my first year as an undergraduate at Eastern Washington University, and continues to be an influential mentor today. -
Cozy Wrap Scarf 27”X56”
Cozy Wrap Scarf 27”x56” Michelle Hart Inspiration: As the days grow colder I often find myself reaching for a scarf or wrap to take off the chill. This wrap is the perfect size to toss in your bag when you need a little cover up. It can be used in a myriad of ways depending on how you wrap it. By adjusting the snaps you can make a shrug, draped top or shawl. The options are limitless! I always take one when I fly to stay cozy on the plane. It also make a great, easy to make gift to share with your girlfriends! Materials: • 1 yard 58” wide mid-weight french terry fabric • 2 yards of 7/8” wide ribbon or snap tape • 10 sets of snaps (if not using snap tape) • Coordinating serger thread • Coordinating thread Machines used: • Memory Craft 6700P • 1110DX Pro Accessories: • Basic sewing supplies • Acufeed Flex AD foot (recommended) • Acufeed Flex zipper foot • Ballpoint needle Cutting: • Cut fabric into a 28” x 57” rectangle Sewing: 1. Prepare snap tape. Cut 2 - 28” pieces of ribbon. On the wrong side of the ribbon measure 1 ½“ from edge and mark. Mark every 2 ½“ along the length of the ribbon. Repeat for the other ribbon. Affix the snaps according to the manufacturer’s instructions. 2. Serge the long edges of fabric with coordinating thread. 3. Turn the long edges under ½” towards the wrong side of fabric. Pin in place. 4. Using the Acufeed Flex AD foot and a ballpoint needle stitch the long edges with a narrow zig-zag stitch and a 3/8” seam allowance. -
I Remember ...By Inez Hames (1972) Wesley Historical Society (NZ) Publication #(27) 5 Page 1
I Remember .... by Inez Hames (1972) Wesley Historical Society (NZ) Publication #(27) 5 Page 1 I Remember .... by Inez Hames (1972) Contents Foreward 1 Early Days 2 Teaching at Nailaga in Ba, Fiji 3 Davuilevu, the head mission station 4 More about Davuilevu 5 Dilkusha 6 The "Southern Cross" crossed the Pacific, and some Meditations on Money 7 A Hurricane 8 Inland Journeys 9 Two Centenaries 10 Various Holidays 11 Life in Kadavu 12 Matavelo Girls' School 13 New Zealand Interlude 14 Back to Fiji 15 Last Teaching Years 16 Independent Fiji Appendices Wesley Historical Society (NZ) Publication #(27) 5 Page 2 I Remember .... by Inez Hames (1972) FOREWORD The first "marama sisita" I met on arriving in Fiji in 1938, was "Miss Ames" - her father had met me at the boat in Suva, and I spent my first few days at Davuilevu in her cottage. I recall being somewhat overwhelmed by her effortless identification with the Fijian people, her knowledge of their way of life, and her fluency in the language. After eighteen years' service, Miss Hames had already made a substantial contribution in the field of education. Those years were, however, but a beginning - the thirty which followed were to be a period of far-reaching change for the peoples of Fiji, and were to bring to the fore one of Miss Hames' most endearing qualities - her readiness to accept new ways and ideas. Not for her the backward looking nostalgia for the "old days". She finds the present exciting, is delighted to see so many of her former pupils realising their full potential as leaders in the community, and must surely rejoice in the knowledge that she has contributed so much towards this. -
The Cinema of Virtuality: the Untimely Avant-Garde of Matsumoto Toshio
The Cinema of Virtuality: The Untimely Avant-Garde of Matsumoto Toshio by Joshua Scammell A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University OTTAWA, Ontario © 2016, Joshua Scammell Abstract: Scholarship on the avant-garde in Japanese cinema tends to focus on the 1960s. Many scholars believe that the avant-garde vanishes from Japanese cinema in the early 1970s. This study aims to disrupt such narratives with the example of filmmaker/theorist Matsumoto Toshio. Matsumoto is one of the key figures of the 1960s political avant-garde, and this study argues that his 1970s films should also be considered part of the avant-garde. Following Yuriko Furuhata who calls the avant-garde of the 1960s “the cinema of actuality,” this thesis calls the avant-garde of the 1970s “the cinema of virtuality.” The cinema of virtuality will be seen to emphasize a particular type of contiguity with the spectator. This strategy will be discussed in relation to four of Matsumoto’s short films: Nishijin (1961), For the Damaged Right Eye (1968), Atman (1975), and Sway (1985) and a brief discussion of Funeral Parade of Roses (1969). ii Acknowledgements: In the classical world, artists often had their pupils do the actual work, while they took all the credit for the original idea. Working with Aboubakar Sanogo is almost the opposite. No words can express my gratitude towards his generous commitment of time and energy towards this project, and his nurturing open-mindedness to my more abstract ideas. -
Series 500 Free Patterns
Series 500 FREE knitting patterns Mindego Mitts Directions: Designed for WEBS by Cat Bordhi CO 48 sts and join in the Rnd, being careful not to twist the cast-on edge. (24 sts on each needle) Mark start of Rnd. Short mittens: start with Rnd 19. Long mittens, wrist-warmers, and fingerless mitts: start with Rnd 1. Rnds 1-3: Repeat (p1, k2, p1) to end. Rnd 4: Repeat BIND 6 times. Rnds 5-9: Repeat (p1, k2, p1) to end. Rnds 10-15: Repeat Rnds 4-9. Rnd 16: Repeat BIND twice, p1, k2, p2, k2, p1, repeat BIND twice, p1, k2, p2, k2, p1. Size: Rnds 17-21: Repeat (p1, k2, p1) to end. women's average; Long mittens are 12.5” long, short Wristwarmers only: mittens are 9.5” long. Fingerless mitts are 11” long and Repeat Rnds 4-21 once more, then Rnds 4-13 once more. wrist-warmers are 8” long. Bind off. Materials: Mittens and fingerless mitts only: 2 (wrist-warmers), 3 (mittens and fingerless mitts) balls Set-up for thumb gusset: Valley Yarns Valley Superwash (100% extrafine merino, Rnds 22-26: Repeat Rnds 4-8. 50g/109 yds) Rnd 27: Purl 1, k2, p2, k2, p1, place new start of Rnd 2 US size 7 circular needles – 24” long marker here (do not move needle intersection; start of Rnd is now 8 sts past start of this needle). Repeat (p1, k2, p1) Gauge: to new start of Rnd marker. 20 sts and 28 rows = 4” (10 cm) in stockinette stitch in the Rnd 28: Repeat BIND twice, BIND once but end with m1p, Rnd p1, BIND once but start with p1, m1p, repeat BIND twice. -
Toshio Matsumoto Filmography 松本俊夫フィルモグラフィー
Toshio Matsumoto Filmography 松本俊夫フィルモグラフィー Non-Profit Organization Postwar Japan Moving Image Archive | PJMIA (Release date: Jul 26, 2019) NPO 法人戦後映像芸術アーカイブ(2019 年 7 月 26 日公開) This Matsumoto’s filmography is a compilation of information on 83 works that he participated in the director, 9 works that he participated in the screenplay (including collaboration) and 3 works that he participated in the assistant director or second-unit director. This filmography was created with reference to “Kawasaki City Museum Cinematheque News (Kawasaki City Museum. Oct, 2006)”. We added found information from primary source and interview with artist for this filmography. The rules of description are as follows. 1: Clarification of the basic information. (Title | Date | Event title and venue) 2: Clarification of the format. (Film gauge or video type and aspect ratio; Presence or absence of color; Presence or absence of sound; Run time) 3: Clarification of the used medium. (For example, expanded cinema, installation and performance) 4: Clarification of the production staff. When there are sponsor company and production company, we listed on the first line. Basically, the production staff was listed in this order; Planner, Producer, Screenplay, Director, Cinematographer, Gaffer, Production Designer, Editor, Music Composer, Audio Engineer, Others, Production Coordinator, Assistant, Actor and Narrator, etc. Attached square bracket on the actor's name indicate name of the role. このフィルモグラフィーは、これまでの調査で判明した、松本俊夫が監督または演出として関わった 83 作品、脚 本として関わった 9 作品(協力含む)、助監督もしくは B 班監督として関わった 3 作品の情報をまとめたものです。 『川崎市市民ミュージアム シネマテーク・ニュース』(川崎市市民ミュージアム、2006年 10 月)に記載された情 報を参照して、作家への聞き取り調査、および一次資料の調査を経て作成されました。記述のルールは以下の通 りです。 1:作品タイトルなどの基本情報を明記する。(作品タイトル|完成日・公開日または初演日・放送日|催事の名 称もしくは会場) 2:フォーマットを明記する。(フィルム・ビデオの種類および画面サイズ/カラーの有無/サウンドの有無/時 間の長さ) 3:使用されたメディウムを明記する。(エクスパンデッドシネマやインスタレーション、パフォーマンスの場合) 4:製作スタッフを明記する。企画会社や製作会社などが存在する作品の場合は、それらを一行目に表記する。製 作スタッフは「企画・製作・脚本・監督または演出・撮影・照明・美術・編集・音楽・録音・その他・進行・助手・ 出演・解説」という呼称および順番で表記することを基本方針とする。出演者の名前に付記された角括弧は作中 での役名を指す。 1 1: Participated in the director 監督または演出として関わった作品 1_1. -
Summer 2016 Apparelinsiders.Com
® Summer 2016 Apparelinsiders.com The State of Denim 01-AIDenimCover.indd 1 6/22/16 3:00 PM sjc.indd 1 6/17/16 11:20:17 AM ® Summer 2016 Apparelinsiders.com Denim By the Numbers DENIM AFFINITY 2005 vs. 2015 GLOBAL DENIM STATS External embellishments on denim matter in U.S. 2015, 70% 32% Boomers 2005, 70% External embellishments on denim matter in Europe 34% External embellishments on denim matter in China 37% 2015, 62% Men saying they love wearing denim 73% Millennials 2005, 81% Women say they love wearing denim 75% Women say environmental friendliness is important 13% 2015, 70% Gen Xers Purchase intent in China 19% 2005, 70% Purchase intent in Europe 17% Purchase intent in the US 15% Purchase intent with elevated branding 17% Consumers purchasing jeans costing $100 or more 12% CONSUMERS PLANNING TO PURCHASE NEW JEANS IN THE COMING YEAR • 12 percent of consumers say they have purchased a pair of jeans that cost $100 or more. 56% 44% 36% • The global jeans market is set to top $122 billion in 2016. Thermal Regulating Odor-resistant Moisture-management • More denim is owned per person in the United States than in China and Europe combined. TREND TOWARDS AUTHENTIC, COTTON DENIM • Fit, brand, and price are the key decision criteria when purchasing jeans. • The top five greatest pain points when buying a pair of 89% 88% 88% jeans are: fit, out of stock, inconsistent sizing, poor qual- 87% 87% 86% ity such as shrinkage, fading, and fraying, and finding the right jean for the budget. 80% Cotton-rich Soft Sustainable Comfortable Breathable Trustworthy Fashionable Sources: Avery Dennison, Cotton Incorporated, the NPD Group jeans (vs.