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Europe Is Agog for Beards
Lifestyle FRIDAY, NOVEMBER 21, 2014 Metrosexuals be gone: Europe is agog for beards akub Marczewski grew a beard six years ago because he was too lazy to shave. Now he finds himself in the middle of a Jglobal trend. The 21-year-old got his hair and beard trimmed at a new shop with a hip retro vibe, the Barberian Academy & Barber Shop, which opened in Warsaw last month to serve the growing number of Polish men with facial hair. A revival in the cul- ture of barbering in this Eastern European capital is just one sign of how popular beards have become, with actors, athletes and hipsters leading the way. Metrosexuals be gone: Europe is agog for beards. “Worldwide, we are at the height of facial hair,” said Allan Peterkin, a Toronto psychiatrist and author of “One Thousand Beards: A Cultural History of Facial Hair.” “It’s a delightful expression of masculinity, people have more respect,” said Salvador Chanza, a 31-year-old but not a super-macho master barber from Spain who trains professionals. Sporting both expression.” After World a handlebar moustache and a substantial beard, he said the War II, men were mostly embrace of facial hair reflected a rejection of the previous clean- clean-shaven, reflecting a shaven metrosexual ethos. military ethos that came to Now facial hair is hugely popular across Western Europe, espe- dominate corporate life, cially in fashion-conscious Paris. And across the globe, it’s the Peterkin said. Over the next month of “Movember” - when men are encouraged to grow a decades facial hair was mustache to raise awareness and funds for men’s health issues.
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Jack's Bight : Solace of an Open Place
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Baron Munchhausen and the syndrom which bears his name, Vesalius, VIII, 1, 53 - 57, 2002 Baron Munchhausen and the Syndrome Which Bears His Name: History of an Endearing Personage and of a Strange Mental Disorder R. Olry Summary Munchausen syndrome, a mental disorder, was named in 1951 by Richard Asher after Karl Fried rich Hieronymus, Baron Munchhausen (1720-1797), whose name had become proverbial as the nar- rator of false and ridiculously exaggerated exploits. The first edition of Munchausen's tales ap- peared anonymously in 1785 (Baron Munchausen's narrative of his marvellous travels and cam- paigns in Russia), and was wrongly attributed to the German poet Gottfried August Burger who actually edited the first German version the following year. The real author, Rudolph Erich Raspe, never claimed his rights over the successive editions of this book. This paper reviews the extraor- dinary personality of Baron Munchhausen, and the circumstances which led Rudolph Erich Raspe, Gottfried August Burger, and Richard Asher to pay homage to this very endearing personage. Résumé Le syndrome de Munchausen est un trouble psychologique ainsi baptisé en 1951 par Richard Asher, en hommage à Karl Friedrich Hieronymus, baron de Munchhausen (1720-1779), qui s'était rendu célèbre parla narration de ses exploits extravagants. La première édition des aventures de Munch- hausen apparu anonymement en 1785 (Baron Munchausen's narrative ofhis marvellous travels and campaigns in Russia), et fut attribuée à tort au poète allemand Gottfried August Bûrger, celui qui en réalité édita la première traduction allemande l'année suivante. Le véritable auteur, Rudolph Erich Raspe, ne réclama jamais ses droits sur les éditions successives de ce livre.
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Published by Lazy Bee Scripts Customer Taster Death and Waxes A Moustache Murder Mystery by Barry Wood A serial killer who steals the moustaches from his victims is at large. Convinced she knows where the killer will strike next, Freya Yorke, a young criminology student, takes a job at an Edinburgh hotel that is hosting the International Moustache Championships. During the evening, Freya is proved right, and there follows a farcical murder investigation into the group of misfits who comprise the competitors and their partners. COPYRIGHT REGULATIONS This murder mystery is protected under the Copyright laws of the British Commonwealth of Nations and all countries of the Universal Copyright Conventions. All rights, including Stage, Motion Picture, Video, Radio, Television, Public Reading, and Translations into Foreign Languages, are strictly reserved. No part of this publication may lawfully be transmitted, stored in a retrieval system, or reproduced in any form or by any means, electronic, mechanical, photocopying, manuscript, typescript, recording, including video, or otherwise, without prior consent of Lazy Bee Scripts. A licence, obtainable only from Lazy Bee Scripts, must be acquired for every public or private performance of a script published by Lazy Bee Scripts and the appropriate royalty paid. If extra performances are arranged after a licence has already been issued, it is essential that Lazy Bee Scripts are informed immediately and the appropriate royalty paid, whereupon an amended licence will be issued. The availability of this script does not imply that it is automatically available for private or public performance, and Lazy Bee Scripts reserve the right to refuse to issue a licence to perform, for whatever reason.
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Seven Fictions Stephen Leech Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2010 Seven Fictions Stephen Leech Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the American Literature Commons Recommended Citation Leech, Stephen, "Seven Fictions" (2010). All Theses. 792. https://tigerprints.clemson.edu/all_theses/792 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. SEVEN FICTIONS A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English Literature by Steve J. Leech May 2010 Accepted by: Keith Lee Morris, Committee Chair Dr. Jillian Weise Dr. Barton Palmer For Grumps, Turps, Ichiban, Dunk, and the Spanner ii ACKNOWLEDGEMENTS I would first like to thank the members of my committee: Keith Morris, JillianWeise, and Barton Palmer, for their feedback and support in the creation of this project. I also owe Rick Wilbur and Sheila Williams for their guidance as an undergraduate writer and for their acknowledgement of my growth as such. Kath Flannery taught me to read, so on a very fundamental level, her name should be here, as should that of Madeline Gilmore, who encouraged me at a very young age to pursue creative writing. Thanks to Jilly Lang, too, a fellow writer whose insights have helped make this collection what it is. And, of course, my eternal gratitude to all my family and friends for their support and love.
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