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Classifications 93
classifications 93 CHAPTER SEVEN CLASSIFICATIONS The heterogeneous collection of recarved portraits mainly removed, and the lower parts of the faces represented in the catalogue below is difficult to were simply smoothed out. The heads lean back- classify in detail, but some of the sculptural tech- wards. The upwards-gazing eyes are especially niques employed can be identified and allow gen- typical of late-antique portraits, but this feature eral sub-categories to be determined. Some is especially prominent in the portraits of the late-antique portraits, in particular, display fea- Bandit type. tures which make it possible to sort them into It has been said regarding the portrait of the specific categories: the Bandit group; the Helmet so-called Licinius from Ephesos, now in Vienna, group; the Ephesos-Tetrarch group; the Athens that portraits during late-Constantinian times group; the Eutropius group; and the Iamblichus were made to resemble Tetrarchic examples (CAT group. 292, figs. 52a-d). In my view, portraits like this one could have been recarved in Constantinian times from Tetrarchic originals, perhaps even The Bandit group recarved twice, first from a 1st or 2nd century original in the Tetrarchic period, and then a The Bandit group dates to the Tetrarchic and second time in the Constantinian period. Constantinian periods and can be recognised by An informative discussion on style by Smith the shape of the head (Plate 153: The Bandit departs from an analysis of this portrait (Smith, Group; CAT 286, figs. 50a-d; 291, figs. 51a-b; 292, 1997). He argues that dynastic style categories figs.
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Makeup-Hairstyling-2019-V1-Ballot.Pdf
2019 Primetime Emmy® Awards Ballot Outstanding Hairstyling For A Single-Camera Series A.P. Bio Melvin April 11, 2019 Synopsis Jack's war with his neighbor reaches a turning point when it threatens to ruin a date with Lynette. And when the school photographer ups his rate, Durbin takes school pictures into his own hands. Technical Description Lynette’s hair was flat-ironed straight and styled. Glenn’s hair was blow-dried and styled with pomade. Lyric’s wigs are flat-ironed straight or curled with a marcel iron; a Marie Antoinette wig was created using a ¾” marcel iron and white-color spray. Jean and Paula’s (Paula = set in pin curls) curls were created with a ¾” marcel iron and Redken Hot Sets. Aparna’s hair is blow-dried straight and ends flipped up with a metal round brush. Nancy Martinez, Department Head Hairstylist Kristine Tack, Key Hairstylist American Gods Donar The Great April 14, 2019 Synopsis Shadow and Mr. Wednesday seek out Dvalin to repair the Gungnir spear. But before the dwarf is able to etch the runes of war, he requires a powerful artifact in exchange. On the journey, Wednesday tells Shadow the story of Donar the Great, set in a 1930’s Burlesque Cabaret flashback. Technical Description Mr. Weds slicked for Cabaret and two 1930-40’s inspired styles. Mr. Nancy was finger-waved. Donar wore long and medium lace wigs and a short haircut for time cuts. Columbia wore a lace wig ironed and pin curled for movement. TechBoy wore short lace wig. Showgirls wore wigs and wig caps backstage audience men in feminine styles women in masculine styles.
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Ancient Carved Ambers in the J. Paul Getty Museum
Ancient Carved Ambers in the J. Paul Getty Museum Ancient Carved Ambers in the J. Paul Getty Museum Faya Causey With technical analysis by Jeff Maish, Herant Khanjian, and Michael R. Schilling THE J. PAUL GETTY MUSEUM, LOS ANGELES This catalogue was first published in 2012 at http: Library of Congress Cataloging-in-Publication Data //museumcatalogues.getty.edu/amber. The present online version Names: Causey, Faya, author. | Maish, Jeffrey, contributor. | was migrated in 2019 to https://www.getty.edu/publications Khanjian, Herant, contributor. | Schilling, Michael (Michael Roy), /ambers; it features zoomable high-resolution photography; free contributor. | J. Paul Getty Museum, issuing body. PDF, EPUB, and MOBI downloads; and JPG downloads of the Title: Ancient carved ambers in the J. Paul Getty Museum / Faya catalogue images. Causey ; with technical analysis by Jeff Maish, Herant Khanjian, and Michael Schilling. © 2012, 2019 J. Paul Getty Trust Description: Los Angeles : The J. Paul Getty Museum, [2019] | Includes bibliographical references. | Summary: “This catalogue provides a general introduction to amber in the ancient world followed by detailed catalogue entries for fifty-six Etruscan, Except where otherwise noted, this work is licensed under a Greek, and Italic carved ambers from the J. Paul Getty Museum. Creative Commons Attribution 4.0 International License. To view a The volume concludes with technical notes about scientific copy of this license, visit http://creativecommons.org/licenses/by/4 investigations of these objects and Baltic amber”—Provided by .0/. Figures 3, 9–17, 22–24, 28, 32, 33, 36, 38, 40, 51, and 54 are publisher. reproduced with the permission of the rights holders Identifiers: LCCN 2019016671 (print) | LCCN 2019981057 (ebook) | acknowledged in captions and are expressly excluded from the CC ISBN 9781606066348 (paperback) | ISBN 9781606066355 (epub) BY license covering the rest of this publication.
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List of Hairstyles
List of hairstyles This is a non-exhaustive list of hairstyles, excluding facial hairstyles. Name Image Description A style of natural African hair that has been grown out without any straightening or ironing, and combed regularly with specialafro picks. In recent Afro history, the hairstyle was popular through the late 1960s and 1970s in the United States of America. Though today many people prefer to wear weave. A haircut where the hair is longer on one side. In the 1980s and 1990s, Asymmetric asymmetric was a popular staple of Black hip hop fashion, among women and cut men. Backcombing or teasing with hairspray to style hair on top of the head so that Beehive the size and shape is suggestive of a beehive, hence the name. Bangs (or fringe) straight across the high forehead, or cut at a slight U- Bangs shape.[1] Any hairstyle with large volume, though this is generally a description given to hair with a straight texture that is blown out or "teased" into a large size. The Big hair increased volume is often maintained with the use of hairspray or other styling products that offer hold. A long hairstyle for women that is used with rich products and blown dry from Blowout the roots to the ends. Popularized by individuals such asCatherine, Duchess of Cambridge. A classic short hairstyle where it is cut above the shoulders in a blunt cut with Bob cut typically no layers. This style is most common among women. Bouffant A style characterized by smooth hair that is heightened and given extra fullness over teasing in the fringe area.
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Faculdade De Medicina Veterinária
UNIVERSIDADE DE LISBOA Faculdade de Medicina Veterinária PERFORMANCE EVALUATION IN IRISH RACEHORSES WITH DORSAL DISPLACEMENT OF THE SOFT PALATE FOLLOWING THE LARYNGEAL TIE-FORWARD PROCEDURE RICARDO MAÇARICO BAIÃO CONSTITUIÇÃO DO JÚRI ORIENTADOR Doutora Paula Alexandra Botelho Garcia de Doutor José Paulo Pacheco Sales Luís Andrade Pimenta Tilley CO-ORIENTADOR Doutor José Paulo Pacheco Sales Luís Dr. Turlough Mc Nally Doutora Maria Rita Martins Garcia da Fonseca 2015 LISBOA UNIVERSIDADE DE LISBOA Faculdade de Medicina Veterinária PERFORMANCE EVALUATION IN IRISH RACEHORSES WITH DORSAL DISPLACEMENT OF THE SOFT PALATE FOLLOWING THE LARYNGEAL TIE-FORWARD PROCEDURE RICARDO MAÇARICO BAIÃO DISSERTAÇÃO DE MESTRADO INTEGRADO EM MEDICINA VETERINÁRIA CONSTITUIÇÃO DO JÚRI ORIENTADOR Doutora Paula Alexandra Botelho Garcia de Doutor José Paulo Pacheco Sales Luís Andrade Pimenta Tilley CO-ORIENTADOR Doutor José Paulo Pacheco Sales Luís Dr. Turlough Mc Nally Doutora Maria Rita Martins Garcia da Fonseca 2015 LISBOA I dedicate this work to my father who hasn’t had the chance to see me finish it. i ii Acknowledgments This is the final step from a journey that I choose to be my life. During this journey, many people positively interfered, so here is my acknowledgment to all of them. Firstly, to my parents that always encouraged me to follow my dream and made everything possible for me to achieve it. I need to make a special reference to my father that made me the man I am today and always wanted me to be successful, so this is for you. Secondly, to Doctor Turlough Mc Nally, my co-supervisor, for accepting me at Anglesey Lodge Equine Hospital and for setting a great example of professionalism.
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UC Irvine UC Irvine Electronic Theses and Dissertations
UC Irvine UC Irvine Electronic Theses and Dissertations Title The Adolescent in American Print and Comics Permalink https://escholarship.org/uc/item/4h64k2t2 Author Mugnolo, Christine Elizabeth Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE The Adolescent in American Print and Comics DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Christine Elizabeth Mugnolo Dissertation Committee: Professor Cécile Whiting, Chair Professor Kristen Hatch Professor Lyle Massey 2021 © 2021 Christine Elizabeth Mugnolo TABLE OF CONTENTS Page LIST OF FIGURES iv ACKNOWLEDGEMENTS x VITA xii ABSTRACT OF THE DISSERTATION xiii CHAPTER 1: INTRODUCTION 1 CHAPTER 2: THE IMMIGRANT JUVENILE AS URBAN AVATAR: 30 SUNDAY COMICS AND THE YELLOW KID The Sunday Supplement vs. the Comic Weekly 32 Bad Boy Comic Strips 50 The Yellow Kid and the Residents of Hogan’s Alley 56 The Return Gaze and a New Form of Political Humor 65 The Yellow Kid as Mask and Mirror 79 CHAPTER 3: THE MIDDLE-CLASS JUVENILE AS CULTURAL IDIOT: BUSTER BROWN 95 Reform in Comics and Buster Brown 96 Buster Brown Breaks the Comic Strip Formula 99 Buster and Middle-Class Child Rearing 109 “Resolved!” 115 Spank as Shock 121 CHAPTER 4: THE ADOLESCENT BODY IN THE AMERICAN IMAGINATION, 130 PAINTING, AND PRINT Formulating the Adolescent as a Visual Type 132 The Adolescent Body and the Masculine Ideal 138 Adolescence
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Picture Show Annual (1942)
PS HIM fkf *1(5 /«rA W/’hen we think of the heroism of the Fighting Services, the Mercantile Marine, the Fire fighters, the A.R.P., the many Corps of Women’s Auxiliary Services, Doctors, Nurses and staffs of Hospitals, and, above all, the heroism and spirit of self-sacrifice shown by the women and children of cities, towns and hamlets which have been bombed incessantly by the Nazi murderers, it may sound Raymond Massey (right) and not only presumptuous but downright swank to ” suggest that films Eric Postman in 49th the have played any really important part in the War. Parallel.” Eric Portman is a World But I have hesitation in saying that the screen U-boat officer who attempts no has played a very important part. I think to escape from Canada to the we may divide, roughly, the part the films have played into United States but is out- manoeuvred by Raymond showing us, firstly, what Nazism really means and Massey. what we are fighting against, and, secondly, how we are fighting the greatest menace to Civilisation since Democracy was established as the keystone of the arch of Civilisation. Democracy is easily explained. The great Lincoln. President of the first really United States of America, described it as Govern- ment of the People, by the People, for the People. The emblem of Republican France was Liberty, Equality and Fraternity. In England, and later in the British Empire, the meaning was Freedom of speech and action, Una Merkel and W. C. Fields in so long as it did not interfere with the " The Bank Detective.” Freedom of others.
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Hairstyling Module 1
Hairstyling The Cultural Significance of Hair For humans, haircut, hairstyle, or hairdo normally describe cutting or styling head hair. Unlike other animals, human beings of many cultures cut their hair, rather than letting it grow naturally. Hair styles are often used to signal cultural, social, and ethnic identity. Men and women naturally have the same hair but generally hairstyles conform to cultural standards of gender. Hair styles in both men and women also vary with current fashion trends, and are often used to determine social status. There is a thriving world market in cut human hair of sufficient length for wig manufacture and for the production of training materials for student hairdressers and barbers. In less developed countries, selling one's hair can be a significant source of income — depending on length, thickness, condition, and color, wig makers have been known to pay as much as $40 for a head of hair. In the United States, cut hair of at least 10 inches (25 cm) length may be donated to a charity, such as Locks of Love. The remarkable head hair of humans has gained an important significance in nearly all present societies as well as any given historical period throughout the world. The haircut has always played a significant cultural and social role. © 2012 All Star Training, Inc. Page 1 • In the 17th century, Manchu invaders issued the Queue Order, requiring Chinese, who traditionally did not cut their hair, to shave their heads like Manchus. The Chinese resisted. Tens of thousands of people were killed due to their hairstyle.
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A Hair Piece: Perspectives on the Intersection of Race and Gender
A HAIR PIECE: PERSPECTIVES ON THE INTERSECTION OF RACE AND GENDER PAULETrE M. CALDWELL* I. OF SMALL BEGINNINGS A. Rediscovering My Hair I want to know my hair again, to own it, to delight in it again, to recall my earliest mirrored reflection when there was no beginning and I first knew that the person who laughed at me and cried with me and stuck out her tongue at me was me. I want to know my hairagain, the way I knew it before I knew that my hair is me, before I lost the right to me, before I knew that the burden of beauty-or tack of it-for an entire race of people could be tied up with my hair and me. I want to know my hair again, the way I knew it before I knew Sambo and Dick, Buckwheat and Jane, Prissy and Miz Scarlett. Before I knew that my hair could be wrong-the wrong color, the wrong texture, the wrong amount of curl or straight Before hot combs and thick grease and smelly-burning lye, all guaranteedto transform me, to silken the coarse, resistent wool that represents me. I want to know once more the time before I denatured, denuded, denigrated, and denied my hair and me, before I knew enough to worry about edges and kitchens and bur- rows and knots, when I was still a friend of water-the rain's dancing drops of water, a swimming hole's splashing water, a hot, muggy day's misty invisible water, my own salty, sweaty, perspiringwater.
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Women and Art in Weimar Germany 1918-1933
ENVISIONING THE NEW WOMAN Women and Art in Weimar Germany 1918-1933 Jordana Lennox Bachelor ofSocial Science History 1.11.2004 Submitted in part fulfilment of the degree of Bachelor of Arts (Honours) History 2004 *CONTENTS* Abbreviations ll • List of Figures ll Acknowledgements v Introduction 1 Chapter 1: The Weimar Woman: Between Image and Reality 9 Chapter 2: Hannah Hoch: Allegories of Weimar Femininity 30 Chapter 3: The Boring Dollies of Jeanne Mammen 52 Afterword 72 Bibliography 75 Abbreviations BIZ Berliner Illustrirte Zeitung AIZ Arbeiter Illustrirte Zeitung BDF Bund Deutscher Frauenvereine GDJ Grossdeutscher Jugendbund List of Figures Title Page Jupp Wiertz 1. 'Modernity and Male Anxiety' 3 (Berliner Illustrirte Zeitung, 1923) 2. 'The Modern Woman' 11 (Die Dame, 1927) 3. 'Ford Takes over the Production of the Tiller Girls' 14 Paul Simmel (Berliner Illustrirte Zeitung, 1926) 4. A Machine that Measures Beauty 15 (Berliner Illustrirte Zeitung, 1932) 5. Dancers in a Hall 18 Elsa Haensgen-Dingkuhn (1929) 6. Shop Window 19 Lea Grun dig ( 1936) 7. Mother and Daughter at the Hairdresser 21 Gerta Overbeck (1924) 8. The Labour Exchange 25 ii Grethe Jiirgens (1929) 9. German Girl 30 Hannah Hoch (1930) 10. Cut With the Kitchen Knife Dada Through the last Weimar Beer 36 Belly Cultural Epoch Hannah Hoch (1919-1920) 11. Dada Ernst 41 Hannah Hoch ( 1920-1921) 12. 'Working Women!' (advertisement for Creme Mouson) 42 (Berliner Illustrirte Zeitung 1930) 13. The Beautiful Girl 44 Hannah Hoch (1919-1920) 14. Hannah Hoch and Raoul Hausmann in front of their works at the First 47 International Dada Fair Berlinische Galerie (1920) 15.
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CREATE 2018 and Congratulations to All of Our Participating Students for Their Hard Work and Academic Achievements!
APRIL 13 2018 TABLE OF CONTENTS Schedule of Events . i About CREATE . ii Detailed Schedule of Events . iii Abstracts and Descriptions . 1 Artwork . 1 Dance Performances . 7 Demonstrations, New Media Studies . 8 Documentary . 11 Musical Performances . 11 Oral Presentations . 14 Panel Discussion . 46 Photography Exhibitors . 46 Poster Presentations . .47 i APRIL 13, 2018 SCHEDULE OF EVENTS- OVERVIEW 8:00 am – 9:00 am Registration, Student Center Vendor Nook 8:30 am – 10:00 am Oral Presentations, Session 1, Student Center Meeting Rooms New Media Studies Demonstrations, FAIC 243 Documentary, Student Center Theater 10:00 am – 10:30 am Coffee Break, Student Center Café 10:30 am – 11:45 am Oral Presentations, Session 2, Student Center Meeting Rooms New Media Studies Performances, FAIC 219 Dance Performace, Student Center Theater 11:45am – 12:30 pm Lunch, Student Center Café Photography Exhibit, Student Center Theater 12:30pm – 1:00 pm Awards and Recognition Ceremony, Betty Tipton Room 1:00 pm – 2:00 pm Poster Session, Betty Tipton Room Photography Exhibit, Student Center Theater 2:00 pm – 3:00 pm Panel Discussion, Student Center Meeting Rooms New Media Studies Demonstrations, FAIC 213 Dance Performances, Student Center Theater 3:00 pm – 4:00 pm Art Gallery Reception with Coffee and Dessert, Student Art Gallery, Wood Support Services Room 223 ii CREATE stands for Celebrating Research Excellence and Artistic Talent at Eastern, and it is the university’s annual conference showcasing student research and creative activity. The one-day conference will include talks, professional posters, live music, dance performances, art and photography exhibits, documentary films, and panel discussions.
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The Balloon That Lived on the Moon and Other New Poems
THE BALLOON THAT LIVED ON THE MOON AND OTHER NEW POEMS BILL KNOTT 1 Copyright 2009 Bill Knott The poems in this book are fictional. Names, characters, places and incidents are either the product of the author’s imagination or are used ficticiously. Any resemblance to actual events, locales or persons, living or dead, is entirely coincidental. 2 Intro Note * A selection of new work from around 2004 to the present. I have not included quatorzains or shorts: these can be found in the Lulu.com publications devoted to those forms. * The order of the poems is random, neither thematic or chronological. * 3 * 4 THE TRESPASS On every corner I stand the street ends. Others zoom home ignoring curbs and stops And find themselves in family or friends But I observe the sign don’t cross this line. I obey the words that say back away. I mind these limits shown in case they're mine: I share their lawful urge to prohibit— My own words witness so many sanctions How dare I unsubmit to any writ. I can't jaywalk or say I wonder why Verbotens written then can still turn now The unstoniest road to a no go by. What’s wondering me here is not this halt Or prior heedings where I nearly see Such blocks and stalls and balks are all my fault— I note the welcome-mat at the center Of my maze: how each sole turns back relieved To have found a spot it cannot enter. What’s wondering me then is what attends To nothing I say on my way nowhere.
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