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Femininity and Dress in fic- Tion by German Women Writers, 1840-1910
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Scripts, skirts, and stays: femininity and dress in fic- tion by German women writers, 1840-1910 https://eprints.bbk.ac.uk/id/eprint/40147/ Version: Full Version Citation: Nevin, Elodie (2015) Scripts, skirts, and stays: femininity and dress in fiction by German women writers, 1840-1910. [Thesis] (Unpub- lished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Scripts, Skirts, and Stays: Femininity and Dress in Fiction by German Women Writers, 1840-1910 Elodie Nevin Thesis submitted for the degree of PhD in German 2015 Department of European Cultures and Languages Birkbeck, University of London Declaration for PhD thesis I have read and understood the regulations for students of Birkbeck, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: Date: 12/08/2015 2 Abstract This thesis examines the importance of sartorial detail in fiction by German women writers of the nineteenth century. Using a methodology based on Judith Butler’s gender theory, it examines how femininity is perceived and presented and argues that clothes are essential to female characterisation and both the perpetuation and breakdown of gender stereotypes. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Fiscal Brief
New York City Independent Budget Office Fiscal Brief July 2021 A Full Accounting: How Much Does New York City Spend On Its Criminal Justice System? Summary Over the past year, much attention has focused on how much the city spends on policing. But the police department is only one part of a larger system responsible for law enforcement, including adjudication, and, when deemed appropriate, detention and other related functions. IBO has looked at the full cost of what is commonly known as the criminal justice system—from arrest to prosecution to incarceration and its alternatives—and tracked the changes in spending from 2001 through 2020. The report looks at the system as a whole as well as its component parts. Among our findings: • Spending by the agencies involved in the criminal justice system has grown from $5.1 billion in 2001 to $9.2 billion in 2020, an increase of 83 percent over two decades. When adjusted for inflation, though, the growth in spending is a far more modest 1.3 percent. • Funding from the city typically covers about 90 percent of the cost to support the system—$4.6 billion in city-generated funds in 2001 and $8.2 billion in 2020. • The police and correction departments have consistently absorbed most of the funds for the justice system. But over the past two decades, the two departments’ share of system spending has declined from 84 percent in 2001 to 79 percent in 2020. Conversely, despite the decline in the number of arrests over that period, there has been no corresponding decline in the share of criminal justice spending on the offices of the District Attorneys or Special Narcotics Prosecutor. -
SOCIAL CLASS in AMERICA TRANSCRIPT – FULL Version
PEOPLE LIKE US: SOCIAL CLASS IN AMERICA TRANSCRIPT – FULL Version Photo of man on porch dressed in white tank top and plaid shorts MAN: He looks lower class, definitely. And if he’s not, then he’s certainly trying to look lower class. WOMAN: Um, blue collar, yeah, plaid shorts. MAN: Lower middle class, something about the screen door behind him. WOMAN ON RIGHT, BROWN HAIR: Pitiful! WOMAN ON LEFT, BLOND HAIR, SUNGLASSES: Lower class. BLACK WOMAN, STANDING WITH WHITE MAN IN MALL: I mean, look how high his pants are up–my god! Wait a minute–I’m sorry, no offense. Something he would do. Photo of slightly older couple. Man is dressed in crisp white shirt, woman in sleeveless navy turtle neck with pearl necklace. WOMAN: Upper class. MAN: Yeah, definitely. WOMAN: Oh yeah. WOMAN: He look like he the CEO of some business. OLD WOMAN: The country club set- picture of smugness. GUY ON STREET: The stereotypical “my family was rich, I got the money after they died, now we’re happily ever after.” They don’t really look that happy though. Montage of images: the living situations of different social classes Song: “When you wish upon a star, makes no difference who you are. Anything your heart desires will come to you. If your heart is in your dream, no request is too extreme.” People Like Us – Transcript - page 2 R. COURI HAY, society columnist: It’s basically against the American principle to belong to a class. So, naturally Americans have a really hard time talking about the class system, because they really don’t want to admit that the class system exists. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
8/12/2020 Webinar Questions & Answers
8/12 Webinar Questions Question Answer Eligibility I am confused if I am allowed to apply for any of this funding. I have been Yes. Local governments as defined by the Illinois Constitution which told that I can, but I've also been told I can't. I am head of a Library are located outside of the 5-collar counties of Chicago are eligible. If District, so an unit of local government. Do I qualify at all? Thanks so you are considered a governmental body and a "special taxing district" much! you will need to apply for assistance. The most recent application period closed on July 24th. DCEO will re-open the application before the end of August. Per state statute, municipalities under 5,000 allocate funds by The appropriation of funds is viewed as the authority to spend. appropriation--not budget. How will that be addressed? Providing supporting documentation in the same manner, such as appropriations-related workpapers, if available, would be acceptable. My library district covers 2 counties; Lake and McHenry. I have received Lake County is also a direct recipient of CARES Act funding. If your certification information from Lake county with our allocation, will McHenry library district covers two counties, we recommend establishing county be sending a similar allocation? Or is this program just for those reasonable allocations based on patrons (e.g. 60% of your patrons entities in Lake County? are from Lake and 40% are from McHenry) to manage and submit reimbursement requests. Eligible Expenditures We are purchasing online permitting software so our residents can get Possibly. -
The Shape of Women: Corsets, Crinolines & Bustles
The Shape of Women: Corsets, Crinolines & Bustles – c. 1790-1900 1790-1809 – Neoclassicism In the late 18th century, the latest fashions were influenced by the Rococo and Neo-classical tastes of the French royal courts. Elaborate striped silk gowns gave way to plain white ones made from printed cotton, calico or muslin. The dresses were typically high-waisted (empire line) narrow tubular shifts, unboned and unfitted, but their minimalist style and tight silhouette would have made them extremely unforgiving! Underneath these dresses, the wearer would have worn a cotton shift, under-slip and half-stays (similar to a corset) stiffened with strips of whalebone to support the bust, but it would have been impossible for them to have worn the multiple layers of foundation garments that they had done previously. (Left) Fashion plate showing the neoclassical style of dresses popular in the late 18th century (Right) a similar style ball- gown in the museum’s collections, reputedly worn at the Duchess of Richmond’s ball (1815) There was public outcry about these “naked fashions,” but by modern standards, the quantity of underclothes worn was far from alarming. What was so shocking to the Regency sense of prudery was the novelty of a dress made of such transparent material as to allow a “liberal revelation of the human shape” compared to what had gone before, when the aim had been to conceal the figure. Women adopted split-leg drawers, which had previously been the preserve of men, and subsequently pantalettes (pantaloons), where the lower section of the leg was intended to be seen, which was deemed even more shocking! On a practical note, wearing a short sleeved thin muslin shift dress in the cold British climate would have been far from ideal, which gave way to a growing trend for wearing stoles, capes and pelisses to provide additional warmth. -
Fringe Season 1 Transcripts
PROLOGUE Flight 627 - A Contagious Event (Glatterflug Airlines Flight 627 is enroute from Hamburg, Germany to Boston, Massachusetts) ANNOUNCEMENT: ... ist eingeschaltet. Befestigen sie bitte ihre Sicherheitsgürtel. ANNOUNCEMENT: The Captain has turned on the fasten seat-belts sign. Please make sure your seatbelts are securely fastened. GERMAN WOMAN: Ich möchte sehen wie der Film weitergeht. (I would like to see the film continue) MAN FROM DENVER: I don't speak German. I'm from Denver. GERMAN WOMAN: Dies ist mein erster Flug. (this is my first flight) MAN FROM DENVER: I'm from Denver. ANNOUNCEMENT: Wir durchfliegen jetzt starke Turbulenzen. Nehmen sie bitte ihre Plätze ein. (we are flying through strong turbulence. please return to your seats) INDIAN MAN: Hey, friend. It's just an electrical storm. MORGAN STEIG: I understand. INDIAN MAN: Here. Gum? MORGAN STEIG: No, thank you. FLIGHT ATTENDANT: Mein Herr, sie müssen sich hinsetzen! (sir, you must sit down) Beruhigen sie sich! (calm down!) Beruhigen sie sich! (calm down!) Entschuldigen sie bitte! Gehen sie zu ihrem Sitz zurück! [please, go back to your seat!] FLIGHT ATTENDANT: (on phone) Kapitän! Wir haben eine Notsituation! (Captain, we have a difficult situation!) PILOT: ... gibt eine Not-... (... if necessary...) Sprechen sie mit mir! (talk to me) Was zum Teufel passiert! (what the hell is going on?) Beruhigen ... (...calm down...) Warum antworten sie mir nicht! (why don't you answer me?) Reden sie mit mir! (talk to me) ACT I Turnpike Motel - A Romantic Interlude OLIVIA: Oh my god! JOHN: What? OLIVIA: This bed is loud. JOHN: You think? OLIVIA: We can't keep doing this. -
Mechanical and Stress-Optical Properties of Photoelastic Materials
MECHANICAL AND STRESS-OPTICAL PROPERTIES OF PHOTOELAS!IC MATERIALS by YOSHIO TESHIMA A THESIS submitted to OREGON STATE COLLEGE in partial fulfillment of the requirements for the degree or MASTER OF SCIENCE June 1953 l}tSffiDr Redacted for Privacy rrfutrut S;ofr*rur l'f lrrlrut*l h6lnrslrs E ODugr cf lrJou Redacted for Privacy Redacted for Privacy @le.rr Of Eohoot 6rrdu*r Redacted for Privacy Erta Sr;1r lr Dror.aid !tp.C E {rllr f. .hm ,, : ACKNOWLEOOMENT Sincere appreciation is expressed to H. D. Christensen, Assistant Professor of Mechani cal Engineering, who sug eated the thesis subject, and under. whose direction this thesis was com pleted. TABLE OF CONTENTS Page I. I NTRODUCTION • • • • • • • • • • • • • • • • • l II. THE PROTOBLASTIC METHOD OF STRESS ANALYSIS • • 4 III. BASIC REQUIREMENTS OF PHOTOELASTIC MATERIALS • 9 IV. PHOTOELASTIC MATERIAI,S • • • • • • • • • • • • 1. Gl ass • • • • • • • • • • • • • • • • • • • 15 2. Cellu1oid • • • • • • • • • •. • • • • • • • 16 3. Cata1in 61-893 • • • • • • • • • • • • • • 18 4. Fosterite • • • • • • • • • • • • • • • • • 21 5. Homa1ite CR-39 _ • • • • • • • • • • • • • • 22 6. Y...ris ton • • • • • • • • • • • • • • • • • • 24 7. Pl ex1g1nss and Lucite • • • • • • • • • • • 25 6. l!arb1ette • • • • • • • • • • • • • • • • • 26 9. Viny11te • • • • • • • • • • • • • • • • • 27 10. Summary of the Properties of Photoelastie Materials • • • • • • • • • • • • • • • • ~ 26 V. CASTING ND TESTING SEL: ~CTED POLYESTER RESINS • 31 1 • . Selection of Resins • • • • • • • • • • •. • 34 2. Mixing the -
Atlanta Cure Violence August 26, 2019 Summary the Community
Request for Proposals: Atlanta Cure Violence August 26, 2019 Summary The Community Safety Committee of Neighborhood Planning Unit-V and its supporters are pleased to present this Request for Proposals (RFP) to implement a community-based violence intervention program in the Neighborhood Planning Unit-V (NPU-V) neighborhoods of Atlanta, based on the Cure Violence (www.cureviolenceglobal.org) model. This will be the first Cure Violence affiliated program in Georgia. This RFP seeks a qualified non-profit organization that embraces a public health approach to gun violence, has strong community ties, and has the capacity to attract and manage diverse funding sources. As this RFP describes, some funding commitments have been obtained, but the non-profit organization will need to assist with additional fundraising in order to prepare to launch the Cure Violence model in early 2020. Context According to the Centers for Disease Control and Prevention, gun violence is the leading cause of death for young black males, ages 15 to 24. It is an epidemic that disproportionately affects low-income communities and communities of color at an alarming rate. The neighborhoods southwest of downtown Atlanta continue to experience a disproportionate burden of violence and its corollary effects on investment, civic participation and community development. Furthermore, many of the residents of these neighborhoods suffer the direct effects of repeated trauma and the indirect effects of unhealed past traumas. Recent months have also seen a disturbing increase in gun violence, including homicides, in the NPU-V neighborhoods (Peoplestown, Summerhill, Mechanicsville, Pittsburgh, Adair Park and Capitol Gateway). The Community Safety Committee of NPU-V and its supporters are initiating this Request for Proposals to implement a community-based violence intervention program in the NPU-V neighborhoods that would coordinate with the local hospital-based violence intervention program (PIVOT) and would be based on the Cure Violence model. -
Expanding the CURE Model
Published by Research Corporation for Science Advancement Research Corporation for Science Advancement is a foundation that provides catalytic and opportunistic funding for innovative Expanding the CURE Model: scientific research and the development of academic scientists Course-Based Undergraduate Research Experience who will have a lasting impact on science and society. “In recent years, faculty have recognized that the excitement and deeper understanding the Course-Based CURE Research ExperienceExpanding Model: Undergraduate of science that students experience when they participate in laboratory research can be successfully scaled to a much larger student population by incorporating research into the curriculum. As faculty have learned how to make these course-based undergraduate research experiences most effective, we are very pleased to be able to compile and share their insights through this publication. We expect this how-to guide will be extremely useful for faculty at colleges and universities across the country as they seek to enhance student learning.” Daniel Linzer, President, Research Corporation for Science Advancement Edited by Rory Waterman Jen Heemstra Expanding the CURE Model: Course-based Undergraduate Research Experience Edited by Rory Waterman Jen Heemstra Published by Research Corporation for Science Advancement ii iii ©2018 Research Corporation for Science Advancement All rights reserved. First edition 2018. Not for quotation or reproduction without permission of the authors or Research Corporation for Science Advancement Design by Godat Design ISBN-13: 978-0-692-12373-7 4703 East Camp Lowell Drive, Suite 201 Tucson Arizona 85712 iv v Contents Foreword vi Preface viii Part I: Before 1 Development of a ‘Quick-Start’ Guide 3 Rory Waterman, University of Vermont 2 Getting a Leg Up on Research: The pre-CURE Model 11 Rory Waterman, University of Vermont Part II: During 3 Continuum of Labs 29 Jennifer L. -
The Nineteenth Century (History of Costume and Fashion Volume 7)
A History of Fashion and Costume The Nineteenth Century Philip Steele The Nineteenth Century Library of Congress Cataloging-in-Publication Data Copyright © 2005 Bailey Publishing Associates Ltd Steele, Philip, 1948– Produced for Facts On File by A history of fashion and costume. Bailey Publishing Associates Ltd The Nineteenth Century/Philip Steele 11a Woodlands p. cm. Hove BN3 6TJ Includes bibliographical references and index. Project Manager: Roberta Bailey ISBN 0-8160-5950-0 Editor:Alex Woolf 1. Clothing and dress—History— Text Designer: Simon Borrough 19th century. 2. Fashion—History— Artwork: Dave Burroughs, Peter Dennis, 19th century. Tony Morris GT595.S74 2005 Picture Research: Glass Onion Pictures 391/.009/034—dc 22 Consultant:Tara Maginnis, Ph.D. 2005049453 Associate Professor of the University of Alaska, Fairbanks, and creator of the website,The The publishers would like to thank Costumer's Manifesto (http://costumes.org/). the following for permission to use their pictures: Printed and bound in Hong Kong. Art Archive: 17 (bottom), 19, 21 (top), All rights reserved. No part of this book may 22, 23 (left), 24 (both), 27 (top), 28 be reproduced or utilized in any form or by (top), 35, 38, 39 (both), 40, 41 (both), any means, electronic or mechanical, including 43, 44, 47, 56 (bottom), 57. photocopying, recording, or by any information Bridgeman Art Library: 6 (left), 7, 9, 12, storage or retrieval systems, without permission 13, 16, 21 (bottom), 26 (top), 29, 30, 36, in writing from the publisher. For information 37, 42, 50, 52, 53, 55, 56 (top), 58. contact: Mary Evans Picture Library: 10, 32, 45.