Finding Aid to the Charles Appleton Longfellow
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Custom Pantsu~
Custom Pantsu~ In all the world is there anything else that brings a smiles to the faces of all those who see it? Is there anything young maidens so modestly protect from breezes, puddles, stairs, and creepy guys with cell-phones? The holy grail hidden beneath skirts around the world: pantsu! Ahem. If you love pantsu (or even if you don’t!), this is the supplement for you! Here, you can make as many pantsu as you like, as long as you have the pantsu points (<) to pay for them. Please note that any pantsu options that give you points only count towards the current set of pantsu you’re designing. Soooooo no hoarding a warehouse of granny panties to build some 5000 point pantsu monster, you weirdo. Here! Take these to make your perfect pantsu~! + 1000 < > Style & Shape [ In this section, you get to choose what style your new pantsu are! You know, the shape, the cut, the material, the way they’re put together! All of these are extremely important to that way the pantsu looks and feels when worn, so choose carefully! Regular Pantsu: Free, No < Some people call them boring, but that’s prejudiced! Even plain pantsu display a simple, even pure, aura that makes men (and some women) all over the world smile, just at the sight of them. We’ve all had pantsu like these, and it’s hard to imagine somebody who doesn’t appreciate them. Boy's Briefs Pantsu: 100 < Are you sure these are pantsu? They look like my little brot- Oh! I mean, yes! These are indeed pantsu worth spending points on! I guess. -
1423778527171.Pdf
Bahamut - [email protected] Based on the “Touhou Project” series of games by Team Shanghai Alice / ZUN. http://www16.big.or.jp/~zun/ The Touhou Project and its related properties are ©Team Shanghai Alice / ZUN. The Team Shanghai Alice logo is ©Team Shanghai Alice / ZUN. Illustrations © their respective owners. Used without permission. Tale of Phantasmal Land text & gameplay ©2011 Bahamut. This document is provided “as is”. Your possession of this document, either in an altered or unaltered state signifies that you agree to absolve, excuse, or otherwise not hold responsible Team Shanghai Alice / ZUN and/or Bahamut, and/or any other individuals or entities whose works appear herein for any and/or all liabilities, damages, etc. associated with the possession of this document. This document is not associated with, or endorsed by Team Shanghai Alice / ZUN. This is a not-for-profit personal interest work, and is not intended, nor should it be construed, as a challenge to Team Shanghai Alice / ZUN’s ownership of its Touhou Project copyrights and other related properties. License to distribute this work is freely given provided that it remains in an unaltered state and is not used for any commercial purposes whatsoever. All Rights Reserved. Introduction Choosing a Race (Cont.’d) What Is This Game All About? . 1 Magician . .20 Too Long; Didn’t Read Version . 1 Moon Rabbit . .20 Here’s the Situation . 1 Oni . .21 But Wait! There’s More! . 1 Tengu . .21 Crow Tengu . .22 About This Game . 2 White Wolf Tengu . .22 About the Touhou Project . 2 Vampire . .23 About Role-Playing Games . -
Cloth Without Weaving: Beaten Barkcloth of the Pacific Islands, November 1, 2000-February 18, 2001
Cloth Without Weaving: Beaten Barkcloth of the Pacific Islands, November 1, 2000-February 18, 2001 Unlike most textiles, which are made of interworked yarns, beaten barkcloth is made of strips of the inner bark of trees such as the paper mulberry, breadfruit, or fig, pounded together into a smooth and supple fabric. It is an ancient craft, practiced in southern China and mainland Southeast Asia over 5,000 years ago. From there, the skill spread to eastern Indonesia and the Pacific Islands. While the technique is also known in South America and Africa, it is most closely associated with the islands of Polynesia. In Polynesia, the making of beaten barkcloth, or tapa, as it is commonly known, is primarily women's work. The technique is essentially the same throughout the Pacific Islands, with many local variations. Bark is stripped from the tree, and the inner bark separated from the outer. The inner bark is then pounded with wooden beaters to spread the fibers into a thin sheet. Large pieces of tapa can be made by overlapping and pounding together several smaller sheets. Women decorate the cloth in many ways, and techniques are often combined. Mallets carved or inlaid with metal or shell designs may impart a subtle texture to the surface. Color may be applied with stamps, stencils, freehand painting, or by rubbing dye into the tapa over a patterned board. Glazes may be brushed onto the finished cloth. Each tapa-producing culture has its own vocabulary of recognized decorative motifs. Many pattern names are drawn from the natural world, and the motifs appear as highly stylized images of local flora and fauna or simple geometric shapes. -
The 46Th Annual
the 46th Annual 2018 TO BENEFIT NANTUCKET COMMUNITY SAILING PROUD TO SPONSOR MURRAY’S TOGGERY SHOP 62 MAIN STREET | 800-368-3134 2 STRAIGHT WHARF | 508-325-9600 1-800-892-4982 2018 elcome to the 15th Nantucket Race Week and the 46th Opera House Cup Regatta brought to you by Nantucket WCommunity Sailing, the Nantucket Yacht Club and the Great Harbor Yacht Club. We are happy to have you with us for an unparalleled week of competitive sailing for all ages and abilities, complemented by a full schedule of awards ceremonies and social events. We look forward to sharing the beauty of Nantucket and her waters with you. Thank you for coming! This program celebrates the winners and participants from last year’s Nantucket Race Week and the Opera House Cup Regatta and gives you everything you need to know about this year’s racing and social events. We are excited to welcome all sailors in the Nantucket community to join us for our inaugural Harbor Rendezvous on Sunday, August 12th. We are also pleased to welcome all our competitors, including young Opti and 420 racers; lasers, Hobies and kite boarders; the local one design fleets; the IOD Celebrity Invitational guest tacticians and amateur teams; and the big boat regatta competitors ranging from Alerions and Wianno Seniors to schooners and majestic classic yachts. Don’t forget that you can go aboard and admire some of these beautiful classics up close, when they will be on display to the public for the 5th Classic Yacht Exhibition on Saturday, August 18th. -
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Milton Keynes, London Birmingham and the North Victoria Watford Junction London Brentford Waterloo Syon Lane Windsor & Shepherd’s Bush Eton Riverside Isleworth Hounslow Kew Bridge Kensington (Olympia) Datchet Heathrow Chiswick Vauxhall Airport Virginia Water Sunnymeads Egham Barnes Bridge Queenstown Wraysbury Road Longcross Sunningdale Whitton TwickenhamSt. MargaretsRichmondNorth Sheen BarnesPutneyWandsworthTown Clapham Junction Staines Ashford Feltham Mortlake Wimbledon Martins Heron Strawberry Earlsfield Ascot Hill Croydon Tramlink Raynes Park Bracknell Winnersh Triangle Wokingham SheppertonUpper HallifordSunbury Kempton HamptonPark Fulwell Teddington Hampton KingstonWick Norbiton New Oxford, Birmingham Winnersh and the North Hampton Court Malden Thames Ditton Berrylands Chertsey Surbiton Malden Motspur Reading to Gatwick Airport Chessington Earley Bagshot Esher TolworthManor Park Hersham Crowthorne Addlestone Walton-on- Bath, Bristol, South Wales Reading Thames North and the West Country Camberley Hinchley Worcester Beckenham Oldfield Park Wood Park Junction South Wales, Keynsham Trowbridge Byfleet & Bradford- Westbury Brookwood Birmingham Bath Spaon-Avon Newbury Sandhurst New Haw Weybridge Stoneleigh and the North Reading West Frimley Elmers End Claygate Farnborough Chessington Ewell West Byfleet South New Bristol Mortimer Blackwater West Woking West East Addington Temple Meads Bramley (Main) Oxshott Croydon Croydon Frome Epsom Taunton, Farnborough North Exeter and the Warminster Worplesdon West Country Bristol Airport Bruton Templecombe -
Ryde Esplanade
17 May until late Summer 2021 BUS REPLACEMENT SERVICE , oad t sheaf Inn enue recourt splanade Av fo on Stree ading andown Ryde E Ryde Br S Lake Shanklin Bus Station St Johns R The Wheat The Broadway The Shops Station Monkt Station Ryde Pier Head by Jubilee Place Isle of Wight Steam Railway Sandown Sandown Bay Revised Timetable – ReplacementGrove R oadBus ServiceAcademy Monday Ryde Pier 17 Head May - untilRyde Esplanadelate Summer - subject 2021 to Wightlink services operating RydeRyde Pier Esplanade Head to -Ryde Ryde Esplanade St Johns Road - Brading - Sandown - Lake - Shanklin RydeBuses Esplanaderun to the Isle to of ShanklinWight Steam Railway from Ryde Bus Station on the hour between 1000 - 1600 SuX SuX SuX SuX Ryde Pier Head 0549 0607 0628 0636 0649 0707 0728 0736 0749 0807 0828 0836 0849 0907 Ryde Esplanade Bus Station 0552 0610 0631 0639 0652 0710 0731 0739 0752 0810 0831 0839 0852 0910 Ryde Pier Head 0928 0936 0949 1007 1028 1036 1049 1107 1128 1136 1149 1207 1228 1236 Ryde Esplanade Bus Station 0931 0939 0952 1010 1031 1039 1052 1110 1131 1139 1152 1210 1231 1239 Ryde Pier Head 1249 1307 1328 1336 1349 1407 1428 1436 1449 1507 1528 1536 1549 1607 Ryde Esplanade Bus Station 1252 1310 1331 1339 1352 1410 1431 1439 1452 1510 1531 1539 1552 1610 Ryde Pier Head 1628 1636 1649 1707 1728 1736 1749 1807 1828 1836 1849 1907 1928 1936 Ryde Esplanade Bus Station 1631 1639 1652 1710 1731 1739 1752 1810 1831 1839 1852 1910 1931 1939 Ryde Pier Head 1949 2007 2028 2036 2049 2128 2136 2149 2228 2236 2315 Ryde Esplanade Bus Station 1952 2010 -
The Mythologizing of the Great Lakes Whaleback
VERNACULAR IN CURVES: THE MYTHOLOGIZING OF THE GREAT LAKES WHALEBACK by Joseph Thaddeus Lengieza April, 2016 Director of Thesis: Dr. Bradley Rodgers Major Department: Maritime Studies, History The “whaleback” type of bulk commodity freighter, indigenous to the Great Lakes of North America at the end of the nineteenth century, has engendered much notice for its novel appearance; however, this appearance masks the essential vernacularity of the vessel. Comparative disposition analysis reveals that whalebacks experienced longevity comparable to contemporary Great Lakes freighter of similar construction material and size, implying that popular narrative overstates whaleback abnormality. Market and social forces which contributed to the rise and fall of the whaleback type are explored. VERNACULAR IN CURVES: THE MYTHOLOGIZING OF THE GREAT LAKES WHALEBACK A Thesis Presented To the Faculty of the Department of Maritime Studies East Carolina University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Maritime Studies by Joseph Thaddeus Lengieza April, 2016 © Joseph Thaddeus Lengieza, 2016 VERNACULAR IN CURVES: THE MYTHOLOGIZING OF THE GREAT LAKES WHALEBACK By Joseph Thaddeus Lengieza APPROVED BY: DIRECTOR OF THESIS:_________________________________________________________ Bradley Rodgers, Ph.D. COMMITTEE MEMBER: _______________________________________________________ Nathan Richards, Ph.D. COMMITTEE MEMBER: _______________________________________________________ David Stewart, Ph.D. COMMITTEE MEMBER: _______________________________________________________ -
Mctolber-November 1982
mctolber- November 1982 Editor's Note: The effect of change on people and na tions is commonly accepted fact. Pursuing ways to predict, cause, deter, accommo date or confront change and its conse quences is how most of us spend our lives. Dealing with change is rarely easy, con venient or painless; and as Henry Steele Commager notes, "Change does not necessarily assure progress but progress implacably requires change. " It is from such viewpoint that this issue looks at change and the portent of change on this nation, its maritime Industry - in cluding seafarers, and the Seamen's Church Institute - past, present and future. From seafarer, maritime executive and artist to Institute board manager, Oxford don and poet, we think you will find their observations and concerns about change provocative and challenging ones. We would also like to know your reactions to this issue. Carlyle Windley Editor 1:00KOUT Volume 74 Number 3 October-November 1982 © 1982 Seamen's Church In stitute of New York an d New Jersey In Search of a Miracle American seamen speak out on the future of the nation's 2 merchant marine and their chances as professional seamen . America's Future: A View from Abroad Highlights from an intensive study by Oxford dons of the 5 technological , socio-economic and political forces changing America and the American Dream. The Sandy Hook Pilots A close-up look at one of the Port's most esteemed but 10 little known associations. The Era of the Floating Chapels The origin of the floating church for seafarers and the, role of the floating chapel in the history of the 29 Institute and the Port of New York . -
Felice Beato: a Photographer on the Eastern Road
OBJECT LIST Felice Beato: A Photographer on the Eastern Road At the J. Paul Getty Museum, Getty Center December 7, 2010 — April 24, 2011 EARLY YEARS AND INDIA 1. Panorama of Lucknow taken from the 4. Native Servants, 1858-1859 Kaisarbagh, 1858 Felice Beato (British, born Italy, 1832– Felice Beato (British, born Italy, 1832– 1909) 1909) Albumen silver print Six albumen silver prints Image: 19.2 x 14.7 cm. (7 9/16 x 5 Image: 25.3 x 178.5 cm. (9 15/16 x 70 13/16 in.) ¼ in.) The J. Paul Getty Museum, Los Angeles, Collection Canadian Centre for Partial gift from the Wilson Centre for Architecture, Montréal, Canada, Photography, 2007.26.128 L.2010.1 5. Portrait of a Native Servant, 1858-1859 2. Panorama of Peking, Taken from the Felice Beato (British, born Italy, 1832– South Gate, Leading into the Chinese 1909) City, negatives, 1860; prints by Henry Albumen silver print Hering, 1862 Image: 17.3 x 13.6 cm. (6 13/16 x 5 Felice Beato (British, born Italy, 1832– 3/8 in.) 1909) The J. Paul Getty Museum, Los Angeles, Sixalbumen silver prints Partial gift from the Wilson Centre for Image: 22.3 x 175.4 cm. (14 5/8 x 69 Photography, 2007.26.129 1/16 in.) The J. Paul Getty Museum, Los Angeles, 6. Hodson’s Horse, 1858-1859 Partial gift from the Wilson Centre for Felice Beato (British, born Italy, 1832– Photography, 2007.26.198.31 1909) Albumen silver print 3. Panorama of Edo Showing Daimyo Image: 23.2 x 29.3 cm. -
The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity
The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity by Tunde M. Akinwumi Department of Home Science University of Agriculture, Abeokuta, Nigeria Abstract The paper investigated the nature of machine-produced fabric commercially termed African prints by focusing on a select sample of these prints. It established that the general design characteristics of this print are an amalgam of mainly Javanese, Indian, Chinese, Arab and European artistic tradition. In view of this, it proposed that the prints should reflect certain aspects of Africanness (Africanity) in their design characteristics. It also explores the desirability and choice of certain design characteristics discovered in a wide range of African textile traditions from Africa south of the Sahara and their application with possible design concepts which could be generated from Macquet’s (1992) analysis of Africanity. This thus provides a model and suggestion for new African prints which might be found acceptable for use in Africa and use as a veritable export product from Africa in the future. In the commercial parlance, African print is a general term employed by the European textile firms in Africa to identify fabrics which are machine-printed using wax resins and dyes in order to achieve batik effect on both sides of the cloth, and a term for those imitating or achieving a resemblance of the wax type effects. They bear names such as abada, Ankara, Real English Wax, Veritable Java Print, Guaranteed Dutch Java Hollandis, Uniwax, ukpo and chitenge. Using the term ‘African Print’ for all the brand names mentioned above is only acceptable to its producers and marketers, but to a critical mind, the term is a misnomer and therefore suspicious because its origin and most of its design characteristics are not African. -
Aug-Sept 2016
The Goodnewsletter A Newsletter for Members of St. Ann, St. Vincent de Paul & St. Patrick Parishes Stannlenox.org/[email protected] 134 Main St., Lenox, MA 01240 (413) 637-0157 Volume 4 - Issue 2 September 2016 A NOTE FROM OUR PASTOR . On June 20th, our first parish meeting was held in the Family Center. There were some 55 people in attendance. To prepare for the parish meeting a survey was posted on the parish website and available for parishioners to answer. Some submitted an available paper survey. The results are posted on the parish web site and will remain available for anyone to consult throughout the year. Some 58 persons answered the survey. The results ran to some 50+ pages. A synthesis of the material will be posted on the website soon. However, I urge everyone to read the survey responses. All of the responses were well thought out and cogently expressed. There seems to be a remark- able consensus on many mattes and a thoughtful disagreement on others. At the parish meeting, fortunately, it turns out; I was not able to present a synthesis of the survey because I could not hook up my laptop to the projector. As a happy consequence the conversation among the participants begins right away, based upon what they wanted to express and not as a response to my presentation. The conversation was spirited and fruitful. Participants focused on three overriding issues: faith formation, stabilizing our financial situation, and outreach in general but particularly to youth and young adults. A variety of views were expressed and differences were very respectfully express and received. -
What They Wear the Observer | FEBRUARY 2020 | 1 in the Habit
SPECIAL SECTION FEBRUARY 2020 Inside Poor Clare Colettines ....... 2 Benedictines of Marmion Abbey What .............................. 4 Everyday Wear for Priests ......... 6 Priests’ Vestments ...... 8 Deacons’ Attire .......................... 10 Monsignors’ They Attire .............. 12 Bishops’ Attire ........................... 14 — Text and photos by Amanda Hudson, news editor; design by Sharon Boehlefeld, features editor Wear Learn the names of the everyday and liturgical attire worn by bishops, monsignors, priests, deacons and religious in the Rockford Diocese. And learn what each piece of clothing means in the lives of those who have given themselves to the service of God. What They Wear The Observer | FEBRUARY 2020 | 1 In the Habit Mother Habits Span Centuries Dominica Stein, PCC he wearing n The hood — of habits in humility; religious com- n The belt — purity; munities goes and Tback to the early 300s. n The scapular — The Armenian manual labor. monks founded by For women, a veil Eustatius in 318 was part of the habit, were the first to originating from the have their entire rite of consecrated community virgins as a bride of dress alike. Belt placement Christ. Using a veil was Having “the members an adaptation of the societal practice (dress) the same,” says where married women covered their Mother Dominica Stein, hair when in public. Poor Clare Colettines, “was a Putting on the habit was an symbol of unity. The wearing of outward sign of profession in a the habit was a symbol of leaving religious order. Early on, those the secular life to give oneself to joining an order were clothed in the God.” order’s habit almost immediately.