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Friends Around Europe
COMENIUS PROJECT 2011-2013 FRIENDS AROUND EUROPE MELLISTE ALGKOOL-LASTEAED, TARTU, ESTONIA ÉCOLES MATERNELLE ET ÉLÉMENTAIRE DE PONT, ÉCHENOZ LA MÉLINE, FRANCE SZIVÁRVÁNY ÓVODA, SZÉKESFEHÉRVÁR, HUNGARY ISTITUTO COMPRENSIVO DI ATRI, ATRI, ITALY SZKOŁA PODSTAWOWA nr 199 im. JULIANA TUWIMA, ŁÓDŹ, POLAND ESCOLA PAЇSOS CATALANS LLEIDA, CATALONIA, SPAIN LLANDOGO PRIMARY SCHOOL, WALES, UNITED KINGDOM MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 International Music Day 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Castanyada 1st October - International Music Day The teachers perform songs to children. They sing the songs and play upon flute. 31st October - La castanyada In Catalonia every autumn, we celebrate a traditional holiday named “LA CASTANYADA”( = The chesnut Day). A long time ago, on 31st October night, families gathered together by the fireplace and told dead people stories, because the All Saints‟ Eve. In this celebration we cook a kind of sweet little cakes (PANELLETS) and toast chesnuts and sweet potatoes. In our school we participate in a Panellets workshop, autumn crafts, and afternoon festival with dances and songs. There are others schools that also cook chesnuts. This is our PANELLETS RECIPE. Ingredients: 1 kg almond flour 1 kg (or 900gr) sugar. 200 gr boiled potatoe (with the skin). -
Williquette Uccs 0892N 10490.Pdf (1.599Mb)
INVESTIGATING THE REASONS WOMEN WEAR CHOKER NECKLACES by HEATHER ANN WILLIQUETTE B.A., University of Wisconsin-Eau Claire, 2015 A thesis submitted to the Graduate Faculty of the University of Colorado Colorado Springs in partial fulfillment of the requirements for the degree of Master of Arts Department of Psychology 2019 ii This thesis for the Master of Arts degree by Heather Ann Williquette has been approved for the Department of Psychology by Laith Al-Shawaf, Chair Michael A. Kisley Michelle J. Escasa-Dorne Date 7-31-2019 iii Williquette, Heather Ann (M.A., Psychology) Investigating the Reasons Women Wear Choker Necklaces Thesis directed by Assistant Professor Laith Al-Shawaf ABSTRACT Choker necklaces have been around for centuries, carrying with them different cultural and societal connotations. However, little to no research investigates the reasons why women continue to wear choker necklaces today. Three studies were conducted in an attempt to explain why women may choose to wear choker necklaces. The first study (N = 204) examined women’s self-reports pertaining to her physical appearance and behaviors, and men’s perceptions of a woman in a photo on various measures. For the photo evaluations, we manipulated three different photos of three different women to create two conditions of a woman either wearing a choker or not wearing a choker. Men were randomly assigned to one of these conditions and were asked to evaluate the photograph. Findings reveal that women who self-reported wearing chokers more frequently had higher sociosexual orientations than women who self-reported wearing chokers less frequently, and men perceived the woman in the Choker condition to have a higher sociosexual orientation than the woman in the Nonchoker condition. -
The Age of Brass and Steam Kerchief Page 2 – Stitch Patterns
The Age of Brass and Steam INSTRUCTIONS: See page 2 for stitch patterns Kerchief 1. GARTER TAB: A free knitting pattern by Orange Flower Yarn Cast on 2 sts. Knit 6 rows. Pick up and knit 3 sts down left side of knitting, one in each garter ridge. Pick up and knit 2 sts from the 2 cast on sts. A total of 7 sts on the needle. 2. SET UP ROW: (WS) – K2, YO, P1, PM, P1, PM, P1, YO, K2. 9 sts 3. Work the STOCKINETTE PATTERN 7 times, then work another row 1 of the STOCKINETTE PATTERN. (15 rows worked) 55 sts Materials: DK to worsted weight yarn - approx. 230 yards 4. Work the GARTER/EYELET SECTION 1 to knit a small kerchief time. (3 rows worked) US 8 / 5mm 24-32 inch / 60-80 cm circular 63 sts needle for knitting flat Darning needle 5. Work the STOCKINETTE PATTERN 10 times, then work another row 1 of the Finished Measurements: STOCKINETTE PATTERN. (21 rows worked) Approx. 53 in. x 15 in (135 cm x 38 cm) when 127 sts blocked aggressively 6. Work the GARTER/EYELET SECTION 1 Gauge: time. (3 rows worked) 24 rows and 18 sts/ 4 inches in stockinette, 135 sts unblocked – exact gauge is not important. 7. Work the STOCKINETTE PATTERN 10 Abbreviations: times, then work row 1 of the STOCKINETTE K2tog - knit 2 together PATTERN. (21 rows worked) M1R - make one right 199 sts M1L - make one left PM - place marker 8. Work the GARTER/EYELET SECTION 1 RS - right side time. -
Storage Treasure Auction House (CLICK HERE to OPEN AUCTION)
09/28/21 04:44:04 Storage Treasure Auction House (CLICK HERE TO OPEN AUCTION) Auction Opens: Tue, Nov 27 5:00am PT Auction Closes: Thu, Dec 6 2:00pm PT Lot Title Lot Title 0500 18k Sapphire .38ct 2Diamond .12ct ring (size 9) 0533 Watches 0501 925 Ring size 6 1/2 0534 Watches 0502 925 Chain 0535 Watches 0503 925 Chain 0536 Watches 0504 925 Bracelet 0537 Watches 0505 925 Tiffany company Braceltes 0538 Watch 0506 925 Ring size 7 1/4 0539 Watch 0507 925 Necklace Charms 0540 Watches 0508 925 Chain 0541 Watches 0509 925 Silver Lot 0542 Kenneth Cole Watch 0510 925 Chain 0543 Watches 0511 925 Silver Lot 0544 Pocket Watch (needs repair) 0512 925 Necklace 0545 Pocket Watch 0513 10K Gold Ring Size 7 1/4 0546 Earrings 0514 London Blue Topaz Gemstone 2.42ct 0547 Earrings 0515 Vanity Fair Watch 0548 Earrings 0516 Geneva Watch 0549 Earrings 0517 Watches 0550 Earrings 0518 Jordin Watch 0551 Earrings 0519 Fossil Watch 0552 Earrings 0520 Watches 0553 Necklace 0521 Watches & Face 0554 Necklaces 0522 Necklace 0555 Necklace Charms 0523 Watches 0556 Necklace 0524 Kenneth Cole Watch 0557 Necklaces 0525 Pennington Watch 0558 Belly Dancing Jewelry 0526 Watch 0559 Bracelet 0527 Watches 0560 Horseshoe Necklace 0528 Watches 0561 Beaded Necklaces 0529 Watch Parts 0562 Mixed Jewelry 0530 Watches 0563 Necklace 0531 Watch 0564 Earrings 0532 Watch 0565 Chains 1/6 09/28/21 04:44:04 Lot Title Lot Title 0566 Necklace 0609 Chains 0567 Necklace 0610 Necklace 0568 Necklace 0611 Necklace 0569 Necklace 0612 Bracelets 0570 Necklace 0613 Necklace With Black Hills gold Charms 0571 -
Julia Kostsova
Julia Kostsova GALLERY ON FIFTH Naples, Florida Julia Kostsova RUSSIAN TRADITIONS Exhibition dedicated to 400 anniversairy of Romanov's Dynasty Russian Traditions Russia is indeed a unique country, which, along with highly developed modern culture carefully preserves the national traditions deeply rooted not only in the Orthodox religion but also in paganism. The Russians still celebrate pagan holidays, many people believe in numerous omens and legends. Christianity gave Russians such great holidays as Easter and Christmas, and Paganism - Maslenitsa and Ivan Kupala. Old traditions are passed on from generation to generation. Easter Easter is the day of the resurrection of Christ. The holiday came to Russia from Byzantium together with Russia's christening in the end of the 10th century. Since then, this Christian holiday has been widely celebrated all over Russia. Christmas Christmas is the holiday of the birth of Jesus Christ, the Savior of the world, whose advent gave people hope for mercy, kindness, truth and eternal life. The Orthodox Church observes Christmas according to the Julian Calendar, on January 7, while Western churches celebrate it on December 25, in accordance with the Gregorian Calendar. Ivan Kupala Even in the time of the ancient pagan deity Ancient Russians used to have Kupalo, the God of summer fertility. In his honor people of sang songs and jumped over the bonfire. This ritual act has become an annual celebration of summer solstice, combining a pagan and Christian traditions. Kupala got the name Ivan after the baptizing of Russia, when he was replaced by John the Baptist (the way he was percepted by common people), who baptized Christ and whose birthday was celebrated on 24 June. -
Sample Elementary Exam Paper 1
THE HERALDRY SOCIETY EXAMINATIONS BOARD ELEMENTARY EXAMINATION SPECIMEN PAPER 1 THREE HOURS ALLOWED INSTRUCTIONS TO CANDIDATES All questions carry equal marks Answer ALL THREE questions in Part A, and answer TWO of the three questions in Part B. A proportion of marks not exceeding 10% will be awarded for presentation of answers, in particular respecting legibility of writing and the clarity (not artistry) of illustrations. Part A 1. BLAZON the ten shields drawn and tricked on the attached sheet. 2.i DRAW and TRICK the following three shields -- a) Sable, on a Chevron between three griffins’ heads erased Or as many estoiles Gules. b) Argent, three spearheads in fess Gules, a chief Azure. c) Or crusilly Azure, a chevron counter-compony Argent and Sable. 2.ii DRAW and HATCH the following two examples -- d) Per saltire nebuly Ermine and Azure, five annulets in cross Or. e) Or two bendlets sinister Vert between in chief a lion’s face Azure and in base a fleur-de-lis Gules. THE HERALDRY SOCIETY EXAMINATIONS BOARD ELEMENTARY EXAMINATION SPECIMEN PAPER 1 (continued) 3. DRAW IN COLOUR the full achievement of Peter 6th Baron Carrington of Upton K.G. : -- Arms: Or, a chevron cotised between three demi-griffins the two in chief respectant Sable. Crest: An elephant’s head erased Or, eared Gules, charged on the neck with three fleurs-de-lis two and one Azure Supporters: Two griffins wings elevated Sable, the dexter charged with three fleurs-de-lis palewise Or, the sinister with three trefoils slipped palewise of the last Motto: TENAX IN FIDE PART B -- Answer only TWO of the following three questions (4, 5, 6) 4. -
Camora 1.Pdf
The Function of the Rhetoric of Maternity in the Representation of Female Sexuality, Religion, Nationality, and Race in Early Modern English Literature and Culture by Cecilia Morales A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2020 Doctoral Committee: Professor Michael Schoenfeldt, Chair Dr. Neeraja Aravamudan, Edward Ginsberg Center, University of Michigan Professor Peggy McCracken Professor Catherine Sanok Professor Valerie Traub Cecilia Morales [email protected] ORCID iD: 0000-0001-7428-3777 © Cecilia Morales 2020 Acknowledgements Throughout my doctoral studies, I have been fortunate to have the love and support of countless individuals, to whom I owe a great deal of gratitude. I’d like to begin by thanking my committee members. Cathy and Peggy taught me valuable lessons not only about my work but about being a thoughtful and compassionate scholar and teacher. Valerie’s reminders to always be as generous as possible when discussing the work of other scholars has kept me sane and stable in this competitive world of academia. Mike helped me, a displaced Texan, to feel at home in Michigan from our first meeting, during which we chatted about both Shakespearean scholarship and Tex Mex. Finally, the most recent addition to my committee is Neeraja Aravamudan, who I consider my most active mentor and supporter. One of the best decisions I made during graduate school was accepting an internship at the Edward Ginsberg Center, where Neeraja became my supervisor. Neeraja and the other Ginsberg staff remind me it’s possible to take my work very seriously without taking myself too seriously. -
Women's Clothing in the 18Th Century
National Park Service Park News U.S. Department of the Interior Pickled Fish and Salted Provisions A Peek Inside Mrs. Derby’s Clothes Press: Women’s Clothing in the 18th Century In the parlor of the Derby House is a por- trait of Elizabeth Crowninshield Derby, wearing her finest apparel. But what exactly is she wearing? And what else would she wear? This edition of Pickled Fish focuses on women’s clothing in the years between 1760 and 1780, when the Derby Family were living in the “little brick house” on Derby Street. Like today, women in the 18th century dressed up or down depending on their social status or the work they were doing. Like today, women dressed up or down depending on the situation, and also like today, the shape of most garments was common to upper and lower classes, but differentiated by expense of fabric, quality of workmanship, and how well the garment fit. Number of garments was also determined by a woman’s class and income level; and as we shall see, recent scholarship has caused us to revise the number of garments owned by women of the upper classes in Essex County. Unfortunately, the portrait and two items of clothing are all that remain of Elizabeth’s wardrobe. Few family receipts have survived, and even the de- tailed inventory of Elias Hasket Derby’s estate in 1799 does not include any cloth- ing, male or female. However, because Pastel portrait of Elizabeth Crowninshield Derby, c. 1780, by Benjamin Blythe. She seems to be many other articles (continued on page 8) wearing a loose robe over her gown in imitation of fashionable portraits. -
The French New Wave and the New Hollywood: Le Samourai and Its American Legacy
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 109–120 The French New Wave and the New Hollywood: Le Samourai and its American legacy Jacqui Miller Liverpool Hope University (United Kingdom) E-mail: [email protected] Abstract. The French New Wave was an essentially pan-continental cinema. It was influenced both by American gangster films and French noirs, and in turn was one of the principal influences on the New Hollywood, or Hollywood renaissance, the uniquely creative period of American filmmaking running approximately from 1967–1980. This article will examine this cultural exchange and enduring cinematic legacy taking as its central intertext Jean-Pierre Melville’s Le Samourai (1967). Some consideration will be made of its precursors such as This Gun for Hire (Frank Tuttle, 1942) and Pickpocket (Robert Bresson, 1959) but the main emphasis will be the references made to Le Samourai throughout the New Hollywood in films such as The French Connection (William Friedkin, 1971), The Conversation (Francis Ford Coppola, 1974) and American Gigolo (Paul Schrader, 1980). The article will suggest that these films should not be analyzed as isolated texts but rather as composite elements within a super-text and that cross-referential study reveals the incremental layers of resonance each film’s reciprocity brings. This thesis will be explored through recurring themes such as surveillance and alienation expressed in parallel scenes, for example the subway chases in Le Samourai and The French Connection, and the protagonist’s apartment in Le Samourai, The Conversation and American Gigolo. A recent review of a Michael Moorcock novel described his work as “so rich, each work he produces forms part of a complex echo chamber, singing beautifully into both the past and future of his own mythologies” (Warner 2009). -
Eighth United Nations Conference on the Standardization of Geographical Names Berlin, 27 August-5 September 2002 Item 10 of the Provisional Agenda"
a E/CONF..94/HNF.82 29 August 2002 Original: English Eighth United Nations Conference on the Standardization of Geographical Names Berlin, 27 August-5 September 2002 Item 10 of the provisional agenda" EXONYMS Italian Main Exonyms of European Geographical Elements (Submitted by Italy) *E/CONF.94/1 8th UNITED NATION CONFERENCE ON THE STANDARDIZATION OF GEOGRAPHICAL NAMES Berlin, 26/08/02 - 05/09/02 Item 12 of the provisional agenda SANDRO TONIOLO ITALIAN MAIN EXONYMS OF EUROPEAN GEOGRAPHICAL ELEMENTS Report of Italy Submitted by Giovanni ORRU it a I ia 1-1 o 2 rincipaii esonimi italiani di elernersti geografici eurspei Scritto da Sandro Toniolo pubblicato su <<CUniverso)>(ISSN: 0042-0409) anno LXXXi (2001) n. 2 II problema degli esonimi 1! quanto mai complesso: infatti se ne discute da oltre tre decenni nel Gruppo di esperti delle Nazioni Unite sulla riormalizzazione dei nomi geogra- fici. II Gruppo di esperti si e espresso fin dall'inizio - e continua nella sua lodevole posizio- ne - in favore di una progressiva eliminazione degli esonimi, che dovrebbero essere sosti- tuiti dai rispettivi endonimi. iVla tale raccomandazione, certamente valida per molti aspet- ti, incontra due difficolta: a) I'uso stabilizzato da secoli nelle varie lingue di esonimi ormai insostituibili (pensiamo per noi italiani ai termini Parigi, Svizzera, Tamigi, che non potranno essere facilmente sosti- tuiti nell'uso comune dagli endonimi corrispondenti Paris, die Schweiz, Thames); b) la scarsa conoscenza della pronuncia della lingua in cui Sono scritti quegli endoni- mi che vorremmo adottare al posto degli esonimi italiani, con iI rischio di rendere quei toponimi del tutto irriconoscibili (pensiamo solo agli endonimi Szczecin e Aachen, che stanno rispettivamente per Stettino e Aquisgrana). -
"Flemish" Hats Or, Why Are You Wearing a Lampshade? by BRIDGET WALKER
Intro to Late Period "Flemish" Hats Or, Why Are You Wearing a Lampshade? BY BRIDGET WALKER An Allegory of Autumn by Lucas Van Valkenborch Grietje Pietersdr Codde by Adriaen (1535-1597) Thomasz. Key, 1586 Where Are We Again? This is the coast of modern day Belgium and The Netherlands, with the east coast of England included for scale. According to Fynes Moryson, an Englishman traveling through the area in the 1590s, the cities of Bruges and Ghent are in Flanders, the city of Antwerp belongs to the Dutchy of the Brabant, and the city of Amsterdam is in South Holland. However, he explains, Ghent and Bruges were the major trading centers in the early 1500s. Consequently, foreigners often refer to the entire area as "Flemish". Antwerp is approximately fifty miles from Bruges and a hundred miles from Amsterdam. Hairstyles The Cook by PieterAertsen, 1559 Market Scene by Pieter Aertsen Upper class women rarely have their portraits painted without their headdresses. Luckily, Antwerp's many genre paintings can give us a clue. The hair is put up in what is most likely a form of hair taping. In the example on the left, the braids might be simply wrapped around the head. However, the woman on the right has her braids too far back for that. They must be sewn or pinned on. The hair at the front is occasionally padded in rolls out over the temples, but is much more likely to remain close to the head. At the end of the 1600s, when the French and English often dressed the hair over the forehead, the ladies of the Netherlands continued to pull their hair back smoothly. -
East Prussian Marpingen? Marian Apparitions in Comparison
ZGAE 59 (2015) ARTICELS Swetlana Fink, Dietrichswalde: East Prussian Marpingen? Marian Apparitions in Comparison Just as Marpingen was called the ”German Lourdes” by contemporaries so was Dietrichswalde called the “East Prussian Marpingen”. Since the appearance of the Virgin Mary in Lourdes in 1858 dozens of Marian apparitions throughout Europe have been reported. Against this background, the article compares the two pilgrimages in the western and eastern border territories of Prussia. Methodologically, the treatise refrains from theological argumentation. It is rather committed to studies of social and cultural history with their socio-historic analytical categories like power, class, status, gender. The apparitions in Dietrichswalde are typologically similar to other Marian apparitions in Central Europe in the 19th century. Yet, the differences and specific qualities must not be overlooked. The visionaries of Dietrichswalde belonged to a minority speaking a Polish dialect in Southern Warmia. They were strongly influenced by Polish national piety. During the “Kulturkampf” (culture struggle, culture clash) the Warmian Poles were challenged by the Prussian government to defend their claim on language. Prussian authorities had dissolved Lonk Monastery in West Prussia of former Prussia belonging to a royal Polish part of the country. The visionaries hoped for a restoration of the monastery by the Virgin Mary. Into the present, especially since the time of the Polish millennium in 1966 and after the approbation of the apparitions by the Polish church in 1977, the sanctuary of Dietrichswalde remained an often visited destination of pilgrimage. It had a similar political function for the German church when, in the thirties, Bishop Maximilian Kaller made it a centre of religious demonstrations of Germans and Poles against the oppression by Nazism.