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The Rhetoric of the Saints in Middle English Bibiical Drama by Chester N. Scoville a Thesis Submitted in Conformity with The
The Rhetoric of the Saints in Middle English BibIical Drama by Chester N. Scoville A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto O Copyright by Chester N. Scoville (2000) National Library Bibiiotheque nationale l*l ,,na& du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rwW~gtm OttawaON KlAûîU4 OtÈewaûN K1AW canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otheMrise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract of Thesis for the Degree of Doctor of Philosophy 2000 Department of English, University of Toronto The Rhetoric of the Saints in Middle English Biblical Dnma by Chester N. Scovilie Much past criticism of character in Middle English drarna has fallen into one of two rougtily defined positions: either that early drama was to be valued as an example of burgeoning realism as dernonstrated by its villains and rascals, or that it was didactic and stylized, meant primarily to teach doctrine to the faithfùl. -
Tartan As a Popular Commodity, C.1770-1830. Scottish Historical Review, 95(2), Pp
Tuckett, S. (2016) Reassessing the romance: tartan as a popular commodity, c.1770-1830. Scottish Historical Review, 95(2), pp. 182-202. (doi:10.3366/shr.2016.0295) This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/112412/ Deposited on: 22 September 2016 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk SALLY TUCKETT Reassessing the Romance: Tartan as a Popular Commodity, c.1770-1830 ABSTRACT Through examining the surviving records of tartan manufacturers, William Wilson & Son of Bannockburn, this article looks at the production and use of tartan in the late eighteenth and early nineteenth centuries. While it does not deny the importance of the various meanings and interpretations attached to tartan since the mid-eighteenth century, this article contends that more practical reasons for tartan’s popularity—primarily its functional and aesthetic qualities—merit greater attention. Along with evidence from contemporary newspapers and fashion manuals, this article focuses on evidence from the production and popular consumption of tartan at the turn of the nineteenth century, including its incorporation into fashionable dress and its use beyond the social elite. This article seeks to demonstrate the contemporary understanding of tartan as an attractive and useful commodity. Since the mid-eighteenth century tartan has been subjected to many varied and often confusing interpretations: it has been used as a symbol of loyalty and rebellion, as representing a fading Highland culture and heritage, as a visual reminder of the might of the British Empire, as a marker of social status, and even as a means of highlighting racial difference. -
POP-ART-LESSON-13-CREATING-FABRIC-AND-MANUFACTURING-BUNTING-1.Pdf
Brain into gear activity: Lesson 13 Memory Recall Describe your favourite POP Art artist you have studied during this project. *Name two of there famous pieces of work? Activity Swap your fabric bunting triangles with the person next to you Complete a verbal WWW and EBI CONSTRUCTING THE BUNTING https://youtu.be/T26EiIBFXeI SEWING ON A BUTTON https://youtu.be/xFSXTfTQgPk BACK STITCH https://youtu.be/2v05GcWh_H4 CROSS STITCH https://youtu.be/zD1fPcH-r80 EMBROIDERY STITCHES https://youtu.be/gT6BKrOLWcs Learning Focus: How to develop your fabric decoration knowledge and skill to produce printed fabric for your bunting . Task – Learning Outcomes Create 4 different decorated bunting 1-2 Simple pattern created with a basic traingles from the choices below: textile technique • Tie Dye • Batik 3-5 • Block print Interesting pattern made onto fabric • Sublimation print 6-7 • Applique Really creative mixed media • Embroidery techniques applied to fabric – (more • Stencil than one technique) • Heat transfer paper • Vinyl iron on stickers 8-9 Excellent application of mixed media • Fabric pens/pastels textile surface pattern You can mix together a range of technique (mixed media) https://drive.google.com/file/d/11abNpk54NC I5SeX_TuvPwUk-yVyWJiiK/view examples of techniques Key words: repeat, pattern, drop print, mirror, image, stylised, cartoon, colourful, bold, vibrant , shape, design, art, printing, tie dye, batik, block print, CAD, CAM. Learning Focus: To make your bunting triangles, focussing on accuracy and quality. Task – STEP BY STEP Learning Outcomes 1. Use a triangle shape paper/card template 1-2 • Stitched bunting triangles wrong 2. Draw around it sides together 3. Fold a piece of fabric in half 3-5 • 2 Stitched bunting triangles(right sides together) 4. -
Kilts & Tartan
Kilts & Tartan Made Easy An expert insider’s frank views and simple tips Dr Nicholas J. Fiddes Founder, Scotweb Governor, Why YOU should wear a kilt, & what kind of kilt to get How to source true quality & avoid the swindlers Find your own tartans & get the best materials Know the outfit for any event & understand accessories This e-book is my gift to you. Please copy & send it to friends! But it was a lot of work, so no plagiarism please. Note my copyright terms below. Version 2.1 – 7 November 2006 This document is copyright Dr Nicholas J. Fiddes (c) 2006. It may be freely copied and circulated only in its entirety and in its original digital format. Individual copies may be printed for personal use only. Internet links should reference the original hosting address, and not host it locally - see back page. It may not otherwise be shared, quoted or reproduced without written permission of the author. Use of any part in any other format without written permission will constitute acceptance of a legal contract for paid licensing of the entire document, at a charge of £20 UK per copy in resultant circulation, including all consequent third party copies. This will be governed by the laws of Scotland. Kilts & Tartan - Made Easy www.clan.com/kiltsandtartan (c) See copyright notice at front Page 1 Why Wear a Kilt? 4 Celebrating Celtic Heritage.................................................................................................. 4 Dressing for Special Occasions.......................................................................................... -
Chapman Wrttes His Own Epitaph in Closing Hours
■f- ■- . WBfS PRESS RUN) v 4VBHAGB DAILY CIRCULATIOI*' Ot* PHB EVENING HERALD for tjiie month of March, IWBO, 4,736 VOL. XtIV „ NO. .^r HEAVY COATS WILL BE JOHN T. KING IN ORDER FOR EASTER BANDITS IRON Washington, April 2.—^Heavy coats will be needed along the 10 IN R. I. BANK, ; INUCTED FOR Atlantic seaboard for the annual Easter parade Sunday. Fair but cold was the weather bureau's prediction today for GET ALL CASH W N G INCOME the eastern part of the counbry. It will rain tomorrow but the precipitation probably will stop by night. Raid Trust Co. at Phenix, Huge Profits Disclosed/by Negni, Near Deadi, Assert! <$>------------- Handcuff Clerks, Custom ^ federal Probe Into Deal in New-York, April 2.— ^Eighty He Beard Employer Fire .percent o f, the crime in New TIES BOY TO POST; ers, Drive Off wiA $15, York .. is committed by; persons German-own^ Metals Co. FWiraUURYIN under 22 years of age, acCQrd*>^ Fatal Shot— Appeals to 000 to $20,000. ing tb'the annuarreport'of tl^ Stock. PUNISHED IN COURT Children’s* Aid society. B A T H m (P Z •»- Supreme Court Judges Phenlx, R. I., April 2.— The Fal^-lawyers* Last C a4 New York, April 2.— John T. Mrs. Urbanad on Probadon mdht daring bank robbery In the King, former Republican national history of Rhode Island was staged Play Producer Indicteff After CQjnmltteemani of Connecticut, was here today when four masked ban New Trial Petition, to Ifc indicted today for perjury by the for Harsb Treatment of dits entered the banking rpoms of federal grand jury that has been in the Phenlx Trust company and Jury Probe of Famous ‘ CDIDEin Played Tomorrow. -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
Textile Calendering Solutions for Every Application
Textile calendering Solutions for every application www.andritz.com/textile Tradition in innovation Textile calendering is part of our DNA Be it home textiles, technical textiles or traditional textiles, ANDRITZ Küsters CONTENTS offers exactly the right textile calender solution targeting your needs in an ever more demanding market. With more than 150 years of experience in textile calendering, Tradition and expertise 03 it is not just our daily business. It is our passion – and part of our DNA. Textile calenders 04 Experience and expertise The right partner for textile solutions Core competences With more than 3,500 textile calenders Our portfolio includes complete system ANDRITZ Küsters is currently the only Multicovering technology 13 delivered, ANDRITZ Küsters is a well- solutions, single units, rebuilds, automation supplier that can offer three different known brand that stands for top perfor- systems, and complete life-cycle services. deflection-controlled roll techno logies from teXmaster control system 13 mance, reliability, flexibility, and proven These are designed to meet your needs in one source. The technology set-up of the technology for every application. Gloss, an ever more demanding market. Together S-Roll, HyCon Roll, and Xpro Roll is our Defl ection-controlled rolls 14 density, smoothness, soft handle, silk we can design and innovate new technolo- core competence, and all rolls are manu- finish, metallic printing, embossing, lami- gies to create fi rst-class textiles for any end factured and tested at our facility in Krefeld, Heating systems 17 nating, or any other finish can be applied use. Our top-quality technical center offers Germany, before delivery. -
Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept
DOCUMENT RESUME ED 048 223 SP 007 137 TITLE Fashion Arts. Curriculum RP-54. INSTITUTION Ontario Dept. of Education, Toronto. PUB LATE 67 NOTE 34p. EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS Clothing Instruction, *Curriculum Guides, Distributive Education, *Grade 11, *Grade 12, *Hcme Economics, Interior Design, *Marketing, Merchandising, Textiles Instruction AESTRACT GRADES OR AGES: Grades 11 and 12. SUBJECT MATTER: Fashicn arts and marketing. ORGANIZATION AND PHkSTCAL APPEARANCE: The guide is divided into two main sections, one for fashion arts and one for marketing, each of which is further subdivided into sections fcr grade 11 and grade 12. Each of these subdivisions contains from three to six subject units. The guide is cffset printed and staple-todnd with a paper cover. Oi:IJECTIVE3 AND ACTIVITIES' Each unit contains a short list of objectives, a suggested time allotment, and a list of topics to he covered. There is only occasional mention of activities which can he used in studying these topics. INSTRUCTIONAL MATERIALS: Each unit contains lists of books which relate either to the unit as a whole or to subtopics within the unit. In addition, appendixes contain a detailed list of equipment for the fashion arts course and a two-page billiography. STUDENT A. ,'SSMENT:No provision. (RT) U $ DEPARTMENT OF hEALTH EOUCATION & WELFARE OFFICE OF THIS DOCUMENTEOUCATION HAS BEEN REPRO DUCED EXACT' VAS RECEIVED THE PERSON OR FROM INAnNO IT POINTSORGANIZATION ()RIG IONS STATED OF VIEW OR DO NUT OPIN REPRESENT OFFICIAL NECESSARILY CATION -
Tartans: Scotland’S National Emblem
ESTABLISHED IN 1863 Volume 149, No. 3 November 2011 TARTANS: SCOTLAND’S NATIONAL EMBLEM Tartan has without doubt become one of the most important sym- Inside this Issue bols of Scotland and Scottish Heritage and with the Scots National Feature Article…….….....1 identity probably greater than at any time in recent centuries, the po- Message from our tency of Tartan as a symbol cannot be understated. However, it has President….......................2 also created a great deal of romantic fabrication, controversy and Upcoming Events…….....3 speculation into its origins! name, history and usage as a Clan or Family form of identification. The Chicago Fire and The Celebration of St. An‐ drewʹs Day .……….……4 Gifts to the Society……...8 Flowers of the For‐ est……………..…..…….9 BBC Alba Scottish Tradi‐ tional Music Awards…..10 Banquet & Ball….….12‐15 Tartan is a woven material, generally of wool, having stripes of different colors and varying in breadth. The arrangement of colors is alike in warp and weft ‐ that is, in length and width ‐ and when woven, has the appearance of being a number of squares intersected by stripes which cross each other; this is called a ‘sett’. By changing the colors; varying the width; depth; number of stripes, differenc‐ (Continued on page 4) November 2011 www.saintandrewssociety‐sf.org Page 1 A Message from Our President The Saint Andrew's Dear Members and Society Society of San Francisco Friends: 1088 Green Street San Francisco, CA The nominating committee met to 94133‐3604 (415) 885‐6644 select Society Officers to serve for Editor: William Jaggers 2012. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
Lager Beer and Times I Was Obliged to Go Without Room
'X - . ar (Inn V .11 1 if u n n Hi' 'J IP 4 Ml r E r Katabllihed Jalr a, 1853. VOL. XIX., XO. nOXOL,UL,U, IIAWAIIAX ISL.AXDS, WEDXESDAY. MAKCH 11, IS94.; PRICE: 5 CENTS. Xtasincss vTarite. Business CarDs. time opened wide to send nut a llash THE LIFE OF PESTALOZZi, of lightning, at another were half closed as if engaged ou what was go- ing on within; his features now ex- HAWAIIAN M. E. Grossman, D.D.tf. HAWAIIAN HARDWARE CO., pressing a profound sadness, and now The New Jewelry Store again the most peaceful happiness; HARDWARE, One of the Greatest Teachers of his speech either slow or nurried. 503 Fort Street, either oft and melodious or bursting Abstract and Title Co. Cutlery and Glassware the World. forth like thunder; imagine the man ARK PREPARED TO MANUFACTURE ANY 307 Fort Street. and you have him whom we used to THING IN THEIR LINK. call our Father Pestalozzi. Such as 1 3575-l- y have sketched him for you wo loved N"0. MERCHANT 8T. DENTIST, Souvenir Spoons ! him; we all loved him, for H. DAVIDSON, HARD STRUGGLE FOR RECOGNITION. he loved us all; we loved him a specialty. Also, on hand & fine stock J. 93 so warmly that when some time HONOLULU, U. I. EOTXL STRUT of imported passed without our seeing him we were quite troubled about it, and Attorney ind Ccunsellor-at-La- ir. when he again appeared we could not SST'OmcM Hotras 9 a. ac. to 4 p. x. JEWELEY. A 1'aper by l'rofemor II. -
Filage Et Tissage (2)
FILAGE ET TISSAGE (2) LINGUA È TECNICA LEXIQUE Français-Corse Réalisé par : ANTONDUMENICU MONTI Et MARIE-CHARLES ZUCCARELLI Traduzzione inglese d'Anghjula Maria Carbuccia Spinning and weaving ADECEC CERVIONI 1980 accrochage : azzingatura, azzinghera, azzinghime / warp and woof interlinking accrocher : azzingà / to interlink (warp and woof) aiguille : acu / needle aiguillée : curata, podana, acata, acughjata / needleful alépine : aleppina / bombazine alpaga : alpagà / alpaca alun : (teinture) : alume / alum alunage : alumatura / aluming aluner : alumà amidon : su(g)u / starch anacoste : arscottu / double-milled, woollen cloth apprêt (pour les étoffes) : approntu / finishing apprêter : appruntà / to finish armoisin : ermisinu / sarcenet armure (de tissage) : armatura.- fundamentale, semplice, cumposa, fattizia, dirivata, di fantasia, alluciata, guardrata, diritta (toile), à spichjoli (en losanges), à filetti (sergé), ) spighe (chevrons) / weave - foundation, simple, combined, sham, derived, fancy, open-work, square, plain, lozenge-shaped, serge-like; chevron pattern aspe ou asple : aspa / silk winder assouplir (les chemises et draps de lin) : derozà / to supple, to smooth attacher : attaccà, appiccià, alliacciulà / to tie baignage : bagnatura, bagnime / dye-bath, soaking baigner : bagnà / to soak bain : striscia, fascia, banda / dye-bath bande : striscia, fascia, banda / strip barège : baresgiu / light woollen cloth, barege bariolage : frisgiulime / medley of colours, motley pattern barioler : frisgiulà, frisgià, framisgià / to paint or