A dama e o unicórnio: uma leitura iconográfica

This paper embraces the tapestry, from Cluny Museum: La Dame a la Licorne. There are in two types of analyses: One is a diachronic vew and also a sincrhonic, which guide its pratice. In the tapestry La Dame a la Licorne at the Cluny Museum a reading based over the myths and symbols was the main line. \The first analyses, diachronic covers the temporality of the tapestry production, the second one, synchronic, describes the level of history, religion and myths envolved. This work consists in a process of actualization and an effort to bring closely the discussion over tapestry, using methods applied to non-verbal readings.

The Grammatical reading class-book; or, easy introduction to English grammar; in entertaining conversations between a lady and her daughters...

Mode of access: Internet.

The veiled lady, and other men and women,

Mode of access: Internet.

The history of Mademoiselle de St. Phale; giving a full account of the miraculous conversion of a noble French lady and her daughter to the reform'd religion, with the defeat of the intrigues of a Jesuit, their confessor ...

Tr. by B. Star. cf. British Museum cat.

The lady and the painter; an extravaganza, based on incidents in the lives of the two principal characters: Mrs. John Lowell Gardner of the Isabella Stewart Gardner Museum, and the artist, John Singer Sargent.

Mode of access: Internet.

Lady Blessington's confessions of an elderly lady and gentleman.

Mode of access: Internet.

A landscape, sketched in New-Hampshire. To which are added, lines to a democratic young lady, and her reply.

In verse.

The philosophy of Sir Isaac Newton explained in six dialogues, on light and colours, between a lady and the author /

Bookseller's advertisement, [2] pages at end.

Comparison between benzyladenine and metamitron as chemical thinning agents in Gala, Kanzi, Pink Lady and Red Delicious apple cultivars

Mestrado em Engenharia Agronómica - Instituto Superior de Agronomia - UL

Sex, Politics and Religion: The Transformation of the Figure of the Fairy Queen from Thomas off Ersseldoune to ‘‘Thomas Rymer’’

Our earliest version of the Thomas Rymer story is the medieval romance Thomas off Ersseldoune (c.1430). There is a four hundred year lacuna before the ballad “Thomas Rymer”, our next surviving version, is recorded in the early 1800s. In the intervening time the narrative changed very little but the dynamic of the piece, radically. The romance transformed into the highly subversive ballad, “Thomas Rymer”. Central to this transformation is the reconceptualization of the romance's heroine. Referred to simply as the “lufly lady” and caught between her husband, the fay King, and a mere mortal, Thomas, she becomes in the ballad the powerful Queen of the Fairies. The ballad is structured around a series of revelations in which the enigmatic Queen assumes the roles of Eve and Mary, and finally Christ Himself. I will explore the implications of this extraordinary ballad. Moreover, I suggest that it is Queen Elizabeth herself who, ironically, enables the heroine's transformation. “Ironically” because it appears that it was Elizabeth's own restrictions, designed to suppress heretical, seditious or radical literature, which forced Thomas off Ersseldoune (and many other romances which employed religious imagery or figures) out of the written domain and into the oral tradition. And yet, it is Elizabeth who, in creating the image of herself as a female prince, as the Faerie Queen, inspires a new literary vocabulary designed to describe female executive power, without which it would have been impossible to imagine a figure such as the ballad's Queen of the Fairies.

THE HOUSE OF JOANA DARK: DRAMA AND PRODUCTION

While discussing images of Our Lady and of the mothers and women of the Garden of Flowers (or "Devils' Hole"), a peripheral district of a city in the interior of Sao Paulo state, this paper intends to explore the specificity of dramatic aesthetics. Rather than depend upon the aesthetics of social drama, as discussed in the works of Victor Turner, the present paper deals with a concept of montage that is inspired by the cinema of Sergei Eisenstein in order to illuminate a selection of field notes... and, along with Eisenstein, Julia Kristeva, Walter Benjamin, Michael Taussig and Antonin Artaud. Wit regards to those readers interested in hearing what these women may have to say, caution is suggested, for the words of these women may ring in our ears as the sounds of musket shots

The novels, stories and sketches of F. Hopkinson Smith.

[v.1] Laguerre's and Well-worn roads.--[v.2] A white umbrella in Mexico and Other lands.--[v.3] Colonel Carter and other tales of the South.--[v.4] Tom Grogan.--[v.5] Gondola days.--[v.6] Caleb West, master diver.--[v.7] The other fellow and Tile club stories.--[v.8-9] The fortunes of Oliver Horn.--[v.10] The under dog.--[v.11] At close range.--[v.12] The wood fire in no.3.--[v.13] The tides of Barnegat.--[v.14] The veiled lady and other men and women.--[v.15] Colonel Carter's Christmas. The romance of an old-fashioned gentleman.--[v.16-17] Peter.

A New Chinese First Lady: Is There Systematic Development?

Examining the full set of leaders and their spouses in both China and the U.S. during the last quarter century, this paper explores how the first lady of China has become a more important position, why she has become a more public figure, how this compares with the American first lady, and why her position in China is similar to, but different from that in the U.S., in determining whether the recent change in Chinese First Ladyship is due to systematic development or just the relationship between Mrs. Xi and her husband. After investigating the current relationship in China, furthermore, this paper also intends to discuss what we can expect with the new First Ladyship in the future.

The Many Lovers of Jane Austen: Irony & Parody

Master in Literature and Literary Science

Bluestocking Feminism Revisited: The Satirical Figure of the Bluestocking

Recent debates about the Bluestockings have focused on the lives, writings and political opinions of the Bluestockings themselves. This article argues that the significance of the Bluestockings, however, lies in the ways in which they were figured in public representations. It examines the tradition of satires of the Bluestockings, showing how this tradition both continued earlier traditions of satire against the learned lady and invented the comic figure of the literary hostess. The satires’ crude attacks on intellectual women ultimately raised the profile of the learned lady, a figure whose incipient feminism bore no necessary relation to the historical Bluestockings themselves.