Portrait of a Woman.

A lady about 30 to 40 years old, dressed in a white dress is shown holding two roses up to her left shoulder in her right hand.

Portrait of an Old Lady

This waist-length frontal representation shows an old lady with crossed arms wearing a lace bonnet and a white cape over a red dress against a plain greenish background. Her hands seem to be unfinished. The white gouache is applied so as to give the painting textural interest.

Patriarkkana ikuisuuden performanssissa : Maskuliinisuuden ja miehen ruumiillisuuden rakentuminen mormonien Duties and Blessings of the Priesthood -opetuskäsikirjassa

The material I analyze for my master's thesis is a teaching manual used by the Mormons (the Church of Jesus Christ of Latter-day Saints), called "Duties and Blessings of the Priesthood". This work includes numerous lesson plans, each one with a separate topic. The manual is intended especially for teaches, but can also be used for individual study. The main target of my research is to find out how men and their bodies are constructed in the manual. Prescriptive texts together with narrative stories and illustrations create a multifaceted picture of Mormon notions of masculinity and corporeality. I approach my research material from a constructivist perspective. I build my interpretative reading upon Critical Discourse Analysis. I am especially interested in how the manual interprets and understands connections between gender, embodiment and religion. I understand gender in Judith Butler's terms, as a performance of styled and repeated gestures. Some of the discussions I raise in my work draw upon the disciplines of Critical Men's Studies and Sociology of Religion. In Mormonism, gender is thought to be an elementary part of human ontology. It is an eternal trait inherited from God the Father (and God the Mother). The place of men in Mormon cosmology is determined by their double role as patriarchs, fathers and priests. The main objective of mortal life is to gain salvation together with one's family. The personal goal of a Mormon man is to one day become a god. Patriarchs are responsible for the spiritual and material well-being of their family. The head of a household should be gentle and loving, but still an unconditional authority. In the manual, a Mormon man is depicted as a successor of mythical and exemplary men of sacred history. The perfect and sinless body of Jesus Christ serves as an ideal for the male body. Mormon masculinity is also defined by priesthood - the holy power of God - which is given to practically all male Mormons. Through the priesthood, a Mormon man serves as the governor of God on Earth. The Mormon priest has the authority to bind the immanent and the transcendent worlds together with gestures, poses and motions performed with his body. In Mormonism, the body also symbolizes a temple or a space where the sacred meets the profane. Because the priesthood borne by a man is holy, he has to treat his body accordingly. The body is valuable in itself, without it one cannot be saved. Men are forbidden of polluting their bodies by using stimulants or by having sexual relations out of wedlock. A priesthood holder must uphold healthy habits, dress neatly, and conduct himself in a temperate manner. He must also be outgoing and attentive. The manual suggests that a man's goodness or wickedness can be perceived from his external appearance. The Church of Jesus Christ of Latter-day Saints is a hierarchical and man-led organisation. The ideals of gender and corporeality are set by a homogenous priesthood leadership that consists mainly of white heterosexual American men. The larger Mormon community can control individual men by sanctioning. Growing as a Mormon man happens under the guidance of one's reference group.

Wear Next exhibition: What's next for wearable technology?

There was a time when 'smart attire' was simply a dress code—a happy medium between formal and informal clothes. But as technological advancements continue to change our lives, the clothes and accessories we wear are increasingly embedded with smart technology. Wearable technology is nothing new, if you cast your mind back to the popular calculator watch of the '80s. But as more advanced products like Apple Watch and FitBit become mainstream, a new exhibition in Brisbane asks what's next for wearable technology.

Generating string solutions in BTZ

Integrability of classical strings in the BTZ black hole enables the construction and study of classical string propagation in this background. We first apply the dressing method to obtain classical string solutions in the BTZ black hole. We dress time like geodesics in the BTZ black hole and obtain open string solutions which are pinned on the boundary at a single point and whose end points move on time like geodesics. These strings upon regularising their charge and spins have a dispersion relation similar to that of giant magnons. We then dress space like geodesics which start and end on the boundary of the BTZ black hole and obtain minimal surfaces which can penetrate the horizon of the black hole while being pinned at the boundary. Finally we embed the giant gluon solutions in the BTZ background in two different ways. They can be embedded as a spiral which contracts and expands touching the horizon or a spike which originates from the boundary and touches the horizon.

La maurofilia en la poesía épica medieval

Resumen: El hispanista francés Georges Cirot fue el primero en emplear el término “maurofilia literaria” (maurophilie littéraire) en 1938 para referirse a la representación del valor y la nobleza de los moros en la literatura española del siglo XVI. Pero como señaló Ramón Menéndez Pidal (1957, 202), ya en los siglos XIV y XV los castellanos se habían sentido atraídos por los musulmanes de Granada, por su exótica civilización, su lujo en el vestir, la espléndida ornamentación de sus edificios y su modo de cabalgar, armarse y combatir. Francisco Márquez Villanueva (1984, 117-118) indicó que aunque la literatura maurófila del siglo XVI fue elaborada bajo el signo avanzado del humanismo cristiano, cuyas características fueron “el inconformismo y la sensibilidad para toda suerte de realidades en divergencia del mundo oficial”, las raíces de la maurofilia literaria se encuentran en el viejo romancero fronterizo y morisco elaborado en el siglo XV. En su opinión, el Romancero fue la patria de la “maurofilia pura” y es donde encontramos un cuadro de referencias temáticas “hecho de toponimia y onomástica, armas, indumentaria, policromía y cabalgadas” tendiente a caracterizar al moro como un ser refinado y superior. Para María Rosa Lida (1960, 355), en cambio, la imagen caballeresca del moro se remonta a don Juan Manuel, pues en sus obras aparecen las cortes musulmanas como “centros de molicie refinada y suntuosa”. En efecto, en el Libro de los estados se afirma el valor del moro como guerrero y en el Conde Lucanor aparecen una serie de reyes moros magnánimos y discretos. Sin embargo, el árabe como personaje sabio o “ejemplar” figura ya en una de las fuentes del Conde Lucanor, la Disciplina clericalis, obra compuesta a principios del siglo XII por el judío converso Pedro Alfonso. Por otra parte, el análisis de la representación de los moros en textos épicos, Avengalvón en el Poema de mio Cid y Almanzor en la Los siete infantes de Lara, nos permite descubrir un importante e insoslayable antecedente de la maurofilia de los últimos siglos de la Edad Media

Música que vem do coração: emos, identidades, cultura juvenil & sociabilidade digital

A dissertação trata de recente fenômeno juvenil urbano marcado pela identificação com um estilo musical chamado emo; os jovens que fazem parte dessa cultura juvenil se consideram mais emotivos que as outras pessoas em geral. Os emos caracterizam se também pela negação, tanto de uma identidade de grupo quanto da associação estigmatizada com um estilo específico de se vestir, se comportar e se expressar. As questões teóricas presentes nesse trabalho discutem como emos se utilizam das categorias nativas, emoções e expressões de sentimentos para representar a música, os indivíduos e o próprio grupo. A abordagem analítica central é sobre esta articulação entre música e emoção como um recurso identitário. A Internet é uma importante referência para os sujeitos pesquisados, e como ferramenta de investigação está acompanhada de considerações metodológicas sobre a etnografia virtual.

Cosplay: identidades na hipermodernidade

O cosplay traduzido como brincar de fantasiar é uma atividade realizada por algumas pessoas em eventos que reúnem admiradores de desenhos animados e histórias em quadrinhos japonesas. Alguns de seus participantes vestem-se como os personagens veiculados nesses meios e são chamados de cosplayers. Diferente de um baile à fantasia, lá eles podem interpretar os personagens e, normalmente, a escolha é feita com base na identificação com estes. Esta dissertação tem como objetivo principal compreender o fenômeno cosplay, como parte do mundo hipermoderno, que vem atraindo um crescente número de adeptos no Brasil, e que vêm a fazer parte da identidade de alguns desses jovens. Para isso, apresento um breve panorama sobre o contexto atual marcado por novas tecnologias, difusão do consumo, mudanças nas relações familiares, diluição das barreiras físicas e aumento das fontes de informação, que provocaram profundas mudanças nos modos de ser e agir no mundo. Destaco também a importância do papel do consumo, pois com a degradação das estruturas tradicionais que proporcionavam bases estáveis nas quais se apoiavam as identidades, estas foram se tornando incertas e fluidas e, assim, o mundo se prontifica a oferecer uma variedade enorme de objetos de consumo para constituí-la. Como o cosplay envolve o processo de identificação com os personagens do entretenimento japonês, apresento algumas características das histórias em quadrinhos japonesas que são considerados atrativos deste material, e discuto a questão da juventude e identidade, e a importância do imaginário, fatos marcantes deste fenômeno. A fim de entender mais essa dinâmica formou-se um grupo focal com cinco cosplayers, entre 16 e 21 anos, moradores do Rio de Janeiro, que contribuíram significativamente para a discussão de todo o trabalho. Além do divertimento e do aumento das habilidades na confecção das vestimentas, o reconhecimento social apareceu como uma das motivações para realização dos cosplays. Esse dado reitera a importância das interações no processo de formação da pessoa. Um outro dado relevante apontado foi que através de identificação com alguns personagens, os cosplayers acabam questionando suas próprias atitudes, reforçando com isso, o papel ativo desses jovens no consumo dos produtos midiáticos

El ciudadano al desnudo y los seres encubiertos en la antigua Grecia

[EN] Considerando el celebérrimo desnudo masculino heleno, el presente trabajo investiga las coordenadas del imaginario griego que dieron lugar a esta rompedora «puesta en escena» del cuerpo humano e investiga la yuxtaposición vestido/desnudo como un principio diferenciador de primera magnitud en el proceso formativo de las categorías de Ciudadano, Mujer y Bárbaro.

陕北丘陵沟壑区种植业的结构调整

通过对高桥示范区的考察 ,对陕北丘陵沟壑区种植业结构调整的原则和方向进行了分析和探讨。认为该区的种植业不应单纯追求粮食的再高产 ,而是应一方面提高种植业的自身效益 ,由温饱型向经济型转变 ,从经济型向高效型转变 ;另一方面 ,种植业要从单纯的粮食生产调整为配合商品优势产业——草地畜牧业的发展 ,从单纯的种植型发展为种养结合型。种植业结构调整 ,要以水资源的分布和利用为基础 ,以发挥区域性商品比较优势为手段 ,以改善农业生态环境为前提 ,建设高效的区域性商品型生态农业。

Expo 58 :katalysator en vitrine voor het Belgische bouwbedrijf. Expo 58 :catalyseur et vitrine du secteur de la construction en Belgique

L’impact des expositions universelles sur le secteur de la construction du pays d’accueil est triple :elles sont l’occasion de faire la démonstration de la qualité des produits et projets de l’industrie locale ;elles stimulent les investissements dans l’infrastructure nouvelle et les bâtiments autour du site de l’exposition ;et elles représentent un défi prestigieux à relever, celui d’édifier en peu de temps des pavillons d’exception et de les montrer à un public international. L’Expo 58 a attiré 41,5 millions de visiteurs avec ses quelque 250 nouveaux bâtiments. Seuls sept entrepreneurs non belges ont participé aux travaux. Pour le monde belge de la construction, cette première exposition universelle après la Deuxième Guerre mondiale a marqué un moment charnière :elle a dressé un état des lieux de la période de reconstruction et a inauguré une phase de grands travaux de modernisation de l’infrastructure du pays. Mais elle peut aussi être vue comme un franchissement du creux économique de courte durée entre le Miracle belge (1947) et les golden sixties. Les premières initiatives remontent en effet à 1946, époque caractérisée par une réalité économique et politique bien différente de celle de la fin des années cinquante. En 1957-8, le secteur belge de la construction arrivait à peine à faire face à la demande, en particulier en raison de risques de pénurie dans la sidérurgie et d’un manque de main-d’œuvre qualifiée. Les pouvoirs publics ont ainsi échelonné la construction de logements sociaux de manière à la répartir avec les efforts consentis pour l’exposition universelle.

Octave Uzanne’s L’Éventail: a literary mythology of the fan

In the last half of the nineteenth century, the folding fan was phenomenally popular in France. The accessory was a ubiquitous component of women’s dress, yet it also attracted the attention of some prominent collectors and Orientalists as well as acquiring an importance in the art and literature of the period. In many plastic works and literary texts devoted to it, the fan retains a link with femininity, and particularly with feminine sexuality, even as its identity as an art object is emphasized. Octave Uzanne’s L’Éventail (1882), a self-professed literary history of the fan, exemplifies this dualistic treatment as it presents the fan both as a titillating intimate companion of women and as a literary and (although to a lesser extent) art historical subject. This article focuses on Uzanne’s treatment of the fan’s early history in the Far and Middle East. By comparing his text with other contemporary histories of the fan, it demonstrates that the “history” of the accessory may be more accurately described as a mythology.

Patient preferences for dental clinical attire: a cross-sectional survey in a dental hospital

AIMS AND OBJECTIVES: This cross sectional descriptive study was designed to survey patient opinion towards dental clinical attire, name badges and commonly used cross-infection control measures.

METHOD: Patients attending a dental hospital for a consultation appointment were asked to complete a questionnaire accompanied by photographs of models portraying a range of clinical attire. A representative sample of patients completed 188 questionnaires over a four week period.

RESULTS: The study found that the majority of patients felt clinical attire was important and that they preferred dental professionals to wear name badges. The majority of patients also preferred dentists to use both safety glasses and face masks. When asked to indicate which clinical attire was most appropriate for a consultant/specialist to wear, the overwhelming opinion was that of smart dress accompanied with a white coat. In addition, most respondents wished their dentist to wear a traditional white, dental tunic.

CONCLUDING REMARKS: It is hoped that this study will be informative for the dental team and that the results will be taken into consideration when considering appropriate clinical attire in accordance with patient opinions.

The Influence of Cation Structure on the Chemical-Physical Properties of Protic Ionic Liquids

In this study we investigated the influence of five different cations on the physical-chemical properties of protic ionic liquids (PILs) based on bis(trifluoromethanesulfonyl)imide (TFSI-). We showed that the viscosities, ionic conductivities, densities and thermal properties of these PIL are strongly affected by the structure of the protic cation. Furthermore, the influence of the cation structure on the lithium coordination was investigated by Raman spectroscopy for all investigated PIL-based electrolytes for lithium-ion batteries (LIBs). This investigation clearly demonstrates, that the lithium average coordination number in PIL-based electrolytes is strongly affected by (ring) size and the number of protons on the cations structure and, more importantly, it might be significantly lower (more than 60 of that of electrolytes containing aprotic ionic liquids (AILs). Electrochemical performances of these PILs-based electrolytes were then also investigated to dress some conclusion on their applicability for LIB.

Revival: The Aesthetics of Revival Subcultures and Re-enactment Groups Explored Through Fashion Image-making

This research aims, through performance, fashion photography, video making and the theatrical devices that accompany such practice, to explore the style of a contemporary, largely male, subcultural collective. The common term that joins these loosely bound groups is revival as they appear driven by an impulse to simulate and re-enact the dress, rites and rituals of British and American subcultures from a perceived golden era. The similarities with re-enactment societies are also explored and exploited to the end of developing new style- based aesthetics in male fashion image-making formed around an elaborate re- enactment of Spartacus and the Third Servile Wars. Examined through comparative visuals (revivalists / re-enactors) a common thread is found in the wearing of leather as a metaphor for resistance, style and a pupa-like second skin. Subsequent findings of this research suggest that the cuirass of popular culture emerges as the motorcycle jacket of both the sword and sandal epic and the historical re-enactor. Addressing extremes in narcissistic dress and behaviour amongst certain individuals within these older male communities, this study also questions parts of established theory on subcultural development within the field of cultural studies and postulates on a metaphorical dandy gene. Citing two leading practitioners in the field of fashion photography the work of both Richard Prince and Bruce Weber is viewed through the lens of the subcultural aesthete and conclusions drawn as to their role as agents provocateurs in the development of the fashion image with a revival based narrative. In addition the often used term retro is examined, categorised and granted its own genre within fashion image- making and defined as being separate from the practice element of this research. Reflecting a multi-disciplinary approach that engages the researcher as Bricoleur and participant observer this research operates in the reflexive realm and uses simulation as a key method of enquiry. The practice-led outcome of this investigation takes the form of a final research exhibition that takes the form of a substantial installation of photography, video, clothing and textile prints. Key terms: dandy gene, historical re-enactment groups, internal theatre, narcissism, narrative image-making, reflexive practice, revival as theatre, subcultures,