967 resultados para Libraries and the blind.
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"March 22, 23, 24, 28, 29, and 30, and May 16, 1988"--Pt. 6.
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Cover title.Signed: E.A. Wallis Budge.
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Mode of access: Internet.
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Mode of access: Internet.
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"September 18, 1986"--pt. 2.
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Shipping list no.: 98-0052-P (pt. 1), 98-0155-P (pt. 2).
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Electronic text and image data.
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"Caxton editon"
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Item 1040-A, 1040-B (MF).
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sect. 1. Old-age pensions, federal old-age benefits, aid to dependent children, maternal and child welfare, aid to crippled children, vocational rehabilitation, aid to the blind, public health, unemployment compensation.--sect. 2. Unemployment compensation, federal old-age benefits.
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Report year ends Sept. 30, 1915-1920; June 30, 1921-<1954>
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Mode of access: Internet.
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Shipping list no.: 95-0029-P (v. 1), 95-0027-P (v. 2), 95-0194-P (v. 3, 11), 95-0187-P (v. 4, 9, 14), 95-0177-P (v. 5, 8, 13, 17), 95-0205-P (v. 6), 95-0176-P (v. 10, 15-16, 18), 95-0121-P (v. 12), 95-0188-P (v. 19), 95-0185-P (v. 20-21, 23), 95-0199-P (v. 22), 95-0195-P (v. 24).
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Richard Strauss’ opera “Salome” is a musical discourse of the uneven power dynamics between male and female with the idea of the gaze as its central narrative. Under the patriarchal premise of the male gaze, the men emerge as the gazers, while the women are relegated to the role of submissive objectification. This paper examines the way Salome manipulates this patriarchal notion of the gaze for her own gain, voluntarily offering herself as the object of the male gaze. I further postulated that Salome strategically oscillates between the stereotypical image of femme fatale and femme fragile, intentionally succumbing to the masculine-constructed demonization and idealization of female power. Consequently, this paper traces how Strauss’ music realizes those gender portrayals and Salome’s resistance against the male order, reflecting the use of musical analyses as a tool in understanding gender roles and power in operas.
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This research examines the politicization of women’s clothing under the Pahlavi monarchy and the Islamic Republican of Iran from the 1930s-1990s. I distinctively focus on the governments’ use of women’s clothing to define their idea of Iranian nationalism and how their sumptuary policies affected women’s lives. I assess the motives behind the sumptuary laws for each regime, and argue that both governments situated women as symbols of national health and honor, and used them as visualizations for the success of their platforms. Despite different interpretations of morality, my research suggests that both governments created these laws to “purify” their “corrupt” nation, using the same rhetoric. Paradoxically, this led to a sexualized culture that exists today in Tehran. I analyze a wealth of primary sources including women’s magazines, political cartoons, poetry, newspapers, extant clothing, photographs, legislation, autobiographies, speeches, passports, Revolutionary-era books written by Iranian intellectuals, and oral interviews that I conducted.