1000 resultados para Heuet, Gaston (1892-1979) -- Portraits
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seventeenth century. Hildeburn, C.R. Printing in New-York in the seventeenth century. Table of dates in New-York history.--v. 2. Vermilye, A.G. The Earl of Bellemont and suppression of piracy, 1698-1701. Stone, W.L. The administration of Lord Cornbury, 1702-1708. Wilson, J.G. Lord Lovelace and the second Canadian campaign, 1708-1710.
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Top Row: Jane Alcala, Katherine Atkin, sandra Shea Baer, Dee Baker, barbara Barnes, Rhonda Baruch, Adrien Beregsasy, Sally Bidol, Kathleen Birchmeier, Maureen Bishop, Julia Blanchard, Theresa Boyd, Janice Brown, Deborah Budde, Genevieve Burns, Mary Kaye Busch, Laurie Carroll
Row 2: Bonnie Cesak, Mary christensen, Julie Colegrove, Susan coleman, Cheryl coney, William cophenhaver, Wendy Culbertson, Angela Dade, Renee Damm, Lynn Darin, Michele DeMaria, Julie DeFouw, Martha Deming, Mary Dent, Michelle Diepenhorst, Janice Dietrich, Catherine Dilworth
Row 3: Barbara Dusseau, Fancine Eagle, Carolyn Eames, Janeen Ellis, Lisa Fandell, Melissa Fear, Michelle Revis, Barbara Ross, Thomas Bissonnette, Michele Henderson, Susan barnes, Catherine Foley, Marica Fosnaugh, Leana Fox, Carol Frens, Debra Furlette, Denise Garden
Row 4: Mary Lois Gardner, Jeanetter Giroux, Stephanie Glanton, Beverly Goodman, Debra Giffin, Laurie Guyton, Bobbie Hafford, Linda Haggerty, Cindy Hammelef, Kim Hand, Patricia Hartman, Susan Hepker
Row 5: Jayne Hetzner, Diana Hill, Sandra Hirsch, Margaret Howard, Carol Huebel, Beverly Jackson, Christine Jacobson, Dennis Johnson, SerVonia Jones, Kathleen Kadlec, Pamela Katz, Kim Kittle, Mary Jo Klepser, Cheryl Kole
Row 6: Julie Konkle, Mary Anne Kosek, Mary Kowalski, Kathryn Krawec, Cynthia Krc, Kathryn Leinberger, Linda Lewandowski, Deborah Lobert, Karen Lyon, Mary Beth McGowan, Deborah Mclnerney, Douglas McLellan, Mary McDonald, Donna Macksood
Row 7: Bruce macnee, Pamela Mandelkorn, Debra Mast, Constance Maynard, Carol Meach, Karen Meyer, Linda Moore, Robert Morgan, Lynn Murray, Cindy Nestell, Carol O'Dell, Christine Ostrowski, Jeanne Palmer, Frances Palms, Diane Parrish, Jennifer Patton, Cathy Plachetka
Row 8: Dawn Rhoades, Carolyn Riegling, Jill Rodammer, Michael Romej, Ann Rondi, Cindy Salesin, Cynthia Sapsford, Russsell Savage, Angela Schaefer, Lee Anne Schaefer, Debra Schafer, Paula Schelp, Sandra Schlump, Cindy Schneider, Brenda Schroeder, Laurie Schultz, Wanda Scott
Row 9: Michael sseator, Kimberley Sherman, Vicki Singer, Ingrid Smith, Mary Alice Smith, Kathy Snyder, Karen Staudt, Kathy Steinke, Sue Stevens, Kimberly Stone, Sheri Sutherland, Ann Marie Swiderski, Jane Sydlowski, Debra Thelen, Deborah Thompson, Phyllis Toney, Jill Triick
Row 10: Tara Trinrud, Kay Tupala, Rosemary Turckes, Richard Urbanski, Lynn VanDenBerg, Brenda VanDervoort, Catherine VanWagnen, Ellen Victor, Mary Anne Vitalis, Celia Wald, Anne Weber, Jurlean White, Martha White, Judith Wilcewski, Lynda Wood, Susan Wroblewski, Victoria Zielinski
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"The original edition was published in 1880."
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El concurso de transformación mágica, esquema narrativo difundido en la tradición popular, se presenta en dos variantes principales: los hechiceros que compiten pueden metamorfosearse en varios seres o crear esos seres por medios mágicos. En cualquier caso el concursante ganador da a luz criaturas más fuertes que superan las de su oponente. La segunda variante fue preferida en el antiguo Cercano Oriente (Sumeria, Egipto, Israel). La primera se puede encontrar en algunos mitos griegos sobre cambiadores de forma (por ejemplo, Zeus y Némesis). El mismo esquema narrativo puede haber influido en un episodio de la Novela de Alejandro (1.36-38), en el que Darío envía regalos simbólicos a Alejandro y los dos monarcas enemigos ofrecen contrastantes explicaciones de ellos. Esta historia griega racionaliza el concurso de cuento de hadas, transfiriendo las fantásticas hazañas de creaciones milagrosas a un plano secundario pero realista de metáfora lingüística.
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Este trabajo estudia la presencia e importancia de las diversiones y el placer en distintos momentos de la vida de la corte de los reyes de Aragón: las prostitutas, dirigidas por el rey Arlot, la música, el juego, el baile o los juglares, observando el aumento de su presencia a lo largo del siglo xiv, con el correlativo aumento de los gastos. También se observa el incremento en el lujo y la complejidad de estas actividades y la siempre mayor presencia de elementos espectaculares como bestias, carros, figuras alegóricas y otros entremeses en coronaciones, bodas o entradas reales, todos ellos aspectos de la progresiva glorificación de la monarquía.
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In this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image.
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Background Seasonal changes in cardiovascular disease (CVD) risk factors may be due to exposure to seasonal environmental variables like temperature and acute infections or seasonal behavioural patterns in physical activity and diet. Investigating the seasonal pattern of risk factors should help determine the causes of the seasonal pattern in CVD. Few studies have investigated the seasonal variation in risk factors using repeated measurements from the same individual, which is important as individual and population seasonal patterns may differ. Methods The authors investigated the seasonal pattern in systolic and diastolic blood pressure, heart rate, body weight, total cholesterol, triglycerides, high-density lipoprotein cholesterol, C reactive protein and fibrinogen. Measurements came from 38 037 participants in the population-based cohort, the Tromsø Study, examined up to eight times from 1979 to 2008. Individual and population seasonal patterns were estimated using a cosinor in a mixed model. Results All risk factors had a highly statistically significant seasonal pattern with a peak time in winter, except for triglycerides (peak in autumn), C reactive protein and fibrinogen (peak in spring). The sizes of the seasonal variations were clinically modest. Conclusions Although the authors found highly statistically significant individual seasonal patterns for all risk factors, the sizes of the changes were modest, probably because this subarctic population is well adapted to a harsh climate. Better protection against seasonal risk factors like cold weather could help reduce the winter excess in CVD observed in milder climates.
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Grenada’s New Jewel Movement, led by Maurice Bishop, was the first indigenous political grouping in the history of the English-speaking Caribbean to overthrow an existing government by armed force. Yet most of the four and a half years of the Revolution (1979-83) were characterized by considerable popular support for the new People’s Revolutionary Government before it came to it’s tragic, unexpected and shocking end in October 1983. Social, economic and political change seems possible in the 1970s and ‘80s. People in newly decolonizing countries were encouraged by the beginnings of the Non-Aligned Movement of Third World nations demanding new international economic order that would win them some economic justice after the ravages of colonialism. People also saw that some radical regimes, such as that led by Michael Manley in Jamaica and the Sandinistas in Nicaragua, were articulating and implementing basic rights that held the promise of countering the social and political oppression that they had endured throughout the centuries of colonial history. A majority of Grenadians committed themselves to fighting by the side of the People’s Revolutionary Government for such new goals. This chapter will analyse how the Grenada Revolution reconceptualised the education, planned new goals, and implemented bold new educational policies. It will discuss the extent to which the government and people were able to reshape education as a tool for national reconstruction and the raising of national consciousness.
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Digital Image