Artistic horse-shoeing, a practical and scientific treatise, giving improved methods of shoeing, with special directions for shaping shoes to cure different diseases of the foot, and for the correction of faulty action in trotters.

Mode of access: Internet.

The shoes of fortune...

Mode of access: Internet.

Goody Two Shoes; or, The history of little Margery Meanwell, in rhyme...

Mode of access: Internet.

On snow-shoes to the barren grounds; twenty-eight hundred miles after musk-oxen and wood-bison,

Mode of access: Internet.

In another girl's shoes.

Mode of access: Internet.

Reindeer, dogs, and snow-shoes; a journal of Siberian travel and explorations made in the years 1865, 1866, and 1867.

Mode of access: Internet.

Reindeer, dogs, and snow-shoes: a journal of Siberian travel and explorations made in the years 1865, 1866, and 1867.

Mode of access: Internet.

Hallelujah Shoes

HALLELUJAH SHOES is a collection of poems, many grounded in the landscape and vernacular of rural and coastal North Florida, and steeped in a sense of place, loss, and the difficulties and mysteries of the human condition. Written mainly in free verse, the collection also contains poems written in traditional and nontraditional forms: abecedarian, haiku, sonnet, noun, and theatrical play. Section one is dominated by the narrator’s relationships with family and culture—their demands, dramas, and allures—and the conflict they create with the narrator’s desire for autonomy. Section two focuses on the narrator as she makes her own way in the world, exercising independence yet still subject to the emotional undertow of childhood experiences. Section three locates the narrator in the present, back in Florida after many years away, with knowledge of the transience of life, but taking joy where she can find it.

Woman rests aching feet by taking off high-heeled pump (these uncomfortable shoes hamper a woman's mobility)

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Contact dermatitis from shoes: an update

Contact dermatitis is a common inflammatory skin condition characterized by erythematous and pruritic skin lesions that occur after contact with a foreign substance. There are two forms of contact dermatitis: irritant and allergic. Irritant contact dermatitis is caused by the non–immune-modulated irritation of the skin by a substance, leading to skin changes. Allergic contact dermatitis is a delayed hypersensitivity reaction in which a foreign substance comes into contact with the skin; skin changes occur after reexposure to the substance. A medical condition referred to as “shoe dermatitis” is a form of contact dermatitis caused by the contact of the foot with parts of the shoe due to these materials. Shoe dermatitis is a diagnostic and therapeutic challenge and is a common type of contact dermatitis. It is imperative the foot and ankle physician become familiar with recognizing signs and symptoms of shoe dermatitis so that their patients can be accurately diagnosis and appropriately treated to avoid secondary infections and disability. This review will first present causative factors for the etiology of shoe contact dermatitis supported by clinical-based evidence as found in the medical literature. Secondly, a description of the signs and symptoms of shoe contact dermatitis will be presented in a narrative fashion. Finally, both treatment options and preventative measures to avoid shoe.

“Come and live in my Shoes”: Food Access and social isolation for People living in poverty IN GANANOQUE, Ontario

This community-based research project, in collaboration with the Gananoque and Area Food Access Network (GAFAN), gathered data from self-reported food insecure residents of Gananoque and area to determine how to improve their access to healthy, personally acceptable food. In March 2016, I recruited 14 participants for three focus groups and one personal interview with those struggling to put food on the table for themselves and others in the household. Participants were single parents, adults over the age of 50, and adults who could benefit from improved access to healthy food but do not currently use existing services. Health issues, social isolation, scraping by, and lack of income were four themes that underscored the impact of poverty on the lives of participants. Lack of income, transportation, cost of food, lack of affordable or accessible childcare, and inadequate access to support services proved to be major barriers to food security: strongly influenced by the impact of rurality. The results of this research have the potential to help GAFAN improve food access for those living in this community. It may also have implications for enhancing food security in other rural Canadian communities.

Celebrating difference/censoring difference? : Marie Chouinard’s bODY rEMIX

This paper examines performances that defy established representations of disease, deformity and bodily difference. Historically, the ‘deformed’ body has been cast – onstage and in sideshows – as flawed, an object of pity, or an example of the human capacity to overcome. Such representations define the boundaries of the ‘normal’ body by displaying its Other. They bracket the ‘abnormal’ body off as an example of deviance from the ‘norm’, thus, paradoxically, decreasing the social and symbolic visibility (and agency) of disabled people. Yet, in contemporary theory and culture, these representations are reappropriated – by disabled artists, certainly, but also as what Carrie Sandahl has called a ‘master trope’ for representing a range of bodily differences. In this paper, I investigate this phenomenon. I analyse French Canadian choreographer Marie Chouinard’s bODY rEMIX/gOLDBERG vARIATIONS, in which 10 able-bodied dancers are reborn as bizarre biotechnical mutants via the use of crutches, walkers, ballet shoes and barres as prosthetic pseudo-organs. These bodies defy boundaries, defy expectations, develop new modes of expression, and celebrate bodily difference. The self-inflicted pain dancers experience during training is cast as a ‘disablement’ that is ultimately ‘enabling’. I ask what effect encountering able bodies celebrating ‘dis’ or ‘diff’ ability has on audiences. Do we see the emergence of a once-repressed Other, no longer silenced, censored or negated? Or does using ‘disability’ to express the dancers’ difference and self-determination usurp a ‘trope’ by which disabled people themselves might speak back to the dominant culture, creating further censorship?