983 resultados para Julia Kristeva


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Indenture (Registrar’s printed Certified Copy) between Hamilton K. Woodruff and Margaret Julia Band. This is in regard to parcels and tracts of land in the townships of Sherbourne (no.367), registered June 14, 1926 and Stanhope (no.784) registered Jan. 28, 1926 in the Provisional County of Haliburton, Nov. 3, 1942.

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Indenture of Release of Dower between Julia Cleveland Woodruff of St. Catharines (widow of Hamilton K. Woodruff) and Margaret Julia Band of Toronto (wife of Percy K. Band). On Jan.28, 1926 Hamilton K. Woodruff granted and conveyed to Margaret Julia Band 1 acre in the Township of Sherbourne composed of Woodruff Island in St. Nora’s Lake opposite lot no.2 in the 1st concession of Sherborne, except the pine trees on the island. There were also 75 acres in the town of Sherborne composed of St. Margaret’s Island in St. Nora’s Lake. Julia Cleveland did not join in the execution of this conveyance but has agreed to execute this indenture in order to release her dower in said lands. Margaret Julia Band paid $1 to Julia Cleveland Woodruff to complete this transaction, Dec. 1947.

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Envelope addressed to Miss Julia Woodruff of St. Davids. Postmarks include: Suspension Bridge, N.Y., May 20, 1857; Clifton, May 20, 1857 and St. Davids, May 21, 1857.

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Tesis (Maestría en Enfermería con Especialidad en Salud Comunitaria) U.A.N.L.

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Se homenajea a Julia Victoria Espín tras su muerte y se hace un recorrido por su vida y obra.

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Adaptación del guión y elaboración de la guía Encarnación Fernández Gómez

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Programa emitido el 26 de enero de 1996

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Monográfico con el título: 'Profesorado principiante e inserción profesional a la docencia'. Resumen basado en el de la publicación

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Julia Minguillón, pintora, recibió la Primera Medalla de la Exposición Nacional de Bellas Artes por su obra 'La Escuela de Doloriás', lienzo que se consideró como resumen de toda la labor de la artista hasta entonces y definición de su arte y estilo particular.

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In this essay I refer Eilis Ni Dhuibhne’s narrative construction of the main characters and the theme of the novel The Dancers Dancing, in the context of the anthropologist Victor Turner’s concept of liminality. Thus the summer in the Gaeltacht that five teenage girls experience, can be understood as a depiction of the liminal phase in a rite of passage. Ni Dhuibhne’s differently constructed characters enlighten different aspects of liminality and through the céilí dance their experiences are exposed. Furthermore this essay suggests that Julia Kristeva’s notion of the chora, which can be associated to dance, is also relevant when describing the unbounded and unlimited process that radically can reform social structures. I conclude that the liminal space offers an area of many possibilities. It functions as a free zone where the main characters can freely explore their personal issues that trouble them, or the difficulties of their own society.