975 resultados para Bristol, Elizabeth Chudleigh, Countess of, 1720-1788.
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Authorities: v. 2, p. 357-359.
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Includes bibliographical references and index.
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The duchess de Chaueaurous, 1717-1744,--Ehreugard Melusina von der Schulenburg, duchess of Kendal, 1667?-1743.--Catherine II, empress of Russia, 1729-1796.--Elizabeth Chudleigh, duchess of Kingston, 1720-1783.--The comtese de Lamotte, 1756-1791.--The duchesse de Polignac, 1749-1793.--Lola Montez, 1818-1861,--Sources (p. 339-340)--Index.
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Contains a catalogue of the portraits in Hardwick hall.
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"Pedigree of Stradling of St. Donat's of Glamorganshire": p. xvii-xxiii.
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In this article, I examine the implications of rewriting definitions of sanity and insanity through the use of noise, silence, and language,positioningElizabeth Bishop’s short story “In the Village” as a form of resistance against traditional readings of madness, logocentrism, and identity. I suggest that by writing her characters as undivided from the world of sound, Elizabeth Bishop’s story shifts understandings of insanity, which is often conceptualized through denials of agency, allowing her characters to escape in noises and hesitations in language and communication. “In the Village” avoids silencing the “insane” mother through her placement in a caesura of sound and silence. This article avoids a biographical reading of “In the Village,” which is often connected with her own mother’s “mental breakdown,” because Bishop’s writing would have been as much affected by her conscious awareness of her past as it was by the unconscious impulses and histories of writing in the West. Rather, I take into account Bishop’s own personal history as well as the repetitions that reflect a placement in a tradition appearing in the story itself. Using this particular lens, I believe a rereading of “In the Village” is in order, where the “mad mother” is not silenced by the oppressive social structures that control the insane,” but she instead finds escape in the multitudes of sounds that associate with her, erasing the power of language and opening a new world where agency exists in a scream or in a striking hammer.
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The so-called Dutch Pranketing Room of Alethea Talbot, Countess of Arundel, at Tart Hall was a site of domestic experiments, courtly splendour and global ambition. Lady Arundel, the probable author of a famous recipe book, would have used Tart Hall for cooking and experiments as well as for impressive dinner parties, and she would have used large amounts of sugar to create intricate imitations of meat and vegetables to astonish, entertain and delight her guests. Linking household practice with global trade as well as artistic creation, Lady Arundel’s banquets are situated not only between a national tradition of cooking, as it appears in Markham’s manuals, and the new possibilities the arising global trade provided, but also played with a mismatch between taste and sight. This mediating role could be compared to that played by the artists the Countess employed. Within this context it is worth noting that a series of paintings displayed in the building’s gallery showed still lifes, markets, and a cook. The inventory of Tart Hall gives an insight into the world of the widely travelled collector and patron of Van Dyck and Rubens, but raises also a number of questions. In my talk I would like to explore the Countess’ Pranketing Room as a site of mediation between alimentary and painterly experiments, considering the use of recipes, experience, invention and transformation
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Resumen: Descripción: retrato de tres cuartos de figura ligeramente hacia la derecha, mirando de frente
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Resumen: Descripción: retrato de la Condesa de cuerpo entero de frente, de pie y mirando ligeramente hacia la derech., elegantemente vestida
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Parchment hardcover bound volume containing quarter bill tallies for the Classes of 1720-1760 arranged by seniority, and covering the bill period ending on June 10, 1720 through the period ending December 10, 1756. After each quarter's tallies, an additional section provides the totals for all students in each of the categories, and deductions for building repairs.
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Deed between grantor Abraham Bailey of Tewksbury and grantees Andrew Bordman IV and William Symonds both of Tweksbury for a piece of land and a building in Tewksbury.
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Mode of access: Internet.
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Master of the Saint. Elizabeth Panels; 4 ft. 2 9/32 in.x 3 ft. 7 7/64 in.; oil on panel
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Mode of access: Internet.
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Mode of access: Internet.