962 resultados para Zenobia, Queen of Palmyra.
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Mode of access: Internet.
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Added t.-p.: Palmyra and Zenobia.
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Originally published under the title: Letters of Lucius M. Piso, from Palmyra, of which the first nine first appeared in the Knickerbocker magazine.
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Originally published under title: Letters of Lucius M. Piso, from Palmyra.
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This paper intervenes in critical discussions about the representation of homosexuality. Rejecting the ‘manifest content’ of films, it turns to cultural history to map those public discourses which close down the ways in which films can be discussed. With relation to The Adventures of Priscilla, Queen of the Desert, it examines discussions of the film in Australian newspapers (both queer and mainstream) and finds that while there is disagreement about the interpretation to be made of the film, the terms within which those interpretations can be made are quite rigid. A matrix based on similarity, difference and value provides a series of positions and a vocabulary (transgression, assimilation, positive images and stereotypes) through which to make sense of this film. The article suggests that this matrix, and the idea that similarity and difference provide a suitable axis for making sense of homosexual identity, are problematic in discussing homosexual representation.
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Autographed dedication: An Margot Einstein in innigem Gedenken an ihrem Vater, meinem grossen and teueren Freund Albert Einstein. Herzlichst Elisabeth April 1956
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Beth Woods has been hailed the Queen of Rice by the Australian Centre for International Agricultural Research (ACIAR). Beth’s decade-long relationship with the International Rice Research Institute driving research innovations that make large and measurable changes for rice farmers has received due recognition in a recent article published by ACIAR’s Partner’s Magazine. Her particular expertise relates to structures and strategies that help get ‘the most bang’ from the money invested in research.
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UANL
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The essay uncovers evidence for the construction of the ‘woman author’ in the largely male vogue for bawdy burlesque poetry by tracing the circulation of a pair of verses through seventeenth-century manuscript and print miscellanies. It argues that just as these verses are reworked and recontextualised through the process of transmission, so to their ‘authors’ are re-embodied and ascribed different identities in different publication contexts. Female-voiced bawdy poetry raises particular problems for authorial attribution, rather than searching for the real woman behind the text, the essay examines how the ‘authors’ of female-voiced bawdy poetry were produced and reproduced through shifting formal frameworks and socioliterary networks.
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