Suchergebnisse

This monthly update highlights major events, statements, and bilateral interactions driving China's relations with Myanmar at a time when the junta sees China as a crucial partner

A compilation of patternmaking and sewing tips for the home sewer to design and create individual garments in any size, without being dependent upon commercial patterns. ; Includes index. ; The Divided Skirt Foundation Pattern. The Front Crotch ; The Back Crotch ; How to Cut Out the Patterns ; Fitting the Culotte Foundation Pattern -- Capes. How to Take Measurements for Drafting the Cape Foundation Patterns ; The Dolman Cape ; The Circular Cape Foundation Pattern -- Trousers, Slacks or Shorts. How to Take Measurements for Trousers ; The Front Trouser Pattern ; The Back Trouser Pattern ; How to Make the Back Darts -- One-Piece Dress Foundation Pattern for Children's Sizes. The Back One-Piece Foundation Pattern ; The Front One-Piece Foundation Pattern -- Coats. A Fitted Princess Coat ; A Loose-Hanging Coat -- Designing an Entire Dress. Pattern 100: A Basic Shirtwaist Dress ; Pattern 101: A Kimono Sleeve Dress ; Pattern 105: A Child's Dress ; Pattern 106: A Child's Dress -- Appendix. Proportionate Measurement Charts ; Ladies' Sizes ; Misses' Sizes ; Little Women's Sizes ; Junior Sizes ; Children's Sizes ; Teen Sizes -- Index. ; "Squared Cap" Sleeves. The Foundation Sleeve ; The Box Cap. Sleeve ; The "Round Cap" Sleeve ; A Style Sleeve on the "Squared Cap" Foundation ; The Sleeve With a Darted Cap (Type 1) ; The Sleeve With a Darted Cap (Type 2) -- The Sleeve Joined to the Bodice. The Fitted Raglan Type Sleeves ; The Kimono Type Sleeves -- Cuffs. The Rolled Cuff ; The Dropped Cuff ; The Band Cuff ; The Imitation Cuff -- Collars and Necklines. The Flat Collar ; The Rolled Peter Pan Collar ; The Rolled Back Collar ; The Military Band Collar ; The Convertible Shirtwaist Collar ; The Collar in One With the Front Bodice ; The Dress Notch Collar ; The Tailored Notch Collar ; The Tailored Shawl Collar ; The Convertible Coat Collar ; Raised, or Turtle, Necklines ; Flared Cowl Necklines ; Pleated Cowls -- Pockets. Patch Pockets ; Pockets .Set Into a Slash in the Garment ; Pockets Which Are Part of the Garment -- ; The One-Piece Sleeve. The Sleeve Measurements ; The One-Piece Sleeve Foundation Pattern ; The Elbow Darts ; How to Shape the Wristline ; Notches for Setting in the Sleeve ; Fitting the Sleeve Foundation Pattern ; Changing the Height of the Cap -- The Two-Piece Sleeve Foundation Pattern. How to Mark the Underarm Seams ; How to Notch the Sleeve ; How to Trace Through the Underarm Section of the Sleeve ; How to Open the Overarm Section of the Sleeve ; How to Trace Through the Overarm Section of the Sleeve -- Set-In Sleeves. The Bishop Sleeve ; The Bell Sleeve ; The Fitted Bell Sleeve ; The Lantern Sleeve ; Style Sleeve With Open Flare ; A Style Sleeve Gathered to a Cuff (First Version) ; A Style Sleeve Gathered to a Cuff (Second Version) ; A Style Sleeve With an Elbow Puff ; The Short Circular Flared or Puffed Sleeve and the Straight Puffed Sleeve ; The Leg o' Mutton Sleeve ; A Style Sleeve With Points ; The Cowl Sleeve ; A Style Sleeve With a Puffed Cap -- ; Darts. The Bust Dart ; Back Bodice Darts and Hip Darts ; The Basic Positions of the Bust Dart ; How to Shift the Waist Dart to the Side Seam ; How to Use the Bust Dart in Gathers ; How to Divide the Bust Dart into Several Darts ; How to Shift a Bust Dart to a Style Line (No Visible Fullness) ; How to Shift the Bust Dart to a Style Line With Gathers ; How to Shift the Bust Dart to a Style Line-Tucks and Pleats -- Yokes. Bodice Yokes ; Shoulder Yokes ; Chest Yokes ; Waist.Yokes ; Hip Yokes -- Skirts. Gored or Paneled Skirts ; The Six-Gored Skirt ; The Twelve-Gored Skirt ; The Skirt With One Center Panel ; Other Types of Paneled Skirts ; The All-Over Pleated Skirt ; Circular Flared Skirts ; Circular Flares Falling from the Waistline (Made by Spreading the Skirt Pattern) ; Circular Flares Falling from the Waistline (Made on the Circle Principle) ; Circular Flares Falling· from the Hipline -- ; Introduction. Common terms ; Necessary Materials and Equipment -- Measurements. How to Measure the Dress Form or the Human Figure ; Front Measurements ; Back Measurements -- The front Bodice Foundation Pattern -- The Back Bodice Foundation Pattern. Checking the Front and Back Bodices ; Shifting the Back Shoulder Dart to the Back Neckline ; Fitting the Back and Front Bodice Foundation Patterns on the Dress Form -- The Front and Back Skirt Foundation Patterns. Fitting the Front and Back Foundation Patterns -- The French Lining (Princess) Foundation Patterns. The Front French Lining Foundation Pattern ; The Back French Lining Foundation Pattern. -- Self-Design, Pleats. Pleats Made Without Seams ; Pleats Made With Seams -- Self-Design, Flares. Seam Flares ; The Even Seam Flare ; The Uneven Seam Flare ; Circular Flares ; Set Circular Flares ; Uniform Circular Flares ; Cascade Drapes and Jabots ; Ruffles ; Gathers ; Godets -- ; A compilation of patternmaking and sewing tips for the home sewer to design and create individual garments in any size, without being dependent upon commercial patterns. ; Mode of access: Internet. ; CARLI Last Copy Program.

1. Abt. Die Rechtlichkeit oder ein politisch-rechtlicher Traktat.--2. Abt. Die Sittlichkeit und der philosophische Sittlichkeitswahn. ; Mode of access: Internet.

"This reproduction is authorized by the U. S. Government"-- cover. ; Mode of access: Internet.

Ascribed by Halkett and Laing to A. Ruddle. ; Mode of access: Internet.

Ascribed by Halkett and Laing to A. Ruddle. ; Mode of access: Internet.

During the twentieth century juvenilia received increasing critical attention. This provided a rise in the literary status of writing by children. However, even now, in the twenty-first century, it remains one of the more neglected literary forms. This thesis adds to the growing body of literature recognising juvenilia as an authentic literary genre, worthy of the critic's attention. Two key ~underline this thesis: firstly, juvenilia can be of importance to the scholar in their own right whether this Is due to their social and/or political impact, their influence on other authors, their development of a literary style or methodology, or the merit of their aesthetic quality -a variety of issues examined in chapters focussing on Marla Edgeworth, William Ainsworth, George Eliot and Emily Bronte. Secondly, juvenilia are precursors to the adult writing of the examined authors, with many of the advances to their writing that are the subject of praise in their adult work having been established long before in their juvenilia. This is demonstrated in representative early works by the same authors, examined alongside their later novels. An Appendix of Edgeworth's unpublished play The Double Disguise Is also included. These are not entirely new contentions, but, notwithstanding some attention from a handful of scholars, little research has been done to confirm and demonstrate their merit. This thesis suggests that critics should evaluate an author's body of work as an "entire entity" rather than confining their research to the author's mature writing. To dismiss something just because it is titled "juvenilia" is to dismiss a major part of the author's development and literary career.

This article explores a particular version of the narrative of personal stories, i.e., the "narrative about the author", which is indicative for the analysis of writers' reflection on their role in modern Russian-language literature. The article aims to determine the specifics of the "narrative about the author", show that it is formed in public discourse and conditioned by the existence of a narrative framework (a question-and-answer form of an interview that demonstrates public expectations from the creator). Public self-reflection captures the process of self-identification and modeling of the myth of verbal creative work in modern times. The event of the "narrative about the author" is an important change, after which they were able to define themselves as a writer (to name themselves). The author uses methods of classical and postclassical narratology, as well as personological and narrative psychology in the study of the "narrative about the author". The study reveals that the "narrative about the author" occupies a borderline position with respect to fictionality, the narrator is non-trivial, they are both inside the event and outside it, combining personal attitude with social, cultural, and other conventions adopted about authorship. The article considers the "narrative about the author" with reference to an interview with the Ural poet E. Simonova. The empirical basis of the study is the interviews she gave from 2019 to 2022. In her interviews, Ekaterina Simonova creates an image of a "little poet", a socio-psychological construct created under the influence of changes in the symbolic status of poetry in modern times, whose components are non-exclusivity and inclusion into everyday life. Within the narrative and within the limits of one response, one sees the formulation of a position, and in the comments given in parentheses, its ironic interpretation. As a result, the author concludes that in the interview with E. Simonova, a myth develops about the writer as an "everyday", ordinary person who is built on a strategy of ironic sincerity, which is consistent with the artistic narrative of her poetry.

Reprint of 1972 ed. published by International Business Machines Corp., White Plains, N.Y. ; Bibliography: p. 56-60. ; Mode of access: Internet.

Prolonged seizures (status epilepticus, SE) may drive hippocampal dysfunction and epileptogenesis, at least partly, through an elevation in neurogenesis, dysregulation of migration and aberrant dendritic arborization of newly-formed neurons. MicroRNA-22 was recently found to protect against the development of epileptic foci, but the mechanisms remain incompletely understood. Here, we investigated the contribution of microRNA-22 to SE-induced aberrant adult neurogenesis. SE was induced by intraamygdala microinjection of kainic acid (KA) to model unilateral hippocampal neuropathology in mice. MicroRNA-22 expression was suppressed using specific oligonucleotide inhibitors (antagomir-22) and newly-formed neurons were visualized using the thymidine analog iodo-deoxyuridine (IdU) and a green fluorescent protein (GFP)-expressing retrovirus to visualize the dendritic tree and synaptic spines. Using this approach, we quantified differences in the rate of neurogenesis and migration, the structure of the apical dendritic tree and density and morphology of dendritic spines in newly-formed neurons.SE resulted in an increased rate of hippocampal neurogenesis, including within the undamaged contralateral dentate gyrus (DG). Newly-formed neurons underwent aberrant migration, both within the granule cell layer and into ectopic sites. Inhibition of microRNA-22 exacerbated these changes. The dendritic diameter and the density and average volume of dendritic spines were unaffected by SE, but these parameters were all elevated in mice in which microRNA-22 was suppressed. MicroRNA-22 inhibition also reduced the length and complexity of the dendritic tree, independently of SE. These data indicate that microRNA-22 is an important regulator of morphogenesis of newly-formed neurons in adults and plays a role in supressing aberrant neurogenesis associated with SE ; This work was supported by funding from Science Foundation Ireland (13/SIRG/2098, 17/CDA/4708 and 16/TIDA/4059 to TE, 13/SIRG/2114 to EJ-M, 17/TIDA/5002 to CR, 13/IA/1891 and 16/RC/3948 to DH and co-funded under the European Regional Development Fund and by FutureNeuro Industry partners) from the Health Research Board (HRA-POR-2015-1243 to TE), from the European Union Seventh Framework Programme (FP7/2007–2013) under grant agreement n◦ 602130 (to DH), from the H2020 Marie Skłowdowksa-Curie Actions Individual Fellowship (753527 to EB), from the European Union's Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement (No 766124 to TE), S2013/ICE-2958 from Comunidad de Madrid to MM-P, from Fundación ''La Caixa'' to JM-R and from Areces Foundation C-XVIII and the Minister of Science and Universities of Spain BFU2014-53654-P to MM-P

They are upon us: May 17 -- On the war-path for Vicksburg: May 18 -- A long dreadful day: Fifteenth Corps, May 19 -- I hope every man will follow me: Seventeenth and Thirteenth Corps, May 19 -- This will be a hard place to take: May 20-21 -- Dismay and bewilderment: Blair, May 22 -- Now, boys, you must do your duty: McPherson, May 22 -- The horror of the thing bore me down like an avalanche: McClernand and Osterhaus, May 22 -- Boys, you have just fifteen minutes to live: 2nd Texas Lunette, May 22 -- A thousand bayonets glistened in the sunlight: railroad redoubt, May 22 -- I don't believe a word of it: Grant, Sherman, and McClernand, May 22 -- Am holding position but suffering awfully: Blair, Ransom, and Tuttle, May 22 -- It made the tears come to my eyes: Steele, May 22 -- Boys, don't charge those works: Logan and Quinby, May 22 -- It is absolutely necessary that they be dislodged: reclaiming railroad redoubt, May 22 -- An ardent desire to participate in the capture of Vicksburg: Grant, Pemberton, Porter, and McArthur, May 22 -- I feel sad but not discouraged: making sense of May 22 -- I am surfeited, sick, and tired of witnessing bloodshed: casualties, wounded, prisoners -- No one would have supposed that we were mortal enemies: burial, mourning -- They ought to be remembered: honors, infamy, life stories -- Eventful on the page of history: commemoration.