Author: Wooster Beach
Publisher: Forgotten Books
Published: 2017-11-21
Total Pages: 740
ISBN-13: 9780331606539
DOWNLOAD EBOOK →Excerpt from The American Practice of Medicine, Revised, Enlarged, and Improved, Vol. 3 of 3: Being a Practical Exposition of Pathology, Therapeutics, Surgery, Materia Medica, and Pharmacy, on Reformed Principles; Embracing the Most Useful Portions of the Former Work, With Corrections, Additions, New Remedies, and Improvements The plates of this volume are mostly botanical, and these are inserted and described in their appropriate places. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Richard P. Dober
Publisher:
Published: 1992
Total Pages: 314
ISBN-13:
DOWNLOAD EBOOK →Utilizing case studies which cover all types of universities and institutions of higher learning throughout the world, this planning and design study illustrates how to create a university setting which is functional, attractive and accessible
Author: Charles Godfrey Leland
Publisher:
Published: 1891
Total Pages: 302
ISBN-13:
DOWNLOAD EBOOK →Book may have numerous typos, missing text, images, or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1891. Excerpt: ... CHAPTER XIV.' A GYPSY MAGIC SPELL. HOKKANI BASO LELLIN DUDIKABIN, OR THE GREAT SECRET CHILDREN'S RHYMES AND INCANTATIONS TEN LITTLE INDIAN BOYS AND TEN LITTLE ACORN GIRLS OF MARCELLUS BURDI- GALENSIS. HERE is a meaningless rhyme very common among children. It is repeated while "counting off" --or "out" --those who are taking part in a game, and allotting to each a place. There are many versions of it, but the following is exactly word for word what I learned when a boy in Philadelphia: -- Ekkeri (or ickery), akkery, u-kcry an, Fillisi', follasy, Nicholas John, Queebee - quabee -- Irishman (or, Irish Mary), Stingle 'em--stangle 'em--buck! With a very little alteration This chapter is reproduced, but with much addition, from one in my work entitled "The Gypsies," published in Boston, 1881, by Houghton and Mifflin. London: Trubner Sc Co. The addition will be the most interesting portion to the folk-lorist. in sounds, and not more than children make of these verses in different places, this may be read as follows: -- Ek-keri (yekori) akairi, you kair an, Fillissin, follasy, Nakelas jan Kivi, kavi--Irishman, Stini, stani--buck! This is, of course, nonsense, but it is Romany or gypsy nonsense, and it may be thus translated very accurately: -- First--here--you begin! Castle, gloves. You don't play! Go on! Kivi--a kettle. How are you? Stdni, buck. The common version of the rhyme begins with-- "One--ery--two--ery, ickery an." But one-ery is an exact translation of ek-keri; ek, or yek, meaning one in gypsy. (Ek-orus, or yek-korus, means once). And it is remarkable that in-- "Hickory dickory dock, The rat ran up the clock, The clock struck one, And down he run, Hickory dickory dock." We have hickory, or ek-keri, again followed by a significant one. It may be observed that while my firs...
Author: Adelina Modesti
Publisher: Brepols Publishers
Published: 2014
Total Pages: 0
ISBN-13: 9782503535845
DOWNLOAD EBOOK →This is the first monograph in English published on the successful Bolognese seventeenth-century artist Elisabetta Sirani (1638-1665). Modesti presents Sirani as a 'subject of her own genre', underlining the painter's innovative qualities, not only in artistic terms, but also from a socio-political and historical perspective. The author's discussion of the material context of women's artistic production and of the Bolognese seventeenth-century cultural world evidences how Sirani epitomized a new model of 'femininity' and a new rising social genre: the single professional woman. Having been rightly admitted to an artistic, social, and cultural world historically dominated by men, Sirani was an unmarried woman who chose a productive and rewarding career over the traditional role of wife and mother. An 'ultramodern artist', deemed by her contemporaries to be extremely talented and inventive, Sirani affirmed her professional status within a mostly male world thanks to her extraordinary cultural learning and virtuoso artistic skills, as well as the clever management of her public image and success. Being a woman was not a hindrance to Sirani, but rather a positive element: by projecting her own image and identity onto the femme fortes of ancient history, and by inviting important guests to her studio so as to observe her painting, she organized her own 'public exhibition', thus becoming both the subject and the object of her own art. Modesti underscores Sirani's momentous role in the professionalization of Italian women's cultural production and artistic practice at the beginning of the modern era and highlights Sirani's role as an example for successive generations of professional women artists.