Beautiful Girl Research Articles

The gross divide between the rich and the poor

I could not believe my eyes when I walked through the narrow dirt pathways between the hundreds of rickety tin shacks in the township of Khayalitisha in South Africa. A beautiful African girl, not much younger than me, wearing a pale pink skirt that casually hung below her hips and a white, dirt-stained tank top, led me to Sekwamkele’s hut.

Parallel Lives Diverge

DOI: 10.1200/JCO.2012.42.2824 Two women younger than 40 years of age as new consultations did not bode well for an easy afternoon. Not that any afternoon of newly diagnosed patients was ever easy in the general sense of the word. No matter how small the disease or potentially favorable the outcome, walking into any new oncology patient consultation is fraught with danger. Between the date of diagnosis and the first consultation, terror builds. Fueled by wellmeaning people, Web sites of variable quality, and cancer stories of uncertain relevance, tension ratchets inexorably tighter every day. This fear needs to be managed in the most constructive way possible, avoiding explosion or meltdown. A controlled experience is required. Not easy in the general sense of the word, ever. It was a remarkable coincidence. The first patient was 37 years old, married to a software developer, and a mother to two beautiful girls ages 4 and 7 who were at home with their grandmother while mom and dad spent time with another doctor who was going to help mommy’s hurt. The second patient was 35 years of age, newly married to a solid-looking paramedic. Ten months before our consultation, they had become parents to a baby girl who was also with grandparents as mom and dad went back to the hospital to find out what was next. Both women presented with a 2to 3-month history of ignorable but highly predictive symptoms; intermittent constipation, thinning stool caliber, and increasing pelvic unease. Both had sought help at their family physicians’ offices and had been directed to the appropriate set of investigations and referrals leading to a diagnosis of locally advanced rectal cancer. Both had undergone computed tomography (CT) scans and colonoscopies with results that argued for curative-intent intervention. Approaching with the trepidation inherent in new consultations with young patients unfairly targeted by a cancer diagnosis, I was struck by the dramatically different styles of my two patients. One was a paragon of stoic determination, as was her husband. Carefully sifting through my explanation of the pathology report and its implications, she easily fixated on the most relevant features: “potentially curable,” “need to treat first to shrink things before surgery,” “combined chemotherapy and radiation to maximize successful surgery.” Her questions came in answerable volleys: “Will I get sick from the chemo?” “Do I need to have treatment in hospital?” “When does everything start?” After a careful explanation of the definite and potential toxicities of the combined treatments as well as the sequencing of treatments with surgery, she repeated all salient points back to me, as if to prove that she had not only heard but also understood what was to come. Hand in hand with her husband, she turned and thanked me before leaving the office, seemingly treating the meeting as if she had just dropped off her daughters at a familiar daycare for a few hours while she went to do some shopping. Fresh from this encounter, I walked into a dramatically different setting in the next room. Here was someone more in line with my expectations. Freshly damp rivulets on her cheeks and shifting uncomfortably in the chair, her anxiety was electric, almost palpable. The tremor in her voice was clearly uncontrollable as she sat paralyzed, a proverbial deer in the headlights of the oncoming cancer train bearing down on her. Examining every element of her radiology report, she had somehow missed the point that there was no evidence of cancer spread outside the pelvis and that treatment goals would be curative in intent. An hour later, I had still not managed to convince her that a 2-mm incidental finding in her liver on the CT scan was benign in nature. Over the next 3 weeks, there were multiple visits with clinic nurses and telephone calls addressing shape-shifting concerns and anxieties. Finally, with the intervention of our psychosocial team and the support of her gently heroic husband, she agreed to proceed with the planned treatment. She eyed me suspiciously while signing the informed consent document and collapsed onto her husband’s shoulder once the pen sealed her fate. Treatment began for both of these women on the same day, unbeknownst to them. The plan was 6 weeks of radiation therapy to the pelvis along with an old chemotherapeutic agent, fluorouracil, delivered concurrently as a continuous infusion through a peripherally inserted central catheter (PICC) line, with the aim of sensitizing the cancerous tissue to the impact of the radiation. Once completed, a repeat JOURNAL OF CLINICAL ONCOLOGY A R T O F O N C O L O G Y VOLUME 30 NUMBER 16 JUNE 1 2012

The study of Fuzzy theory applied to cool guys looking for beautiful girl

Given that many young men and women like to match men and women like games, we want to make a way. Most of the current matching game is remote, and can not see each other which is little lonely. So we want to make a through positioning device, location services, and NS2 simulation path and fuzzy theory to achieve that in reality matching method. The study by global satellite positioning system provides precise positioning rain or shine, with location services to provide location and can travel in the direction of addition through NS2 to simulate the user's walking speed and direction for people to use fuzzy theory to match to achieve the extension of the positioning and matching services.

Cultural and Cosmopolitan

This article uses a comparative-case research design of two different national beauty pageants in Nigeria to ask how and why gendered nationalisms are constructed for different audiences and aims. Both contests claim to represent “true Nigerian womanhood” yet craft separate models of idealized femininity and present different nationalist agendas. I argue that these differences stem from two distinct representations of gendered national identities. The first pageant, “Queen Nigeria,” whose winners do not compete outside of Nigeria, brands itself as a Nigerian-based pageant, centered on a cultural-nationalist ideal, which is focused on revitalizing and appreciating Nigerian culture to unify the nation. In contrast, the second contest, “The Most Beautiful Girl in Nigeria,” utilizes “international standards” to select and send contestants to Miss World and Miss Universe, the top pageants in the world, and promotes a cosmopolitan-nationalist ideal, which remains concentrated on propelling and integrating Nigeria into the international arena.

Anatomical basis of dimple creation - A new technique: Our experience of 100 cases

Background:Cheek dimples are usually considered as an attractive feature of facial beauty. Unfortunately, not all beautiful girls have dimples. Literature on dimple creation surgery is sparse.Aims:We used a new and simple technique for dimple creation, passing a transcutaneous bolster stitch after scraping off the dermis of all mucomuscular attachments. Our aim was to analyse the positive and negative findings of this technique.Materials and Methods:We used this procedure in creation of 100 dimples under local anaesthesia as a daycare procedure and analysed the results.Results and Conclusion:This procedure is safe, reliable and easily reproducible. As no tissue is excised, chances of bleeding and haematoma formation are negligible. With this procedure, the patient satisfaction rate is very high, and patients seen long time after surgery continue to be pleased with their surgically created dimples.

Tea

Tea Francis-Noël Thomas (bio) I did not come from a tea drinking family. my maternal grand-mother, who was born to landless peasants in Sicily and who, after having run a butcher shop to support her six children, became by her own account “a lady” after her children were grown and she had remarried, associated tea with the British movies she saw on television in the early 1950s. In her broken but confident and rhetorically astute English, she summed up all of these films in one phrase: “Ava-cuppa-tea.” She asserted in a manner that brooked neither contradiction nor qualification that this imperative—which in her articulation sounded like a single word—represented all the dialogue, and the subsequent taking of tea all the action, in each of them. She regarded these films not as works of fiction but as documents of current British life that formed, collectively, a complete and reliable guide to British culture. She did not claim in so many words that excessive tea drinking was the cause of Britain’s decline into postwar impotence and the loss of empire, but this thesis was unmistakably conveyed by the contemptuous tone in which she enunciated this universal plot summary of the entire output of the British film industry of the 1940s. I don’t recall my grandmother’s ever drinking tea herself—although according to my father’s later testimony she did so on at least one occasion. She drank cheap domestic wine, coffee, and ginger ale, like any sensible person. My father, who had a severely limited appreciation for his mother-in-law’s views of British culture and of most other things, nevertheless shared her contempt for tea. He was quite a good storyteller—so was my grandmother—and late in his life, long after my grandmother had died, he recalled in a nostalgic oral narrative his courtship of my mother. After several failed attempts to find someone to introduce him to her—at the time an astonishingly beautiful girl of eighteen—he finally succeeded and was invited by her mother to tea. “Tea!” he said. It is remarkable how much contempt, how much scorn, how great a sense of the absurdity of this invitation he could incorporate into the pronunciation of this single word. It was as if he knew then that he was about to marry the daughter of a cultural ignoramus with ridiculous pretensions. My mother almost never made tea, but she retained to the end of her life at least a half-dozen ornate tea sets, and for years she collected delicate teacups. The cups were stored in a china cabinet in the dining room and used only on the most exceptional occasions—when they were filled with coffee—the tea sets themselves, never. My grandmother died the year before I first traveled to England. I’m sure [End Page 82] she would have wondered about my mental competence had she known I was going to cross the ocean in order to spend time in a country that had dissolved its former greatness in endless cups of tea. By that time, I had drunk tea on occasion in graduate school—mostly at a local institution sponsored by the Division of the Social Sciences and known on campus as Soc Tea (the “Soc” pronounced with a long o and a soft c as in “ocean”—a shortened form of social). I was indifferent to the tea—which was also indifferent. I went to Soc Tea to meet women graduate students. I don’t believe I ever had seen so many attractive women in one room before—and perhaps I haven’t since. I’m sure my father would have been astonished to learn that, in what he would have regarded as a culture greatly superior to the one he grew up in, courting attractive women still involved the outlandish pretension of drinking tea. I must have drunk tea on my first visit to London, and on subsequent visits too, but the tea made no impression on me. The great gastronomic discovery of the time I spent in England, scones, came several trips later. I don’t remember what I drank...

From text-linguistics to literaryactants—The force dynamics of (emotional) vampirism

AbstractThis article provides some groundwork for applying the cognitive linguistic theory offorce dynamics(Talmy 1988, 2000) to narrative discourse. It proposes that Talmy's analytic apparatus is suitable for revealing character-related dynamics in literature, especially by exploiting the previously unnoticed convergence with the notion ofactancyproposed by the narratologist Greimas (1966). Force imagery both in ordinary action descriptions and in metaphor opens a vista on how readers infer, stabilize, and elaborate narrative macro-representations of “who wants what” and “who does what to whom?” Hence, texts subtly encode aspects of higher-level story logic through forces, enabling readers (and scholars) to detect and scale up coherence patterns that shed light on character motives, protagonist interaction, and plot dynamics. A full-scale text linguistic analysis is proposed. My case study of about 500 text units found in Joseph Sheridan LeFanu's novellaCarmilla(1872) reveals a dynamic web ofdriving, penetrating, manipulating, attracting,anderuptingforces between the two main protagonists, a beautiful girl vampire and her 19 year-old victim.

일본 애니메이션에 나타난 미소녀 캐릭터 패션 연구

The purpose of this study was to clarify the symbolic meanings of the beautiful girls` character fashion in modern Japanese animations. This study investigated the currency and characteristics of the beautiful girls` characters from the 80`s to the present. The fashion style of a beautiful girl`s character was categorized into four styles: trendy style, adult style, Lolita style and fantasy style. These fashion styles were analyzed, and as a result, three symbolic meanings of the fashion style of a beautiful girl`s character are discussed. Firstly, these occidentalized body styles represented idealized body images that are not traditionally Japanese. Secondly, the adult style (growth) represented coming out, i.e. the desires to develop from a child into an adult. Thirdly, the adult (transformation), Lolita and fantastic styles appealed to maniac consumers, having a Moe feeling.

You Killed Wesley Payne (review)

Reviewed by: You Killed Wesley Payne Karen Coats Beaudoin, Sean. You Killed Wesley Payne. Little, 2011. [368p.] Trade ed. ISBN 978-0-316-07742-2 $16.99 E-book ed. ISBN 978-0-316-12222-1 $9.99 Reviewed from galleys R* Gr. 9-12. In classic noir fashion, hard-case Dalton Rev is enticed by an apparently bereft, beautiful girl to take on a mystery involving the death of her brother, who was found trussed in duct tape and hanging from the goalposts on his high school's football field. Dalton is not as cool and in control as he appears, however; in fact, he takes his entire game plan from a fictional detective, Lexington Cole, whose exploits don't always model well for Dalton's circumstances, leading to some hilarious improvisations. The school in which Dalton is sleuthing is a hotbed of corruption and intrigue, ruled by virulently oppositional cliques, each with lucrative money-making rackets and all held in a tense stasis by the elusive cult of the Lee Harvies, who show up at random on the school roof with assault rifles to ride herd on the masses. The cliques themselves are the main characters here; they are introduced and flowcharted in introductory material, with descriptions reeking of hyperbolic, snort-evoking snark. Beaudoin's razor-sharp rhetorical wit plays smartly with the generic conventions of the hard-boiled detective novel, but the story is shaded throughout with typical adolescent male anxieties, making this parody more engaging and complex than the exemplars it plays off of. Even the sentimental heart of the piece, a talk between Dalton and his mother, who is despairing over the apparent failure of their family, is as emotionally resonant as the earnest attempts at this sort of conversation found in texts that take themselves more seriously. The hipster slickness of the narrative makes the accompanying glossary a welcome aid even though most of the terms are evident in context; like the glossary in Frank Portman's King Dork (BCCB 5/08), it provides as much supplemental comedic value as it does genuine information. The short stories appended to the end are entertaining, and the excerpt from the Lex Cole novel makes one wish it were real. Give this to fans of King Dork and the indie film Brick and then direct them to Dashiell Hammett for a taste of the real thing, knowing that they just might like this better. Copyright © 2011 The Board of Trustees of the University of Illinois

"The Sylph of Ullswater," or the "Bluestocking Monster"

In 1825, at age of twenty two, Sara Coleridge completed essay On Disadvantages Resulting from Possession of Beauty. The subject was one with which was painfully acquainted, and while wrote it as private working-out of set of social contradictions to which was subject, essay nonetheless reads like an early intervention in development of normative standards for female Since was sixteen, Sara had been recognized as Despite being safely ensconced in Southey household in Greta Hall, had nonetheless had London debut in 1818--as work of art. The previous summer, painter William Collins had visited Keswick, and Sara had been persuaded to sit for portrait as Wordsworth's Highland Girl. The canvas was shown at Royal Academy to enthusiastic reviews. The picture's subject, matter, unaffected beauty of country girl set amidst rugged Lakeland scenery, proved winning combination and Sara suddenly became famous natural beauty. Some of epithets used to describe included Flower of Lakes, the Sylph of Ullswater, and Beauty of Buttermere. The iconography of Sara was complex; was an aesthetic object, a form of compacted light, not of and blood, as one reviewer had it (quoted in Jones 202), but fascination for Cambridge students who began to include on their list of beautiful and picturesque prospects to visit while touring Lakes was decidedly of flesh and blood variety, if not openly carnal. The painting played directly on picturesque taste with its juxtaposition of wild, obscure mountain scenery (all indistinct brooding clouds and rocky crags), and serene, ethereally beautiful girl on verge of womanhood. This public attention translated into immediate changes in summer social life at Greta Hall, as Southeys accommodated groups of visiting tourists. Dennis Low makes excellent point that assumption that Sara grew up socially isolated in Keswick doesn't bear scrutiny when these summer seasons are taken into account. He quotes late letter to daughter Edith describing frantic round of boating, pic-nic-ing, Lea-drinking, carpet-hop-dancing (Low 106). Her mother feared would grow vain. The other activity, besides this gay round, that occupied Sara as precocious sixteen year old could not have been more different. She began work on translation of Martin Dobrizhoffer's Latin trealise, Historia de Abiponibus, an account of Paraguayan horse culture. This project ted to three-volume An Account of Abipones, an Equestrian People of Paraguay, published in 1821 when was just eighteen. Critics often underplay this publication by pointing out elements of chance that led to its creation: task was intended for Derwent as means to defray College costs; she, as better classicist, offered to help; when Derwent begged off because he was too occupied with his post as tutor, asked if might continue. Sarah Fricker Coleridge described process in letter to Tom Poole, including Southey's tentative approval of scheme with proviso that: she not be disappointed if nothing was gained by it, and not work too hard (quoted in Low 107). Mrs Coleridge didn't share Southey's concern, reassuring Poole that he must not imagine that Sara's health has suffered from too intense application to this work, for I am happy to say, is at present in better health than I have ever known her (Low 107). In other words, intellectual labour was source of physical vigour, not danger to it. In his account of story'. Low disturbs critical consensus that Southey's attitude demonstrated an ingrained misogyny. He makes excellent point that Southey's advice reflected state of market for translated works, and poor financial return for translators. He also notes that Southey's concern that project might prove overtaxing was extended equally to Derwent, although this point seems less persuasive, given that concern for Derwent was based on his being consumed by his teaching duties, whereas Southey was clearly worried about Sara's delicate constitution (Low 107-8). …

There's a Beautiful Girl Under All of This: Performing Hegemonic Femininity in Reality Television

The reality makeover show “The Swan” draws from cultural discourses of plastic surgery and self-improvement culture to frame cosmetic surgery as a morally appropriate means to achieving an authentic self. Employing the conventions of reality television and appropriating iconography from female-oriented pop culture such as beauty pageants and makeovers, “The Swan” demonstrates the limits of “empowerment,” encouraging evaluation by a medical-psychiatric institutional gaze that measures natural female bodies against a hyper-stylized version of femininity. While the sharp rise in cosmetic surgery in the U.S. over the last decade and the continued popularity of body culture media require an analysis of the program's rhetorical claims, “The Swan” furthers a shift in understanding plastic surgery from an aesthetic procedure to a moral self-regulating procedure. We show how the presentation of contestants' narratives, as well as the reframing of these narratives by experts to determine appropriate surgical work, create moral justifications for plastic surgery.

Our World was Rocked

Nicole is a beautiful 14-month wide-eyed girl who presents for routine health care maintenance in your office. Since her 9 month visit, her weight has fallen from the 25th percentile to significantly less than the 5th percentile. Her height has dropped from the 10th percentile to slightly less than the 5th percentile, while her head circumference has remained at about the 25th percentile. Her language, motor, cognitive, and social development are normal. She is 2 months late for this visit as her family has recently had significant family loss because of the earthquake in Haiti. When you take a feeding history, she seems to eat age-appropriate foods--macaroni, chicken pieces--but her mother notes that she tends to be restless and fidgety while eating and will no longer sit still in her mother's lap while she feeds her. Her stools tend to be frequent, with particles of food seen. Urine is normal. There are no symptoms of respiratory or neurological disease, and her review of systems is otherwise negative. She has been a healthy child and this is the first time they have fallen behind in routine health care maintenance visits. Her medical history is entirely unremarkable. She was born at term, weighing 3.5 kg, without any perinatal complications. The family has lived in the United States for the last 10 years. Mother recalls that there were other children in her family who were deemed small as young children but who caught up later in childhood. Mother describes a history of increased sadness and worry in the last 2 months. They receive phone calls from family in Haiti several times per week and she admits to being upset during and after these calls. When asked how the event has impacted her family, she states, "It has rocked our entire world but Nicole is just a baby who won't eat!" Parents are married, and there is no history of abuse or violence in the household. Her physical examination is essentially normal. Her anterior fontanelle is still open, roughly 2 cm. Two teeth (one just emerging) are present. She is alert and interactive and appears to relate well with her mother. You update her vaccinations and then struggle with where to head next.

The Sick Dog

The Sick Dog Jennifer Key (bio) Sweet pagan heart, Diana of the hunt,we keep you tethered close to us, slow offoot, mortal, earthbound, golden girl who once,a copper bolt, plucked a duck from the blue sailcloth of sky to feel that emerald throatpulsing within your own; at whose approachtall grasses part, where in summer fields sleekcreatures lived and died according to your quicker unblinking eye, though the bright bloodon your tongue these days is oftener your ownas you erase the trace of everywhereyou've been and bled throughout the house, such dull quarry for a dog like you. Shaved and stitchedwhere sunlight once fastened to your fur,a sticky burr not even night pulled clean—your coat of flame the chattering class of birds embroiders into nests, entwining furas if the world were able to rescindeach hard-fought loss and make good use of us,as if whatever's lost could be retrieved again. It can't. Listen, if we are savedat all it will only be by bird beakand black wing, wren and starling, junk birds thatscavenge the yards at dawn while you watch on [End Page 265] in silence and suffer us our scienceas well as our mild God, in whom you can'tbelieve as you already know how thiswill end. Futile the blessing of the priest's pale hands upon your muzzle when a bonewould be better and more honest at leastfor such a wise, all-knowing augurerof wind and architect of lesser fates we do not mourn: ruffed grouse or groundhog's neckin that unholy vise of your grey jaw—so it comes to all, if not violent thenviolated. Rolled over, your stomach's a map of cancer, cutting, and metastasis.Where you rest a dark stain seeps. High priestessof brindled woods, where late you read the runesof horn and hoof, leaf-litter and twig-snap, where shadows spill, black hieroglyphics writtenby the trees that you alone were born to translate:love and grief, two sides of the same green leaf.Here, lace your step through rushes where geese roost, past oak roots knuckled deep into the banksof silver lakes returning now to usas mirrors of their own making. At dusk,the little lights that lick across the lake come on whether we're here or not. For nowwe are. Be glad. Travel until the daypulls in her sail, sails on. Beautiful girl,wherever you're going, 'm going there too. [End Page 266] Jennifer Key Jennifer Key teaches at Southern Methodist University in Dallas, Texas. Copyright © 2010 Johns Hopkins University Press

ORIENTALISM IN THE "STRASSBURGER ALEXANDER"

The Strassburger Alexander (SA), the second recension of Pfaffe Lambrecht's Alexanderroman, is one of the earHest Middle High German texts to focus on cross-cultural interaction within a framework that combines military conquest with geographical exploration.1 Whilst the first recension, the Vorauer Alexander (c.1160), breaks off after Alexander's defeat of Darius, the SA (c.1170-85) continues the story of how Alexander and his army progress through the Orient. After defeating Darius' ally Porus, Alexander faces little military resistance and instead experiences a series of unsettling and ambivalent encounters with the unfamiliar: girls who grow on flower-stalks, men who abjure war, a queen who outsmarts him, and numerous monstrous creatures unknown in the West. Although Alexander emerges physically unscathed in every case, these encounters serve to relativize the importance and appropriateness of his achievements, at least in the eyes of the audience. The final episode, involving his abortive and slightly embarrassing attempt to conquer Paradise, triggers a formal lesson in humility and a period of moral improvement during his final years.The aim of this article is to apply the concept of Orientalism, originally promulgated by Edward Said,2 to highlight the ways in which Alexander fuses military force with more academic or experimental approaches in an attempt to 'manage' the Orient. The combination of military and intellectual conquest is central to Said's concept. Accordingly, although his analysis relates primarily to the post-Enlightenment period, he attaches seminal importance to the figure of Alexander, who combined military, exploratory, and taxonomic activities in the Orient.3 In the decades since 1978, Said's original framework has, of course, been challenged, refined, and expanded in various ways, not least in relation to medieval literature (and often in relation to the medieval Alexander).4 As this article will seek to show, emphasis on the intertwining of academic and colonist/ imperialist interests is particularly pertinent for the SA.The article will examine the ways in which encounters with Eastern exotica are used as a basis for exploring the nature and limits of humanity. After an overview of the teratological inventory of the SA, the focus will be on a comparative discussion of a single short episode (lines 4909/5359-4960/5410). This episode presents Alexander's encounter with a hybrid being - a man with porcine features. This pig-man resists capture even though cornered by Alexander's soldiers. When Alexander places a beautiful girl in front of the pigman, he snatches her and attempts to carry her off to the woods, presumably to violate her. The soldiers rescue her and Alexander has the pig-man burnt to death. Whilst many other Alexander texts contain variations of this episode, the SA is unique in its presentation of Alexander's motivation for treating the pig-man in this way: Alexander is shown to engage in a deliberate experiment to probe the sexual responses, and hence the humanity, of the pig-man. This in turn is implicitly linked to Alexander's own difficulties with sexuality and mortality.5 Overall, the episode is handled in such a way as to generate a sense of moral unease mostly absent from other versions of the same material.To some extent, Orientalism is endemic in medieval writing. Whilst some courdy romances operate with home-grown monsters populating the woods and wildernesses immediately adjacent to the Arthurian court,6 most texts conceive the Other as geographically remote and, notwithstanding a certain interest in the Adantic and the Arctic,7 as living specifically in the East. This Orient of the medieval imagination clearly contains fantastical features, particularly as one progresses beyond the Levant, and is characterized by a certain geographical haziness - for example, insofar as it contains black and Moorish populations more accurately associated with Africa.8 Nonetheless, an awareness of biblical geography (and, increasingly, of locations affected by crusades) means that the medieval Orient never becomes so vague a concept that it merely becomes synonymous with 'far away', nor does it normally constitute a mythical otherworld or heterotopia. …

Portrayal of Women in Pakistani Magazines: Do Magazines Stereotype Women as Model?

This research article describes the portrayal of women given by the three Urdu weekly magazines of Pakistan, the ‗Akhbar-e-Jahan‘ the ‗Mashriq‘ and the ‗Nawa-e-waqt‘ for three months period. The findings reveal that all the three weeklies devoted significant space to women pictorial portrayal mostly showed them with different products like modern dress, long hair and short hair style as object of appeal—model, actress, singer, and dancer—by all pages particularly by their titles and central fold pages, as compared to their picture spaces to the same showed them in achieved roles (teacher, doctor, social & health worker, politician, administrator and businesswoman) and traditional roles (mother, housewife, sister, and daughter). T-test statistics explore significant difference between pictorial space wise coverage by ‗Akhbar-e-Jahan‘, ‗Mashriq‘ and ‗Nawa-e-waqt‘. While the same test shows little but no significant difference between the picture spaces coverage to women by weekly ‗Mashriq‘ and weekly ‗Nawa-e-waqt.‘ It is interesting to mention that all the three magazines specific focus remained on portraying young and beautiful girls as model or sex object. Normal 0 false false false MicrosoftInternetExplorer4

Carole Landis: A Most Beautiful Girl by Eric Gans and Pictures About Extremes: The Films of John Frankenheimer by Stephen B. Armstrong

The Journal of American CultureVolume 32, Issue 3 p. 272-273 Carole Landis: A Most Beautiful Girl by Eric Gans and Pictures About Extremes: The Films of John Frankenheimer by Stephen B. Armstrong Laurence Raw, Laurence Raw Başkent University, Ankara, Turkey © 2009 Wiley Periodicals, Inc.Search for more papers by this author Laurence Raw, Laurence Raw Başkent University, Ankara, Turkey © 2009 Wiley Periodicals, Inc.Search for more papers by this author First published: 09 September 2009 https://doi.org/10.1111/j.1542-734X.2009.00716_9.xRead the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume32, Issue3September 2009Pages 272-273 RelatedInformation

The Haunted House of American Fiction: William Gaddis’s Carpenter’s Gothic

In his third novel Carpenter's Gothic (1985), William Gaddis presents a postmodern adaptation of a classic gothic plot: a brutal husband terrorizes his frail wife while scheming to take her inheritance. Gaddis's description of his gothic heroine Elizabeth Booth, with her nervous habits and bizarre fear of mailboxes, as beautiful girl with red hair and this real pale white skin and these great high cheekbones (90) conforms to traditional gothic norms. She is Gaddis's portrait of a gothic lady, his Jamesian dove, shaped by her father's domination and then abused by her husband. However, this novel, Gaddis's sometimes-unwieldy fictional house, serves as its own double: Carpenter's

Thessaloniki

Four Poems Nicholas Samaras (continued) Thessaloniki These are the streets you walked a quarter-century ago. This is the royal avenue whose name has been changed. This is thenew name of the streetyou can recognize, you think. This is theplace of your favoritepizza restaurant thatused tobe here. This is the colonnade and new restaurant thatdidn't used tobe here. This is theancient arch you satbeside, thearchaeological ruins sloping down to theAegean bay. These, the memories that follow you likeghost-reflections in shopwindows And what does it mean? How much does geography hold you - tieyou - to thisplace, that time? What are you looking for? Your firstapartmentwhere you lived and were lonely foryour father? The daily restaurantwhere you atewith friendsand were happy? The songs of thatyear togroove your youth back toyou? The beautiful girl you danced with? The returnofyour lifeto say, yes, Imatured here? Memories to show you who you were and are? Someone to remember you? The desire tobring your children here and tell them, Look at thisbench,see thisstreet,seeyouryoungfather, lonelyand loved .. . I came toyoufromhere- thiscity,thesestones,thispath. Litany for a New Century For everyonewho diminished from my life,there were these green andMidland hills. For every darkness, there were olive hillswaiting indarkness. For every unconscious rushing, there was air to hold thebreeze. For every silver ribbon of river that flowed, there was water, ribboned and silver, that remained. For every hand that wrung itsotherhand. For every daughter who asked her fathernot to leave for work. Wind chimes, did Ihear you? Daughter, did Ibend to see the colors you drew with, theneat printing youmastered? For thatday, I call fora new age. Pay attention. I sitand piece the century's fragments together. Iwill myself to stand still inaworld thatspins on. Iwill my hut to staywith me, in itseastern slant of light. West Nyack,New York 34 i World Literature Today ...

Amiri & Odette: A Love Story (review)

Reviewed by: Amiri & Odette: A Love Story Deborah Stevenson Myers , Walter Dean. Amiri & Odette: A Love Story; illus. by Javaka Steptoe. Scholastic, 2009 [40p] ISBN 978-0-590-68041-7$17.99 Reviewed from galleys Ad Gr. 7-12 "The Swan Lake Projects" are the setting for this romantic tale in verse, a retelling of the story of the ballet Swan Lake in a modern urban setting. Out playing ball with his friends one night, Amiri falls for a beautiful girl named Odette, who informs him that she's in thrall to the malign Big Red, to be freed only by a true and exclusive declaration of love. Amiri swears he loves Odette, but when he mistakes her double for her at a dance and publicly, if unintentionally, proclaims his love for a woman other than Odette, Big Red's claim on Odette is confirmed. It's an interesting project: certainly the hyper-romantic ballet story has considerable possibility for appealing adaptation, and the use of verse is a logical analog for the [End Page 211] formality of classical ballet, while Myers' knotty and alliterative language has some of its lush and studied elegance. The poetry is variable, however, with meter (mostly pentameter) uneven and inconsistent, and some of the language overworked to the point of opacity or bathos (it may in fact be difficult for those unfamiliar with the ballet to discern the plot). While altering the ending to a happy one offers romantic satisfaction, the fact that that success is achieved by Amiri basically beating Big Red up raises the question of why he didn't just do that first and bypass the intervening drama. Steptoe's illustrations are tense, moody, and nocturnal, with an intensity and pebbly underlying texture that suggests mural art. Between the darkness and some artistic choices, the art misses opportunities to illuminate the text (the Odette/ Odette's-double issue is particularly murky in both illustration and verse), but it's got a nice sense of nighttime life and atmospheric drama. Dramatic reading aloud may be the best way into this narrative, and it could certainly make for an intriguing introduction to the classical Swan Lake. Copyright © 2009 The Board of Trustees of the University of Illinois Used by permission of Atheneum Books for Young Readers.

THE NOTION OF HAPPINESS IN LATGALIAN FAIRY TALES

THE NOTION OF HAPPINESS IN LATGALIAN FAIRY TALES