Academic literature on the topic 'Daughters of the Presentation of Mary'

The preserved presentations of the Byzantine basileis of the XIII, XIV and XV centuries show that the creators of the late Byzantine monarchical portraits adhered to certain traditional rules when selecting the personages from the ruling house, which they were to portray. Defining which figures were to be depicted in the portrayal of power depended to a large extent on the changing circumstances and events in the imperial house. However, at the same time this was also based on a significantly more profound conception that rested on principles that had evolved in the course of a long history. The understanding of who could personify power was refracted through the prism of ideology and reflected in carefully shaped iconographic matrices. The omission of the images of certain members of the ruler's house, just as much as their inclusion, carried a certain meaning, as did the hierarchical arrangement of those who were portrayed. Generally speaking, this depended on the degree of their kinship with the sovereign, their sex, titles or dignities, and the connection of the members of the dynasty with the emperor's particular marriage. Therefore, one can rather clearly distinguish certain constants, if not rules, according to which some figures were omitted and others included, and, the specific changes that occurred from the end of the Middle Byzantine period till the fall of the Empire. The development of a unique kind of feudalism played a particular role in the specific characteristics in determining who was to appear in the monarchical portraits of the Palaiologan epoch in Byzantium and the states in its neighbourhood. As the preserved portrait ensembles and known written testimonies indicate, we find the images of the rulers' daughters did not feature in presentations of the 'emperors of the Romans' from the Late Byzantine period. In the Palaiologan epoch, they did not participate in the governing of the state nor were they taken into consideration in plans for succession to the throne. In the earlier period of Byzantine history, slightly different circumstances and views prevailed. That is why, owing to some specific circumstances, the emperor's daughters were sometimes depicted in the portraits of the imperial family. However, from the time of the Komnenoi when the medieval dynastic awareness finally asserted itself in Byzantium, the images of the emperor's female progeny practically vanished from the pictures of those who wielded supreme authority. The custom of omitting the figures of the emperors' daughters from the presentations of the ruling houses was also accepted and rather strictly obeyed for a long time in the portraiture of the neighbouring Orthodox Christian countries. In Serbia, this was disregarded only till just before the state collapsed, while in Bulgaria, exceptions to this rule were observed a little earlier. This was the result of accepting the ideological and iconographic models that were distinctive for the nobility, at the height of the feudal period. The images of daughters-in-law had always been omitted even more consistently than in the case of the figures of daughters in the monarchical presentations of the Byzantine and other Orthodox Christian rulers. As a rule, they were not depicted close to the image of the sovereign, even when they were the wives of the proclaimed and even crowned co-rulers, and successors to the throne. It is very probable that this custom survived into the Palaiologan era even though there are some signs that in Byzantium, this rule may have been disregarded in some cases. The figures of sovereigns' wives and sons had a significantly different status from the images of daughters and daughters-in-law. As a rule, they played an essential and customary role in the monarchical presentation because the rulers' wives and male successors had a stake in authority, in its transfer and succession. Still, it often happened that even wives and sons were omitted from such a presentation - all or some of them. The principle of presenting the individual portraits of emperors was inaugurated in early Byzantium and later, was continually applied even when depicting rulers who were married and had numerous offspring. Different factors could have influenced the decision to depict the monarch alone, even trivial factors. Nonetheless, when insisting on the individual image of the emperor, the ideology upon which this image was based was crucial. The separate portrait of the supreme ruler best explained the iconic essence of monarchical power as a reflection of the King of Heaven and brought to the forefront the exclusivity of the emperor's mimetic collusion with the divine source of power. That is why such a presentation was able to represent the idea and the authority of all earthly majesty through the image of one anointed man. The introduction in the monarchical portrait of the ruler's sons, who were not crowned or proclaimed co-emperors, is a very interesting phenomenon that was characteristic of monumental and miniature painting in the Palaiologan epoch. In the Middle Byzantine period, only those male descendents, who had the status of co-rulers and were crowned, were depicted next to the imperial sovereign. The custom of including uncrowned sons and ruler's sons who had not been initiated in the affairs of state in the presentation of the ruler's house can also be observed from the second half of the XIII to the middle of the XV century in Serbia. It appears that this custom also left traces even in Bulgarian art. On the other hand, the images of the ruler's sons, who had not received the imperial crown, were omitted in the presentations on coins dating from the Palaiologan epoch. Such action was fully in keeping with ancient Byzantine customs in defining the monetary image of authority. An exception could be only one type of coin that many believe to have been produced in the time of Andronikos III, which bore the image of the very young emperor's son, John. Nevertheless, it is more probable that this coin came into being during the regency period, after Andronikos' death in 1341 and the coronation of John V. A little later in the Palaiologan era, however the image of the co-ruler was omitted in the Byzantine monetary image of authority even when he was crowned and bore the title of autokrator. Apparently, the joint presentations of the rulers and co-rulers disappeared completely from Byzantine coins, after the final rupture between John V Palaiologos and John VI Kantakouzenos. In fact, not one of the types of coins bearing the joint images of the ruler and co-ruler has been reliably attributed and classified in this period. Meanwhile, it is important to note that the suppression of the joint presentation of the emperor and co-emperor on Byzantine coins occurred parallel to the unusual appearance of separate co-ruler coins. Separate coins were produced simultaneously by John V and Matthew Kantakouzenos, John V and Andronikos IV, Manuel II and John VII. The production of such coins reflected the complicated political circumstances in the Empire. The situation was affected not only by clashes between the rulers and the co-rulers but also by the periodical assumption of supreme power by the co-rulers, as well as by the later development of Byzantine feudalism. Circumstances characteristic of the later period in Byzantium, which was caught up in a particular process of feudalisation, changed the customs and led to unusual iconographic solutions even in other media. An illustrative example of this is the well-known ivory pixis, which is kept in the Dumbarton Oaks Collection in Washington. Displayed on it, despite the customs of long ago, are the two separate imperial families of John VII, and Manuel II, one beside the other. In iconographic terms, this looks less like a presentation of co-rulership and more like a presentation of almost parallel rules. In the Late Byzantine epoch, another peculiarity is that the image of the augusta is only encountered in exceptional circumstances on coins of the Byzantine Empire. Among the numerous empresses from the Palaiologan dynasty, only Anne of Savoy was depicted on coins and this seems to be just from the moment when she became the regent. Meanwhile, on the presentations of the rulers of the Serbian and Bulgarian states, one can follow the iconographic consequences of the dynastic complications caused by the remarriages of the rulers. The monarchical presentations from the period of the kings Milutin and Stefan Decanski, or the emperor John Alexander, show that it was quite hard to assemble the figures of the new wives of the said rulers and the sons of those same rulers from their earlier marriages, who were heirs to the throne near the figure of the state's sovereign ruler. If one desired to present a clear dynastic situation, those persons ruled each other out. Sometimes, the ruler's son from a previous marriage took precedence, while in another case the emphasis was on the new queen and her offspring.

If the editor of this journal was given to that type C?f language slant, this review could begin with the question "Why is Pakistan fertility as low as it is?", or with the statement "Forty percent of Pakistan infertility is due to sterility"; or still differently "Pakistani mothers of sons are less fertile than those of daughters". However, as matters stand, we have to begin more soberly. 'This book has been there now for six years and it is rather late in the day to review it. Yet, it probably remains unknown to many readers and it does contain unusual information. The work is strong methodologically, and it applies in parts analytic methods not ordinarily used among demographers and social scientists in the English-speaking world. Most importantly, it relates Islam with fertility - analytically, seriously and respectfully. 'This reviewer is no judge of the religion-related parts of the book, but he knows the author personally. In fact, Kouaouci, a professor of demography and economic planning at the University of Algiers, spent the summer of 1988 at the University of Alberta preparing his paper for presentation to the Second African Population Conference at Dakar the following November. The author displayed not only all the external symptoms of a pious person, but carried the inner dignity and all-round friendliness of a truly religious man. More convincingly and objectively, all his important statements are generously documented in footnotes for experts to review.

Christopher Maire who was thus described by Alban Butler was the son of Christopher of Hartbushes near Hartlepool, County Durham, of a younger branch of the Maires of Hardwick likewise not far from Hartlepool. Christopher senior had married Frances Ingleby of Lawkland in Yorkshire and they had ten children—eight sons and two daughters. The daughters, Mary Euphrasia and Catherine Eugenia entered the convent of English Poor Clares at Dunkirk. Of the eight sons six were to become priests—two, Henry and William seculars, and four, Christopher, James, Peter and Thomas, Jesuits. The other two, George and John remained laymen and George married. Two sons of George and his wife Mary (Hussey) were also to become Jesuits—Edward and George.

Umbilical metastasis is one of the main characteristic signs of extensive neoplastic disease and is universally referred to as Sister Mary Joseph’s nodule. It indicates neoplasm of inner organs mostly located in the gastrointestinal tract or the pelvis. However, in approximately 15-30% the primary tumor remains occult. In most cases, Sister Mary Joseph’s nodule appears as an early and sometimes the only symptom of the malignancy. Here we report a rare fine needle aspiration (FNA) cytologic diagnosis of umbilical metastasis of an ovarian carcinoma.

In mid-eighteenth-century Boston, Mather Byles Sr. gave almanacs to his daughters to use as diaries and commonplace books. This collection, now residing in Ottawa, offers a rare glimpse into the everyday musings of two colonial American girls and highlights the importance of annotated print, a frequently neglected historical source.

The scope of the present study is the symbolic analysis of the two interwoven Markan narratives about the healing of the woman with the flow of blood (5:25-34) and the raising of Jairus’ daughter (5:21-24.35-43). The principal thesis of this work consists in interpreting both women as symbols of Israel. The study begins with the presentation of the methodological premises of symbolic analysis. The main methodological premise of this work is the conviction that the literary sense of this pericope is in fact imbued with symbolism. Then there is a presentation of three criteria which help in detecting symbols in the biblical text: textual probability, conventions probability and contextual probability. Subsequently, in order to lend credence to the principal thesis of the article, seventeen literary elements found in Mark 5:21-43 are discussed; each of them meets the first two criteria and lends itself to symbolic interpretation of the two women as representations of Israel. The cumulative weight of these seventeen elements creates a rather strong cumulative argument in favor of the main thesis. Finally, the conformity between the symbolic interpretation of these women and both the immediate and global contexts of this pericope is discussed. The presence of this conformity meets the third criterion of contextual probability. The article thus offers a convincing case for the symbolic interpretation of the hemorrhaging woman and Jairus’ daughter in Mark 5:21-43 as representations of Israel.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010
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Esta dissertação analisa a poesia da escritora ítalo-canadense Mary di Michele focando nos retratos de pais e filhas. O relacionamento entre pai e filhas revela dois dilemas. O primeiro dilema é caracterizado pela aceitação ou rebelião por parte das filhas em relação ao tradicional papel patriarcal do pai. O segundo dilema é caracterizado pela sustentação ou abandono das tradições italianas numa nova terra. O objetivo desta dissertação é analisar os poemas de di Michele que retratam o papel do pai e das filhas em famílias italianas de tradição patriarcal observando como o deslocamento cultural causa um choque em tradições sócio-culturais, como o patriarcado. Para atingir esse objetivo, os conceitos de patriarcado e entre-cultura são discutidos no primeiro capítulo desta dissertação juntamente com uma revisão crítica da relevante literatura sobre o trabalho de di Michele. Nesta seção alguns autores cujos trabalhos eu discuto são: Adrienne Rich, Angelika Bammer, Fred Wah, Gloria Anzaldúa, James Clifford, Judith Bennet, Simone de Beauvoir, Sylvia Walby e Smaro Kamboureli. O segundo capítulo analisa como o retrato do pai e sua conduta patriarcal irão influenciar na criação das filhas. O terceiro capítulo analisa como as filhas são retratadas para compreender a posição delas de manter ou abandonar as tradições de seu pai como conseqüência do deslocamento. O quarto capítulo analisa como questões de gênero e de cultura da criação das filhas influencia as escolhas de vida delas, especialmente as escolhas de parceiros. Essa dissertação conclui que o pai é retratado de forma opressiva e autoritária caracterizando uma sociedade patriarcal de opressão emocional. O comportamento dele não o leva a felicidade, alívio do cansaço, ou satisfação em relação às escolhas das filhas. As escolhas de vida das filhas refletem uma crítica sobre família e condições de casamento por causa delas sentirem-se desconfortáveis com os parceiros que elas escolheram; o que as leva a viver submissivamente infelizes como escravas dos maridos ou a subverter as normas patriarcais revoltando-se contra elas.

Abstract This dissertation uses archival and interpretive methods to examine the life and contributions of Mary Smith McCrory Jones in Texas. Specifically, this project investigates the ways in which Mary Jones emerged into the public sphere, utilized myth and memory, and managed her life as a widow. Each of these larger areas is examined in relation to historiographicaly accepted patterns and in the larger context of women in Texas, the South, and the nation during this period. Mary Jones, 1819-1907, experienced many of the key early periods in Anglo Texas history. The research traces her family’s immigration to Austin’s Colony and their early years under Mexican sovereignty. The Texas Revolution resulted in her move to Houston and her first brief marriage. Following the death of her husband she met and married Anson Jones, a physician who served in public posts throughout the period of the Texas Republic. Over time Anson was politically and personally rejected to the point that he committed suicide. This dissertation studies the effects this death had upon Mary’s personal goals, her use of a widow’s status to achieve her objectives, and her eventual emergence as a “Professional Widow.” Mary Jones’s attempts to rehabilitate her husband’s public image provided her with opportunities which in turn led her into a larger public sphere, enabled her to maintain her social-economic status as a widow, and to shape the public image of both her husband and parts of the Texas image. Mary Jones attempted to publish Anson’s papers, rehabilitate his memory, and preserve papers and artifacts from the period of the Republic. Directly and indirectly this led to the preservation of the San Jacinto battlefield, the reburial of her husband, the discovery of a copy of the Texas Declaration of Independence, the founding of the Daughters of the Republic of Texas, and her key role as steward of the Alamo. The research uses archival and interpretive methods to examine Women’s organizations and clubs as they emerged during her lifetime and her role as member or leader. Hundreds of Mary and her family’s personal letters survive in various Texas archives. Additionally, Anson’s journals and personal memoirs provide invaluable insight into Mary’s family life, character, and relationships. This research will include a review and comparison of her efforts with other women who in the process of protecting and reconstructing their husband’s images moved into a larger public sphere. Mary Jones served as president of the Daughters of the Republic of Texas for seventeen years. This provided her with the platform she needed to promote Anson’s image, focus memory and money upon the Texas Republic era, and move into a public sphere for herself. This dissertation contends that the work that Mary Jones did in her efforts to construct a positive public image for her husband eventually drew her into state-wide leadership roles, aided her to successfully reach social-economic goals even though widowed, and to effect the preservation and role of the Alamo in public memory.

Professional research project (Au. D.)--University of South Florida, 2002.
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ABSTRACT: The modified Goodman scale, a hearing loss classification scale, is commonly used to describe audiometric findings for both children and adults (Haggard & Primus, 1999). This scale uses one or two word descriptors for hearing level categories and is based on a pure tone average (PTA), the average of hearing thresholds at 500, 1000, and 2000 Hz. Although these categories were developed from clinical and educational observations (Goodman, 1965), degree of hearing loss has not been shown to reliably predict the educational or language performance of children with hearing impairment (Martin & Clark, 1996). This study was designed to evaluate how the presentation modality (hearing loss simulation vs. using a term to describe the hearing loss using the Goodman scale) affects predictions of children&softsign;s communication difficulties in the classroom by graduate speech-language pathology students.
ABSTRACT: The perceptions of graduate speech-language pathology students were of interest because this population had not been included in earlier investigations, despite the fact that they often work with hearing-impaired children in the school systems. Three levels of hearing loss (mild, moderate, and severe) were introduced using two different presentation conditions. In one condition, a descriptive term from the Goodman scale was used to describe the hearing loss. In the other presentation conditions, a simulated hearing loss was presented to the participants. Following each presentation of each hearing loss, the participants rated the potential communication difficulty a child with that loss may have in the classroom using a questionnaire composed of nine different communication-related tasks (Appendix A).
ABSTRACT: In general, participants predicted significantly greater difficulty when presented with the simulated hearing loss, than when presented with the descriptive term for the same degree of hearing loss with a few exceptions. The results of this study indicated that the standard method of classifying hearing loss results in underestimation of the impact a hearing loss might have for a child.
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A presente pesquisa analisa a Pia UniÃo das Filhas de Maria, irmandade leigo-religiosa de mulheres solteiras catÃlicas em Limoeiro, Cearà (1915 â 1945). Visando formar modelos femininos de conduta moral, essa irmandade era lugar de disciplina, norma e distinÃÃo social. O estudo examina as prÃticas de leitura das associadas Pia UniÃo, articulando dimensÃes devocional, exemplar, instrutiva, educativa, moralizadora e de entretenimento. Tais prÃticas sÃo prescritas centralmente no periodismo catÃlico, classificando e distinguindo as leituras entre edificantes e perniciosas. A linguagem do cinema tambÃm à abordada no estudo. A Biblioteca da Pia UniÃo participa desta pesquisa, formando um corpus documental que inclui desde as obras piedosas e exemplares aos romances. A pesquisa aborda ainda a atuaÃÃo das Filhas de Maria no campo pedagÃgico como professoras e no proselitismo catÃlico como catequistas.
The present research analyzes the Pious Union the Daughters of Mary, religious brotherhood of single women catholics in Limoeiro, Ceara (1915 - 1945). Aiming to form feminine models of moral behavior, this brotherhood was place of disciplines, norm and social distinction. The study examines practical of reading of the associates Pious Union, articulating dimensions: devotional, exemplary, informative, educational, entertainment and moralizing. Such practices are centrally prescribed in Catholic journalism, classifying and distinguishing between the good and the bad readings. The language of cinema is also broached in the study. The Library of the Pious Union participates of this research, forming a documentary corpus that includes pious and exemplary books and novels. The research still considers the performance of the Daughters of Mary in the educational field as teachers and as catechists in the Catholic proselytism.

ANDRADE, Maria Lucélia de. Filhas de eva como anjos sobre a terra: a Pia União das Filhas de Maria em Limoeiro-CE (1915 - 1945). 2008. 247f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2008.
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The present research analyzes the Pious Union the Daughters of Mary, religious brotherhood of single women catholics in Limoeiro, Ceara (1915 - 1945). Aiming to form feminine models of moral behavior, this brotherhood was place of disciplines, norm and social distinction. The study examines practical of reading of the associates Pious Union, articulating dimensions: devotional, exemplary, informative, educational, entertainment and moralizing. Such practices are centrally prescribed in Catholic journalism, classifying and distinguishing between the good and the bad readings. The language of cinema is also broached in the study. The Library of the Pious Union participates of this research, forming a documentary corpus that includes pious and exemplary books and novels. The research still considers the performance of the Daughters of Mary in the educational field as teachers and as catechists in the Catholic proselytism.
A presente pesquisa analisa a Pia União das Filhas de Maria, irmandade leigo-religiosa de mulheres solteiras católicas em Limoeiro, Ceará (1915 – 1945). Visando formar modelos femininos de conduta moral, essa irmandade era lugar de disciplina, norma e distinção social. O estudo examina as práticas de leitura das associadas Pia União, articulando dimensões devocional, exemplar, instrutiva, educativa, moralizadora e de entretenimento. Tais práticas são prescritas centralmente no periodismo católico, classificando e distinguindo as leituras entre edificantes e perniciosas. A linguagem do cinema também é abordada no estudo. A Biblioteca da Pia União participa desta pesquisa, formando um corpus documental que inclui desde as obras piedosas e exemplares aos romances. A pesquisa aborda ainda a atuação das Filhas de Maria no campo pedagógico como professoras e no proselitismo católico como catequistas.

The theoretical and practical part is dealing with the detail of a czech wall painting with the motif of the Virgin Mary from the peak era of the Middle Ages. The theoretical part introduces the marian theme. It describes its iconography, meaning in art and closely specifies the division of images according to devotional themes. The next part is focused on the description and analysis of the motif of the Virgin Mary the Protector, which is depicted on wall painting in a cloister of the Church of Presentation of the Blessed Virgin Mary in České Budějovice. In the practical part is fundamental creation of the relief as a haptic aid for the visually impaired. Created reliefs are polychrome reconstruction of the wall paintings of the above-mentioned motif. The work is supplemented by other materials, implementation procedure, sketches and photo documentation.

The thesis called Virgin Mary Klasová - the compensatory haptic aid is divided into two parts. The theoretical part is devoted to the history of Gothic painting in the Czech territory. The work focuses on the history of the city České Budějovice and maps the development of the monastery Church of the Presentation of the Blessed Virgin Mary. She discusses the Gothic painting of Virgin Mary Klasová, taking into account its iconographic and historical significance. The theoretical part further describes the characteristics of visual impairments and gives information about its problems. The practical part aims to transform the image of the Virgin Mary on a compensatory tactile aid in the form of a relief.

This thesis called Haptic Model of the Monastery of Presentation of the Blessed Virgin Mary is composed of two parts, theoretical and practical one. The theoretical part is dealing with selected period of Christian monastery complexes history. There are also mentioned some of the significant events of Christian world, that indisputably have influenced developement of monastic structures. Later on there is described the historical developement of the Monastery of Presentation of the Blessed Virgin Mary in České Budějovice (Budweis). The last chapter focuses on issues of people with visual impairment. The practical part of this thesis is based on creating of haptic model of the Monastery of Presentation of the Blessed Virgin Mary in České Budějovice in approximate measuring scale 1:125, which is supposed to be used primarily by visually impaired as a haptic-tactile aid, so that they can create an ideal image of shape of the monastery complex.

The chapter delves into the S&A oral history archive to unearth memories of growing up that help answer the question: what makes a feminist? It locates 1970s/80s feminist socialisation in the context of contrasting ideologies of family, childhood, sexuality, social reconstruction, consumerism, post-colonial change and global tensions in the post-WW2 era, especially the ‘lengthening’ of childhood itself. It considers the formative and highly-contested influences of family and mother-daughter relations, of educational opportunity, and of the highs and lows of adolescence and emergent sexualities, making use of S&A interviews including Sandie Wyles, Jenni Murray, Mukami McCrum and Mary McIntosh. The chapter emphasises the significance for feminist formation of growing up in families with strong political affiliations and engagements, and illustrates this by concluding with a detailed presentation based on the S&A oral history of Susie Orbach, the well-known campaigner for women’s psychotherapeutic and physical rights and wellbeing. 146 words

This chapter brings together the presentation of Michel Henry’s reading of John in Chapter Six with themes explored in the previous two parts of the work. In particular the connection is made in the concern of both theology and phenomenology with ‘apocalypse’, that is, ‘unveiling’, ‘revelation’, ‘appearance’. This unveiling results in a doubling: the way Scripture had been read before the Passion (as narratives about the past) and now in the light of the Passion (as speaking about Christ); and following this unveiling: the identity of Christ, no longer known as the son of Joseph and Mary, but the eternal Word of God; the Eucharist, which appears in the world to be bread and wine, but is consumed as the life-giving flesh of Christ; and ourselves, not simply as bodily children of our parents, but, as living flesh, sons and daughters of God, with a body not made by hands, eternal in the heavens. Sharing the Passion of Christ, recalled from absorption in the world to the pathos of life, is our entry, in and with Christ, into the divine reality of God, in which, while remaining what we are by nature, created beings, we share in the properties of God, uncreated and eternal, just as iron, when placed in a fire, remains what it is by nature but is now only known by the properties of the fire. And in turn, the divine fire, while remaining unchanged, is now embodied, but in a body no longer known by spatio-temporal properties as it appears in this world. The economy of God, understood in an apocalyptic key, brings together heaven and earth, the beginning and the end, in Christ, the first human being, the theanthropos.