Obraz kobiety włoskiej w literaturze XIX wieku i jego realizacja w Półdiablęciu weneckim Józefa Ignacego Kraszewskiego

The type of la donna Italiana, the statuesque woman with dark hair, light skin and large, black, hypnotic eyes was popularized among the European men of letters in the nineteenth century. This stereotype had already been solidified in eighteenth-century Italian phraseology, but it was later brought into general use by Madame de Staël and George Byron. The Italian poet of the late nineteenth century, Annetta Ceccoli Boneschi, gathered and described the most distinctive features of the female citizens of different regions of Italy used by foreign writers to create their heroines. Among others, the Venetians were supposed to be the most beautiful and seductive women, with their soft accent and smouldering gaze. In Poland, this type of heroine appeared in Józef Ignacy Kraszewski’s novel The Half-Demon of Venice, which is the main focus of this article. The creation of an Italian donna in this romance uses the stereotypes formed during the nineteenth century, but it also uses the individual observations made by Kraszewski himself during his tour through Italy.

People of Culture and Refinement

Ben Major, who owned and then freed Tolbert, Austin, and their families, is a good-looking man with wavy dark hair, thick brows, and expressive eyes. In his late teens, he moves to New Orleans, where he and his brother work in a mercantile business. Slaves are one of the many commodities flowing into and out of the Crescent City. Ben is surrounded by slave markets and auction houses, and his time in the city influences his views on “the peculiar institution.” In 1819, following his brother’s death from yellow fever, Ben returns to Kentucky and marries Lucy Davenport. The couple settles in Christian County, Kentucky, where nearly half the population is enslaved. Supported by slave labor, the couple builds a home and farm, and starts a family.

Laser Treatment in Hirsutism: An Update

Unwanted hair growth, which is a common aesthetic problem, has traditionally been treated using various techniques such as shaving, waxing, and epilation, but most of these provide only a temporary solution. Laser and light-based technology for hair removal has become one of the fastest growing procedures in modern cosmetic dermatology in the last decade. Clinical experience suggests that in the ideal subject with fair skin and dark hair, laser treatment can reduce hair growth significantly. This article reviews the various laser and light-based devices used for hair removal along with the various laser and patient parameters that affect the outcome of laser treatment for hair removal. Photoepilation, when properly used, offers clear advantages when compared with older, traditional techniques.

We Don’t Eat Our Classmates by R. Higgins

Higgins, Ryan T. We Don’t Eat Our Classmates. Disney-Hyperion, 2018 This is a messy book. Ryan Higgins' drawings are much messier and less precise than his earlier books about Bruce, the bear. However, when you are Pamela Rex, a Tyrannosaurus rex starting school with a room full of delicious human classmates, things get messy, particularly when you have to spit them out. Ryan Higgins taps the absurd in both his images and text to keep children laughing. Penelope still wants to eat the children, even though her father “packed her a lunch of three hundred tuna sandwiches." There is also an image of Penelope trying to “make friends at recess,” but she is standing at the bottom of the playground slide with her mouth open. Penelope does eventually learn a small lesson in empathy when Walter, the class goldfish, bites her. Higgins draws Penelope as a stuffed toy Tyrannosaurus rex, perhaps to prevent children from being frightened. The children are represented by the usual politically correct collection of stereotypes, often identified by clothing. There is one Jewish (yarmulke), one Muslim (hijab), two black (tight curly hair), one Indigenous (braids), one Japanese (the only child with a shirt and tie), and several generic “brown” children. All of the children have dark hair. Blue-eyed blonds are conspicuous by their absence. In addition to being a fun book, this volume allows every child to claim the moral high ground. Every child can say, “I wouldn’t ever do that!”, because all children know that “we don’t eat our classmates.” While this is a book about being different, clashes of values, and learning to get along, it is mainly a book that will amuse children. Recommended for elementary school and public libraries. Recommended: 3 out of 4 stars Reviewer: Sandy Campbell Sandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.

Introduction

New York City, mid-1960s, black-and-white 35mm film stock and a familiar sexploitation scenario: young Candy leaves her small town. We see her departing on the train. She is fleeing the fate of her mother, a prostitute who has committed suicide. She opines in voice-over about a new life in New York City, which holds the promise of another identity and respite from the shame bestowed by maternal disgrace. Candy (Barbara Morris), with dark hair and cropped bangs, evokes a low-budget Anna Karina circa Jean-Luc Godard’s early 1960s films. She moves in with an old girlfriend, her enchantment by the city’s roiling creative energies and architectural marvels rendered through street scenes, vertiginous views of skyscrapers, female flânerie. Introduced to the world of the single urban working girl by the women whom she befriends, Candy resorts to nude modeling and escorting. After two failed romances, with a philandering nude photographer and a sculptor more piqued by his art than by Candy, she returns to her party girl life while secretly edging toward despair....

Posing the Indian

This chapter examines Indian portraits, one of the earliest and most common ways that Indian faces and bodies came to the pages of the illustrated press. Stereotyping was a routine part of this representational process. Indian portraits emphasized Indian physiognomy, especially facial features that marked the subjects as Indians—dark skin, dark hair, prominent noses, and high cheekbones. These illustrations also highlighted cultural signs such as feathers, necklaces and beads, blankets, and buckskin clothing. In some cases, photographs were altered to remove non-Indians or to shift the subject from the studio to the plains. In all these ways the illustrated press portraits staged Indians for public scrutiny with little ambiguity about their racial identity. This sort of representation reinforced racial differences, placing Indians in an inferior racial category and making distinctions between civilized whites and “savage” Indians that no nineteenth-century reader was likely to miss.

The Genetic Overlap Between Hair and Eye Color

We identified the genetic variants for eye color by Genome-Wide Association Study (GWAS) in a Dutch Caucasian family-based population sample and examined the genetic correlation between hair and eye color using data from unrelated participants from the Netherlands Twin Register. With the Genome-wide Complex Trait Analysis software package, we found strong genetic correlations between various combinations of hair and eye colors. The strongest positive correlations were found for blue eyes with blond hair (0.87) and brown eyes with dark hair (0.71), whereas blue eyes with dark hair and brown eyes with blond hair showed the strongest negative correlations (-0.64 and -0.94, respectively). Red hair with green/hazel eyes showed the weakest correlation (-0.14). All analyses were corrected for age and sex, and we explored the effects of correcting for principal components (PCs) that represent ancestry and describe the genetic stratification of the Netherlands. When including the first three PCs as covariates, the genetic correlations between the phenotypes disappeared. This is not unexpected since hair and eye colors strongly indicate the ancestry of an individual. This makes it difficult to separate the effects of population stratification and the true genetic effects of variants on these particular phenotypes.