Evening dress of blue silk gazar. The full-length dress has a fitted bodice simulating a wrap style, with V neckline, and long straight sleeves with 5 fabric buttons at each wrist. The skirt has an asymmetrical peplum with an inverted opening in front that is equal to the floor length A-line skirt, giving the effect of an over-skirt pulled back to reveal an underskirt. At back is a zipper closure from neckline to below hips, with a series of snaps at the top of the peplum. The dress has an accompanying leather belt covered with the same blue silk gazar.

The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, …

The purpose of the study is to empirically determine the relevance of PPP theory under the traditional arbitrage and the efficient markets (EPPP) frameworks during the recent floating period of the 1980s. Monthly data was collected for fifteen industrial nations from January 1980 to December 1986. The models tested included the short-run PPP, the long-run PPP, the EPPP, the EPPP with deviations from expectations, the forward rates as unbiased estimators of future spot rates, the EPPP and the forward rates, and the EPPP with forward rates and lagged values. A generalized regression method called Seemingly Unrelated Regression (SUR) was employed to test the models. The results support the efficient markets approach to PPP but fail to support the traditional PPP in both the short term and the long term. Moreover, the forward rates are poor and biased predictors of the future spot rates. The random walk hypothesis is generally supported.

This dissertation attempts to provide an exploratory structure to respond to, and tries to resolve, an existing void in international accounting research. The void is a lack of coherently structured, nation-specific, descriptive research to investigate socio-economic phenomena which may influence financial accounting. This dissertation's salient features include a political economy theory, an exploratory, sociological method, and a case study format. The political economy of accounting, introduced by Tinker [1980] and refined by Cooper and Sherer [1984], emphasizes a persuasive social relations dimension. This theory motivates selection of three countries (the United States, France, and Japan) that appear to have divergent socio-cultural environments. An exploratory and analytical approach of modified (enlarged) exogenism, developed by Smith [1973, 1976] and adapted to accounting by McKinnon [1986], provides an analytic structure for this exploratory investigation. Modified exogenism focuses upon an open, dynamic social system (the process of financial accounting), and provides analysis reflecting four major areas (the environment, intrusive events, intra-system activity, and trans-system activity). After examining the nation-specific financial accounting (socio-economic) structures for each country, an analysis of selected financial disclosures attempts to gain a better understanding of how socio-economic factors have influenced the development of financial accounting. My primary objective is to …

Coat of intricate patchwork of Prince of Wales wool plaid, wool hounds tooth, wool petit point, all-over embroidered with pewter metallic floral vines. Knee length. Simulated double breasted, off-center opening with hidden placket button closure; notched collar. Long sleeves with 6 functioning button closure at wrists. Two flap pockets with welts at each front hip with lapels; pockets not open. Knee-length. Fan pleating at back. Fully lined in gray silk. Designer's label at center back neckline: "Givenchy / Haute Couture"

Dress of brown jersey wool with round neckline and long raglan sleeves.

Map shows English Channel coastal details. Includes lines and numbers representing degree variations, arrows for tide and current movement, dotted areas for sand and shoals, place names, and depth in fathoms. Scale not noted.

Map shows English Channel coastal details. Includes lines and numbers representing degree variations, arrows for tide and current movement, dotted areas for sand and shoals, place names, and depth in fathoms. Insets: "A correct draught of Plymouth Sound," and "A new draught of the Isle of Wight." Scale not noted.

Autobiographical text describing August W. Benner's experiences during World War II when the 3rd Platoon of Company B, 142 Infantry was captured near Limberg, France.

Dress of brown wool flannel, with piping of blue wool flannel. Standing collar; long raglan sleeves with large armholes; beaded medallion CF on bodice; bodice gathered into low waistline; 3 gored skirt; knee length.

Two piece woman's suit.

Jacket of off-white linen.

Since its establishment (1795), the Paris Conservatoire has attracted top-ranking flutists who, through their playing, teaching, writings, and attitudes, (toward the Boehm flute, for example), have influenced flutists and composers throughout Europe. Through Paul Taffanel, who founded the Societe d'Instruments a Vent in 1876, standards of woodwind playing reached new heights. When Taffanel's students, Georges Laurent and Georges Barrere, emigrated to the United States, they influenced the style and development of flute-playing in this country. Through Barrere's famous student, William Kincaid, there arose what might be termed the American school. The intent of this paper is to place these flutists in perspective. The professors are discussed chronologically; information on the style, works, students, and influence of each man is included.

Studies of eighteenth-century French musical aesthetics have traditionally focused on questions of taste treated in the critical literature of the day. During the first half of the century, however, certain French writers were dealing with aesthetics in the stricter sense of the word, proposing theories of beauty that suited existing philosophical values. The treatises in which these ideas were set forth--Jean-Pierre de Crousaz' Traité du beau, Jean-Baptiste DuBos' Réflexions critiques sur la poësie et sur la peinture, Yves-Marie André's Essai sur le beau, and Charles Batteux' Les Beaux arts réduits à un même principe--are among the first learned writings to present the musical experience in something other than a mathematical or pedagogical light. This study investigates not only the role music played in these theories of beauty, but also the methodological problems inherent in translating this data into historical information.

This thesis examines the struggle between King Louis XI and the great feudal houses of the fifteenth century such as Burgundy, Brittany, Anjou, Armagnac, Bourbon, and Foix. It attempts to provide a detailed narrative based on the primary sources and the excellent studies on individual feudal princes produced by a number of French historians, supplemented by a critical analysis of the traditional view of Louis XI as the "vainquer de la grande féodalité."

The focus of this thesis is the relationship between immigration historiography and the history of Basque migration to the United States. The depictions of immigration presented by historians Oscar Handlin, Marcus Lee Hansen, and John Higham have been influential in immigration historiography and are presented in the first chapter. The second chapter contains a description of Old World Basque culture and the third chapter presents a brief history of Basque migration to the United States. The fourth chapter discusses to what extent the immigration theories presented in chapter one match the Basque experience in the New World. The concluding chapter contains some observations on the nature of immigration historiography, on the Basques, and on new directions for research.

Skirt suit of heather black/gray jersey wool.

Skirt suit of yellow boucle wool with black silk trim on jacket. A) Jacket is slightly fitted. Hip-length, long sleeves. Center front opening with six gold-tone buttons and single snap at banded neckline. Sleeves with three matching buttons and turned-back cuffs. Two functional flap pockets at hips; two false flaps at bust. Flaps, cuff turn-backs, and collar with black silk facings. Lined in yellow silk with gold chain weight at hemline. Designer's label: “Chanel / Boutique” Size/origin/content/style label. B) Straight skirt is just below knee length. Left back zipper. Lined in yellow silk.

Skirt ensemble. A) Boxed jacket of brown twill. Short sleeves. Banded collar follows sides of squared neckline. Center front closure of three circular white buttons at hem. Lined in brown synthetic; padded shoulders. Designer's label at center back neckline: "Chloé / Made in France" Care tags at back neckline and left side seam. B) Shell blouse of dark taupe silk crepe with vertical stripes of red, turquoise, navy, ivory, and tan. Rounded neckline; sleeveless with deep arm holes. Center back closure of button and loop at neckline. Unlined. Designer's label at back neckline: "Chloé / Made in France" Size "38" tag at left of designer label. Retailer's label at back neckline: "Made in France especially for / Neiman-Marcus" C) Skirt is modified tunic skirt with straight underskirt in crepe fabric matching blouse and outer full skirt of dark taupe in large leaf motif in colors matching stripes on blouse. Wide, 4-1/2” fitted waistband with left side zipper and hook & eye. Designer's label at back waist: "Chloé / Made in France" Size "38" tag at base of designer label. Retailer's label at back waist: "Made in France especially for / Neiman-Marcus"

Cocktail ensemble of pin stripped black denim with novelty “dice” buttons.

Cropped jacket of ribbed navy blue wool blend. Wide notched lapel. Puffed long sleeves with rolled cuffs. Seam center back. Fully lined in blue; shoulder pads. Designer Label: Saint Laurent / rive gauche / Made in France / Paris

Jacket of olive green suede. Single breasted with notched lapels and fitted, slim silhouette; wooden button closure at center front. Patch pockets at hips; welt pocket at left bust. Long suit sleeves with shoulder pads and two wooden buttons at vented cuffs. Lower hip length. Lined in olive green silk. Designer label: Saint Laurent / rive gauche / Made in France / Paris Evidence of tag removed.

Coat and dress ensemble of blue and red plaid with belt.

Clutch coat of light brown sheared beaver fur with the neckline, opening, hem and shoulder line down the sleeves edged in fox fur.