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Sociology of occupations --- Sociology of the family. Sociology of sexuality --- 159.922.1-055.2 --- Identity (Psychology) --- Married women --- -Mothers --- -Social role --- -Role, Social --- Social psychology --- Social status --- Moms --- Parents --- Women --- Housewives --- Motherhood --- Pregnant women --- Married people --- Wives --- Personal identity --- Personality --- Self --- Ego (Psychology) --- Individuality --- Psychologie van de vrouw --- Employment --- -Social aspects --- -Employment --- -Identity (Psychology) --- Mothers --- Social role --- Social aspects --- -Psychologie van de vrouw --- -Identity (Psychology). --- 159.922.1-055.2 Psychologie van de vrouw --- Identity (Psychology). --- -159.922.1-055.2 --- -Personal identity --- Role, Social --- Role (Sociology)
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Women --- Upper class women --- Aristocracy (Social class) --- History --- History. --- Aristocracy --- Aristocrats --- Upper class --- Nobility --- Women - England - History - Renaissance, 1450-1600. --- Upper class women - England - History. --- Aristocracy (Social class) - England - History. --- Upper class women - England - History --- Aristocracy (Social class) - England - History
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The role played by women in the evolution of religious art and architecture has been largely neglected. This study of upper-class women in the fifteenth and sixteenth centuries corrects that oversight, uncovering the active role they undertook in choosing designs, materials, and locations for monuments, commissioning repairs and additions to many parish churches, chantry chapels, and almshouses characteristic of the English countryside. Their preferred art, Barbara J. Harris shows, reveals their responses to the religious revolution and signifies their preferred identities.
Sociology of the family. Sociology of sexuality --- Art --- History of the United Kingdom and Ireland --- anno 1400-1499 --- anno 1500-1599 --- Women and religion --- Upper class women --- Art patronage --- Church decoration and ornament --- Church architecture --- Religious art --- Sacred art --- Ecclesiastical architecture --- Rood-lofts --- Christian art and symbolism --- Religious architecture --- Architecture, Gothic --- Church buildings --- Church ornament --- Ecclesiastical decoration and ornament --- Decoration and ornament --- Interior decoration --- Religious articles --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- Art and industry --- Women --- Religion and women --- Women in religion --- Religion --- Sexism in religion --- History --- England --- Angleterre --- Anglii︠a︡ --- Inghilterra --- Engeland --- Inglaterra --- Anglija --- England and Wales --- Church history --- Female patronage of architecture. --- Yorkist and early Tudor aristocratic women. --- architecture, 1450-1550. --- female piety. --- parish churches.
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This work, based on archival research, combines a collective portrait of aristocratic women with an analysis of the particular, class-specific form of patriarchy and gender relations that flourished among the upper classes in Yorkist and early Tudor England.
Women --- Upper class women --- Aristocracy (Social class) --- Aristocracy --- Aristocrats --- Upper class --- Nobility --- History --- History. --- England --- 1450-1600 (Renaissance) --- Upper class women - England - History. --- Aristocracy (Social class) - England - History.
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Un chauffeur de taxi et une fausse voyante recherchent l'héritier disparu d'une riche et vieille dame. Ils découvrent que celui-ci est un kidnappeur qui échange ses victimes contre des bijoux. Cinquante-troisième film d'Hitchcock, "Family plot" est aussi le dernier, tourné alors qu'il avait 77 ans. Ni testament ni point d'orgue, "Complot de famille" démontre une fois de plus l'habileté de conteur d'Hitchcock qui réussit à imbriquer deux récits qui semblent n'avoir au départ aucun lien entre eux.
Années 1970 --- Policier --- Etats-Unis
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The role played by women in the evolution of religious art and architecture has been largely neglected. This study of upper-class women in the fifteenth and sixteenth centuries corrects that oversight, uncovering the active role they undertook in choosing designs, materials, and locations for monuments, commissioning repairs and additions to many parish churches, chantry chapels, and almshouses characteristic of the English countryside. Their preferred art, Barbara J. Harris shows, reveals their responses to the religious revolution and signifies their preferred identities.
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