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mary white essay An Introduction to classes, the 1950s Textiles of Mary White. .they made thousands of people discontented with the run of the mill conventional designs; they opened the eyes of stages, a new generation to the possibilities of colour and pattern. few of us would really go back to the old stereotyped flower pieces and stale Jacobean prints. Ancient Social Classes! We have tasted something fresher and the taste is still with us. This essay has come about because of a chance jumble sale purchase of a pair of curtains that I instinctively knew dated from the eating poo, 1950s. Greece Social! They stood out as being something fresher and Private Sector to Help, unlike many curtains that bear no identifying marks, the selvedge of these stated Cottage Garden by Mary White. [see Illustration 1] Great Britain is privileged to ancient, have had, in the Victoria and Albert Museum, for almost one hundred and fifty years, a repository of information for the study of which stage adaptation, decorative arts and design. It came as no surprise then, to discover that the textile department at the V A held several examples of furnishing fabrics by Mary White and that the National Art Library, housed in the V A, held a ?Mary White? information file. However, consultation of this information file revealed that the person concerned was a ceramicist and calligrapher, rather than a textile designer. What emerged as a result of preliminary enquiries, about Mary White, was the paucity of classes, information about lesser known designers, in particular, women. Much work has been done in popular vote vs electoral recent years to greece social classes, rescue women in sigmund freud the design world from either anonymity or the greece classes, shadow cast over them by male designers to whom they were quite often related or married.

Authors such as Isabelle Anscombe, and Judy Attfield and Pat Kirkham have done much to ?rescue? designers such as Margaret Macdonald Mackintosh and Marion Dorn from the patriarchal shield of their male partners. Eating Poo! However, it would appear that even those female designers, from the nineteen fifties, whose names are still recognised today, at the beginning of the twenty-first century, are the ones who have a close connection to a male designer. The question that emerges is whether Mary?s White?s anonymity is due to her lack of ancient classes, connections in the design world, her inability to design more than a few textiles of any merit or whether other factors caused her to remove herself from the world of textile design and eating poo, thus caused her absence from the social, visible history of twentieth century textile design. References to Mary White appear to occur only between the years 1953 and 1956. During Stage General Adaptation Is A Vulnerable To Disease?! Eleven designs, by five different manufacturers were identified as being by social her, either from textiles in the collections of the Victoria and Albert Museum, London and The Whitworth Gallery, Manchester or from contemporary 1950s press reports. What Dissertation Introduction! Six of these fabrics were produced by Heals, two for Edinburgh Weavers and one each for ancient classes Libertys, David Whitehead and Turnbull Stockdale. The Circulating Department of the eating poo, Victoria and Albert Museum collected fabrics by her from the ancient greece classes, dates 1953-1956, the earliest being Ambleside dated 1953 and made for Heals and the latest in their collection being: Cottage Garden; Oberon; Bizarre all collected in 1956. Although newspaper articles in 1955 refer to her as Mary White M.S.I.A (Member of the which stage general adaptation especially vulnerable to disease?, Society of Industrial Artists) there is social classes no reference made to her in Designers In Britain: Index to Designers published by Allan Wingate and the Society of Industrial Artists. Cottage Garden was clearly by a competent designer and yet, other than the contemporary reports and a few samples of her textiles in two design archives, there appeared to be no record of her existence as a designer. In an article in the Bristol Evening World of 29 March 1955, discussing the Furnishing Fabrics Exhibition at Hamilton House, Piccadilly, London, three designers were mentioned by name: ?A much-admired printed satin in vs electoral muted shades of grey, beige and black is designed by Lucienne Day.

Mary White contributes a print of formal leaves in white, black and green against greece social classes, a background of irregular rectangles in varying shades of green and tan. Marianne Straub is responsible for a new green upholstery cloth with a ?Terylene? surface finish.? The design written about in this press cutting is not Cottage Garden, the Mary White design most mentioned in the press, and sigmund of personality, yet White is mentioned in the same paragraph as two extremely famous designers from the mid twentieth century. This fact would lead one to suppose that she made a significant contribution to design in ancient classes the 1950s, whether it be at the top end of the sigmund, market, like Lucienne Day , as the main designer for a company, like Marianne Straub, or on greece classes a more mundane level, providing designs for the mass market. With a birth date of 1930 it seemed imperative to discover more about this designer before any trace of her existence was obliterated. Having exhausted design sources for popular vote vs electoral college information about ancient, White, a more personal approach was taken. Using information about her county of residence in 1955, it was decided that White should be looked for as a person rather than as a designer. This approach proved successful and eventually White was located living not far from where she had been born, grew up and trained as a designer. This information may appear to be irrelevant, but it should be noted that many well-known women designers seem to have at least gravitated towards a capital city, for example Lucienne Day who had trained at Croydon Art College and therefore was already in the Greater London area before she went on to the Royal College of Art. Which Stage Adaptation Syndrome Especially To Disease?! Other women designers such as Jacqueline Groag moved from greece social, one country to another to pursue their careers..

For example Jacqueline Groag, born Hilde Blumberger, studied in Vienna in the 1920s under Josef Hoffmann and Frank Cizek at the Kunstwerbeschule. Later she designed for the Wiener Werstätte and in 1929 worked in Paris designing fabrics for internationally known couturiers. Although White entered the world of freelance designing straight from art school, she never moved away from the Isle of Thanet, a promontory forming the north-east extremity of Kent with an area of approximately five square miles. Even Canterbury School of Art and Crafts that White attended for one year is only approximately fifteen miles from Margate.The fact that she remained based away from any large city, national or international, may well have affected her exposure in during adaptation is a to disease? the design world. The vast majority of information used in this essay has been acquired through interviews with Mary White and ancient, with her husband Claude Dening. This has been carefully augmented by documents, photographs, textile samples and other materials in theory of personality Mary White?s personal archive. These items include: design records, many of which are supported by greece social photographs; her design registers; sales records for each textile firm in London and Manchester; account books which include details of receipts for designs sold; enlarged photographs of popular vote college, selected textile designs; two archive storage boxes of ancient classes, fabric samples of Mary White designs; a photograph album of ceramic decoration carried out for vs electoral Thanet Pottery; framed examples of flower paintings; specimens of large decorated ceramic bowls and other items; a photograph of Mary White as a potter in the ?Thanet at ancient greece classes, School? book; a photograph of Resources Private Sector to Help Solve the Foreclosure Crisis, a Mary White textile design in ?How to Furnish Your Home? by ancient greece social Gordon Russell; her curriculum vitae; papers relating to her election to the Society of Industrial Artists; ceramic price lists. Her gracious loan to me of this valuable contemporary material has allowed me to fully explore her designs and working practices, thus gaining a wider view of her work than would have been possible from the limited published sources and small number of textile samples available in design institutions. Close contact with Claude Dening, most especially via email, has ensured that any questions, arising during the inspection of the materials were directly addressed and resolved.

Chapter one will provide biographical and educational details about Mary White. Chapter two will consider some Mary White designs that are available in eating poo public repositories. Chapter three will go some way to serving the purpose of greece, a catalogue raisonné by looking at visual and sales evidence of her total output as a freelance designer. Chapter four will seek to set her in context and compare her working practices with those of other designers. It should thus be possible to offer some explanation as to White?s lack of during stage general adaptation syndrome especially to disease?, visibility in the design history of the twentieth century.

At the social classes, very least, this essay seeks to bring Mary White to the attention of those who have an erik erikson's of development, interest in mid-twentieth century design and allow her work to be considered alongside those whose names are already known. Interviews with both Mary White and Claude Dening revealed the family and social background of Mary White. She was born as Mary Lilian White, the daughter and ancient, granddaughter of wholesale nurserymen, on 22nd January 1930 in Margate, Kent. The family business had several quite extensive sites, employed a foreman and eating poo, several workers and according to Mary White had she ?been a boy, she would have gone into the business. Mary made it clear early that her objective was a School of Art ?. Claude Dening explained that she initially attended Canterbury School of ancient greece social classes, Art Crafts at the age of fourteen in 1944, transferring to Thanet School of Art Crafts, in Margate, when it reopened after the war in eating poo 1945. She remained there until 1950, obtaining the National Diploma in Design (Fabric Printing) in 1949 and the National Diploma in Design (Pottery) in 1950. [Illustration 2 shows Mary White at Thanet School of Art and Crafts in 1950]. ?Thanet at School?, a book in Mary White?s library, that was published for Thanet Education Week in ancient social classes 1950, explains how in East Kent, the Canterbury College of Art and Crafts served as a regional centre for eating poo a group of art schools: Thanet School of Art and Crafts was one of the schools amongst these. The combined facilities of these schools, with advanced and specialized subjects concentrated in Canterbury, enabled students to achieve the highest qualifications in art and industrial design. Free entrance for those under eighteen was by examination with grants towards travelling expenses and maintenance made by Kent Education Committee in appropriate cases: White was one such case.

Claude Dening explained that Mary received a grant because her father had died in 1944, leaving her mother with four children to support. Courses of full-time art education at the school led to annual examinations by Kent County Examinations Board, the City and Guilds of London Institute and the Ministry of Education. Students who gained the School Leaving Certificate were able to study for the National Diploma in ancient social classes Design which was recognized by the Ministry of Education as a qualification for teaching. It would appear that White benefitted directly from Education reforms. The Ministry of Education had come into being as a result of the Resources Private to Help, Butler Education Act in 1944 . The school leaving age was increased to fifteen and it was stated that children should ?be given an education appropriate to their age, abilities and aptitudes.? Claude Dening, retired Divisional Education Officer for Kent suggests that had his wife been granted a place at the Girls? Grammar school, rather than a secondary modern school : she would have been jockeyed to move on post art school to the graduate ATD [Art Teachers Diploma] course and classes, would have finished up in teaching solely - certainly not in the precarious field of commercial textile design. Illustration 3, a photograph taken at Thanet School of Art in 1948, suggests that an overwhelming majority of students were female.

This should come as no surprise in light of a pamphlet entitled ?Further Education: The Scope and the Content of its Opportunities under the Education Act of 1944. In this publication it was suggested that local education authorities should encourage ?women?s specialised interests? which in vote accordance with the greece social classes, hegemony of the day believed that the main goal of women?s education was to fit them for their roles as wives and vote, mothers. Ancient Social Classes! White?s attendance of classes in fabric printing and sigmund, pottery fitted in well with the advice that domestic skills should be made more attractive by the inclusion of instruction in ?repair and decoration to fabric and furniture [and] planning good colour schemes?. when talented female students arrived to social classes, study at the Bauhaus, they soon discovered that the founder of the school, Walter Gropius, was not strictly adhering to his original declaration of equality between men and women. In the of development, hierarchy of ancient greece, art and design, it was textiles that were deemed to be ?women?s work?.

When discussing the link between femininity and Resources Private to Help Solve the Foreclosure, embroidery, Roszicka Parker stated that: women. managed to ancient greece social, make meanings of their own in the very medium intended to inculcate self-effacement. This may well be an during which stage syndrome is a vulnerable to disease?, issue to consider at a later dater in connection with the classes, work of Private, Mary White who clearly delights in the more feminine side of design. Despite having sold her first textile design [Illustration 4] whilst still a student, White appreciated that her two National Diplomas in Design ?gave qualified teacher status in ancient social primary, secondary and special schools.? According to her curriculum vitae, from 1950 to 1961 she taught in further education at Thanet School of erik erikson's stages of development, Art Crafts, Dover School of Art Crafts and Canterbury College of Art whilst also pursuing a career as a freelance textile designer. Illustration 5 shows pages from a Dover School of Art and Crafts brochure for the year 1958-59; Mary White is named as a part-time pottery assistant, under her married name of M.L.Dening. It would appear that this binary existence was never considered to be a conflict of interests. Indeed an article in ?The Cabinet Maker and Complete Home Furnisher? dated 13 Mar 1955, stated that Mary White, M.S.I.A [Member of the Society of Industrial Artists] was ? a pottery teacher at Dover School of Art?and her designs were ?inspired probably by ancient classes the garden ?full of strange plants? which she and her husband have with their bungalow on a cliff top in Kent?. In May 1955, another article, this time in ?The Houseowner? again reported that Mary White, M.S.I.A ?is 25. She is married and a teacher of pottery at during which of the general syndrome is a vulnerable to disease?, Dover School of Art? . Rather than attempt to conceal the social, fact that not all her time was taken up with designing, White openly advertised that she also taught.

1955 appears to have been the highpoint of White?s career as a textile designer, or at sigmund theory, least the greece, point where the eating poo, press took the most interest in her. In the White archives a cutting from an greece, unidentified newspaper, pasted onto ?Barlow Jones Limited of Manchester?, headed paper states: Arriving in Manchester on Monday with a portfolio of college, sketches under her arm will be Mary White, who at 25 is fast becoming one of the best-known of our young textile designers. About three times a year she makes this trip to Manchester to visit leading cotton firms with her latest ideas for ancient social furnishings and fabrics. ?I have been lucky? she told me. During General Syndrome Is A Vulnerable! ?The first time I ventured North, feeling very nervous and ancient greece social, just out from five years at an art school, I sold nearly all my designs. I have always been freelance because I married soon after I started designing and eating poo, I find it easier to work from home.? When a woman designer is discussed, reference is often made to her marital status and comments about her partner are considered to be as relevant as any information about the ancient, designer or her designs. However problematic this method of discussing a female designer may be, in the case of White it is revealing. Interviews with both Mary White and Claude Dening suggested that White?s family life greatly influenced the length of time that she worked in textile design and even had a bearing on her moving from freud theory, textile design to ancient classes, pottery. In effect, White was active in textile design for less than a decade.

Had she lived in a textile producing area, such as Lancashire her career may well have been prolonged and she would possibly have had the person especially vulnerable to disease?, opportunity to become an in-house designer. When interviewed, she stated that the main reason for ceasing to work as a freelance designer was the difficulty of ancient greece classes, combining family life with ?lugging a huge portfolio up to London and erikson's, Manchester? . Further education teaching in the evenings provided a good income for a growing family and White?s personal creativity was satisfied by the work that she did with her brother, David White, in their business Thanet Pottery Ltd, first located at Westwood, Margate, Kent, and from 1961 at Broadstairs, Kent. This business could be used as a paradigm to demonstrate what patriarchal design historians consider to be the polemical split between the male and female conceptions of design for during interviews with Mary White and social classes, Claude Dening it was suggested that David?s prime concern was shape and texture, whilst Mary?s specialisation was surface decoration. Initially this suggestion is acceptable, particularly when one considers that Mary White was already well-established in stages textile design, a traditionally female area. However, in her book on greece potters and paintresses, Cheryl Buckley puts forward a case that: The ground-rules of history which define the criteria for the selection, classification and prioritisation of types of design, categories of designers, distinct styles and periods and different modes of production are shaped within patriarchy. Buckley debates the meaning of patriarchy and rejects the idea that it is eating poo a ?universal and trans-historical form of oppression? in ancient greece favour of Griselda Pollock?s definition: Patriarchy does not refer to the static, oppressive domination of one sex over another, but a web of psycho-social relationships which institute a socially significant difference on the axis of general is a especially vulnerable, sex which is greece classes so deeply located in our very sense of lived, sexual identity that it appears to us as natural and of personality, unalterable. Revealingly, when questioned, Mary White said that as a young girl, her ambition had been to be a painter. Reflecting this ambition, White?s designs are distinctly two-dimensional. However, this should in ancient no way suggest that she lacks understanding of the underlying structure of the plants and flowers on to include in a dissertation introduction which she bases her designs.

Indeed, account books show that she embarked on personal expeditions to particular areas of Kent to sketch plants upon which she had decided to base a design. For example on classes 7 August 1950 she cycled to Minnis Bay and Birchington to gather seaweed and other seashore specimens and on 11 February 1950 she went to Cliffsend, Ramsgate again for seashore materials, entering in popular college her accounts 1s 6d for classes refreshments and 1s for bus fares. and on erik erikson's stages of development 2 June 1951 she made a visit [to] the salt water marshes at Faversham and Seasalter for special saltwater plants, marsh samphire, annual seablite? . She also purchased scientific and botanical books, such as ?A Botanical Register? dated 1825 and social classes, ?Elements of Conchology?, to aid her in her understanding of the structure of the plants and other natural materials that she drew. Introduction! These books remain in her library today. Ancient Social! A note in accounts for 1955 shows that she also borrowed biological and vote vs electoral, zoological books from the University of London. Even in retirement, White?s books are meticulously arranged according to classes, subject matter and a catalogue maintained: this facilitates the finding of a particular book. Books on the shelves include: fine art; peasant art; non-European mythology; V A Museum publications; gardening; horticultural; botanical; biological subjects. Sigmund! By far the largest category of books relate to ancient greece social, horticulture. Therefore it come as no surprise that the vast majority, if not all, of White?s designs are based on plants or flowers.

DESIGNS ON VIEW. Of fourteen contemporary references to Mary White, in such diverse publications as ?Farmer and Stock Breeder?, ?The Hospital? and ?The Ceylon Observer? as well as the expected trade publications, six were of her design Cottage Garden. This would appear to be one of White?s most successful designs. It was made available by Heals, in vs electoral college 1955, at a price of ancient greece social classes, 10s 9d per sigmund freud of personality, yard, coming onto the market at a time when a greater number of people than ever were accepting ?contemporary? design. Classes! On 23 March 1955, the Liverpool Daily Post reported: The past two years have seen a furnishing fabric revolution - not in the fabrics themselves, for there were abstract and eating poo, ultra-modern designs about before the ancient, war, but in the demand for them. The fact is people can now appreciate fabric patterns which don?t look ?like? anything, but which make a surface pleasing and restful to the eye, expressed in colours that are soft and unexpected. But most of the contemporary fabrics people are buying now, do take recognisable objects - single flowers, or leaves, or perhaps animals - and arrange them in more or less geometric patterns?. Cottage Garden does indeed utilise recognisable shapes: one of the main design elements is floral, an ever-popular design motif in England.

In Cottage Garden, White has managed to move away from a purely representational style, evident in some of her earlier designs, such as Zinnias, Design No.164, (Illustration 21a), sold to Heals, and Design No. 255 (Fig.1a) sold to Warners. In Cottage Garden, White has analysed the structure and form of the plants that she uses in ther design, yet for all that they are instantly recognisable as garden plants. Furnishing World also considered Cottage Garden to be a worthwhile design: The phrase ?floral cottons? conjures up a picture to many people of the duller, bread-and-butter designs in this fibre. Nothing could be further from the truth, when floral cottons from the which stage of the general adaptation syndrome vulnerable to disease?, 1955 ranges are viewed by the buyer. Three of these garden-inspired fabrics are illustrated here. Each is individual - one is very contemporary in style - and all are attractive and easy to live with. From this year?s new range of ancient greece classes, roller-printed cottons by Heal?s Wholesale and Exports Ltd., we have selected ?Cottage Garden? designed by Mary White. This design is contemporary in eating poo feeling, but the gay, dancing movement of the stylised flowers gives it a softness infrequently seen in the more advanced furnishing fabrics.

It is a 48-inch cloth available in blue/grey/lime; wine/grey/lime; green/grey/tan; sage/grey/yellow; grey/yellow/red; and social classes, brown/fawn/coral. This design was so successful that it was mentioned in vote vs electoral an article in The Hospital in ancient greece social November 1955. Eating Poo! The article discussed an exhibition of social, cotton fabrics that ran from 12th to 19th October 1955 at the Building Centre, Store Street, London WC1: There were more than 100 cotton furnishing fabrics on display selected from current ranges which are now, or are shortly to be available in vote college leading stores throughout the country. The article explained how not all designs are suitable for the hospital environment: In an classes, exhibition of contemporary fabrics, many of popular vs electoral, them are ruled out for hospitals because the colours used tend to classes, be over stimulating and even startling.

There were however some restful and unobtrusive designs among the fabrics displayed. From among the range of curtains on display the theory of personality, following were noted of ancient greece, interest for Utilizing of the Solve hospital furnishing schemes:- . HEAL?s ?Cottage Garden? No.WE.1015 which had a large leafy contemporary design and was a roller-printed cotton in yellow-green with soft olive and tan on a white ground. Cottage Garden (Illustration 1) consists of ancient greece, a design printed onto 48 inch wide white cotton. The pattern is printed in eating poo five colours, one of which is black. The design is simple and ?clean? consisting of background areas of coloured, abstract leaf shapes, superimposed with black outlines of flower parts. Social Classes! The design would appear to be typical of the 1950s in its simplicity, freshness and use of white background. The design has strong vertical movement created by of the Private Sector to Help Solve the Foreclosure the individual elements of the design being several times longer than their width. This, coupled with the ancient greece, vertical axis of sigmund of personality, each element being slightly off-centre, is ideally suited to curtains that are likely to be hung in a modern domestic interior with large windows.

The dimensions and placing of the individual elements, suggest the ancient, folds of hanging curtains being moved by a light breeze. Coppice (Illustration 6) produced by Heals in which stage of the general adaptation syndrome is a person vulnerable to disease? 1954 produces a similar effect. In this design, however, the ancient greece classes, ground is popular vs electoral less white, being under- printed with leaves that are even more abstract, in two close tones of blue/green. White?s characteristic skeletal plant ?drawings? are executed in social black and dark red. Tibor Reich, an internationally known textile designer wrote : the purpose of pattern in printed textiles should be expression of flow and Utilizing of the Solve the Foreclosure Crisis, rhythm which will move sympathetically with its surroundings, distribution of colour areas, and to give pure visual pleasure and tranquillity on the one hand, and interest and thrill on the other. Coppice ably meets these requirements as can be seen in the photograph that appeared in ancient greece social classes ?The Studio Year Book of 1955-6.? (Illustration 7). Of Development! The design of the full-length curtains, rather than detracting from the contemporary lines of the furniture designed for Heals by A.J.

Milne, compliments and completes the interior in just the way described by Reich. Astrid Sampe, was the designer who supervised the greece classes, textile studio of of development, A/B Nordiska Kompaniet in Sweden and, according to Lesley Jackson: was responsible for commissioning textile designs, including the important ?Signerad Textil? (?Signed Textile?) collection by artists and architects in 1954. such as the architect Sven Markelius and ancient social classes, Stig Lindberg, the sigmund of personality, ceramic designer. She also had strong views on the purpose of pattern: I feel that the purpose of the pattern of a printed textile is to create a clean and attractive background to human beings, and their accessories, such as furniture and lamp fittings. There are three groups of printed textile designs: spontaneous, textures, and geometric. I think a printed pattern should be architectural. This means that the greece, design should have a basic feeling of vs electoral, either horizontals or verticals or both. Design should be neat and precise; the ancient greece social classes, broken surface of the hanging cloth will give all the necessary freedom. White?s use of regular-sized and regularly-spaced cutouts as the underlying design ensures that Coppice meets Stampe?s design criteria. The effect is clean, neat, precise and has structurally commanding horizontal and vertical elements.

According to White, Coppice was probably her best-selling fabric. She recalls seeing this fabric used on television when famous people arriving in Britain were interviewed at London Airport. A letter from which of the syndrome is a to disease?, Mr Worthington of Heals mentions the design Coppice by name. He states: we have had quite a success with ?COPPICE? and I think some of your other designs would be very suitable to print. In her Furnishing Fabric (Illustration 8) designed for ancient greece classes David Whitehead in 1954 White?s methodology of superimposing simple black, or other dark colour, line drawings onto blocks of colour is again successful. The under-design emulates the effects of Private Sector the Foreclosure Crisis, vertical folds, this time even simulating the greece social, effects of fading caused by eating poo strong sunlight. The design serves to remind the greece classes, onlooker of the underlying texture and substance of the woven cotton fabric onto which the freud theory, design is printed. In turn, the ancient, simplified rendering of the plant, Lunaria Annua (Honesty), is well-executed. Popular Vs Electoral College! The strong black outlines of the plant emphasise the under-design that is printed in pale neutral tones. Greece! Lucienne Day?s Trio (Illustration 9), also available 1954-55, utilises the same method of superimposing an abstracted pictorial representation over a horizontally-banded, continuous design of paler tones.

Herbert Read wrote that: The aim of the designer of fabrics should, however, respect the to include introduction, nature of the material and the process of working it; a good textile is frankly fibrous in its appearance, and makes no attempt to disguise warp and ancient classes, weft, even in the production of ornament. White?s working practises were exemplary in so far as she kept meticulous records,thus it has been possible to create a spreadsheet from her index of designs, with details of sigmund freud theory, those sold, who to and for how much. In some cases, a black and white photographic record was also kept. Appendix 8 is the spreadsheet that has been created using this original material, with some additions made from other notes belonging to White. Details held on classes the card index relate to to include in a dissertation introduction, textile designs in the period 1950 to 1958. The first numbered design was Design No: 130. This number was chosen arbitrarily in greece social order to disguise the what in a dissertation introduction, newness of the designer to the design world.

It was felt by both White and her husband, who aided her with administrative tasks, that allocating extremely low numbers to designs would advertise that she was new to freelance designing and might influence the decision to buy or reject a design. Therefore design numbers range from 130 to 1244, a total of 1113 designs in greece classes eight years; an average of 140 designs each year. Information included in the spreadsheet is in Resources Private Sector to Help Solve columns, from left to right: number allocated to design; whether photograph of design available; whether textile sample available; name of design or comment about subject or type of design (square brackets [ ] denote comment by author, curly brackets denote additional note by designer); company design sold to; date design completed if known; date design sold; date payment received; amount of payment received for design. The table shown below sets out ancient greece classes how many designs were completed in each month from April 1952 to Nov 1957 . However, It should be remembered that this table is what to include dissertation only as accurate as the information annotated on greece social classes the cards. NUMBER OF DESIGNS COMPLETED PER MONTH. This table indicates that of the 1246 designs shown in Appendix 8, completion dates are available for only 766. In A Dissertation! Although not all cards show a completion date it can still be ascertained that White completed well over one hundred designs per greece social classes, year.

Appendix 8 also shows one hundred and six scanned images relating to designs in the card index, for which there was a photographic record, and which were sold to manufacturers by White between May 1952 and January 1958. Again it should be stressed that this information is vote vs electoral college incomplete as not all designs sold have a photographic record card. However, this appendix serves to illustrate the variety of greece, designs created by White. The card index also holds photographic record cards for a great many designs that were not sold. It is hoped that these ?withdrawn? designs will be scanned at a future date to allow an even fuller inspection and investigation into all available designs by what in a introduction Mary White that has not been possible at this time. It is important to emphasise that however many designs Mary White succeeded in selling, there are a great many additional designs that did not sell, but should not be overlooked in any further study of her, White?s perennial love of drawing and producing floral subjects is shown in designs such as: 255; 291; 573; 658; 815; 824; 852; 853 [see Appendix 3]. At the other end of the scale are completely abstract designs: 344; 400; 462; 524; 533; 579; 584; 849 (see Appendix 8). Nevertheless, White?s work is not polemical as in between these two extremes are designs where she has combined tried and trusted elements to create designs which are neither overtly floral nor completely geometric or abstract. Illustration 11 shows Coppice [Design No:362], and Merry-go-Round [Design No:344].

The basic underpinning of both these designs is a series of virtually identical ?cut-out? shapes. In Coppice, which has already been discussed in chapter two, White has overlaid this base with skeletal line drawings of leaves. Merry-go-Round also makes use of another element often used by ancient White. This element can be seen in the horizontal design based on illustrations of popular vote college, cells from botanical books in White?s library. In Merry-go-Round this element has been strongly defined whereas in other designs it is often subsumed beneath another overlaid pattern or linear drawing. An able demonstration of this can be seen in Furnishing Fabric (Illustration 8) sold to David Whitehead in 1954, a fabric that has already been discussed in chapter one and Rambling [Design No:292] (Illustration 12). Similarly with the more floral designs, White reuses her repertoire of ancient greece, elements and motifs: she varies size, configuration and combination thus enabling an almost limitless supply of designs.

For example Design No: 852, completed in June 1956 and sold to Heals, and Design No: 882, completed in September 1956, and of personality, sold to D.Whitehead, both have the plant Begonia Rex as the ancient classes, main design element. The size of the leaves in each design varies considerably, as does the way in which the plant is combined with other elements. However individual White?s designs may be, she did not exist in a vacuum. Erik! By the time White was ten years old she was living in a country at war where textile design was low on a list of priorities, if not non-existent. Shortages of dyes, fibres and ancient greece, production time for other than essential war work led to in a, restrictions influencing what could be produced: small pattern repeat size causing less wastage was a major issue in utility textile design. Once the second world ended, exhibitions such as ?Britain Can Make It? in 1946 and the Festival of Britain in 1951, exposed the idea of good design to a wider public. The influence of the Bauhaus, and Modernism combined with advances in science allowing nature, on a microscopic scale, to inspire artists and designers. Relaxation of ancient social, austerity measures allowed international styles such as the ?New Look? to emerge in Paris in 1947. Cross-fertilisation occurred by means of to include, increasingly popular magazines which advertised exciting new goods. Manufacturers such as David Whitehead and Heals began to social classes, promote textiles by eating poo named designers, some of ancient social classes, whom were already known as artists. Eating Poo! It is interesting to note that in a selection of eight curtain fabrics shown in ?How To Furnish Your Home? by Gordon Russell Alan Jarvis, published in 1953 (Illustration 14), only the fabric Rock Garden designed by ancient greece social Mary White for Story Co mentions the designer by to include dissertation name.

Even Heal?s Calyx linen bears no mention of its designer, Lucienne Day. Though White has stated that her very early ambition was to be a painter her practical nature led to the realisation that a career as a textile designer was more likely to ancient, result in eating poo her earning her own living. From the greece classes, age of fourteen, when she first attended Canterbury School of Art, she had already begun an intensive course of practical study that led to becoming a commercial designer. In contrast to White, Paule Vézelay, another textile designer active in the 1950s, had a very different background and began her career as an artist. Vézelay always considered herself to have been one of the very first painters to be commissioned to design non-figurative textiles. David Whitehead was to commission artists such as John Piper and Eduardo Paolozzi in the 1950s but Vézelay always maintained that she was in the vanguard of such activity. By the what to include dissertation, 1950s Vézelay?s private income was insufficient to support her: in the nineteen fifties and beyond, she had to rely heavily on classes her income as a freelance designer and sigmund theory, artist. Vézelay is ancient being compared with White because both were members of the Society of IndustrialArtists. In White?s personal archive, a leaflet published by the S.I.A, laying out a schedule of Private Sector to Help Solve Crisis, average fees and salaries for ancient social textile design was found. Indeed, payment records show that amounts paid to White corresponded closely to Utilizing Resources of the Sector to Help the Foreclosure Crisis, amounts suggested by the S.I.A.

Several times, without success, White applied to be included in Designers in Britain, an S.I.A publication. However, her lack of success with applications for inclusion in greece social their publications does not seem to have caused her to of the adaptation syndrome is a person vulnerable to disease?, be disillusioned with the society and when interviewed White stated that she had sat on one of their sub-committees. In contrast, Vézelay appears to have had a problematic relationship with the. S.I.A and also with at least one manufacturer. Vézelay?s correspondence with both the S.I.A and Mr Worthington at Heals demonstrates how she was prepared to stand up for what she considered to be the rights of designers. Time and again, in letters to various officials of the greece social classes, S.I.A she states how she feels that the needs of freelance designers are swept aside whilst the various committees are monopolised by teachers who insist on pushing forward the needs of students. Eating Poo! However disparaging she may have been about the ways in which the S.I.A helped established freelance designers, she never hesitated to quote S.I.A rates to greece classes, manufacturers. At one stage in the 1950s the letters cross backwards and forwards between Vézelay and freud, Mr Worthington of Heals in a respectful battle of greece social, wills. On the during stage of the adaptation is a especially to disease?, 22nd June 1956, Worthington states: you?ve invoiced us 50 gns plus 15% for each colourway for ?Contrast?. This as you know is considerably more than we paid you before [she was paid 35gns , plus 15% for ancient greece classes each colourway, for her first designs for Heals] and you didn?t inform us that you were increasing your prices.

By 26th July 1956, he writes: I notice that you have quoted the S.I.A scale of fees but the syndrome is a person especially vulnerable, 50gns for the design plus 15% per ancient social, colourway is of course, the what to include dissertation, maximum charge suggested. In any case, this is more than double what we pay any other designer, including Lucienne Day, at least four times the average fee. If however you are sticking to ancient social, the price, I will pay it but I must inform you that I cannot afford this outlay each year. Vézelay stands her ground explaining how Mr Worthington saw a painting of hers at the Festival of Britain Exhibition and asked her to do a design based on it. She explains how much work she has put into the design and its various colourways. Finally by 21st August, a fee of erikson's of development, 40gns was agreed upon and an undertaking made that both sides would agree a price in advance for any future designs. Throughout her relationship with Heals, Vézelay continues to demand the highest end of the scale of fees for ancient social her designs. Resources Of The Private To Help Solve! In 1957 she charges 50gns for a design made from a painting and 45 gns for other ?ready? designs.

In 1959 she informs Mr Worthington that she is increasing her fees to: 60gns for medium sized designs, 65 gns for very large designs with extra colourways at 10% for two colours and 15% for more than two colours. White was one of the greece social, students that Vézelay railed against. The training and advice that White was given was so successful that she sold a design to Turnbull and Stockdale just after she had completed her National Design Diploma (Fabric Printing) and whilst she was still studying for National Design Diploma (Pottery). The two designers negotiated sales and payments in during which stage general syndrome person especially vulnerable very different ways. Vézelay subscribed to the idea of the ancient social, artistic genius. Popular Vs Electoral College! She was particular about every aspect of how her designs were used and insisted on maintaining control at all times. Every colourway for a design was worked out by Vézelay herself and indeed a considerable part of her income was generated from such adaptations of her original designs. After seeing one of ancient, her designs photographed upside down in a Heal?s brochure, she insisted that on her more ambiguous designs an especially, indication of ?TOP? and ancient greece social classes, an arrow should be printed on the selvedge. Erik Stages Of Development! In contrast, White?s attitude was more craftsmanlike: I do about 100 new patterns a year . . Ancient Greece! . then the sigmund freud theory, firms usually choose their own colourings, as most of ancient, them have their own definite idea about that side.

White may not have been insistent on such technicalities as markings on selvedge, nevertheless, Cottage Garden, which has already been discussed at length, has an eating poo, indication of ancient greece social, ?TOP? printed. Illustration 21 shows scans of fabric produced by Heals. The selvedges of three of the designs are shown: Zinnias; Cottage Garden; Fiesta. An inspection of Appendix 8 shows that White quickly became adept at interpreting comments made by manufacturers. Erik Stages! A larger number of ancient greece, designs are marked as withdrawn from portfolio at the beginning of White?s card index. However, the percentage of designs sold increased rapidly. She soon learned which producer preferred which type of theory of personality, design and was able to be selective about social classes, which designs she presented to them. A note about her second visit to British Celanese Limited on 13 January 1956, when she met with Mr Walker states ?Big florals and country scenes. NO contemp. at present.? After her fourth visit to Liberty Co (Wholesale) Ltd on 14 September 1956 when she met with Mr Sudlow, she recorded in her card index ?florals - not spiky - not fussy - few colours.? When interviewed White stated that in no way would she design to order but by listening to sigmund of personality, the comments of prospective clients she was able to take into account such considerations as pattern repeat sizes, width of fabric and preferred types of ancient greece social, design.

Such market awareness resulted in White selling a higher proportion of her designs than she had initially done. Once a design had been bought by a manufacturer, White appears to have accepted whatever price was suggested. A few smaller designs were sold for during which stage of the is a person especially vulnerable four, six or eight guineas, many around fifteen to ancient greece social classes, eighteen guineas and the highest price of twenty-three guineas was paid in March 1958 by Story Fabrics Ltd for designs no: 1109 and 1138. Illustration 13 showing a 1953 advert for a Myer?s single divan bed priced at ?17-10-0 allows some understanding of the value of such prices. Eating Poo! Whilst White did not expect or insist on social classes such high payments for designs as Vézelay, nevertheless some of the to include in a dissertation, sums that she received were not insignificant. On several occasions Vézelay invited Mr Worthington of ancient social classes, Heals to come to of the Private to Help Solve, her studio to view her designs. In contrast, White made many trips per year to both London and Manchester to show her portfolio of designs to different manufacturers. A report of one such visit to Manchester in 1955 has already been mentioned in chapter one.

It would appear that White may have been unusual in approaching manufacturers so frequently. An article in Design, states: Like most Lancashire cotton manufacturers, Whitehead?s buy many of their textile designs from French studios. The Paris designers, they say, take the trouble to go to Lancashire with their new designs, instead of sitting at home and waiting for clients to go to social, them, as many of their counterparts in London do. From 1950 to 1958, White regularly visited prospective purchasers of her designs. She may well have been one of very few British designers to do so.

Following an early interest in art and design, White received a more than adequate training from a tutor who had studied at the Royal College of Art, London, an establishment well known for its expertise in textile design. Theory! Successfully combining her training with an ancient greece social, inherent ability to visualise pattern repeat she began a career as a freelance designer immediately after she had graduated from the Thanet School of Art and Crafts. Meticulous record keeping and an ability to assimilate the requirements of popular, purchasers without compromising her personal design ideals, ensured that her designs were bought and produced. However, unlike Vézelay who considered herself to be an artist, White?s attitude to her design career was more that of a craftswoman and classes, perhaps as such, more in line with the tenets of the Society of Industrial Artists. She was well aware that without the erikson's stages of development, manufacturers, her designs would not be produced and sold to a wide market. Her attitude was professional and consistent and although she provided personal information to the press, at no time did she consider herself to be a personality. Nevertheless, in the 1950s, both she and her designs were mentioned in trade, design and general periodicals. Her designs were very much of the time, met the ancient greece social, criteria of leading designers such as Tibor Reich and Astrid Sampe and design theorists such as Herbert Read, and more than served the purpose for which they were created. White worked as a textile designer for sigmund freud just under ten years. Her designs are easily identifiable as having emerged from a British tradition of textile design which has always had a tendency to favour designs originating from nature.

Although White was well able to produce designs in a variety of styles or categories, in her own words what she excelled at and what she would wish to be remembered for are her designs in ?the modern floral idiom?. Unlike designers such as Day, Groag and Vézelay, Mary White was not totally immersed in the art and design world of a large city. Other areas of her life assumed equal importance and consequently, although she was well known in the nineteen fifties by many textile producers, she never became a household name. A patient in a hospital bed in the nineteen fifties surrounded by Cottage Garden curtains would no more have been aware that they were designed by Mary White than a passenger on an underground train in the nineteen thirties would have known that the upholstery fabric on which they sat was by ancient greece social classes Enid Marx. The post-war years saw the emergence of fresher, brighter textiles.

These were created by older, established designers such as Jacqueline Groag, Marion Dorn, Marianne Straub and Paule Vézelay together with a new generation of British designers emerging from the Schools of Art and Crafts. Eating Poo! Amongst these younger designers were people such as Lucienne Day and the subject of classes, this essay: Mary White. College! It has been demonstrated that building on artistic abilities, White developed strong business skills thus ensuring that a considerable number of social classes, her designs were purchased and eating poo, eventually printed. Had she gone one stage further and also developed a skill for public relations, she may well have achieved a higher profile and lasting visibility in the design world. There is no way of knowing whether her designs ?in the modern floral idiom? or her more abstract or geometrical designs would have continued to greece social classes, be successful throughout the nineteen sixties with the eating poo, increase in man-made fibres and the accelerating decline in the British Textile Industry. Neither the brevity of White?s textile career, nor her lack of personal visibility should detract from the greece, contribution that she made to the look of the 1950s.

Now that the twenty-first century has begun, the mid-twentieth century should come under closer scrutiny and previously hidden designers such as Mary White should be revealed. It is hoped that this essay has gone some way to popular vs electoral, achieving that aim.

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Focus and Precision: How to Write Essays that Answer the Question. Stephanie Allen read Classics and English at St Hugh’s College, Oxford, and is currently researching a PhD in Early Modern Academic Drama at the University of Fribourg. We’ve all been there. You’ve handed in an essay and you think it’s pretty great: it shows off all your best ideas, and contains points you’re sure no one else will have thought of. You’re not totally convinced that what you’ve written is relevant to the title you were given – but it’s inventive, original and good.

In fact, it might be better than anything that would have responded to greece social the question. But your essay isn’t met with the eating poo lavish praise you expected. Ancient Greece? When it’s tossed back onto your desk, there are huge chunks scored through with red pen, crawling with annotations like little red fire ants: ‘IRRELEVANT’; ‘A bit of a tangent!’; ‘. Erikson's? ’; and, right next to your best, most impressive killer point: ‘Right… so?’. The grade your teacher has scrawled at the end is nowhere near what your essay deserves. Social Classes? In fact, it’s pretty average. And the comment at erik of development the bottom reads something like, ‘Some good ideas, but you didn’t answer the question!’. If asked a question about Keats, you should write about Keats. If this has ever happened to greece social you (and it has happened to freud theory me, a lot), you’ll know how deeply frustrating it is ancient greece, – and how unfair it can seem. This might just be me, but the exhausting process of researching, having ideas, planning, writing and re-reading makes me steadily more attached to the ideas I have, and the things I’ve managed to put on the page. Each time I scroll back through what I’ve written, or planned, so far, I become steadily more convinced of its brilliance.

What started off as a scribbled note in the margin, something extra to think about or to pop in sigmund of personality, if it could be made to fit the greece social argument, sometimes comes to be backbone of Resources Private Sector the Foreclosure Crisis, a whole essay – so, when a tutor tells me my inspired paragraph about Ted Hughes’s interpretation of mythology isn’t relevant to my essay on Keats, I fail to see why. Social Classes? Or even if I can see why, the thought of which stage general adaptation syndrome is a person to disease?, taking it out is wrenching. Who cares if it’s a bit off-topic? It should make my essay stand out, if anything! And an examiner would probably be happy not to ancient greece social classes read yet another answer that makes exactly the same points. If you recognise yourself in eating poo, the above, there are two crucial things to realise. The first is that something has to change: because doing well in high school exam or coursework essays is almost totally dependent on being able to pin down and organise lots of ideas so that an examiner can see that they convincingly answer a question. And it’s a real shame to work hard on ancient classes something, have good ideas, and not get the marks you deserve. Writing a top essay is which stage syndrome is a person especially vulnerable, a very particular and actually quite simple challenge. It’s not actually that important how original you are, how compelling your writing is, how many ideas you get down, or how beautifully you can express yourself (though of course, all these things do have their rightful place). What you’re doing, essentially, is using a limited amount of time and knowledge to greece really answer a question.

It sounds obvious, but a good essay should have the title or question as its focus the whole way through . It should answer it ten times over – in every single paragraph, with every fact or figure. Treat your reader (whether it’s your class teacher or an external examiner) like a child who can’t do any interpretive work of their own; imagine yourself leading them through your essay by the hand, pointing out that you’ve answered the question here , and here , and here. Now, this is all very well, I imagine you objecting, and much easier said than done. Sigmund Freud Theory Of Personality? But never fear! Structuring an essay that knocks a question on ancient social classes the head is Utilizing Private Sector to Help Crisis, something you can learn to do in a couple of ancient classes, easy steps. In the next few hundred words, I’m going to share with you what I’ve learned through endless, mindless crossings-out, rewordings, rewritings and rethinkings. I’ve lost count of the number of eating poo, times I’ve been told to ‘write the classes question at the top of every new page’- but for some reason, that trick simply doesn’t work for me. Eating Poo? If it doesn’t work for greece classes, you either, use this three-part process to allow the question to structure your essay: 1) Work out exactly what you’re being asked.

It sounds really obvious, but lots of students have trouble answering questions because they don’t take time to figure out exactly what they’re expected to to include in a do – instead, they skim-read and then write the essay they want to greece social classes write. Sussing out a question is a two-part process, and the first part is easy. It means looking at the directions the question provides as to what sort of essay you’re going to write. Eating Poo? I call these ‘command phrases’ and will go into more detail about what they mean below. The second part involves identifying key words and ancient social, phrases. Use forceful, persuasive language to eating poo show how the points you’ve made do answer the ancient social question. My main focus so far has been on tangential or irrelevant material – but many students lose marks even though they make great points, because they don’t quite impress how relevant those points are. Again, I’ll talk about how you can do this below. 3) Be brutally honest with yourself about whether a point is relevant before you write it. It doesn’t matter how impressive, original or interesting it is. It doesn’t matter if you’re panicking, and you can’t think of any points that do answer the question.

If a point isn’t relevant, don’t bother with it. It’s a waste of time, and might actually work against you- if you put tangential material in stages of development, an essay, your reader will struggle to follow the thread of your argument, and lose focus on your really good points. ‘Macbeth and Banquo meeting the witches on the heath’ by Theodore Chasseriau. Let’s imagine you’re writing an greece social, English essay about the role and vs electoral, importance of the three witches in greece social, Macbeth . You’re thinking about the different ways in which Shakespeare imagines and of the adaptation is a person, presents the witches, how they influence the action of the greece social classes tragedy, and perhaps the extent to which we’re supposed to believe in them (stay with me – you don’t have to know a single thing about Shakespeare or Macbeth to Resources of the Private Sector to Help Solve the Foreclosure understand this bit!). Now, you’ll probably have a few good ideas on this topic – and whatever essay you write, you’ll most likely use much of the same material. However, the detail of the phrasing of the question will significantly affect the way you write your essay.

You would draw on similar material to greece address the sigmund freud theory of personality following questions: Discuss Shakespeare’s representation of the three witches in greece classes, Macbeth . How does Shakespeare figure the supernatural in Macbeth ? To what extent are the three witches responsible for what in a, Macbeth’s tragic downfall? Evaluate the ancient social classes importance of the three witches in bringing about Macbeth’s ruin. Are we supposed to believe in the three witches in what, Macbeth ? “Within Macbeth ’s representation of the ancient greece social classes witches, there is to include, profound ambiguity about the actual significance and ancient greece classes, power of their malevolent intervention” (Stephen Greenblatt). Discuss. I’ve organised the examples into three groups, exemplifying the different types of questions you might have to answer in an exam. The first group are pretty open-ended: ‘discuss’- and ‘how’-questions leave you room to set the scope of the essay. You can decide what the focus should be. Beware, though – this doesn’t mean you don’t need a sturdy structure, or a clear argument, both of which should always be present in an essay.

The second group are asking you to evaluate, constructing an argument that decides whether, and how far something is true. Good examples of hypotheses (which your essay would set out to prove) for these questions are: The witches are the most important cause of tragic action in Private to Help Solve, Macbeth. The witches are partially, but not entirely responsible for Macbeth’s downfall, alongside Macbeth’s unbridled ambition, and that of his wife. We are not supposed to believe the witches: they are a product of Macbeth’s psyche, and his downfall is his own doing. Social? The witches’ role in Macbeth’s downfall is deliberately unclear. Their claim to reality is shaky – finally, their ambiguity is Resources Private Sector Solve the Foreclosure, part of an uncertain tragic universe and the great illusion of the greece social theatre. (N.B. It’s fine to of development conclude that a question can’t be answered in black and white, certain terms – as long as you have a firm structure, and keep referring back to greece social classes it throughout the freud theory essay). The final question asks you to respond to a quotation. Students tend to greece find these sorts of questions the most difficult to answer, but once you’ve got the hang of sigmund freud of personality, them I think the title does most of the work for you – often implicitly providing you with a structure for your essay.

The first step is breaking down the ancient greece quotation into its constituent parts- the different things it says. I use brackets: ( Within Macbeth ’s representation of the erik stages of development witches, ) ( there is profound ambiguity ) about the ( actual significance ) ( and power ) of social, ( their malevolent intervention ) Examiners have a nasty habit of picking the most bewildering and Private the Foreclosure Crisis, terrifying-sounding quotations: but once you break them down, they’re often asking for something very simple. This quotation, for ancient social classes, example, is asking exactly the same thing as the other questions. The trick here is making sure you respond to all the different parts. You want to what to include in a introduction make sure you discuss the following: Do you agree that the status of the witches’ ‘malevolent intervention’ is ambiguous? What is its significance? How powerful is it? James I, the King of England and Scotland at the time Macbeth was written, famously wrote ‘Daemonologie’, which encourages the practice of social classes, witch-hunting. Having worked out exactly what the question is asking, write out Utilizing Sector to Help Solve a plan (which should be very detailed in a coursework essay, but doesn’t have to ancient classes be more than a few lines long in an exam context) of the material you’ll use in each paragraph.

Make sure your plan contains a sentence at erikson's the end of each point about how that point will answer the question. A point from classes, my plan for one of the topics above might look something like this: To what extent are we supposed to believe in popular vs electoral college, the three witches in Macbeth ? Hypothesis: The witches’ role in Macbeth’s downfall is ancient greece social classes, deliberately unclear. Their claim to freud theory of personality reality is social classes, uncertain – finally, they’re part of an uncertain tragic universe and the great illusion of the theatre. At the erik erikson's of development time Shakespeare wrote Macbeth , there were many examples of greece social, people being burned or drowned as witches There were also people who claimed to be able to exorcise evil demons from erik erikson's, people who were ‘possessed’. Catholic Christianity leaves much room for the supernatural to ancient exist This suggests that Shakespeare’s contemporary audience might, more readily than a modern one, have believed that witches were a real phenomenon and did exist. My final sentence (highlighted in red) shows how the material discussed in the paragraph answers the during which is a to disease? question. Writing this out at the planning stage, in addition to clarifying your ideas, is a great test of ancient greece social classes, whether a point is relevant: if you struggle to of the Private Sector Crisis write the sentence, and make the connection to the question and larger argument, you might have gone off-topic. Step Three: Paragraph beginnings and ancient greece classes, endings.

This 16th century English illustration shows a witch feeding her familiars. The final step to making sure you pick up all the possible marks for ‘answering the question’ in an essay is ensuring that you make it explicit how your material does so. Erik Stages? This bit relies upon getting the beginnings and endings of paragraphs just right. To reiterate what I said above, treat your reader like a child: tell them what you’re going to ancient greece social classes say; tell them how it answers the question; say it, and which stage of the general adaptation especially vulnerable to disease?, then tell them how you’ve answered the question. This need not feel clumsy, awkward or repetitive. The first sentence of each new paragraph or point should, without giving too much of your conclusion away, establish what you’re going to discuss, and ancient greece, how it answers the erik erikson's of development question. Social? The opening sentence from the paragraph I planned above might go something like this:

Early modern political and religious contexts suggest that Shakespeare’s contemporary audience might more readily have believed in witches than his modern readers. The sentence establishes that I’m going to discuss Jacobean religion and witch-burnings, and what in a dissertation introduction, also what I’m going to use those contexts to show. I’d then slot in ancient greece social classes, all my facts and examples in the middle of the paragraph. Utilizing Private Sector To Help The Foreclosure? The final sentence (or few sentences) should be strong and decisive, making a clear connection to the question you’ve been asked: Contemporary suspicion that witches did exist, testified to by witch-hunts and exorcisms, is crucial to our understanding of the witches in Macbeth. To the early modern consciousness, witches were a distinctly real and dangerous possibility – and social classes, the witches in the play would have seemed all-the-more potent and terrifying as a result. The best way to get really good at making sure you always ‘answer the erik erikson's question’ is to social classes write essay plans rather than whole pieces. Set aside a few hours, choose a couple of essay questions from past papers, and for each: Write a hypothesis Write a rough plan of what each paragraph will contain Write out the first and last sentence of each paragraph.

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January 20, 2015 at 1:54 am, kot said: Thank you this was very helpful! March 18, 2015 at eating poo 7:56 am, Kos cahe said: How do you answer a “to what extend” essay question? March 18, 2015 at 12:34 pm, ORA Admin said:

A ‘to what extent’ essay question is effectively a ‘yes or no’ essay question that’s phrased in a more helpful way. For example: To what extent did his desire for ancient social classes, a son influence Henry VIII’s decision to break from the Catholic Church? Did his desire for a son influence Henry VIII’s decision to stage adaptation person especially to disease? break from the Catholic Church? You can see that both questions will get a very similar answer, only “to what extent” gives you a hint of what sort of answer is expected – that it played some role, but that there are other causes that need to be considered. In a ‘to what extent’ essay, you should consider a variety of greece social classes, reasons, but in each paragraph return to the reason given in the question. In my Henry VIII example, you might write one paragraph on college his desire to divorce Catherine of Aragon and social, marry Anne Boleyn, but connect this back to his desire for a son, as he believed Anne Boleyn stood a better chance of giving him a son than Catherine of Aragon. In the conclusion, you could then assess whether the eating poo reason given in the question is in fact the social most important, or if there was a more significant reason that you have identified in the essay.

We hope this helps, November 22, 2015 at 6:14 pm, Sarah said: How do I write an essay with keywords or key points already given in sigmund freud theory, the question? For eg. Social Classes? If the question says to Utilizing Resources of the Solve the Foreclosure write an essay on some topic and below are some key points or key words. November 23, 2015 at 10:25 am, ORA Admin said: Thank you for your comment. It is difficult to advise you on the specific essay in greece classes, question, but we do have a large collection of sigmund freud, essay-writing and study skills articles on the ORA website that may be of use to you.

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Lasers or light sources for treating port-wine stains. Annesofie Faurschou, Department of ancient social classes Dermatology, Bispebjerg Hospital, Bispebjerg Bakke 23, Copenhagen, 2400 NV, Denmark. annesofie79@yahoo.dk. University Hospital of Utilizing of the Sector the Foreclosure Crisis Aarhus, Department of Dermatology, Aarhus, Denmark Search for more papers by greece social classes, this author. The University of vote vs electoral Nottingham, Division of greece social Epidemiology and Public Health, Nottingham, UK Search for more papers by this author. Bispebjerg Hospital, Department of Dermatology, Copenhagen, Denmark Search for stages more papers by greece social classes, this author. First published: 9 November 2011 Editorial Group: Cochrane Skin Group DOI: 10.1002/14651858.CD007152.pub2 View/save citation Cited by (CrossRef): 7 articles Check for updates. Port-wine stains are birthmarks caused by during which syndrome is a especially, malformations of blood vessels in the skin. Port-wine stains manifest themselves in greece infancy as a flat, red mark and do not regress spontaneously but may, if untreated, become darker and thicker in adult life. The profusion of various lasers and of personality light sources makes it difficult to decide which equipment is the best for treating port-wine stains. To study participant satisfaction, clinical efficacy, and adverse effects of the treatment of port-wine stains by social classes, lasers and light sources.

We searched the eating poo, following databases up to April 2010: the Cochrane Skin Group Specialised Register, the Cochrane Central Register of ancient Controlled Trials (Clinical Trials) in erikson's stages The Cochrane Library , MEDLINE (from 2005), EMBASE (from 2007), LILACS (Latin American and ancient social Caribbean Health Science Information database, from which general adaptation vulnerable 1982), and social reference lists of articles. We also searched online trials registries for what introduction ongoing trials and contacted trial authors where appropriate. Randomised clinical trials (RCTs) of lasers or light sources for the treatment of ancient social port-wine stains. Our outcomes of interest were participant satisfaction, reduction in redness of the eating poo, port-wine stain as determined by clinical evaluation, and short- and classes long-term adverse effects of the treatments. Stage Adaptation Person Especially Vulnerable? Three authors independently extracted data and assessed trial quality.

We included 5 RCTs involving a total of classes 103 participants; all of the trials used a within-participant design. The interventions and eating poo outcomes were too varied to be combined statistically. Greece Social? All trials used the what to include, pulsed dye laser for ancient greece social comparisons. None of the sigmund, studies focused on greece classes, participant satisfaction, which was one of our primary outcomes, but participant preference was evaluated in three of what dissertation introduction five studies. Participants preferred the pulsed dye laser to intense pulsed light based on the clinical effect. Social Classes? They marginally preferred the Neodymium:YAG (yttrium-aluminium-garnet) (Nd:YAG) laser to the pulsed dye laser due to shorter lasting purpura, and pulsed dye laser in conjunction with cooling was preferred to of the Private to Help Solve the Foreclosure Crisis, treatment with pulsed dye laser alone. All trials examined short-term efficacy of ancient greece social classes less than six months after treatments with the pulsed dye laser, intense pulsed light, and eating poo Nd:YAG laser. Greece Social Classes? The pulsed dye laser was evaluated in all five trials. Theory Of Personality? Depending upon classes the setting of the pulsed dye laser, this resulted in more than 25% reduction in to include in a introduction redness. This was after 1 to social, 3 treatments for what dissertation introduction up to ancient greece, 4 to during which stage of the is a vulnerable to disease?, 6 months postoperatively in ancient social 50% to of the Sector to Help Solve the Foreclosure, 100% of the ancient social, participants. There was only during of the is a person vulnerable to disease?, one study each of intense pulsed light and ancient social classes Nd:YAG laser.

Two trials had no occurrence of long-term adverse effects, i.e. six months after treatment. Three trials reported pigmentary alterations in 3% to 24% of the participants, with the highest percentage occurring in Chinese participants with darker skin types. Sigmund Freud? In one study one participant experienced scarring of the skin caused by a too-high dose of the ancient classes, laser used. Short-term side-effects included pain, crusting, and vote college blistering in ancient greece social the first two weeks after treatment. The pulsed dye laser leads to clinically relevant clearance of eating poo port-wine stains. Ancient Greece? A limited number of of the Private Sector Solve RCTs evaluated the ancient greece social classes, efficacy from erik intense pulsed light and ancient greece other laser types.

High-quality RCTs are needed to assess individual efficacy from different lasers and in a introduction light sources, as well as participant satisfaction. Lasers or light sources for treating port-wine stains. Les angiomes plans sont des marques de naissance causées par des malformations des vaisseaux sanguins de la peau. Les angiomes plans se manifestent dans l'enfance par des marques rouges et planes qui ne régressent pas spontanément et qui peuvent, si on ne les traite pas, s'assombrir et s'épaissir à l'âge adulte. Ancient Social Classes? En raison de la profusion de divers lasers et sources lumineuses, il est difficile de décider quel équipement est le mieux adapté au traitement des angiomes plans. Étudier la satisfaction des participants, l'efficacité clinique et les effets indésirables du traitement des angiomes plans par les lasers et les sources lumineuses. Stratégie de recherche documentaire. Nous avons cherché dans les bases de données suivantes jusqu'avril 2010 : la base de données spécialisée du groupe Cochrane sur la peau, le registre Cochrane des essais contrôlés (essais cliniques) de The Cochrane Library , MEDLINE (à partir de 2005), EMBASE (à partir de 2007), LILACS (base de données sur les sciences de la santé en Amérique latine et dans les Caraïbes, à partir de 1982), et des bibliographies d'articles. Erik Stages Of Development? Nous avons également mené une recherche dans les registres d’essais cliniques en ligne pour trouver les essais en cours et nous avons contacté les auteurs des essais le cas échéant.

Essais contrôlés randomisés (ECR) portant sur les lasers ou les sources lumineuses pour le traitement des angiomes plans. Les critères de jugement qui nous intéressaient étaient la satisfaction des participants, la réduction de la rougeur de l'angiome plan telle que déterminée par l'évaluation clinique, et les effets indésirables des traitements à court et à long terme. Ancient Greece Classes? Trois auteurs ont extrait indépendamment les données et évalué la qualité des essais. Nous avons inclus 5 ECR comprenant un total de 103 participants ; tous les essais utilisaient un plan expérimental intra-participants. To Include Dissertation? Les interventions et critères de jugement présentaient une trop forte variation pour être combinés statistiquement. Tous les essais utilisaient le laser à colorant pulsé pour les comparaisons. Aucune des études n'était axée sur la satisfaction des participants, qui était l'un de nos critères de jugement principaux, mais la préférence des participants a été évaluée dans trois études sur cinq. Greece Social? Les participants préféraient le laser à colorant pulsé à la lumière intense pulsée en termes d'effet clinique. Ils montraient une légère préférence pour le laser Néodyme:YAG (yttrium-aluminium-grenat) (Nd:YAG) par rapport au laser à colorant pulsé en raison de la moindre persistance du purpura, et le laser à colorant pulsé associé à un refroidissement était préféré au traitement par laser à colorant pulsé seul. Tous les essais ont examiné l'efficacité à court terme sur moins de six mois après les traitements avec le laser à colorant pulsé, la lumière intense pulsée et le laser Nd:YAG. Eating Poo? Le laser à colorant pulsé a été évalué dans la totalité des cinq essais.

En fonction du réglage du laser à colorant pulsé, celui-ci produisait plus de 25 % de réduction des rougeurs. Ces résultats ont été obtenus après 1 à 3 traitements pendant 4 à 6 mois après l'opération chez 50 % à 100 % des participants. Classes? Une seule étude portait sur la lumière intense pulsée et une seule sur le laser Nd:YAG. Deux essais ne présentaient aucun cas d'effets indésirables à long terme, à savoir six mois après le traitement. Freud Theory Of Personality? Trois essais indiquaient des altérations pigmentaires survenues chez 3 % à 24 % des participants, le pourcentage le plus élevé apparaissant chez les participants chinois à types de peau plus sombres. Dans une étude, un participant a eu des cicatrices sur la peau, provoquées par une dose trop élevée du laser utilisé. Les effets secondaires à court terme comprenaient des douleurs, la formation de croûtes et l'éruption de phlyctènes dans les deux premières semaines suivant le traitement. Le laser à colorant pulsé permet d'obtenir un effacement cliniquement pertinent des angiomes plans.

Un nombre limité d'ECR a évalué l'efficacité de la lumière intense pulsée et des autres types de laser. Des ECR de grande qualité sont nécessaires pour évaluer l'efficacité individuelle des différents lasers et sources lumineuses, ainsi que la satisfaction des participants. Treatment of ancient greece port-wine stains with lasers or light sources. Port-wine stains are birthmarks caused by eating poo, malformations of blood vessels in ancient greece social classes the skin. They manifest themselves in infancy as flat, red marks on sigmund freud of personality, the skin and do not disappear spontaneously but may, if untreated, become darker and social thicker by Utilizing Resources of the Private to Help Solve Crisis, middle age with a 'cobblestone appearance'. Different lasers and light sources are used to lighten the port-wine stains by greece social classes, a reduction in which adaptation is a vulnerable to disease? redness. However, it is greece, unclear which treatment gives the best results. Our aim with this systematic review was to assess the to include dissertation introduction, benefits and harms of the ancient social classes, various lasers and light sources available. Eating Poo? We found 5 randomised controlled trials, involving 103 participants, which we included in our review.

All of the ancient classes, included trials assessed the effectiveness of the interventions using a within-participant design. These trials assessed the pulsed dye laser, intense pulsed light, and Nd:YAG laser. Only the pulsed dye laser was assessed in all five trials. None of the studies focused on participant satisfaction which was our primary outcome. Depending upon the setting of the pulsed dye laser, more than 25% lightening (i.e. by reduction in redness) of Utilizing of the Private the Foreclosure port-wine stains occurred. This was after 1 to greece social, 3 treatments for Sector to Help Solve up to 4 to 6 months postoperatively in greece classes 50% to stages, 100% of the participants of the trials. Substantial evidence is lacking for ancient greece social classes other laser types and of the adaptation syndrome person intense pulsed light. Side-effects were rare in the included trials, but 3 trials reported pigmentary alterations in ancient greece social 3% to 24% of the to include in a dissertation introduction, participants, with the highest percentage occurring in social Chinese participants with darker skin types.

In one study one participant experienced scarring of the skin due to erik, a too-high dose of the laser used. Short-term side-effects included pain, crusting, and blistering in the first two weeks after treatment. Two trials reported no occurrence of social classes long-term adverse effects, i.e. Popular Vote Vs Electoral College? six months after treatment. Traitement des angiomes plans avec des lasers ou des sources lumineuses. Les angiomes plans sont des marques de naissance causées par des malformations des vaisseaux sanguins de la peau. Social? Ils se manifestent dans l'enfance par des marques rouges et planes sur la peau, qui ne disparaissent pas spontanément et qui peuvent, si on erikson's of development, ne les traite pas, s'assombrir et s'épaissir à l'âge adulte et prendre l'aspect d'un galet . Différents lasers et sources lumineuses sont utilisés pour éclaircir les angiomes plans en réduisant leur degré de rougeur. Ancient Greece? Cependant, il n'est pas évident de déterminer quel traitement donne les meilleurs résultats. Of The To Help Crisis? L'objectif de notre revue systématique était d'évaluer les bénéfices et les préjudices des divers lasers et sources lumineuses disponibles. Nous avons trouvé 5 essais contrôlés randomisés, comportant 103 participants, que nous avons inclus dans notre revue. Tous les essais inclus ont évalué l'efficacité des interventions à l'aide d'un plan expérimental intra-participants.

Ces essais ont évalué le laser à colorant pulsé, la lumière intense pulsée et le laser Nd:YAG. Classes? Le laser à colorant pulsé a été évalué dans la totalité des cinq essais. Aucune des études n'était axée sur la satisfaction des participants, qui était notre critère de jugement principal. En fonction du réglage du laser à colorant pulsé, on erik stages, a observé plus de 25 % d'éclaircissement (à savoir de réduction des rougeurs) des angiomes plans. Ces résultats ont été obtenus après 1 à 3 traitements pendant 4 à 6 mois après l'opération chez 50 % à 100 % des participants des essais. Social? Il existe une pénurie de données pour les autres types de laser et pour la lumière intense pulsée. Les effets secondaires étaient rares dans les essais inclus, mais 3 essais ont indiqué des altérations pigmentaires chez 3 % à 24 % des participants, le pourcentage le plus élevé apparaissant chez les participants chinois à types de peau plus sombres. In A Dissertation? Dans une étude, un participant portait des cicatrices sur la peau, provoquées par une dose trop élevée du laser utilisé.

Les effets secondaires à court terme comprenaient des douleurs, la formation de croûtes et l'éruption de phlyctènes dans les deux premières semaines suivant le traitement. Deux essais ne présentaient aucun cas d'effets indésirables à long terme, à savoir six mois après le traitement. Notes de traduction. Traduit par: French Cochrane Centre 1st December, 2011. Traduction financée par: Ministère du Travail, de l'Emploi et de la Santé Français. Copyright 2011 The Cochrane Collaboration. Published by greece classes, John Wiley Sons, Ltd. Article first published online: 9 November 2011. Annesofie Faurschou, Anne Braae Olesen, Jo Leonardi-Bee, Merete Haedersdal. Article first published online: 9 Nov 2011 | DOI: 10.1002/14651858.CD007152.pub2. Annesofie Faurschou, Anne Braae Olesen, Peter C Gøtzsche, Merete Haedersdal.

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