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Irma Bowen Historic Clothing G. Collection - One of the best experts on this subject based on the ideXlab platform.
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Boy’s suit and shirt, late 19th century, shirt
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:Late 19th century. Blue velvet young boy’s suit with Breeches and a matching jacket with a round collar; white linen pleated-front shirt with long sleeves. The blue silk velvet of this suit is woven on a red ground, so that the color shifts as the fabric moves. The suit jacket has two front panels and two back panels, which have 2.54 cm / 1 in. high vents at the hem at each of its three seams. It is open in front, closing only at the neck with one hook below a round collar. It has long sleeves cut without extra fullness, but with two curved seams for elbow room and an 8.3 cm / 3.25 in. wide cuff. Black braid binds the edges of the cuffs, front, hem including the vents, collar, and pocket opening. Four red glass bead ball buttons flank each side of the opening but are purely decorative, as are the three on each cuff. The jacket is fully lined with black silk twill. The Breeches are knee-length and have four pieces, sewn together at the outseams and inseams. Side pockets double as the two openings for the Breeches, each closed with one red glass bead ball button. The front and the back of the Breeches have a waistband 4.4 cm / 1.75 in. wide overall, though slightly wider at center back, with interior cotton bands having three buttonholes each and a maker’s stamp, mostly worn away except for the words “Band” and “Brooklyn, NY”. These buttonholes do not go through to the velvet layer and do not have associated buttons anywhere on the suit as it currently exists. Black braid binds the side openings and continues in a stripe down the outseam. The Breeches are unlined, except for a small striped cotton placket at a 5.7 cm / 2.25 in. long opening in the front rise above the crotch point. The shirt is in museum records as belonging with the suit, however its sleeves are much shorter and its collar much smaller in circumference so this may not be correct. It has a tab collar and a pleated panel flanking a placket at center front; there are buttonholes but no buttons. Machine-sewn.https://scholars.unh.edu/bowen_collection/1642/thumbnail.jp
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Boy’s suit and shirt, late 19th century, detail of waist band and placket
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:Late 19th century. Blue velvet young boy’s suit with Breeches and a matching jacket with a round collar; white linen pleated-front shirt with long sleeves. The blue silk velvet of this suit is woven on a red ground, so that the color shifts as the fabric moves. The suit jacket has two front panels and two back panels, which have 2.54 cm / 1 in. high vents at the hem at each of its three seams. It is open in front, closing only at the neck with one hook below a round collar. It has long sleeves cut without extra fullness, but with two curved seams for elbow room and an 8.3 cm / 3.25 in. wide cuff. Black braid binds the edges of the cuffs, front, hem including the vents, collar, and pocket opening. Four red glass bead ball buttons flank each side of the opening but are purely decorative, as are the three on each cuff. The jacket is fully lined with black silk twill. The Breeches are knee-length and have four pieces, sewn together at the outseams and inseams. Side pockets double as the two openings for the Breeches, each closed with one red glass bead ball button. The front and the back of the Breeches have a waistband 4.4 cm / 1.75 in. wide overall, though slightly wider at center back, with interior cotton bands having three buttonholes each and a maker’s stamp, mostly worn away except for the words “Band” and “Brooklyn, NY”. These buttonholes do not go through to the velvet layer and do not have associated buttons anywhere on the suit as it currently exists. Black braid binds the side openings and continues in a stripe down the outseam. The Breeches are unlined, except for a small striped cotton placket at a 5.7 cm / 2.25 in. long opening in the front rise above the crotch point. The shirt is in museum records as belonging with the suit, however its sleeves are much shorter and its collar much smaller in circumference so this may not be correct. It has a tab collar and a pleated panel flanking a placket at center front; there are buttonholes but no buttons. Machine-sewn.https://scholars.unh.edu/bowen_collection/1643/thumbnail.jp
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Boy’s suit and shirt, late 19th century, side view
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:Late 19th century. Blue velvet young boy’s suit with Breeches and a matching jacket with a round collar; white linen pleated-front shirt with long sleeves. The blue silk velvet of this suit is woven on a red ground, so that the color shifts as the fabric moves. The suit jacket has two front panels and two back panels, which have 2.54 cm / 1 in. high vents at the hem at each of its three seams. It is open in front, closing only at the neck with one hook below a round collar. It has long sleeves cut without extra fullness, but with two curved seams for elbow room and an 8.3 cm / 3.25 in. wide cuff. Black braid binds the edges of the cuffs, front, hem including the vents, collar, and pocket opening. Four red glass bead ball buttons flank each side of the opening but are purely decorative, as are the three on each cuff. The jacket is fully lined with black silk twill. The Breeches are knee-length and have four pieces, sewn together at the outseams and inseams. Side pockets double as the two openings for the Breeches, each closed with one red glass bead ball button. The front and the back of the Breeches have a waistband 4.4 cm / 1.75 in. wide overall, though slightly wider at center back, with interior cotton bands having three buttonholes each and a maker’s stamp, mostly worn away except for the words “Band” and “Brooklyn, NY”. These buttonholes do not go through to the velvet layer and do not have associated buttons anywhere on the suit as it currently exists. Black braid binds the side openings and continues in a stripe down the outseam. The Breeches are unlined, except for a small striped cotton placket at a 5.7 cm / 2.25 in. long opening in the front rise above the crotch point. The shirt is in museum records as belonging with the suit, however its sleeves are much shorter and its collar much smaller in circumference so this may not be correct. It has a tab collar and a pleated panel flanking a placket at center front; there are buttonholes but no buttons. Machine-sewn.https://scholars.unh.edu/bowen_collection/1641/thumbnail.jp
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Boy’s suit and shirt, late 19th century, front view
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:Late 19th century. Blue velvet young boy’s suit with Breeches and a matching jacket with a round collar; white linen pleated-front shirt with long sleeves. The blue silk velvet of this suit is woven on a red ground, so that the color shifts as the fabric moves. The suit jacket has two front panels and two back panels, which have 2.54 cm / 1 in. high vents at the hem at each of its three seams. It is open in front, closing only at the neck with one hook below a round collar. It has long sleeves cut without extra fullness, but with two curved seams for elbow room and an 8.3 cm / 3.25 in. wide cuff. Black braid binds the edges of the cuffs, front, hem including the vents, collar, and pocket opening. Four red glass bead ball buttons flank each side of the opening but are purely decorative, as are the three on each cuff. The jacket is fully lined with black silk twill. The Breeches are knee-length and have four pieces, sewn together at the outseams and inseams. Side pockets double as the two openings for the Breeches, each closed with one red glass bead ball button. The front and the back of the Breeches have a waistband 4.4 cm / 1.75 in. wide overall, though slightly wider at center back, with interior cotton bands having three buttonholes each and a maker’s stamp, mostly worn away except for the words “Band” and “Brooklyn, NY”. These buttonholes do not go through to the velvet layer and do not have associated buttons anywhere on the suit as it currently exists. Black braid binds the side openings and continues in a stripe down the outseam. The Breeches are unlined, except for a small striped cotton placket at a 5.7 cm / 2.25 in. long opening in the front rise above the crotch point. The shirt is in museum records as belonging with the suit, however its sleeves are much shorter and its collar much smaller in circumference so this may not be correct. It has a tab collar and a pleated panel flanking a placket at center front; there are buttonholes but no buttons. Machine-sewn.https://scholars.unh.edu/bowen_collection/1640/thumbnail.jp
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Boy’s suit and shirt, late 19th century, detail of stamp
University of New Hampshire Scholars\u27 Repository, 2019Co-Authors: Irma Bowen Historic Clothing G. CollectionAbstract:Late 19th century. Blue velvet young boy’s suit with Breeches and a matching jacket with a round collar; white linen pleated-front shirt with long sleeves. The blue silk velvet of this suit is woven on a red ground, so that the color shifts as the fabric moves. The suit jacket has two front panels and two back panels, which have 2.54 cm / 1 in. high vents at the hem at each of its three seams. It is open in front, closing only at the neck with one hook below a round collar. It has long sleeves cut without extra fullness, but with two curved seams for elbow room and an 8.3 cm / 3.25 in. wide cuff. Black braid binds the edges of the cuffs, front, hem including the vents, collar, and pocket opening. Four red glass bead ball buttons flank each side of the opening but are purely decorative, as are the three on each cuff. The jacket is fully lined with black silk twill. The Breeches are knee-length and have four pieces, sewn together at the outseams and inseams. Side pockets double as the two openings for the Breeches, each closed with one red glass bead ball button. The front and the back of the Breeches have a waistband 4.4 cm / 1.75 in. wide overall, though slightly wider at center back, with interior cotton bands having three buttonholes each and a maker’s stamp, mostly worn away except for the words “Band” and “Brooklyn, NY”. These buttonholes do not go through to the velvet layer and do not have associated buttons anywhere on the suit as it currently exists. Black braid binds the side openings and continues in a stripe down the outseam. The Breeches are unlined, except for a small striped cotton placket at a 5.7 cm / 2.25 in. long opening in the front rise above the crotch point. The shirt is in museum records as belonging with the suit, however its sleeves are much shorter and its collar much smaller in circumference so this may not be correct. It has a tab collar and a pleated panel flanking a placket at center front; there are buttonholes but no buttons. Machine-sewn.https://scholars.unh.edu/bowen_collection/1644/thumbnail.jp
Celestine Woo - One of the best experts on this subject based on the ideXlab platform.
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Sarah Siddons as Hamlet: Three Decades, Five Towns, Absent Breeches, and Rife Critical Confusion
Anq-a Quarterly Journal of Short Articles Notes and Reviews, 2010Co-Authors: Celestine WooAbstract:(2007). Sarah Siddons as Hamlet: Three Decades, Five Towns, Absent Breeches, and Rife Critical Confusion. ANQ: A Quarterly Journal of Short Articles, Notes and Reviews: Vol. 20, No. 1, pp. 37-44.
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sarah siddons s performances as hamlet breaching the Breeches part
European Romantic Review, 2007Co-Authors: Celestine WooAbstract:Sarah Siddons performed the role of Hamlet nine times over thirty years, reviving this early role once she was an established star, and playing it till the age of fifty. Yet this occurrence has hitherto drawn scanty analysis that has often been rife with contradiction and inaccuracies. For an actress of such stature to have played a role so central to the Shakespeare canon deserves deeper scrutiny and clarification. I read her choice of costume as an encapsulation of how she foregrounds and complicates gender. The costume Siddons designed for the part, neither conventionally male nor female, resists the inevitable sexualization that was then associated with Breeches parts, and instead, indicates Siddons’s radical choice to play Hamlet without Breeches. The boldness of Siddons’s choice of both role and costume lies in the distinction, little discussed, between traditional Breeches parts and cross‐gendered roles. She prompted James Boaden and Ann Radcliffe, among others, to an inchoate recognition of the ex...
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Sarah Siddons’s Performances as Hamlet: Breaching the Breeches Part
European Romantic Review, 2007Co-Authors: Celestine WooAbstract:Sarah Siddons performed the role of Hamlet nine times over thirty years, reviving this early role once she was an established star, and playing it till the age of fifty. Yet this occurrence has hitherto drawn scanty analysis that has often been rife with contradiction and inaccuracies. For an actress of such stature to have played a role so central to the Shakespeare canon deserves deeper scrutiny and clarification. I read her choice of costume as an encapsulation of how she foregrounds and complicates gender. The costume Siddons designed for the part, neither conventionally male nor female, resists the inevitable sexualization that was then associated with Breeches parts, and instead, indicates Siddons’s radical choice to play Hamlet without Breeches. The boldness of Siddons’s choice of both role and costume lies in the distinction, little discussed, between traditional Breeches parts and cross‐gendered roles. She prompted James Boaden and Ann Radcliffe, among others, to an inchoate recognition of the ex...
Barbara Van Dyk - One of the best experts on this subject based on the ideXlab platform.
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Reasons for Picture Archiving and Communication System (PACS) data security breaches: Intentional versus non-intentional breaches
AOSIS, 2016Co-Authors: Tintswalo Brenda Mahlaola, Barbara Van DykAbstract:Background: The Picture Archiving and Communication System (PACS) has led to an increase in breached health records and violation of patient confidentiality. The South African constitution makes provision for human dignity and privacy, virtues which confidentiality seeks to preserve. Confidentiality thus constitutes a human right which is challenged by the use of technology. Humans, as managers of information technology, constitute the weakest link in safeguarding confidentiality. Nonetheless, it is argued that most security breaches are non-intentionally committed by well-meaning employees during routine activities. Objective: The purpose of this article is to explore the nature of and reasons for confidentiality breaches by PACS users in a South African context. Methods: A closed-ended questionnaire was used to collect quantitative data from 115 health professionals employed in a private hospital setting, including its radiology department and a second independent radiology department. The questionnaire sought to explore the attitudes of participants towards confidentiality Breeches and reasons for such behaviour. Results: Breach incidences were expressed as percentage compliance and classified according to the nature and reasons provided by Sarkar's breach classification. Cross tabulations indicated a statistical significance (p
Van Dyk Barbara - One of the best experts on this subject based on the ideXlab platform.
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Reasons for picture archiving and communication system (PACS) data security breaches : intentional versus non-intentional breaches
2016Co-Authors: Mahlaola, Tintswalo Brenda, Van Dyk BarbaraAbstract:Abstract: Background: The Picture Archiving and Communication System (PACS) has led to an increase in breached health records and violation of patient confidentiality. The South African constitution makes provision for human dignity and privacy, virtues which confidentiality seeks to preserve. Confidentiality thus constitutes a human right which is challenged by the use of technology. Humans, as managers of information technology, constitute the weakest link in safeguarding confidentiality. Nonetheless, it is argued that most security breaches are nonintentionally committed by well-meaning employees during routine activities. Objective: The purpose of this article is to explore the nature of and reasons for confidentiality breaches by PACS users in a South African context. Methods: A closed-ended questionnaire was used to collect quantitative data from 115 health professionals employed in a private hospital setting, including its radiology department and a second independent radiology department. The questionnaire sought to explore the attitudes of participants towards confidentiality Breeches and reasons for such behaviour. Results: Breach incidences were expressed as percentage compliance and classified according to the nature and reasons provided by Sarkar's breach classification. Cross tabulations indicated a statistical significance (p < 0.00) between the expected and observed confidentiality practices of participants and also the adequacy of training, system knowledge and policy awareness. Conclusion: Our study supports previous findings that, in the absence of guidelines, most security breaches were non-intentional acts committed due to ignorance. Of concern are incidents in which sensitive information was intentionally shared via social media
Jeffrey P. Cohn - One of the best experts on this subject based on the ideXlab platform.
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The Wildest Urban River: Potomac River Gorge
BioScience, 2004Co-Authors: Jeffrey P. CohnAbstract:Abstract Gary Fleming leads a small party across the tall bluffs, through the thick forest, and down the steep ravines that characterize the Virginia side of the Potomac River just north of Washington, DC. Fleming points to the stately beeches, plentiful tulip poplars, and majestic northern red and chestnut oaks that cover the hillsides, as well as to the understory of mountain laurel, sugar maples, and bladdernut. He revels in describing the Virginia bluebells, Dutchman's Breeches, wild blue phlox, sessile trillium, and other wild flowers that carpet the forest floor here every spring in various shades of yellow, red, and blue.