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The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)
In this pathbreaking history, Donna J. Guy shows how feminists, social workers, and female philanthropists contributed to the emergence of the Argentine welfare state through their advocacy of child welfare and family-law reform. From the creation of the government-subsidized Society of Beneficence in 1823, women were at the forefront of the child-focused philanthropic and municipal groups that proliferated first to address the impact of urbanization, European immigration, and high infant mortality rates, and later to meet the needs of wayward, abandoned, and delinquent children. Women staffed child-centered organizations that received subsidies from all levels of government. Their interest in children also led them into the battle for female suffrage and the campaign to promote the legal adoption of children. When Juan Perón expanded the welfare system during his presidency (1946–1955), he reorganized private charitable organizations that had, until then, often been led by elite and immigrant women. Drawing on extensive research in Argentine archives, Guy reveals significant continuities in Argentine history, including the rise of a liberal state that subsidized all kinds of women’s and religious groups. State and private welfare efforts became more organized in the 1930s and reached a pinnacle under Juan Perón, when men took over the welfare state and philanthropic and feminist women’s influence on child-welfare activities and policy declined. Comparing the rise of Argentina’s welfare state with the development of others around the world, Guy considers both why women’s child-welfare initiatives have not received more attention in historical accounts and whether the welfare state emerges from the top down or from the bottom up.
"In the nineteenth century a new type of mystic emerged in Catholic Europe. While cases of stigmatisation had been reported since the thirteenth century, this era witnessed the development of the 'stigmatic': young women who attracted widespread interest thanks to the appearance of physical stigmata. To understand the popularity of these stigmatics we need to regard them as the 'saints' and religious 'celebrities' of their time. With their 'miraculous' bodies, they fit contemporary popular ideas (if not necessarily those of the Church) of what sanctity was. As knowledge about them spread via modern media and their fame became marketable, they developed into religious 'celebrities'"--
The J. Paul Getty Museum Journal 16 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities, drawings, illuminated manuscripts, paintings, and sculpture and works of art. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 16 includes articles written by Richard A. Gergel, Lee Johnson, Myra D. Orth, Barbra Anderson, Louise Lippincott, Leonard Amico, Peggy Fogelman, Peter Fusco, Gerd Spitzer, and Clare Le Corbeiller.
Erich Wolfgang Korngold (1897-1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947.
While Baroque artist Gian Lorenzo Bernini (1598-1680) is celebrated as a sculptor, architect, and painter, it is less known that he also was a playwright, scenographer, actor, and director. The Baroque period saw the rise of opera and ballet, as well as increasingly elaborate scenographic technologies for court and religious theatre. Bernini drew from this lexicon of theatrical effects, deploying light, movement, and the porous boundary between fictive and physical space to forge a language of Baroque illusion for both his scenographies and his sculptural ensembles. "Bernini: Art as Theatre" investigates the different types of cultural space for the staging of his art, from court settings to public squares and church interiors. Drawing parallels between the visual and theatrical arts, and highlighting the dramatic amplification of religious art in the period, this provocative study provides a model that can be extended beyond Bernini to enable us to reconsider 17th-century visual culture as a whole.