Titlebook: Italian Fashion since 1945; A Cultural History Emanuela Scarpellini Book 2019 The Editor(s) (if applicable) and The Author(s), under exclus

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Emanuela Scarpellinily have learned extit{Engineering Mechanics}—.Statics and Dynamics., and they are used to solving problems with calculus and differential equations. Unfortunately, these approaches do not apply for Thermodynamics. Instead, they have to rely on many data tables and graphs to solve problems. In addit

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Emanuela Scarpelliniary and style issues to writing research papers and for acad.This book is for university students, with at least a mid-intermediate level of English...It is designed both for self-study and also as a support for a course on academic communication. It can thus be used alongside the companion volumes:

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Emanuela Scarpellinir a course on academic communication. It can thus be used alongside the companion volumes: Writing an Academic Paper in English and Giving an Academic Presentation in English...The book focuses only on those areas that are either the most commonly found in academic communication and/or cause the mos

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nce. Successful implementation of evidence-based practice requires that teachers use instructional strategies that have proven effectiveness and avoid those that do not. Therefore, teachers need to have a clear understanding of precisely what evidence-based practice actually means, and how it is dif

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The Cultural Significance of How We Dress,nalyzed in relation to class and power, from a historical point of view. The central part is entirely devoted to gender aspects, considering in detail how clothes have become distinctly feminine or masculine, and which elements are more characterizing (from colours to shapes, from accessories to sho

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,The Fashion of the New Italy (1945–1965),a new identity for the country, which was also reflected in the fashion industry. The reconstruction of two fundamental industrial sectors is then considered. First of all, the textile industry, its time-honoured origins through the nineteenth century and up to the twentieth, which has always been a

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,Flashback: Fashion and the Black Shirts (1920–1945), taken by the fascist regime to try to create a distinct Italian fashion are described. Then there is an examination of the ecological aspects related to the production of materials such as wool, cotton and leather, as well as the transformations which occurred with the development of chemistry, sta

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,Revolutionary Fashion (1965–1975),ysed, through music and films, from Swinging London and the United States, linked to youth subcultures and their symbols (blue jeans, T-shirts). Then there is an analysis of the importance of colour in the youth revolution, both from a cultural and a productive point of view, and the “political unif