BOWEN AWNINGS : BOWEN
Bowen awnings : Shades pleated
Bowen Awnings
- A sheet of canvas or other material stretched on a frame and used to keep the sun or rain off a storefront, window, doorway, or deck
An awning or overhang is a secondary covering attached to the exterior wall of a building. It is typically composed of canvas woven of acrylic, cotton or polyester yarn, or vinyl laminated to polyester fabric that is stretched tightly over a light structure of aluminium, iron or steel, possibly
(awning) a canopy made of canvas to shelter people or things from rain or sun
(awning) A rooflike cover, usually of canvas, extended over or before any place as a shelter from the sun, rain, or wind; That part of the poop deck which is continued forward beyond the bulkhead of the cabin
- Bowen is a small lunar crater that is located to the southwest of the Montes Haemus, on the edge of a small lunar mare named the Lacus Doloris. It is distinguished only by having a relatively flat floor, rather than being bowl-shaped like most small craters.
- Elizabeth (Dorothea Cole) (1899–1973), British novelist and short-story writer, born in Ireland. Notable works: The Death of the Heart (1938) and The Heat of the Day (1949)
- In the complex mythology of William Blake, Albion is the primeval man whose fall and division results in the Four Zoas: Urizen, Tharmas, Luvah/Orc, and Urthona/Los. The name derives from the ancient and mythological name of Britain, Albion.
- The Mystic Rangers are a fictional team of superheroes in the television show ''''. Their powers are derived from beings known as the Ancient Titans, creatures with great elemental powers, symbolized by mythological creatures from various Earth mythologies on the Ranger's visors (phoenix, garuda
The Eight Concepts of Bowen Theory
"The Eight Concepts" is a clear and concise description of the basic concepts of Bowen family system theory. Beginning with the fundamental concept of the nuclear family as the emotional unit, the other concepts -- differentiation of self scale, triangles, cutoff, family projection process, multigenerational transmission process, sibling position, and emotional processes of society -- are explained as they evolve out of the fundamental concept of the emotional unit. The emphasis is clarity of presentation and purity of presentation of theory. Numerous citations to the writings of Dr. Bowen and experts who studied under Dr. Bowen are used to present the theory in as pure a form as possible in a short and easy-to-read book. The special sections in each chapter for parents, coaches and leaders bring each concept home for different roles readers bring to the book. An index is included.
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Elizabeth BOWEN (1899-1973) Anglo-Irish Writer
Portrait of Elizabeth Bowen at Bowen's Court, Co. Cork, (c.1955, oil on canvas, 91 x 71 cm) by Patrick Hennessy RHA (1915-1980)
PATRICK HENNESSY studied art in Dundee, in Scotland, in the thirties and returned to his native Cork in 1939. He exhibited regularly in Dublin from 1941 to 1970 and also showed in Scotland. Portraits feature regularly in his early career. Later he turned more to landscape, spending several winters in north Africa and working in the West of Ireland and Cork in the summers.
His portrait of the writer Elizabeth Bowen (1899-1973) shows her standing at the head of the staircase at her family home, Bowen's Court, in north county Cork. Hennessy, whose painting style was based on a very sheer kind of illusionism, often with overtones of surrealism and magic realism, paints her as a handsome, rather severe looking woman. The cool colour palette and clarity of form are typical of much of his work.
ELIZABETH BOWEN: One the great Anglo-Irish writers of the 20th Century (by Margaret Leahy (Ireland)
Elizabeth Bowen (1899 -1973), a writer of genius, was best known for novels and short stories, but was prolific and versatile as a non-fiction writer, and as a distinguished lecturer and broadcaster. Born to Henry and Florence, both descendants of Anglo-Irish ascendancy in Ireland, Elizabeth's life was privileged, although her childhood was dogged with the difficulties of her father's psychiatric illness, and of her mother's early death, in 1911.
Elizabeth wrote a history of the Anglo-Irish in her book "Bowen's Court", a history of her home in Cork. She talks of her Irishness in her unfinished autobiography: "If you began in Ireland, Ireland remains the norm: like it or not. I never looked up Sackvill Street without pleasure, for I was told it was the widest street in the world. Just as Pheonix Park...was the largest park in the world.... These superlatives please me only too much: my earliest pride of race was attached to them". (Bowen, 1975).
Elizabeth attended schools in England, where her talent as a writer was recognized and nurtured. In 1917, her first stories were published in the gazette, Saturday Westminster, later to be reprinted as a collection entitled Encounters in 1923. During this year, Elizabeth married Alan Cameron and their marriage was to last - despite her numerous affairs - until his death in 1952. Although Elizabeth frequently visited her ancestral home in Co Cork, she became immersed in English society, befriending Virginia Woolf and other writers, and publishing several novels. The Last Septembe, her second novel deals with the demise of the "big house" in Ireland, and presents the time with historical detail and impartiality, and a great novelist's characterization. Her other novels of this period Friends and Relations and To the North brought her international recognition. Perhaps her most acclaimed work is her sixth novel, The Death of the Heart (1938), a poignant, coming-of-age story of a young woman.
The Second World War (1939-1945) reduced Elizabeth's writing output because of her involvement in the war effort. Along with themes of passion and love, her novels are shaped by war, its function and effects. After the war, her work was given due attention: in 1949 she was granted an honorary doctorate of literature from Trinity College, Dublin, and she was invited to lecture in several universities in the United States during the 1950s. She continued to write, to travel, to lecture and to broadcast throughout the 1960s, concluding her major works with the novel "Eva Trout" (1969). She battled with cancer, and died in 1973.
References to her stutter in her writing are scarce: in the autobiography. She describes how her mother, heartbroken by the decision to move to England when her father had committed himself into psychiatric care, had given her great freedom, and continues: "I was a tough child, strong as a horse - or colt. I had come out of the tensions and mystery of my father's illness, the apprehensive silences or chaotic shoutings.....with nothing more disastrous than a stammer. Not "nervous", I was demonstrative and excitable: an extrovert". Later in the same chapter, Elizabeth talks about a governess, Miss Clark: "I disliked her only when she was sarcastic, or when she picked on me about my stammer, which in her view was due largely to faults of character: over-impatience, self-importance. "You try to get too much out at the same time," she would point out. "Concentrate on one thing, draw a deep breath, they say it slowly."
Her advice may have worked: Elizabeth's way of managing her stutter did not prevent her success as a prolific writer, broadcaster, and lecturer, (My friend and neighbour, now over 90 years of age, recalls listening to her lecture in Dublin many years ago, and though aware that EB stuttered, her speaking was clear, fluent and voluble).
References:
Bowen
Bowen Pano
Took a drive to my old stomping ground from Airlie Beach. How Bowen has changed since I was there 15 years ago. They even have a Macca's now. When I was there if you had a Maccas craving it was about a 2hr drive to have it satisfied. I forgot how specatular the lookout at Flagstaff Hill was though - just amazing.
bowen awnings
The national bestselling author of Royal Blood whisks her heroine away to the French Riviera for fun-and danger. Lady Georgiana Rannoch has once again been called into service by Her Majesty the Queen. This time she's sent to Nice on a secret assignment that's nothing to sneeze at-recover the Queen's stolen snuff box. As much of an honor as it is to be trusted by Her Majesty, an even greater honor awaits Georgie in Nice-as Coco Chanel herself asks Georgie to model her latest fashion. But when a necklace belonging to the Queen is stolen on the catwalk, Georgie has to find two priceless items-and solve a murder. How's a girl to find any time to go to the casino? Rhys Bowen and Jacqueline Winspear in Conversation  Rhys Bowen: Jackie, you and I bonded instantly when we met, and every time we compare notes, it’s like talking with my clone. We’re both British, both expats who live five miles apart in California. We write about female sleuths in the 1930s. We seem to share a similar approach to our writing. We both feel passionately about the things we write about. So let’s start with being British expats. We’ve both lived much of our adult life in America and yet we choose to write about England. Do you think this is a nostalgia for home, or we are more comfortable writing about the place where we grew up? For me, I think it’s a little of both, especially because I choose to write about England in the past. It’s the nostalgia for cream teas, country fetes, a kinder simpler time. And I feel more comfortable being able to get under the skin of my characters, to know how they would think and react, based on my own upbringing. And yet in many ways that time we both write about mirrors what we are going through today--the desperation of a depression, the threat of extremism, the disparity between haves and have nots. It’s interesting to me that so many readers write that they identify strongly with Lady Georgie--when she’s a twenty something royal! Jacqueline Winspear: I don’t think there’s a nostalgia for home, or for the past as such; however, the fact remains that, although I have lived here in California for over 20 years, I don’t think I would attempt to write a novel with American characters because there is something I could never touch because I was not raised here–-and when that ring of authenticity is broken in a novel, it spoils the story for the reader, so I don’t want to risk it. If anything, my work is inspired by my love of history, and more particularly, the question of what happens to ordinary people in extraordinary times. Fiction is the best way to explore that question; I like to weave the stories of ordinary people into some of the bigger events of the day, like zooming the camera in on a scene. Mystery is a great vehicle for telling such stories, given that arc through chaos to resolution.  Bowen: Do you think its harder or easier to write about a place where you don’t live? I find that when I’m in England I’m a keen observer and I notice things I’d probably take for granted if I lived there. This is especially true about the class system, which is the focus of my Lady Georgie novels. I’m fascinated to find that upper class relatives and friends still see themselves as the ones who matter, still a them and us mentality. Winspear: I think it’s easier for me to write about Britain from a geographical as well as generational distance. In California, I am not distracted by the Britain of today--there’s a clear delineation--so I am able to write about the past and immerse myself in the essence of that time. The class system is alive and well in Britain; it has changed in some respects, though you can’t change a system entrenched over centuries overnight, and I’m not sure if people would like it if it was changed. Which is great, because it gives you a lot of material for the Lady Georgie novels. Bowen: We have both chosen to write books set in the 1930s. You approach yours from the grim reality of the lingering aftermath of war, while I focus on the bright young things, the Bertie Woosters, who still act as if nothing has changed in England. I choose to see the funny side of a worrying time, while reminding the reader that Fascism, communism and a second war loom ahead. And I am fascinated by the 1930s, not only because they mirror our time but because they were one of the great turning points of history. Even in England society was poised on a knife edge. Extremists were battling for control. Nazi power was swallowing up Europe and yet the bright young things still lived as if there was no tomorrow. Winspear: The 1930s offer so much for the writer, with those of one station in society barely affected by the economic woes of Britain at the time, and another living in the most dreadful conditions--yet it was also a great age of house-building in Britain, and you started to see a middle class (as we know it today) emerging. You’ve done well to use humor in your novels, Rhys, because that British sense of humor has brought the country through some terrible times. Though she has many very heart-wrenching memories of the war, some of my mother’s funniest stories are of things people said to buoy each other along during the Blitz. Bowen: Do you ever get letters saying that it was unbelievable to have a female sleuth at that time, when women were largely confined to the home? I get them even more about my Molly Murphy books, that take place in the early 1900s. But even then women were doing extraordinary things--traveling around the world in 74 days, going to the North Pole, and becoming detectives in the NYPD. By the thirties I’m well aware when I’m writing that women were doing amazing things--Amy Johnson was the first person to fly solo from England to Australia, in an open cockpit plane that was literally held together with paper and string. Winspear: I am more likely to get those sorts of letters from American readers. The experiences of women between the wars were quite different in America, for an assortment of reasons. In fact, the women of Britain who came through the Great War had more in common with the women in America’s south after the Civil War, when women--many of whom were widowed, or would never marry--were left to fend for themselves, running family farms etc. In Britain, women gained an independence during the war that they were not about to give up--though there are definitely gray areas--and they could please themselves, to a certain extent. If they wanted to wear trousers, they could, because who was going to stop them? Women were moving into public life as never before, with a very visible independence--though they had to be responsible for their financial security, which your Lady Georgie knows only too well!! Bowen: When we compared notes about our writing experience the other day, were you as amazed as I was to find that we work in exactly the same way? We both start a book knowing very little and we work in flat out panic mode for the first fifty pages, convinced that this book will be our first abysmal failure and nobody will read us again. Then by page 50 the story seems to develop a life of its own, doesn’t it? I’m always amazed when characters say things I never expected or the story goes in a direction I never foresaw. Winspear: I felt quite relieved to know that you have those same fears when you first start out. Yes, the initial 50 pages are terrifying, and I am usually convinced that I will never be able to write another book ever again and that the truth will finally be out! But at some point you “lock” into the story, and it starts going along at a good clip, and if you are interested in your story and excited by it, it soon gathers momentum. But I remember you telling me that when you wrote your first Lady Georgie novel, the opportunity to write something funny really inspired you. There’s a terrific energy in humor, and in creating memorable funny scenes, and I admire you for having created such a delightful character while remaining true to the time. Rhys Bowen writes the humorous Royal Spyness Mysteries (Naughty in Nice, September, 2011), as well as the Molly Murphy series, (Bless the Bride, March, 2011). Jacqueline Winspear is the creator of the acclaimed Maisie Dobbs series. (Photo of Rhys Bowen © John Quin Harkin) (Photo of Jacqueline Winspear)
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