03478oam 22009134 450 991078833540332120230721045721.01-4623-6687-21-4518-7254-21-4519-8827-31-282-84322-29786612843228(CKB)3170000000055260(SSID)ssj0000942106(PQKBManifestationID)11582404(PQKBTitleCode)TC0000942106(PQKBWorkID)10984269(PQKB)11129184(OCoLC)550669510(MiAaPQ)EBC1605904(IMF)WPIEE2009107(EXLCZ)99317000000005526020020129d2009 uf 0engurcn|||||||||txtccrMadagascar : A Competitiveness and Exchange Rate Assessment /Luc EyraudWashington, D.C. :International Monetary Fund,2009.30 p. illIMF Working PapersBibliographic Level Mode of Issuance: Monograph1-4519-1684-1 Includes bibliographical references.The purpose of this paper is to assess Madagascar's competitiveness in recent years, using both price and nonprice indicators and an exchange rate assessment of the currency. We estimate the distance between the equilibrium and the actual real exchange rates using three methods: the macroeconomic balance approach, the external sustainability approach, and the reduced-form equilibrium real exchange rate approach. These methods suggest that in the medium term the real exchange rate is only slightly overvalued. We also carry out a comparative analysis of nonprice indicators and find that Madagascar performs less favorably than its competitors on structural competitiveness.IMF Working Papers; Working Paper ;No. 2009/107CompetitionMadagascarForeign exchange ratesMadagascarExports and ImportsimfFinance: GeneralimfForeign ExchangeimfGeneral Financial Markets: General (includes Measurement and Data)imfTrade: GeneralimfCurrencyimfForeign exchangeimfFinanceimfInternational economicsimfExchange ratesimfReal effective exchange ratesimfCompetitionimfReal exchange ratesimfExport performanceimfExportsimfMadagascar, Republic ofimfCompetitionForeign exchange ratesExports and ImportsFinance: GeneralForeign ExchangeGeneral Financial Markets: General (includes Measurement and Data)Trade: GeneralCurrencyForeign exchangeFinanceInternational economicsExchange ratesReal effective exchange ratesCompetitionReal exchange ratesExport performanceExportsEyraud Luc1103642International Monetary Fund.DcWaIMFBOOK9910788335403321Madagascar3685559UNINA05337nam 2200673Ia 450 991078627530332120230803025301.01-136-08581-50-240-82152-11-299-13707-51-136-08582-3(CKB)2670000000331330(EBL)1125227(OCoLC)828298601(SSID)ssj0000821824(PQKBManifestationID)12363515(PQKBTitleCode)TC0000821824(PQKBWorkID)10879652(PQKB)10371031(OCoLC)827944780(MiAaPQ)EBC1125227(OCoLC)860542384(OCoLC-P)860542384(FlBoTFG)9780240821528(UkLoBP)BP9781136085819BFC(EXLCZ)99267000000033133020231004e20132023 uy 0engur|||||||||||txtccrDraping period costumes classical Greek to Victorian /Sharon Sobel1st ed.New York :Taylor & Francis Group,2013.New York :Bloomsbury Publishing (US),2023.1 online resource (224 p.)Focal Press costume topics seriesIncludes index.0-240-82133-5 Front Cover; Draping Period Costumes: Classical Greek to Victorian; Copyright Page; Contents; Acknowledgments; Introduction; Chapter 1. Getting Started; Setting Up; The Proper Dress Form; Measurements; *Adapting the Dress Form; Proper Care of Your Dress Form; Draping Basics; Tools and Equipment; Fabric; Straight of Grain; Listen to What the Fabric is Telling You; Start with a Fitted Sloper; Transferring Your Pattern to Paper; Chapter 2. Early, Unstructured Garments; Ancient Greek Costume; The Greek Doric Chiton (kee-ton); The Greek Himation (hih-mah-tee-on); The Greek Doric PeplosThe Greek Ionic ChitonThe Greek Diplas (or Diplax); Roman Costume; The Roman Tunic; The Roman Toga; Byzantine Costume; The Byzantine Tunic; The Byzantine Paludamentum; Early Gothic Costume; Early Gothic Tunics; Early Gothic Overgarments; Chapter 3. Cut and Shaped to Fit: The Gothic Period; The Man's Padded Doublet; The Man's Fitted Cotehardie; The Man's Pleated Jerkin; The Standing Collar; The Woman's Fitted Gown (Cote or Kirtle); The Unisex Houppelande (A-Line Gown); Woman's High-Waisted Gown (Houppelande) with Fitted Bodice; Chapter 4. The Height of Artificial SilhouetteA Woman's Elizabethan BodiceA Man's Elizabethan Doublet with a Padded Peascod Belly; The Man's Elizabethan Jerkin; Chapter 5. The Men Return to Softness...; Draping an Early-Seventeenth-Century (Cavalier); Slashed Doublet with a Waist Seam; Draping an Early-Seventeenth-Century (Cavalier); Doublet without a Waist Seam; The Birth of the Coat and Vest; Draping a Late-Seventeenth-Century Coat; Chapter 6. . . . While the Women Remain Tightly Corseted; Draping the Basque Bodice; Draping the Mid-Seventeenth-Century Bodice; Skirts; Draping the Late-Seventeenth-Century (Restoration) MantuaChapter 7. Introduction of Tailoring to the Man's CostumeDraping an Early-Eighteenth-Century Coat; Draping a Mid-Eighteenth-Century Coat; Draping an Eighteenth-Century Vest (Waistcoat); Chapter 8. Variety of Silhouette in Eighteenth-Century Women's Costumes; Draping the Robe a l'Anglaise; Draping the Robe a la Francaise or Watteau-Backed Gown; Draping the Sack (Sacque) Gown; Chapter 9. Neoclassical Elegance; Draping a Chemise Gown; Draping an Open Robe or Over Gown; Draping a Double-Breasted Spencer Jacket; Chapter 10. Revolutionary Menswear; Draping a Late-Eighteenth-Century CoatDraping an Early-Nineteenth-Century CoatDraping an Early-Nineteenth-Century Waistcoat; Single-Breasted Waistcoat with Collar Cut-in-One with Body; Double-Breasted Waistcoat with Shawl Collar; Chapter 11. Romantic Womenswear; Draping an 1820s Gown; Draping an 1830s Bodice; Draping an 1840s Bodice; Draping a Mid-Nineteenth-Century Bodice; Chapter 12. The Victorian Gentleman; Draping the Mid-Nineteenth-Century Frock Coat; Draping the Mid-Nineteenth-Century Morning Coat; Draping the Mid-Nineteenth-Century Tail Coat; Draping the Sack Coat and the Norfolk Jacket; Chapter 13. The Victorian LadyDraping an 1860s Jacket BodiceOne way of creating a theatrical costume is called flat patterning. This is when a costume designer uses a pattern made to the wearer's measurements to cut out and sew together a costume. In many cases flat patterning is the more appropriate method for creating a period costume - skirts, pants, and sleeves, for example. However, working in two-dimensions often does not translate correctly onto a three-dimensional dress form or person. Often a designer will need to tweak style lines on a garment once they see it worn, or a costume will need a quick adjustment right before going on stage. InCostume designCostume design.646.30902646/.30902792.026Sobel Sharon1541034UkLoBPUkLoBPBOOK9910786275303321Draping period costumes3792971UNINA01715nam0 22003373i 450 VAN006434620221107090054.277978-88-08-07589-520080509d2005 |0itac50 baitaIT|||| |||||Chimica degli alimenticonservazione e trasformazionePatrizia Cappelli, Vanna Vannucchi3. edBolognaZanichelli1998X, 694 p.ill.27 cmBolognaVANL000003612.3Nutrizione umana22664.028Tecniche di conservazione degli alimenti22664Tecnologia alimentare. Chimica degli alimenti22CappelliPatriziaVANV012624355660VannucchiVannaVANV012625355661Zanichelli <editore>VANV110843650ITSOL20240621RICA/sebina/catalogazione/showImage.do?fname=Copertina 64346.jpg&path=IMG&p=false&f=bigCopertina 64346.jpgVAN0064346BIBLIOTECA DEL DIPARTIMENTO DI SCIENZE E TECNOLOGIE AMBIENTALI BIOLOGICHE E FARMACEUTICHE17CONS Oc63 17BIB1084 20080509 BuonoBIBLIOTECA DEL DIPARTIMENTO DI SCIENZE E TECNOLOGIE AMBIENTALI BIOLOGICHE E FARMACEUTICHE17PREST Oc62 17BIB1083 20080509 BuonoBIBLIOTECA DEL DIPARTIMENTO DI SCIENZE E TECNOLOGIE AMBIENTALI BIOLOGICHE E FARMACEUTICHE17PREST Oc64 17BIB1082 20080709 BuonoChimica degli alimenti73299UNICAMPANIA