AROOAlfa Romeo Owners of Oregon
AROOAgreement on Rules of Origin (international trade)
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References in periodicals archive ?
He said the Aroo Boys further entered the market, broke into shops, carried rice, stockfish, clothes and other property and left.
(AROO 70) In the final part of her essay, Woolf, playing on the word "like" used in the story of Chloe and Olivia, comes back to the lesbianism: "The truth is, I often like women.
"Anon" "Anon" "How Should One Read A Book?" "How" Orlando: A Biography O "The Reader" "Reader" A Room of One's Own AROO "A Sketch of the Past" "Sketch"
Engaging Quaker imagery of illumination and light, a work of genius for Woolf is written in the "white light of truth" (AROO 32), as opposed to a piece of writing that shows the author's anxieties, grudges, and bitterness of mind, written in "the red light of emotion" (32).
She implies that there women will find themselves excluded from the cultural record the library houses, anxious about the outcomes of their research activities, while their male peers completely feel at home consulting texts beneath the "band of famous names" (AROO 26)--almost all of them men's--that circle its dome.
Such forms of ordinary life-writing, Woolf suggests, can be a source for the missing "mass of information" (AROO 41) about past women's lives and, along with other kinds of records, can contribute to the "supplement to history" that she urges young female historians to create.
A scene in a battle-field is more important than a scene in a shop--everywhere and much more subtly the difference of value persists (AROO 74).
AROO's Nick Greene has his twentieth-century counterpart in the womanizing classicist who teaches at both Harvard and Cambridge, as passionately described by Nussbaum, who delivers a rousing list of "Men's ways of being infantile" (161).
Koulouris asks why if Jane Harrison is a significant figure in Woolf's development, the reference to J--H--in AROO is virtually the only time Woolf refers, other than in her letters, to Harrison's work.
And, again, there is the sense of a missed opportunity by not elaborating on the "boundary crashing" (23-4) by Woolf in AROO that Scott touches on, and how this might feed into a wider consideration of modernism in relation to cultural hierarchy.
Also crucial is Woolf's depiction in A Room of One's Own of the great dome of the Round Reading Room as "the huge bald forehead which is so splendidly encircled by a band of famous names" (184; AROO 26).
Here, however, I shall take the liberty to defy that convention [...] (AROO 10)