A pair of jeans的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列懶人包和總整理

The Polo Shirt

為了解決A pair of jeans的問題，作者Ralph Lauren (COR) 這樣論述：

Embodying a chic casualness that is uniquely American, the iconic Polo shirt has become a cool cultural symbol, worn by everyone from movie stars and presidents to athletes and artists.The Polo shirt is to Ralph Lauren what the Swoosh is to Nike, what Mickey Mouse is to Disney, or what the Empire St

ate Building is to New York. Whether worn layered with the collar popped up, open and untucked, or dressed up under an elegant suit jacket, the Polo shirt embodies the optimism and confidence of American style. An astute observer of culture and style once declared that the shirt is "the most democra

tic of garments, as ubiquitous as a pair of jeans." Featuring a gallery of iconic stars and celebrities from the worlds of fashion, sports, politics, film, music, and even royalty--everyone from Leonardo DiCaprio and Spike Lee to Bill Clinton and Prince Harry, to Pharrell Williams and Venus Williams

-- as well as everyday people around the world who have made the Polo their personal canvas for self-expression, and who share their stories about important moments their Polos have played in their lives, The Polo Shirt is a fascinating look at the enduring cultural cool of a wardrobe classic. Also

included are the full range of colors, styles, and fits the shirt has been produced in during its more than fifty-year history. From the classic white to the weathered Polo, from the striped Polo to the U.S. Olympic, U.S. Open and Wimbledon Championship collaborations, this comprehensive 544-page ca

talog celebrates the full range and history of the Polo, making it a collector's dream. Ralph Lauren began his career in 1967, designing neckties under the label Polo. He has received numerous awards for his work in fashion, philanthropy, and humanitarian causes and is the only designer to receive

the CFDA’s four highest honors: Womenswear Designer of the Year, Menswear Designer of the Year, Retailer of the Year, and Lifetime Achievement. In 2019 he received an honorary KBE for Services to Fashion from the Prince of Wales. Ken Burns is an Academy Award-winning filmmaker.

A pair of jeans進入發燒排行的影片

牛仔褲之產品碳足跡評估

為了解決A pair of jeans的問題，作者劉上知 這樣論述：

本文之研究架構是遵循國際組織ISO所出版之產品碳足跡標準 (即14067) 和環保署所出版之產品與服務碳足跡計算指引，以瞭解計算牛仔褲碳足跡所需之原則與程序，並得到碳足跡分析結果。本文以位於苗栗縣後龍鎮一家紡織公司為主要個案，並挑選其所生產的一款女性牛仔褲為標的產品而計算其碳足跡。本文在系統邊界上包括牛仔褲整個產品生命週期之五個階段，即從原料萃取階段一直到最終廢棄處理階段，功能 (宣告) 單位是「一件牛仔褲」，此牛仔褲之腰圍為77.8 cm、臀圍為93.6 cm、內褲長為83.6 cm，一件牛仔褲之重量 (不含包裝材料紙箱) 為0.391 kg。本研究結果 (稱為基本情境) 顯示，牛仔褲每功

能單位之碳足跡為106.278公斤CO2e，亦即每功能單位之生命週期溫室氣體總排放量為106.278公斤CO2e。本研究研擬了一個改善情境，此改善情境是導入全新的冷轉印製程技術，此舉可節省8%之電力使用量與93%的自來水使用量。改善情境之評估結果顯示，牛仔褲每功能單位之碳足跡為98.650公斤CO2e，若與基本情境相比，改善情境之牛仔褲碳足跡僅為基本情境之牛仔褲碳足跡的92.8%，也就是改善後牛仔褲碳足跡降低了7.2%。關鍵詞：溫室氣體排放、碳足跡評估、氣候變遷、牛仔褲

A Few Drops of Bitters

為了解決A pair of jeans的問題，作者McKevett, G. A. 這樣論述：

Plus-sized PI Savannah Reid doesn’t shy away from high-profile cases with the Moonlight Magnolia Detective Agency. But when an upscale party ends with murder, drawing clues from famous guests may prove trickier than squeezing into an old pair of jeans...For the first time in recent memory, Savannah

has no guilt about indulging in personal interests before her career. Between being a mom to her new foster son and arranging a lavish wedding for her sister, things are messy, unpredictable, and delightfully fulfilling. She even gains an impressive friend: Dr. Carolyn Erling, a caring veterinarian

with a deeper story than her down-to-earth nature suggests . . . When Savannah attends a birthday bash for Dr. Carolyn’s husband, she’s astonished to find that her no-frills acquaintance resides in a pristine hilltop mansion with Dr. Stephen Erling, a jet-setter brain surgeon boasting throngs of A-l

ist patients around the globe. Before Savannah can get a headcount on the mingling celebrities, Dr. Stephen has one too many champagne toasts and drops dead. With a poisonous residue found inside Dr. Stephen’s glass, the search is on for the killer who spiked his drink. Motivated to set things right

for a devastated Dr. Carolyn, Savannah must infiltrate the elite world of foreign dignitaries and Oscar-winning stars to identify the guilty culprit--or prepare to kiss this happy chapter in her life goodbye. G.A. McKevett is the author of the acclaimed Savannah Reid mystery series and its spin-o

ff, the Granny Reid Mysteries. Also writing under the name Sonja Massie, she has authored over 60 books ranging from cozy mysteries, to historical romances, to nonfiction works on the history of Ireland. Her earthy humor and fast-paced plots delight her fans, while critics applaud her offbeat charac

terizations and incisive observations on human nature. Irish by ancestry, she has lived in Toronto, Ireland, and Los Angeles, but now resides in New York. Readers can visit her online at SonjaMassie.com.

再訪創傷，修復愛：看童妮‧莫里森之《最藍的眼睛》和《神佑孩子》

為了解決A pair of jeans的問題，作者吳梅玲 這樣論述：

本論文試以創傷理論（trauma theory）及隱喻思解（metaphorical process）分析童妮‧莫里森的《最藍的眼睛》和《神佑孩子》中，非裔美國人所承受的歷史創傷和疏離的身分認同。《最藍的眼睛》和《神佑孩子》分別為莫里森的處女作和最新力作卻享有類似的題材，例如受虐的童年、過去的創傷經驗、疏離的身分認同及身體的暗喻等等，但是二本小說的結局卻因為對愛有不同的詮釋而大相逕庭。同樣是回顧著過去的創傷經驗，《最藍的眼睛》中的琵可拉(Pecola Breedlove)最終失去自我認可而迷失在藍眼睛的幻象，而《神佑孩子》新娘卻藉機找回缺失的自愛。因此，我認為莫里森的二本小說欲藉由再訪非裔美

國人在小說中遭遇的歷史創傷並對創傷再次詮釋，引導非裔美國人重新探討自我認同和並取回長期所缺失的自愛。 論文共分五部分。緒論簡介《最藍的眼睛》和《神佑孩子》的主題和崇白文化(white culture)及非裔美國人的身分認同之關聯，並簡述二本小說的研究文獻之方向與主題及理論。第一章進一步探討《最藍的眼睛》和《神佑孩子》相關的研究理論，如創傷理論、集體回憶、暗喻思解等，勾勒出本文的理論框架。第二章分析《最藍的眼睛》主角琵可拉的遭遇，藉此一窺二十世紀的黑人社群在創傷羞愧(traumatic shame)中如何詮釋愛。此外，第二章也一併探討過去二十世紀的崇白文化對於非裔美國人的身分認同的壓迫，小說中

，哺愛一家(the Breedloves)正是內化了崇白文化的美感標準，而不由自主地認為自己是醜惡的，也因此，琵可拉為了順應生存，才想像出自己得到了藍眼睛只為了融入崇白文化的標準中。然而，莫里森穿插的暗喻也暗示了非裔美國人在崇白文化中對於愛的渴望與形象，並藉由另一個黑人女孩克勞蒂亞(Claudia MacTeer)的回顧來反省黑人社群對於愛的曲解。第三章不僅探討《神佑孩子》主角新娘(Bride)的身體變化和暗喻，並闡釋新娘如何透過返老還童的身體來重新詮釋過去的兒時創傷(childhood trauma)，藉此重拾愛人與自愛的能力。《神佑孩子》的時代背景設於二十一世紀，即便種族羞愧（racial

shame）和膚色歧視（colorism）的觀念不再是主流，主角新娘卻從母親甜心（Sweetness）繼承了上一世紀的種族創傷，並藉由化妝品來偽裝自己，以便在崇白文化/崇白意識(white consciousness)中獲得認可。新娘的身體在文本中扮演關的符徵(the signifier)並幫助改變新娘的對愛的舊有認知，一開始在跟男友分手後她的身體逐漸返老還童外，她的身體還會一再的受傷，一再受到他人碰觸與照顧，藉此她將重新體會作為一個被愛的孩子/富有母愛的母親，再次反思過去童年所缺失的母愛，並在最後成為照顧者（caretaker），實踐愛的意義。此外，莫里森除了在《神佑孩子》使用了暗喻反映了

非裔美國人在後族裔時代(post-racial era)對於自我的看法，她也複雜化小說中的敘述結構，運用了呼應敘事(call-and-response)和讀者對話，不僅使讀者參與文本意義的生產，並企圖在回顧歷史背景時得出新的詮釋及引導讀者批判對於愛的既定印象。 結論重申研究論點，並對比《最藍的眼睛》和《神佑孩子》之敘事結構的差異。然而《最藍的眼睛》和《神佑孩子》的最大區別並非只在於呼應敘事的使用，而正是對於探索愛的不同形式。莫里森試圖以她晚期小說來批評她早期作品中所架構對愛的概念。更重要的是，莫里森欲闡述，只有通過重新審視和回顧過去的創傷，才能重新詮釋愛及修復愛的能力。