1 JANICE SIMON, Josiah Meigs Distinguished Teaching Associate
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Mathematics Is a Gentleman's Art: Analysis and Synthesis in American College Geometry Teaching, 1790-1840 Amy K
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2000 Mathematics is a gentleman's art: Analysis and synthesis in American college geometry teaching, 1790-1840 Amy K. Ackerberg-Hastings Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Higher Education and Teaching Commons, History of Science, Technology, and Medicine Commons, and the Science and Mathematics Education Commons Recommended Citation Ackerberg-Hastings, Amy K., "Mathematics is a gentleman's art: Analysis and synthesis in American college geometry teaching, 1790-1840 " (2000). Retrospective Theses and Dissertations. 12669. https://lib.dr.iastate.edu/rtd/12669 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margwis, and improper alignment can adversely affect reproduction. in the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
Oral History Interview with Raymond J. Horowitz, 2004 Oct. 20-Nov. 5
Oral history interview with Raymond J. Horowitz, 2004 Oct. 20-Nov. 5 Funding for this interview provided by the New Land Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Raymond Horowitz on October 20, 29, and november 5, 2004. The interview took place at his apartment on Fifth Avenue in New York, NY, and was conducted by Avis Berman for the Archives of American Art, Smithsonian Institution. Funding for this interview provided by the New Land Foundation. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview AVIS BERMAN: Avis Berman, interviewing Raymond J. Horowitz for the Archives of American Art History Program, October 20th, 2004, in his apartment on Fifth Avenue. And would you begin by stating your full name and date of birth? RAYMOND HOROWITZ: Raymond J. Horowitz, and the date of birth is May 7, 1916. MS. BERMAN: My goodness, so you must be drinking monkey glands. From looking at you, I wouldn't have known. Now, would you begin by telling me about your family background, including your mother's maiden name? MR. HOROWITZ: My mother's maiden name- MS. BERMAN: Her name, actually. MR. HOROWITZ: Her name was Sadie Freiman. My father is-was Israel S. -
Ten Years of Winter: the Cold Decade and Environmental
TEN YEARS OF WINTER: THE COLD DECADE AND ENVIRONMENTAL CONSCIOUSNESS IN THE EARLY 19 TH CENTURY by MICHAEL SEAN MUNGER A DISSERTATION Presented to the Department of History and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Michael Sean Munger Title: Ten Years of Winter: The Cold Decade and Environmental Consciousness in the Early 19 th Century This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of History by: Matthew Dennis Chair Lindsay Braun Core Member Marsha Weisiger Core Member Mark Carey Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Michael Sean Munger iii DISSERTATION ABSTRACT Michael Sean Munger Doctor of Philosophy Department of History June 2017 Title: Ten Years of Winter: The Cold Decade and Environmental Consciousness in the Early 19 th Century Two volcanic eruptions in 1809 and 1815 shrouded the earth in sulfur dioxide and triggered a series of weather and climate anomalies manifesting themselves between 1810 and 1819, a period that scientists have termed the “Cold Decade.” People who lived during the Cold Decade appreciated its anomalies through direct experience, and they employed a number of cognitive and analytical tools to try to construct the environmental worlds in which they lived. Environmental consciousness in the early 19 th century commonly operated on two interrelated layers. -
Visiting Artists and Scholars
THE UNIVERSITY OF GEORGIA Fall 2011 • Vol. 25, No. 1 Visiting Artists During fall semester of 2011, the Willson Center Visiting Artist is Basil Twist hosted by Lisa Fusillo (Dance), Ray Paolino (Theatre and Film Studies) and Dorothea Link and Scholars (Hugh Hodgson School of Music). The Willson Center Visiting Scholar is Anne Waldman hosted by Melisa Cahnmann-Taylor (Language and Literacy Education). Every year the Willson Center Puppeteer Basil Twist will be in residence during the month of for Humanities and Arts brings November working with students and to campus for five-day or nine- faculty in Dance and Theatre and Film Studies, and the Hugh Hodgson School day periods eminent scholars of Music. Twist, a third generation puppeteer and artists from the United and director of The Dream Music States and elsewhere in the Puppetry Program at HERE Arts Center in New York City, will lead workshops world. While on campus they with students and faculty about engage in a range of activities, conceptualization and collaboration in preparation for a performance piece. delivering public lectures, Since 1998, Twist has created and speaking to graduate and toured new works focusing especially Scene from La Bella Dormente Nel Bosco. on integrating puppetry with live music. undergraduate classes, giving He is known for his original adult puppet media and use of abstraction in puppetry. workshops and performances, In 2000, Twist’s Petrushka, commissioned by Lincoln Center, premiered in and meeting faculty and New York and appeared at The Irving J. Gilmore Keyboard Festival in Michigan, The International Festival of Arts and Ideas in Connecticut, Jacob’s Pillow Dance students. -
Georgia FOOD • DRINK • ARTS ENTERTAINMENT RECREATION LODGING MAPS
2017–2018 flagpole Guide to ATHENS Georgia FOOD • DRINK • ARTS ENTERTAINMENT RECREATION LODGING MAPS PO AG L L E F M A E G A Z I N SANDWICHES SALADS WRAPS K-BOWLS The Moose Deli�er�!& Cater� �o�. a�ar�-�innin� origina� Wings sandwiches BELGIAN FRIES 10 SIGNATURE SAUCES Sign up for our rewards TRY A KEBA program to earn free food, �pecialt� �res� Burgers OUTDOORSEATING salads and have discounts sent GYRO TODAY! straight to your phone! � SOMETHING EVERYone! 1860 Barnett Shoals Road AS long as everybody likes a good time. Athens • 706.850.7285 Locos is the ultimate place for great food, fun, beverages and catching 1850 Epps Bridge Parkway the game with friends, all in a family friendly environment. With dine Athens • 706.543.8210 in, pick up, delivery or catering, it’s easy to enjoy Locos any time! 1021 Jamestown Blvd. Stop by and see for yourself – Locos has something for everyone. Watkinsville (Drive thru) 706.310.7222 1985 Barnett Shoals Rd. Trivia Tuesdays! 2020 Timothy Rd. Athens, GA 30605 DRINK SPECIALS Athens, GA 30606 306 Exchange Blvd., Suite 200 706.208.0911 Giveaways and Prizes 706.549.7700 Bethlehem • 770.867.4655 dine-in • takeout • delivery • catering LOCOSGRILL.COM KebaGrill.com ƒ 2 201 7–201 8 flagpole Guide to ATHENS flagpole.com TAble OF Contents Athens at a Glance . .4 Stage and Screen . 22. Annual Events . .9 Books and Records . 25. Athens Favorites . 11. Athens Music . 26. Lodging . 12. Food Trucks and Farmers Markets . 29 Art Around Town . 14. Athens and UGA Map . .31 Get Active . -
Athens Campus
Athens Campus Athens Campus Introduction The University of Georgia is centered around the town of Athens, located approximately 60 miles northeast of the capital of Atlanta, Georgia. The University was incorporated by an act of the General Assembly on January 25, 1785, as the first state-chartered and supported college in the United States. The campus began to take physical form after a 633-acre parcel of land was donated for this purpose in 1801. The university’s first building—Franklin College, now Old College—was completed in 1806. Initially a liberal-arts focused college, University of Georgia remained modest in size and grew slowly during the Figure 48. Emblem of the antebellum years of the nineteenth century. In 1862, passage of the Morrill Act University of Georgia. by Congress would eventually lead to dramatic changes in the focus, curriculum, and educational opportunities afforded at the University of Georgia. The Morrill Act authorized the establishment of a system of land grant colleges, which supported, among other initiatives, agricultural education within the United States. The University of Georgia began to receive federal funds as a land grant college in 1872 and to offer instruction in agriculture and mechanical arts. The role of agricultural education and research has continued to grow ever since, and is now supported by experiment stations, 4-H centers, and marine institutes located throughout the state. The Athens campus forms the heart of the University of Georgia’s educational program. The university is composed of seventeen colleges and schools, some of which include auxiliary divisions that offer teaching, research, and service activities. -
2B77958a.Pdf
sargent, monet... and manet Elaine Kilmurray In December 2006, I went to Paris to look at a cache of over a thousand letters written to Claude Monet by fellow artists (Caillebotte, Mary Cassatt, Cézanne, Manet, Pissarro, Renoir, Rodin, Sisley), writers (Octave Mirbeau, Gustave Geffroy) and his principal dealer (Paul Durand-Ruel) that had remained in the collection of Monet’s descendents and were about to be auctioned. They had passed through generations of the Monet family and many were unreleased and/or unpublished. Those of us working on the John Singer Sargent catalogue raisonné project were particularly interested in seventeen letters from Sargent to Monet. There has always been a sense of the provisional in accounts of the relationship between the two artists, a scarcity of fixed points and an absence of detail. We wanted to see how illuminating these letters were and how helpful they might be in filling lacunae and deepening our understanding. The timing was fortuitous: we were engaged on research for Volume V of the catalogue raisonné, in which we would catalogue Sargent’s most ‘Impressionist’ paintings. At the Artcurial auction house, I spoke to Thierry Bodin, who had done initial transcriptions of all the letters for the sale catalogue to a daunting deadline. The members of the catalogue raisonné team have struggled with Sargent’s writing (especially when in French, Italian or Spanish) for decades, and it was gratifying to hear from M. Bodin that, while Octave Mirbeau’s tight, closely worked hand had given him the most trouble, Sargent’s had come a close second. -
July 1, 2012–June 30, 2013 FY13: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum. -
Post-Secondary Nominee Presentation Form U.S. Department of Education Green Ribbon Schools Postsecondary 2015-2018
Post-Secondary Nominee Presentation Form ELIGIBILITY CERTIFICATIONS College or University Certifications The signature of college or university President (or equivalent) on the next page certifies that each of the statements below concerning the institution’s eligibility and compliance with the following requirements is true and correct to the best of their knowledge. 1. The college or university has been evaluated and selected from among institutions within the Nominating Authority’s jurisdiction, based on high achievement in the three ED-GRS Pillars: 1) reduced environmental impact and costs; 2) improved health and wellness; and 3) effective environmental and sustainability education. 2. The college or university is providing the U.S. Department of Education Office of Civil Rights (OCR) access to information necessary to investigate a civil rights complaint or to conduct a compliance review. 3. OCR has not issued a violation letter of findings to the college or university concluding that the nominated college or university has violated one or more of the civil rights statutes. A violation letter of findings will not be considered outstanding if OCR has accepted a corrective action plan to remedy the violation. 4. The U.S. Department of Justice does not have a pending suit alleging that the college or university has violated one or more of the civil rights statutes or the Constitution’s equal protection clause. 5. There are no findings by Federal Student Aid of violations in respect to the administration of Title IV student aid funds. 6. The college or university is in good standing with its regional or national accreditor. -
Great Atlantic Coastal Snowstorms
Great Atlantic Coastal Snowstorms Capt. John Smith in his general history referred to the extreme cold of the winter of 1607-1608. Details as to the occurrence of snowfall and the duration of cold are missing from the records. But the severity of the first winter is responsible for the deaths of more than half the colony. However, the following winter was warmer than average. During the first years of the New England colonies the winter of 1632 – 1633 stood out for its deep January snows and cold freezing up ponds and rivers in the Boston area. The next winter of note was 1637 – 1638 which also ranked as being severe with snow in Boston area standing 18 inches deep. Beyond the Merrimac River it was said that the snow was 36 inches deep on the level with even greater depths occurring in southern Maine. Early American Winters 1604-1820 by David M. Ludlum p. 32. Josiah Meigs, former Yale and Georgia Professor noted a quadrigesimal cycle of severe winters in the East Coast. See page 3, Early American Winters, I 1604-1820 by David M. Ludlum. 1697 – 1698 Early American Winters I 1604-1820 by David M. Ludlum p. 16-17 1740 – 1741 Early American Winters I 1604-1820 by David M. Ludlum p. 48-51 1779 – 1780 http://www.glenallenweather.com/historylinks/history2/vawxhistory.pdf 1820 – 1821 Early American Winters, II 1821-1870 by David M. Ludlum p. 3 1860 – 1861 http://www.glenallenweather.com/historylinks/history2/vawxhistory.pdf 1898 – 1899 The lowest temperature recorded in DC and the second greatest snow 1939 – 1940 The lowest temperature recorded in Richmond and the greatest snow 1978 – 1979 Boston received a record 27.1 inches of snow 3rd greatest snow in DC in 1979 the President’s Day Storm 2019- 2020 WILL THIS ALSO BE A ROUGH WINTER? They say history repeats itself. -
Eugénie Prendergast: Market Maker by Warren Adelson
Eugénie Prendergast: Market Maker By Warren Adelson About twenty years ago, Eugénie Prendergast telephoned me at my office at Coe Kerr Gallery and invited me to visit her at her home in Westport, Connecticut. I had never met her and was not sure why she was calling. I really knew her only by reputation: people said she was difficult. I drove north on Merritt Parkway, followed her directions to a nondescript side street, and entered the circular driveway of a small frame house. Mrs. Prendergast greeted me at the door; her manner was imposing. She looked me in the eye, extended her hand and invited me into the L-shaped living room. The sensation I recall is shock. It was like walking into a dream. Every inch of wall space was covered with paintings by Maurice Prendergast, the brother-in-law she had never met, yet devoted her life to. It was a profusion of art: oil paintings, watercolors, drawings, monotypes, and even a mosaic panel on an easel. In the adjacent dining room were large tempera paintings by her late husband, Charles. She suggested I walk up the narrow staircase that split the entry, and I saw more walls covered with Maurice’s work, all periods, sizes and media. I silently walked through those upstairs rooms, knowing it was a privilege. When I rejoined my hostess, she invited me to have tea and cookies and talk. We spoke for quite a while, although, in truth, I mostly listened. Mrs. P. seemed to have total recall. She recounted dinner parties forty and fifty years ago, and spoke about who was there and what pictures were on the walls. -
The Jack Warner Foundation May 14 – June 4, 2016 a Special Exhibition and Sale
Q UESTROYAL F INE A RT, LLC Paintings from The Jack Warner Foundation May 14 – June 4, 2016 A Special Exhibition and Sale Paintings from The Jack Warner Foundation Louis M. Salerno, Owner Brent L. Salerno, Co-Owner Chloe Heins, Director Nina Sangimino, Senior Researcher Shannon Cassell, Senior Administrator Ally Chapel, Administrator Jenny Lyubomudrova, Research Associate Kelly Reilly, Coordinator Rita J. Walker, Controller Alison Kowalski, Contributor Q UESTROYAL F INE A RT, LLC 903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 :(212) 744-3586 :(212) 585-3828 : Monday–Friday 10–6, Saturday 10–5 and by appointment : gallery@questroyalfineart.com www.questroyalfineart.com INTRODUCTION Jack with Thomas Cole paintings from the Warner collection on display at the Westervelt Warner Museum of American Art, 2009 Over the course of the past sixty years, Jack Warner has amassed president of Gulf States Paper Corporation in 1938. An astute Jack and Susan at the opening of important examples of American art for his company, foundation, businesswoman, she was a strong influence on Jack throughout An American Odyssey: The Warner and personal collection that represent the quality and spectrum her life. As a collector of European art and furniture, Mildred in- Collection of American Art at the New Britain Museum of American of our country’s creative output. The Warner collection is widely stilled a passion for art and collecting in Jack. Her upstanding Art, 2011 considered to be one of the greatest private collections of American character helped form his community values and his commit- art. Jack has made efforts to spread his pride of America and share ment to public service.1 the masterpieces he has acquired by funding several museums, a historic house, educational programs, The Jack Warner Foundation, After the war, Jack returned to Tuscaloosa to join the family busi- and a gallery in The Metropolitan Museum of Art.