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Press Notice
1 July 2008 Top to Toe: Fashion for Kids New exhibition at V&A Museum of Childhood relives 300 years of fashion for children 4 October 2008 - 19 April 2009 This autumn, the V&A Museum of Childhood will present a major exhibition exploring the history of children’s fashion, reliving iconic and defining moments from the past 300 years of children's clothing, vintage fashions, rare objects and photography. Top to Toe: Fashion for Kids will profile the changing attitudes, themes and fads of one of fashion’s most intriguing and enduring demographics, and promises to provide nostalgic moments for all generations. Visitors may recall evocative brands like Ladybird and Clothkits, or encounter classic memories from their own wardrobes such as parkas, knitted woollen swimsuits, leg warmers and ponchos. The Museum holds one of the most significant collections of children’s clothing in the world with over 6,000 outstanding items ranging from the 1700s to the present day, over 100 of which will be featured in the exhibition. Other objects, including a group of paintings depicting historical outfits from the V&A’s main collections, will complement the clothing on display. The exhibition will demonstrate how children’s clothing has changed over time, covering four broad themes: Milestones, Changing Fashions, Fashion Drivers and Practical Fashions. It will consider how materials, colours, shapes and styles have developed but will also show how many classic garments have remained unchanged or have been revived, due to practical design or enduring appeal. -
John Brown and George Kellogg
John Brown and George Kellogg By Jean Luddy When most people think of John Brown, they remember the fiery abolitionist who attacked pro-slavery settlers in Kansas in 1855 and who led the raid on the Federal arsenal at Harpers Ferry, Virginia in 1859 in order to spark a slave rebellion. Most people do not realize that Brown was no stranger to Vernon and Rockville, and that he worked for one of Rockville’s prominent 19th century citizens, George Kellogg. John Brown was born in Torrington, CT in 1800. His father was a staunch opponent of slavery and Brown spent his youth in a section of northern Ohio known as an abolitionist district. Before Brown became actively involved in the movement to eliminate slavery, he held a number of jobs, mainly associated with farming, land speculation and wool growing. (www.pbs.org) Brown’s path crossed with George Kellogg’s when Brown started to work for Kellogg and the New England Company as a wool sorter and buyer. John Brown George Kellogg, born on March 3, 1793 in Vernon, got his start in the woolen industry early in life when he joined Colonel Francis McLean in business in 1821. They established the Rock Manufacturing Company and built the Rock Mill, the first factory along the Hockanum River, in the area that would grow into the City of Rockville. Kellogg worked as the company’s agent from 1828 to 1837. At that time, he left the Rock Company to go into business with Allen Hammond. They founded the New England Company and built a factory along the Hockanum River. -
Centro Cultural De La Raza Archives CEMA 12
http://oac.cdlib.org/findaid/ark:/13030/kt3j49q99g Online items available Guide to the Centro Cultural de la Raza Archives CEMA 12 Finding aid prepared by Project director Sal Güereña, principle processor Michelle Wilder, assistant processors Susana Castillo and Alexander Hauschild June, 2006. Collection was processed with support from the University of California Institute for Mexico and the United States (UC MEXUS). Updated 2011 by Callie Bowdish and Clarence M. Chan University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Santa Barbara, California, 93106-9010 (805) 893-8563 [email protected] © 2006 Guide to the Centro Cultural de la CEMA 12 1 Raza Archives CEMA 12 Title: Centro Cultural de la Raza Archives Identifier/Call Number: CEMA 12 Contributing Institution: University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Language of Material: English Physical Description: 83.0 linear feet(153 document boxes, 5 oversize boxes, 13 slide albums, 229 posters, and 975 online items)Online items available Date (inclusive): 1970-1999 Abstract: Slides and other materials relating to the San Diego artists' collective, co-founded in 1970 by Chicano poet Alurista and artist Victor Ochoa. Known as a center of indigenismo (indigenism) during the Aztlán phase of Chicano art in the early 1970s. (CEMA 12). Physical location: All processed material is located in Del Norte and any uncataloged material (silk screens) is stored in map drawers in CEMA. General Physical Description note: (153 document boxes and 5 oversize boxes).Online items available creator: Centro Cultural de la Raza http://content.cdlib.org/search?style=oac-img&sort=title&relation=ark:/13030/kt3j49q99g Access Restrictions None. -
An Industrial History of Easthampton G
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 1937 An Industrial history of Easthampton G. B. Dennis University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Dennis, G. B., "An Industrial history of Easthampton" (1937). Masters Theses 1911 - February 2014. 1449. Retrieved from https://scholarworks.umass.edu/theses/1449 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. UMASS/AMHERST 312066 0306 7762 4 AN INDUSTRIAL HISTORY OF 5ASTHAMFFQN Gr. B. Dennis Thesis Submitted for Degree of Master of Science, Massachusetts State College, Amherst. June 1, 1937 . TABLE OF CONTENTS Outline. Introduction. Map of the Business District of Easthampton. Chapter I. Early History of Easthampton. Page 1. " II. The Industry Founding Period 1227-1276. n 6. » III. Early Transportation, A Problem. n 16. IV. Population Growth and Composition. n 21. " V. Conditions During the Expansion Period. it 30. " VI. Easthampton At the Turn of the Century. n H VII. Population in the New Era 1295-1937 n " VIII. The New Era 1295-I937. n 56. " IX. The Problem of Easthampton Analyzed. n 73- • X. Conclusions and Summary. n 21. References Cited n 26. Appendix I. Tables and Graphs on Population n 22. Appendix II. Tables showing Land in Agriculture n 93. AN INDUSTRIAL HISTORY OF EASTHAMPTON Outline I. Early History. A. Land purchases and settlement. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
Democratic Citizenship in the Heart of Empire Dissertation Presented In
POLITICAL ECONOMY OF AMERICAN EDUCATION: Democratic Citizenship in the Heart of Empire Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University Thomas Michael Falk B.A., M.A. Graduate Program in Education The Ohio State University Summer, 2012 Committee Members: Bryan Warnick (Chair), Phil Smith, Ann Allen Copyright by Thomas Michael Falk 2012 ABSTRACT Chief among the goals of American education is the cultivation of democratic citizens. Contrary to State catechism delivered through our schools, America was not born a democracy; rather it emerged as a republic with a distinct bias against democracy. Nonetheless we inherit a great demotic heritage. Abolition, the labor struggle, women’s suffrage, and Civil Rights, for example, struck mighty blows against the established political and economic power of the State. State political economies, whether capitalist, socialist, or communist, each express characteristics of a slave society. All feature oppression, exploitation, starvation, and destitution as constitutive elements. In order to survive in our capitalist society, the average person must sell the contents of her life in exchange for a wage. Fundamentally, I challenge the equation of State schooling with public and/or democratic education. Our schools have not historically belonged to a democratic public. Rather, they have been created, funded, and managed by an elite class wielding local, state, and federal government as its executive arms. Schools are economic institutions, serving a division of labor in the reproduction of the larger economy. Rather than the school, our workplaces are the chief educational institutions of our lives. -
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* LOCAL MENTION. HIS CHECKERED CAREER. MILITARY TACTICS. From Rorkrlllr. CITY ITEMS. AMUSEMENTS. EDUCATIONAL. The The Much-Married Prisoner Practical Infractions for the COCKT MATTEBR.A T0V\0 MAX DBOWNKD.A Weather. Newman, Officers of PROMINENT RESIDENT Golden-Hatr NATIONAL THEATER .u. 11 n t k< i BKi.wnmc*A»*Ai»i i> Por the District of Colombia. Marvland. snd alius De Hughes. tbe National Guard. HTRICKKN WITH PARAX" Waak, guaranteed to bleach: MeUaal«. VS18.POLITICAL CELEBRATIONS. in any quantity to rait. Kolb* Pharmhot. JEW KiM>khM»J. *». Lmrlaud wy Wku Virginia, rain Thursday; fair Fridav- slightly 7th and E «to. TO XTC.HT AND BATVRDAT M VT1NEES M tta «»*., 1187 1 :uh at *.«. 1i» I; colder; wind* shifting to RRAJCEKAK. LAWTER ASD PREACHER.PART OF is Time or peace prhpare roa war.how to CoiTMivuOeiK-e of The Evrxrto Star. 16,17* Hoyt'« Very Funny Hun Comedy, ilrniiB. Dra«in* atad OnHaUwglra IWtMntti J^ar westerly. A Him IMIUNk and N«»CRR. Prlu.-(»*i«- Xomaal HIS EXPERIENCES AS PKEACHER AND MARRY- A BIOT.DEFENSE Or PCBLIO Rocktiluc, Mb., Not. 14, 1888. The Great Atlantic iH j-trtim iit for I cK hm. ttH-lm* Drop ix QUELL AND PRI¬ _ Pmcm Drum Goou«. -Woodward In the circuit court now in session H H OO L *KCMS * Lothrop wUl offer to-morrow 50 of 50 150 *0-THE 8TORT TOLD Bt AX EX-PHILA- VATE FBOPEBTT IX CASK OF AS ATTACK BT A here since And M H O O L t «> V i-m i.rs:*<N os niso lessons at and .>2-inch pieces DELPHIAN. -
Technological Studies Kunsthistorisches Museum Vienna
Technological Studies Kunsthistorisches Museum Vienna CONSERVATION – RESTORATION – RESEARCH – TECHNOLOGY Special volume: Storage Vienna, 2015 Technological Studies Kunsthistorisches Museum Vienna Special volume: Storage Vienna, 2015 Technological Studies Kunsthistorisches Museum Vienna CONSERVATION – RESTORATION – RESEARCH – TECHNOLOGY Special volume: Storage Vienna, 2015 Translated from the German volume: Content Technologische Studien Kunsthistorisches Museum. Konservierung – Restaurierung – Forschung – Technologie, Sonderband Depot, Band 9/10, Wien 2012/13 PREFACE Sabine Haag and Paul Frey 6 Editor: Kunsthistorisches Museum Vienna INTRODUCTION Martina Griesser, Alfons Huber and Elke Oberthaler 7 Sabine Haag Editorial Office: ACKNOWLEDGEMENTS 9 Martina Griesser, Alfons Huber, Elke Oberthaler Assistant, Editorial Office: ESSAYS Stefan Fleck Building a Cost-Effective Art Storage Facility that 13 Tanja Kimmel maintains State-of-the-Art Requirements Joachim Huber Creating a Quantity Structure for Planning Storage 21 Translations: Equipment in Museum Storage Areas Aimée Ducey-Gessner, Emily Schwedersky, Matthew Hayes (Summaries) Christina Schaaf-Fundneider and Tanja Kimmel Relocation of the 29 Collections of the Kunsthistorisches Museum Vienna to the New Art Direction: Central Storage Facility: Preparation, Planning, and Implementation Stefan Zeisler Pascal Querner, Tanja Kimmel, Stefan Fleck, Eva Götz, Michaela 63 Photography: Morelli and Katja Sterflinger Integrated Pest Management (IPM) Christian Mendez, Thomas Ritter, Alexander Rosoli, -
The Shape of Women: Corsets, Crinolines & Bustles
The Shape of Women: Corsets, Crinolines & Bustles – c. 1790-1900 1790-1809 – Neoclassicism In the late 18th century, the latest fashions were influenced by the Rococo and Neo-classical tastes of the French royal courts. Elaborate striped silk gowns gave way to plain white ones made from printed cotton, calico or muslin. The dresses were typically high-waisted (empire line) narrow tubular shifts, unboned and unfitted, but their minimalist style and tight silhouette would have made them extremely unforgiving! Underneath these dresses, the wearer would have worn a cotton shift, under-slip and half-stays (similar to a corset) stiffened with strips of whalebone to support the bust, but it would have been impossible for them to have worn the multiple layers of foundation garments that they had done previously. (Left) Fashion plate showing the neoclassical style of dresses popular in the late 18th century (Right) a similar style ball- gown in the museum’s collections, reputedly worn at the Duchess of Richmond’s ball (1815) There was public outcry about these “naked fashions,” but by modern standards, the quantity of underclothes worn was far from alarming. What was so shocking to the Regency sense of prudery was the novelty of a dress made of such transparent material as to allow a “liberal revelation of the human shape” compared to what had gone before, when the aim had been to conceal the figure. Women adopted split-leg drawers, which had previously been the preserve of men, and subsequently pantalettes (pantaloons), where the lower section of the leg was intended to be seen, which was deemed even more shocking! On a practical note, wearing a short sleeved thin muslin shift dress in the cold British climate would have been far from ideal, which gave way to a growing trend for wearing stoles, capes and pelisses to provide additional warmth. -
253 AMERICAN MINIATURE HORSE REGISTRY Driving Performance
AMERICAN MINIATURE HORSE REGISTRY Driving Performance Division Rules 5.1 Miniature Horse Driving Division – General Rules A. Guidance: The driving division was founded for the purpose of developing and furthering the art and sport of driving for pleasure. A working knowledge of and compliance with the rules are essential. B. The only person to handle the reins, under penalty of elimination, is the driver. No change of driver is per- mitted during any class. C. Dress Code: Headers, Drivers and their passengers should be dressed appropriately. Dress in the show ring is to complement the overall appearance of the unit, not take away from the appearance. 1. Hats for gentlemen are optional, except when in formal attire. 2. Formal wear should not be worn before 5 p.m. un- less stake classes are held in an afternoon perfor- mance session. 3. No strapless dresses in any driving class. Miniature Horse 4. No sandals or open toed shoes to be worn by driver or header. 5. No T-shirts or shorts. 6. No farm, individual, or animal names may be dis- played. Exception: Draft harness classes. D. Horses must be serviceably sound. E. Horses may be shown with a full mane or mane with bridle path clipped and full tail. F. Driving whips, if used, must be of suitable style, and the tip of the lash must not reach past the shoulder of the horse. Section XI - Driving Division Rules 253 G. Cross Entering: 1. Pleasure horses cannot cross-enter into Country Pleasure, Western Pleasure or Park Divisions at the same show. -
Rereading Seymour Joseph Guy's "Making a Train"
Colby College Digital Commons @ Colby Faculty Scholarship 2011 New Perspective: Rereading Seymour Joseph Guy's "Making a Train" Lauren K. Lessing Colby College, [email protected] Follow this and additional works at: https://digitalcommons.colby.edu/faculty_scholarship Part of the American Art and Architecture Commons Recommended Citation Lessing, Lauren K., "New Perspective: Rereading Seymour Joseph Guy's "Making a Train"" (2011). Faculty Scholarship. 66. https://digitalcommons.colby.edu/faculty_scholarship/66 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Digital Commons @ Colby. New Perspective Rereading Seymour Joseph Guy’s Making a Train Lauren Lessing In March 1868 a reviewer for the Commercial Advertiser described a small painting on view in Seymour Joseph Guy’s Tenth Street studio in Manhattan. It depicted a young girl preparing for bed and holding around her waist “a gaudy skirt of a dress, its folds, draped behind her, forming a train. From her shoulders a single garment hangs loosely, disclosing her neck and finely rounded shoulders.”1 The painting, originally titled The Votary (or Votaress) of Fashion, is now known as Making a Train (fig. 1). Visually complex, beautifully painted, and disturbing in its sensual presentation of a prepubescent female body, Making a Train has long intrigued scholars of American art and culture. Recently, the painting’s inclusion in the exhibition American Stories: Paintings of Everyday Life, 1765–1915 confirmed its position in the canon of American art.2 Concealed behind the scholarly narrative of this picture’s Americanness, however, is the fact that Guy—who was born and trained in England and arrived in the United States at the age of thirty—used an artistic vocabulary drawn from British painting. -
Pennsylvania 4-H Horse Show Rule Book
Pennsylvania 4-H Horse Show Rule Book Revised 2018 Prepared by Bethany Bickel, Tammy Clark, Andrea Kocher, Amy Snover, Joe Stanco, Lew Trumble, Donna Zang, and with approval by The Pennsylvania 4-H Horse Program Development Committee and the State 4-H Office. This publication is made possible through Pennsylvania 4-H program fees. Penn State College of Agricultural Sciences research and extension programs are funded in part by Pennsylvania counties, the Commonwealth of Pennsylvania, and the U.S. Department of Agriculture. Where trade names appear, no discrimination is intended, and no endorsement by Penn State Extension is implied. Penn State encourages persons with disabilities to participate in its programs and activities. If you anticipate needing any type of accommodation or have questions about the physical access provided, please contact your local extension office in advance of your participation or visit. This publication is available in alternative media on request. The University is committed to equal access to programs, facilities, admission, and employment for all persons. It is the policy of the University to maintain an environment free of harassment and free of discrimination against any person because of age, race, color, ancestry, national origin, religion, creed, service in the uniformed services (as defined in state and federal law), veteran status, sex, sexual orientation, marital or family status, pregnancy, pregnancy-related conditions, physical or mental disability, gender, perceived gender, gender identity, genetic information or political ideas. Discriminatory conduct and harassment, as well as sexual misconduct and relationship violence, violates the dignity of individuals, impedes the realization of the University’s educational mission, and will not be tolerated.