DOCSLIB.ORG

010 Brussel / Bruxelles / Brussels Kunstenfestivaldesarts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

0 01 07 - 29.05.010 BRUSSEL / BRUXELLES / BRUSSELS KUNSTENFESTIVALDESARTS Het Kunstenfestivaldesarts vindt elk Le Kunstenfestivaldesarts se déroule Kunstenfestivaldesarts jaar plaats gedurende 3 weken in mei, chaque année au mois de mai, et s’étale takes place in dozens of in tientallen gastvrije theaters en sur trois semaines durant lesquelles welcoming Brussels the- kunsthuizen in Brussel. des dizaines de théâtres et de centres atres and art houses for d’arts bruxellois lui ouvrent gracieuse- 3 weeks every May. Het Kunstenfestivaldesarts presen- ment leurs portes. teert podiumkunsten en beeldend werk, Kunstenfestivaldesarts van Nederlandstalige en Franstalige, Le Kunstenfestivaldesarts affiche à features performing arts Westerse en niet-Westerse kunstenaars. son programme des œuvres scéniques and visual arts, by Dutch- nouvellement créées par des artistes and French-speaking, Het Kunstenfestivaldesarts is een cre- francophones et néerlandophones, Western and non-Western atiefestival voor kunstenaars met een belges et internationaux. artists. persoonlijke kijk op de wereld, en toe- schouwers die hun eigen perspectief Le Kunstenfestivaldesarts est un festi- Kunstenfestivaldesarts is in vraag willen stellen. val de créations au sein duquel des a festival dedicated to new artistes partagent leur vision person- creations, intended for Het Kunstenfestivaldesarts is een kos- nelle du monde avec des spectateurs artists with a personal mopolitisch stadsfestival. Steeds meer prêts à remettre en question et élargir outlook on the world and maken we deel uit van een complex net- leur champ de perspectives. spectators willing to ques- werk van gemeenschappen, die de gren- tion their own views. zen van natie, taal en cultuur nuanceren Le Kunstenfestivaldesarts est un festi- en overschrijden. De stad is de omge- val résolument urbain et cosmopolite. Kunstenfestivaldesarts is a ving bij uitstek waar deze kosmopoliti- Nous faisons partie, chaque jour davan- cosmopolitan city festival. We sche samenleving zichtbaar wordt. tage, d’un réseau complexe de commu- are increasingly becoming part nautés où les concepts de nation, de of a complex network of communi- Het Kunstenfestivaldesarts vindt langue et de culture sont relativisés, ties that cross and redefine national, plaats in Brussel, de enige Belgische voire dépassés. La ville est l’environne- linguistic and cultural borders. stad waar de twee grote gemeenschap- ment par excellence qui rend cette The city is the environment “par excel- pen van het land samenleven. Talrijke communauté cosmopolite visible. lence” in which this cosmopolitan soci- Vlaamse en Franstalige instellingen ety can be seen. werken mee aan het festival dat als Le Kunstenfestivaldesarts a lieu à fundamenteel tweetalig project bij- Bruxelles, la seule ville de Belgique où Kunstenfestivaldesarts takes place draagt tot de dialoog tussen de ver- les 2 plus grandes communautés du in Brussels, the only city in Belgium schillende gemeenschappen in de stad. pays cohabitent. Il réunit autour d’un where the country’s two largest même projet de nombreuses institu- communities live together. Several tions tant flamandes que franco- Flemish- and French-speaking institu- phones. Conçu fondamentalement tions are involved in the project. comme un projet bilingue, il contribue Fundamentally conceived as a bilingual à encourager le dialogue entre les com- undertaking, it contributes to encour- munautés présentes dans la ville. aging dialogue between the communi- ties living in the city. 5 EDIT010 010. De vijftiende editie van het om te leven in een overbeschermde Belgrado test Tomi Janežic Kunstenfestivaldesarts. Een jaarlijkse wereld van permanente controle. de utopie van een theater afspraak met de hedendaagse interna- Moeten wij alles wat we tevoren geac- dat zich van de scène tionale creatie. Een selectie van werken cumuleerd hebben te allen prijze en bevrijdt, en het leven van die vandaag gecreëerd worden, met als voor altijd behouden? En gaan we mis- elke dag besmet. drijfveer een heden, dat ze ondervra- schien ooit dat betreuren waaraan we gen, dat ze proberen begrijpen en acti- nu geen behoefte hebben? In haar voor- Tot slot valt het op hoe veren. Een artistieke stand van zaken stelling zet Vera Mantero een terug - bepaalde projecten ver- die ons wellicht ook het ‘punt’ waar we kerend en bevrijdend ritueel in scène, trekken van een plek en ons bevinden kan aanwijzen. Een ruim- waarbij mensen tabula rasa willen de relaties met de directe te voor creatie en voor confrontatie tus- maken. De band tussen materieel bezit omgeving. Lia Rodrigues sen visies, voor ontmoeting en dialoog en geluk, maar ook de dreiging van ontplooit haar dagelijkse tussen werken en mensen. onzekerheid, staat centraal in het ver- choreografiepraktijk mid- rassende Een poppenhuis, herwerkt denin een favela. In een wereld die wordt ingehaald door door Daniel Veronese. Christoph Schlingensief, de excessen die hij produceert, voeren In Versus maakt Rodrigo García zich geniaal provocateur, ont- economie en maat het hoge woord. zorgen over de dreiging van passiviteit werpt een ‘operadorp’ in We moeten besparen. Ons inenten en intellectuele en morele leegte die Burkina Faso, en durft de tegen epidemieën. Ons waarborgen inherent is aan het surplus. Zijn explo- sprong te maken tussen tegen financiële onzekerheden en tegen sieve mise-en-scènes verzetten zich werelden die ver uit elkaar de dreiging onze verworvenheden te tegen de nivellering van talen en licha- liggen. Lotte van den Berg verliezen. Ons beschermen tegen de men: ze zijn op zoek naar een leefbare nodigt haar buren uit op de gevaren van de straat, de goden van en levende ruimte, ergens tussen de scène van een theater, en ont- de ‘anderen’, onze eigen excessen. uitersten van exces en stilzwijgen in. wikkelt een werk rond verplaat- Het Kunstenfestivaldesarts wordt sing – die wordt gezien als de enige niet rond één thema georganiseerd. Vormen van controle en hun gevolgen manier om een ‘thuis’ te definiëren. Elk werk op de affiche draagt zijn eigen voor de bewegingsvrijheid worden vaak Tegenover de onverbiddelijk om zich visie in zich en ontwikkelt een taal om opgeroepen. Zuid-Afrikaan Boyzie heen grijpende globalisering onderzoe- die te verwoorden. Nochtans is het boei- Cekwana klaagt de (bewust of onbewus- ken kunstenaars wat nabij is, en schet- end – en dat is wat een festival zo bui- te) mechanismen aan, die erop gericht sen cartografieën van hun eigen stad tengewoon maakt – zich te verdiepen in zijn de verschillende fysieke en raciale (Enrique Diaz) of van hun eigen straat wat deze creaties ons zeggen wanneer identiteiten te classificeren, maar ze ook (Sarah Vanagt). ze samen worden gepresenteerd, hier te onderdrukken – of ze nu op één per- en nu. En om te onderzoeken in hoever- soon van toepassing zijn, dan wel op een 010. Welkom op het Kunstenfestival - re ze in staat zijn de vinger aan de pols volledig continent. Jorge León brengt desarts. Om er een dertigtal nieuwe wer- van de tijd te houden. een drieluik rond de figuur van de meid. ken te ontdekken, die meestal door het Hij toont een geglobaliseerde slavernij, festival gecoproduceerd worden. Om te Voorstellingen die getuigen van moei- en de verschrikkelijke machtsverhoudin- luisteren naar wat ze ons zeggen, hier lijke paradoxen. Van een delicate, gen die ermee gepaard gaan. Amir Reza en nu. Om, doorheen de werken, een pijnlijke situatie voor de mens, die Koohestani, die werkt vanuit Teheran, subjectieve staat van de wereld op te schippert tussen de bewustwording bedenkt fabels om te kunnen spreken maken. We danken alle partners die dit van zijn excessen van ‘homo consu- over een realiteit waarin elementaire project mogelijk maken, en nodigen u mens’ en de vrees deel uit te maken rechten met de voeten worden getreden. uit om het samen met ons drie volle van een uniforme maatschappij. Heen Bij Toshiki Okada zoekt het individu zijn weken intens te beleven! en weer geslingerd tussen enerzijds de eigen vrijheid, los van etiquette en socia- legitieme behoefte aan veiligheid en le hiërarchie. De voorstellingen getuigen Christophe Slagmuylder en de ploeg stabiliteit, en anderzijds de weigering van bevrijdende processen, en in van het Kunstenfestivaldesarts 7 010. La quinzième édition du Kunsten - Devons-nous garder, à tout prix et à Enfin, il est frappant de festivaldesarts. Un rendez-vous annuel jamais, tout ce que nous avons accu- constater que plusieurs avec la création contemporaine inter- mulé ? Et allons-nous en arriver à projets au programme nationale. Une sélection d’œuvres regretter ce dont nous n’avons pas cette année ont pour ori- créées aujourd’hui et stimulées par un besoin ? Dans sa dernière création, gine un lieu de travail et présent qu’elles sondent et tentent de Vera Mantero met en scène un rituel ses relations avec son comprendre et d’activer. Un état des répétitif et libérateur où les êtres, contexte immédiat. Lia lieux artistique susceptible aussi d’in- incertains mais joyeux, tentent de faire Rodrigues déploie sa pra- diquer le « point » où nous nous trou- le vide et de se débarrasser des biens tique quotidienne de cho- vons aujourd’hui. Un espace pour la qu’ils ont acquis. Le lien entre posses- régraphe au milieu d’une création et la confrontation de visions, sions matérielles et bonheur, mais favela. Christoph la rencontre et le dialogue entre des aussi la menace de précarité, sont au Schlingensief, provoca- œuvres et des personnes. centre de l’étonnante Maison de pou- teur de génie, conçoit un pée revisitée par Daniel Veronese.
Recommended publications
  • Log of Sailing Catamaran Eclipse

    Log of Sailing Catamaran Eclipse

    Log of sailing catamaran Eclipse Oct 2002 – Mar 2005 Plymouth UK to Panama Richard Woods Jetti Matzke Table of contents Sailing Maps page 3 Sailing south page 8 Crossing the Atlantic page 10 Barbados and the Grenadines page 13 N Caribbean page 17 The Virgins page 22 Puerto Rico and the Bahamas page 26 SE USA page 32 The Chesapeake page 35 New York and New England page 38 Maine page 40 Bahamas revisited page 44 Cuba page 49 Belize and Guatemala page 56 Land Maps page 64 Land Trips page 66 Bay Islands page 96 Panama page 103 San Blas page 115 Appendix page 125 Photo Albums page 159 2 Sailing Maps Sailing South, Plymouth to Canaries Nov 2002 Crossing the Atlantic Dec 2002 Barbados and the Grenadines Jan 2003 3 The N Caribbean Feb April 2003 The Virgins to Puerto Rico May 2003 Puerto Rico to the Bahamas May June 2003 4 The Bahamas June 2003 SE USA July 2003 5 Chesapeake to Maine and back Jul Sept 2003 Bahamas revisited and Cuba Jan Feb 2004 6 Belize, Guatemala and Bay Islands March Nov 2004 Bay Islands, Vivorillo Cays, Providencia, Panama Dec 2004 7 Sailing South November 2002 I am writing this in the Canary Islands, about 1800 miles from Plymouth, and I see we’ve now been away for exactly 4 weeks. It’s probably no surprise to anyone to learn that leaving the UK at the end of October is not a good idea! During our crossing of the Bay of Biscay we had over 40 knots of wind, but since I have a remote control autopilot we can sit below on watch and still see out all round, which in the cold and rain was great! We arrived in N Spain after a stop in S Brittany and spent a few days cruising (in the rain and to windward - of course!) round the coast to Bayonna.
  • Old Ships and Ship-Building Days of Medford 1630-1873

    Old Ships and Ship-Building Days of Medford 1630-1873

    OLD SHIPS AND SHIP-BUILDING DAYS OF MEDFORD 1630-1873 By HALL GLEASON WEST MEDFORD, MASS. 1936 -oV Q. co U © O0 •old o 3 § =a « § S5 O T3». Sks? r '■ " ¥ 5 s<3 H " as< -,-S.s« «.,; H u « CxJ S Qm § -°^ fc. u§i G rt I Uh This book was reproduced by the Medford Co-operative Bank. January 1998 Officers Robert H. Surabian, President & CEO Ralph W. Dunham, Executive Vice President Henry T. Sampson, Jr., Senior Vice President Thomas Burke, Senior Vice President Deborah McNeill, Senior Vice President John O’Donnell, Vice President John Line, Vice President Annette Hunt, Vice President Sherry Ambrose, Assistant Vice President Pauline L. Sampson, Marketing & Compliance Officer Patricia lozza, Mortgage Servicing Officer Directors John J. McGlynn, Chairman of the Board Julie Bemardin John A. Hackett Richard M. Kazanjian Dennis Raimo Lorraine P. Silva Robert H. Surabian CONTENTS. Chapter Pagf. I. Early Ships 7 II. 1800-1812 . 10 III. War of 1812 19 IV. 1815-1850 25 V. The Pepper Trade 30 VI. The California Clipper Ship Era . 33 VII. Storms and Shipwrecks . 37 VIII. Development of the American Merchant Vessel 48 IX. Later Clipper Ships 52 X. Medford-Built Vessels . 55 Index 81 LIST OF ILLUSTRATIONS. Page Clipper Ship Thatcher Magoun Frontispiece Medford Ship-Builders 7 Yankee Privateer 12 Mary Pollock Subtitle from Kipling’s “Derelict *’ 13 Heave to 20 The Squall . 20 A Whaler 21 Little White Brig 21 Little Convoy 28 Head Seas 28 Ship Lucilla 28 Brig Magoun 29 Clipper Ship Ocean Express 32 Ship Paul Jones” 32 Clipper Ship “Phantom” 32 Bark Rebecca Goddard” 33 Clipper Ship Ringleader” 36 Ship Rubicon 36 Ship Bazaar 36 Ship Cashmere 37 Clipper Ship Herald of the Morning” 44 Bark Jones 44 Clipper Ship Sancho Panza 44 Clipper Ship “Shooting Star 45 Ship “Sunbeam” .
  • Robert Steele and Company: Shipbuilders of Greenock

    Robert Steele and Company: Shipbuilders of Greenock

    ROBERT STEELE AND COMPANY: SHIPBUILDERS OF GREENOCK Mark Howard There is a long tradition of shipbuilding on the west coast of Scotland. It began with the production of small fishing boats and coasters to satisfy the demand for vessels from people living in the region. The scale of production, however, was modest and might have remained so but for a number of changes taking place in the wider world. Foremost among these was the expansion of Britain's colonial empire, especially the plantations founded in the West Indies and North America.1 The efforts to establish and protect these colonies together with the trade they generated created a demand for new shipping that Scottish yards helped to satisfy. Other relevant factors were the frequent wars between 1750 and 1816 that helped keep ocean freight rates at high levels; the early stirrings of the industrial revolution; the influence of the Navigation Acts; and Britain's continuing naval dominance. The size of the United Kingdom's registered merchant fleet doubled between 1775 and 1790 following the American War of Independence, and by the conclusion of the Napoleonic wars had doubled again to 2,417,000 tons.2 Of particular importance to Scotland was the 1707 Act of Union that enabled her to share fully in Britain's economic growth, and the completion of the Clyde-Forth canal in 1790 that linked western and eastern Scotland and gave Glasgow better access to the Baltic trade. Toward the end of the eighteenth century, Scotland entered a period of rapid economic gTowth that was soon matched by a rise in trade.
  • SEAFARING WOMEN: an Investigation of Material Culture for Potential Archaeological Diagnostics of Women on Nineteenth-Century Sailing Ships

    SEAFARING WOMEN: an Investigation of Material Culture for Potential Archaeological Diagnostics of Women on Nineteenth-Century Sailing Ships

    SEAFARING WOMEN: An Investigation of Material Culture for Potential Archaeological Diagnostics of Women on Nineteenth-Century Sailing Ships by R. Laurel Seaborn April, 2014 Director of Thesis/Dissertation: Dr. Lynn Harris Major Department: Department of History, Program in Maritime Studies ABSTRACT During the 19th century, women went to sea on sailing ships. Wives and family accompanied captains on their voyages from New England. They wrote journals and letters that detailed their life on board, adventures in foreign ports, and feelings of separation from family left behind. Although the women kept separate from the sailors as class and social status dictated, they contributed as nannies, nurses and navigators when required. Examination of the historical documents, ship cabin plans, and photos of those interiors, as well as looking at surviving ships, such as the whaleship Charles W. Morgan, provided evidence of the objects women brought and used on board. The investigation from a gendered perspective of the extant material culture, and shipwreck site reports laid the groundwork for finding potential archaeological diagnostics of women living on board. SEAFARING WOMEN: An Investigation of Material Culture for Potential Archaeological Diagnostics of Women on Nineteenth-Century Sailing Ships A Thesis/Dissertation Presented To the Faculty of the Department of Department Name Here East Carolina University In Partial Fulfillment of the Requirements for the Degree Master of Arts by R. Laurel Seaborn April, 2014 © R. Laurel Seaborn, 2014 SEAFARING WOMEN: An Investigation of Material Culture for Potential Archaeological Diagnostics of Women on Nineteenth-Century Sailing Ships by R. Laurel Seaborn APPROVED BY: DIRECTOR OF THESIS:_________________________________________________________ Dr.
  • Clipper Ships: the Appeal of Sail by Garry Victor Hill

    Clipper Ships: the Appeal of Sail by Garry Victor Hill

    1 Clipper Ships: The Appeal of Sail by Garry Victor Hill Plate 1 The Ariel. By Jack Spurling (1870-1933) Public Domain, https://commons.wikimedia.org/w/index.php?curid=14917880 The painting above captures exactly the breathtaking appeal of clipper ships. The azure sky with slight traces of pure white from thin clouds and the matching white foam and white sails with a touch of pale blue contrast with the dark, but vibrant blue waves. The ship, Ariel does not seem to plough through the waves so much as conquer them through 2 sleek cuts, while her billowing sails soar like clouds. The scene gives a feeling of optimism, even exuberance: clippers often did that. They were loved by owners, passengers and crews, by those who depicted them, artists, photographers and writers, even tattooists and their customers; everybody had obvious reasons. They epitomise the age of sail, but their peak years only came to two decades, 1849 to 1869. The years of their emergence and decline came to several decades. Their essential hull design was first used in Chesapeake Bay late in the eighteenth century, but these were smaller ships, closer to schooners than the later larger great clippers of the late 1830s and after. In both their sleek hull design, their narrow cutting bow, the outlay of their sails and their size they had much in common with schooners. There were strong and obvious differences: schooners were much smaller and usually had only two masts which were not even half the height of those on clippers. Schooner sails were smaller and fewer in number, and were positioned parallel to the hull, not crossways to it, as on clippers These early clippers would take part in military operations in the American Revolution and the War of 1812, sometimes as privateers, more often as smugglers and messengers.1 In peacetime they would be involved in Chesapeake trade and transportation.
  • United States Geological Survey

    United States Geological Survey

    DEFARTM KUT OF THE 1STEK1OK BULLETIN OK THE UNITED STATES GEOLOGICAL SURVEY No. 19O S F, GEOGRAPHY, 28 WASHINGTON GOVERNMENT PRINTING OFFICE 1902 UNITED STATES GEOLOGICAL SURVEY CHARLES D. WALCOTT, DIRECTOR GAZETTEEK OF TEXAS BY HENRY G-A-NNETT WASHINGTON GOVERNMENT PRINTING OFFICE 1902 CONTENTS Page. Area .................................................................... 11 Topography and drainage..... ............................................ 12 Climate.................................................................. 12 Forests ...............................................................'... 13 Exploration and settlement............................................... 13 Population..............'................................................. 14 Industries ............................................................... 16 Lands and surveys........................................................ 17 Railroads................................................................. 17 The gazetteer............................................................. 18 ILLUSTRATIONS. Page. PF,ATE I. Map of Texas ................................................ At end. ry (A, Mean annual temperature.......:............................ 12 \B, Mean annual rainfall ........................................ 12 -ryj (A, Magnetic declination ........................................ 12 I B, Wooded areas............................................... 12 Density of population in 1850 ................................ 14 B, Density of population in 1860
  • Updated Active Rental Owners Report

    Updated Active Rental Owners Report

    Active Rental Permits and Owners LOC# DIR LOCATION STREET OWNER NAME OWNER ADDRESS CITY STATE ZIP PHONE # 405 ABBOTSFORD FANG CHENG-SHUN & QING 6 GREEN COURT NEWARK DE 19711 302-456-1107 LIU 406 ABBOTSFORD ZHOU, MIN 406 ABBOTSFORD LANE NEWARK DE 19711 302--23-0639 x0 409 ABBOTSFORD MITSURU, TANAKA 13702 CABELLS MILLS DRIVE CENTREVILLE VA 20120 571-455-8892 28 ACADEMY ENGLISH CREEK LLC 502 BRIER AVENUE WILMINGTON DE 19805 302-354-4365 609 ACADEMY JEFFERSON BARBARA A & 4615 SYLVANUS DRIVE WILMINGTON DE 19803 302-764-1550 COREY S 621 ACADEMY MAXWELL HARRIS & VIVEK 229 E 28TH STREET APT 1D NEW YORK NY 10016 302-438-7234 KHASAT 714 ACADEMY LISA, JAMES P. P.O. BOX 4397 WILMINGTON DE 19807 610-745-5000 728 ACADEMY ZHAO YUQIAN TR 17601 COASTAL HWY, UNIT LEWES DE 19958 302-344-9099 10 5 ADELENE DIXON JAMES W & SCHULKE 5 ADELENE DR NEWARK DE 19711 LISA 932 ALEXANDRIA SPOLJARIC, NENAD 2115 CONCORD PIKE WILMINGTON DE 19803 302-575-1007 943 ALEXANDRIA ZHANG YUBEI & CHEN PO BOX 744 HOCKESSIN DE 19707 302-981-8198 BINTONG 9/28/2020 2:00:12 AM 945 ALEXANDRIA GRIFO, N. & E 52 OKLAHOMA STATE DR. NEWARK DE 19713 955 ALEXANDRIA ESKUCHEN CHRISTOPHER L 4021 GANNET WAY FLAGSTAFF AZ 86004 301-741-3538 & JULIA B 974 ALEXANDRIA LI, DIANQUAN 11 AVIGNON DR NEWARK DE 19702 302-883-7988 6 ALFORD XU PING & LOH BOON HUEI 3 HARVEST LANE HOCKESSIN DE 19707 302-743-3604 H&W 15 ALLISON TRACE GLEN & KIMBERLY A 22 CHRISTIAN LANE CHERRY HILL NJ 08002 856-261-5441 22 ALLISON TEKDEL LLC 602 WITHERS CIRCLE WILMINGTON DE 19810 24 ALLISON CHEN, TIANYI 706 W OAKENEADE DR WILMINGTON DE 19810 352-328-0423 6 ALLISON LONG WANG 107 HALLOWEEN RUN NEWARK DE 19711 302-442-0553 4 AMHERST LUO BOYANG C/O PATTERSON SCHWARTZ HOCKESSIN DE 19707 - MAGGIE MESINGER 19 AMSTEL KAPPA ALPHA ED.
  • Reversals of Fortune in the Tea Industry Part 21

    Reversals of Fortune in the Tea Industry Part 21

    UPTON TEA QUARTERLY Vol 20 No. 4 Holliston, Massachusetts Fall, 2011 Reversals of Fortune in the Tea Industry Part XXI: Cutty Sark Challenges Thermopylae in 1872 Max Millar’s Drawing of the Cutty Sark Note the tea chests neatly stowed below deck. C utty Sark was launched in November 1869, the very month that the Suez Canal was completed. When Captain Moodie sailed her to China for the arrival of the new season’s teas, he discovered what every other captain in the fleet of Te a C li p p e r s would soon discover. The era of the Great Tea Race had passed from sail to steam. The first tea to reach London that year would be transported via the Suez Canal, which was impossible for the Te a C li p p e r s to navigate. The owners and captains of these fine sailing ships retained their competitive spirit, however, even as the tea trade was transformed. Please turn to page 48. Copyright 2011 Upton Tea Imports, LLC. All rights reserved. Page 48 Upton Tea Quarterly Fall, 2011 Reversals of Fortune in the the finest of the Tea Clippers would have to settle for £3 or less per ton of freight. Tea Industry, Part XXI David R. MacGregor (The Tea Clippers) By some accounts the commencement of states: the Age of Sail is heralded by the defeat of the When the clippers reached the loading ports in Ottoman Turks at the Battle of Lepanto on 1870 they found that the steamers had October 7, 1571.
  • Civil War Manuscripts

    Civil War Manuscripts

    CIVIL WAR MANUSCRIPTS CIVIL WAR MANUSCRIPTS MANUSCRIPT READING ROW '•'" -"•••-' -'- J+l. MANUSCRIPT READING ROOM CIVIL WAR MANUSCRIPTS A Guide to Collections in the Manuscript Division of the Library of Congress Compiled by John R. Sellers LIBRARY OF CONGRESS WASHINGTON 1986 Cover: Ulysses S. Grant Title page: Benjamin F. Butler, Montgomery C. Meigs, Joseph Hooker, and David D. Porter Library of Congress Cataloging in Publication Data Library of Congress. Manuscript Division. Civil War manuscripts. Includes index. Supt. of Docs, no.: LC 42:C49 1. United States—History—Civil War, 1861-1865— Manuscripts—Catalogs. 2. United States—History— Civil War, 1861-1865—Sources—Bibliography—Catalogs. 3. Library of Congress. Manuscript Division—Catalogs. I. Sellers, John R. II. Title. Z1242.L48 1986 [E468] 016.9737 81-607105 ISBN 0-8444-0381-4 The portraits in this guide were reproduced from a photograph album in the James Wadsworth family papers, Manuscript Division, Library of Congress. The album contains nearly 200 original photographs (numbered sequentially at the top), most of which were autographed by their subjects. The photo- graphs were collected by John Hay, an author and statesman who was Lin- coln's private secretary from 1860 to 1865. For sale by the Superintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402. PREFACE To Abraham Lincoln, the Civil War was essentially a people's contest over the maintenance of a government dedi- cated to the elevation of man and the right of every citizen to an unfettered start in the race of life. President Lincoln believed that most Americans understood this, for he liked to boast that while large numbers of Army and Navy officers had resigned their commissions to take up arms against the government, not one common soldier or sailor was known to have deserted his post to fight for the Confederacy.
  • Protest Mooring Floating Club at Fair Haven Charles Read's Farm Bought for Country Estate Veterans' Sale Of

    Protest Mooring Floating Club at Fair Haven Charles Read's Farm Bought for Country Estate Veterans' Sale Of

    All UM New* of SECTION BED BANE and unrounding Town* Told Fearleuly and Without I RED BANK REGISTER Isiued Weekly. EnUred *• Bm cond-CUu Matter at tbt Poit- Subscription Trice! Ono Year 12.00. VOLUME LVIII, NO. 49. offlc« *t B«d Bank, N. J.. an d«r th« Act of March t, 1879. RED BANK, N. J., THURSDAY, MAY 28,1936. Si* Monthi 11.00. 8!ngl« Copy 4c PAGES 1 TO 16, Protest Mooring Charles Read's Memorial Service Dates Set For Navesink Ready Policeman Rescues Concert Given Surface Harmony For Service Club* Daughter in Water Floating Club Farm Bought For Sea Bright Fire For Anniversary By Episcopal But Discontent ' A memorial «ervice for departed Policeman Charles Erickson ot members of- the Rotary and Lions Towerhill avenue was forced to At Fair Haven Country Estate clubs of Red Bank wll be held Sun- Department Fair Of Fire Company plunge into the water Friday afler- Guild Success Seethes Within day night at 7:30 o'clock at the Bap- noon to rescue hi« three-year-old Resident* of Fair Haven Want Property of ISO Acret Near Van- tist church. Barney Freedman, presi- The Event Will Take Place July Firemen to Have Memorial Serv- daughter, Corrine Erickson, who had "Olde Tyme" Musical Presented Democrats Unanimously Re-elect dent of the Rotary club, and Leon fallen from the j-owboat in which Council to Take Action to derburg Purchnied by V. A. Reussille, president of the Lions club, 18 to 26, Inclusive, on the ice, Parade and Efficiency they wero ridins.
  • Member Resource Guide

    Member Resource Guide

    Outdoor Industry Association Member Resource Guide 2007 WHAT’S INSIDE RESEARCH REPORTS 101 RETAILER TRAINING TIPS EXPLORING THE XML INITIATIVE GOING GREEN TRADE POLICIES Q&A PLUS! COMPREHENSIVE OIA MEMBER LIST UTAH: Your 2.3 trillion square-foot product For information on the most incredible place your company could imagine locating, 13,000 call the good folks at EDCUtah, 1-800-574-UTAH testing facility. + (8824) or drop by www.edcutah.org foot peaks, white water rapids, red rock deserts. Just some of the reasons why the world’s leading outdoor brands claim Utah as home. Accessible. Usable. Livable. Give us a call; we’ll show you around. ©2006 Economic Development Corporation of Utah Have you activated your FedEx ® shipping discounts? Why not? Since you belong to OIA, you’re entitled to save up to 49% on select FedEx Express® and FedEx Ground® services. It’s the FedEx Advantage — another great advantage for members of OIA. Simply call 1.800.475.6708. Your OIA Member Discounts Up to 44% off Select FedEx Express® services Up to 49% off Select FedEx® international services Up to 19% off Select FedEx Ground® services Up to 10% off Select FedEx Home Delivery® services FedEx discounts are off published rates and cannot be combined with other offers or discounts. Discounts are exclusive of any FedEx surcharges, premiums, minimums, accessorial charges or special handling fees and are not available to package consolidators. Eligibility for discounts subject to FedEx credit approval. Eligible services and discounts subject to change. For eligible FedEx services and rates, contact your association or your freight savings program provider, Outdoor Industry Association.
  • Sea History Index Issues 1-164

    Sea History Index Issues 1-164

    SEA HISTORY INDEX ISSUES 1-164 Page numbers in italics refer to illustrations Numbers 9/11 terrorist attacks, 99:2, 99:12–13, 99:34, 102:6, 103:5 “The 38th Voyagers: Sailing a 19th-Century Whaler in the 21st Century,” 148:34–35 40+ Fishing Boat Association, 100:42 “100 Years of Shipping through the Isthmus of Panama,” 148:12–16 “100th Anniversary to Be Observed Aboard Delta Queen,” 53:36 “103 and Still Steaming!” 20:15 “1934: A New Deal for Artists,” 128:22–25 “1987 Mystic International,” 46:26–28 “1992—Year of the Ship,” 60:9 A A. B. Johnson (four-masted schooner), 12:14 A. D. Huff (Canadian freighter), 26:3 A. F. Coats, 38:47 A. J. Fuller (American Downeaster), 71:12, 72:22, 81:42, 82:6, 155:21 A. J. McAllister (tugboat), 25:28 A. J. Meerwald (fishing/oyster schooner), 70:39, 70:39, 76:36, 77:41, 92:12, 92:13, 92:14 A. S. Parker (schooner), 77:28–29, 77:29–30 A. Sewall & Co., 145:4 A. T. Gifford (schooner), 123:19–20 “…A Very Pleasant Place to Build a Towne On,” 37:47 Aalund, Suzy (artist), 21:38 Aase, Sigurd, 157:23 Abandoned Shipwreck Act of 1987, 39:7, 41:4, 42:4, 46:44, 51:6–7, 52:8–9, 56:34–35, 68:14, 68:16, 69:4, 82:38, 153:18 Abbass, D. K. (Kathy), 55:4, 63:8, 91:5 Abbott, Amy, 49:30 Abbott, Lemuel Francis (artist), 110:0 ABCD cruisers, 103:10 Abel, Christina “Sailors’ Snug Harbor,” 125:22–25 Abel Tasman (ex-Bonaire) (former barquentine), 3:4, 3:5, 3:5, 11:7, 12:28, 45:34, 83:53 Abele, Mannert, 117:41 Aberdeen, SS (steamship), 158:30, 158:30, 158:32 Aberdeen Maritime Museum, 33:32 Abnaki (tugboat), 37:4 Abner Coburn, 123:30 “Aboard