2017 Fernald Caroline Dissert
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The Variants of Warburg's Manuscripts on His Indian
The Epistemic Advantage of Self-Analysis for Cultural-Historical Insights: The variants of Warburg’s manuscripts on his Indian Journey A vantagem epistêmica da autoanálise para insights histórico-culturais: as variantes dos manuscritos de Warburg em sua jornada indígena Dra. Sigrid Weigel Como citar: WEIGEL, S. The Epistemic Advantage of Self-Analysis for Cultural- Historical Insights: The variants of Warburg’s manuscripts on his Indian Journey. MODOS. Revista de História da Arte. Campinas, v. 4, n.3, p.386-404, set. 2020. Disponível em: ˂https://www.publionline.iar.unicamp.br/index.php/mod/article/view/4 794˃; DOI: https://doi.org/10.24978/mod.v4i3.4794. Imagem: The Diptych Oraibi (GUIDI; MANN, 1998). The Epistemic Advantage of Self-Analysis for Cultural-Historical Insights: The variants of Warburg’s manuscripts on his Indian Journey A vantagem epistêmica da autoanálise para insights histórico-culturais: as variantes dos manuscritos de Warburg em sua jornada indígena Dra. Sigrid Weigel* Abstract The article is devoted to analyze different versions and drafts of the 1923 Warburg’s Lecture, held in Kreuzlingen in 1923, on his travel to the United States in 1895/96, at the end of his long convalescence in the sanatorium of Ludwig Binswanger, as well as the respective lectures of 1897. This essay focuses on how the dispersion of these texts, their different dates and interferences in publications over decades had epistemological implications in the interpretation of his famous Conference. Thus, the contrast between fundamental points of these texts, both in their forms and contents – including deliberate terminological fluctuations –, raises theoretical questions that interfere with the understanding of Warburg’s work in its methodological specificity. -
Women Architects
E-Newsletter | May 2012 Women Architects What do the Hearst Castle in California and many of the buildings in Grand Canyon National Park have in common? They were designed by women architects! In this month's newsletter, we feature two early women architects - Julia Morgan and Mary Colter. California's first licensed woman architect, Julia Morgan, studied architecture in Paris. After failing the entrance examination to the École des Beaux-Arts twice, she learned that the faculty had failed her deliberately to discourage her admission. Undeterred, she gained admission and received her certificate in architecture in 1902. By 1904, she had opened her own architecture practice in San Francisco. After receiving acclaim when one of her buildings on the Mills College campus withstood the 1906 San Francisco earthquake, she was commissioned to rebuild the damaged Fairmont Hotel. With this project Morgan's reputation as well as her architecture practice was assured. Julia Morgan Morgan designed her first building for the YWCA in Oakland in 1912. She then began work on the YWCA's seaside retreat Asilomar, near Monterey, which has hosted thousands of visitors since its founding in 1913. Today Asilomar is a state historical park. Morgan's work on the Hearst Castle, which is also now a state historical monument, cemented her reputation. The Castle, located at San Simeon, has attracted more than 35 million visitors since it opened to the public in 1958. Architect Mary Colter was asked by railroad magnate Fred Harvey to design hotels and restaurants along the Santa Fe Railway route, with the objective of bringing tourists to the southwestern United States. -
Paleface and Redskin Wing Terrorists; the Policeman Guarding Him Round the Clock Was in Fact a Nazi Spy
make the most of what is left, in himself ever-changing caress of an early evening once declared to a gentile professor, "At and the world, ^ain, he addresses us: breeze. the bottom of my soul I am a Christian." After swearing Heise to secrecy about his What were we waiting for? The appearance Thus ends this play/film—on a lyri- confession, he screamed the sentence of the Messiah? Was all this nothing? I was cal note of revised values, of consol- again through the open windows. He quite fed up wjth the search for perfection. ing accommodation, with a civilization wanted the neighbors to hear it And rather amazed by all that I had—the Sometimes in his madness, though, lemonade stand with its lemonade, the cafe shrugged away. with its irritable customers and staff, the Warburg believed his pursuers to be squirrels, the birds, the trees I sat on Note. The Designated Mourner IS Y^uh\i%\ie A Germany's anti-Semites who, with the the bench for a very long time, lost—sunk by Farrar, Straus and Giroux (103 pp., demise of Wilhelm II, and of the rule of deep—in the experience of unbelievable $19). I suggest seeing the film first; then, tolerance that Warburg attributed to physical pleasure, maybe the greatest plea- when you read it, the actors' voices will him, were now plotting to eliminate sure we can know on this earth—the sweet, he in your ears. • influential Jews. Even as his doctors at Kreuzlingen worked to cure Warburg of these delusions, his younger brorfier Max, who had assumed leadership of the private bank M. -
Historic Art-Deco in the Heart of the Dtphx Music Scene
HISTORIC ART-DECO IN THE HEART OF THE DTPHX MUSIC SCENE 747 W VAN BUREN ST, PHOENIX, AZ 85007 HISTORIC ART DECO BUILDING FOR SALE ABOUT THE PROPERTY 747 W. Van Buren is a 2,821 SF historic Art Deco/Art Moderne building superbly located adjacent to some of Phoenix’s most exciting music, entertainment and nightlife. Many of these venues, such as Crescent Ballroom, The Van Buren and The Valley Bar are located in historic adaptive-reuse projects, bringing a distinctive new personality to the area. 747 W. Van Buren brings a unique opportunity to add to the growing Downtown entertainment scene, with this rare sale. Located just West of the Southwest corner of Van Buren and 7th Avenue, the location is within walking distance of both the Grand Avenue Arts District and the Roosevelt Row Arts District, as well as the Downtown ASU Campus. These areas continue to grow, and with many new multifamily projects having just been completed or currently under construction, the area is dense with young urban professionals and recent graduates. As Downtown Phoenix continues to become a more walkable urban core filled with activity, restaurants, nightlife and tourism, this location is a rare opportunity to develop something extraordinary and make a permanent mark on the future of our city. INTERSECTION OF VAN BUREN AND CENTRAL AVENUE ART DECO DESIGN IN PHOENIX (1925-1940s) Art Deco is a style of visual arts, architecture and design that first appeared in France just before World War I. Some examples of Art Deco Architecture in Phoenix include The Luhrs Tower, The City-County Building, The Orpheum Theatre and The Arizona Biltmore Hotel. -
Reflexive Regionalism and the Santa Fe Style
Reflexive Regionalism and the Santa Fe Style Ron Foresta Department of Geography University of Tennessee, Knoxville Abstract:The Santa Fe Style is an assembly of cultural features associated with the city of Santa Fe and its surrounding Upper Rio Grande Valley. The style, often dismissed as a confection for tourists because of its gloss and worldliness, is in fact a manifestation of reflexive regionalism. This overlooked cultural process occurs when worldly outsiders fashion regional traits into responses to the life challenges that they and their extra- regional reference groups face. In this case, outsiders fashioned what they found in early-twentieth-century Santa Fe into responses to challenges that accompanied the rise of American industrial capitalism. Threats to elite hegemony, the destruction of established lifeways, and the need for new perspectives on American society were prominent among the challenges to which the Santa Fe Style responded. Reflexive regionalism is thus the kind of cultural process that Regulation Theory posits but has found difficult to convincingly identify in the real world, i.e., one that adapts individuals and societies to periodic shifts in the logic and practices of capitalism. I examine seven individuals who made signal contributions to the Santa Fe Style. Each reveals a key facet of Santa Fe’s reflexive regionalism. Together they show how this process created the Santa Fe Style and, more generally, how it works as an engine of cultural invention. The key concepts here are reflexive regionalism, the Santa Fe Style, cosmopolitanism, Regulation Theory, the work of the age, and the project of the self. -
Native Youth Count 2019 STATE of NATIVE YOUTH REPORT Native Youth Count
2019 STATE OF NATIVE YOUTH REPORT Native Youth Count 2019 STATE OF NATIVE YOUTH REPORT Native Youth Count TABLE OF CONTENTS NOVEMBER 2019 4 About Us 6 Foreword by Sam Schimmel 8 Foreword by Representative Deb Haaland 11 Executive Summary 16 Chapter 1: Health and Wellness 28 Chapter 2: Systems Involving Youth 38 Chapter 3: Education and Jobs 48 Chapter 4: Sacred Sites, Lands, and Waterways 58 Chapter 5: Citizenship PHOTOS: COURTESY OF RYAN REDCORN AND ILLUMINATIVE OF RYAN PHOTOS: COURTESY About Us THE CENTER FOR NATIVE AMERICAN YOUTH ABOUT THE ARTIST: Elizabeth Morgan, Kiowa and Apache The Center for Native American Youth believes all Native American youth should My work is my life on canvas. Stories passes down orally. I wanted to show my culture lead full and healthy lives, have equal access to opportunity, and draw strength and my people through my point of view. Telling a story through traditional methods. from their culture and inspire one another. As a policy program of the Aspen This is a way that connects me to my nation, my homeland, and identity. Using vibrant Institute founded by former U.S. Senator Byron Dorgan (ret.), we work to colors, the bold outlines help bring life to those stories I heard as a child. Being a young improve the health, safety, and overall well-being of Native American youth. woman now I want to pass that to the youth that will one day be in my footsteps. So We do this through youth recognition, inspiration, and leadership; research, they can keep those traditions alive. -
Visitor Guide &
Visitor Guide & Map WELCOME TO THE HEARD MUSEUM Your visit to the Heard Museum includes 12 exhibition galleries, free self-guided audio tours, outdoor sculpture gardens, a renowned café, a contemporary art gallery and trading-post style shopping, plus much more. MUSEUM & SHOP HOURS The Heard Museum is fully wheelchair accessible and 3RD PARTY ADVERTISING Tuesday to Sunday, 10 a.m. to 4 p.m. wheelchairs are available Closed Monday upon request. Doors open to members at 9:00 a.m. on Saturday and Sunday Assisted Listening System, video & audio transcripts Closed Easter Sunday, Independence Day, are all available to be Thanksgiving and Christmas. checked out at Admissions. Food & drink are not MUSEUM APP permitted in the galleries. Download the new Heard Museum mobile app. Features include museum maps, Photography is permitted without flash unless audio guides, exhibition information and otherwise posted. more! Available in the App Store & Google All backpacks and any bag Play, or scan this code with your phone's over 13” x 17” are not camera: permitted in the museum. Free lockers are available to store any items during your visit. No firearms or weapons are allowed on this property. cover: Leon Polk Smith, 1906-1996, Pursuant to A.R.S. § 4-229 Reflections-Red-Black, detail,1971. Acrylic on canvas, Overall: 35 1/2 x 35 1/2 in., Leon Polk Smith Foundation. Copyright for many works of art in the museum rests with the artists. The Heard Museum does not assume liability for violation of copyright law by a photographer (Title 17, United States Code). -
23 League in New York Before They Were Purchased by Granville
is identical to a photograph taken in 1866 (fig. 12), which includes sev- eral men and a rowboat in the fore- ground. From this we might assume that Eastman, and perhaps Chapman, may have consulted a wartime pho- tograph. His antebellum Sumter is highly idealized, drawn perhaps from an as-yet unidentified print, or extrapolated from maps and plans of the fort—child’s play for a master topographer like Eastman. Coastal Defenses The forts painted by Eastman had once been the state of the art, before rifled artillery rendered masonry Fig. 11. Seth Eastman, Fort Sumter, South Carolina, After the War, 1870–1875. obsolete, as in the bombardment of Fort Sumter in 1861 and the capture of Fort Pulaski one year later. By 1867, when the construction of new Third System fortifications ceased, more than 40 citadels defended Amer- ican coastal waters.12 Most of East- man’s forts were constructed under the Third System, but few of them saw action during the Civil War. A number served as military prisons. As commandant of Fort Mifflin on the Delaware River from November 1864 to August 1865, Col. Eastman would have visited Fort Delaware on Pea Patch Island, located in the river channel between Wilmington and New Castle, Delaware. Channel-dredging had dumped tons of spoil at the northern end of the island, land upon which a miserable prison-pen housed enlisted Confederate pris- oners of war. Their officers were Fig. 12. It appears that Eastman used this George N. Barnard photograph, Fort quartered within the fort in relative Sumter in April, 1865, as the source for his painting. -
The Broken Wheel and the Taos Society of Artists (Ernest L
The Broken Wheel and the Taos Society of Artists (Ernest L. Blumenschein Home & Museum Brochure 2016) American artist Joseph Henry Sharp briefly visited Taos in 1893. While studying painting in Paris two years later, he met and became friends with two other young American art students, Ernest L. Blumenschein and Bert G.Phillips. Sharp told them about the Indian village of Taos and the spectacular land. Blumenschein later wrote “I remember being impressed as I pigeon-holed that curious name in my memory with hope that some day I might pass that way.” On his return from Paris in 1896, Blumenschein was commissioned by McClures Magazine to do a series of illustrations in Arizona and New Mexico. He was so taken by the Southwest that he convinced his friend Bert Phillips to join him two years later on a sketching trip from Denver to Mexico. Having spent the summer of 1898 painting and camping in the Rocky Mountains, the two young artists started painting their way south in the early fall. On September 3, while driving the storm- ravaged roads of northern New Mexico, the wheel on their light surrey slipped onto a deep rut and broke. The men tossed a three-dollar gold piece to determine who would carry the wheel to the nearest blacksmith for repair. Blumenschein lost the toss and so made the twenty-mile trek to Taos with the broken wheel. Thus began a great experiment in American Art. Blumenschein (called “Blumy” by his many friends) stayed in Taos only a few months and then returned to New York. -
Annotated Bibliography
ANNOTATED BIBLIOGRAPHY Many of the sources described below are available in the Region 4 History Collection, Ogden, Utah. Alderson, William T and Shirley Payne Low. Interpretation of Historic Sites. Nashville, TN: American Association for State and Local History, 1976. This book is a short exploration of how to develop and run programs at historic sites. It is directed towards administrators, developers and prospective historic interpreters. Alderson was Director of the American Association for State and Local History and Low was Supervisor of Hostess Training at Colonial Williamsburg. Their book includes information on preserving historic structures and sites, as well as preparing security measures and planning presentation methods for audiences and interpreters. It references several historical sites across the country and features black and white photographs, a brief index, and a suggested reading list. It should be noted presentation tools described for this publication may be out of date. Alexander, Thomas G. A Clash of Interests: Interior Department and Mountain West 1863-96. Provo, UT: Brigham Young University Press, 1977. Alexander, the Associate Director of the Charles Redd Center for Western Studies at BYU, provides an in-depth study of the Interior Department’s relations with the Intermountain West—specifically the Idaho, Utah, and Arizona Territories spanning 1863 to 1896. Topics include Territorial Policy of the time-period, Native American consolidation and acculturation, and frontier commonwealth policies. The book includes maps, tables, and a bibliographic essay of further reading. This is a useful source for anyone interested in the history of the Mountain West, the development of land policy in the territories, or the interactions between the federal government and Native American peoples. -
Beacon Prrogram Proceedings.Psd
Table of Contents Welcome ........................................................................................................................... 4 Sponsors, Participating Member Colleges, Steering Committee Members ............................... 5 Conference Program ........................................................................................................... 6 Poster Presenters ............................................................................................................. 15 Beacon 2010 Statistics ...................................................................................................... 17 Acknowledgments ............................................................................................................ 18 Outstanding Paper by Panel American Literature “The Dissociation of Role and Character in Toni Morrison’s ‘Recitatif’” .......... 20 Heather Tremper Mentor: Shauna Gobble Northampton Community College The Arts “The Art of Protest: Mural Art as a Global Narrative of Struggles for Social Justice and Equality” ........................................................................ 27 Claire Kalala Mentor: Shweta Sen Montgomery College History “Politics, Indians, and Tippecanoe”............................................................. 48 Marilyn Miller Mentor: John M. Lawlor, Jr. Reading Area Community College Social Sciences “Debating Mayan Inclusion in the Guatemalan State” .................................. 58 Robin Harris Mentor: Jennifer Haydel Montgomery College 1 Education -
Photography and the Pueblo Indians of New Mexico, 1870•Fi1930
New Mexico Historical Review Volume 84 Number 2 Article 2 4-1-2009 Photography and the Pueblo Indians of New Mexico, 1870–1930 Richard H. Frost Follow this and additional works at: https://digitalrepository.unm.edu/nmhr Recommended Citation Frost, Richard H.. "Photography and the Pueblo Indians of New Mexico, 1870–1930." New Mexico Historical Review 84, 2 (2009). https://digitalrepository.unm.edu/nmhr/vol84/iss2/2 This Article is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Historical Review by an authorized editor of UNM Digital Repository. For more information, please contact [email protected], [email protected], [email protected]. Photography and the Pueblo Indians of New Mexico, 1870-1930 Richard H. Frost hotography has influenced the relationship of Pueblo Indians and PAnglos in New Mexico since the nineteenth century. For the most part, picture-taking in the pueblos has been overshadowed by dominant issues, such as those involving land title, water rights, education, health, and sover eignty. However, the subject of photographing the Pueblos is inherently interesting, and reveals a dimension of white-Indian contacts and insights that is external to and in some respects at variance with the Anglo-Pueblo relationship on the larger issues. Photography in the pueblos usually did not involve federal government policy or authority, but it was often a source of tension between Pueblo and Anglo cultures. The tension surfaced be tween visitors and Indians without government interference. Photography has long been integrated into Pueblo ethnology, both schol arly and popular.