Helen Keller's Journal, 1936-1937
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Cesarean Section Rates from the 2015 Leapfrog Hospital Survey
Cesarean Section Rates from the 2015 Leapfrog Hospital Survey Results reflect submissions received by December 31, 2015 Hospital City State Rate Performance Alaska Regional Hospital Anchorage AK 33.5% Willing to Report Bartlett Regional Hospital Juneau AK Declined to Respond Central Peninsula General Hospital Soldotna AK Declined to Respond Fairbanks Memorial Hospital Fairbanks AK 15.3% Fully Meets Standard Mat‐Su Regional Medical Center Palmer AK Declined to Respond Providence Alaska Medical Center Anchorage AK 20.0% Fully Meets Standard Andalusia Regional Hospital Andalusia AL 22.1% Fully Meets Standard Athens‐Limestone Hospital Athens AL Declined to Respond Atmore Community Hospital Atmore AL Declined to Respond Baptist Medical Center East Montgomery AL Declined to Respond Baptist Medical Center South Montgomery AL Declined to Respond Bibb Medical Center Centreville AL Declined to Respond Brookwood Medical Center Birmingham AL 31.9% Some Progress Bryan W. Whitfield Memorial Hospital Demopolis AL Declined to Respond Bullock County Hospital Union Springs AL Declined to Respond Cherokee Medical Center Centre AL Declined to Respond Citizens Baptist Medical Center Talladega AL Declined to Respond Clay County Hospital Ashland AL Declined to Respond Community Hospital of Tallassee Tallassee AL Declined to Respond Coosa Valley Medical Center Sylacauga AL Declined to Respond Crenshaw Community Hospital Luverne AL Declined to Respond Crestwood Medical Center Huntsville AL Declined to Respond Cullman Regional Medical Center Cullman AL Declined -
LIST of STATUES in the NATIONAL STATUARY HALL COLLECTION As of April 2017
history, art & archives | u. s. house of representatives LIST OF STATUES IN THE NATIONAL STATUARY HALL COLLECTION as of April 2017 STATE STATUE SCULPTOR Alabama Helen Keller Edward Hlavka Alabama Joseph Wheeler Berthold Nebel Alaska Edward Lewis “Bob” Bartlett Felix de Weldon Alaska Ernest Gruening George Anthonisen Arizona Barry Goldwater Deborah Copenhaver Fellows Arizona Eusebio F. Kino Suzanne Silvercruys Arkansas James Paul Clarke Pompeo Coppini Arkansas Uriah M. Rose Frederic Ruckstull California Ronald Wilson Reagan Chas Fagan California Junipero Serra Ettore Cadorin Colorado Florence Sabin Joy Buba Colorado John “Jack” Swigert George and Mark Lundeen Connecticut Roger Sherman Chauncey Ives Connecticut Jonathan Trumbull Chauncey Ives Delaware John Clayton Bryant Baker Delaware Caesar Rodney Bryant Baker Florida John Gorrie Charles A. Pillars Florida Edmund Kirby Smith Charles A. Pillars Georgia Crawford Long J. Massey Rhind Georgia Alexander H. Stephens Gutzon Borglum Hawaii Father Damien Marisol Escobar Hawaii Kamehameha I C. P. Curtis and Ortho Fairbanks, after Thomas Gould Idaho William Borah Bryant Baker Idaho George Shoup Frederick Triebel Illinois James Shields Leonard Volk Illinois Frances Willard Helen Mears Indiana Oliver Hazard Morton Charles Niehaus Indiana Lewis Wallace Andrew O’Connor Iowa Norman E. Borlaug Benjamin Victor Iowa Samuel Jordan Kirkwood Vinnie Ream Kansas Dwight D. Eisenhower Jim Brothers Kansas John James Ingalls Charles Niehaus Kentucky Henry Clay Charles Niehaus Kentucky Ephraim McDowell Charles Niehaus -
Changing Faces Your State Hero in the U.S
Social Studies and the Young Learner 23 (4), pp. 4–9 ©2011 National Council for the Social Studies Changing Faces Your State Hero in the U.S. Capitol Dennis Denenberg here’s an exciting change occurring in the U.S. Capitol proposal — to replace one of Kansas’ statues! WHAT? How in our nation’s capital of Washington, D.C. — and YOU could anyone suggest removing a “hero” — where would the Tand YOUR STUDENTS can become involved in the old statue go? And why would anyone even bring up such an story. But before I can tell you how to play a role, I need to absurd proposal? It’s actually amusing how the idea surfaced. provide the plot! The Representative noticed that the toes of the Will Rogers statue from Oklahoma were all shiny. The statue of this beloved Pride in the Union 1930s humorist and cowboy was made of bronze, and people The story begins in 1864, while our nation was still experienc- rubbed his foot for good luck as they walked past it. But no ing the agony of the Civil War. Congressman Justin Morill one stopped to look at either of Kansas’ statues because, quite of Vermont sponsored a bill inviting every state to send two frankly, nobody knew who they were! So, what to do? Would statues of noteworthy individuals from that state for permanent Congress allow a state to take such a bold step? The citizens display in the expanded U.S. Capitol. A new wing of the House from Kansas decided not to wait; they forged ahead in the hope featuring a larger House Chamber was also constructed from Congress would accommodate their request. -
U.S. Capitol Visitor Guide
United States Capitol VISITOR GUide Welcome to the United States Capitol our visit to the GUIDED TOURS OF THE U.S. CAPITOL historic U.S. Guided tours of the U.S. Capitol begin at the Orientation Theaters on Capitol begins the lower level of the Capitol Visitor Center. “Out of Many, One,” Yas you enter the Capitol a 13-minute film, illustrates how this country established a new form of Visitor Center. With government; highlights the vital role that Congress plays in the its soaring spaces and daily lives of Americans; and introduces you to the building that houses skylight views of the the U.S. Congress. Capitol Dome, the Capitol Visitor Center Tours are free and are offered throughout the day between welcomes you on a 8:40 a.m. – 3:20 p.m., Monday – Saturday. Tour passes are required. journey of discovery. Advance Passes: Tours may The U.S. Capitol be booked in advance online at is home to the U.S. www.visitthecapitol.gov, through Congress and its two the offices of your senators or legislative bodies, representative, or through the the U.S. House of The Apotheosis of George Washington Office of Visitor Services by Representatives calling 202.226.8000. and the U.S. Senate. Through films, exhibits, and tours, you will learn about how Congress works, how this magnificent building was built, Same-Day Passes: A limited and how citizens can participate in this extraordinary experiment called number of passes are available representative democracy. each day at the Information Desks in Emancipation Hall on the lower The U.S. -
National Statuary Hall Collection: Background and Legislative Options
National Statuary Hall Collection: Background and Legislative Options Updated December 3, 2019 Congressional Research Service https://crsreports.congress.gov R42812 National Statuary Hall Collection: Background and Legislative Options Summary The National Statuary Hall Collection, located in the U.S. Capitol, comprises 100 statues provided by individual states to honor persons notable for their historic renown or for distinguished services. The collection was authorized in 1864, at the same time that Congress redesignated the hall where the House of Representatives formerly met as National Statuary Hall. The first statue, depicting Nathanael Greene, was provided in 1870 by Rhode Island. The collection has consisted of 100 statues—two statues per state—since 2005, when New Mexico sent a statue of Po’pay. At various times, aesthetic and structural concerns necessitated the relocation of some statues throughout the Capitol. Today, some of the 100 individual statues in the National Statuary Hall Collection are located in the House and Senate wings of the Capitol, the Rotunda, the Crypt, and the Capitol Visitor Center. Legislation to increase the size of the National Statuary Hall Collection was introduced in several Congresses. These measures would permit states to furnish more than two statues or allow the District of Columbia and the U.S. territories to provide statues to the collection. None of these proposals were enacted. Should Congress choose to expand the number of statues in the National Statuary Hall Collection, the Joint Committee on the Library and the Architect of the Capitol (AOC) may need to address statue location to address aesthetic, structural, and safety concerns in National Statuary Hall, the Capitol Visitor Center, and other areas of the Capitol. -
Guide to State Statues in the National Statuary Hall Collection
U.S. CAPITOL VISITOR CENTER GUide To STATe STATUes iN The NATioNAl STATUArY HAll CollecTioN CVC 19-107 Edition V Senator Mazie Hirono of Hawaii addresses a group of high school students gathered in front of the statue of King Kamehameha in the Capitol Visitor Center. TOM FONTANA U.S. CAPITOL VISITOR CENTER GUide To STATe STATUes iN The NATioNAl STATUArY HAll CollecTioN STATE PAGE STATE PAGE Alabama . 3 Montana . .28 Alaska . 4 Nebraska . .29 Arizona . .5 Nevada . 30 Arkansas . 6 New Hampshire . .31 California . .7 New Jersey . 32 Colorado . 8 New Mexico . 33 Connecticut . 9 New York . .34 Delaware . .10 North Carolina . 35 Florida . .11 North Dakota . .36 Georgia . 12 Ohio . 37 Hawaii . .13 Oklahoma . 38 Idaho . 14 Oregon . 39 Illinois . .15 Pennsylvania . 40 Indiana . 16 Rhode Island . 41 Iowa . .17 South Carolina . 42 Kansas . .18 South Dakota . .43 Kentucky . .19 Tennessee . 44 Louisiana . .20 Texas . 45 Maine . .21 Utah . 46 Maryland . .22 Vermont . .47 Massachusetts . .23 Virginia . 48 Michigan . .24 Washington . .49 Minnesota . 25 West Virginia . 50 Mississippi . 26 Wisconsin . 51 Missouri . .27 Wyoming . .52 Statue photography by Architect of the Capitol The Guide to State Statues in the National Statuary Hall Collection is available as a free mobile app via the iTunes app store or Google play. 2 GUIDE TO STATE STATUES IN THE NATIONAL STATUARY HALL COLLECTION U.S. CAPITOL VISITOR CENTER AlabaMa he National Statuary Hall Collection in the United States Capitol is comprised of statues donated by individual states to honor persons notable in their history. The entire collection now consists of 100 statues contributed by 50 states. -
THOLOS Spring 2018
VOLUME VOLUME 8 SPRING 2018 FEATURE: EVOLUTION OF WOMEN IN ART AT THE U.S. CAPITOL COOL TOOLS: BUMP CAPS PROFILE IN HISTORY: JOB W. ANGUS FEATURE: An in-depth look at the evolution of women in 6 art at the U.S. Capitol. In This Issue 15 1 ARCHITECT’S NOTEBOOK BEHIND THE SCENES: Learn more about how our 2 PROFILE IN HISTORY employees care for the historic Job W. Angus floors in the Senate. 6 FEATURE The Evolution of Women in Art at the U.S. Capitol 15 BEHIND THE SCENES Restoration and Care of Historic Marble Floors BY THE NUMBERS: 17 BY THE NUMBERS A look at the Capitol Visitor Center’s busiest season. Capitol Visitor Center 20 COOL TOOLS Making Heads Safer, 17 One Bump Cap at a Time COOL TOOLS: Read how this cool cap is keeping Capitol Building employees safer. COVER: A detailed view of the U.S. Capitol’s Statue of Freedom. 20 Photo illustration by Michael Dunn Photo by James Rosenthal ARCHITECT’S NOTEBOOK Finding Comfort In Balance t is human nature to try to find order and balance in and is topped off with intricate details of the entablature our surroundings. One of the ways I do this in my with its projecting cornice. own life is to be as organized as possible. My desk Architectural balance is also often achieved through Iis proof of this as it is always arranged neatly with symmetry. In the Main Reading Room, the art, decoration nothing out of place. This gives me a sense of ease so I and sculpture reinforce a sense of order by the strong can focus on other tasks at hand. -
United States Capitol VISITOR Guide WELCOME to the U.S
United States Capitol VISITOR GUide WELCOME TO THE U.S. CAPITOL our visit to the GUIDED TOURS OF THE U.S. CAPITOL historic U.S. Guided tours of the U.S. Capitol begin at the Orientation Theaters on Capitol begins the lower level of the Capitol Visitor Center. “Out of Many, One,” Yas you enter the Capitol a 13-minute film, illustrates how this country established a new form Visitor Center. With of government; highlights the vital role that Congress plays in the its soaring spaces and daily lives of Americans; and introduces you to the building that skylight views of the houses the U.S. Congress. Capitol Dome, the Tours are free and are offered Capitol Visitor Center throughout the day between welcomes you on a 8:30 a.m. – 3:30 p.m., Monday – journey of discovery. The Saturday. Tour passes are required. U.S. Capitol is home to the U.S. Congress and its The Apotheosis of George Washington Advance Passes: Tours may two legislative bodies, the be booked in advance online at U.S. House of Representatives and the U.S. Senate. Through www.visitthecapitol.gov, through films, exhibits, and tours, you will learn about how Congress the offices of your Senators or works, how this magnificent building was built, and how Representative, or through the citizens can participate in this extraordinary experiment called Office of Visitor Services by representative democracy. calling 202.226.8000. The U.S. Capitol stands as a monument to the American people. Same-Day Passes: A limited number of passes are available each It is where the issues facing the nation are considered, debated, day at the Information Desks in Emancipation Hall on the lower level and written into law. -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 111 CONGRESS, FIRST SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 111 CONGRESS, FIRST SESSION Vol. 155 WASHINGTON, WEDNESDAY, SEPTEMBER 30, 2009 No. 139 House of Representatives The House met at 10 a.m. and was ANNOUNCEMENT BY THE SPEAKER Mr. GUTHRIE. As cold and flu season called to order by the Speaker. is quickly approaching, media reports The SPEAKER. The Chair will enter- in my district and around the country f tain up to 15 requests for 1-minute speeches on each side of the aisle. are reporting on the exposure to the PRAYER H1N1 virus. f The Chaplain, the Reverend Daniel P. I recently met with the Kentucky Coughlin, offered the following prayer: EMPLOYER-OWNED LIFE Pork Producers, who raise concerns Lord God, as a Nation who believes in INSURANCE LIMITATION ACT that the media and individuals refer- Your Divine providence, we have seen (Mr. GUTIERREZ asked and was ring to the H1N1 flu virus as the ‘‘swine Your right hand guide us in the past. given permission to address the House flu’’ is having a negative effect on Time and time again our Union has for 1 minute.) them. been tested by economic threat, civil Mr. GUTIERREZ. Today I told my Because it is referred to as the demonstration, war, natural disaster, staff, I have good news and bad news. ‘‘swine flu,’’ individuals may think misdeeds and negligence of the past, as The bad news is that I had to cancel that the H1N1 virus can be caught from well as foreign attacks. -
U.S. Capitol Visitor Center Statues
U.S. Capitol Visitor Center Statues Statues from the National Statuary Hall Collection Twenty-four statues from the National Statuary Hall Collection are on display in the Capitol Visitor Center, the latest addition to the United States Capitol. The collection began in 1864 when the Congress invited each state to donate a marble or bronze statue of a distinguished citizen. The one hundredth statue was unveiled in 2005. The statues represent the diversity of the country as well as the diversity of the contributions made by its citizens. They are among those most recently donated by the states; the most recent will be Helen Keller, donated by Alabama. Six depict female subjects and five depict Native Americans (including one Pacific Island native), two of whom are women. The statues were created by both male and female sculptors. Twelve of the statues represent persons who lived in or into the twentieth century, several of whom were citizens who did not hold government or military office. They include many of the most visually striking sculptures in the collection. At least one statue from every state remains on display in the historic part of the Capitol. The statues on view in the Capitol Visitor Center, with the dates they were placed in the Capitol, are listed below: William Edgar Borah (1865-1940)—Idaho Bronze by Bryant Baker, 1947 Emancipation Hall King Kamehameha I of Hawaii is one of the 24 state statues on display in the Capitol Visitor Center. Lawyer, U.S. senator 1907-1940. As Chairman of Committee on Education and Labor, sponsored bills that created the Department of Labor and the Children’s Bureau. -
Memorials and Gender 8:30 - 10:40Am Friday, 1St May, 2020 Location Federal, B Level Track Track 4 Session Chair Valentina Rozas-Krause, Andrew M
PS19 Breaking the Bronze Ceiling: Memorials and Gender 8:30 - 10:40am Friday, 1st May, 2020 Location Federal, B Level Track Track 4 Session Chair Valentina Rozas-Krause, Andrew M. Shanken All session times are in US PACIFIC DAYLIGHT TIME (PDT). 8:35 - 8:55am PS19 La Marianne in colonial North Africa: A civilizing missionary? Daniel E Coslett University of Washington, Seattle, USA Abstract Representations of women were relatively rare in the public art of French colonial North Africa. In the Maghreb, which was far from immune to nineteenth-century European “statuemania,” statues of male politicians, soldiers, clerics, and others dominated. When women did appear, however, they were almost exclusively present in the form of allegorical sculptures intended to represent France, and thus the state, culture, and power of the colonizing authority. The stoic Marianne figure — a scantily clad woman dressed in classical garb and Phrygian (or Liberty) cap — was deployed in public squares and inside town halls for this inescapably political purpose. While a number of scholars have addressed the use of the female body in allegorical French art more broadly, the socio-political significance of this art form within the context of colonial built environments has escaped critical interrogation. This paper, which considers monuments and statues designed for Tunisia and Algeria during the nineteenth and twentieth centuries, attends to compelling questions regarding socio-political symbolism in public spaces, aesthetic responsiveness to cultural norms, and the accommodation of various audiences. Within the Muslim context, what did the installation of statues depicting semi-nude White women mean? In a time and place in which Europeans fetishized North African culture and female bodies, how did La Marianne function for both French and indigenous viewers? How were standard representations popular in Europe modified for use in occupied North Africa? Assessing the degree to which imperialist intentions changed meanings and complicated matters is the aim of this paper. -
Andrew Nash William Robertson Nicoll, The
57 ANDREW NASH WILLIAM ROBERTSON NICOLL, THE KAILYARD NOVEL AND THE QUESTION OF POPULAR CULTURE In his influential study The Break-Up of Britain, Tom Nairn states an opinion of Kailyard that can reasonably be declared axiomatic: ‘the whole thing is related to the much larger field of popular culture.’1 Whether it is used in discussions of Scottish literature, cinema, television, tourism, history or politics, the word Kailyard invariably stands as a synonym for kitsch. The widespread use of the term has resulted, however, in a general assumption that the works of literature most closely associated with it – the early fiction of S.R. Crockett, Ian Maclaren and J.M. Barrie – must also be understood (and in some senses dismissed) as popular culture. In discussions about Kailyard, these three writers are often lumped together with images from various media with which they are at best only tangentially related. There is little similarity between a Barrie novel and a strip cartoon in the Sunday Post, yet commentators regularly see such divergent texts as part of the same ongoing movement in Scottish culture; a movement that allegedly promotes a cheapening, evasive, stereotyped view of Scottish life.2 Even if we narrow the discussion to the literary scene at the end of the nineteenth century, the assumption remains that the Kailyard novel represents a newly-emerging form of popular fiction which would come to flower in the early years of the twentieth century. In a recent essay, Beth Dickson has suggested that ‘continuing confusions about the Kailyard in Scottish criticism’ are caused by a failure to ‘distinguish effectively between popular and literary writing’.3 Once we ‘understand the significance of the Kailyard as popular literature’, she argues, we can ‘cut the Gordian knot of the Kailyard’ and see it at last for what it is – ‘an outright Scottish success.’4 The easy identification of Kailyard with popular culture is, however, misleading in two important ways.