Central Administrative Records, FY 1983-FY 1987
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Monteiro Lobato Acontece Na América: a Publicação De Brazilian Short
ROSEMARY DE PAULA LEITE CARTER Monteiro Lobato acontece na América: Análise de duas transposições do conto “O Engraçado Arrependido” de Monteiro Lobato para o idioma inglês, respectivamente, em 1925 e 1947 e a relação intelectual do crítico literário Isaac Goldberg com o autor brasileiro Orientadora: Prof.ª Dr.ª Marisa Philbert Lajolo Universidade Presbiteriana Mackenzie São Paulo 2011 2 ROSEMARY DE PAULA LEITE CARTER Monteiro Lobato acontece na América: Análise de duas transposições do conto “O Engraçado Arrependido” de Monteiro Lobato para o idioma inglês, respectivamente, em 1925 e 1947 e a relação intelectual do crítico literário Isaac Goldberg com o autor brasileiro Tese apresentada ao Curso de Letras da Universidade Presbiteriana Mackenzie como pré- requisito para a obtenção do título de Doutor em Letras Orientadora: Prof.ª Dr.ª. Marisa Philbert Lajolo Universidade Presbiteriana Mackenzie São Paulo 2011 3 C325m Carter, Rosemary de Paula Leite. Monteiro Lobato acontece na América: análise de duas transposições do conto "O Engraçado Arrependido" de Monteiro Lobato para o idioma inglês, respectivamente, em 1925 e 1947 e a relação intelectual entre o crítico Isaac Goldberg e o autor brasileiro / Rosemary de Paula Leite Carter. - 365 f. : il. ; 30 cm. Tese (Doutorado em Letras) - Universidade Presbiteriana Mackenzie, São Paulo, 2012. Bibliografia: f. 280-289. 1. Monteiro Lobato, José Bento 2. Transposição 3.Goldberg, Isaac. I. Título. CDD 869.31 4 ROSEMARY DE PAULA LEITE CARTER Monteiro Lobato acontece na América: Análise de duas transposições -
Selected Art Related Letters from Historical Society of Pennsylvania's Society Collection
Selected art related letters from Historical Society of Pennsylvania's Society Collection Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Selected art related letters from Historical Society of Pennsylvania's Society Collection AAA.histsopa Collection Overview Repository: Archives of American Art Title: Selected art related letters from Historical Society of Pennsylvania's Society Collection Identifier: AAA.histsopa Date: 1760-1935 -
Mark Twain's Theories of Morality. Frank C
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1941 Mark Twain's Theories of Morality. Frank C. Flowers Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Flowers, Frank C., "Mark Twain's Theories of Morality." (1941). LSU Historical Dissertations and Theses. 99. https://digitalcommons.lsu.edu/gradschool_disstheses/99 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. MARK TWAIN*S THEORIES OF MORALITY A dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College . in. partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Prank C. Flowers 33. A., Louisiana College, 1930 B. A., Stanford University, 193^ M. A., Louisiana State University, 1939 19^1 LIBRARY LOUISIANA STATE UNIVERSITY COPYRIGHTED BY FRANK C. FLOWERS March, 1942 R4 196 37 ACKNOWLEDGEMENT The author gratefully acknowledges his debt to Dr. Arlin Turner, under whose guidance and with whose help this investigation has been made. Thanks are due to Professors Olive and Bradsher for their helpful suggestions made during the reading of the manuscript, E. C»E* 3 7 ?. 7 ^ L r; 3 0 A. h - H ^ >" 3 ^ / (CABLE OF CONTENTS ABSTRACT . INTRODUCTION I. Mark Twain— philosopher— appropriateness of the epithet 1 A. -
Maryland Historical Magazine, 1976, Volume 71, Issue No. 3
AKfLAND •AZIN Published Quarterly by the Maryland Historical Society FALL 1976 Vol. 71, No. 3 BOARD OF EDITORS JOSEPH L. ARNOLD, University of Maryland, Baltimore County JEAN BAKER, Goucher College GARY BROWNE, Wayne State University JOSEPH W. COX, Towson State College CURTIS CARROLL DAVIS, Baltimore RICHARD R. DUNCAN, Georgetown University RONALD HOFFMAN, University of Maryland, College Park H. H. WALKER LEWIS, Baltimore EDWARD C. PAPENFUSE, Hall of Records BENJAMIN QUARLES, Morgan State College JOHN B. BOLES, Editor, Towson State College NANCY G. BOLES, Assistant Editor RICHARD J. COX, Manuscripts MARY K. MEYER, Genealogy MARY KATHLEEN THOMSEN, Graphics FORMER EDITORS WILLIAM HAND BROWNE, 1906-1909 LOUIS H. DIELMAN, 1910-1937 JAMES W. FOSTER, 1938-1949, 1950-1951 HARRY AMMON, 1950 FRED SHELLEY, 1951-1955 FRANCIS C. HABER 1955-1958 RICHARD WALSH, 1958-1967 RICHARD R. DUNCAN, 1967-1974 P. WILLIAM FILBY, Director ROMAINE S. SOMERVILLE, Assistant Director The Maryland Historical Magazine is published quarterly by the Maryland Historical Society, 201 W. Monument Street, Baltimore, Maryland 21201. Contributions and correspondence relating to articles, book reviews, and any other editorial matters should be addressed to the Editor in care of the Society. All contributions should be submitted in duplicate, double-spaced, and consistent with the form out- lined in A Manual of Style (Chicago: University of Chicago Press, 1969). The Maryland Historical Society disclaims responsibility for statements made by contributors. Composed and printed at Waverly Press, Inc., Baltimore, Maryland 21202,. Second-class postage paid at Baltimore, Maryland. © 1976, Maryland Historical Society. 6 0F ^ ^^^f^i"^^lARYLA/ i ^ RECORDS LIBRARY \9T6 00^ 26 HIST NAPOLIS, M^tl^ND Fall 1976 #. -
Valeska Soares B
National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work. -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism. -
Van Wyck Brooks and the Progressive Frame of Mind 30
van wyck brooks and the progressive frame of mind peter w. dowel I It has long been recognized that Van Wyck Brooks's America's Coming-of-Age (1915) and its companion piece Letters and Leadership (1918) captured the insurgent mood of a young generation of intellec tuals who themselves came of age with an outburst of critical and artistic activity in the years just prior to America's entry into World War I.1 To those of his contemporaries espousing a literature in touch with the wellsprings of modern American life, Brooks gave, as one of them put it, "an afflatus inchoate, vague, sentimental," but one that brought vital energy and creative focus to their cause.2 Although his demand for a truly national literature growing out of a healthy national culture was hardly new, harking back to Emerson and Whitman among others, Brooks's vigorous restatement of this theme expressed particularly the concerns of the present moment: a belief in self-expression as an ideal of personal growth and the basis for a flourishing artistic tradition; a sense of social responsibility, often tinged by some form of political radicalism; an emphasis on freedom, experiment and creativity in all phases of the national life, and especially a youthful rejection of all that smacked of the "old America." The diverse ideas and interests of Randolph Bourne, Floyd Dell, Max Eastman, Waldo Frank, Walter Lippmann, John Reed, Paul Rosenfeld and Harold Stearns, to name but a few, indelibly stamped what Brooks called "the newness." Having come into their own at the high-water mark of the Progressive era, these young men felt that the current reform agitation had fallen far short of creating a new social and cultural order. -
Houlton Times, October 10, 1917
,ry Library AROOSTOOK TIMES SHIRE TOWN OF April 13, I860 AROOSTOOK COUNT! To HOULTON TIMES December 27, 191J^ HOULTON, MAINE, WEDNESDAY, OCTOBER 10, 1917 NO. 41 VOL. LVIt. oat growers received 67 cents WHAT WE’LL GET FROM WAR victories and these as the German rul POTASH TO LAST HALF ers know were not due to military YOUR OLD CLOTHES STARTLING FIGURES ON bushel, where as this was equaled oi Every traitor and every near trait supremacy but to the utter demora A CENTURY MAINE’ S GRAIN CROP exceeded by but seven othei states. or in the United States is inquiring ROOF” THE SOLDIERS lization of the Russian government At last the bill permitting develop With a grain crop in 1916, the total Corn is always a reliable Maine “What are we going to get out of this Did you ever imagine that the old and army. ment of what has been called by valuation of which was $5,601,000, product. No doubt the average Maine war?” >uit von discarded may go into a roof The U-boat campaign has not ac- chemists “the greatest known deposit Maine is entitled to some considera man figures that it is the most valu Well, among other things, we are c\ei >our husband's, or brother's, or eomplished its purpose. Thousands °f potash in the world" has been tion a cereal producing territory able grain crop the state produces, going to get a better grade of pat son's head in one of Unrip Sam’s of tons of shipping have been des- passed by both the Senate and the These are the figures of the nation yet it falls below oats. -
The Notebook of Bass Otis, Philadelphia Portrait Painter
The Notebook of Bass Otis, Philadelphia Portrait Painter THOMAS KNOLES INTRODUCTION N 1931, Charles H. Taylor, Jr., gave the American Antiquarian Society a small volume containing notes and sketches made I by Bass Otis (1784-1 S6i).' Taylor, an avid collector of Amer- ican engravings and lithographs who gave thousands of prints to the Society, was likely most interested in Otis as the man generally credited with producing the first lithographs made in America. But to think of Otis primarily in such terms may lead one to under- estimate his scope and productivity as an artist, for Otis worked in a wide variety of media and painted a large number of portraits in the course of a significant career which spanned the period between 1812 and 1861. The small notebook at the Society contains a varied assortment of material with dated entries ranging from 1815 to [H54. It includes scattered names and addresses, notes on a variety of sub- jects, newspaper clippings, sketches for portraits, and even pages on which Otis wiped off his paint brush. However, Otis also used the notebook as an account book, recording there the business side of his life as an artist. These accounts are a uniquely important source of information about Otis's work. Because Otis was a prohfic painter who left many of his works unsigned, his accounts have been I. The notebook is in the Manuscripts Department, American Andquarian Society. THOMAS KNOLES is curator of manuscripts at the American Andquarian Society. Copyright © i<^j3 by American Andquarian Society Í79 Fig. I. Bass Otis (i7«4-iH6i), Self Portrait, iHfio, oil on tin, y'/z x f/i inches. -
New York Views
William Reese Company AMERICANA • RARE BOOKS • LITERATURE AMERICAN ART • PHOTOGRAPHY 409 TEMPLE STREET NEW HAVEN, CONNECTICUT 06511 (203) 789-8081 FAX (203) 865-7653 [email protected] www.williamreesecompany.com New York Views New York City Hall 1. Bachmann, John: NEW YORK CITY HALL, PARK AND ENVIRONS. New York. [ca. 1849]. Tinted lithograph with additional hand-coloring, 13½ x 18¼ inches. Mild foxing. Very good. Matted and framed. An attractive view of Broadway, New York City by famed artist John Bachmann who was, at the time, only at the beginning of a brilliant printmaking career. According to Reps, Bachmann executed two views of New York City in 1849, though Reps does not record this one. Here, Bachmann portrays Broadway in a clean and very inviting manner. “Along the broad thoroughfare moves a smart array of carriages, coaches, and fashionably-dressed pedestrians. The fountain playing in the imperfect triangle of City Hall Park had now permanently replaced the temporary one erected there during the Croton Water Celebration that took place there in 1842. Beyond the fountain is City Hall itself, admired by residents and visitors alike for its architectural splendor: a successful adaptation of French Renaissance and American colonial influences” – Deák. Bachmann’s reputation as a fine artist, lithographer, and printer is assured through his work, even if only considering his New York City views. Little is known of the man himself, though he is believed to have emigrated from Germany in the 1840s, bringing with him a fully-developed style and competence unusual for the period. “No finer artist of city views worked in America than John Bachmann” – Reps. -
Sarah Miriam Peale's Mary Leypold Griffith and the Staging Of
Sarah Miriam Peale’s Mary Leypold Griffith and the Staging of Republican Motherhood Sarah Leary In 1841, Sarah Miriam Peale painted a portrait of a longings.1 Unfortunately, Peale’s death mask of Mary Griffith young Mary Leypold Griffith (Figure 1). Mary sits on the floor. doesn’t survive, but it would have looked somewhat like the Her left leg is gracefully crossed over the right. Her vibrant, life mask taken a few months prior to Lincoln’s assassination red dress stands out against the nondescript background. She (Figure 2). Such masks developed from the tradition of death holds a white ribbon that she cuts to form a jagged pattern, masks and offer insight into what Peale’s mask of Mary may and yet looks up from this activity to the viewers. But her have looked like. The Griffith family also lent Peale a minia- mature expression and poise seem incommensurate with her ture of Mary (also lost) to aid in her representation of their age. Without the benefit of the object label, a viewer would daughter. These aids were supposed to help Peale represent assume that Mary is four or five – old enough to wield scissors Mary as she appeared and lived in the days before she died, and to understand the educational materials that surround but Peale took several liberties with Mary’s appearance her. But in point of fact, Mary Griffith died of Scarlet Fever at that aged her beyond her years and introduced books and the age of two and a half in 1841 – the same year in which symbols that allude to the future role Mary never fulfilled. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.