The Inventory of the Carleton Beals Collection #1347
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Oral History Interview with Roy Emerson Stryker, 1963-1965
Oral history interview with Roy Emerson Stryker, 1963-1965 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Roy Stryker on October 17, 1963. The interview took place in Montrose, Colorado, and was conducted by Richard Doud for the Archives of American Art, Smithsonian Institution. Interview Side 1 RICHARD DOUD: Mr. Stryker, we were discussing Tugwell and the organization of the FSA Photography Project. Would you care to go into a little detail on what Tugwell had in mind with this thing? ROY STRYKER: First, I think I'll have to raise a certain question about your emphasis on the word "Photography Project." During the course of the morning I gave you a copy of my job description. It might be interesting to refer back to it before we get through. RICHARD DOUD: Very well. ROY STRYKER: I was Chief of the Historical Section, in the Division of Information. My job was to collect documents and materials that might have some bearing, later, on the history of the Farm Security Administration. I don't want to say that photography wasn't conceived and thought of by Mr. Tugwell, because my backround -- as we'll have reason to talk about later -- and my work at Columbia was very heavily involved in the visual. -
Hotel Bristol” Question in the First Moscow Trial of 1936
New Evidence Concerning the “Hotel Bristol” Question in the First Moscow Trial of 1936 Sven-Eric Holmström Leon Sedov Leon Trotsky John Dewey 1. Introduction The purpose of this essay is to introduce new evidence regarding the Hotel Bristol in Copenhagen, the existence of which was questioned after the First Moscow Trial of August, 1936. The issue of Hotel Bristol has perhaps been the most used “evidence” for the fraudulence of the Moscow Trials. This essay examines the Hotel Bristol question as it was dealt with in the Dewey Commission hearings of 1937 in Mexico by carefully examining newly uncovered photographs and primary documents. The essay concludes that • There was a Bristol located where the defendant in question said it was. This Bristol was in more than one way closely connected to a hotel. • Leon Trotsky lied deliberately to the Dewey Commission more than once. • Trotsky’s son Leon Sedov and one of Trotsky’s witnesses also lied. • The examination of the Hotel Bristol question made by the Dewey Commission can at the best be described as sloppy. This means that the credibility of the Dewey Commission must be seriously questioned. Copyright © 2008 by Sven-Eric Holmström and Cultural Logic, ISSN 1097-3087 Sven-Eric Holmström 2 • The author Isaac Deutscher and Trotsky’s secretary, Jean Van Heijenoort, covered up Trotsky’s continuing contact with his supporters in the Soviet Union. • It was probably Deutscher and/or Van Heijenoort who purged the Harvard Trotsky Archives of incriminating evidence, a fact discovered by researchers during the early 1980s. • This is the strongest evidence so far that the testimony in the 1936 Moscow Trial was true, rather than a frame up. -
Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945
Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 i © 2014 Jennifer Elizabeth Anne Rudd All rights reserved ii Abstract Posing, Candor, and the Realisms of Photographic Portraiture, 1839-1945 Jennifer Elizabeth Anne Rudd This study offers a history of the concept of realism in portrait photography through the examination of a set of categories that have colored photographic practices since the origins of the medium in 1839: the posed and the candid. The first section of this study deals with the practices of posing in early photography, with chapters on the daguerreotype, the carte de visite, and the amateur snapshot photograph. Considering technological advances in conjunction with prevailing cultural mores and aesthetic practices, this section traces the changing cultural meaning of the portrait photograph, the obsolescence of the pose, and the emergence of an “unposed” aesthetic in photography. The second section of this study examines three key photographers and their strategies of photographic representation, all of which involved candid photography: it looks at Erich Salomon’s pioneering photojournalism, Humphrey Spender’s politicized sociological photography, and Walker Evans’ complex maneuvering of the documentary form. Here, the emphasis is on the ways in which the trope of the candid informed these three distinct spheres of photography in the early 20th century, and the ways in which the photographic aesthetic of candor cohered with—or contested—political and cultural developments of the interwar period in Germany, Britain, and the United States. -
10 January 1971 I Aekaowledge Receipt of Your Letter of 23
CVH/je cc: Mr. Narasimhan, Mr. Lemieux •/ 10 January 1971 I aekaowledge receipt of your letter of 23 December era the subject of the appointment of Er. Glenn f . Seaborg as President of the Fourth International Conference on tihe Peaceful Uses of Atomic Energy* to be held to Septeaber 1971- Is tbls conaexiaa, I jaay recall tfeat so far, three conferences have been held on the Peaceful Uses of Atomic Energy* The first, toeld ta Genera In Au^ist 1955j was presided over by lr. Horni J, Bhstbhs of Inclla, Tbe second, held in Geneva in September 1958, was prestded over by 8r» Fraiscis Perrin of Isaacs. The- thlrd# -beM in Geaeva from 51 August to 9 September 1S^» «s» presided over lay Be. V.S. Saelyanou of the USSR. Srora the above you will trndsrstand that there is a principle of geographical rotation in regard to the presideaejr of the international conferences on the Peaceful Uses of Atomic Eaergy* For the fourth said conference, the Scienti- fic Advisory Cofflmittee reeonaaended that an American should preside* Dr. CUeaa Seaborg VBE nosjioated for the position of President by the Government of the USA, and I had no alternative save to accept the ncaiination. X also aetocwledge vith thanks the book "Population Control throu^t Jfaelear P^Hution** stirij with your letter. I have read it with great tsterest* ¥ith sincerely, U Mrs* Bath Gage-Colby 0,2?. Sepresejstative Women*0 International League for Beace and freedom Penthouse Sis 307 Sast Mfrth Street Hew torkj B»Y. 10017 eaatte y- and ^w FOUNDED IN 1915 /First President: JANE ADDAMS UNITED STATES SECTION / JANE ADDAMS HOUSE / 2006 WALNUT STREET / PHILADELfm PA. -
Contemporary U.S. Expatriate Artists in San Miguel De Allende, Mexico: Challenges of Transnationalism and Acculturation
University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2014 Contemporary U.S. Expatriate Artists in San Miguel De Allende, Mexico: Challenges of Transnationalism and Acculturation Andrés Gamón University of the Incarnate Word, [email protected] Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the International and Area Studies Commons, Mass Communication Commons, and the Sociology Commons Recommended Citation Gamón, Andrés, "Contemporary U.S. Expatriate Artists in San Miguel De Allende, Mexico: Challenges of Transnationalism and Acculturation" (2014). Theses & Dissertations. 40. https://athenaeum.uiw.edu/uiw_etds/40 This Dissertation is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. CONTEMPORARY U.S. EXPATRIATE ARTISTS IN SAN MIGUEL DE ALLENDE, MEXICO: CHALLENGES OF TRANSNATIONALISM AND ACCULTURATION by ANDRÉS GAMÓN, BA, MA A DISSERTATION Presented to the faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF THE INCARNATE WORD December 2014 Copyright by Andrés Gamón 2014 iii ACKNOWLEDGEMENTS I owe thanks to many people who were part of this academic journey. I would like to thank Dr. Patricia Watkins for encouraging me to consider the International Education and Entrepreneurship program at the University of the Incarnate Word. I would also like to acknowledge Dr. Osman Özturgut for being my committee chair and mentor. I would also like to acknowledge Dr. Norman St. Clair, Dr. Absael Antelo, and my external committee member from UTSA, Dr. -
(Formerly Books Abroad) World Literature
University of Oklahoma Libraries Western History Collections World Literature Today (formerly Books Abroad) World Literature Today Collection. Papers, 1926–1994. 52 feet. Literary journal. Correspondence (1926–1994) between World Literature Today editors and University of Oklahoma administrators and faculty, and with authors and prospective authors, regarding the operation of the journal, its publishing procedures and standards, and works published. Literary correspondents include Sherwood Anderson, John Dos Passos, Upton Sinclair, Thornton Wilder, and H. L. Mencken. Also included in this collection are specialized files (1926– 1951) regarding the flight of authors and playwrights from Nazi Germany and Spain, and their exile in the United States and Mexico; reasons why women have not produced successful plays; and the special writing projects undertaken by prominent authors. ___________________ Box 1 General correspondence to and about Books Abroad from literary figures, 1934-1951. 1-1 Letter from Thomas Mann, 1951, congratulating Books Abroad on its 25th anniversary. 1-2 Correspondence regarding the consequences of the displacement of writers from Germany and Spain, 1942. Authors include John Dos Passos, Burton Rascoe, Gilbert Seldes, Waldo Frank, John Haynes Holmes, Ernst Bloch (in German), Alfred Werner, Hans Marchwitza, Katherine Ann Porter, Ferdinand Bruckner, and Otto Strasser, Joseph Wittlin, and three others. 1-3 Correspondence regarding article entitled "My Debt to Books" in which writers were asked to list their literary influences, 1937-1938. Several of these letters are not in English. Includes letters from: Ventura Garcia Calderon, Dr. Otto Brandt, Dr. Alfred Neumann, Alfred Grunewald, Dr. Karl Hans Strobl, Denys Amiel, Norman Angell, Maurice Dekobra, Paul Hazard, Blaise Cortissoz, Julian Street, Waldo Frank, Mariano Azuela, Dr. -
The New York Intellectuals and the Cuban Revolution
INTRODUCTION In April 1959, during his first trip to the United States after the triumph of the Cuban Revolution, Fidel Castro spent sev- eral days at Princeton University. His visit was organized by the American Whig- Cliosophic Society and the Woodrow Wilson School’s Special Program in American Civilization. These groups had learned of Castro’s trip to Washington, which had been spon- sored by the American Society of Newspaper Editors, and with the encouragement of Roland T. Ely, a scholar of the Cuban sugar in- dustry, they invited Castro to deliver a keynote address on April 20 for a seminar entitled, “The United States and the Revolution- ary Spirit.”1 Another celebrated speaker during the seminar was Princeton professor Hannah Arendt, who was doubtless also in at- tendance for Castro’s address that evening.2 Castro, who at the time held the post of Cuban prime minister, began his speech by clarifying that he was neither a theorist nor a historian of revolutions. As he reminded his audience, his knowl- edge of revolutions came rather from his engagement with a rev- olution that had taken place in a small Caribbean nation close to the United States. In his view, the Cuban Revolution had debunked several myths propagated by the Latin American Right: that a 2 INTRODUCTION revolution was impossible if the people were hungry, and that a revolution could never defeat a professional army equipped with modern weapons. In keeping with the seminar’s predominant per- spective, Castro described himself as a product more of the 1776 American Revolution than of either the 1789 French Revolution or the 1917 Russian Revolution, insofar as the last two upheavals had been driven by “force” and “terror” wielded by minorities.3 As he put it, the groups that took power in France and Russia “used force and terror to form a new terror.” During his address, Castro situated his ideology well within the scope of a democratic American humanism shared by the United States and Latin America. -
Oral History Interview with Ben Shahn, 1964 April 14
Oral history interview with Ben Shahn, 1964 April 14 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Ben Shahn on April 14, 1964. The interview was conducted at Ben Shahn's home in Roosevelt, New Jersey by Richard Doud for the Archives of American Art, Smithsonian Institution. Interview RICHARD DOUD: I'd like to start with a general background of what you were doing prior to the time and how you managed to get with the Resettlement Program. BEN SHAHN: Well, I told you I shared a studio with Walker Evans before any of this came along. I became interested in photography when I found my own sketching was inadequate. I was at that time very interested in anything that had details, you know, I remember one thing, I was working around 14th Street and that group of blind musicians were constantly playing there, I would walk in front of them and sketch, and walk backwards and sketch and I found it was inadequate. So I asked by brother to buy me a camera because I didn't have the money for it. He bought me a Leica and I promised him - this was kind of a bold promise - I said, "If I don't get in a magazine off the first roll you can have your camera back." I did get into a magazine, a theater magazine at the time. -
Augusto César Sandino: Hefo Myth of the Nicaraguan Nation
Université de Montréal Augusto César Sandino: Hefo Myth of the Nicaraguan Nation par Sophia Koutsoyannis Département d’histoire Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de Maître ès arts (M.A.) en histoire mai 2004 © Sophia Koutsoyannis, 2004 Ç N) D C’ Université de Montréal Direction des bibliothèques AVIS L’auteur a autorisé ‘Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. -
A Comparative Study of the Afro-Cuban Literary Imaginary of Guillermo Cabrera Infante and Carleton Beals Raúl Rubio the New School for Public Engagement Hipertexto
Hipertexto 20 Verano 2014 pp. 84-104 Parodying the Popular: A Comparative Study of the Afro-Cuban Literary Imaginary of Guillermo Cabrera Infante and Carleton Beals Raúl Rubio The New School for Public Engagement Hipertexto his article comparatively examines the literary discursive formulas pertaining to Afro- T Cuban culture as seen in the texts Tres Tristes Tigres (1967) by Guillermo Cabrera Infante and The Crime of Cuba (1933) by Carleton Beals. Amidst the continued effort of defining a national culture, a project evident during the first half of the twentieth century in Cuba, given the creation of the Republic of Cuba in 1902, the work of Cabrera Infante and Beals, albeit representative of distinct historical timeframes, displays Cuban racial identity in a format that is similar, not only in its style, but in the context of its proposed intent, given the parodist manner both share.1 Throughout the literature and the arts of those eras, particularly throughout texts that feature the city of Havana and its corresponding popular cultures during the 1930s through the 1950s, it was common practice to illustrate national culture through literary representations that featured modes of “performing” race and ethnicity.2 These modes, in a certain sense, essentialized and 1 Among the key studies that analyze Cabrera Infante’s use of parodying, the study by William Rowlandson (2003) corroborates the following, “Parody, by the majority of standard definitions, is marginalized exclusively within the realm of imitation for the operatives of ridicule” (620) and “Parody, therefore, is a manner of imitation, in that the style, subject matter, language, or some other aspect of an artist or artistic style is reproduced in the work of another artist” (620). -
American Road Photography from 1930 to the Present A
THE PROFANE AND PROFOUND: AMERICAN ROAD PHOTOGRAPHY FROM 1930 TO THE PRESENT A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Han-Chih Wang Diploma Date August 2017 Examining Committee Members: Professor Gerald Silk, Department of Art History Professor Miles Orvell, Department of English Professor Erin Pauwels, Department of Art History Professor Byron Wolfe, Photography Program, Department of Graphic Arts and Design THE PROFANE AND PROFOUND: AMERICAN ROAD PHOTOGRAPHY FROM 1930 TO THE PRESENT ABSTRACT Han-Chih Wang This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. -
Kommunikationswissenschaft: Massenkommunikation - Medien - Sprache
soFid Sozialwissenschaftlicher Fachinformationsdienst Kommunikationswissenschaft: Massenkommunikation - Medien - Sprache 2010|2 Kommunikationswissenschaft Massenkommunikation - Medien - Sprache Sozialwissenschaftlicher Fachinformationsdienst soFid Kommunikationswissenschaft Massenkommunikation - Medien - Sprache Band 2010/2 bearbeitet von Hannelore Schott GESIS - Leibniz-Institut für Sozialwissenschaften 2010 ISSN: 1431-1038 Herausgeber: GESIS - Leibniz-Institut für Sozialwissenschaften Abteilung Fachinformation für Sozialwissenschaften (FIS) bearbeitet von: Hannelore Schott Programmierung: Siegfried Schomisch Druck u. Vertrieb: GESIS - Leibniz-Institut für Sozialwissenschaften Lennéstr. 30, 53113 Bonn, Tel.: (0228)2281-0 Printed in Germany Die Mittel für diese Veröffentlichung wurden im Rahmen der institutionellen Förderung von GESIS durch den Bund und die Länder gemeinsam bereitgestellt. © 2010 GESIS. Alle Rechte vorbehalten. Insbesondere ist die Überführung in maschinenlesbare Form sowie das Speichern in Informationssystemen, auch auszugsweise, nur mit schriftlicher Ein- willigung des Herausgebers gestattet. Inhalt Vorwort .................................................................................................................................................7 Sachgebiete 1 Massenkommunikation 1.1 Allgemeines...............................................................................................................................9 1.2 Geschichte der Medien, Pressegeschichte...............................................................................24