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Federal Relief Programs in the 19Th Century: a Reassessment
The Journal of Sociology & Social Welfare Volume 19 Issue 3 September Article 8 September 1992 Federal Relief Programs in the 19th Century: A Reassessment Frank M. Loewenberg Bar-Ilan University, Israel Follow this and additional works at: https://scholarworks.wmich.edu/jssw Part of the Social History Commons, Social Work Commons, and the United States History Commons Recommended Citation Loewenberg, Frank M. (1992) "Federal Relief Programs in the 19th Century: A Reassessment," The Journal of Sociology & Social Welfare: Vol. 19 : Iss. 3 , Article 8. Available at: https://scholarworks.wmich.edu/jssw/vol19/iss3/8 This Article is brought to you by the Western Michigan University School of Social Work. For more information, please contact [email protected]. Federal Relief Programs in the 19th Century: A Reassessment FRANK M. LOEWENBERG Bar-Ilan University Israel School of Social Work The American model of the welfare state, incomplete as it may be, was not plucked out of thin air by the architects of the New Deal in the 1930s. Instead it is the product and logical evolution of a long histori- cal process. 19th century federal relief programsfor various population groups, including veterans, native Americans, merchant sailors, eman- cipated slaves, and residents of the District of Columbia, are examined in order to help better understand contemporary welfare developments. Many have argued that the federal government was not in- volved in social welfare matters prior to the 1930s - aside from two or three exceptions, such as the establishment of the Freed- man's Bureau in the years after the Civil War and the passage of various federal immigration laws that attempted to stem the flood of immigrants in the 1880s and 1890s. -
Definingromanticnationalism-Libre(1)
UvA-DARE (Digital Academic Repository) Notes towards a definition of Romantic Nationalism Leerssen, J. Publication date 2013 Document Version Final published version Published in Romantik Link to publication Citation for published version (APA): Leerssen, J. (2013). Notes towards a definition of Romantic Nationalism. Romantik, 2(1), 9- 35. http://ojs.statsbiblioteket.dk/index.php/rom/article/view/20191/17807 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 NOTES TOWARDS A DEFINITION Romantic OF ROMANTIC Nationalism NATIONALISM [ JOEP LEERSSEN ABSTR While the concept ‘Romantic nationalism’ is becoming widespread, its current usage tends to compound the vagueness inherent in its two constituent terms, Romanticism and na- tionalism. In order to come to a more focused understanding of the concept, this article A surveys a wide sample of Romantically inflected nationalist activities and practices, and CT nationalistically inflected cultural productions and reflections of Romantic vintage, drawn ] from various media (literature, music, the arts, critical and historical writing) and from dif- ferent countries. -
Georgetown's Historic Houses
VITUAL FIELD TRIPS – GEORGETOWN’S HISTORIC HOUSES Log Cabin This log cabin looks rather small and primitive to us today. But at the time it was built, it was really quite an advance for the gold‐seekers living in the area. The very first prospectors who arrived in the Georgetown region lived in tents. Then they built lean‐tos. Because of the Rocky Mountain's often harsh winters, the miners soon began to build cabins such as this one to protect themselves from the weather. Log cabin in Georgetown Photo: N/A More About This Topic Log cabins were a real advance for the miners. Still, few have survived into the 20th century. This cabin, which is on the banks of Clear Creek, is an exception. This cabin actually has several refinements. These include a second‐story, glass windows, and interior trim. Perhaps these things were the reasons this cabin has survived. It is not known exactly when the cabin was built. But clues suggest it was built before 1870. Historic Georgetown is now restoring the cabin. The Tucker‐Rutherford House James and Albert Tucker were brothers. They ran a grocery and mercantile business in Georgetown. It appears that they built this house in the 1870s or 1880s. Rather than living the house themselves, they rented it to miners and mill workers. Such workers usually moved more often than more well‐to‐do people. They also often rented the places where they lived. When this house was built, it had only two rooms. Another room was added in the 1890s. -
Eugène Delacroix the Artist Eugène Delacroix Born in Saint-Maurice-En-Chalencon, France 1798; Died in Paris, France 1863
Eugène Delacroix Horse Frightened by Lightning , 1824–1829 watercolor, white heightening, gum Arabic watercolor on paper, 94 x 126 in. Museum of Fine Arts, Budapest, Hungary Self-Portrait, c.1837 oil on canvas The Louvre, Paris The Artist Eugène Delacroix Born in Saint-Maurice-en-Chalencon, France 1798; died in Paris, France 1863 Ferdinand Victor Eugène Delacroix was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic School. Born in France in 1798, Delacroix was orphaned at the age of 16. In 1816 he began his formal art training, learning the neoclassical style of Jacques- Louis David. Delacroix’s first major painting, The Barque of Dante, was accepted into the Paris Salon in 1822, earning him national fame. He turned away from the neoclassical style, and became one of the best-known Romantic painters, favoring imaginative scenes from literature and historical events. Highly acclaimed works include Death of Sardanapalus and Liberty Leading the People , a painting inspired by France’s uprising against King Charles X in 1830. In 1832, Delacroix spent 6 months in North Africa, and created many paintings inspired by Arabic culture and the sun-drenched landscape. Delacroix continued to be very popular in his lifetime, exhibiting many works in the Paris salon, and receiving commissions to decorate important Parisian buildings. Delacroix died on August 13, 1863. Art Movement Romanticism The Romantic Movement was inspired in part by the ideas of Rousseau, who declared that “Man is born free, but is everywhere in chains!” Romanticism emerged from the desire for freedom – political freedom, freedom of thought, of feeling, of action, of worship, of speech, and of taste. -
Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique. -
On Teaching the History of Nineteenth-Century Music
On Teaching the History of Nineteenth-Century Music Walter Frisch This essay is adapted from the author’s “Reflections on Teaching Nineteenth- Century Music,” in The Norton Guide to Teaching Music History, ed. C. Matthew Balensuela (New York: W. W Norton, 2019). The late author Ursula K. Le Guin once told an interviewer, “Don’t shove me into your pigeonhole, where I don’t fit, because I’m all over. My tentacles are coming out of the pigeonhole in all directions” (Wray 2018). If it could speak, nineteenth-century music might say the same ornery thing. We should listen—and resist forcing its composers, institutions, or works into rigid categories. At the same time, we have a responsibility to bring some order to what might seem an unmanageable segment of music history. For many instructors and students, all bets are off when it comes to the nineteenth century. There is no longer a clear consistency of musical “style.” Traditional generic boundaries get blurred, or sometimes erased. Berlioz calls his Roméo et Juliette a “dramatic symphony”; Chopin writes a Polonaise-Fantaisie. Smaller forms that had been marginal in earlier periods are elevated to unprecedented levels of sophistication by Schubert (lieder), Schumann (character pieces), and Liszt (etudes). Heightened national identity in many regions of the European continent resulted in musical characteristics which become more identifiable than any pan- geographic style in works by composers like Musorgsky or Smetana. At the college level, music of the nineteenth century is taught as part of music history surveys, music appreciation courses, or (more rarely these days) as a stand-alone course. -
The Sixties Counterculture and Public Space, 1964--1967
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Transcendentalism: a Critique of Today's World Through the Eyes Of
Transcendentalism: A Critique of Today’s World Through the Eyes of a Nineteenth Century Transcendentalist Throughout history, human thought has shaped the processes and actions that make up the world we live in today. It has been at the root of every war as well as every treaty and negotiation. Human thought has fueled hatred and acceptance, wrath and peace, and it has endured through history despite each attempt to repress it. There have been intellectual movements throughout history in which human thought has influenced society’s culture and how it approaches its members and problems. Two such time periods were the Enlightenment and the Second Great Awakening, the latter of which being when Transcendentalism first came to the forefront of human thought. Transcendentalism was a spiritual and philosophical movement that developed in the 1820s and 1830s with roots in Kantian philosophy and German Romanticism.1 This philosophy argued for individualism and each person’s ability to make sense of the Universe through their own Spirit and Reason. In today’s world, Transcendentalist thought is often overlooked and is rarely taught or practiced. Regardless, modern society reflects the one in which Transcendentalists lived in the sense that they have both been marked by technological revolutions and the current societal issues are products of those that Transcendentalists once fought against. It is for this reason that we must look at what Transcendentalism is and how Transcendentalists responded to their society and its problems so that we may begin to do the same within our own society. To do this, it is necessary to look at Ralph Waldo Emerson’s 1 History.com Editors, “Transcendentalism,” HISTORY, August 21, 2018, www.history.com/topics/19th-century/transcendentalism. -
Obscene Odes on the Windows of the Skull": Deconstructing the Memory of the Howl Trial of 1957
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 12-2013 "Obscene Odes on the Windows of the Skull": Deconstructing the Memory of the Howl Trial of 1957 Kayla D. Meyers College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the American Studies Commons Recommended Citation Meyers, Kayla D., ""Obscene Odes on the Windows of the Skull": Deconstructing the Memory of the Howl Trial of 1957" (2013). Undergraduate Honors Theses. Paper 767. https://scholarworks.wm.edu/honorstheses/767 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. “Obscene Odes on the Windows of the Skull”: Deconstructing The Memory of the Howl Trial of 1957 A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in American Studies from The College of William and Mary by Kayla Danielle Meyers Accepted for ___________________________________ (Honors, High Honors, Highest Honors) ________________________________________ Charles McGovern, Director ________________________________________ Arthur Knight ________________________________________ Marc Raphael Williamsburg, VA December 3, 2013 Table of Contents Introduction: The Poet is Holy.........................................................................................................2 -
City Lights Pocket Poets Series 1955-2005: from the Collection of Donald A
CITY LIGHTS POCKET POETS SERIES 1955-2005: FROM THE COLLECTION OF DONALD A. HENNEGHAN October 2005 – January 2006 1. Lawrence Ferlinghetti. Pictures of the Gone World. San Francisco: City Lights Pocket Bookshop, 1955. Number One 2. Kenneth Rexroth, translator. Thirty Spanish Poems of Love and Exile. San Francisco: City Lights Pocket Bookshop, 1956. Number Two 3. Kenneth Patchen. Poems of Humor & Protest. San Francisco: City Lights Pocket Bookshop, 1956. Number Three 4. Allen Ginsberg. Howl and Other Poems. San Francisco: City Lights Pocket Bookshop, 1956. Number Four 5. Marie Ponsot. True Minds. San Francisco: City Lights Pocket Bookshop, 1956. Number Five 6. Denise Levertov. Here and Now. San Francisco: City Lights Pocket Bookshop, 1957. Number Six 7. William Carlos Williams. Kora In Hell: Improvisations. San Francisco: City Lights Books, 1957. Number Seven 8. Gregory Corso. Gasoline. San Francisco: City Lights Books, 1958. Number Eight 9. Jacques Prévert. Selections from Paroles. San Francisco: City Lights Books, 1958. Number Nine 10. Robert Duncan. Selected Poems. San Francisco: City Lights Books, 1959. Number Ten 11. Jerome Rothenberg, translator. New Young German Poets. San Francisco: City Lights Books, 1959. Number Eleven 12. Nicanor Parra. Anti-Poems. San Francisco: City Lights Books, 1960. Number Twelve 13. Kenneth Patchen. The Love Poems of Kenneth Patchen. San Francisco: City Lights Books, 1961. Number Thirteen 14. Allen Ginsberg. Kaddish and Other Poems. San Francisco: City Lights Books, 1961. Number Fourteen OUT OF SERIES Alain Jouffroy. Déclaration d’Indépendance. San Francisco: City Lights Books, 1961. Out of Series 15. Robert Nichols. Slow Newsreel of Man Riding Train. San Francisco: City Lights Books, 1962. -
1 Before London Started Swinging: Representing the British Beatniks David Buckingham This Essay Is Part of a Larger Project
Before London started swinging: representing the British beatniks David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. In his autobiography, Personal Copy, the journalist and broadcaster Ray Gosling describes a feeling of imminent change that was shared by many young people at the very end of the 1950s: There was just this feeling… that we were important, that something was going to happen. How, and in what direction, we didn’t know. And we didn’t much care. It was a very, very, very odd feeling, but we felt it. Gosling himself came from a frugal working-class background in the provincial English city of Northampton. In 1959, he dropped out of university and set up a youth centre in Leicester that was run autonomously by a committee of young people. The academic Richard Hoggart – the author of The Uses of Literacy, who was soon to become the founding director of the Centre for Contemporary Cultural Studies (CCCS) at Birmingham University – was on his management committee. Although Gosling’s youth centre collapsed, he developed the argument for youth-led welfare provision in a pamphlet for the Fabian Society; and he went on to build a career as a writer and public speaker, offering an insider’s perspective on the emerging youth culture of the time. He became associated with the New Left, and began to mix in the more cosmopolitan culture of London’s coffee bars, making friends with Stuart Hall (then the editor of the New Left Review) and the novelist Colin MacInnes, whom he described as his ‘mentor’. -
Research for the Worcester Writers IQP “City
Kevin Curley Worcester Writers IQP 2009-2010 Worcester Polytechnic Institute Interdisciplinary Qualifying Project Summery: Research for the Worcester Writers IQP “City of Words” Website 1 Abstract The City of Words IPQ Project group is with the goal of creating a web site featuring writers associated with Worcester. It is based on the web site Worcester Area Writers, which was created by WPI faculty and students some years ago. We are placing heavy emphasis on bringing living writers to the new site, creating a multi-media platform that includes videos of writers reading their works, interviews, audio, and photographs of places in Worcester connected with their work. The group continually seeks creative and original ways to display the site‟s content. Students are required to produce these materials as well as write biographies and critical analyses of the writers for which they are responsible. 2 Contents Abstract ............................................................................................................................................................. 2 IQP Research Methods....................................................................................................................................... 5 Abbie Hoffman Biographical Writing .................................................................................................................. 7 Abbie Hoffman Analytical Composition ............................................................................................................ 14 References ......................................................................................................................................................