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Rock & Roll 1955 - 1956 14668 17 - Bill Justis - Raunchy (Album: 247 en el CD: MP3Albms020 ) (Album: 793 en el CD: MP3Albms074 ) 14669 18 - Eddie Cochran - Summertime Blues 14670 19 - Danny and the Juniors - At The Hop 2561 01 - Bony moronie (Popotitos) - Williams 11641 01 - Rock Around the Clock - Bill Haley an 14671 20 - Larry Williams - Bony Moronie 2562 02 - Around the clock (alrededor del reloj) - 11642 02 - Long Tall Sally - Little Richard 14672 21 - Marty Wilde - Endless Sleep 2563 03 - Good golly miss molly (La plaga) - Bla 11643 03 - Blue Suede Shoes - Carl Perkins 14673 22 - Pat Boone - A Wonderful Time Up Th 2564 04 - Lucile - R Penniman-A collins 11644 04 - Ain't that a Shame - Pat Boone 14674 23 - The Champs - Tequila 2565 05 - All shock up (Estremecete) - Blockwell 11645 05 - The Great Pretender - The Platters 14675 24 - The Teddy Bears - To Know Him Is To 2566 06 - Rockin' little angel (Rock del angelito) 11646 06 - Shake, Rattle and Roll - Bill Haley and 2567 07 - School confidential (Confid de secund 11647 07 - Be Bop A Lula - Gene Vincent 1959 2568 08 - Wake up little susie (Levantate susani 11648 08 - Only You - The Platters (Album: 1006 en el CD: MP3Albms094 ) 2569 09 - Don't be cruel (No seas cruel) - Black 11649 09 - The Saints Rock 'n' Roll - Bill Haley an 14676 01 - Lipstick on your collar - Connie Franci 2570 10 - Red river rock (Rock del rio rojo) - Kin 11650 10 - Rock with the Caveman - Tommy Ste 14677 02 - What do you want - Adam Faith 2571 11 - C' mon everydody (Avientense todos) 11651 11 - Tweedle Dee - Georgia Gibbs 14678 03 - Oh Carol - Neil Sedaka 2572 12 - Tutti frutti - La bastrie-Penniman-Lubin 11652 12 - I'll be Home - Pat Boone 14679 04 - Venus - Frankie Avalon 2573 13 - What'd I say (Que voy a hacer) - R. -
Did Glooskap Kill the Dragon on the Kennebec? Roslyn
DID GLOOSKAP KILL THE DRAGON ON THE KENNEBEC? ROSLYN STRONG Figure 1. Rubbing of the "dragon" petroglyph Figure 2. Rock in the Kennebec River, Embden, Maine The following is a revised version of a slide presentation I gave at a NEARA meeting a number of years ago. I have accumulated so many fascinating pieces of reference that the whole subject should really be in two parts, so I will focus here on the dragon legends and in a future article will dwell more on the mythology of the other petroglyphs, such as thunderbirds. This whole subject began for me at least eight years ago when George Carter wrote in his column "Before Columbus" in the Ellsworth American that only Celtic dragons had arrows on their tails. The dragon petroglyph [Fig. 1] is on a large rock [Fig. 2] projecting into the Kennebec river in the town of Embden, which is close to Solon, in central Maine. It is just downstream from the rapids, and before the water level was raised by dams, would have been a logical place to put in after a portage. The "dragon" is one of over a hundred petroglyphs which includes many diverse subjects - there are quite a few canoes, animals of various kinds, human and ‘thunderbird’ figures. They were obviously done over a long period of time since there are many layers and the early ones are fainter. They are all pecked or ‘dinted’ which is the term used by archaeologists. The styles and technique seem to be related to the petroglyphs at Peterborough, Ontario, which in turn appear to be similar to those in Bohuslan, Sweden. -
Disability, Race, and the American Literary
THE UNIVERSITY OF CHICAGO RESOURCES OF FORM: DISABILITY, RACE, AND THE AMERICAN LITERARY IMAGINATION, 1952–2012 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE BY MARGARET LOUISE FINK CHICAGO, ILLINOIS DECEMBER 2017 TABLE OF CONTENTS LIST OF FIGURES ......................................................................................................................................... iii ACKNOWLEDGMENTS .............................................................................................................................. v ABSTRACT ....................................................................................................................................................... vi Introduction, Resources of Form: Disability, Race, and the American Literary Imagination, 1952– 2012 ...................................................................................................................................................................... 1 Chapter One, The Lower Frequencies: Cripistemologies of Race in Ralph Ellison’s Invisible Man .... 22 Chapter Two, The Time is Out of Joint: Deafness and Injury in Toni Morrison’s Beloved .................. 63 Chapter Three, Bret Easton Ellis’s American Psycho, Care, and Racialized Misfitting .......................... 101 Chapter Four, The Graphic Ordinary: Composing Visual Experiences of Disability and Race in Chris Ware’s Building Stories .......................................................................................................................... -
Qt7vk4k1r0 Nosplash 9Eebe15
Fiction Beyond Secularism 8flashpoints The FlashPoints series is devoted to books that consider literature beyond strictly national and disciplinary frameworks, and that are distinguished both by their historical grounding and by their theoretical and conceptual strength. Our books engage theory without losing touch with history and work historically without falling into uncritical positivism. FlashPoints aims for a broad audience within the humanities and the social sciences concerned with moments of cultural emergence and transformation. In a Benjaminian mode, FlashPoints is interested in how literature contributes to forming new constellations of culture and history and in how such formations function critically and politically in the present. Series titles are available online at http://escholarship.org/uc/flashpoints. series editors: Ali Behdad (Comparative Literature and English, UCLA), Founding Editor; Judith Butler (Rhetoric and Comparative Literature, UC Berkeley), Founding Editor; Michelle Clayton (Hispanic Studies and Comparative Literature, Brown University); Edward Dimendberg (Film and Media Studies, Visual Studies, and European Languages and Studies, UC Irvine), Coordinator; Catherine Gallagher (English, UC Berkeley), Founding Editor; Nouri Gana (Comparative Literature and Near Eastern Languages and Cultures, UCLA); Jody Greene (Literature, UC Santa Cruz); Susan Gillman (Literature, UC Santa Cruz); Richard Terdiman (Literature, UC Santa Cruz) 1. On Pain of Speech: Fantasies of the First Order and the Literary Rant, Dina Al-Kassim 2. Moses and Multiculturalism, Barbara Johnson, with a foreword by Barbara Rietveld 3. The Cosmic Time of Empire: Modern Britain and World Literature, Adam Barrows 4. Poetry in Pieces: César Vallejo and Lyric Modernity, Michelle Clayton 5. Disarming Words: Empire and the Seductions of Translation in Egypt, Shaden M. -
Church Building Terms What Do Narthex and Nave Mean? Our Church Building Terms Explained a Virtual Class Prepared by Charles E.DICKSON,Ph.D
Welcome to OUR 4th VIRTUAL GSP class. Church Building Terms What Do Narthex and Nave Mean? Our Church Building Terms Explained A Virtual Class Prepared by Charles E.DICKSON,Ph.D. Lord Jesus Christ, may our church be a temple of your presence and a house of prayer. Be always near us when we seek you in this place. Draw us to you, when we come alone and when we come with others, to find comfort and wisdom, to be supported and strengthened, to rejoice and give thanks. May it be here, Lord Christ, that we are made one with you and with one another, so that our lives are sustained and sanctified for your service. Amen. HISTORY OF CHURCH BUILDINGS The Bible's authors never thought of the church as a building. To early Christians the word “church” referred to the act of assembling together rather than to the building itself. As long as the Roman government did not did not recognize and protect Christian places of worship, Christians of the first centuries met in Jewish places of worship, in privately owned houses, at grave sites of saints and loved ones, and even outdoors. In Rome, there are indications that early Christians met in other public spaces such as warehouses or apartment buildings. The domus ecclesiae or house church was a large private house--not just the home of an extended family, its slaves, and employees--but also the household’s place of business. Such a house could accommodate congregations of about 100-150 people. 3rd-century house church in Dura-Europos, in what is now Syria CHURCH BUILDINGS In the second half of the 3rd century, Christians began to construct their first halls for worship (aula ecclesiae). -
The Capital Sculpture of Wells Cathedral: Masons, Patrons and The
The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig. -
Liturgical Architecture: the Layout of a Byzantine Church Building
Liturgical Architecture: The Layout of a Byzantine Church Building Each liturgical tradition has its own requirements and expectations for the liturgical space; here, we will look at the St. Nicholas Church building and its symbolism in the Byzantine tradition. The nave The most ancient plan of Christian architecture is probably the basilica, the large rectangular room used for public meetings, and many Byzantine churches today are organized around a large liturgical space, called the nave (from the Greek word for a ship, referring to the ark of Noah in which human beings were saved from the flood). The nave is the place where the community assembles for prayer, and symbolically represents the Church "in pilgrimage" - the Church in the world. It is normally adorned with icons of the Lord, the angels and the saints, allowing us to see and remember the "cloud of witnesses" who are present with us at the liturgy. At St. Nicholas, the nave opens upward to a dome with stained glass of the Eucharist chalice and the Holy Spirit above the congregation. The nave is also provided with lights that at specific times the church interior can be brightly lit, especially at moments of great joy in the services, or dimly lit, like during parts of the Liturgy of Presanctified Gifts. The nave, where the congregation resides during the Divine Liturgy, at St. Nicholas is round, representing the endlessness of eternity. The principal church building of the Byzantine Rite, the Church of Holy Wisdom (Hagia Sophia) in Constantinople, employed a round plan for the nave, and this has been imitated in many Byzantine church buildings. -
Borough Hall Skyscraper Historic District Designation Report
Cover Photograph: Court Street looking south along Skyscraper Row towards Brooklyn City Hall, now Brooklyn Borough Hall (1845-48, Gamaliel King) and the Brooklyn Municipal Building (1923-26, McKenzie, Voorhees & Gmelin). Christopher D. Brazee, 2011 Borough Hall Skyscraper Historic District Designation Report Prepared by Christopher D. Brazee Edited by Mary Beth Betts, Director of Research Photographs by Christopher D. Brazee Map by Jennifer L. Most Technical Assistance by Lauren Miller Commissioners Robert B. Tierney, Chair Pablo E. Vengoechea, Vice-Chair Frederick Bland Christopher Moore Diana Chapin Margery Perlmutter Michael Devonshire Elizabeth Ryan Joan Gerner Roberta Washington Michael Goldblum Kate Daly, Executive Director Mark Silberman, Counsel Sarah Carroll, Director of Preservation TABLE OF CONTENTS BOROUGH HALL SKYSCRAPER HISTORIC DISTRICT MAP ................... FACING PAGE 1 TESTIMONY AT THE PUBLIC HEARING ................................................................................ 1 BOROUGH HALL SKYSCRAPER HISTORIC DISTRICT BOUNDARIES ............................. 1 SUMMARY .................................................................................................................................... 3 THE HISTORICAL AND ARCHITECTURAL DEVELOPMENT OF THE BOROUGH HALL SKYSCRAPER HISTORIC DISTRICT ........................................................................................ 5 Early History and Development of Brooklyn‟s Civic Center ................................................... 5 Mid 19th Century Development -
To Enlarge the Map
THE EPISCOPAL DIOCESE OF VIRGINIA Northern 522 Piedmont North Fairfax Winchester Church of the Holy Cross, Dunn Loring (1) 15 Epiphany Episcopal, Oak Hill (2) Church of the Christ Church, Holy Comforter, Vienna (3) Arlington Shenandoah Valley 81 Good Shepherd, Lucketts St. Anne’s, Reston (4) Westminster-Canterbury La Iglesia de Cristo Rey (1) Bluemont St. Peter’s, St. Dunstan’s, McLean (5) 8 La Iglesia de San Jose (2) Grace Church, Purcellville St. James’, St. Francis, Great Falls (6) Leesburg St. Andrew’s (3) Christ Church, Winchester Berryville St. Francis Korean, McLean (7) St. George’s (4) 7 St. John’s, McLean (8) 6 3 St. John’s (5) St. Paul’s Church-on-the-Hill, St. Mary’s, St. Gabriel’s, St. Thomas, McLean (9) St. Mary’s (6) Winchester Berryville St. Timothy’s, Herndon (10) 7 Leesburg 66 St. Michael’s (7) Cunningham St. David’s, 2/4 St. Peter’s (8) Chapel Parish, Ashburn Trinity (9) Millwood Trinity, Upperville St. Matthew’s, Sterling Meade Memorial, White Post 6 Emmanuel, Middleburg 50 1/5 66 Church of Our Redeemer, 7 9 Leeds, Aldie 8 Alexandria Markham 9 Southern 340 Emmanuel, Delaplane 10 4 5/7 Christ Church (1) 1 7 395 Church of St. Clement (2) Calvary Church, Front Royal 3 11 Shenandoah Grace, The Plains 2 Church of the Resurrection (3) St. Andrew’s, 8 3 2 5 Marshall 11 Emmanuel (4) Valley St. Paul’s, Haymarket 4 2/9 Grace (5) Cathedral Shrine of the 6 10 66 1 Immanuel Church-on-the-Hill (6) Transfiguration, Orkney Springs 12 7 1 4 10 4 2/4 3 Meade Memorial (7) Culpeper 29 7 St. -
Dragones Meridionales Que Mueven a Risa. Rito, Humor E Ingeniería
REA | Nº 0 | Marzo de 2015 05 ISSN: 2387-1555 DRAGONES MERIDIONALES QUE MUEVEN A RISA. RITO, HUMOR E INGENIERÍA José Antonio González Alcantud* © INSTITUTO DE INVESTIGACIONES ANTROPOLÓGICAS DE CASTILLA Y LEÓN, Salamanca | 2015. Recebido em 03/12/2014 e aceito em 15/12/2014. Resumo: As tentativas do autor, enquanto antropólogo, Resumen: Los intentos del autor en tanto antropólogo para modernizar festas tradicionais que dão uma dimensão por modernizar fiestas tradicionales dándoles una de modernidade, colidiu quinze anos atrás com a dimensión de modernidad chocaron hace tres lustros con la incompreensão política. No entanto, em 2008, quase que incomprensión política. Sin embargo en el año 2008, casi por acaso, pude experimentar a concepção de engenharia por azar, pudo experimentar su concepción de la ingeniería cultural na condução da irmandade "Mediterrânea" das cultural llevando a cabo el hermanamiento “mediterráneo” tarascas de Tarascon- Arles, no sul da França, com a de de las tarascas de Tarascón-Arles, en el sur de Francia, con Granada, no sul da Espanha. O fio condutor desta la de Granada, en el sur de España. El hilo conductor de "engenharia" foi o clima festivo, que é a supremacia da esta “ingeniería” fue el humor festivo, la supremacía del linguagem carnavalesca. lenguaje carnavalesco. Palavras-chave: Tarascón, Arlés, Granada, humos, ritual, Palabras claves: Tarascón, Arlés, Granada, Tarasca, regionalismo, agressão. humor, ritual, regionalismo, agresión. “El que los politeísmos paganos hayan salido tiempo que propongo darle un giro practicista a siempre perdedores (...) se debe, entre otras la antropología cultural, no tanto por razones de razones, a su excepcional virtud de tolerancia. -
Y\5$ in History
THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 A thesis submitted to the faculty of San Francisco State University A5 In partial fulfillment of The Requirements for The Degree Mi ST Master of Arts . Y\5$ In History by James Harvey Mitchell, Jr. San Francisco, California May, 2016 Copyright by James Harvey Mitchell, Jr. 2016 CERTIFICATION OF APPROVAL I certify that I have read The Gargoyles of San Francisco: Medievalist Architecture in Northern California 1900-1940 by James Harvey Mitchell, Jr., and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirements for the degree Master of Arts in History at San Francisco State University. <2 . d. rbel Rodriguez, lessor of History Philip Dreyfus Professor of History THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 James Harvey Mitchell, Jr. San Francisco, California 2016 After the fire and earthquake of 1906, the reconstruction of San Francisco initiated a profusion of neo-Gothic churches, public buildings and residential architecture. This thesis examines the development from the novel perspective of medievalism—the study of the Middle Ages as an imaginative construct in western society after their actual demise. It offers a selection of the best known neo-Gothic artifacts in the city, describes the technological innovations which distinguish them from the medievalist architecture of the nineteenth century, and shows the motivation for their creation. The significance of the California Arts and Crafts movement is explained, and profiles are offered of the two leading medievalist architects of the period, Bernard Maybeck and Julia Morgan. -
817 Broadway Building
DESIGNATION REPORT 817 Broadway Building Landmarks Preservation Designation Report Designation List 512 Commission 817 Broadway Building LP-2614 June 11, 2019 DESIGNATION REPORT 817 Broadway Building LOCATION Borough of Manhattan 817 Broadway (aka 817-819 Broadway, 48-54 East 12th Street) LANDMARK TYPE Individual SIGNIFICANCE 817 Broadway is a 14-story store-and-loft building designed by the prominent American architect George B. Post. Constructed in 1895- 98, this well-preserved Renaissance Revival- style structure represents the type of high-rise development that occurred on Broadway, south of Union Square, in the last decade of the 19th century. Landmarks Preservation Designation Report Designation List 512 Commission 817 Broadway Building LP-2614 June 11, 2019 817 Broadway, 1905 Irving Underhill, Museum of the City of New York LANDMARKS PRESERVATION COMMISSION COMMISSIONERS Lisa Kersavage, Executive Director Sarah Carroll, Chair Mark Silberman, General Counsel Frederick Bland, Vice Chair Kate Lemos McHale, Director of Research Diana Chapin Cory Herrala, Director of Preservation Wellington Chen Michael Devonshire REPORT BY Michael Goldblum Matthew A. Postal, Research Department John Gustafsson Anne Holford-Smith Jeanne Lutfy EDITED BY Adi Shamir-Baron Kate Lemos McHale PHOTOGRAPHS Sarah Moses Landmarks Preservation Designation Report Designation List 512 Commission 817 Broadway Building LP-2614 June 11, 2019 3 of 21 817 Broadway Building Deborah Glick, as well as from the Municipal Art Manhattan Society of New York and the Metropolitan