900 resultados para Arlington House, the Robert E. Lee Memorial (Va.)
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"Feb. 9-March 1, 1895"--Cover.
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"B-274671"--P. 1.
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Cover title.
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Ambrose J. Kennedy, chairman.
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Title from cover.
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References: U.S.IANA, no. O.166.
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Published by order of Congress.
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Mode of access: Internet.
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Mode of access: Internet.
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The picturesque aesthetic in the work of Sir John Soane, architect and collector, resonates in the major work of his very personal practice – the development of his house museum, now the Soane Museum in Lincoln’s Inn Fields in London. Soane was actively involved with the debates, practices and proponents of picturesque and classical practices in architecture and landscape and his lectures reveal these influences in the making of The Soane, which was built to contain and present diverse collections of classical and contemporary art and architecture alongside scavenged curiosities. The Soane Museum has been described as a picturesque landscape, where a pictorial style, together with a carefully defined itinerary, has resulted in the ‘apotheosis of the Picturesque interior’. Soane also experimented with making mock ruinscapes within gardens, which led him to construct faux architectures alluding to archaeological practices based upon the ruin and the fragment. These ideas framed the making of interior landscapes expressed through spatial juxtapositions of room and corridor furnished with the collected object that characterise The Soane Museum. This paper is a personal journey through the Museum which describes and then reviews aspects of Soane’s work in the context of contemporary theories on ‘new’ museology. It describes the underpinning picturesque practices that Soane employed to exceed the boundaries between interior and exterior landscapes and the collection. It then applies particular picturesque principles drawn from visiting The Soane to a speculative project for a house/landscape museum for the Oratunga historic property in outback South Australia, where the often, normalising effects of conservation practices are reviewed using minimal architectural intervention through a celebration of ruinous states.
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The Marine Mammal Tagging Office has been created by consensus of the agencies responsible for marine mammal management and the scientific community dealing with marine mammal tagging and marking. The purpose of ths office is to facilitate the dissemination of information with regard to tagging, marking, tags, and marks; to determine the need for new and better materials for tags; and to stimulate research, development, and testing programs. The American Institute of Biological Sciences was requested to coordinate a workshop to determine the status of pinniped tagging both nationally and internationally. Approximately 30 scientists were invited to participate in the workshop which was held on 18-19 January 1979 at the Sand Point Laboratory of the National Marine Fisheries Service in Seattle, Washington. Topics included ranged from specific tagging programs to general considerations and similar problems encountered by researchers. Participants also participated in one of three working groups -- Sea Otters, Phocids, and Otariids --to address pertinent issues. These break-out sessions resulted in the general recommendations and specific considerations sections of this report. Abstract authors include: Alton Y. Roppel; Ken Pitcher; Burney J. Le Boeuf; Wybrand Hoek; Robert M. Warneke; Don B. Siniff; Doug P. DeMaster; Daniel J. Miller; Ian Stirling; Roger L. Gentry; Lanny H. Cornell; James E. Antrim; Edward D. Asper; Mark Keyes; R. Keith Farrell; Donald G. Calkins; Bob DeLong; T. A. Gornall; Tom Otten; and, Ancel M. Johnson (PDF contains 54 pages)
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In moments of rapid social changes, as has been witnessed in Ireland in the last decade, the conditions through which people engage with their localities though memory, individually and collectively, remains an important cultural issue with key implications for questions of heritage, preservation and civic identity. In recent decades, cultural geographers have argued that landscape is more than just a view or a static text of something symbolic. The emphasis seems to be on landscape as a dynamic cultural process – an ever-evolving process being constructed and re-constructed. Hence, landscape seems to be a highly complex term that carries many different meanings. Material, form, relationships or actions have different meanings in different settings. Drawing upon recent and continuing scholarly debates in cultural landscapes and collective memory, this thesis sets out to examine the generation of collective memory and how it is employed as a cultural tool in the production of memory in the landscape. More specifically, the research considers the relationships between landscape and memory, investigating the ways in which places are produced, appropriated, experienced, sensed, acknowledged, imagined, yearned for, appropriated, re-appropriated, contested and identified with. A polyvocal-bricoleur approach aims to get below the surface of a cultural landscape, inject historical research and temporal depth into cultural landscape studies and instil a genuine sense of inclusivity of a wide variety of voices (role of monuments and rituals and voices of people) from the past and present. The polyvocal-bricoleur approach inspires a mixed method methodology approach to fieldsites through archival research, fieldwork and filmed interviews. Using a mixture of mini-vignettes of place narratives in the River Lee valley in the south of Ireland, the thesis explores a number of questions on the fluid nature of narrative in representing the story and role of the landscape in memory-making. The case studies in the Lee Valley are harnessed to investigate the role of the above questions/ themes/ debates in the act of memory making at sites ranging from an Irish War of Independence memorial to the River Lee’s hydroelectric scheme to the valley’s key religious pilgrimage site. The thesis investigates the idea that that the process of landscape extends not only across space but also across time – that the concept of historical continuity and the individual and collective human engagement and experience of this continuity are central to the processes of remembering on the landscape. In addition the thesis debates the idea that the production of landscape is conditioned by several social frames of memory – that individuals remember according to several social frames that give emphasis to different aspects of the reality of human experience. The thesis also reflects on how the process of landscape is represented by those who re-produce its narratives in various media.
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The Shiplap House, 18AP30, located at 18 Pinkney Street, Annapolis, Maryland, was built ca. 1716. Located within the Historic District of Annapolis, Maryland (see Figures 2, 3, & 4 for site location within the Annapolis Historic District), the Shiplap House lies in immediate proximity to features of local and national importance. Due to its potential as a significant archaeological site, the Shiplap property was selected as one of the locations to be investigated during the 1985 summer Fieldschool in Urban Archaeology, a course offerred by the University of Maryland, College Park, under the direction of Dr. Mark P. Leone.