990 resultados para Funck, Carl, 1852-1918.


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Mode of access: Internet.

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Mode of access: Internet.

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Top Row: Edward Ruzicka, Nicholas Scheidler, Ath. Dir. Philip Bartelme, coach Carl Lundgren, student mngr jasper Reed), Edward Bowerman, Albert Ohlmacher,

Middle Row: Erick Langenhan, Thomas Adams, Chester Morrison, Burdette Glenn, Kenneth Knode, Roland Cooper, Harold Saunders

Front Row: John Parsons, Edward Mraz, Lowell Genebach, Arthur Ipple, Thomas Garrett

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Top Row: asst. Coach Elmer Mitchell, Chester Morrison, Thomas Adams, coach Carl Lundgren, Roland Cooper, Nicholas Scheidler, ? Pickett, Harold Saunders

Middle Row: Lowell Genebach, captain Burdette Glenn, Kenneth Knode, Erick Langenhorn, Edward Mraz, ? Gilmartin, Edward Ruzicka

Front Row: George Ferguson, Albert Ohlmbacher, ? Leahy, Alexander Crockett, John Parsons, mngr. Jasper Reid

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Atlas in portfolios.

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Vorbesitzer: Freiherrlich Carl von Rothschild'sche Bibliothek Frankfurt am Main; Akzessionsnummer: x20230

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This article introduces a model for group facilitation in the humanities based on Carl Rogers’s model for group psychotherapy. Certain aspects of Rogers’s reflective learning strategies are re-appraised and principles, specific only to psychotherapy, are introduced. Five of Rogers’s axioms are applied to the tutorial discussion model: a non-directive approach, climate-setting, facilitation, reflective listening and positive regard. The model, which has been trialed in tutorials at The University of Queensland, encourages self-direction, active learning and critical thinking.

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In this article, Brian Hudson relates how he came to write the paper published in the journal Antipode, for which he gained recognition as a radical geographer in the late 1970's. It is a tale of a journey in which the loves of his life, geography, history, travel and his wife of over 40 years, came together through living in a number of different places: the United Kingdom, Ghana, Hong Kong, and Jamaica. After leaving UWI, Brian and his family settled in Brisbane, Australia where he taught at Queensland University of Technology until his retirement.

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From the Finnish Art Society to the Ateneum: Fredrik Cygnaeus, Carl Gustaf Estlander and the Roles of the Art Collection My dissertation deals with the Finnish Art Society and the development of its collection in the evolving field of the visual arts from the foundation of the society in 1846 to its exhibition in the Ateneum, a palace of art that was opened to the public in Helsinki in 1888. The main questions that it addresses are why and how the collection came into being, what its purpose was and what kind of future prospects were projected for it in the rapidly evolving field of the visual arts. I have examined the subject of my study from the perspectives of institutional history, the organisation of the field of art and the history of art collections. The prisms through which I have viewed the subject are the history of museums in Europe, the written history of art, the art association movement and the organisation of art education in relation to an ideology of enlightenment. Thus the activities of the Finnish Art Society are here mirrored for the first time in a wider context and the history of its collection located on the map of European collections. My research shows that the history of the collection of the Finnish Art Society initially depended on certain players in the visual arts and their particular leanings. The most important of these custodians were two long-serving chairmen of the society, Fredrik Cygnaeus (1807 1881) and Carl Gustaf Estlander (1834 1910). When the foundations for art activities had been laid through the establishment of the society, Cygnaeus and Estlander began to plan how the field of art might be moulded so as to improve the level of training for artists and to improve the quality of the collections and the opportunities for their display. Cygnaeus campaigned for the establishment of the Finnish Fine Arts Academy, while Estlander saw opportunities to combine the visual and applied arts. The findings of my research bring new information about the history of the collection of the Finnish Art Society, its profile, the professional abilities of those who were mainly responsible for developing it and the relationship between it and plans for reforming art education. The major findings are connected with the position of the collection in the field of art at different stages of its development. Despite the central monopoly of the Finnish Art Society in the field of art, the position of the collection was closely bound up with leading players in the field of art and their personal interests. This subservience also created an impediment to its full-blown enhancement and purposeful profiling, and it remained evident for a long time when the collection was seeking its own place in the Finnish art world.

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Suomen sisällissodassa keväällä vuonna 1918 syntyi useita vankileirejä, jotka oli tarkoitettu valkoisten vangitsemia punaisia varten. Yksi vankileireistä sijaitsi Oulun Raatinsaaressa. Tässä tutkimuksessa olen tarkastellut Oulun vankileirin vankeja, vartijoita ja leirin oloja sekä valtiorikosoikeuden toimintaa ja leirin kuolleisuutta. Oulun vankileiri toimi Valloitettujen alueiden turvaamisosastoon kuuluneen sotavankilaitoksen alaisuudessa. Vankileiri oli tarkoitettu lähinnä Oulun ja Lapin läänin punavankeja varten. Myös asevelvollisuuskutsuntoja vältelleitä ja asevelvollisuudesta kieltäytyneitä oli vangittujen joukossa. Vankien määrä oli suurimmillaan hieman yli 800. Vangit kuuluivat pääsääntöisesti työväenluokkaan. Vangittuina oli myös naisia, joista suurin osa oli pidätetty venäläisten kasarmeilta. Venäläisiä sotilaita, joita oli noin 1000, pidettiin vangittuina omilla kasarmeillaan, ennen kuin heidät kotiutettiin toukokuun lopussa. Vartijoina toimivat aluksi Oulun ja lähikuntien suojeluskuntajoukot ja toukokuun lopusta lähtien asevelvollisuusjoukot. Erityisesti asevelvollisjoukkoja pidettiin vartiointitehtävään sopimattomina. Sotilaat suhtautuivat tehtäviinsä välinpitämättömästi ja vankeihin myötämielisesti. Heistä suurin osa oli kotoisin samoilta paikkakunnilta, mistä punavangitkin ja he kuuluivat suurimmalta osaltaan myös työväenluokkaan. Asevelvollisjoukot olivat myös ylityöllistettyjä ja sotilaskuri oli olematonta, joten ei ollut ihme, että heinäkuun alussa useat asevelvollissotilaat karkasivat riveistä. Vangit asuivat leirillä ahtaasti ja saivat vain niukasti ruokaa. Leirillä vankeja hoitivat lääkäri ja kaksi sairaanhoitajaa. Sairaanhoito oli hankalaa, koska sairastuneita ja heikkoja vankeja oli paljon. Vankien hengellisestä huollosta oli vastuussa kasvatusosasto, jonka johdossa oli pappi apunaan kaksi kasvatusapulaista. Kesäkuun aikana Oulussa toimintansa aloitti kaksi valtiorikosoikeuden osastoa, jotka langettivat tuomioita samanlaisen linjan mukaisesti kuin muuallakin maassa. Punaisena lankana näyttää olleen työväenliikkeen poliittinen nujertaminen. Kuolleisuuden suhteelliseen alhaisuuteen oli osasyynä se, että vartijat eivät olleet kiinnostuneita tehtäviään kohtaan. He eivät estäneet yhteydenpitoa vankien ja heidän omaistensa välillä. Vartijat eivät myöskään syyllistyneet vankileiriterroriin, vaan suhtautuivat vankeja kohtaan pääsääntöisesti maltillisesti. Vangeilla oli mahdollisuuksia ulkopuoliseen ruoansaantiin omaisten kautta ja työskennellessään leirin ulkopuolella eri työtehtävissä. Vankeja käytettiinkin vankileirin ulkopuolisiin työtehtäviin paljon. Koska työnantajat oli velvoitettu kustantamaan työssäkäyvien vankien ruoan, he saivat lisäravintoa ohi vankileiriorganisaation. Siten vangit olivat tarpeeksi vastustuskykyisiä tarttuvia tauteja kohtaan. Oulun vankileirissä kuolleisuus jäikin suhteellisen alhaiseksi hieman alle kuuteen prosenttiin. Avainsanat: Suomi 1918 . vankileirit . sisällissota - sotavangit

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Reproduction of a painting of a meeting of the Joint Distribution Committee (representing the American Jewish Relief Committee, the Central Rellief Committee and the People's Relief Committee) and the Executive Committee of the American Jewish Relief Committee, with chairman Felix Warburg, secretary Albert Lucas, stenographer Mrs. F. Friedman, executive director Boris Bogen, comptroller Harriet Lowenstein, associate treasurer Paul Baerwald and treasurer Arthur Lehman; Office of Mr. Felix M. Warburg, 52 William Street, New York

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Digital Image

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Oreochromis mossambicus (Peters 1852) are native to the eastward flowing rivers of central and southern Africa but from the early 1930s they have been widely distributed around the world for aquaculture and for biological control of weeds and insects. While O. mossambicus are now not commonly used as an aquaculture species, the biological traits that made them a popular culture species including tolerance to wide ranging ecological conditions, generalist dietary requirements and rapid reproduction with maternal care have also made them a 'model' invader. Self-sustaining populations now exist in almost every region to which they have been imported. In Australia, since their introduction in the 1970s, O. mossambicus have become established in catchments along the east and west coasts and have the potential to colonise other adjacent drainages. It is thought that intentional translocations are likely to be the most significant factor in their spread in Australia. The ecological and physical tolerances and preferences, reproductive behaviour, hybridization and the high degree of plasticity in the life history traits of O. mossambicus are reviewed. Impacts of O. mossambicus on natural ecosystems including competitive displacement of native species, habitat alteration, predation and as a vector in the spread of diseases are discussed. Potential methods for eradicating or controlling invasive populations of O. mossambicus including physical removal, piscicides, screens, environmental management and genetic technologies are outlined.