Executive Order, June 27, 1952

Governor Beardsley orders and directs the Treasurer of Iowa to accept on behalf of the State of Iowa Federal funds allocated to the State for assistance in alleviating hardship and suffering in the Missouri River and the Mississippi River Flood Disaster Areas.

The Flag, Lincoln's Gettysburg Address, the Constitution of the State of Iowa, the Declaration of Independence, the "Mayflower" Compact, the Constitution of the United States : reprint from the Iowa Official Register, 1951-1952, 1958.

Reprints from the Iowa Official Register, 1951-1952 of The Flag, Lincoln's Gettysburg Address, the Constitution of the State of Iowa, the Declaration of Independence, the "Mayflower" Compact and the Constitution of the United States.

State of Iowa Transportation Map, 1952

This document is the State Map of Iowa, both front and back of the year in the title. All maps were are in pdf format and can be used as a historical reference.

La caverna de Josep Palau i Fabre (1952-1969): teatre versus al·legoria filosòfica per a representar i impedir el final tràgic i fosc del lluminós art de pensar.

What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come.

La caverna de Josep Palau i Fabre (1952-1969): teatro versus alegoría filosófica para representar e impedir el final trágico y sombrío del luminoso arte de pensar.

What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come.

Investigation of Des Moines Police Department, use of force in the Arrest of Larry Milton, 1992

Investigative report produced by Iowa Citizens' Aide/Ombudsman

Iowa History and Culture : A Bibliography of Materials Published Between 1952 and 1986, 1989

This bibliography was compiled by two reference librarians, Patricia Dawson and David Hudson with the goal of making it easier of tracking down material on Iowa history and culture. This supplements the Iowa History Reference Guide published in 1952 by William Petersen.

El Memorial de Barcelona a Archer Milton Huntington, el fundador de la Hispanic Society of America, y a su esposa, la escultora, Anna Hyatt Huntington.

Barcelona en 1954 se anticipo a todos los homenajes, dedicando a Archer Milton Huntington (New York, 1870- Bathel, Connecticut, 1955) un monumento en reconocimiento a su excepcional figura como coleccionista e hispanófilo y también a su esposa, Anna Vaughn Hyatt Huntington (Cambridge, 1876 - California, 1973), excelente escultora que generosamente secundo los propósitos filo hispanos de su consorte. De esta manera Barcelona quería dejar constancia de su devoción y tributo a este reconocido coleccionista y filántropo americano que ayudo a vencer el llamado "Paradigma Prescott", historiador que había defendido las tesis sobre la leyenda negra española. A la vez que se reconocía que Archer M. Huntington ocupaba un lugar preeminente en la línea del hispanismo americano conjuntamente con los nombres de George Ticknor (1791 -1871), Washington Irving (1783-1859) y Henry Longfellow (1807-1882).

The Monument Erected in Barcelona in 1954 in Honor of Archer Milton Huntington, the Founder of The Hispanic Society of America, and His Wife, Anna Hyatt Huntington, the Eminent Sculptress.

It was in 1954 that Barcelona became the first city to pay tribute to Archer Milton Huntington (New York, 1870 - Bathel, Connecticut, 1955), by erecting a monument to the memory of this outstanding collector and Hispanist, and to hiswife, Anna Vaughn Hyatt Huntington (Cambridge, 1876 - California, 1973). An excellent sculptor, Anna Hyatt Huntington was also unstinting in her support of her husband¿s Hispanic interest. The monument was Barcelona's way of recognizing and paying tribute to this greatly respected American collector and philanthropist. Huntington played a major role in refuting "Prescott's Paradigm", named after the historian whose work on Spain did much to further the Black Legend.3 Moreover, Huntington occupied an important place in American Hispanic Studies, along with such other outstanding names as George Ticknor (Boston, 1791 - 1871), Washington Irving (New York, 1783 - 1859) and Henry Longfellow (1807 - 1882).

The cave (La caverna -1952-1969) by Josep Palau i Fabre: theatre versus philosophical allegory in order both to perform and stop the tragic and dark end of the bright art of thinking

What is the use of representing in performance the image of the cave from book VII of Plato’s Republic? Josep Palau i Fabre considers that in Plato’s dialogues the speakers are mere instruments at the service of his dialectical purpose. The aim of this article is to show how, by turning the myth into a tragedy and relying on Heraclitus’s conflict or war of opposites, the playwright succeeds in favouring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre’s La Caverna, the tragic hero, the released prisoner transformed by the light of Reality and finally killed by his “cavemates” –after having been imprisoned again and having tried to rescue them from their ignorance or shadows– still leaves them his powerful experience of the agonistikós thought, which might bear fruit in their life to come.