Official report of the proceedings and debates of the convention : assembled at Salt Lake City on the fourth day of March 1895, to adopt a constitution for the state of Utah.

Paged continuously.

Official report of the proceedings and debates of the third constitutional convention of Ohio : assembled in the city of Columbus, on Tuesday, May 13, 1873 /

The constitution proposed by this convention was rejected by the people.

Alabama official and statistical register.

Vol. for 1903 contains a list of Constitution conventions of Alabama, 1819-1901 with bibliography of each convention.

"The retrospect" : a glance : thirty years of the history of Howard Street Methodist Episcopal Church of San Francisco.

Mode of access: Internet.

The Narragansett historical register : a magazine devoted to the antiquities, genealogy and historical matter illustrating the history of the state of Rhode Island and Providence Plantations.

No more published.

[Review of] Ivo Mijnssen, The Quest for an Ideal Youth in Putin’s Russia I. Back to Our Future! History, Modernity and Patriotism According to Nashi, 2005–2012. Soviet and Post-Soviet Politics and Society, Stuttgart: Ibidem Verlag, 2012, 202pp., e 34.90 p/b

THE YOUTH MOVEMENT NASHI (OURS) WAS FOUNDED IN THE SPRING of 2005 against the backdrop of Ukraine’s ‘Orange Revolution’. Its aim was to stabilise Russia’s political system and take back the streets from opposition demonstrators. Personally loyal to Putin and taking its ideological orientation from Surkov’s concept of ‘sovereign democracy’, Nashi has sought to turn the tide on ‘defeatism’ and develop Russian youth into a patriotic new elite that ‘believes in the future of Russia’ (p. 15). Combining a wealth of empirical detail and the application of insights from discourse theory, Ivo Mijnssen analyses the organisation’s development between 2005 and 2012. His analysis focuses on three key moments—the organisation’s foundation, the apogee of its mobilisation around the Bronze Soldier dispute with Estonia, and the 2010 Seliger youth camp—to help understand Nashi’s organisation, purpose and ideational outlook as well as the limitations and challenges it faces. As such,the book is insightful both for those with an interest in post-Soviet Russian youth culture, and for scholars seeking a rounded understanding of the Kremlin’s initiatives to return a sense of identity and purpose to Russian national life.The first chapter, ‘Background and Context’, outlines the conceptual toolkit provided by Ernesto Laclau and Chantal Mouffe to help make sense of developments on the terrain of identity politics. In their terms, since the collapse of the Soviet Union, Russia has experienced acute dislocation of its identity. With the tangible loss of great power status, Russian realities have become unfixed from a discourse enabling national life to be constructed, albeit inherently contingently, as meaningful. The lack of a Gramscian hegemonic discourse to provide a unifying national idea was securitised as an existential threat demanding special measures. Accordingly, the identification of those who are ‘notUs’ has been a recurrent theme of Nashi’s discourse and activity. With the victory in World War II held up as a foundational moment, a constitutive other is found in the notion of ‘unusual fascists’. This notion includes not just neo-Nazis, but reflects a chain of equivalence that expands to include a range of perceived enemies of Putin’s consolidation project such as oligarchs and pro-Western liberals.The empirical background is provided by the second chapter, ‘Russia’s Youth, the Orange Revolution, and Nashi’, which traces the emergence of Nashi amid the climate of political instability of 2004 and 2005. A particularly note-worthy aspect of Mijnssen’s work is the inclusion of citations from his interviews with Nashicommissars; the youth movement’s cadres. Although relatively few in number, such insider conversations provide insight into the ethos of Nashi’s organisation and the outlook of those who have pledged their involvement. Besides the discussion of Nashi’s manifesto, the reader thus gains insight into the motivations of some participants and behind-the-scenes details of Nashi’s activities in response to the perceived threat of anti-government protests. The third chapter, ‘Nashi’s Bronze Soldier’, charts Nashi’s role in elevating the removal of a World War II monument from downtown Tallinn into an international dispute over the interpretation of history. The events subsequent to this securitisation of memory are charted in detail, concluding that Nashi’s activities were ultimately unsuccessful as their demands received little official support.The fourth chapter, ‘Seliger: The Foundry of Modernisation’, presents a distinctive feature of Mijnssen’s study, namely his ethnographic account as a participant observer in the Youth International Forum at Seliger. In the early years of the camp (2005–2007), Russian participants received extensive training, including master classes in ‘methods of forestalling mass unrest’ (p. 131), and the camp served to foster a sense of group identity and purpose among activists. After 2009 the event was no longer officially run as a Nashi camp, and its role became that of a forum for the exchange of ideas about innovation, although camp spirit remained a central feature. In 2010 the camp welcomed international attendees for the first time. As one of about 700 international participants in that year the author provides a fascinating account based on fieldwork diaries.Despite the polemical nature of the topic, Mijnssen’s analysis remains even-handed, exemplified in his balanced assessment of the Seliger experience. While he details the frustrations and disappointments of the international participants with regard to the unaccustomed strict camp discipline, organisational and communication failures, and the controlled format of many discussions,he does not neglect to note the camp’s successes in generating a gratifying collective dynamic between the participants, even among the international attendees who spent only a week there.In addition to the useful bibliography, the book is back-ended by two appendices, which provide the reader with important Russian-language primary source materials. The first is Nashi’s ‘Unusual Fascism’ (Neobyknovennyi fashizm) brochure, and the second is the booklet entitled ‘Some Uncomfortable Questions to the Russian Authorities’ (Neskol’ko neudobnykh voprosov rossiiskoivlasti) which was provided to the Seliger 2010 instructors to guide them in responding to probing questions from foreign participants. Given that these are not readily publicly available even now, they constitute a useful resource from the historical perspective.

Track official at car race

General note: Title and date provided by Bettye Lane.

West Point track and field meet and AAU Official Carol Coram

General note: Title and date provided by Bettye Lane.

Unsettling Histories: Representation and Indigenous Creative Art Praxis in Official Indian Residential School Redress

This dissertation offers an investigation of the role of visual strategies, art, and representation in reconciling Indian Residential School history in Canada. This research builds upon theories of biopolitics, settler colonialism, and race to examine the project of redress and reconciliation as nation and identity building strategies engaged in the ongoing structural invasion of settler colonialism. It considers the key policy moments and expressions of the federal government—from RCAP to the IRSSA and subsequent apology—as well as the visual discourse of reconciliation as it works through archival photography, institutional branding, and commissioned works. These articulations are read alongside the creative and critical work of Indigenous artists and knowledge producers working within and outside of hegemonic structures on the topics of Indian Residential School history and redress. In particular the works of Jeff Thomas, Adrian Stimson, Krista Belle Stewart, Christi Belcourt, Luke Marston, Peter Morin, and Carey Newman are discussed in this dissertation. These works must be understood in relationship to the normative discourse of reconciliation as a legitimizing mechanism of settler colonial hegemony. Beyond the binary of cooptation and autonomous resistance, these works demonstrate the complexity of representing Indigeneity: as an ongoing site of settler colonial encounter and simultaneously the forum for the willful refusal of contingency or containment.

Mad Men, The Sopranos and The American Way of Life. The history of the capital in two times

Don Draper (Mad Men, Matthew Weiner, AMC: 2007-2015) actively colaborates in the birth and consolidationof a model of consumer society without realizing the enormous lie he is telling himself. Tony Soprano(The Sopranos, David Chase, HBO: 1999-2007) desperately grasps the wreckage of that ideal imageof effort and self-improvement which is not only disappearing but was actually never coherent or real.This article does a comparative textual, sociological, and discursive analysis these two characters as arepresentation of the evolution of the discourse of capitalism in the second half of the 20th century, that is,the artificiality of the hegemonic discourse of “pursuit of happiness” as the main myth in post-war NorthAmerican neoliberalism.

Between representation and figuration. Nouvelle Vague’s cinema: a history revision

50 years after the birth of the Nouvelle Vague, the inheritance that the contemporary cinema receives from it is inevitable. Figures and visual motifs; stories, themes, faces or common places; aesthetic and language devices. The echoes appear in various ways, each affiliation involves a different relationship and therefore a dissimilar approximation to its analysis. And yet, both the academy and the film critics maintain their will to think the Nouvelle Vague as a whole, a universe, a stream or an aesthetic trend. However, does a Nouvelle Vague’s aesthetic exist? And if so: why and how to address their historical revision? Taking Deleuze’s thesis on the time-image and Serge Daney’s assertion according to which 50 years after the birth of the Nouvelle Vague, the inheritance that the contemporary cinema receives from it is inevitable. Figures and visual motifs; stories, themes, faces or common places; aesthetic and language devices. The echoes appear in various ways, each affiliation involves a different relationship and therefore a dissimilar approximation to its analysis. And yet, both the academy and the film critics maintain their will to think the Nouvelle Vague as a whole, a universe, a stream or an aesthetic trend. However, does a Nouvelle Vague’s aesthetic exist? And if so: why and how to address their historical revision? Taking Deleuze’s thesis on the time-image and Serge Daney’s assertion according to which

Women’s football. Notes for a social history of women’s sport in Spain, 1900-1936

In the context of demands by the European feminist movement at the beginning of the 20th century, in Spain women’s sport flagged up aspirations to what were considered to be male practices. The first experiences of women in football stand out because of their use of the media to appear as a symbol of social transformation to modernity in the 20th century. It was not in vain that women’s football highlighted the demands of the feminist movements, although it did come up against male disapproval from an opposing group. The research sets out from a bibliographical and media review of specialist press and sports news of the time. Other current studies have also been considered in order to place it in a social and historical focus on sport. This has enabled us to highlight that football in Spain was established as an unequivocal space for (re) producing male hegemony where women were relegated to the representation of a symbolic ritual in a scenario of accessory and condescension.