??ngels dom??stics, ciutadanes republicanes, mestresses consumidores : evoluci?? de l'ideal de la feminitat als llibres escolars (1901-1978). '??ngeles dom??sticos, ciudadanas republicanas, amas consumidoras : evoluci??n del ideal de la feminidad en los libros escolares (1901-1978)'

Resumen tomado del autor. Esta comunicaci??n se enmarca dentro del proyecto de investigaci??n 'Educaci??n y socializaci??n en valores : aproximaci??n al an??lisis cualitativo de la evoluci??n de los valores presentes en las pr??cticas educativas y socializadoras vigentes dentro y fuera de la escuela desde la II Rep??blica espa??ola hasta la actualidad en la Comunitat Valenciana (1931-2004)', financiado por la Conselleria de Cultura, Educaci?? i Esport de la Generalitat Valenciana

Osório Alves de Castro (1901-1978): biografia e fortuna crítica

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

On old and new inventions for keeping pictorial works of art : with addenda : prepared to be read before the Society of Arts /

Caption title: On old and new inventions for preserving pictorial works of art.

Anne McPherson family fonds, 1852-2011 [non-inclusive]

Frank C. (Case) McCordick (1873-1946) was the son of William Henry (1849-1930) and Emily D. Howell (1851-1927) McCordick. William H. McCordick was in the coal business. The McCordick family included Frank Case, Mabel Gertrude, Ethel Howell and Arthur Stanley. Frank C. McCordick was educated in St. Catharines, and worked with his father in the coal business and eventually opened up a leather tanning operation. McCordick was active in the Lincoln Regiment and in 1906 was promoted to captain and in command of Company A, 19th Regiment. He was promoted to major and at the outbreak of war he was sent overseas as a commander of the 35th Battalion of the Canadian Expeditionary Forces (CEF). Upon arrival in France he was made officer commanding the 15th Battalion, King’s Own Yorkshire Light Infantry (KOYLI). After the war and his return to Canada he continued to play an active role in the local military units in the area as well as in Hamilton. After his retirement from the military in 1927 McCordick served as alderman and then mayor of St. Catharines from 1930 to 1931. He was a member of a large number of civic clubs, including St. Catharines Chamber of Commerce, Y.M.C.A., Lion’s Club, St. Catharines Golf Club, Detroit Boat Club, the St Catharines Club, as well as a member of several Masonic lodges. He continued to operate McCordick Tannery and other local investments. In 1903 Frank C. McCordick married May Beatrice Simson, daughter of Thomas E. Simson of Thorold. They had three children, E. (Edward) Frank McCordick, Bruce McCordick and (Margaret) Doris McCordick (m. Hubert Grigaut, d. 1977). The McCordick family resided at 82 Yates Street, near Adams Street. May Simson McCordick (b. 1873) was the daughter of Thomas Edward (1836-1908) and Julia Headlam (1844-1887) Simson of Thorold. Her siblings included: Edward, Frances, John, Augusta, Georgia and Gertrude. E. (Edward) Frank McCordick (1904-1980) was born in St. Catharines, Ont., attended Lake Lodge School in Grimsby, Ridley College in St. Catharines, Beechmont Preparatory School in England, Upper Canada College in Toronto and graduated from Royal Military College in Kingston, Ont. in 1925. Upon graduation he was made a lieutenant in the 10th (St. Catharines) Field Battery. In 1929 he married Helen Stanley Smith, daughter of Stanley George and Mary Walker Smith of St. Catharines. Col. McCordick, now promoted to Major, played an active role in the 10th (St. Catharines) Field Battery, being officer commanding the battery. In late 1939 McCordick headed to England for artillery tactical training and on December 6, 1939 the battery began the long trek overseas. McCordick saw action in Italy and in Holland. Upon his return to Canada at the end of the war he was the Liberal candidate in the federal election for Lincoln County. He remained active in the local military serving as honorary lieutenant-colonel of the 56th Field Regiment (ARCA) and in 1976 as the honorary colonel of the regiment. Col. McCordick held the Efficiency Decoration, the Order of the British Empire, granted in 1945 and was made an officer in the Order of St. John in 1978. He continued to serve his community in various capacities, including the Unemployment Insurance Canada Board, Royal Trust Company and the St. John Ambulance Society. He remained an active member of the alumni of Royal Military College, editing and compiling a newsletter and organizing reunion weekends. He kept in close contact with many of his classmates. Helen Stanley Smith McCordick lived in St. Catharines, Ont., attended Robertson School, and graduated from the University of Toronto in 1926 with a Bachelor of Arts degree in Modern Languages. During the war years (1939-1945) Helen was active in the Transport division of the local branch of the Canadian Red Cross and the Women’s Auxiliary of the 10th Field Battery. In 1932 E. Frank and Helen McCordick welcomed their only child, (Catharine) Anne McCordick. Helen continued to play an active role in her community until her passing in 1997. Stanley George Smith (1865-1960) was born in St. Catharines, Ont., the only child of William Smith (d. June 16, 1876) a native of Edinburgh, Scotland and his wife Hannah Louisa Maria Bulkeley a native of Fairfield, Connecticut. Stanley George Smith married Mary Walker of Guelph, Ont.(d. 1956) Mary was the daughter of Hugh and Elizabeth (d. 1924) Walker. Her siblings included Margaret, Agnes, Jessie, Isabella, Lorne, Ada, Alice, Eva, Alexander and George. Hugh Walker was a prominent fruit and vegetable merchant in Guelph. On 1904 their only child, Helen Stanley Smith was born. He was a post office clerk, and the treasurer for the James D. Tait Co. Ltd., a clothing and dry goods retailer in St. Catharines. The family lived at 39 Church Street in St. Catharines, Ont.

Niagara Falls Special Attractions - Postcards

Board with five postcards of Niagara Falls attractions. First postcard, Lincoln Beachey's Flight under Niagara Falls Bridge (copyright 1911 by Photo Specialty Co.). Second postcard, Calvery Walking Niagara Gorge on 3/4 in. cable. Third postcard, Burning Spring, Niagara Falls, Canada. Fourth postcard, Mrs. Anna Edson Taylor "Shot Horseshoe Falls (165 feet) October 24, 1901, and survived - a feat never before accomplished. Entered barrel one and one-half miles above the Falls. Was in barrel one hour and fifteen minutes. Had 32 pounds of air in barrel; 100 pounds weight on foot of barrel. Rescued six hundred yards below falls on Canadian shore". Fifth postcard, Burning Spring, Niagara Falls, Canada.

Narradores ecuatorianos de la década de 1950: poéticas para la lectura de modernidades periféricas (Dossier: Narradores ecuatorianos de la década de 1950)

Estos escritores publicaron entre 1945-1962, y avanzaron mucho más en algunos planteamientos de los narradores del 30. Habiendo asumido su extracción de clase, se preguntaron respecto de su propia identidad, de la problemática del mestizo, de su rol como escritores, del impacto de la incipiente modernidad que desestructuraba la vida cotidiana en sus pueblos y ciudades. Coinciden pues, en lo temático, con los narradores latinoamericanos del período, quienes en lo estético mantuvieron la tensión entre regionalismo y vanguardias, los ecuatorianos se reafirmaron en un realismo que dio espacio al lirismo, aunque también mirando hacia las vanguardias latinoamericanas desde diferentes ángulos. César Dávila Andrade planteó una estética del horror «suprarreal», Ángel F. Rojas manejó modernamente temas emparentados con el regionalismo, Walter Bellolio sintetizó lo mejor de la vanguardia narrativa y la tradición relatística ecuatorianas, Alfonso Cuesta y Cuesta configuró una estética de las metáforas iluminadoras, y Arturo Montesinos trabajó con la metáfora de la ruptura que trae toda modernidad, por más periférica e incipiente que pueda parecer.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Pintura e Ironía. La interrogación irónica en la expresión pictórica

Tesis con Mención de Doctor Internacional

Poéticas da visualidade em João Cabral de Melo Neto e Joan Miró: a poesia como crítica de arte

A tese focaliza alguns dos principais poemas de João Cabral de Melo Neto desenvolvidos como crítica poética. O mote da investigação é a construção de uma lírica crítico-discursiva, uma produção artística que avalia a arte com os termos, os instrumentos da própria arte. Esta perspectiva analítica é deflagrada pelos primeiros românticos (Schlegel e Novalis) e expande-se em duas direções: tanto o poema escrito a partir de uma reflexão sobre a arte ou a natureza (crítico em sua gênese), quanto a crítica, transmutada em poesia. A abordagem comparativa de estâncias do poeta com obras picturais nelas referenciadas evidencia o constante diálogo do poeta com as poéticas da visualidade e com as concepções estéticas da modernidade, mormente com a poética de Joan Miró. Através da abordagem comparativa, materializam-se dois caminhos privilegiados de experimentação estética: o percurso do poético ao plástico, em João Cabral; o caminho inverso, na obra do pintor catalão do plástico ao poético. Para ambos os artistas, os processos de exploração das linguagens artísticas ocasionam, como consequência extrema, a dissolução do plástico e do poético, rumo ao inefável na pintura e na poesia. Para Miró, os signos plásticos são poéticos, porque guardam em si um universo de possibilidades significativas que transcendem a ordem da própria coisa em si. E o alcance das transformações que a sua poética empreende afetará a poesia de modo análogo: os signos poéticos mostram-se plenamente poéticos, ao transcenderem a forma e o sentido, no âmbito da plasticidade da palavra. Se a palavra pode se tornar matéria (passar da abstração para a concreção), a matéria pintada pode ser poesia. Integram a constelação teórica desta investigação os principais filósofos que discutem o caráter crítico da poesia, desde os filósofos do primeiro romantismo (Schlegel e Novalis), até aqueles cujo pensamento está relacionado à modernidade ou à pós-modernidade (Benjamin, Adorno, Lyotard, Blumenberg e Agamben)

Brown's gift shop

This is a photo of Brown's Guif Shop in Cheraw, S.C. The building was designed by V. H. Kendell, Jr, the contractor was H. J. Roshing, and the building was completed in April 1952.

House in Cheraw, SC

This is a photo of an unknown house in Cheraw S.C., approximate date of 1950s.

Education building, First Methodist Church, Cheraw, SC

This is a mounted photo of the education building of First Methodist Church, Cheraw S.C. The building was designed by Graves & Toy in Charlotte, contractor was Haynsworth Construction Co in Florence, and the building was completed September 1953.

Office building for J.N. Stricklin, Jr., Cheraw, SC

This is a mounted photo of the office building for J.N. Stricklin, Jr. in Cheraw, S.C. The building was designed by V.H. Kendall, Jr., contractor was H. J. Rushing, and the building was completed October 1953.