The Trail: a History of the Ho Chi Minh Trail and the Role of Nature in the War in Viet Nam, by Richard L. Stevens. Garland Publishing, New York, USA: xxxii + 258 pp., illustr., 23.6 × 15.8 × 2.0 cm, hard cover, US $35, 1993.

1993 ◽  
Vol 20 (2) ◽  
pp. 184-185
Author(s):  
Arthur H. Westing
Keyword(s):  
New York ◽  
Viet Nam ◽  
History Of ◽  
Garland Publishing ◽  
Hard Cover

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

Chicago's Auditorium Building: Opera or Anarchism

1998 ◽  
Vol 57 (2) ◽  
pp. 128-159 ◽  
Author(s):  
Joseph M. Siry
Keyword(s):  
New York ◽  
New York City ◽  
Social History ◽  
Chicago School ◽  
Paris Opera ◽  
Metropolitan Opera ◽  
History Of ◽  
Opera House ◽  
Opera Houses

Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.

A Centennial History of the American Society of Mechanical Engineers: 1880-1980

1980 ◽  
Author(s):  
Bruce Sinclair
Keyword(s):  
New York ◽  
Progressive Era ◽  
Political System ◽  
City Government ◽  
American People ◽  
Engineering Problems ◽  
History Of ◽  
American Society ◽  
Technical Question

In 1980 the American Society of Mechanical Engineers celebrates the centenary of its founding. The occasion has provided an opportunity for the Society to look back and survey its accomplishments, its distinguished members, and its constant dialogue — among its members and with the American people — concerning the role of engineering in a technological society. The dynamic tensions within the ASME make a fascinating background to this centennial history. The central role of the Society’s headquarters in New York is examined the light of various movements for regional and professional sections within (and occasionally outside) the Society. The technical question of standards is shown to be a constant and creative problem for members — reflecting their attitudes towards their role in a political system often reluctant to enforce nation-wide standars in business and industry. From the Progressive Era, and its attempts to reform city government and check the power of private utilities, to the 1970s and its renewed concern with ecology and business ethnics, the Society has provided a microcosm of informed debate about technical engineering problems which — as this book makes clear — concerns us all.

scholarly journals Bodies that Fester in the Holds of the “Coffin Ships”: Postcolonial Neo-Victorianism, Vulnerability and Resistance in Joseph O’Connor’s Star of the Sea (2003)

2021 ◽  
Vol 63 ◽  
pp. 151-171
Author(s):  
Mª Isabel Romero Ruiz
Keyword(s):  
New York ◽  
The Other ◽  
Colonial History ◽  
Victorian Studies ◽  
Victorian Period ◽  
Irish Identity ◽  
History Of ◽  
New Imperialism ◽  
British Colonial

The presence of Empire in the Victorian period and its aftermath has become a new trope in neo-Victorian studies, introducing a postcolonial approach to the re-writing of the Victorian past. This, combined with the metaphor of the sea as a symbol of British colonial and postcolonial maritime power, makes of Joseph O’Connor’s novel Star of the Sea a story of love, vulnerability and identity. Set in the winter of 1847, it tells the story of the voyage of a group of Irish refugees travelling to New York trying to escape from the Famine. The colonial history of Ireland and its long tradition of English dominance becomes the setting of the characters’ fight for survival. Parallels with today’s refugees can be established after Ireland’s transformation into an immigration country. Following Judith Butler’s and Sarah Bracke’s notions of vulnerability and resistance together with ideas about ‘the other’ in postcolonial neo-Victorianism, this article aims to analyse the role of Empire in the construction of an Irish identity associated with poverty and disease, together with its re-emergence and reconstruction through healing in a contemporary globalised scenario. For this purpose, I resort to Edward Said’s and Michael Hardt and Antonio Negri’s ideas about imperialism and new imperialism along with Elizabeth Ho’s concept of ‘the Neo-Victorian-at-sea’ and some critics’ approaches to postcolonial Gothic. My main contention throughout the text will be that vulnerability in resistance can foster healing.

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