The Approaches and Transportation Facilities of the Paris Exposition of 1900

Ratu harbor beach is one of the mainstay tourist sites for the Regional Government of Sukabumi Regency in bringing PAD, besides public transportation facilities and terminals have a major role in supporting the queen port as a tourist attraction so that tourists are comfortable and facilitated in accessing through public transportation. The condition of the Pelabuhan Ratu Terminal, Sukabumi Regency is currently very poor, poorly maintained, and many supporting facilities are damaged and inadequate. This study aims to identify problems and formulate the type B terminal arrangement in Sukabumi Regency. The method used is descriptive qualitative in order to get a picture of the problems of the situation and conditions currently taking place or occurring in the present and the study of policies. Collecting data by field surveys, literature studies and interviews. The results in this study get a terminal B type terminal design concept Sukabumi Regency according to current and future needs.

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Philippines Improving Transportation Facilities

Far Eastern Survey ◽

10.1525/as.1939.8.24.01p0790w ◽

1939 ◽

Vol 8 (24) ◽

pp. 287-288

Author(s):

Catherine Porter

Keyword(s):

Transportation Facilities

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Viktor Vasnetsov’s New Icons

Experiment ◽

10.1163/2211730x-12341334 ◽

2019 ◽

Vol 25 (1) ◽

pp. 131-144

Author(s):

Wendy Salmond

Keyword(s):

Nineteenth Century ◽

Popular Culture ◽

National Culture ◽

Russian Society ◽

Late Imperial ◽

Imperial Period ◽

Paris Exposition ◽

The Many ◽

Modern Orthodox ◽

Human Hands

Abstract This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.

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