scholarly journals Media Revolution on 14th Street: Immigration, Vaudeville and the Nascence of Electronic Media in New York City at the Turn of the 20th Century

E-Compós ◽  
2012 ◽  
Vol 15 (2) ◽  
Author(s):  
Robert Albrecht
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
Electronic Media ◽  
Tin Pan Alley ◽  
Show Business

O alicerce da indústria do entretenimento foi lançado pelo nascimento do vaudeville na Rua 14 na cidade de Nova York no início dos anos 1880. Criado, em grande medida, por imigrantes e seus filhos, o vaudeville dominou o show business nos Estados Unidos durante cinco décadas, dos anos 1880 aos anos 1930. Por meio da integração de artistas, empresários e formas culturais imigrantes, o vaudeville criou uma síntese que foi muito necessária em uma época de imigração em massa e caos cultural. Com a rápida evolução das mídias eletrônicas durante o século XX – publicação musical, gravação sonora, rádio, cinema e televisão – o vaudeville ampliou sua influência multicultural ao tornar-se o modelo dominante para uma indústria do entretenimento em expansão. Palavras-chave Vaudeville. Tin Pan Alley. Imigração.

scholarly journals Media Revolution on 14th Street: Immigration, Vaudeville and the Nascence of Electronic Media in New York City at the Turn of the 20th Century

E-Compós ◽  
2012 ◽  
Vol 15 (2) ◽  
Author(s):  
Robert Albrecht
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
Electronic Media ◽  
Tin Pan Alley ◽  
Show Business

O alicerce da indústria do entretenimento foi lançado pelo nascimento do vaudeville na Rua 14 na cidade de Nova York no início dos anos 1880. Criado, em grande medida, por imigrantes e seus filhos, o vaudeville dominou o show business nos Estados Unidos durante cinco décadas, dos anos 1880 aos anos 1930. Por meio da integração de artistas, empresários e formas culturais imigrantes, o vaudeville criou uma síntese que foi muito necessária em uma época de imigração em massa e caos cultural. Com a rápida evolução das mídias eletrônicas durante o século XX – publicação musical, gravação sonora, rádio, cinema e televisão – o vaudeville ampliou sua influência multicultural ao tornar-se o modelo dominante para uma indústria do entretenimento em expansão. Palavras-chave Vaudeville. Tin Pan Alley. Imigração.

scholarly journals Nueva York 1916. La ciudad sin límites | New York 1916. Unlimited city

ZARCH ◽  
2017 ◽  
pp. 90
Author(s):  
José Durán Fernández
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Urban Planning ◽  
20Th Century ◽  
Urban Space ◽  
York City ◽  
Planning System ◽  
Siglo Xx ◽  
The City

La Ciudad de Nueva York fue pionera en la aplicación de un sistema de planificación de control urbano que pusiera orden y concierto a una ciudad que rebasa los 5 millones de habitantes a principios del siglo XX. Tal complejo organismo urbano, inédito hasta ese momento, fue objeto del más ambicioso plan urbano sobre una ciudad construida.Este artículo se destina al estudio de este originario plan urbano de 1916, el cual sentaría las bases, unas ciertamente visionarias otras excesivas, de la construcción de la Ciudad de Nueva York en todo el siglo XX. La Building Zone Resolution se creó con dos fines: resolver los problemas de congestión humana en un espacio reducido, la ciudad del presente, y proponer una visión del espacio urbano en las décadas venideras, la ciudad del futuro.El artículo es un compendio de diez textos cortos y un epílogo, que junto a sus respectivos diez documentos gráficos, construyen el corpus de la investigación. El lector pues se enfrenta a un ensayo gráfico formado por pequeños capítulos que le sumergirán en los orígenes de la primera ciudad vertical de la historia.PALABRAS CLAVE: Nueva York; Planeamiento; Visión urbana.The city of New York was a pioneer in the implementation of an urban control planning system that set in order a city that exceeds five million people in the early twentieth century. Such complex urban organism – invaluable until that moment – was the target for the most ambitious urban planning on a built city.This paper focuses on the study of this initial urban planning from 1916, which would set the basis, certainly some visionary yet others excessive, for the building of New York City throughout the 20th century. The Building Zone Resolution was created with two purposes: to solve the issues related to the human bundle in a limited space, the city of the present, and to aim a vision of the urban space in the forthcoming decades, the city of the future.The article is a compendium of ten short texts and one epilogue, which in combination with ten graphic documents, frame the corpus of this investigation. Thus, the reader will face a graphic essay composed by a series of brief chapters that highlight the beginning of the first vertical city in history.KEYWORDS: New York; Planning; Urban vision.

Paris, May 1952

Tempo ◽  
1972 ◽  
pp. 15-18
Author(s):  
Colin Mason
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
The Third ◽  
Rite Of Spring ◽  
Billy Budd ◽  
Cultural Freedom

The Paris Festival of Masterpieces of the 20th Century lasted throughout May, and few had time to see it all. Unlike many foreign festivals that spread themselves out over a similar period, it was crammed tight with good things throughout, with something of interest every night except Sundays from 30 April to 1 June. The third week was the climax of the festival, and in general the last two weeks were more exciting than the first two, which were apparently meant to draw the Parisian bourgeoisie, being devoted mainly to ballet by the New York City Ballet, and containing nothing in music worth a journey abroad except perhaps two performances by the Vienna Opera of Wozzeck, which is rapidly becoming as familiar as The Rite of Spring. In the last two weeks, the festival's so-called literary conferences on cultural freedom were held, and to give these the best possible chance of wide publicity, the organizers had cleverly saved up their musical trump cards until then, with what was virtually a Stravinsky-Bartók-Schoenberg week, Stravinsky himself conducting his two late symphonies and Oedipus Rex, with Cocteau as producer, designer, narrator (and of course librettist), followed in the last week by Billy Budd conducted by Britten, excerpts from Milhaud's setting of the Oresteia, and Virgil Thomson's Four Saints in Three Acts.

In That Golden Land: The Spiritual Odyssey of Henry Roth's Call It Sleep

Prospects ◽  
1998 ◽  
Vol 23 ◽  
pp. 379-399
Author(s):  
Nancy J. Rosenbloom
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
Modern World ◽  
Henry Roth ◽  
Mass Migration ◽  
The Universe

With these words, Henry Roth beganCall It Sleep, a novel published in 1934 when its author was twenty-eight years old.Call It Sleepranks among the most powerful novels of the 20th century, precisely because of the questions it does ask about the conflicts of immigrant life, the demands of assimilation, and the search for spiritual nourishment in the modern world. Roth locates his narrative in New York City during the peak years of mass migration from Europe between 1907 and 1914. At the center ofCall It Sleepis David, a precocious and sensitive child at age six, who is already questioning his place in the universe and the meaning of God. Thus,Call It Sleeppresents a narrative of how a small immigrant boy makes sense of his world, a world defined by both its physical and spiritual dimensions.

Refuse Incinerator Particulate Emissions and Combustion Residues for New York City during the 20th Century

2001 ◽  
Vol 35 (12) ◽  
pp. 2441-2447 ◽  
Author(s):  
Daniel C. Walsh ◽  
Steven N. Chillrud ◽  
H. James Simpson ◽  
Richard F. Bopp
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
Particulate Emissions ◽  
Combustion Residues

scholarly journals The Films of Julian Schnabel

2011 ◽  
Author(s):  
Alex Britton
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
York City ◽  
Art Market ◽  
Film Festivals ◽  
Late 20Th Century ◽  
The Third ◽  
York Review

CHARACTERIZATION, REVISIONISM AND MISREPRESENTATION IN THE FILMS OF JULIAN SCHNABEL A few years ago after viewing the 2007 film The Diving Bell and the Butterfly, the third film by contemporary director and (former) star painter Julian Schnabel, a friend of New York Review of Books writer Sanford Schwartz prophetically announced to the critic, "Apparently it's easier to make a great movie than a great painting."(1) Indeed, Schnabel's ascension to art stardom has taken a truly enigmatic path. Initially conjuring his success as a painter within the elitist landscape of the late 20th century New York City art market, today we find Schnabel strutting down the red carpet of the Cannes and Toronto international film festivals after writing and directing three films while armed with seemingly zero experience in the field of filmmaking or screenwriting. As a painter, Schnabel's work is largely classified as "Neo-Expressionist", belonging to Postmodernism's timely...

A Study on the High-Rise Housing Repair Work’s Types in New York City - In the Case of Eldorado

2011 ◽  
Vol 243-249 ◽  
pp. 6569-6573
Author(s):  
Chu Tsen Liao
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
19Th Century ◽  
York City ◽  
Present Condition ◽  
Construction Technology ◽  
Repair Work ◽  
High Rise ◽  
In The Beginning

High-rise (a structure seventy-five feet or more in height [1]) housing buildings were first built accompany the improvement of construction technology in the 1890s in New York City. Some high-rise housing buildings which built in the end of 19th century or in the beginning of 20th century are preserved by the repair work and still being used today. In this study, I investigate the repair records and present condition of these kinds of the high-rise housing buildings. The purpose of this study is to know the repair work’s type and its cycle time of the high-rise housing buildings in New York City.

Carlos Chávez

2021 ◽  
Keyword(s):  
New York ◽  
New York City ◽  
20Th Century ◽  
Mexico City ◽  
York City ◽  
Fine Arts ◽  
Musical Identity ◽  
Piano Works ◽  
Mexican Art ◽  
Art Exhibit

Carlos Antonio de Padua Chávez y Ramírez (b. 1899–d. 1978) was one of Mexico’s leading composers, conductors, administrators, and musical educators during the 20th century. Born in Popotla, a suburb near Mexico City, on 13 June 1899, Chávez’s began his musical career with piano lessons, studying initially with Manuel M. Ponce. Then, at the age of sixteen, he became a music teacher during the changing social and political landscape of the Mexican Revolution (1910–1920). After successful publications of some of his short piano works, he soon received a commission from the Secretary of Public Education (SEP), José Vasconcleos, to compose a ballet. For this charge, Chávez chose an Aztec legend, labeling his work El fuego nuevo. Unfortunately, this work was never performed in Mexico, which led Chávez to seek other opportunities, first in Europe, then in New York City. Chávez’s collaborations with modernist composers and artists in New York City proved to be transformative for the composer, leading to a wave of compositions that reflected the modernist currents of the time. Upon returning to Mexico City, Chávez took on new roles, including the director of Orquesta Sinfónica Mexicana (later called the Orquesta Sinfónica de México), and then an appointment as the director of the Conservatorio Nacional, where he provided robust changes to the curriculum. In 1933, Chávez served as the chief of the Department of Fine Arts for the SEP and later collaborated with Paul Strand on his film project Redes (1935). His varying positions in Mexican institutions and his search for a Mexican musical identity initiated a wave of nationalism that can be heard in his works H.P. (1932) and Sinfonía India (1935) and his participation in the Twenty Centuries of Mexican Art Exhibit at the Museum of Modern Art in New York City. Later works reflected an approach to universalism and cosmopolitanism, such as the Concerto for Piano and Orchestra (1938). During the 1940s, Chávez became the director of the Instituto Nacional de Bellas Artes (INBA), which oversaw several national artistic projects in Mexico. After resigning from INBA, Chávez returned to composition and taught courses at the Conservatorio Nacional. Chávez’s musical career was eclectic and diverse, spanning several important areas of Mexican musical and artistic culture. He rose to become one of the most recognized musicians in Mexico during the 20th century.

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