312,621 research outputs found
A Correct View of Fort Defiance Goliad. (Drawn by Adjt Joseph M. Chadwick of N. Hampshire) / A. E. Baker's Lithogy / 8 Wall St. N.Y.
No full textPhotograph shows engraving, after drawing by Chadwick, of bird's-eye view of Col. James W. Fannin's Fort Defiance (Presidio La Bahia) as mapped by Chadwick, a military and topographical engineer. Shows chapel incorrectly facing east within the quadrangle.On lower left: ''Entered according to Act of Congress by A. E. Baker in the Year 1836, in the Southern District Clerk's Office New-York.'
Jackson Napoleon Chadwick Papers, MSS.4168
No full textAbstract: A bill of sale for five slaves, a soft leather wallet, and a letter regarding a pre-Civil War bond, belonging to Jackson Napoleon Chadwick and his heirs.Scope and Content Note: The collection contains a bill of sale for five slaves, a soft leather wallet, and a letter regarding a pre-Civil War bond, belonging to Jackson Napoleon Chadwick and his heirs. The wallet (7" tall and about 3.25" wide when closed) with an attached notepad includes notations that give a rare glimpse of the provenance of the wallet, from 1839 when it was given to Jackson Napoleon Chadwick by his brother S. W. Chadwick. Below this note is another written by Bessie Chadwick Minge stating that the wallet was found among her father's belonging after his death in August 1898. A final note added in January 1907, says that the "pencil was left in my husband's jacket at the time of his death." There is no signature on this last notation.Also in this collection of papers is a bill of sale for five slaves (two girls and three boys) between the ages of eleven and sixteen. Jackson Chadwick made the purchase in Mobile in March 1861.The final item in the collection is an 1869 letter from Charles J. Friend to David Minge regarding Friend's efforts to discharge Minge's $5,000 debt, incurred before the Civil War, to Mrs. M. E. C. Gilliam. MingeBiographical/Historical Note: Jackson Napoleon Chadwick was probably born in Texas around 1828. He had at least one brother, S. W. Chadwick. J. N. married Mary Louise (Louisa) with whom he had four children: John E., Mary, W. J., and Bessie. He died in Texas in 1898.Bessie Croom Chadwick Minge, youngest child of Jackson N. and Mary Louise Chadwick, was born on November 12, 1853. She married John Henry Minge of Marengo County, Alabama, with whom she had eight children: John Henry, Jr.; Mary Croom; twins Bessie Chadwick and Melville Harris; Jackson Chadwick; David Harrison, infant Bessie, and Louise Chadwick. She died on June 12, 1931. Louise Chadwick Minge Cameron, youngest child of John Henry and Bessie Chadwick Minge, was born on December 18, 1891, in Marengo County, Alabama. She married Turner Christian, with who, she had one son, Turner, Jr. She died on Mary 25, 1972
Railway regulation in 19th Century Britain: the economic rationale and legacy of Gladstone and Chadwick
No full textThis paper examines the economic rationale of the ideas of Gladstone & Chadwick on railway regulation and the legacy of their ideas. In 1844 Gladstone proposed and implemented what we would now call price and quantity regulation whereas in 1859 Chadwick proposed competition "for the field", i.e. the establishment of a temporary monopoly or franchise, for a given period. The thinking of Gladstone had been influenced by the classical school of economic thought, most notably J R McCulloch, whilst Chadwick had ideas influenced by his association with Jeremy Bentham and John Stuart Mill. This ideas still impact today; the basic pattern of price and some quantity regulation inaugurated by Gladstone was not abolished until the 1960 Transport Act whilst Chadwicks idea of temporary licenses or franchises came back into vogue when the railways were privatised in 1997.Britain, nineteenth century, railway regulation, classical school, J R McCulloch, Edwin Chadwick, John Stuart Mill
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Letter from John Chadwick to Emmett Bennett Jr., August 3, 1956
No full textChadwick suggests more readings of Mycenaean tablets and offers an interpretation of Demeter and Kore to be found in as Potnia, materei theiai in the E Mycenaean tablets.Classic
Robert E. Chadwick
No full textEngraving of Robert E. Chadwick who was vice president of the Bank of Ensley
Helen Chadwick : Effluvia
No full text" This exhibition presented a selection of work by Helen Chadwick, one of Britain’s most prominent and provocative artists. Staged just two years before her untimely death, the exhibition explored Chadwick’s work from the previous five years, including Cacao, a large bubbling chocolate fountain, specially made for the Serpentine Gallery. " -- Publisher's website
Wakanda Forever: afrofuturism claims around black panther Chadwick Boseman.
No full textThe dissertation analyzes articulations between Afrofuturist performances, blackness and pop culture around the “black panther” Chadwick Boseman, whose death in 2020 is seen here as a media vector that makes us see, in digital environments, a network of aphrodiaspora claims configured and reconfigured by Wakanda Forever gesture. The media vector is located from the tweet that confirmed the death of American actor Chadwick Boseman, posted on August 29, 2020, in his own official Twitter account. From this tweet, seen here as a media trigger, communication expressions were mapped and analyzed on this platform and on Instagram, totaling 21 posts, including videos, images and testimonials, through the tags #wakandaforever #chadwickboseman and #panteranegra, which show various bodies black people articulated around the greeting to the character/actor. The problem of this dissertation focuses on how the film Black Panther (2018), from the strength of its protagonist, is reverberated in several other black bodies protagonists (whether in the mainstream or in everyday life) with the death of actor Chadwick Boseman, in 2020. As this media release reveals, reiterates and gives new meaning to a network of claims crossed by Afrofuturist narratives and experiences of blackness articulated with speculative components. This allows us to understand certain cultural mutations, transits, transformations and ethics of possibilities incorporated, within the scope of global pop culture, by the Wakanda Forever gesture, understood in this work from the perspective of performance. The idea of pop, in this research, is understood from the perspective of the affective nebula (JANOTTI JR E SOARES, 2015) and the discussions about Afrofutirisms, diaporas and blackness are supported by references from black authors and authors, such as Stuart Hall (2013), Paul Gilroy (1993), Marimba Ani (1994), Aza Njeri (2015), Sueli CARNEIRO (2005), Achille Mbembe (2018), Fábio Kabral (2020), Kênia Freitas (2018), Michael Boyce Gillespie (2016), Molefi K. Asante (2009) and Kabengele Munanga (2012). The theoretical- methodological approach encompasses the notion of networked audiovisual (GUTMANN, 2021), the concept of performance as restored behavior (SCHECHNER, 2013) and as incorporation, archive and repertoire (TAYLOR, 2013) and the map of cultural mutations (MARTÍN -BARBERO, 2009).CNPQA dissertação analisa articulações entre performances afrofuturistas, negritudes e cultura pop em torno da “pantera negra” Chadwick Boseman, cujo falecimento em 2020 é aqui encarado como vetor midiático que nos faz ver, nas ambiências digitais, uma rede de reivindicações afrodiaspóricas configuradas e reconfiguradas pelo gesto Wakanda Forever. O vetor midiático é localizado a partir do tweet que confirmou o falecimento do ator norte-americano Chadwick Boseman, postado em 29 de agosto de 2020, na sua própria conta oficial no Twitter. A partir deste tweet, aqui encarado como um disparo midiático, foram mapeadas e analisadas expressões comunicacionais nessa plataforma e no Instagram, totalizando 21 posts, entre vídeos, imagens e depoimentos, através das tags #wakandaforever #chadwickboseman e #panteranegra, que evidenciam diversos corpos negros articulados em torno da saudação ao personagem/ator. O problema desta dissertação se debruça sobre como o filme Pantera Negra (2018), a partir da força de seu protagonista, é reverberado em diversos outros corpos negros protagonistas (seja no mainstream, seja na vida cotidiana) com a morte do ator Chadwick Boseman em 2020. Como esse disparo midiático revela, reitera e ressignifica uma rede de reinvindicações atravessada por narrativas afrofuturistas e experiências de negritudes articuladas a componentes especulativos. Isso nos permite compreender certas mutações culturais, trânsitos, transformações e éticas de possibilidades incorporadas, no âmbito da cultura pop global, pelo gesto Wakanda Forever, compreendido neste trabalho pela perspectiva da performance. A ideia de pop, nesta pesquisa, é compreendida pela perspectiva da nebulosa afetiva (JANOTTI JR.; SOARES, 2015) e as discussões sobre afrofutirismos, diáporas e negritudes se amparam em referências de autores e autoras negras, tais quais Stuart Hall (2013), Paul Gilroy (1993), Marimba Ani (1994), Aza Njeri (2015), Sueli
Carneiro (2005), Achille Mbembe (2018), Fábio Kabral (2020), Kênia Freitas (2018), Michael Boyce Gillespie (2016), Molefi K. Asante (2009) e Kabengele Munanga (2012). O aporte teórico-metodológico engloba a noção de audiovisual em rede (GUTMANN, 2021), o conceito de performance enquanto comportamento restaurado (SCHECHNER, 2013) e enquanto incorporação, arquivo e repertório (TAYLOR, 2013) e o mapa das mutações culturais (MARTÍN-BARBERO, 2009)
The Visit of General Washington to Newport in 1781
No full textA paper read before the Society December 17th, 1912 by Mrs. French E. Chadwick. Bulletin of the Newport Historical Society, Number Six (extra number), Newport, R.I., February, 1913.
Using original source material, the author discusses George Washington’s visit to Newport, Rhode Island, in order to confer with Count Rochambeau upon his arrival from France in 1780 to assist the American colonies in gaining their freedom from England.https://digitalcommons.providence.edu/ri_history/1018/thumbnail.jp
Il logos inciso nell'argilla. Ricordo di John Chadwick
No full textOn the centenary of the birth of John Chadwick (who, together with Michael Ventris, deciphered the Cretan script "Linear B"), the author, who knew him personally and corresponded with him, reconstructs and relates unpublished aspects of how Chadwick arrived at his discoveries, thanks to his military decryption experiences during the Second World War. Philosophy had flourished on Greek soil several centuries after Linear B, yet we cannot help but recognise that its basic constituent, the logos, the word as the expression of (future) thought, was indeed born on the clay tablets of Crete.Nel centenario della nascita di John Chadwick (il quale decifrò insieme a Michael Ventris la scrittura cretese “Lineare B”), l’autore, che lo conobbe personalmente ed ebbe con lui uno scambio epistolare, ricostruisce e riferisce aspetti inediti di come Chadwick giunse alle sue scoperte, grazie a esperienze di decrittazione militare risalenti alla Seconda Guerra Mondiale. La filosofia era fiorita sul suolo greco diversi secoli dopo la Lineare B, eppure non possiamo fare a meno di riconoscere che il suo costituente basilare, il logos, la parola in quanto espressione del pensiero (futuro), era davvero nato sulle tavolette d’argilla di Creta
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