29,112 research outputs found
Foy & Gibson newsletters
No full textCover titles vary: Manufacture, service, distribution (masthead, Oct. 1947) -- Service (Feb. 1948-Feb. 1959) -- Foy's news service of the month (v.1, no. 8, Nov. 1959; v. 2, no., Feb. 1960-v. 7, no. 5, June, 1965) -- Cox Bros newsletter (no. 4, Feb. 1960) -- Woolies news (1967)."This is the staff magazine of 'The Foy family' which comprises Foy's retail stores, Melbourne, Prahran, Collingwood, and Adelaide [and] Eagley Mills, Collingwood; Retail office, Sydney; Mill office, Sydney; Mill representative, Brisbane; O. Gilpin Limited, Malvern warehouse and 92 stores throughout Victoria, New south Wales, South Australia and Tasmania; Foy & Gibson, London Limited and our 'cousins' in Foy & Gibson, W.A. Limited."Contains articles written by staff and others, on general topics presumed by the management to be of interest to Foy & Gibson staff; with photographs, illustrations and some biographical information.Originally issued under the title: All shoulders to the wheel (pre-1936).Foy & Gibson (also known as Foys) was one of Australia's earliest department store chains, modelled on Le Bon Marché in Paris and other European and American stores of the period. A large range of goods were manufactured and sold by the company including clothing, manchester, leather goods, soft furnishings, furniture, hardware and food. The first store was established as a drapery in Smith Street, Collingwood, Victoria by Mark Foy. Ownership of this business was transferred to his son Francis Foy in partnership with Willam Gibson in March, 1883. Francis Foy later sold his half share of the business to Gibson and moved to Sydney, establishing Mark Foys there. Gibson established a branch of the business in Perth and subsequently opened a store in Brisbane in 1903 and another in Rundle Street, Adelaide in 1907. In 1955, the company was bought out by Cox Brothers and in 1964, Foy & Gibson (WA) Ltd, including ten stores in Western Australia, was sold to David Jones. The Bourke Street Melbourne store was sold to Woolworths in 1967. [From Wikipedia, viewed May 5, 2011]Gibson's partnership with Mark Foy was dissolved after a disagreement in mid-1884, and William Gibson became the sole proprietor. By the early 20th century Gibson's store and manufacturing works, one of the largest employers in Victoria, dominated the Wellington and Smith Streets area [of Collingwood, Melbourne]. A second store - the Big Store - opened in Chapel Street, Prahran, in 1902. After Gibson died in 1918, the firm was carried on by his nephew John Maclellan until it was taken over in 1955 by Cox Brothers, which went into liquidation in 1968. Source: http://www.emelbourne.net.au/biogs/EM00605b.htmThis material has been made available as permitted under section 200AB of the Copyright Act 1968. This material is subject to copyright and any further reproduction, communication, publication, performance, or adaptation is only permitted with permission from the copyright owner or subject to copyright legislation in your jurisdiction.Alternative titles: Newsletter Service, Foy's news service of the mont
Mark Gibson
No full textMark Gibson poses for a picture between 1987 and 1991. Gibson received his BA in 1991
The sense of a beginning : Bakhtinian dialogic criticism on 'the gospel' in Mark.
No full textContemporary literary approaches have caused paradigm shifts in Biblical Studies in the last two decades as it appears in a great deal of Markan studies using narrative, reader-response, deconstructive, feminist, and new historicist approaches. However, literary studies on the Gospel of Mark have not taken into account theoretical questions underlying those approaches. As a result biblical critics are driven by new trends without ever having a chance to examine the critical baggage of the approaches. Consequently, there is a gap of communication between the old and the new one. Therefore this thesis is an attempt to meet the need of enhancing the quality of critical endeavour in biblical studies. In the light of most recent competing critical theories of literature, the first contribution of this thesis is the methodological finding that Bakhtinian dialogic criticism contains the most profound philosophical and practical foundations for solving some crucial theoretical problems in contemporary literary theories. It is a critique to a Saussurian linguistic system of language which becomes the very foundation of modern and postmodern literary criticism. Bakhtinian literary theory shifts the foundation of literary criticism on linguistic signs into the creative activity of the socio-cultural production of human communication. The shift into socio-cultural reality of language communication makes the notion of 'genre' very important to unlock the problem of text and context in literary studies. Since the Gospel of Mark has fascinated most literary critics in Biblical Studies, the problem of 'genre' of this gospel is chosen as the focus of this study. Secondly, as no agreement is reached as to what 'genre' the Gospel of Mark belongs, this thesis makes its contribution to the discussion by locating the problem of 'genre' of Mark in the context of genre theories and argues that the Bakhtinian suggestion to find genre in the socio-cultural sphere by analysing artistic intercourse between narrative agents in Mark has freed the competing analysis from the unresolved problem between the kerygmatic (content oriented) approach and the analogical (form oriented) approach. To achieve finding 'genre' in the socio-cultural sphere, this thesis focuses on Bakhtinian analysis of the process of artistic intercourse between narrative agents. The narrative communicative interrelationships between narrative agents is constructed in this thesis as a 'stereophonic' Bakhtinian model of dialogic communication. This model is an original contribution of this thesis for revising the traditional two dimensional model of narrative communication. Based on this dialogical model of communication, a special role is given to the Bakhtinian 'author-creator' in the realization process of genre through the interaction of polyphonic voices. Through the interaction of voices of the author-artist and the hero we are led to discover a relatively stable type of portraying and controlling reality in Mark, known as the genre of Roman 'satire'. The closest literary affinity is Satyrica by Petronius. This narrative strategy of 'satire' in Mark has its root in the prophetic discourse of the Old Testament which is saturating the speech of the narrator, John the Immerser, the centurion, the people, and even Jesus. Finally, the whole search for Markan 'genre' culminates in the analysis of the realization of genre through the analysis of Bakhtinian chronotope. The reality of the genre of Mark is its social reality that is in its role as dpxrj/ 'beginning'. As the Gospel of Mark proclaims itself as 'a beginning', it defines its claim of socio-cultural 'authority' in early Christianity. It is this 'sense of beginning' which enables the narrating and the narrated world of Mark to interact dialogically
SIDE 1: 11, Oct. 82. Rev. Gibson. Deserting Desert Places. Saint Mark - Live.
No full textThis audio recording features a church service at Saint Mark United Methodist Church in Chicago, Illinois. The service proceedings include songs, the prayer of confession, a special welcome by Reverend Harry B. Gibson, Jr. to guest attendee Evelyn G. Lowery, his sister (at 00:11:25), church announcements, and a sermon delivered by Gibson. In his sermon, Gibson centers his remarks around the idea of "deserting desert places". Gibson emphasizes that desert places are to be avoided, as they are the wrong place to seek answers in life. The recording concludes with the singing of hymns. Audio note: Distorted audio high background noise and high noise floor throughout recording playback; Inconsistent channel volume levels throughout recording playback.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the Joseph & Evelyn Lowery Institute for Justice and Human Rights, the Joseph Echols Lowery Irrevocable Trust, and other donors in supporting the processing and digitization of Morehouse College's Joseph Echols and Evelyn Gibson Lowery Collection
Architecture in tension: an examination of the position of the architect in the private and public sectors, focusing on the training and careers of Sir Basil Spence (1907-1976) and Sir Donald Gibson (1908-1991)
No full textIn the early 1900s tensions began to appear within the architectural profession,
as private practitioners struggled to deal with the implications of professional
colleagues moving into public sector employment. Sir Basil Spence and Sir
Donald Gibson began their architectural training in the mid-1920s and, as
tensions between the sectors intensified, Spence entered private practice and
Gibson chose to enter the public sector. Each became an exemplar of his
chosen sector of the profession and yet both have, until recently, escaped
critical attention. The tensions between the public and private sectors of the
profession have been acknowledged within the historiography, but not received
detailed analysis.
This thesis advances the current historiography by presenting an examination
of the division between the sectors, focusing on the relationship between the
RIBA and the public sector union AASTA and assessing the influence of
AASTA on Gibson's Coventry City Architect's Department.
Through an examination of archival material, contemporary published material,
and buildings, this thesis builds on the work of the Sir Basil Spence Archive
Project, adding detailed accounts of his early life, architectural training, and
RIBA presidency, presenting new information and correcting certain aspects of
the accepted historiography. It likewise presents new information on Gibson's
early life and training and his central role in achieving improved status and
representation for the public sector. An analysis of selected projects provides a
comparative study of their contrasting approaches to architecture: the
technically informed, collaborative team-work of Gibson and the individual
artistry of Spence.
Both men played pivotal roles in reforming the RIBA and in changing public and
professional perceptions of the architect, nevertheless, the long lineage and
complex nature of tensions within the profession meant that the public/private
division was never be bridged and issues of status and representation
remained essentially immutable
Eric Gibson Interview, 18 June 2013
No full textBorn in 1950, Gibson grew up first in the Glenville neighborhood and then in Kinsman, with most of that time at Garden Valley, an urban renewal housing development near Kinsman and East 79th Street. He tells great stories about the early days in Garden Valley in the late 1950s before the gullies were filled with dirt excavated along the downtown lakefront. He talks about various nightspots and music clubs all over the city, including Cougar Lounge, Teal Lounge, and several spots in the Euclid-East 105 area. Gibson worked for Eastside Drive-in near the Northfield Race Track and later for Embassy Theater and Flaming Embers restaurant in downtown. Then he worked 39.5 years at three different Ford plants in Brook Park. He discusses his work at Ford and the downward slide of the auto industry. He concludes with stories about the importance of turf and how, as a youth, he belonged to a gang called the Alley Rats
Eric Gibson Interview, 18 June 2013
No full textBorn in 1950, Gibson grew up first in the Glenville neighborhood and then in Kinsman, with most of that time at Garden Valley, an urban renewal housing development near Kinsman and East 79th Street. He tells great stories about the early days in Garden Valley in the late 1950s before the gullies were filled with dirt excavated along the downtown lakefront. He talks about various nightspots and music clubs all over the city, including Cougar Lounge, Teal Lounge, and several spots in the Euclid-East 105 area. Gibson worked for Eastside Drive-in near the Northfield Race Track and later for Embassy Theater and Flaming Embers restaurant in downtown. Then he worked 39.5 years at three different Ford plants in Brook Park. He discusses his work at Ford and the downward slide of the auto industry. He concludes with stories about the importance of turf and how, as a youth, he belonged to a gang called the Alley Rats
Interview with Mark Sahlgren
No full textInterview with Mark Sahlgren (b. 1940) recorded on November 20, 2011 in Kalamazoo, Michigan. Recorded by interviewer James \u27Jay\u27 Gaven for a Kalamazoo Valley Museum exhibit on Gibson Guitars. Mark began working at Gibson Guitar while he was in graduate school at Western Michigan University. He was there from 1965 to 1970 in final adjusting. After Gibson, he had a long career teaching in the Kalamazoo Public Schools and hosts a bluegrass music radio program called Grassroots at WMUK. He recounts his memories at the factory, including: a guitar player, he was hired at Gibsons as an adjuster early history of Gibson Guitars depression-era guitars produced by Gibson gender diversity of the workforce collectable value of the guitars Ted McCarty and Les Paulhttps://scholarworks.wmich.edu/gibson-guitar-oral-histories/1013/thumbnail.jp
Catalogue
No full textCover titles vary: Winter catalogue (1902; 1910; 1918; 1920; 1922; 1926; 1927; 1929; 1931) --Summer catalogue (1906-07; 1910-11; 1919-20; 1920-21; 1922; 1926-27) -- Summer catalogue, Perth (1922-23; 1927-28) -- Winter catalogue, Perth (1925; 1931) -- Spring fashions (1922) ; Spring & summer fashions (1923-24) -- Spring and summer catalogue (1911-12; 1912-13, 1928, 1929-30; 1930-31) -- Autumn and winter catalogue (1912; 1913; 1935) -- Spring & summer Foy & Gibson's suggestions (1918-19) -- Summer catalogue fashions and household furnishings (1920-21) -- Winter catalogue fashions and furnishings (1922) -- Spring fashions (1922) -- Spring & summer fashions (1924-25) -- Xmas catalogue (1922) -- Catalogue: furniture, furnishings, chinaware, hardware (1922) -- Reprint of the original catalogue (1923) -- Autumn & winter fashions and general catalogue (1923; 1924) -- Spring & summer fashions and general catalogue (1923-24) -- Autumn winter, Brisbane (1929) -- Autumn & winter, Adelaide (1929; 1930) -- Gibsonia gazette, Perth (1926; 1927; 1929) -- Foys Christmas bargain carnival (1935) -- Catalogue Big Store, Prahran (1929-30) -- Foys Christmas catalogue (1960?) -- Foys winter fair (n.d.) -- How to furnish the new way (n.d.).Foy & Gibson catalogues began publication in the 1880s. This collection begins with Winter Catalogue 1902.Foy & Gibson (also known as Foys) was one of Australia's earliest department store chains, modelled on Le Bon Marché in Paris and other European and American stores of the period. A large range of goods were manufactured and sold by the company including clothing, manchester, leather goods, soft furnishings, furniture, hardware and food. The first store was established as a drapery in Smith Street, Collingwood, Victoria by Mark Foy. Ownership of this business was transferred to his son Francis Foy in partnership with Willam Gibson in March, 1883. Francis Foy later sold his half share of the business to Gibson and moved to Sydney, establishing Mark Foys there. Gibson established a branch of the business in Perth and subsequently opened a store in Brisbane in 1903 and another in Rundle Street, Adelaide in 1907. In 1955, the company was bought out by Cox Brothers and in 1964, Foy & Gibson (WA) Ltd, including ten stores in Western Australia, was sold to David Jones. The Bourke Street Melbourne store was sold to Woolworths in 1967. [From Wikipedia, viewed May 5, 2011]Gibson's partnership with Mark Foy was dissolved after a disagreement in mid-1884, and William Gibson became the sole proprietor. By the early 20th century Gibson's store and manufacturing works, one of the largest employers in Victoria, dominated the Wellington and Smith Streets area [of Collingwood, Melbourne]. A second store - the Big Store - opened in Chapel Street, Prahran, in 1902. After Gibson died in 1918, the firm was carried on by his nephew John Maclellan until it was taken over in 1955 by Cox Brothers, which went into liquidation in 1968. Source: http://www.emelbourne.net.au/biogs/EM00605b.htmThis material has been made available as permitted under section 200AB of the Copyright Act 1968. This material is subject to copyright and any further reproduction, communication, publication, performance, or adaptation is only permitted with permission from the copyright owner or subject to copyright legislation in your jurisdiction.Illustrations portray the fashions worn at the time, and products offered for sale such as furnishings, chinaware, and hardware in the distinctive styles available at the time
Democracy Sausage with Mark Kenny: How to be a liberal with Ian Dunt
No full textOn this Democracy Sausage Extra, Ian Dunt - host of the Oh God, What Now? podcast and author of How to be a liberal - joins Mark Kenny to discuss the history of liberal thought, how it has shaped present day politics, and the origins of the ‘culture wars’. Have the culture wars emerged out of the failures of liberalism? Why haven’t contemporary political actors done more to protect people from prejudice and the tyranny of the majority? And is liberalism a natural corollary to democracy? On this Democracy Sausage Extra, author, political journalist and broadcaster Ian Dunt joins Professor Mark Kenny to discuss the history of political thought, present day politics, and liberalism’s trajectory
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