1,791,764 research outputs found
Charles Sumner Greene House
No full textBrick garage dug into hill (1914) with stone wall and brick sidewalk paving; After their marriage and European honeymoon in 1901, Charles Greene and his wife, Alice, purchased a lot overlooking the picturesque Arroyo Seco and began planning their new home under the shade of a mature oak tree. The home expanded, eventually comprising a total of seven bedrooms in a two- and one-half-story structure. Most striking was the partial octagonal shape of the living room, with its four window-walls projecting out toward the Arroyo. A brick garage, dug into the hillside in 1914, marked the final addition by the Greene family before their move to Carmel in 1916. The house and its stone and clinker-brick retaining wall set the tone for the street, where the Greenes built several other houses, extending the stone and brick wall and brick sidewalk paving; the area was called "Little Switzerland." Source: Greene & Greene Virtual Archives (USC) {website]; http://www.usc.edu/dept/architecture/greeneandgreene/index.html (accessed 8/6/2013
Correspondence from George Greene to Oliver Greene, 1896
No full textScan of a letter dated 4 December 1896 at Delamar, Nevada, from George Greene to his brother, Oliver Greene, 1896, describing the gold mining town of Delamar, Nevada, including conditions in the mines, slot machines and gambling. Oliver Greene was the husband of Ivie Clawson Greene, daughter of Ellen Spencer Clawso
Graham Greene An Approach to the Novels
No full textThis study reveals Greene in a dual role as author, one who projects literary experience into his view of life and subsequently projects both his experience and its "literary" interpretation into his fiction; and it defines two phases of Greenes novels through the changing relationship between writer and protagonists. The first phase progresses from acutely sensitive, self-divided young men somewhat like the young Greene to embittered, alienated characters ostensibly at great distance from their creator. The second phase (1939) includes a series of "portraits of the artist" through which Greene confronts more directly the tensions and conflicts of his private life.Book Cover -- Half-Title -- Title -- Copyright -- Dedication -- Contents -- Introduction -- Acknowledgements -- GRAHAM GREENE -- CHAPTER ONE Protagonists of the First Phase -- YOUTH -- DIVIDED SELVES -- WOMEN AND REDEMPTION -- MARRIAGE IN THE FIRST PHASE -- THE LITERARY FRAME -- THE FIRST-PHASE PROTAGONIST AND THE AUTHOR -- CHAPTER TWO Letters and Diaries -- LETTERS TO VIVIEN -- DIARIES -- CHAPTER THREE A Gun for Sale -- A GUN FOR SALE AND BROWNING'S "CHILDE ROLAND" -- A GUN FOR SALE AND TENNYSON'S MAUD -- CHAPTER FOUR Brighton Rock -- PINKIE AS NAPOLEONIC STRATEGIST -- CHARACTERS AND NAMES -- BRIGHTON ROCK AS A FAUSTIAN NOVEL -- CHAPTER FIVE Protagonists of the Second Phase -- AGE -- CHILDREN AND CHILDHOOD -- SELF-DIVISION -- MARRIAGE IN THE SECOND PHASE -- CHAPTER SIX The Strategy of Allusion in the Second Phase -- TOWARD THE WRITER AS PROTAGONIST -- CHAPTER SEVEN Portraits of the Artist -- CHAPTER EIGHT Travels with My Aunt -- CHAPTER NINE The Honorary Consul -- CHAPTER TEN The Human Factor -- CHAPTER ELEVEN Dr. Fischer of Geneva -- CHAPTER TWELVE Monsignor Quixote -- POSTSCRIPT: "YOUR DREAM HAS BEEN YOUR LIFE. -- CHAPTER THIRTEEN The Captain and the Enemy -- FINIS -- Selected Bibliography -- (A) WORKS BY GRAHAM GREENE -- (B) CRITICAL AND BIOGRAPHICAL WORKS -- Index -- Permissions Acknowledgements -- PENGUIN PUTNAM INC. -- SIMON & -- SCHUSTERThis study reveals Greene in a dual role as author, one who projects literary experience into his view of life and subsequently projects both his experience and its "literary" interpretation into his fiction; and it defines two phases of Greenes novels through the changing relationship between writer and protagonists. The first phase progresses from acutely sensitive, self-divided young men somewhat like the young Greene to embittered, alienated characters ostensibly at great distance from their creator. The second phase (1939) includes a series of "portraits of the artist" through which Greene confronts more directly the tensions and conflicts of his private life.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Letter from Carl Hayden to Harold Greene
No full textLetter from Carl Hayden to Harold Greene regarding the progress of the national park bill
Mary L. Ranney House
No full textOverall view, showing wing added in 1912 (right); Mary L. Ranney was one of the talented draftspersons who apprenticed with the Greenes before leaving architecture completely in 1913 to found Pasadena’s Westridge School for Girls. During her tenure, she was allowed to claim credit for two projects she designed at the Greene & Greene office. This was a rare honor for a non-principal in a firm. One of these projects was Miss Ranney’s own home in Pasadena, the last project designed at the Park Place office. The house was designed as a two-story rectangular block but with many of the signature characteristics of the Greene & Greene firm. It had clinker-brick foundation walls, wooden construction, asymmetrical windows, and limited decoration. In 1912, a complementary wing addition was added on the northeast side of the house. Source: Greene & Greene Virtual Archives (USC) {website]; http://www.usc.edu/dept/architecture/greeneandgreene/index.html (accessed 8/9/2013
J. B. Greene
No full text"VX 85228 W/O1 J.B. Greene Aust. Survey Corps. 7/8/41 - 13/4/43 Larrakeyah - Adelaide Riv East Pt. - West Pt. - Harbour".VX 85228 Warrant Officer 1 J.B. Greene. Australian Survey Corps. 7/8/41 - 13/4/43. Larrakeyah - Adelaide River, East Point - West Point - Harbour
Cordelia A. Culbertson House
No full textBack (rear) of the south side of the court (just one wing); the raised structure is a cupola; Commissioned by the three unmarried sisters (Cordelia was the client of record) of James Culbertson in 1911, the Cordelia Culbertson house in Pasadena's fashionable Oak Knoll district was the largest commission received by the firm at that time, at just over $150,000. The Culbertson house, with its light-colored Gunite finish, green-tiled roof, and single-story silhouette (from the street) is in marked contrast with other Greene & Greene houses. The house wraps around a garden courtyard in the back; the bedroom wing is on the brink of a small canyon overlooking the water gardens on the wooded slope below. There is also a garden lathe house. Source: Greene & Greene Virtual Archives (USC) {website]; http://www.usc.edu/dept/architecture/greeneandgreene/index.html (accessed 8/7/2013
Letter from Harold Greene, Tusayan National Forest to Carl Hayden
No full textLetter from Harold Greene to Carl Hayden regarding the proposed boundaries for the national park bill
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