208,655 research outputs found
[Photograph of C. B. Morgan With Pointer]
No full textPhotograph of C. B. Morgan pointing a stick at portions of his Dr. Pepper mural which have been repainted during its restoration. An A-frame ladder is partially visible to the right, with a horizontal scaffold balanced on the lowest rung
N. C. (Norman C.) Morgan Collection
Get PDFTyped copy of a poem about Jasper B. Chapin, referred to as the "Father of Fargo," written in 1896 by N.C. (Norman C.) Morgan after Chapin's death. Poem appeared in Fargo Forum & Daily Republican
[Photograph of C.B. Morgan and a Construction Worker]
No full textPhotograph of C. B. Morgan standing on an A-frame ladder near the right side of a Dr. Pepper mural near the completion of its restoration. An unidentified construction worker wearing a flannel shirt and yellow hard hat is standing on the right side of the image, facing Morgan
[Photograph of C.B. Morgan Restoring Dr. Pepper Mural]
No full textPhotograph of C. B. Morgan, the original artist, standing on a ladder scaffold to repaint portions of a Dr. Pepper mural
[Photograph of C.B. Morgan]
No full textPhotograph C.B. Morgan, the original artist, smiling, and standing near the right side of a Dr. Pepper mural near the completion of its restoration. An A-frame ladder is visible next to him, on the right side of the image
William G. Morgan, c. 1895-1896
No full textA cabinet card of William G. Morgan, the inventor of Volleyball, taken while he was working as a physical director at the Auburn, Maine YMCA. The card is signed by Morgan and dated 1896. It was given to the college by Morgan in 1932.For more information on William G. Morgan see https://springfield.as.atlas-sys.com/agents/people/723
Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub
No full textThe aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures’ and the ‘science wars’. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn’s The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards’s Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom’s The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid’s late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard’ technological perspective of his computer poems. Morgan’s work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub’s work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion
Morgan Hall, Penland, N.C.
No full textThis photographic postcard depicts the fireplace in the large living room of Morgan Hall on the campus of the Appalachian School in Penland, North Carolina, circa 1920s-1938. The scene includes many handmade items such as wrought iron andirons and lighting fixtures, broom, and stool. The photograph for this postcard was taken by Bayard Wootten sometime during the 1920s-1930s. Morgan Hall was built in 1917 as a rectory for the school and served many functions for the school, including faculty residence, dormitory, classroom, and weaving room for the Division of Fireside industries (c. 1923-26). Several years after its construction the structure was named Morgan Hall in honor of the Rev. Rufus Morgan, the mission school's director from 1914 to 1918. From 1923 to 1938 the Appalachian School served as the umbrella institution under which the Penland Weavers and Potters were organized and the Penland School of Handicrafts (now Penland School of Crafts) was established
[C.B. Morgan Painting on Scaffolding]
No full textPhotograph of C.B. Morgan, the original artist who painted the sign for the Dr. Pepper Company in 1940, repainting the sign before the Dr. Pepper Museum opened. He is standing on a horizontal scaffold braced on two A-frame ladders, working on the upper-left corner of the mural. An unidentified artist is standing near the right side of the mural facing away from the painting, holding paint and a brush
Morgan Hall
No full textThis photographic postcard shows part of the large living room of Morgan Hall, on the campus of the Appalachian School near Penland, North Carolina, probably during the Christmas season. The scene includes many handmade items such as wrought iron andirons, broom, basket, and stool. The photograph for this postcard was taken by Bayard Wootten sometime during the 1920s-1930s. Morgan Hall was built in 1917 as a rectory for the Appalachian School and served many functions for the school, including faculty residence, dormitory, classroom, and weaving room for the Division of Fireside industries (c. 1923-26). From 1923 to 1938 the Appalachian School served as the umbrella institution under which the Penland Weavers and Potters were organized and the Penland School of Handicrafts (now Penland School of Crafts) was established
- …
