143,584 research outputs found
[Amnesty Letter] ID209 / Powell, N. A.
No full textThis letter was written by N. A. Powell to President Andrew Johnson in response to the President's Amnesty Proclamation of 29 May 1865. The writer indicates his county of residence as Caldwell Co., NC and does not state his occupation
[Letter from Boone Powell, Jr. to T. N. Carswell - December 31, 1964]
No full textA letter written to Mr. T. N. Carswell, Abilene, Texas from Boone Powell, Jr., Assistant Administrator, Hendrick Memorial Hospital dated December 31, 1964. Powell expresses his appreciation to the trustees for the gift of the suit
[Letter from Boone Powell, Jr. to T. N. Carswell - May 9, 1972]
No full textA letter written to Mr. T. N. Carswell, Abilene, Texas from Boone Powell, Jr., Administrator, Hendrick Memorial Hospital dated May 9, 1972. Powell advises Carswell of an enclosed cafeteria card which is to in a small way say "thank you" for his continuous service and acknowledges that Carswell is the only living Charter Member of the Board of Trustees
Powell, A N, 16067
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/411419Surname: POWELL. Given Name(s) or Initials: A N. Military Service Number or Last Known Location: 16067. Missing, Wounded and Prisoner of War Enquiry Card Index Number: SEA-2317.227130
Item: [2016.0049.43683] "Powell, A N, 16067
Powell, K N, VX66324
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/411468Surname: POWELL. Given Name(s) or Initials: K N. Military Service Number or Last Known Location: VX66324. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 37109.227179
Item: [2016.0049.43732] "Powell, K N, VX66324
[Letters from Y. Burke to T. Ahoua and B. Williams to J. Powell - February 27, 1976-March 3, 1976]
No full textCopy of a letter from Yvonne B. Burke asking Timothee N' Guetta Ahoua on behalf of the Congressional Black Caucus for Ahoua's help in setting up a meeting with African Ambassadors to discuss mutual areas of concern. Copy of a letter from Barbara J. Williams to James M. Powell discussing an incident where Congresswoman Yvonne B. Burke was stopped and asked to show her I.D. and sign in to enter a Congressional office building. Included is a slip of paper with the text: "I thought you would be interested in the attached information.
The Powell-Cotton Dioramas and the Re-interpretation of an Idyll
No full textThis research examines the natural habitat dioramas created by Major P.H.G. Powell-Cotton, in doing so
it affects a remembering of a sense of place where a diorama reflects in Mieke Bal's view a three-dimensionality
that draws on architectural space; it then considers the three dimensional representation of
the landscape within the diorama itself; the two-dimensional illusion of a trompe l'oeil landscape
painting; and the exterior space occupied by the viewer. The Powell-Cotton natural habitat dioramas exist
behind large glass screens their purpose follows an aesthetic relationship with the emergence of the
natural habitat diorama and the ability to transfix perception through the re-interpretation of an idyll. The
potential for this practice-based research was to explore the possibility of developing an aesthetic for
sculpture and architectural space. However in focussing on the Powell-Cotton dioramas the notion of
aesthetic attitude would lose ground due to their idiosyncratic, artificial, and extraordinary nature, it then
prepared the basis of interpretation in establishing 'theatres of landscape' as an open concept. With
landscape, a sense of place anticipates various positions and numerous delays; it recollects the cognitive
knowledge brought to the prospect that involves aspects in, of and about landscape. Regarding the
studio-based project, the diorama was placed between the real and the unreal, challenging Bal's rationale
of the cognitive relationship of a diorama to the concept of a discursive space. Where both artist and
viewer 'activates' this space with their presence, they bring their own recollection of landscape and by
assigning landscape with memory the potentiality is where cognition becomes accentuated. Whereas the
unknown and uncharted can refute reality, memory is dependent on what is known both formally and
informally, it places the natural habitat diorama in a visual system that is both constructive and
destructive. Therefore the research methodology examines the historical context of the diorama through a
doctoral thesis by Karen Wonders and an analysis of Louis Daguerre's diorama by Richard Altick.
Following Bal's analysis of the diorama, this created a dilemma - in what ways are the perceptions of the
observer determined, and how are they undermined? Jonathan Crary and Giuliana Bruno considered the
diorama's position in relation to film and film archaeology, which ultimately the diorama and natural
habitat diorama could not compete with. In asking what has Powell-Cotton's museum to offer in the 21st
century, this thesis examines the concept of a diorama, its objectives and correspondingly its failings. As
the dioramas in the Powell-Cotton Museum were undocumented, these dioramas and their written, visual
and architectural relationship to Louis Daguerre offer a contribution to knowledge concurrent with the
relationship of this practice based research project. Whereupon the research diary forms the basis of a
contribution to new knowledge in the construction of small and large-scale dioramas, sculpture and
installations. By challenging Bal's analysis this research practice would investigate natural and projected
light and the visual language of transparency, translucency and opacity in the representation of landscape
and landscape as motif, and progressing to the structural implications of 2D and 3D work
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