Suchergebnisse

Joane Miller, a resident of Redington Beach and widow of Parker E. Miller, donated the materials in this collection in two separate accessions. In early 1999, the library received a single bound notebook with individual documents signed by the first thirty-two Presidents of the United States (George Washington through Harry S. Truman). A subsequent accession in August 2000 included a collection of commemorative coins from the Franklin Mint that celebrates notable events in American history. Parker Everard Miller's family maintained homes in Ohio and Florida. During the 1920s, members of the family often spent their winter months in St. Petersburg. By 1930, they had moved into a large home in the Jungle Shores subdivision along the waterfront side of Park Street, about ½ mile north of H. Walter Fuller's Jungle Country Club Hotel (now Admiral Farragut Academy). Parker's mother, Mrs. Helen Miller, had started to collect presidential signatures during the mid-1920s and continued to acquire documents that were placed in this scrapbook as her son completed his studies at the Florida Military Academy and Clemson University. Parker served in the military during the Second World War. He received two purple hearts for wounds acquired during the Battle of the Bulge. Parker married Joane in the early 1950s and he took possession of his mother's scrapbook and maintained it as a family heirloom. With his interests in numismatics and American history, he began to collect commemorative coins. Parker Miller passed away on 30 March 1997.

In 1842, the court artist Pelagio Palagi (1775–1860) devised four temporary floating castles on the river Po for the remarkable urban celebrations for the nuptials of His Royal Highness Victor Emmanuel of Savoy-Carignan (1820–1878) to Her Imperial and Royal Highness Maria Adelaide of Habsburg (1822–1855) in Turin. The structures formed the central pieces of a broad medievalist programme that, during the reign of Charles Albert of Savoy-Carignan (1831–1849), brought the Middle Ages back to life in the Kingdom of Piedmont-Sardinia. Challenging the classicised image of the Sabaudian monarchy, this article insists that neo-medieval architecture and the architectural style that I call 'Risorgimental neo-medievalism' mirrored a calibrated medievalist and royalist strategy against the background of Italy's 'resurgence'. Countering recurrent biases that read Italian revivalist architecture as an exercise in taste, it discusses Palagi's designs as the tools of a political reworking of the Middle Ages, in open dialogue with the disciplines of architectural history and medievalism studies. By reading the urban festivities staged in the capital as a strategically orchestrated political act, this article assesses the medievalist initiatives, culminating in the spectacle on the river Po, as propagandistic vehicles to convey meaning to a vast public, which underscore the role of medievalist rhetoric in challenging the dominant classicist iconography and forging the 'identity' of the modern Sabaudian nation.

The abiding motif of election campaigns in the US is not the spot ad, nor the candidate debate, nor even the campaign Web site, but instead remains the campaign button. It should be consigned to history by fast-paced development of campaigns into modern technologies, but there are still hundreds of designs produced quadrennially for national campaigns, & many more for races at all levels. Even if the life of the campaign button is coming to a close, it has been a long run, from the brass buttons of 1789, to the tiny framed daguerreotypes of the mid-19th century, through the celluloid buttons of the 1890s, to the chip-implanted versions of today. But the campaign button is just the most ubiquitous example of the material culture of the US election. It has been modified by changes in artisan skills, industrial production, bulk availability, the changes in inexpensive materials & manufactures, & cost-effectiveness & profitability. Over the same period of time many other artifacts have been used by entrepreneurs & campaigns to bring the candidates & their public together at the same time as making a profit -- either financial or political. This article discusses the role of entrepreneurship, changing industrial technology, & the emergence of newly cost-effective materials as contexts for the creation of the wealth of campaign ephemera that has adapted to change & maintained its place in the campaign for over 200 years. 25 References. Adapted from the source document. COPIES ARE AVAILABLE FROM: HAWORTH DOCUMENT DELIVERY CENTER, The Haworth Press, Inc., 10 Alice Street, Binghamton, NY 13904-1580

The exhibition was held in the Rare Books Exhibition space, Sir Louis Matheson Library, Monash University from 19 October 2006 - 28 February 2007 Opening address given by Seamus O'Hanlon, Lecturer, School of Historical Studies, Monash University. The library's new exhibition is a display of "Ephemera", printed material which is used for various purposes and then discarded. These fragments of the past illuminate previous lives for future generations. Items displayed range from 17th century to the present. Among the earliest are pieces concerned with an execution in 1678; tourist notices from the early 19th century; early greetings cards including valentines; a colour brochure for the first Holden car from 1950; the first Moomba programme from 1955; and lots of current posters and fliers for music events and political campaigns. The exhibition is drawn from the holdings of the Monash University Library's Rare Books Collection. The library has been collecting ephemera since the early 1990's in support of research by social historians.

Popular and academic discussions of the future of print focus on the electronic formats of books and newspapers but ignore some of the most ubiquitous and historically significant, albeit ephemeral, types of print media. This article argues for taking the flyer, leaflet and pamphlet seriously. These forms of 'disposable literature' are in part facilitated by electronic media and in part able to disseminate messages in ways that electronic media cannot, and thereby provide a bridge between new media and new audiences. There are two major factors that contribute to the durability or persistence, pervasiveness and power of disposable literature in contemporary society: the unique characteristics of print media; and the impact of electronic media in enhancing their production and distribution.

When discussing "wartime ephemera", of the kind that has been passed down through families since the Second World War, Germany and Austria could be considered as a counterexample to Britain. In German and Austrian historical memory, "wartime" cannot be separated from pre-war Nazi society (beginning in 1933 and 1938, respectively). Moreover, what we might loosely call the "Antiques Roadshow experience"—discussing family objects from the Second World War in a sympathetic public forum—has never been open to the majority of Germans and Austrians, who were rather inclined to hide and forget such objects in the family home. Even so, mundane Nazi-era objects survived in their millions and this essay discusses their display in German and Austrian history museums. There, they serve to illustrate a history of mentalities during and after the Nazi regime. Austrian museums are currently playing a proactive role in the transfer of objects from the private, family archive to public, cultural memory. This article considers how notions of "family" are constructed in museum discourse and asks how the millions of German and Austrian citizens and residents with no family connection to the Second World War can be included in a form of national family storytelling that arguably "re-ethnicizes" memory.

Abstract
The Felix Meritis Concert Programs Database 1832–1888 (fmcp Database) provides a full digitisation of the concert programs collection of the most long-standing Dutch concert hall in the nineteenth century: Felix Meritis. Formerly hidden in boxes with archival ephemera, the content of this collection is now unlocked by manually entering the program details into a searchable dataset. The programs give an extremely rich account of a local concert practice, the performed repertoire, and the musicians involved. However, archiving concert programs at item-level presents a challenge: due to inconsistencies in and incompleteness of work descriptions it is often hard to identify and categorize the musical works performed. For the fmcp database, the authors have developed a possible solution to this problem; a strategy for structuring and categorizing concert programming data that aims to include incomplete work descriptions and reflect genre categorizations used in local concert practice. In this paper, the authors will present this categorization method and discuss the attributes and the basic structure of the fmcp database.