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A meticulously researched history on the development of American mathematics in the three decades following World War I As the Roaring Twenties lurched into the Great Depression, to be followed by the scourge of Nazi Germany and World War II, American mathematicians pursued their research, positioned themselves collectively within American science, and rose to global mathematical hegemony. How did they do it? The New Era in American Mathematics, 1920–1950 explores the institutional, financial, social, and political forces that shaped and supported this community in the first half of the twentieth century. In doing so, Karen Hunger Parshall debunks the widely held view that American mathematics only thrived after European émigrés fled to the shores of the United States. Drawing from extensive archival and primary-source research, Parshall uncovers the key players in American mathematics who worked together to effect change and she looks at their research output over the course of three decades. She highlights the educational, professional, philanthropic, and governmental entities that bolstered progress. And she uncovers the strategies implemented by American mathematicians in their quest for the advancement of knowledge. Throughout, she considers how geopolitical circumstances shifted the course of the discipline. Examining how the American mathematical community asserted itself on the international stage, The New Era in American Mathematics, 1920–1950 shows the way one nation became the focal point for the field.
Trained as an architect in the early twentieth century, Hugh Ferriss possessed a vision of form that surpassed the traditional blueprints of his peers—and it showed in his distinctively moody renderings. A master of light and shadow, he managed to capture the spirit of each building with a heightened sense of perspective and design. By the 1920s, he was well on his way to becoming America's greatest architectural draftsman. Ferriss' remarkable style, which influenced generations of builders, is highlighted in this illustrated journey through three decades of American architecture. Accompanied by illuminating text and captions, this collection of sixty of his extraordinary drawings includes: Rockefeller Center, a stunning symbol of modern Art Deco style; California's Shasta Dam, ranked as one of the great civil engineering feats of the world; the Perisphere and Trylon from New York's 1939 World's Fair; Taliesin-in-Arizona, Frank Lloyd Wright's breathtaking winter home; and Denver's Red Rocks Amphitheater, a dramatic structure that incorporates natural elements and rock formations. Plus, there are illustrations of the Empire State Building, the United Nations headquarters, airports, grain elevators, bomb shelters, and more. Architects, draftsmen, and designers of all ages will savor the wonder and imagination in this magnificent volume.
In spite of these challenges, front-page women played a significant role in reshaping public perceptions about women's roles."--BOOK JACKET.
Born in 1891, Martin Chambi was one of Peru's and the world's finest photographers of this century. Between 1920 and 1950, he photographed the people and landscape of Cuzco, the ancient Incan capital, at the time, a cultural center of southern Peru. In this collection, 99 duotones record every level and segment of Chambi's Peru.
In this 1998 book, experts in British industrial history analyse the causes of nationalisation in the 1940s.
Following the great fire of 1912 through the Daddy Train era, Seaside grew as a holiday and summer resort. The opening of the Oregon Coast Highway from Astoria to California in the late 1920s and of Wolf Creek Highway (Sunset Highway) in the late 1930s made Seaside accessible from Portland by automobile. Reconstruction of the boardwalk, the era of the big bands, saltwater swimming pools, and lumber riots kept Seaside in the news. Seaside survived the crash of the stock market, and World War II brought about an era of reconstruction, along with the Miss Oregon pageant. Seaside: 19201950 documents the citys growth and the people and businesses that helped it flourish.
The Wonder of American Toys reflects not only the toys of perhaps the most formative era of American history, but what they meant to the children who played with them and to the society that produced them.
In Lebanon, the study of modern art—rather than power or hierarchy—has compelled citizens to confront how they define themselves as a postcolonial nation. In Fantasmic Objects, Kirsten L. Scheid offers a striking study of both modern art in Lebanon and modern Lebanon through art. By focusing on the careers of Moustapha Farrouk and Omar Onsi, forefathers of an iconic national repertoire, and their rebellious student Saloua Raouda Choucair, founder of an antirepresentational, participatory art, Scheid traces an emerging sense of what it means to be Lebanese through the evolution of new exhibition, pedagogical, and art-writing practices. She reveals that art and artists helped found the nation during French occupation, as the formal qualities and international exhibitions of nudes and landscapes in the 1930s crystallized notions of modern masculinity, patriotic femininity, non-sectarian religiosity, and citizenship. Examining the efforts of painters, sculptors, and activists in Lebanon who fiercely upheld aesthetic development and battled for new forms of political being, Fantasmic Objects offers an insightful approach to the history and formation of modern Lebanon.
Fifty-six items, plus documentary 'supplements', can be considered a biographical as well as theoretical working edition of the origins and development of Korzybski's revolutionary system called "general semantics".