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The Civil War transformed American life. Not only did thousands of men die on battlefields and millions of slaves become free; cultural institutions reshaped themselves in the context of the war and its aftermath. The first book to examine the Civil War's immediate and long-term impact on higher education, Reconstructing the Campus begins by tracing college communities' responses to the secession crisis and the outbreak of war. Students made supplies for the armies or left campus to fight. Professors joined the war effort or struggled to keep colleges open. The Union and Confederacy even took over some campuses for military use. Then moving beyond 1865, the book explores the war's long-term effects on colleges. Michael David Cohen argues that the Civil War and the political and social conditions the war created prompted major reforms, including the establishment of a new federal role in education. Reminded by the war of the importance of a well-trained military, Congress began providing resources to colleges that offered military courses and other practical curricula. Congress also, as part of a general expansion of the federal bureaucracy that accompanied the war, created the Department of Education to collect and publish data on education. For the first time, the U.S. government both influenced curricula and monitored institutions. The war posed special challenges to Southern colleges. Often bereft of students and sometimes physically damaged, they needed to rebuild. Some took the opportunity to redesign themselves into the first Southern universities. They also admitted new types of students, including the poor, women, and, sometimes, formerly enslaved blacks. Thus, while the Civil War did great harm, it also stimulated growth, helping, especially in the South, to create our modern system of higher education.
Reprint of the original, first published in 1876.
The 1876 United States Centennial Exhibition in Philadelphia was not only the United States' first important world's fair, it signaled significant changes in the very shape of knowledge. Quarrels between participants in the exhibition represented a greater conflict as the world transitioned between two different kinds of modernity—the Enlightenment of the seventeenth and eighteenth centuries to the High Modern period of the nineteenth and twentieth centuries. At the center of this movement was a shift in the perceived relationship between seeing and knowing and in the perception of what makes an object valuable—its usefulness as a subject of study and learning versus its ability to be bought and sold on the market. Arguments over design of the Centennial reflected these opposing viewpoints. Initial plans were rigidly structured, dividing the exhibits by country and type. But as some exhibitors became more interested in the preferences of their audience, they adopted a more modern stance. Objects traditionally displayed in isolated glass boxes were placed in fictive context—the necklace draped over a mannequin, the vase set on a table in a model room. As a result, the audience could more easily perceive these items as commodities suitable for their own environments and the fair as a place to find ideas for a material lifestyle. Designing the Centennial is a vital first look at the design process and the nature of the display. Bruno Giberti uses official reports of the U.S. Centennial Commission and photographs of the Centennial Photographic Company, as well as the ephemera of the exhibition and literary accounts in books, magazines, and newspapers to illuminate how the 1876 fair revealed changes to come: in future world's fairs, museums, department stores, and in the nature of display itself.
Contains the reports of state departments and officials for the preceding fiscal biennium.