Download Free The Scarsdale Historical Societys Twentieth Anniversary Celebration Of The Purchase Of The Cudner Hyatt House On December 11 1974 Book in PDF and EPUB Free Download. You can read online The Scarsdale Historical Societys Twentieth Anniversary Celebration Of The Purchase Of The Cudner Hyatt House On December 11 1974 and write the review.

Contains a two part study of the process of collaboration between museums and schools.
Public concern over sharp increases in undergraduate tuition has led many to question why colleges and universities cannot behave more like businesses and cut their costs to hold tuition down. Ronald G. Ehrenberg and his coauthors assert that understanding how academic institutions are governed provides part of the answer. Factors that influence the governance of academic institutions include how states regulate higher education and govern their public institutions; the size and method of selection of boards of trustees; the roles of trustees, administrators, and faculty in shared governance at campuses; how universities are organized for fiscal and academic purposes; the presence or absence of collective bargaining for faculty, staff, and graduate student assistants; pressures from government regulations, donors, insurance carriers, athletic conferences, and accreditation agencies; and competition from for-profit providers. Governing Academia, which covers all these aspects of governance, is enlightening and accessible for anyone interested in higher education. The authors are leading academic administrators and scholars from a wide range of fields including economics, education, law, political science, and public policy.
Cornell University is fortunate to have as its historian a man of Morris Bishop's talents and devotion. As an accurate record and a work of art possessing form and personality, his book at once conveys the unique character of the early university—reflected in its vigorous founder, its first scholarly president, a brilliant and eccentric faculty, the hardy student body, and, sometimes unfortunately, its early architecture—and establishes Cornell's wider significance as a case history in the development of higher education. Cornell began in rebellion against the obscurantism of college education a century ago. Its record, claims the author, makes a social and cultural history of modern America. This story will undoubtedly entrance Cornellians; it will also charm a wider public. Dr. Allan Nevins, historian, wrote: "I anticipated that this book would meet the sternest tests of scholarship, insight, and literary finish. I find that it not only does this, but that it has other high merits. It shows grasp of ideas and forces. It is graphic in its presentation of character and idiosyncrasy. It lights up its story by a delightful play of humor, felicitously expressed. Its emphasis on fundamentals, without pomposity or platitude, is refreshing. Perhaps most important of all, it achieves one goal that in the history of a living university is both extremely difficult and extremely valuable: it recreates the changing atmosphere of time and place. It is written, very plainly, by a man who has known and loved Cornell and Ithaca for a long time, who has steeped himself in the traditions and spirit of the institution, and who possesses the enthusiasm and skill to convey his understanding of these intangibles to the reader." The distinct personalities of Ezra Cornell and first president Andrew Dickson White dominate the early chapters. For a vignette of the founder, see Bishop's description of "his" first buildings (Cascadilla, Morrill, McGraw, White, Sibley): "At best," he writes, "they embody the character of Ezra Cornell, grim, gray, sturdy, and economical." To the English historian, James Anthony Froude, Mr. Cornell was "the most surprising and venerable object I have seen in America." The first faculty, chosen by President White, reflected his character: "his idealism, his faith in social emancipation by education, his dislike of dogmatism, confinement, and inherited orthodoxy"; while the "romantic upstate gothic" architecture of such buildings as the President's house (now Andrew D. White Center for the Humanities), Sage Chapel, and Franklin Hall may be said to "portray the taste and Soul of Andrew Dickson White." Other memorable characters are Louis Fuertes, the beloved naturalist; his student, Hugh Troy, who once borrowed Fuertes' rhinoceros-foot wastebasket for illicit if hilarious purposes; the more noteworthy and the more eccentric among the faculty of succeeding presidential eras; and of course Napoleon, the campus dog, whose talent for hailing streetcars brought him home safely—and alone—from the Penn game. The humor in A History of Cornell is at times kindly, at times caustic, and always illuminating.
Surveying exotic travel writing in Europe from late antiquity to the age of discover, The Witness and the Other World illustrates the fundamental human desire to change places, if only in the imagination.Mary B. Campbell looks at works by pilgrims, crusaders, merchants, discoverers, even armchair fantasists such as Mandeville, as well as the writings of Marco Polo, Columbus, and Walter Raleigh. According to Campbell, these travel accounts are exotic because they bear witness to alienated experiences; European travelers, while claiming to relate fact, were often passing on monstrous projections. She contends that their writing not only documented but also made possible the conquest of the peoples whom she travelers described, and she shows how travel literature contributed to the genesis of the modern novel and the modern life sciences.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.