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America's second oldest higher education institution experienced the full violence of the Civil War, with a wartime destiny of destruction compounded by its strategic location in Virginia's Tidewater region between Union and Confederate lines. This book describes the fate of the College and also explores in-depth the war service of the College's students, faculty, and alumni, ranging from little-known individuals to historically prominent figures such as Winfield Scott, John Tyler, and John J. Crittenden. The College's many contributions to the Civil War and its role in shaping pre- and post-war higher education in the South are fully revealed.
This catalogue of the music of Charles Ives contains 728 entries covering all of the prolific composer's works. James Sinclair's book presents information produced by recent Ives scholarship and generous commentary on each of Ives's compositions. It completes the work begun by musicologist John Kirkpatrick in 1955, when Ives's music manuscripts were deposited in the Yale Music Library. Ives's works are arranged alphabetically by title within genres. Whenever possible, each entry includes the main title and any other titles the composer may have used; the forces required; the duration; headings of movements; publication history; citation of the first known performance and first recording; the derivation of the work, listing music on which it may be modeled or from which it may borrow material; the principal literature treating the piece; and commentary on these and other matters. The catalogue also provides musical incipits for all Ives's extant works, seven appendixes (covering his work lists, 'Quality Photo' lists, his songbooks, a chronology of his life, recordings made by Ives, and his private publications and commercial publishers), three concordances, and four extensive indexes (addresses, names, titles, and musical borrowings).
A bibliographical guide to the works in American libraries concerning the Christian missionary experience in China.
The long-awaited new edition of a groundbreaking work on the impact of alternative concepts of space on modern art. In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence. That iconoclastic idea encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism. In an extensive new Reintroduction, Henderson surveys the impact of interest in higher dimensions of space in art and culture from the 1950s to 2000. Although largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension experienced a resurgence during the later 1950s and 1960s. In a remarkable turn of events, it has returned as an important theme in contemporary culture in the wake of the emergence in the 1980s of both string theory in physics (with its ten- or eleven-dimensional universes) and computer graphics. Henderson demonstrates the importance of this new conception of space for figures ranging from Buckminster Fuller, Robert Smithson, and the Park Place Gallery group in the 1960s to Tony Robbin and digital architect Marcos Novak.
 Nothing in the small village of Bazoilles-sur-Meuse in the northeast of France bears witness today to the 13,000-bed Bazoilles Hospital Center located there during World War I. Yet in 1918-1919 more than 63,000 American soldiers received treatment there--three out of every 100 U.S. servicemen and women who served in Europe. This richly illustrated history describes daily life and medical care at Bazoilles, providing a vivid picture of the conditions for both patients and personnel, along with stories of those who worked there, and those who were treated or died there.