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Mila Saint Anne

Lyon en 1700 - 7 views

lyon-en-1700.blogspot.com

modern france c17th c16th europe virtual_tour 3d

shared by Mila Saint Anne on 01 Aug 11 - No Cached
  • e du centre historique de la presqu'île disparu quasi intégralement, avec des commentaires audio et/ou des illustrations agrémentant la visite selon le lieu où le visiteur se trouve. La restitution permettra donc de servir de fil conducteur pour présenter des documents d'archive pouvant intéresser le public, gravures, peintures, plans ou autres. Elle permettra également de présenter des articles concernant tel ou tel bâtiment ou secteur de la ville.L'objectif adopté pour la restitution des immeubles disparus est de retrouver à minima le nombre d'étages, d'arcs de boutique et l'emplacement de la porte principale, mais cela n'est pas toujours possible. De vieilles gravures ou même certaines photographies du milieu du 19ème siècle permettent parfois de retrouver l'organisation des fenêtres. La couleur des façades est nécessairement imprécise. Les bâtiments publics ou religieux sont reconstitués à partir de plans et de gravures.Lyon en 1700 est une association régie par la Loi de 1901 et composée de passionnés d'histoire.Tout Lyonnais amateur de recherches en archives ou sur le terrain est bienvenu pour donner un coup de main ! Vous pouvez nous écrire à l'adresse lyonen1700@live.fr. Méthode adoptée à télécharger Méthodologie.pdf Diaporama http://lh5.ggpht.com/-wlkqc48Ln2o/S7BNnpE2ycI/AAAAA
David Korfhage

Interactive map: The Spread of U.S. Slavery, 1790-1860 - 13 views

lincolnmullen.com/...slavery

history ushistory african-american-history maps visualization slavery

shared by David Korfhage on 31 Jan 16 - No Cached
David Hilton liked it
  • David Korfhage on 31 Jan 16
     
    An interactive map showing the spread of slavery. It gives you a variety of ways to look at the date (absolute numbers, percent of population, etc.) and also includes data for the free black population.
David Hilton

Guardian Teacher Network | guardian.co.uk - 10 views

23.22.230.163

secondary sources primary sources lesson plans lessons resources

shared by David Hilton on 07 Jul 12 - No Cached
  • David Hilton on 07 Jul 12
     
    Browse and use thousands of ready-made resources and lesson plans for ages 4-18 absolutely free, on the Guardian Teacher Network.
David Hilton

Benchmarks of Historical Thinking - 0 views

www.histori.ca/benchmarks

historiography historiology source analysis metahistory source evaluation curriculum guidelines history benchmarks canada historical thinking resources

shared by David Hilton on 15 Sep 09 - Cached
  • David Hilton on 16 Sep 09
     
    Thanks for this excellent link, Daniel. Those Canadians seem to have some pretty good ideas on how to study history.
  • Daniel Bernsen on 17 Sep 09
     
    Two weeks ago I heard a conference by Peter Seixas (the Canadian who is behind these benchmarks) and it was absolutely inspiring... if ever you have the opportunity, go and see and hear him talking about history teaching!
David Hilton

DL Search Input Page - 0 views

yaleinsight.library.yale.edu/classics

greece rome classics pottery art statues icons coins numismatics alexander athens caesar republic principate images sources primary sources egypt

shared by David Hilton on 30 Aug 09 - Cached
  • David Hilton on 30 Aug 09
     
    This looks like an absolute treasure of a find, however the list does not lead to actual image, only descriptions of artefacts. They say they're still adding to it, perhaps that's why the images aren't up? I guess the pace of change is slower for classicists. Anyway, if they ever add those images this site will be an Ancient History teacher's dream. Fingers crossed.
Ed Webb

Modern art was CIA 'weapon' - World, News - The Independent - 6 views

www.independent.co.uk/...rt-was-cia-weapon-1578808.html

CIA ColdWar history art politics US USA UK

shared by Ed Webb on 23 Nov 10 - Cached
  • The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.
  • in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.
  • The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.
  • ...7 more annotations...
  • Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled "Advancing American Art", with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: "I am just a dumb American who pays taxes for this kind of trash." The tour had to be cancelled.
  • This philistinism, combined with Joseph McCarthy's hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s.
  • If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.
  • Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another
  • As president of what he called "Mummy's museum", Rockefeller was one of the biggest backers of Abstract Expressionism (which he called "free enterprise painting"). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows. The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members' board of the museum's International Programme. John Hay Whitney, who had served in the agency's wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA's International Organisations Division, was executive secretary of the museum in 1949.
  • "It was very difficult to get Congress to go along with some of the things we wanted to do - send art abroad, send symphonies abroad, publish magazines abroad. That's one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret."
  • Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA. But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.
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