During periods of close collaboration, championed by figures like John Ruskin and William Morris, architecture and craft were referred to as "the allied arts." By the mid-twentieth century, however, it was more common for the two disciplines to be considered distinct professional fields, with architecture having little to do with studio craft. The Allied Arts investigates the history of the complex relationship between craft and architecture by examining the intersection of these two areas in Canadian public buildings. Sandra Alfoldy explains the challenges facing the development of the field of public craft and documents the largely ignored public craft commissions of the post-war era in Canada. The book highlights the global concerns of material, scale, form, ornament, and identity shared by architects and craftspeople. It also examines the ways in which the allied arts are mediated by institutions and the fragility of craft commissions once considered an integral part of the built environment. Considering a wide range of craftspeople, materials, and forms - from the ceramics of Jack Sures and Jordi Bonnet to the textile work of Mariette Rousseau Vermette and Carole Sabiston - Alfoldy celebrates the successes of architectural craftsmanship. The first work of its kind, The Allied Arts develops ideas about the complex relationship between architecture and craft that reach well beyond national boundaries.
By contrasting American experience with the Canadian context, which includes a unique Quebec identity and a Native dimension, Sandra Alfoldy argues that the development of organizations, advanced education for craftspeople, and exhibition and promotional opportunities have contributed to the distinct evolution of professional craft in Canada over the past forty years. Alfoldy focuses on 1964-74 and the debates over distinctions between professional, self-taught, and amateur craftspeople and between one-of-a-kind and traditional craft objects. She deals extensively with key people and events, including American philanthropist Aileen Osborn Webb and Canadian philanthropist Joan Chalmers, the foundation of the World Crafts Council (1964) and the Canadian Crafts Council (1974), the Canadian Fine Crafts exhibition at Expo 67, and the In Praise of Hands exhibition of 1974. Drawing upon a wealth of previously unexploited materials, this richly documented survey includes descriptions and illustrations of significant works and identifies the challenges that lie ahead for professional crafts in Canada."--Pub. desc
Scholars have read the Alexandrian riots of 38 CE according to intertwined dichotomies. The Alexandrian Jews fought to keep their citizenship - or to acquire it; they evaded the payment of the poll-tax - or prevented any attempts to impose it on them; they safeguarded their identity against the Greeks - or against the Egyptians. Avoiding that pattern and building on the historical reconstruction of the experience of the Alexandrian Jewish community under the Ptolemies, this work submits that the riots were the legal and political consequence of an imperial adjudication against the Jews. Most of the Jews lost their residence never to recover it again. The Roman emperor, the Roman prefect of Egypt and the Alexandrian citizenry - all shared responsibilities according to their respective and expected roles.
In Work, Identity, and Legal Status at Rome, Sandra R. Joshel examines Roman commemorative inscriptions from the first and second centuries A.D. to determine ways in which slaves, freed slaves, and unprivileged freeborn citizens used work to frame their identities. ln the minutiae of the epitaphs and dedications she identifies the 'language' of the inscriptions, through which the voiceless classes of Ancient Rome spoke. The inscriptions indicate the significance of work--as a source of community, a way to reframe the conditions of legal status, an assertion of activity against upper-class passivity, and a standard of assessment based on economic achievement rather than birth."--P. [4] of cover.
By contrasting American experience with the Canadian context, which includes a unique Quebec identity and a Native dimension, Sandra Alfoldy argues that the development of organizations, advanced education for craftspeople, and exhibition and promotional opportunities have contributed to the distinct evolution of professional craft in Canada over the past forty years. Alfoldy focuses on 1964-74 and the debates over distinctions between professional, self-taught, and amateur craftspeople and between one-of-a-kind and traditional craft objects. She deals extensively with key people and events, including American philanthropist Aileen Osborn Webb and Canadian philanthropist Joan Chalmers, the foundation of the World Crafts Council (1964) and the Canadian Crafts Council (1974), the Canadian Fine Crafts exhibition at Expo 67, and the In Praise of Hands exhibition of 1974. Drawing upon a wealth of previously unexploited materials, this richly documented survey includes descriptions and illustrations of significant works and identifies the challenges that lie ahead for professional crafts in Canada."--Pub. desc
During periods of close collaboration, championed by figures like John Ruskin and William Morris, architecture and craft were referred to as "the allied arts." By the mid-twentieth century, however, it was more common for the two disciplines to be considered distinct professional fields, with architecture having little to do with studio craft. The Allied Arts investigates the history of the complex relationship between craft and architecture by examining the intersection of these two areas in Canadian public buildings. Sandra Alfoldy explains the challenges facing the development of the field of public craft and documents the largely ignored public craft commissions of the post-war era in Canada. The book highlights the global concerns of material, scale, form, ornament, and identity shared by architects and craftspeople. It also examines the ways in which the allied arts are mediated by institutions and the fragility of craft commissions once considered an integral part of the built environment. Considering a wide range of craftspeople, materials, and forms - from the ceramics of Jack Sures and Jordi Bonnet to the textile work of Mariette Rousseau Vermette and Carole Sabiston - Alfoldy celebrates the successes of architectural craftsmanship. The first work of its kind, The Allied Arts develops ideas about the complex relationship between architecture and craft that reach well beyond national boundaries.
A Proper Wife Ryan Kincaid doesn't like being told what to do. When his grandfather pressures him to marry and introduces him to a suitable bride, Ryan is furious. Devon Franklin is the most argumentative, grasping female he's ever met! So what if she's gorgeous and he can't stop thinking about her? Devon is perfectly capable of running her own life. She doesn't need a husband and certainly not one like Ryan –– disgustingly rich, dangerously handsome, infuriatingly smug...! Who cares if his kisses turn her knees to jelly? Perhaps the solution is a whirlwind wedding ...and an equally quick divorce? An Indecent Proposal Cade Landon tells his story: 'When I heard that my father wanted me to sort out Gordon Oil, I thought that Angelica Gordon would be a pushover. Shows how wrong a roan can be! Angelica's different to any other woman I've met, and I just can't get enough of her. That doesn't mean I'm in love with her ...of course it doesn't. I'm an independent guy, and I don't need any woman as a permanent fixture in my life. So why, when it comes to saving her beloved oil company, do I find myself making all sorts of proposals just tm keep this particular 'Angel' happy? Guardian Groom This is Grant's story: 'What a legacy for my father to leave me. Crista Adams –– my ward! But the woman is no more a child than I am. In fact, with her lifestyle, I doubt Crista ever was a child. Why is it, then, that I, who've never let a woman get under my skin, am so jealous of every man in Crista's life? That's why I've decided to really act as her guardian. I've demanded that she move in with me. But that's surely the craziest idea I've ever had! Now I have the feeling that nothing in my life will ever be the same again....' Hollywood Wedding Zaeh says: 'Why did I have to be the one left with my father's mistress? Still, I know her type, and she should have been easy to dismiss. After all, Eve Palmer didn't actually climb the corporate ladder: she got to the top on her back in a tangle of silken sheets. But when I met her, was I in for a shock! Innocent, vibrant and talented, Eve was nothing like I'd imagined. Now I'm in so deep I realise I'm in danger of repeating my old man's mistake and falling in love. Marriage is the last thing I want, and even the prospect of a Hollywood wedding won't change my mind....' Spring Bride It's Kyra's turn: 'My father's legacy allowed me to assert my independence after years of being the pampered Landon 'princess.' But I've discovered independence has its own problems. Antonio Rodrigo Cordoba del Rey will help me...but at a price! He wants to own me, body, heart and soul. Pride prevents me from calling on my family for help – but if I succumb to Antonio's terms, I know I'll never be free again!
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