Synapsis: Philadelphia Campus (1970)

The 1970 Synapsis includes Atlas Club, Iota Tau Sigma, ITS, (ΙΤΣ), Lambda Omicron Gamma, LOG, (ΛΟΓ), Phi Sigma Gamma, PSG, (ΦΣΓ), Delta Omega, DO, (ΔΩ), Student Council, Class Officers, Society of Internal Medicine, Internal Medicine Society, Ob-Gyn Society, Obstetrics and Gynecology Society, Obstetrics and Gynecology, Academy of Applied Osteopathy, General Practitioner Society, Christian Osteopathic Society, Catholic Guild, Surgery Society, Ob-Gyn Society, Obstetrics and Gynecology Society, Obstetrics and Gynecology, Student Wives Club, Students\u27 Wives Organization, Student Wives Organization, Sigma Sigma Phi, SSPh, (ΣΣΦ). Dr. Joseph Dieterle, DO Class of 1970, recorded an oral history for the College\u27s centennial. The transcript is available online: Joseph Dieterle Oral History A Photograph of the Class of 1970 is available online: DO Class of 1970https://digitalcommons.pcom.edu/yearbooks/1012/thumbnail.jp

The Eugene O\u27Neill Newsletter, vol.3, no 3, 1980

The Eugene O’Neill Newsletter is the official newsletter of the Eugene O’Neill Society, an organization of scholars, theater professionals, and enthusiasts, which began meeting in 1978. This publication, created by Suffolk University Professor Fred Wilkins in 1977, started off as part newsletter and part academic journal. In 1989, the publication name was changed to the Eugene O\u27Neill Review to denote its focus on scholarship. In recent years, the O\u27Neill Society re-started publication of the newsletter. This site includes newsletter issues from 1977-1989. Newer issues are available on the Eugene O\u27Neill Society website: https://www.eugeneoneillsociety.org/newsletters.htmlhttps://dc.suffolk.edu/oneillnews/1009/thumbnail.jp

At the Spiritual Grassroots: An Analysis of Visionary Art & Artists

In this thesis I focus on an art form alternately described as naive, visionary, environmental, singular, individual, or grassroots. Not easily placed within established academic or popular art categories, such art usually lands by default in the folk art pile and is quickly cast to the peripheries of that genre. In this thesis, I am not concerned with inventing another label for these artists and their work. Instead, I explore the possibility that visionary art may be a separate genre, but one to which folklore analysis may usefully be brought to bear. Chapter One is a historical and bibliographical analysis of visionary art. Beginning with an overview of the literature on the subject, I review the development of the definitional debate in the United States as well as in Europe and trace the gradual evolution of this art form into a loosely separate category. Chapter Two consists of an analysis of visionary art. I construct a behaviorist model which draws not only upon the usual criteria of building styles or materials used but also examines such subjects as the artist\u27s motivations, personal visions, life history and community role. In Chapter Three I test this model using the work of Valenty Zaharek, an Arizona woodcarver and ceramicist. Zaharek\u27s previously undocumented work, Pecos West, is a three-dimensional carved depiction of Western scenes. It is aesthetically magnificent and falls along the borders of a variety of art forms --folk, visionary, popular

1936, January 31, Friday

The Booster, Vol. XV, no. 11. Printed in Pittsburg, Kansas

Norman VanValkenburgh Papers, 1935-2003

The Norman J. VanValkenburgh papers consist primarily of records from the Forest Preserve Centennial and research files for publications and reports by VanValkenburgh.https://digitalworks.union.edu/arl_findingaids/1017/thumbnail.jp

1935, October 4, Friday

The Booster, Vol. XV, no. 11. Printed in Pittsburg, Kansas