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Relevant bibliographies by topics / Tennessee in art

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Academic literature on the topic 'Tennessee in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Tennessee in art"

1

Simmons, R. "Microanalysis of Coolant Mists Generated from Wet Cutting of Art Glass." Microscopy and Microanalysis 17, S2 (July 2011): 1818–19. http://dx.doi.org/10.1017/s1431927611009962.

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Wuhrer, R., K. Moran, P. Dredge, and M. Phillips. "Use of X-Ray Mapping to Investigate Art Works Before their Restoration." Microscopy and Microanalysis 17, S2 (July 2011): 1790–91. http://dx.doi.org/10.1017/s1431927611009822.

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McMahon, G., L. Zajac, B. Adams-Hebard, D. Larsen, and N. Erdman. "Applications of an Ion Beam Cross Section Polisher in Art Conservation and Preservation." Microscopy and Microanalysis 17, S2 (July 2011): 1816–17. http://dx.doi.org/10.1017/s1431927611009950.

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Simek, Jan F., Jay D. Franklin, and Sarah C. Sherwood. "The Context of Early Southeastern Prehistoric Cave Art: A Report on the Archaeology of 3rd Unnamed Cave." American Antiquity 63, no. 4 (October 1998): 663–77. http://dx.doi.org/10.2307/2694114.

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In the deep recesses of “3rd Unnamed Cave,” a karst cavern in Tennessee, evidence for an ancient association between dark zone cave art and chert mining has recently been documented. The art comprises petroglyphs on the ceiling of a chamber more than 1 km from the cave entrance. On the floor below the art, natural sediments were excavated prehistorically to obtain high-quality chert nodules. Radiocarbon age determinations place the mining during the Terminal Archaic period. Studies in lithic technology, geoarchaeology, and petroglyph description are presented.

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Simek, Jan, Sarah Blankenship, Alan Cressler, Joseph Douglas, Amy Wallace, Daniel Weinand, and Heather Welborn. "The Prehistoric Cave Art and Archaeology of Dunbar Cave, Montgomery County, Tennessee." Journal of Cave and Karst Studies 74, no. 1 (April 30, 2012): 19–32. http://dx.doi.org/10.4311/2011an0219.

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Simek, Jan F., Alan Cressler, Nicholas P. Herrmann, and Sarah C. Sherwood. "Sacred landscapes of the south-eastern USA: prehistoric rock and cave art in Tennessee." Antiquity 87, no. 336 (June 1, 2013): 430–46. http://dx.doi.org/10.1017/s0003598x00049048.

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Systematic field exploration in Tennessee has located a wealth of new rock art—some deep in caves, some in the open air. The authors show that these have a different repertoire and use of colour, and a different distribution in the landscape—the open sites up high and the caves down low. The landscape has been reorganised on cosmological terms by the pre-Columbian societies. This research offers an exemplary rationale for reading rock art beyond the image and the site.

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Faulkner, Charles H., and Jan F. Simek. "1st Unnamed Cave: a Mississippian period cave art site in east Tennessee, USA." Antiquity 70, no. 270 (December 1996): 774–84. http://dx.doi.org/10.1017/s0003598x00084052.

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The well-protected walls and floors of deep caves are some of the few places where human markings on soft materials — sands, muds, clays — survive archaeologically. Since 1979, a special group of caves in the eastern United States has been reported with ‘mud-glyphs’ or prehistoric drawings etched in wet mud. Here, the seventh of these mud-glyph caves is described; once again, its iconography connects it to the ‘Southern Cult’ or ‘Southeast Ceremonial Complex’ of the Mississippian period.

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Faulkner, Charles H. "A Study of Seven Southeastern Glyph Caves." North American Archaeologist 9, no. 3 (January 1989): 223–46. http://dx.doi.org/10.2190/u6dq-q24v-wgrf-v27h.

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The ceremonial use of caves by prehistoric Indians in the Southeast was firmly established by the discovery and study of Mud Glyph Cave in Tennessee which contained hundreds of drawings including several Southern Cult motifs. This study of seven additional petroglyph and mud glyph caves in the Southeast has confirmed Mississippian religious activities in certain caves and suggests that, although at least one of these caves may have been the setting for ceremonial art as early as the Late Archaic period, caves during this earlier period appear to have been primarily explored and used for mineral extraction. While the meaning of the later Mississippian glyphs will continue to elude us until more decorated caverns are found, the discovery of Southern Cult motifs in caves dating as early as A.D. 1000–1300 in remote areas of the Southeast suggests an early dispersal of this art and association with underground ceremonialism.

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Batul Fatema Mubarak, Pathan. "THE EXPRESSIONISTIC TECHNIQUE OF PRESENTING NARRATOR AND MEMORY IN TENNESSEE WILLIAMS THE GLASS MENAGERIE." International Journal of Advanced Research 9, no. 03 (March 31, 2021): 543–45. http://dx.doi.org/10.21474/ijar01/12614.

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Expressionism was a movement in art and literature which presented a very subjective view of the world. The movement itself revolted against realism and naturalism, while the technique distorted reality, displayed the human emotions and tried to reveal the psycho-spiritual truth in the Modern world. The Glass Menagerie (1944) tells the story of a broken modern family with three characters- Tom, Laura and Amanda, all of whom live in their own reality. This familys encounter with another worldly character Jim, however, crashed their fragile world around them. In the modern era, when people are often fed extraordinary dreams through different channels, The Glass Menagerie tells the story of sufferings, unfulfilled desires, purposes, ambition, and fear of losing self, familial discord and exposes the reality to them. Tennessee Williams in his play uses expressionism to give his audiences a look into this undetected reality of the world.

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Lubensky, Sophia. "The Art of Translation: Kornei Chukovsky's a High Art. Edited and translated by Lauren G. Leighton. Knoxville: University of Tennessee Press, 1984. xxxii, 294 pp. Figures. $19.95." Slavic Review 44, no. 1 (1985): 182–83. http://dx.doi.org/10.2307/2498322.

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Dissertations / Theses on the topic "Tennessee in art"

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McPherson, Anne Shelton. "Sugar Chests in Middle Tennessee, 1800-1835." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626026.

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Fowler, Michael Anthony. "Art and Industry in East Tennessee, Ca 1880-1940: Conserving Appalachian Pasts as Resources for the Future." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etsu-works/8904.

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Smythies, Adrian Greville. "The architecture and iconography of the Hindu temple in Eads, Tennessee." Birmingham, Ala. : University of Alabama at Birmingham, 2006. http://www.mhsl.uab.edu/dt/2006m/smythies.pdf.

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Wright, Philip A. "The Perceptions of Northeast Tennessee Educators Regarding Arts Integration." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3144.

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The purpose of this quantitative study was to determine the perceptions of Northeast Tennessee Educators regarding arts integration. Specifically this study was an examination of the perceptions of district and K-8 school level administrators, K-8 general classroom teachers of math, science, social studies, or literacy, and K-8 arts specialists of dance, drama, music, or visual arts. Nine school districts in Northeast Tennessee agreed to participate in the study. Data were collected through an online survey system, SurveyMonkey.com. Data from 179 participants were used in the study. Seventeen items from the survey were measured on a 5-point Likert scale. Those items included: perceived need, claims of implementation, responsibility of implementation, comfort level for implementation, and the perceived possession of adequate resources and reported professional development for arts integration practices. The results concluded K-8 arts specialists' perceived need for arts integration, claims of arts integration implementation, and perceived comfort level for arts integration implementation were significantly higher than K-8 general education teachers. Additionally, individuals with previous arts experience in high school or college had a significantly higher perceived comfort level for arts integration implementation that individuals with no previous arts experience in high school or college. However, there were no significant differences in perceived need for arts integration, claims of arts integration implementation, and perceived comfort level for arts integration implementation between district and school level administrators and K-8 general education teachers, and between district and school level administrators and K-8 arts specialists. Subsequently, there were no significant differences among district and school level administrators, K-8 general education teachers, and K-8 arts specialists in regards to perceived responsibility for arts integration implementation, perceived possession of adequate resources for arts integration, and reported offerings of professional development for arts integration.

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Maruéjouls-Koch, Sophie. "Le "Théâtre plastique" de Tennessee Williams : du "langage de la vision" à "l'écriture organique." Thesis, Université de Lorraine, 2014. http://www.theses.fr/2014LORR0331/document.

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Tennessee Williams utilise pour la première fois l’expression « théâtre plastique » en 1944, dans un essai où il évoque les limites du langage verbal. Ce qu’il recherche, c’est un langage « des sons, des couleurs et des mouvements », un au-delà des mots censé redonner vie à un théâtre réaliste jugé moribond. Il se fixe ainsi pour objectif de retranscrire sur la page la totalité de l’expérience théâtrale. Créateur d’images, le dramaturge se compare fréquemment à un peintre et puise dans l’art pictural les éléments de son nouveau langage. Gauguin, Van Gogh, De Chirico, Hofmann ou encore Pollock font partie de la longue liste d’artistes qui lui ont permis d’échapper à la pétrification dans un mimétisme réaliste associé à l’image photographique. Cités dans ses essais ou dans ses pièces, ils orientent son théâtre vers l’abstraction à laquelle le dramaturge aspire. Or, l’influence des images sur le « théâtre plastique » ne se limite pas seulement à la peinture, la fascination de Williams pour le cinéma a également contribué à façonner son écriture, élargissant encore davantage l’alphabet de son langage théâtral. L’image apparaît en ce sens comme un agent libérateur du langage, un au-delà des mots dans lequel se profile un « je » en marge de la représentation comme système culturellement prédéterminé et prédéterminant. L’écriture de Williams désire l’image. De là vient sa puissance subversive. Le processus créateur tout entier se fonde sur l’entrelacement des logiques sémiotiques propres au langage et à l’image, faisant de l’un l’envers de l’autre, sa moitié indispensable. Le rapport de complémentarité qui unit l’image au langage dans toute l’œuvre de Williams met à jour l’originalité d’une écriture animée par un désir d’image, écriture vivante du théâtre
When Tennessee Williams coined the phrase “plastic theater” in 1944, he described it as a language of “sounds, colors and movements,” a language freed from the limitations of words. His aim was to breathe new life into what he called “the exhausted theater of realistic conventions.” His ability to put the totality of theatrical experience into words manifests itself in the scripts of his plays. Williams is a creator of pictures, a playwright in the true sense of the word who found in painting and cinema the images he needed to elaborate his new language for the stage and move away from a “photographic likeness” he rejected because it was associated with realism. Gauguin, Van Gogh, De Chirico, Hofmann or Pollock are but a few of the many painters mentioned in his plays or essays who provided him with the means to enrich his vocabulary for the stage and lead his “plastic theater” toward “something more abstract.” But cinema also influenced him, giving him the opportunity to explore new possibilities and create a space between words and images where the elusive truth could be revealed. Images thus helped liberate Williams from the literary traditions as well as from the cultural codes that had defined and confined his writing from the very beginning. The writer who felt “wrapped up in literary style like the bandages of a mummy” found in images the subversive power he needed to express his true self and breathe life into words that he had always wanted to be “more than words.” From “the language of vision” to “organic writing,” Williams’s “plastic theater” evinces a desire for images

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Waxstein, Christine Michele. "Digital Illustration: The Costume Designer’s Process For East Tennessee State University’s Spring Dance Concert 2012." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1504.

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This paper's objective is to document the research and developmental processes of creating East Tennessee State University's Spring Dance Concert 2012 costume designs and renderings. This thesis describes design creation from research stage to idea formulation to the conception of costumes using inspirational images, illustrations, and performance photos and videos. The show was a challenging undertaking because it involved the collaboration of many in a compressed timeframe: 1 artistic director, 9 choreographers, 20 dances, 46 performers, 10 lighting designers, 1 costume designer, and 3 weeks to put it all together. Incorporating digital technology into the rendering process saved time, expenses, and helped clarify the designer's choices. This paper reflects the 2-year study of incorporating digital technology into the rendering process, culminating in the costume design for the Spring Dance Concert 2012.

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Art, ETSU Department of, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 1991. https://dc.etsu.edu/mockingbird/25.

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Timothy C. Barbee [Self Portrait Series; Self-Portrait Series]; Kim Barker [World Gone Mad; Untitled Graphic]; Julie Branham [Splunge; Something Wicked This Way Comes; Banzai Bar]; Joe Brown [Coral Reef]; Roger Carper [ICU; The Return]; Todd Cregger [Mocking Bird]; Norman Eades [The Color of Wind]; Melanie Edwards [Friends; Ghandi; Paradise]; Eric R. Fish [Why Not Minot?]; Nicholas Taylor Jimenez [The Ride Home]; Gediyon Kiflle [Memento Mori (Memory of the Dead)]; Miller Lyons [Vietnam, I Weep]; Thomas Keats McKnight [And They Shall Take Up Serpents; Dusty Walls]; Sierra Merrell [Embrace]; Dan Mills [90's Nippy Flippin' Through The Channels; The Double Helix]; Don Morgan [Self Portrait; Portrait]; Avis M. Reid [Mama Hensley; Saint Lydia]; Paul Shelton [Rita Vespucci]; Jeff Tolley [Daddy]; Wesley Venable [One Mao's Castle: A Song For The Parting]; Winn Ann Weesner [Wash-A-Rama]; Tamara L. Wilkins [A Tree Maybe?]; William J. Wright [A Requiem For Youth]
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Design, ETSU Department of Art and, and ETSU Department of Literature and Language. "The Mockingbird." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/mockingbird/1.

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Riley Armstrong [2084]; Brian Baker [Heretica Malleus]; Matthew J. Brown [A Functional Use of Space]; Patrick Burke [Soda Fired Vase]; Carmen Burroughs [Honeysuckle]; Danielle Byington [Calamine Typewriter; Conception; Words, with You in Mind]; Gabe Cameron [Juxtaposition]; Catherine Pritchard Childress [The Cinnamon Peeler’s Wife; Bathsheba’s Bath; Blossoming Indigo]; Joshua Cole [Four Seasons]; Brooke Day [Ornament]; Nancy Jane Eanest [Scraps of a Life]; Olivia Ellis [Grumpy Livie]; Matthew Gilbert [Contingency]; Jonathan Hill [Chiaksan; Buried in the Mountain]; Hunter Hilton [A List of Things Someone]; Janice Hornburg [How to Become a Fossil]; Alisa Johnson [Flower]; Lindsey King [Sparking]; Katie Lea [Meta Moments]; Rachel Maynard [Triggered: Reading with a Raw Heart]; Beth Miller [At What Cost]; Shalam Minter [Fracture 1 & 11]; Amanda Musick [Mother Is My Light]; Andrew Norris [This Looks Like a Job for Aquaman]; Elizabeth Saulsbury [Deserted]; Kelsey A. Solomon [A Song for My Mooresburg Springs Mothers; Because they told me to write my own history; Interview with Catherine Pritchard Childress]; Adonica Supertramp [A Shift in Perspective]; Linda Tipton [Albatross]; Laura Traister [Alcedo Atthis; Beach Seining; Circumventing the Street Preacher; Indian Morning; The Interruption]; Kathryn Haaland [I Am Something New]; Whitney Parkinson [Flow]; C.J. Wehr [Unwanted Changes]; Haley White [Untitled Owl]
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Language, ETSU Department of Literature and, and ETSU Department of Art and Design. "The Mockingbird." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/mockingbird/4.

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Andrew Barnes [Good Stock]; Josh Blevins [Firebird]; Joseph Bowman [Epilogue]; Nikki Buckner-McCoy [Bargaining]; Andrew Butler [Octet and Sestet from an Asheville Balcony, Convalescent Haiku, Alchemy, Coming of Age Again and The Graduate]; Danielle Byington [Children until We Die]; Disconnected Rima Day [Quilt]; Ashley Fox [Baptism, Interview with Jane Hicks, His Girl]; Hannah Harper [Selkie]; Hunter Hines [Inward Spiral]; Mary Hunter [Learning Norn Iron]; Becca Irvin [Altered Vessel]; Storm Ketron [Origin: Johnson City, TN]; Derek Laurendeau [Pop-Up Book I , Metamorphosis]; Kimberly Leland [Empty Nest]; Caroline Lowery [Stella]; Freddie Lyle [Untitled II]; Kelly Meadows [Seek]; Andrea Menendez [Radio Children]; Shalam Minter [Mirror, Mirror]; Jerianne Paul [Go Singing into Zion, Rafters]; Tyler Ridgeway [The Void]; Lauren Roberts [Yellow House with Sign]; Jared Sand [The Mouthpiece]; Joseph Sloan [Goddess of the Harvest:How I Met My Wife]; Cate Strain [For Piper on My 46th Birthday]; Daniel Taylor [Astray]; Adam Timbs [The Older City]; Jacob Vines [The Canyon Black]; Kaci Wells [Untitled]
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Design, ETSU Department of Art and, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/mockingbird/2.

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Devon Koren Asdell [Natural Bridge]; Jessica Brice [The Furrowed Field]; Amy Chartier [Through the Road and of My Heart]; Victoria Cunningham [Concealment July 2001]; Carie Dutro [A Friend of Mine Once Told Me]; Nancy Jane Earnest [Summer Ritual]; Franci Doyle [Jackass]; Mike Garrett [Game]; Spicey Gould [Passage]; Megan Jewell Kern [On Three]; Jessica Hodges [Just 2]; Gregory Marlow [Charlie’s Wife]; Shanda Miller [Affirmations]; Neli Jennifer Minthorn [Untitled]; Ouzounova [Stairway to a Sense of Place]; Alison Pack [Accessories]; James Sharp [Boones Creek]; Deborah Smith [The Game]; Kevin Stephenson [A Tale of Two Tales]; Pam Tabor [Letting Go]; Chris Vaughn [Foretold]; Rachel Williamson [Retired Barber];
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Books on the topic "Tennessee in art"

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Great road style: The decorative arts legacy of southwest Virginia and northeast Tennessee. Charlottesville: University of Virginia Press, 2006.

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T, Henning William, ed. A Catalogue of the American Collection: Hunter Museum of Art, Chattanooga, Tennessee. Chattanooga: The Museum, 1985.

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Grooms, Red. Red Grooms: Knoxville Museum of Art, Knoxville, Tennessee, May 3-August 17, 1997. Edited by Wicks Stephen C, Heartney Eleanor 1954-, Kramer Sarah H, and Knoxville Museum of Art. Knoxville, Tenn: The Museum, 1997.

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Williams, Derita Coleman. The art and mystery of Tennessee furniture and its makers through 1850. Nashville, Tenn: Tennessee Historical Society, Tennessee State Museum Foundation, 1988.

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University, Vanderbilt, and Tennessee State Museum, eds. Art and artisans of prehistoric Middle Tennessee: The Gates P. Thruston collection of Vanderbilt University held in trust by Tennessee State Museum. Nashville, Tenn: Tennessee State Museum, 1985.

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Museum, Tennessee State. Civil War drawings from the Tennessee State Museum. [Nashville?]: Tennessee State Museum Foundation, 1989.

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Wicks, Stephen C. Awakening the spirits: Art by Bessie Harvey : an exhibition organized by the Knoxville Museum of Art, in collaboration with Austin-East High School : Knoxville, Tennessee, April 4-July 27, 1997. Knoxville, Tenn: The Museum, 1997.

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George-Warren, Holly. Bonnaroo: What, which, this, that, the other. New York: Abrams Image, 2012.

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Capps, Anita Armstrong. See Rock City barns: A Tennessee tradition : vignettes of southern farm life captured in detailed watercolors and poignant prose. [United States]: A.A. Capps, 1996.

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1961-, Valdès-Forain Florence, and Fondation de l'Hermitage, eds. Jean-Louis Forain: Les années impressionnistes et post-impressionnistes : Fondation de l'Hermitage, Lausanne, du 20 octobre 1995 au 7 janvier 1996. Lausanne: La Fondation, 1995.

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Book chapters on the topic "Tennessee in art"

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Boxill, Roger. "Early One-Act Plays (1939–46)." In Tennessee Williams, 39–60. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18654-9_3.

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Johnson, D. W., P. J. Hanson, D. E. Todd, R. B. Susfalk, and C. F. Trettin. "Precipitation Change and Soil Leaching: Field Results and Simulations from Walker Branch Watershed, Tennessee." In Biogeochemical Investigations at Watershed, Landscape, and Regional Scales, 251–62. Dordrecht: Springer Netherlands, 1998. http://dx.doi.org/10.1007/978-94-017-0906-4_24.

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"“IN DARK CORNERS”: MASCULINITY AND ART IN TENNESSEE WILLIAMS’S NOTABOUT NIGHTINGALES." In Captive Audience, 143–54. Routledge, 2004. http://dx.doi.org/10.4324/9780203494851-17.

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Knapp, Courtney Elizabeth. "Public Space, Cultural Development, and Reconciliation Politics in the Renaissance City." In Constructing the Dynamo of Dixie, 127–42. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469637273.003.0008.

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Chapter 7 extends this conversation by examining the politics of racial recognition and reconciliation happening vis-à-vis public space, art, and cultural tourism planning within the revitalized urban core today. The Tennessee Riverfront and areas immediately surrounding Ross’s Landing are sites of multiracial diasporic placemaking—spaces where different people have worked with and against one another to carve out communities of security and belonging. While these diasporic placemaking efforts have occasionally produced new collaborations and deeper affinities, they also ignite conflict and contestation over physical space and cultural place in the city. To this end, the work explores planning and placemaking elements of the Tennessee riverfront’s revival to show how community leaders have used urban planning and placemaking to acknowledge and, arguably, reconcile, with the city’s exploitative colonial past.

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"Emma Bell Miles." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd, 127–34. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0019.

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Emma Bell Miles was born in Evansville, Indiana. Her parents were teachers, and in 1890, to improve Emma’s faltering health, the family moved from the Cincinnati area to Walden’s Ridge (now Signal Mountain) near Chattanooga, Tennessee. There, Miles grew up with her feet in two worlds—the rural mountain culture of Walden’s Ridge and the world of art and books represented by her parents and the wealthy Chattanoogans vacationing nearby....

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Robertson, William Glenn. "4 July 1863." In River of Death--The Chickamauga Campaign, 1–9. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469643120.003.0001.

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This chapter introduces the opposing armies, the Army of Tennessee and the Army of the Cumberland, and their respective commanders, Braxton Bragg and William Rosecrans. It describes the Army of the Cumberland’s victory party at the close of the Tullahoma Campaign and contrasts it with the Army of Tennessee’s struggle to withdraw across the Cumberland Plateau to the valley of the Tennessee River on 4 July. Featured players in the day’s events are Alexander McCook, Leonidas Polk, and Joseph Wheeler.

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Sharma, Madhuri. "Economic Growth Potentials and Race/Ethnicity in Tennessee." In Research Anthology on Empowering Marginalized Communities and Mitigating Racism and Discrimination, 1119–42. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-8547-4.ch054.

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This article establishes relationships between racial/ethnic diversity, segregation, and employment-by-industry-types in the counties of Tennessee. Using the American Community Survey and NAICS data, diversity scores, entropy indices, and location quotients for major-employment are computed for Tennessee's 95 counties. Cartographic analysis, followed by correlations, principal components and regression analyses help establish the above relationships. The north-east and west-central regions of Tennessee have concentration in primary-sectors of economy whereas counties with concentration in creative-class economy (e.g., Williamson, Davidson) have higher presence of Asians, and with greater human capital (education). Simultaneously, these are also the most segregated despite being diverse. Counties with higher diversity and higher share of African-Americans are segregated, despite having employment concentration in diverse set of industries. Enormous growth potentials exist in the sectors of education and health-care which can help Tennessee revitalize its economy.

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Marcellus, Jane. "Discourses of Race and Masculinity in the Nashville Press." In Front Pages, Front Lines, 153–70. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043109.003.0009.

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As the state that provided the final vote ratifying the Nineteenth Amendment in 1920, Tennessee is critical. The two newspapers in Nashville, the state capital, differed vehemently on suffrage. Using discourse theory to interrogate suffrage coverage in the decade preceding 1920, this chapter focuses on the intersection of gender and race at the height of the Jim Crow era. Although the prosuffrage Tennessean strongly favored ratification while the antisuffrage Banner opposed it, this chapter argues that a more complicated story emerges when race and masculinity are considered. Despite its prosuffrage stance, the Tennessean included subtle warning signs against Black women’s power when race was integral to a story. The Banner consistently reinforced traditional gender roles, responding to ratification with an eruption of verbal violence aimed at recouping hegemonic white masculinity.

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Anderson, David M., and Andrew C. McKevitt. "From “the Chosen” to the Precariat." In Reconsidering Southern Labor History, 255–70. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056975.003.0017.

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Beginning in the 1970s, local boosters in the U.S. South offered lucrative incentives to attract foreign manufacturing firms, who, in turn, promised to uplift working-class southerners’ lives and modernize benighted rural areas with state-of-the-art “greenfield” plants and cutting-edge production techniques. Led by Japanese and German automotive companies, such as Nissan Motors in Smyrna, Tennessee, these “transplants” initially recruited a select group of “chosen” workers, most of whom saw themselves as middle-class “technicians” rather than as proletarianized factory workers. Despite subjecting their assembly-line workers to physically demanding conditions, the transplants’ strategy of hiring “chosen” workers thwarted organized labor’s attempts to unionize their plants. By the twenty-first century, however, foreign-owned transplants have increasingly filled positions with lower-paid temporary workers hired from third-party contractors. These “permatemps” regularly face deteriorating work conditions while lacking the employment security, benefits, and job stability enjoyed by the “chosen” workers. In effect, the South’s foreign-owned transplants have created a three-tiered industrial workforce, with “chosen” workers at the top, followed by a frustrated pro-union proletariat in the middle, and a “precariat” composed of temporary workers at the bottom.

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Chase, Robert T. "Epilogue." In We Are Not Slaves, 389–406. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469653570.003.0012.

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The epilogue reflects on what happened to the prisoners who brought civil suits to Texas and frames the legal and political legacy of Ruiz within the current political moment of national prison strikes and the ongoing struggle over mass incarceration. The chapter considers Ruiz’s legacy through the lens of the Tennessee prison hostage crisis of 1985 as well as ongoing contemporary prisoner politicization over mass incarceration. It considers the development of the Prison Litigation Reform Act as part of carceral federalism’s effort to overturn judicial intervention in favor a return to state’s rights and control of its prison systems. It concludes with an analysis the country’s first national prison strikes of 2016 and 2018 as critical moments tied to Ruiz and the case’s political legacy.

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Conference papers on the topic "Tennessee in art"

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Baldwin, Richard M., Anthony J. Smalley, James E. Terrell, Robert Prince, Charles N. Gray, Leo D. Eskin, and George H. Quentin. "Monitoring Combustion Turbine Performance in the Electric Utility Industry." In ASME 1995 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1995. http://dx.doi.org/10.1115/95-gt-051.

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This paper describes a monitoring and diagnostic system implemented on four Westinghouse 501 B4 peaking combustion turbines at the Tennessee Valley Authority’s (TVA’s) Gallatin Combustion Turbine Site, near Nashville, Tennessee. As a follow-up to a maintenance upgrade on the turbine trains, a means was sought to maximize service reliability and minimize labor and maintenance. The system consists of a vibration data acquisition system, ports to access control system data, a local area network, and software to diagnose vibration and performance problems. The analysis software modules expand the state-of-the-art by automated extraction of high level information from sampled raw data and they provide recommendations in graphical, tabular, and interactive formats. The software algorithms are designed to reduce required user expertise and input, and to enhance guidance to operators for appropriate action.

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Young, Jennifer. "Glimpsing into the Future: Using the Curriculum Process System for Collection Development." In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317178.

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One common problem facing academic libraries is the art of materials selection that ensures users have what they need when they need it, or at least the majority of the time. Methods frequently used are librarian selectors, faculty selectors, approval plans, and demand-driven acquisitions. Having close relationships with teaching faculty is pertinent when acquiring monographs to support the courses currently offered as well as those upcoming. However, when that relationship is not strong, libraries must find other methods to gather that valuable insight. This paper will cover how East Tennessee State University’s library uses the curriculum process system to inform collection development to support future curriculum needs.

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"Offstage Characters in Tennessee Williams’ Plays." In 2019 International Conference on Advances in Literature, Arts and Communication. The Academy of Engineering and Education (AEE), 2019. http://dx.doi.org/10.35532/jahs.v1.004.

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"Schedule and abstract book for the Sixth Annual Undergraduate Research Conference at the Interface of Biology and Mathematics." In Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. National Institute for Mathematical and Biological Synthesis (NIMBioS), 2014. http://dx.doi.org/10.7290/aurcibm06.

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Collection of abstracts from the sixth Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. Plenary speakers: Joseph Tien, Associate Professor of Mathematics at The Ohio State University; and Jeremy Smith, Governor's Chair at the University of Tennessee and Director of the University of Tennessee/Oak Ridge National Lab Center for Molecular Biophysics.

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Consonni, Stefano, Eric D. Larson, and Ryan Katofsky. "An Assessment of Black Liquor Gasification Combined Cycles: Part A — Technological Issues and Performance Comparisons." In ASME Turbo Expo 2004: Power for Land, Sea, and Air. ASMEDC, 2004. http://dx.doi.org/10.1115/gt2004-53179.

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Black liquor gasification (BLG) technologies are under active commercial development in the United States and Europe. BLG has been proposed as a future replacement for Tomlinson boilers to provide more efficient, safer, environmentally-friendlier, and more cost-competitive chemical and energy recovery at kraft pulp and paper mills. Also, some pulping process improvements are more readily implemented with BLG than with black liquor combustion. This is Part A of a two-part paper summarizing results of a large study supported by the US Department of Energy, the American Forest and Paper Association, the Southern Company, and the Tennessee Valley Authority to assess performances, emissions, costs and overall benefits of black liquor gasification combined cycle (BLGCC) technology for the U.S. kraft pulp and paper industry. Part A discusses the status of leading black liquor gasification technologies and presents detailed mass and energy balances for BLGCC integrated with a pulp and paper mill producing 1725 metric tons per day of uncoated freesheet paper. The corresponding nominal flow of black liquor solids is 6 million 1bs/day (or 438 MW of contained energy). Mass and energy balances are also presented at a comparable level of detail for state-of-the-art and advanced Tomlinson systems. Tomlinson performances are compared with that for three BLGCC configurations: (i) low-temperature, indirectly-heated gasifier coupled with a medium-power output heavy-duty gas turbine; (ii) high-temperature, oxygen-blown gasifier coupled with a medium-power output gas turbine; (iii) same high-temperature gasifier coupled with a utility-scale gas turbine, where the extra fuel input required to fully load the gas turbine is supplied by natural gas. With state-of-the-art Tomlinson technology, the integrated mill must import approximately 36 MW from the electric grid, which can be reduced to 11.5 MW with an advanced Tomlinson design. Medium-scale BLGCC allows export of 15–20 MW to the grid. This increases to 125 MW when the gasifier is coupled to the utility-scale gas turbine. The superior thermodynamic features of BLGCC are evidenced by the high ratio (0.5–0.9) of extra electricity generated by the BLGCC to extra fossil fuel purchased (higher heating value basis).

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"Schedule and abstract book for the Eighth Annual Undergraduate Research Conference at the Interface of Biology and Mathematics." In Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. National Institute for Mathematical and Biological Synthesis (NIMBioS), 2016. http://dx.doi.org/10.7290/aurcibm08.

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Collection of abstracts from the eighth Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. Plenary speaker: Jorge X. Velasco Hernández, Universidad Nacional Autónoma de México. Featured speaker: Judy Day, University of Tennessee, Knoxville.

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"Schedule and abstract book for the Tenth Annual Undergraduate Research Conference at the Interface of Biology and Mathematics." In Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. National Institute for Mathematical and Biological Synthesis (NIMBioS), 2018. http://dx.doi.org/10.7290/aurcibm10.

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Collection of abstracts from the tenth Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. Plenary speaker: Holly Gaff, Biological Sciences, Old Dominion University. Featured speaker: Nina Fefferman, Ecology & Evolutionary Biology, Mathematics, University of Tennessee, Knoxville.

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"Schedule and abstract book for the Twelfth Annual Undergraduate Research Conference at the Interface of Biology and Mathematics." In Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. National Institute for Mathematical and Biological Synthesis (NIMBioS), 2020. http://dx.doi.org/10.7290/aurcibm12.

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Collection of abstracts from the twelfth Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. Plenary speaker: Gerardo Chowell, Population Health Sciences, Georgia State University School of Public Health, Atlanta. Featured speaker: Olivia Prosper, Mathematics, University of Tennessee, Knoxville.

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"Schedule and abstract book for the Eleventh Annual Undergraduate Research Conference at the Interface of Biology and Mathematics." In Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. National Institute for Mathematical and Biological Synthesis (NIMBioS), 2019. http://dx.doi.org/10.7290/aurcibm11.

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Collection of abstracts from the eleventh Annual Undergraduate Research Conference at the Interface of Biology and Mathematics. Plenary speaker: Sadie Ryan, Medical Geography, University of Florida, Director, Quantitative Disease Ecology & Conservation Lab (QDEC Lab). Featured speaker: Christopher Strickland, Mathematics, University of Tennessee, Knoxville.

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Routh, Katelynn M., Scott J. Curran, and David K. Irick. "The University of Tennessee EcoCAR 2 Communications, Outreach, Education and STEM Recruiting Program Overview: Year 2." In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-64907.

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The U.S. Department of Energy’s (DOE) Advanced Vehicle Technology Competition (AVTC) series is a long running collegiate vehicle design competition for North American universities. The current three year competition series, known as EcoCAR 2: Plugging In To the Future, has students design and build a hybrid electric vehicle (HEV) that also incorporates alternative fuel. Teams are donated a 2013 Chevrolet Malibu by General Motors to modify. A significant aspect of the competition series is the public outreach and education aspect that leverages the expertise of the students in advanced vehicle technologies and alternative fuels. This also highlights the systems level approach to integrating all aspects of the vehicle to build a vehicle that has the best possible fuel economy, lowest well-to-wheel greenhouse gas emissions and lowest criteria air pollutant emissions while maintaining or exceeding vehicle performance, utility and safety. This paper presents an overview of the University of Tennessee’s (Team Tennessee) EcoCAR 2 outreach program, including core program goals and measures of effectiveness of the program for Year 2 of the competition. The paper focuses on the role that such programs can have on effective science, technology, engineering and mathematics recruiting through an overview of the outreach activities and the integration of hands on activities and partnerships with local schools. The leveraging of outreach and education capabilities with the team’s outreach partners is also highlighted.

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Reports on the topic "Tennessee in art"

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Townsend, Terry, and Scott Slusher. Recovery Act: Tennessee Energy Efficient Schools Initiative Ground Source Heat Pump Program. Office of Scientific and Technical Information (OSTI), April 2017. http://dx.doi.org/10.2172/1352592.

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Zachry, Anne, J. Flick, and S. Lancaster. Tune Up Your Teaching Toolbox! University of Tennessee Health Science Center, 2016. http://dx.doi.org/10.21007/chp.ot.fp.2016.0001.

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Occupational therapy (OT) educators strive to prepare entry-level practitioners who have the expertise to meet the diverse health care needs of society. A variety of instructional methods are used in the University of Tennessee Health Science Center (UTHSC) MOT program, including traditional lecture-based instruction (LBI), problem-based learning (PBL), team-based learning (TBL), and game-based learning (GBL). Research suggests that active learning strategies develop the critical thinking and problem-solving skills that are necessary for effective clinical reasoning and decision-making abilities. PBL, TBL, GBL are being successfully implemented in the UTHSC MOT Program to enhance the learning process and improve student engagement.

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Enscore, Susan, Adam Smith, and Megan Tooker. Historic landscape inventory for Knoxville National Cemetery. Engineer Research and Development Center (U.S.), April 2021. http://dx.doi.org/10.21079/11681/40179.

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This project was undertaken to provide the U.S. Department of Veterans Affairs National Cemetery Administration with a cultural landscape survey of Knoxville National Cemetery. The 9.8-acre cemetery is located within the city limits of Knoxville, Tennessee, and contains more than 9,000 buri-als. Knoxville National Cemetery was placed on the National Register of Historic Places on 12 September 1996, as part of a multiple-property submission for Civil War Era National Cemeteries. The National Cemetery Administration tasked the U.S. Army Engineer Re-search and Development Center-Construction Engineering Research Laboratory (ERDC-CERL) to inventory and assess the cultural landscape at Knoxville National Cemetery through creation of a landscape development context, a description of current conditions, and an analysis of changes over time to the cultural landscape. All landscape features were included in the survey because according to federal policy on National Cemeteries, all national cemetery landscape features are considered to be contributing elements.

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Swientoniewski M.D. K-1435 Wastewater Treatment System for the Toxic Substances Control Act Incinerator Wastewater at the East Tennessee Technology Park, Oak Ridge, TN. Office of Scientific and Technical Information (OSTI), February 2008. http://dx.doi.org/10.2172/969804.

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Pruitt, Bruce, K. Killgore, William Slack, and Ramune Matuliauskaite. Formulation of a multi-scale watershed ecological model using a statistical approach. Engineer Research and Development Center (U.S.), November 2020. http://dx.doi.org/10.21079/11681/38862.

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The purpose of this special report is to provide a statistical stepwise process for formulation of ecological models for application at multiple scales using a stream condition index (SCI). Given the global variability of aquatic ecosystems, this guidance is for broad application and may require modification to suit specific watersheds or stream reaches. However, the general statistical treatise provided herein applies across physiographies and at multiple scales. The Duck River Watershed Assessment in Tennessee was used, in part, to develop and test this multiscale, statistical approach; thus, it is considered a case example and referenced throughout this report. The findings of this study can be utilized to (1) prioritize water-sheds for restoration, enhancement, and conservation; (2) plan and conduct site-specific, intensive ecosystem studies; and (3) assess ecosystem outcomes (that is, ecological lift) applicable to future with and without restoration actions including alternative, feasibility, and cost-benefit analyses and adaptive management.

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Shor, J. T., S. P. N. Singh, and L. V. Jr Gibson. Progress report and technology status development of an EG and G Berthold LB-150 alpha/beta particulate monitor for use on the East Tennessee Technology Park Toxic Substances Control Act Incinerator. Office of Scientific and Technical Information (OSTI), June 1998. http://dx.doi.org/10.2172/638188.

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The East Tennessee Technology Park Progress Report for the Tennessee Hazardous Waste Reduction Act for Calendar Year 2000. Office of Scientific and Technical Information (OSTI), March 2001. http://dx.doi.org/10.2172/801755.

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The East Tennessee Technology Park Progress Report for the Tennessee Hazardous Waste Reduction Act for Calendar Year 1999. Office of Scientific and Technical Information (OSTI), March 2000. http://dx.doi.org/10.2172/801756.

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Volunteer chief dies and two fire fighters are injured by a collapsing church facade - Tennessee. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, January 2006. http://dx.doi.org/10.26616/nioshfffacef200437.

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Calendar Year 2007 Resource Conservation and Recovery Act Annual Monitoring Report for the U.S. Department of Energy Y-12 National Security Complex, Oak Ridge, Tennessee - RCRA Post-Closure Permit Nos. TNHW-113, TNHW-116, and TNHW-128. Office of Scientific and Technical Information (OSTI), February 2008. http://dx.doi.org/10.2172/950014.

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