Bibliografías temáticas / Broadway Bank (New York)

Literatura académica sobre el tema "Broadway Bank (New York)"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 27 de julio de 2024

Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros

Elija tipo de fuente:

Índice

Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Broadway Bank (New York)".

Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.

También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.

Artículos de revistas sobre el tema "Broadway Bank (New York)"

1

Loney, Glenn. "A Theatre of Pre-Depression: Economics and Apathy in New York". New Theatre Quarterly 8, n.º 32 (noviembre de 1992): 313–20. http://dx.doi.org/10.1017/s0266464x00007090.

Texto completo
Resumen
In an article in NTQ22 (May 1990), Glenn Loney clarified, with special concern for a British readership, the many ‘Factors in the Broadway Equation’. In NTQ 30 (May 1992), he took a closer look at the productions of the 1990–91 season, with its glut of musicals, from the lavish to the just plain lousy, economic ‘single-person shows’ – and the sometimes more challenging products of the off-Broadway and not-for-profit sectors. Here, he continues to trace the long decline of the ‘fabulous invalid’ through the season of 1991–92 – a season overshadowed by the death of Joe Papp, the mourning for a great showman mixed with concern for the future of his Public Theatre enterprises. The paucity of productions on Broadway – where, while one show could lose its backers four million dollars overnight, Peter Pan took American audiences happily back to the traditions of English pantomime – continued to contrast with signs of life elsewhere, and new productions marked milestone-anniversaries for La Mama and the Manhattan Theatre Club. Glenn Loney, is a widely published theatre writer and teacher based in New York.
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Pereira, Renato Barreto. "A Gay New York City in Mart Crowley’s “The Boys in the Band”". East-West Cultural Passage 21, n.º 2 (1 de diciembre de 2021): 26–52. http://dx.doi.org/10.2478/ewcp-2021-0012.

Texto completo
Resumen
Abstract “The Boys in the Band,” a play by American playwright Mart Crowley (1935-2020), represents a milestone in the representation of urban gay men in theater. By exploring on stage the lives of a group of male gay friends in the late 1960s, Crowley challenged social and dramaturgical norms and conventions. As an integral part of the narrative, New York City, specifically Manhattan Island, makes itself present in the text through direct and indirect references, whether on the level of plot, character construction, or the setting of the play itself. As a paradigmatic play in a moment of special prominence of the Gay Movement in the United States, soon after its premiere in 1968 and before the release of its first film adaptation, “The Boys in the Band” came to be seen differently by critics and activists under the influence of a historical event that also occurred in Manhattan, the Stonewall Riots. This article explores the various instances in which the play, especially in its first Off-Broadway staging, represents not only a gay New York City, but also how this same place made possible the existence of this story and these characters.
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Yablon, Nick. "“A Curious Epitome of the Life of the City”: New York, Broadway, and the Evolution of the Longitudinal View". Journal of Urban History 44, n.º 5 (12 de septiembre de 2016): 953–84. http://dx.doi.org/10.1177/0096144216654882.

Texto completo
Resumen
Discussions of urban representation have been hampered by a persistent contrast between the view from above and the view from street level, or between the urban planner’s panoptic gaze and the flâneur’s fleeting glance. This article challenges such contrasts by identifying a third way of representing a city, that of moving block-by-block along the length of its main thoroughfare. It traces the emergence of what it calls the “longitudinal view” back to antebellum New York, when tour guides and urban sketches promoted the “walk up Broadway” as a means to encompass the social and functional diversity of the expanding metropolis, and when visual genres such as the moving panorama and the pictorial directory offered a virtual simulation of that journey—one that echoed the perpendicular perspective of an omnibus passenger. It concludes by exploring the subsequent appropriation of the longitudinal view by artists, photographers, and filmmakers.
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

Means Weekly, Edrie. "Shifting Gears in Multiple Styles: An Artist and Teacher of Singing’s Journey with the 2011 Revival of Follies". Journal of Singing 79, n.º 4 (22 de febrero de 2023): 497–501. http://dx.doi.org/10.53830/xyup5554.

Texto completo
Resumen
NATS member Edrie Means Weekly has been a pedagogue and performing artist of both opera and musical theatre for over 35 years. In this article, Edrie discusses the audition process at the Kennedy City and in New York City resulting in her being cast as a standby for five Broadway stars in the 2011 revival of Stephen Sondheim’s Follies starring Bernadette Peters. Four of the five roles have large solo songs including the iconic songs “Broadway Baby” and “I’m Still Here”. The four songs were each written in a different musical style ranging from classical to full out traditional belt. As a vocal pedagogue, she discusses the styles of each song and the Vocal Stylisms or effects she added for emotion and expression to enhance the style. Edrie also includes one of her own vocal exercises she developed for herself back in the late 1980s to create laryngeal flexibility as she performed professionally in opera and musical theatre. She includes a couple of stretches useful for singers and dancers which were provided by Follies Broadway choreographer Warren Carlyle. Edrie talks about track cards and being a swing and discusses her preparation to build stamina to sing and dance a seven-minute tap song. Edrie Means Weekly’s article provides advice for those preparing for singing multiple styles in one show.
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Robinson, Danielle. "“Oh, You Black Bottom!” Appropriation, Authenticity, and Opportunity in the Jazz Dance Teaching of 1920s New York". Dance Research Journal 38, n.º 1-2 (2006): 19–42. http://dx.doi.org/10.1017/s0149767700007312.

Texto completo
Resumen
Head tossed back wearing a mile-wide grin, ecstatic arms stretched to the sky, jutting knees counterbalancing a substantial backside—the Jazz Age had no symbol more potent than the moving black body (Figure 1). Nearly always an illustration, and in many cases a caricature, these images depicted anonymous black movers rather than recognizable individuals. Yet, looking beyond this superficial representation, it was actually visibly white dance professionals who primarily marketed jazz steps to the American public as teachers and choreographers. A quick glance through the pages of the nascentDance Magazineof the 1920s reveals numerous jass dance routines with names such as “High Yaller,” “Pickin’ Cotton,” “The Savannah Stomp,” and the “Hula-Charleston,” each represented by a specific white Broadway performer (Fig. 2). Standing just behind each dancer, however, is a dark dancing figure that remains nameless and faceless.
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Olsen, Christopher. "Off-Off-Broadway Explosion: How Provocative Playwrights of the 1960s Ignited a New American Theater. By David A. Crespy. New York: Back Stage Books, 2003; pp. 192; 32 illus. $19.95 paper." Theatre Survey 46, n.º 2 (25 de octubre de 2005): 349–51. http://dx.doi.org/10.1017/s004055740539020x.

Texto completo
Resumen
David Crespy's account of Off-Off Broadway's roots in New York City is a welcome addition to a growing body of scholarship on this vibrant period in American theatre history. Many authors writing on this era have limited themselves to focusing on particular theatre groups, such as the Living Theatre, Café Cino, and the Open Theatre, or on the work of specific playwrights, such as Maria Irene Fornés, Sam Shepard, and Edward Albee. More historical accounts are needed to examine a cross section of theatre practitioners in the context of the political and artistic movements of the 1960s. Crespy has managed to do this to some degree, and has even convinced the elusive Edward Albee to write a foreword.
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

Loney, Glenn. "Survival Strategies in New York Theatres". New Theatre Quarterly 11, n.º 41 (febrero de 1995): 79–90. http://dx.doi.org/10.1017/s0266464x00008915.

Texto completo
Resumen
IN THE SEASON of 1893–94, theatregoers in New York would hardly have realized that ‘Broadway’, as a theatre centre, had just come into being. In fact, 1900 would seem a more appropriate date, but business in the commercial theatre in recent seasons has been so hazardous that the League of American Theatres decided to jump-start the past season with a putative centenary salute, ‘Celebrate Broadway: 100 Years in Times Square’. It was a brave attempt and resulted at least in some interesting historical exhibits. Unfortunately, these only served to remind the viewers of Broadway's glory-days years ago.
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Fokina, Svitlana. "BROADWAY SEMIOSPHERE IN NOSTALGIC DISCOURSE OF VERA ZUBAREVA". Baltic Journal of Legal and Social Sciences, n.º 2 (4 de abril de 2022): 164–70. http://dx.doi.org/10.30525/2592-8813-2021-2-21.

Texto completo
Resumen
Lyric of Vera Zubarev is distinguished by attention to the semiosphere of a modern place of residence, for example, to the topography of New York, and at the same time to dialogue with the traditions of Russian literature. The choice of Broadway as an object of poetic reflection sets references to J. Brodsky at the subtext level. The text of the “Broadway” poem by Vera Zubarev correlates with the metamorphoses of the largest city of emigrants New York, this angle allows you to update the motives of the fate of the Roman exile poet Ovid and his kind of “heir” J. Brodsky. The Broadway plot exposes the trickster beginning and the spirit of transformations and metamorphosis in the poetic decision of Vera Zubarev. The city itself turns out to be theatrical stage during the metamorphoses that recreate the New York phantasmagoria. In the poem a poetic line is being implemented with installation on the experiment, combining the factors of the influence of the early Russian avant-garde and the legacy of I. Brodsky on the “Broadway text” by Vera Zubarev. The Broadway semiosphere is modified due to the manifestation of the author’s nostalgic discourse as an emigrant poet.
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

Johnson, Paddy. "Finola Jones, Broadway Windows, New York, December - January 1996-7". Circa, n.º 79 (1997): 65. http://dx.doi.org/10.2307/25563118.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’". New Theatre Quarterly 1, n.º 4 (noviembre de 1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.

Texto completo
Resumen
Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluated by the fragmentary assessment of succeeding productions; and here he analyses the ‘organism’ that Broadway remains, and the function it performs. Stanley Kauffmann has been theatre critic for the New York Times, the New Republic, and the Saturday Review, while the most recent of his full-length works is Theater Criticisms (1984).
Los estilos APA, Harvard, Vancouver, ISO, etc.
Más fuentes

Tesis sobre el tema "Broadway Bank (New York)"

1

Trigoso, Higinio Giancarlo Alberto. "Análisis del espectáculo musical El rey león en Broadway - New York desde la propuesta estética de los personajes". Master's thesis, Pontificia Universidad Católica del Perú, 2021. http://hdl.handle.net/20.500.12404/20470.

Texto completo
Resumen
La presente investigación tiene como objetivo analizar las características de los personajes del musical El rey león de Broadway que plantea la propuesta escénica de su directora y el equipo de diseñadores, tanto en la construcción de personajes como el uso de elementos estéticos que interactúan y forman parte de su acción, y cómo aportan a constituirlo como un espectáculo que prevalece como un referente artístico en el teatro musical. Es una investigación de tipo analítica sobre las artes, en la que se aplicó una metodología cualitativa. Para realizarla, se analizaron los elementos escénicos y estéticos usados en la caracterización de personajes, estableciendo en diálogo las teorías de Antonin Artaud, Aristóteles y Peter Brook, y fuentes relacionadas a las decisiones de su directora Julie Taymor en su proceso creativo, lo que resulta en un espectáculo de alto reconocimiento por la audiencia y la crítica. El objetivo de esta investigación es constituirse como un referente para trabajos en el campo de creación artística de espectáculos y sobre la investigación de este musical, debido a que no existen investigaciones académicas sobre el mismo. La conclusión principal es que, en el musical de El rey león, la caracterización de los personajes está mediada por las decisiones que ha tomado la directora respecto a la estética física de cada uno de ellos, con respecto al casting de actores, los vestuarios influenciados en distintas culturas, el empleo de motivos tribales, y el uso de elementos e indumentos que complementan las características de los mismos, contribuyendo significativamente a constituirlo como un espectáculo que prevalece como un III referente artístico en el teatro musical, validando las teorías de los tres autores mencionados, en sus propias definiciones sobre “teatro que prevalece”.
This case study aims to analyze the characteristics of the characters from Broadway musical The Lion King, the use of the aesthetic elements that interact and are part of their actions, and how they contribute to make it a show that stands the test of time as an artistic benchmark in musical theater. It is an analytical research on the arts, using a qualitative methodology. The scenic and aesthetic elements used to create the characters were analyzed reflecting on the theories of Antonin Artaud, Aristotle and Peter Brook, and related sources, when looking at the decisions made by director Julie Taymor and her creative process, which received a high level of recognition by the audience and critics. The objective of this research is to be able to be a reference for future artistic shows and other research on this musical, since there has never been academic research on it. The main conclusion is that The Lion King musical is a show that prevails as an artistic benchmark in musical theater for many reasons, among them, the director’s decision about the physical aesthetic of the characters in the casting, costumes that are influenced by other cultures and IV have tribal elements that complement the characterization. It all validates the theories on "theater that prevails" by the three authors mentioned
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Gordon, Leslie H. "Eudora Welty's Theatrical Sketches of 1948: Summer Diversion or Lost Potential? Bye-Bye Brevoort and Other Sketches". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/102.

Texto completo
Resumen
Eudora Welty is well-known for her many works of fiction and non-fiction, but not known for her works for the theater. In the summer of 1948 Welty moved to New York and wrote, in collaboration with another writer, a musical revue entitled What Year Is This? Only one of the sketches, “Bye-Bye Brevoort,” was ever produced. This and other sketches in the unpublished manuscript deserve to be studied alongside Welty’s other work. These writings provide a window into her love of New York, her vast knowledge of the fine arts, and the evolution of her writing styles. In January of 2010, a reading was staged at the Balzer Theater at Herren’s, Atlanta, Georgia. Audience reaction indicates that these pieces, both songs and skits, deserve more attention.
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Gillis, William. "The Scanlan's Monthly Story (1970-1971): How One Magazine Infuriated a Bank, an Airline, Unions, Printing Companies, Customs Officials, Canadian Police, Vice President Agnew, and President Nixon in Ten Months". Ohio University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1593786429523054.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

Naef, Alain. "Sterling and the stability of the International Monetary System, 1944-1971". Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/285170.

Texto completo
Resumen
This dissertation studies the role of sterling during the Bretton Woods period (1944-1971). The Bretton Woods system has often been described as a dollar system with sterling having lost its relevance as reserve currency. However, despite being a secondary reserve currency and having lost importance, sterling was the 'first line of defence for the dollar' as contemporaries put it. They frequently stressed the fact that a sterling crisis would have consequences on the stability of the Bretton Woods system but economic historians have never tested this empirically. This dissertation argues that sterling played an important role in the stability of the international monetary system. Foreign exchange market participants globally monitored sterling and US policymaker stepped in to avoid devaluation of the British currency. US support to sterling was mainly due to the fear of a British devaluation, which could trigger a run on the dollar. When the UK finally devalued the pound in 1967, it marked the beginning of an instable period for the international monetary system. The Gold Pool, a syndicate to defend the US gold parity, collapsed in 1968 and this prefigured the end of the Bretton Woods system. This dissertation presents new data along with novel archival material from seven archives across continents to demonstrate how contagion from sterling to the dollar occurred. Modern econometric methods are used to analyse a new dataset with over 80,000 observations of offshore exchange rates, central bank intervention and reserves. This evidence shows that a secondary reserve currency can still play a key role in the stability of the international monetary system.
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Kim, Seung Woo. "The Euromarket and the making of the transnational network of finance, 1959-1979". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276574.

Texto completo
Resumen
This thesis analyses the role of the Euromarket, an offshore market for Eurodollars or expatriate US dollars, in the re-emergence of global finance during the 1960s and 1970s. It charts not only its Cold War origins and the development of various markets for Eurodollars, but also institutions and policies that shaped them from the return to convertibility in 1958 to the ill-fated efforts to regulate the nascent market by international financial institutions. By examining the nature of Eurodollars as both a US and global currency, the thesis sheds light on the changing features of the governance of global finance and its relationship with the economic sovereignty of nation-states. It argues that the Euromarket underwent repeated contestations as politicians, bankers, and economists vested their political ambitions and cultural assumptions in it. The popular, academic, and policy debates challenged the speculative nature of Eurodollars which would destabilise the domestic as well as the international monetary system of the Bretton Woods system. Without a single monetary authority, the tendency of the Euromarket to transcend the order of capitalist nation-states constrained national governments’ capacity to control capital flows and the autonomy of domestic monetary policy. However, nation-states were not impotent but deliberately sought to exploit the liquid pool of capital in Eurodollars. It was not merely the US government that benefited from the seigniorage of Eurodollars and the City of London which was reborn as the international financial centre in the Euromarket. Continental European countries that were hesitant about European economic integration, the UK Labour government, developing countries in the Global South, and even the Communist bloc, resorted to the Euromarket for their national interests. The ambivalent attitudes of national governments and their conflict of interests resulted in the failure of coordinated efforts to introduce the rules of the game but facilitated the transnational network of finance in Eurodollars.
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Butler, Jayna D. ""You've Got to Be Carefully Taught": Reflections on War, Imperialism and Patriotism in America's South Pacific". BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3812.

Texto completo
Resumen
Underneath the romance, comedy and exoticism, South Pacific is a story that questioned core American values, exploring issues of race and power at a time when these topics were intensely relevant-the original opened just four years post WWII, on the heels of Roosevelt's aggressive expansionist response to domestic instabilities. Much has been written about the depiction of war and racial prejudice in South Pacific. However, examining such topics in the context of their cultural and political moment (both in 1949 and 2008) and through the lens of Terry Eagleton's unique take on morality, is not only a fascinating study, but an intensely relevant and unchartered endeavor. This work concerns the evolution of an American code of ethics as it has been reflected and constructed in both Broadway productions of Roger and Hammerstein's South Pacific (c.1949, 2008). Specifically, it examines the depiction of WWII, America's imperialistic foreign policy, and the function of American patriotism in light of Terry Eagleton's theories surrounding an evolving code of ethics in 20th/21st century America. By so doing, this thesis uncovers answers to the following questions: What were the cultural and political forces at work at the time South Pacific was created (both in 1949 and 2008), and how did these forces influence the contrasting depictions of war, imperialism and patriotism in each version of the musical? In what ways were these productions reflective of a code of ethics that evolved from what Eagleton would classify as moral realism (prescriptive of behavior) to moral nihilism (reflective of behavior)? How did the use of this increasingly reflexive moral code make this politically controversial musical more palatable, and therefore commercially viable during the contrasting political climates of WWII and the recent war on Iraq? Determining answers to questions such as these enables us as a society to look back on our history-on our mistakes and triumphs-and recognize our tendency to find pragmatic justification for our actions rather than acknowledging the possibility of the existence of objective truth, which remains unchanged through time and circumstance.
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

Tseng, Yu Wen y 曾郁雯. "User Interface Attributes Analysis of Online Ticketing Platform for Performing Arts - New York Broadway Shows as An Example". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/hmxejm.

Texto completo
Resumen
碩士
長庚大學
商管專業學院
105
With the advancement of quality of life, people start to give highly concern on performing arts. Meanwhile, with the popularity of online shopping, the public also regards Internet as media to buy performances of art tickets. The study use the method of content analysis to find out the user interface attributes of online ticketing platform for performing arts as well as analyze the respective target groups with five Broadway ticketing platforms as samples. The result showed there are four user interface attributes that influenced online ticketing platform for performing arts, including FAQ page, Performing arts shows lists, Number of hyperlinks into front page of performing arts shows, and Website navigation and emphasis design. Moreover, the study also evaluated five Broadway ticketing platforms with these four attributes and found that Ticketmaster is a multi-category ticketing platform that thinks highly of user experience. For those who are deeply involved in the Broadway shows, there are two sites suitable, Telecharge.com and Theatermania.com. For the beginner audience, it is better to use Broadway.com, which have complete basic information. NYC.com is mainly targeted at visitors to New York to help them with their itinerary planning.
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Chen, Wei-Bin y 陳維斌. "From the System of C3I to Evaluate Crises Management of Transnational Banks─The Cases of Mega InternationalCommercial Bank for New York State Penalty in 2016". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/39627535594533248091.

Texto completo
Resumen
碩士
國立中興大學
高階經理人碩士在職專班
105
Considering transnational banks, including Mega International Commercial Bank, which they should consider what environments they will meet as they face food safety crises. These crises are more complicated than before because the environments the enterprises meet are different than before too. In the 21 century, enterprises would consider the following at least three structural factors when they confront crises. 1. Conflict of interest in globalization: because of interdependence, remote activities, and time-space compression, globalization becomes an open, dynamic, and non-liner global system. The more open globalization, the more sophisticated crises or conflicts, so enterprises must face and deal with the conflict of interest in globalization. 2. Development restricts in democratization: democratization help facilitate social polarization problems of inequality and political disunity which change relation between politics and commerce and promote anti-enterprise protest. Under international institution restricts, processing the problems of international laundering money is a top priority in international banks. 3. Enterprise dilemma in incomplete information: in order to overcome enterprise operation dilemma, an entrepreneur would combine sharing knowledge and defending competitive intelligence. Through a military axiom, intelligence being an eye of war, all international banks should confront crises management in new waves structure of information revolution. The analyses of this study include crises prevention and crises processing. The case of this study is Mega International Commercial Bank for New York State penalty in 2016. Through C3I frameworks, which are command, control, communication, and information, we hope to understand the crises management of transnational banks enterprises. Therefore, the contributions and findings of this thesis would be at least the following three. (1) Constructing a comprehensive crisis management model that includes information & intelligence elements and crisis processing. (2) Redefining the concept of crisis prevention. Crisis processing is one part of crisis prevention and they don’t distinguish from each other. (3) Understanding the analysis results of transnational banks’ crises as well as providing applications for Taiwan banks’ crisis management and strategies choice.
Los estilos APA, Harvard, Vancouver, ISO, etc.

Libros sobre el tema "Broadway Bank (New York)"

1

author, Harris Gale, ed. Williamsburgh Savings Bank (Broadway) (now Republic National Bank), first floor interior consisting of the main (175 Broadway) entrance vestibule; the 1875 banking room, including the dome; the balcony above the main entrance vestibule; and the fixtures and interior components of these spaces, including but not limited to, wall and ceiling surfaces; floor surfaces; doors; balustrades; railings; ventilation grilles; decorative metalwork; clocks; the exterior of the vault in the 1875 banking room; and attached decorative elements; 175 Broadway, aka 161-175 Broadway and 834-844 Driggs Avenue, Borough of Brooklyn: Built 1870-75 ; architect, George B. Post ; mural decoration, Peter B. Wight. New York, N.Y.]: Landmarks Preservation Commission, 1996.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

New York (N.Y.). Landmarks Preservation Commission. Central Savings Bank (now Apple Bank for Savings), first floor interior consisting of the north, south, and west entrance vestibule and foyer, the main banking hall, and the two staircases leading from the first floor to the mezzanine floor level; the mezzanine floor interior consisting of the open passages above the north and south vestibules, the arcaded loggia with balustrade above the west entrance vestibule and foyer the upper part of the banking hall, and the ceiling; and the fixtures and interior components of these spaces, including but not limited to, wall surfaces, ceiling surfaces, and marble floor surfaces, doors, stair and balcony railings, fixed counters, lighting fixtures, decorative ironwork, and attached decorative elements; 2100-2114 Broadway, Manhattan: Built 1926-28 ; York & Sawyer, architects. New York, N.Y.]: Landmarks Preservation Commission, 1993.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Hoogstraten, Nicholas Van. Lost Broadway theatres. New York: Princeton Architectural Press, 1997.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

Lost Broadway theatres. New York, N.Y: Princeton Architectural Press, 1991.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Ockrent, Mike. Running down broadway: A novel. London: Nick Hern Books, 1992.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Fromental, Jean-Luc. Broadway chicken. New York: Hyperion Books for Children, 1995.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

The New York times book of Broadway musicals. New York: Abrams, 2012.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Kenney, Karen Latchana. Bea on Broadway: A story about New York. Edina, Minn: ABDO, 2009.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

Jacobs, Leonard. Historic photos of Broadway: New York theatre, 1850-1970. [Paducah, KY: Turner Pub. Co., 2008.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

Pond, Carliss Retif. Taste of Broadway: Restaurant recipes from NYC's Theater District. Layton, Utah: Gibbs Smith, 2010.

Buscar texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
Más fuentes

Capítulos de libros sobre el tema "Broadway Bank (New York)"

1

Schwarz, Daniel R. "Runyon’s New York". En Broadway Boogie Woogie, 29–65. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403973504_2.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Jaffee, David. "Crossing Broadway". En New York: Art and Cultural Capital of the Gilded Age, 179–91. New York : Routledge, 2018. | Series: Routledge research in art history: Routledge, 2018. http://dx.doi.org/10.4324/9781351027588-11.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Shearer, Martha. "Fabulous Invalids: Broadway and Times Square". En New York City and the Hollywood Musical, 113–51. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56937-0_5.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

Aerni, Peter y Georg Junge. "Cross-border emerging market bank lending". En The New York University Salomon Center Series on Financial Markets and Institutions, 293–305. Boston, MA: Springer US, 1998. http://dx.doi.org/10.1007/978-1-4615-6197-2_17.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Altman, Edward I. y Anthony Saunders. "The Role of Credit Ratings in Bank Capital". En The New York University Salomon Center Series on Financial Markets and Institutions, 99–116. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0999-8_7.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Carey, Mark. "A Guide to Choosing Absolute Bank Capital Requirements". En The New York University Salomon Center Series on Financial Markets and Institutions, 117–38. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0999-8_8.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

Ellenberger, Allan R. "To New York and Back". En Miriam Hopkins. University Press of Kentucky, 2018. http://dx.doi.org/10.5810/kentucky/9780813174310.003.0017.

Texto completo
Resumen
After the stress of Old Acquaintance, Hopkins returns to Sutton Place for a rest. She is asked to replace Tallulah Bankhead in the smash Broadway hit The Skin of Our Teeth and begins an affair with writer John Gunther. Shortly after the play ends, she goes into rehearsals for the play The Perfect Marriage, which is a financial but not a critical success, and costar Joyce Van Patten shares her memories of working with Hopkins. Her relationship with Gunther cools as she begins another one with war correspondent Ray Brock. After a brief romance, they marry in Virginia. Hopkins then appears in two plays, St. Lazare’s Pharmacy and Laura, based on the hit film starring Gene Tierney; neither play makes it to Broadway. After a five-day run on her next play, Message for Margaret, Hopkins goes on a successful ten-week road tour with There’s Always Juliet.
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Crow, Bill. "Slim Gaillard, Stan Getz". En From Bird land to Broadway, 80–86. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069884.003.0017.

Texto completo
Resumen
Abstract I went back to Toronto and finished out Teddy Charles’ s last week at the Town Tavern. With nothing else booked, we were ready to return to New York and scuffle until something else turned up, but then Slim Gaillard arrived in Toronto to do two weeks at the Colonial Tavern, and he came without a rhythm section. Slim had been traveling with a bassist and drumm r from the West Indies. They discovered at the Canadian border that if they left the country, they would have to start their U.S. immigration process all over again. Slim sent them back to New York and came to Toronto looking for a bass player and a drummer.
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

Crow, Bill. "Tupper Lake". En From Bird land to Broadway, 49–54. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069884.003.0011.

Texto completo
Resumen
Abstract Playing the bass wasn’ t my idea. It was Buzzy Bridgford’ s. While I was drifting penniless around the Lower East Side that first spring in New York, Buzzy was also trying to get something going for himself. He found a few short gigs, but Betty’ s piano playing was paying the rent on their apartment. Buzzy sat in a few times with Gene Roland’ s rehearsal band, and in June, Roland hired him for a summer job he found for a quartet in the Adirondacks. Buzzy came over to Monroe Street to say goodbye, and said he’ d be at the Altamont Hotel in Tupper Lake, New York, for the next two months.
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

Crow, Bill. "Claude Thornhill". En From Bird land to Broadway, 99–103. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069884.003.0021.

Texto completo
Resumen
Abstract In April 1953, Stan Getz changed bass players. He and Brookmeyer decided they would like to try Teddy Kotick, who had worked and recorded with Charlie Parker. Stan broke the news to me at the end of a week we played in Philadelphia. I was bitterly disappointed, but accepted the news realistically. Stan certainly deserved the best bass player he could get. His quintet went on to Kansas City and California, and I went back to New York.
Los estilos APA, Harvard, Vancouver, ISO, etc.

Actas de conferencias sobre el tema "Broadway Bank (New York)"

1

Davis, Felecia. "Memorial and Museum for the African Burial Ground, New York, New York". En 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.67.

Texto completo
Resumen
In 1991 excavation for a 34 story Federal office tower at Broadway between Duane and Reade streets in lower Manhattan unearthed for the public a site titled on colonial maps as the "Negro Burial Ground." This place which occupied the margins of the Dutch colonial city, later the edge of the encroaching palisade construction, was the final resting place for free Africans, slaves and other impoverished people. In the seventeenth century the grounds were the only space where Africans free and slave could meet together so that the burial ground was also a political rallying space. This burial ground was the Africans only autonomous space, the only space where they were allowed to congregate with regularity in large numbers.
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Marzella, Frank. "Restoration of Two Historic Movable Bridges". En IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.2263.

Texto completo
Resumen
<p>The Murray Morgan Lift Bridge in Tacoma WA was constructed in 1913. In 2007, the bridge was closed to vehicular and pedestrian traffic for advanced deterioration of structural systems, mechanical and electrical components. The bridge was scheduled for demolition. In 2010 after acquiring funding, the City of Tacoma awarded a design‐build contract to reconstruct this historic bridge. The restoration work included structural steel strengthening repairs, seismic improvements, roadway deck, and stringer replacement, complete paint system removal/re‐coating, as well as modernization of the antiquated mechanical/electrical systems. Construction was completed 2012 and full legal load traffic was restored.</p><p>The Broadway Bridge in Portland OR was constructed in 1912. The bridge is a unique Rall type double leaf bascule and is listed on the National Register of Historic Places. After more than 100 years of service, the cast steel Rall wheels and tracks that support the entire weight of the movable spans were severely deteriorated and required replacement. Complex jacking, machining, and updated materials were required to renew these critical components. Construction was completed in 2018.</p><p>This paper will summarize the innovative design solutions developed to restore and strengthen these two historic movable bridge structures.</p>
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Monteiro, Ricardo. "Integrated seismic risk in developing countries: the case-studies of Palestine and Algeria". En IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.2566.

Texto completo
Resumen
<p>This paper presents dedicated frameworks, developed within European-funded projects, to create integrated seismic risk models from scratch for developing countries and raise the awareness of the general society. Focusing on the case-studies of Nablus in Palestine and Blida in Algeria, the different components of the risk model (hazard, exposure and vulnerability) are described. In specific, details are provided on: improved Hazard models (considering historical and instrumental catalogues for the West Bank and Northern Algeria); the collection of exposure and fragility data on buildings and bridges throughout the case-study regions, used to develop specific exposure and vulnerability models; the definition of social vulnerability models through census-based and scorecard approaches. Subsequently, the integration of the different components is carried out towards the calculation of integrated risk and considerations on the specificities surrounding developing countries are made. The final products of the seismic risk models can be used by different stakeholders to quantify risk and plan mitigation measures.</p>
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

Wollmann, Gregor, Ryan Woodward y Gavin Daly. "A Gathering Place for Tulsa – Taking the Midland Valley Trail Across Riverside Drive". En IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.2023.

Texto completo
Resumen
<p>Opened in September of 2018, the Gathering Place is a spectacular 27-hectare (66 acre) public park located two miles from downtown Tulsa, Oklahoma and nestled along the eastern bank of the Arkansas River. This paper focuses on design and construction of a footbridge spanning across busy Riverside Drive to integrate the river into the park landscape.</p><p>As part of the park development the highway itself was transformed into an iconic feature. To meet this challenge, architectural considerations took an important role in the selection of the structure type for the new crossing, leading to the choice of a single-span, post-tensioned concrete box girder bridge with trapezoidal cross section. With a clear span of 43.7 m (143.5 feet) and a depth of only 1.2 meters (4.0 feet) the structure is exceptionally slender. A unique integral foundation system allowed the elimination of bearings, expansion joints, and abutment retaining walls, thus creating the impression of the bridge growing organically out from the landscape.</p><p>The paper touches briefly on the transformation of the urban environment with the development of the park and then discusses the challenges encountered during design and construction of the footbridge due to its great slenderness and unusual foundation system.</p>
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Wąchalski, Krzysztof. "Bridge over the Vistula river in Toruń (Poland)". En IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0307.

Texto completo
Resumen
<p>The construction of the arch bridge in Toruń was one of the greatest and more spectacular engineering projects implemented during the recent years. In December 2013 the Poland’s largest arch bridge was completed and opened. The bridge has two spans, 270m long each, and is used as a bridge crossing over the Vistula river (Fig.1). The bridge is over 1.9 km long counting the access overbridges (viaducts). The erection procedure of the bridge was unique and individual, as the structural scale suggests. Generally, the assembly covered junction of arch elements on the assembly site near the Vistula river bank and the pontoon water transport of arch girders, which were settled on the arch abutments. A unique affordable structural solution deals with the support footing of a great number of small concrete pre-cast piles transferring a giant horizontal force into the subsoil. The steel-arch is modeled by a hingeless system without a tie, transferring horizontal force into supports. A original solution of assembly geometry control system and monitoring system was applicate to floating erection. Innovation was done of introducing material for the pot bearings, whose durability was 5-times longer than the ordinary ones. A novel slide material PTFE was used, the so-called grey teflon of improved abrasion ability. The new PTFE solutions were recently applied for the spherical bearings, but never they have been for the pot bearings. The bearings worked out an individual product specification, based on experiments conducted in the EU laboratory. The world's pioneering enterprise is application of a hundred pot bearings for the bridge and viaducts.</p>
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Ruge, Johanna, Lennart Fahnenmueller y Annette Bögle. "Effects of Problem Formulation on Engineering Innovativeness". En IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.1809.

Texto completo
Resumen
<p>Any building project requires the formulation of boundary conditions and expectations, the so-called problem formulation. Hereby, quality and scope of the problem formulation significantly set the frame for innovative and sustainable solutions by structural engineers. While recent problem formulation research scrutinized strategic organizational issues, this paper focuses on problem formulation influencing the work of structural engineers from two aspects: (1) who is responsible for the problem formulation and (2) what is the quality and scope of the problem formulation (does it describe qualities of the expected result or define the structure quantitatively?). Depending on these aspects, the problem formulation restricts the solution space of the engineer to a greater or lesser degree, opening the question whether an optimal degree of freedom to foster engineering innovativeness exists. Three explorative case studies are examined for this purpose: (1) the Elbphilharmonie, an architectural icon, characterized through strong interplay between client and architect;</p><p>(2) the European Central Bank premises, a high-rise with an integral architecture-engineering-concept that emerged from an extensive competition; (3) the Gänsebachtalbrücke, an engineering structure, influenced significantly by an audit authority. After a brief introduction to problem formulation research and a description of the methodology, a storyline for each case is presented. The initial problem formulations, the problem formulators, the approaches to solve the problem as well as the solution space are analyzed. The cases indicate that to develop innovative structural designs, the structural engineers should be integrated early in the project to be able to shape and participate in the problem formulation process. A functional problem formulation and a collaborative approach of all designing actors to solve it can spur innovativeness. However, more research on this topic is recommended to confirm the findings of this exploratory paper.</p>
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit". En Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

Texto completo
Resumen
Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Hasbargen, Leslie, Peter T. Booth, Derek Walling y David Busby. "FLOOD RECORDS, BANK EROSION MECHANISMS AND MEANDER MIGRATION IN BUTTERNUT CREEK, NEW YORK". En 51st Annual Northeastern GSA Section Meeting. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016ne-272702.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

Egendorf, Sara Perl, Zhongqi Cheng, Zhongqi Cheng, Erycka de Jesus, Erycka de Jesus, Daniel Walsh, Daniel Walsh, Peter Groffman y Peter Groffman. "HUMAN AND NATURAL SYSTEM INTERACTIONS: MODELING BIOGEOSOCIOCHEMISTRY FOR THE NEW YORK CITY CLEAN SOIL BANK". En GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-306212.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

Chen, Yanwei, S. K. Bhatia, James Buchanan, Doug DeKoskie y Rene' VanSchaack. "Effectiveness of Stream Restoration in Reducing Stream Bank Erosion: The Case of Batavia Kill Stream Restoration Projects, New York". En Watershed Management Conference 2005. Reston, VA: American Society of Civil Engineers, 2005. http://dx.doi.org/10.1061/40763(178)122.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.

Informes sobre el tema "Broadway Bank (New York)"

1

Bodenhorn, Howard. Free Banking and Bank Entry in Nineteenth-Century New York. Cambridge, MA: National Bureau of Economic Research, julio de 2004. http://dx.doi.org/10.3386/w10654.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
2

Bodenhorn, Howard y Eugene White. The Evolution of Bank Boards of Directors in New York, 1840-1950. Cambridge, MA: National Bureau of Economic Research, abril de 2014. http://dx.doi.org/10.3386/w20078.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
3

Bodenhorn, Howard. Bank Chartering and Political Corruption in Antebellum New York: Free Banking as Reform. Cambridge, MA: National Bureau of Economic Research, mayo de 2004. http://dx.doi.org/10.3386/w10479.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
4

Richardson, Gary y Patrick Van Horn. Intensified Regulatory Scrutiny and Bank Distress in New York City During the Great Depression. Cambridge, MA: National Bureau of Economic Research, junio de 2008. http://dx.doi.org/10.3386/w14120.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
5

Rousseau, Peter. The Market for Bank Stocks and the Rise of Deposit Banking in New York City, 1866-1897. Cambridge, MA: National Bureau of Economic Research, febrero de 2010. http://dx.doi.org/10.3386/w15770.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
6

Sun, S., F. R. Brunton, T. R. Carter, J. R. Clarke, H. A J Russell, K. Yeung, A. Cachunjua y J. Jin. Porosity and permeability variations in the Silurian Lockport Group and A-1 carbonate unit, southwestern Ontario. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331902.

Texto completo
Resumen
This is the first regional porosity/permeability study to incorporate petroleum industry laboratory core analyses submitted to the Ontario government and managed by Ontario's Oil Gas and Salt Resources Library. This study comprises 11,759 analyses for the Early Silurian Lockport Group of southwestern Ontario from 150 drill cores. The Lockport Group consists of a cyclic succession of dolostones and minor limestones comprising, in ascending order: Gasport, Goat Island, Eramosa, and Guelph formations. This stacked carbonate succession was deposited on an eastward-deepening carbonate ramp, extending from Michigan, through southwestern Ontario, to Ohio, Pennsylvania and New York. It is overlain disconformably by restricted marine carbonates, evaporites and mixed shales of the Salina Group, whereas unconformably underlain by one of four formations that include, the Lions Head (a stratigraphic equivalent of part of the Rochester), DeCew, Rochester and Irondequoit. To ensure appropriate stratigraphic assignment of the laboratory test intervals, a quality assurance/quality control review on formational tops was carried out on the 150 cores that were tested. This regional subsurface work resulted in the reassignment of 846 formation tops that were verified by examination of drill core, drill cuttings, and geophysical well data including gamma-ray, neutron and density logs. Core analysis datasets have been validated by summarizing laboratory protocols and standards and reconciling data fields in the core analysis database with auxiliary data, including geophysical logs, thin sections, and core examinaion. This auxiliary data was then used to identify data outliers to update the core analysis database. The measurements of porosity and permeability were then assigned a formation rank plotted on a subregional scale. Average porosity and permeability values have been divided into statistical populations for each formation assigned by three depositional realms. The southwestern Ontario study area has been divided into three paleogeographic settings, based on distinctive lithofacies that correspond to different carbonate depositional regimes and regions of paleokarstification. From northwest to southeast, the lithofacies reflect an inner to outer carbonate ramp setting designated as area 1-3 from northwest to southeast. Area 1 is the inter-pinnacle karst region and includes some of thepinnacle structures within the Lockport Group. This region has the most significant paleokarstification of the upper Lockport Group (Guelph and Goat Island formations) and overlying Salina Group A-unit. Area 2 has rare pinnacle structures, where no porosity/permeability core analyses data are available. Area 3 is the middle to outer portion of the Lockport carbonate ramp, with local development of reef mound phases in the lower Goat Island and Gasport formations. The porosity and permeability variability corresponds with areal distribution of paleokarstification and resulting diagenetic phases in Area 1, and lithofacies variations and temporal/spatial history of karstification in Area 3. Higher porosity and permeability generally coincide with greater thicknesses of the oil and gas reservoir within pinnacles in Area 1 and reef mound phases of Lockport Group and lower Salina Group A-1 Carbonate in Area 3. Within inter-pinnacle karst regions in Area 1, average porosity for each formation is consistently high with little variations. In Area 3, a general increase of porosity and permeability towards the southeast corresponds with lithofacies ranging from restricted lagoonal/platform interior deposits to carbonate bank deposits with local development of reef mound phases in the Gasport and Goat Island formations. There has been significant erosion and karstification within and at the tops of these pinnacles, resulting in higher porosity and permeability of the Guelph and upper Goat Island formations, and the overlying Salina Group A-1 unit. Paleokarstic events have enhanced various porosity types, including intercrystalline, moldic, irregular and fenestral vugs, and cavities.
Los estilos APA, Harvard, Vancouver, ISO, etc.
7

Commonwealth Bank of Australia - New York - General Correspondence - Federal Reserve Bank of New York - 1927 - 1929. Reserve Bank of Australia, marzo de 2021. http://dx.doi.org/10.47688/rba_archives_2006/23118.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
8

Commonwealth Bank of Australia - New York - General Correspondence - National City Bank of New York - 1927 - 1929. Reserve Bank of Australia, marzo de 2021. http://dx.doi.org/10.47688/rba_archives_2006/23123.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
9

Commonwealth Bank of Australia - New York - General Correspondence - State of New York Banking Department - Licence - 1927 - 1929. Reserve Bank of Australia, marzo de 2021. http://dx.doi.org/10.47688/rba_archives_2006/23104.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
10

Commonwealth Bank of Australia - New York - General Correspondence - State of New York Banking Department - Licence - Licences - 1927 & 1928. Reserve Bank of Australia, septiembre de 2023. http://dx.doi.org/10.47688/rba_archives_2006/23109.

Texto completo
Los estilos APA, Harvard, Vancouver, ISO, etc.
También puede estar interesado en las bibliografías ampliadas sobre el tema "Broadway Bank (New York)" para tipos de fuentes particulares:
Artículos de revistas Libros
Ofrecemos descuentos en todos los planes premium para autores cuyas obras están incluidas en selecciones literarias temáticas. ¡Contáctenos para obtener un código promocional único!

Pasar a la bibliografía