Bibliografías temáticas / Works Progress Administration (WPA)

Literatura académica sobre el tema "Works Progress Administration (WPA)"

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Publicado: 20 de abril de 2024

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Artículos de revistas sobre el tema "Works Progress Administration (WPA)"

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Lannak, Jane. "Millie Almy: Nursery School Education Pioneer". Journal of Education 177, n.º 3 (octubre de 1995): 39–55. http://dx.doi.org/10.1177/002205749517700304.

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Millie Almy, professor emerita, University of California, Berkeley, entered the field of early childhood education after graduating from Vassar College in 1936. For the next ten years she participated variously as teacher, director, and supervisor in programs which are regarded today as landmarks in preschool education. Examples of such programs include: The Yale Guidance Nursery, a Works Progress Administration (WPA) nursery school, and a Lanham Act child care center. This article presents her recollections of these programs and her insights into her experiences. Almy addresses the critical issues of program quality, teacher qualifications and compensation, and parent involvement. These are issues which continue to challenge early childhood educators today.
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2

Goldberg, Chad Alan. "Contesting the Status of Relief Workers during the New Deal". Social Science History 29, n.º 3 (2005): 337–71. http://dx.doi.org/10.1017/s0145553200012980.

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Drawing on feminist and historical institutionalist studies of the welfare state as well as the concept of classification struggles developed by French sociologist Pierre Bourdieu, this article examines how the creation of the Works Progress Administration (WPA) influenced the subsequent political mobilization of the unemployed in the United States. The WPA combined features of both the liberal, nationally administered social insurance tier and the nonliberal, state-administered public assistance tier of the U.S. welfare state. By positioning its workers in contradictory ways that resembled both public employment and public assistance, the WPA gave rise to a struggle over their status and rights, manifested in part by the activities and claims of the Workers Alliance of America. A careful examination of this struggle suggests that although the constitution of relief recipients as a clearly demarcated pariah class may facilitate social control, attempts by the state to regulate ill-defined subjects encourage political contention over how those subjects will be constituted.
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Gray, Stephanie. "“Restoring” Charleston’s Dock Street Theatre". Public Historian 44, n.º 3 (1 de agosto de 2022): 58–91. http://dx.doi.org/10.1525/tph.2022.44.3.58.

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The imaginative reconstruction of the Dock Street Theatre, completed between 1935 and 1937 in Charleston, South Carolina, was a New Deal experiment in historic preservation. Funded by the Works Progress Administration (WPA) and led by local architects Albert Simons and Samuel Lapham, the orchestrated re-creation of a lost eighteenth-century theater reflected the white elite’s desire to immortalize the city’s prosperous colonial and antebellum past in the historic built environment. While the project courted conservative interests and created a romanticized version of Old Charleston, the strong support of Democratic mayor Burnet Maybank and WPA director Harry L. Hopkins simultaneously pushed forward a progressive southern agenda. This dual and contradictory set of motivations culminated in an intriguing use of historic preservation to nurture a particular community’s sense of place and use historic buildings as a catalyst for cultural rebirth.
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Bold, Christine. "Worker-Writers on the WPA: The Case of New Bedford, Massachusetts". Prospects 28 (octubre de 2004): 281–310. http://dx.doi.org/10.1017/s0361233300001514.

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When Joseph Freeman celebrated the standard 1930s' version of heroic worker-writers at the American Writers' Congress, he didn't seem to notice that the Works Progress Administration (WPA) was a conflicted category. His vision assumed that the WPA empowered writers by aligning them with laborers, folding them into the celebration of physical labor promoted by the New Deal, an assumption that reverberated widely both at that political moment and in more recent discussions (Figure 1). This essay argues that bringing together the categories of worker and writer under New Deal sponsorship was a much less seamless, less heroic, and less masculinist operation than is generally asserted. It reconstructs the experiences of WPA writers with a local specificity heretofore missing from the discussion: in this case, the assortment of employees – the white-collar destitute, widows, impoverished gentility – on the New Bedford District Office of the Massachusetts Writers' Project. From this perspective, the experience of WPA employment was more in tension than in solidarity with working-class practices. The dynamics of government bureaucracy most often left project employees stranded between the categories of worker and writer, attempting (with limited success) to negotiate a resolution in both their social and their narrative positions.
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Berggren, William A. y Marie-Pierre Aubry. "In Memoriam - John Anthony Van Couvering (1931–2023)". Micropaleontology 70, n.º 1 (2024): 1–8. http://dx.doi.org/10.47894/mpal.70.1.01.

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In early 1978, the American Museum of Natural History appointed Dr. John Van Couvering as Editor-in-Chief of Micropaleontology Press, a program that began as a Works Progress Administration (WPA) project in 1935 and had been housed at the Museum since 1942. For John, this was the beginning of a 38 year-commitment to the dissemination of knowledge on the microscopic shells of protists, through cataloguing and editing scientific journals. While John officially retired in 2016, he continued to volunteer his time and expertise until shortly before his passing on May 22, 2023.
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Battles, Natalie y Kathi King. "Because the movement, it’s never done". Journal of American Folklore 134, n.º 534 (1 de octubre de 2021): 492–500. http://dx.doi.org/10.5406/jamerfolk.134.534.0492.

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Abstract The South Side Community Art Center (SSCAC) is a cultural hub, meeting place, and gallery on the South Side of Chicago. The only surviving Works Progress Administration (WPA) community art center, it functions as a space for African American art, intergenerational dialogue, and as an institution for community education in the arts. In this interview with Natalie Battles, artist, activist, and former employee at the SSCAC, we learn about the center’s history and its connections with social and cultural movements, her work there, and what it is like to be a young artist involved with a long-standing institution of African American art.
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Yarbrough, Fay A. "Liberdade entre fronteiras: libertos no Território Indígena e no Sul dos Estados Unidos". Tempo 25, n.º 3 (diciembre de 2019): 599–620. http://dx.doi.org/10.1590/tem-1980-542x2019v250304.

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Resumo: Este artigo examina como os ex-escravos dos indígenas Choctaw e no Território Indígena, em geral debateram e imaginaram a liberdade. Analisam-se as narrativas de escravizados coletadas pela Administração para o Progresso do Trabalho (Works Progress Administration - WPA). Essas pessoas frequentemente descreveram os proprietários e capatazes, bem como o anúncio da emancipação em linguagem muito semelhante à encontrada em narrativas de libertos dos estados confederados. Tais relatos se diferenciavam de modo marcante, no entanto, em relação ao acesso à terra quando do término da Guerra Civil e do início do processo conhecido como Reconstrução (1863-1877), quando o governo federal tentou fazer dos estados confederados uma sociedade baseada em cidadania. Durante a Reconstrução, os ex-escravos dos povos nativos do Território Indígena adquiriram o direito à terra, diferentemente do que ocorreu nos estados do Sul.
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Strand, Eric. "Margaret Walker and the WPA: Black Feminism, Progressive Government, and the Program Era". ELH 91, n.º 1 (marzo de 2024): 207–38. http://dx.doi.org/10.1353/elh.2024.a922014.

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Abstract: Mark McGurl's The Program Era prioritizes the university-based creative writing program for the production of modern literature, but in the 1930s, the Writers' Project of the Works Progress Administration (WPA) was a progressive and antiracist rival. As a federal employee, Margaret Walker synthesized her colleagues' feedback into her classic poem "For My People," which extols Roosevelt's New Deal coalition. Although scholars focus on Walker's years at the University of Iowa, the WPA's folklore studies, directed by Sterling Brown and Benjamin Botkin, inspired the folklore poems of For My People as well as Walker's landmark novel Jubilee . Walker memorialized the Writers' Project in her underappreciated biography Richard Wright, Daemonic Genius , which not only makes a feminist critique of Native Son but also reminds us of the efficacy of government support for literary creativity. In the 1980s, Walker campaigned for Jesse Jackson, writing essays that drew on her skills as a WPA researcher to merge the ethos of the New Deal with that of the Rainbow Coalition. A testament to activist government coupled with national solidarity, her work models a class-conscious multiculturalism relevant for our own time.
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Linden, Diana L. y Larry A. Greene. "Charles Alston's Harlem Hospital Murals: Cultural Politics in Depression Era Harlem". Prospects 26 (octubre de 2001): 391–421. http://dx.doi.org/10.1017/s0361233300000983.

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In 1936, the Works Progress Administration/Federal Art Project (WPA/FAP, 1935–43) appointed New York City artist Charles Alston (1907–77) to be the first African American to supervise a New Deal mural project. Alston, five other artists, and their assistants designed narrative, celebratory images of Harlem, African-American life, children's fairy tales, and stories for New York's Harlem Hospital. In paired panels exploring the theme of healing, Alston depicted an African past beyond exotic and barbaric stereotypes in Magic in Medicine for the foyer of Harlem Hospital Women's Pavilion, and a racially egalitarian American present in its companion panel Modern Medicine (each 17 × 9 feet) (Figure 1). Initially, white hospital authorities rejected the works on the basis that they “contain too much Negro subject matter,” which would make them unappealing to residents of Harlem. This judgment angered Alston, since his designs were consistent with project guidelines. Because the building was a hospital in Harlem, Alston selected the theme of medicine and depicted black figures in his two panels. Yet the seeming suitability of images that looked like the people who used Harlem Hospital and referred to their collective history met with loud objections from Harlem Hospital's white administration. While it was common for muralists to base their subject matter on the local community and its history, and in fact the WPA/FAP encouraged artists to do so, officials tried to cancel Alston's commission on these very grounds. Their attempt to prevent artistic self-representation in the 1930s followed on the heels of prolonged racist hiring policies at Harlem Hospital. Alston ultimately painted his mural designs as planned; final approval of the murals did not come until 1940.
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Grant, Susan-Mary y David Bowe. "“My Daddy…He Was a Good Man”: Gendered Genealogies and Memories of Enslaved Fatherhood in America’s Antebellum South". Genealogy 4, n.º 2 (1 de abril de 2020): 43. http://dx.doi.org/10.3390/genealogy4020043.

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While the last few years have witnessed an upsurge of studies into enslaved motherhood in the antebellum American South, the role of the enslaved father remains largely trapped within a paradigm of enforced absenteeism from an unstable and insecure familial unit. The origins of this lie in the racist assumptions of the infamous “Moynihan Report” of 1965, read backwards into slavery itself. Consequently, the historiographical trajectory of work on enslaved men has drawn out the performative aspects of their masculinity in almost every area of their lives except that of fatherhood. This has produced an image of individualistic masculinity, separate from the familial role that many enslaved men managed to sustain and, as a result, productive of a disjointed and gendered genealogy of slavery and its legacy. This paper assesses the extent to which this fractured genealogy actually represents the former slaves’ worldview. By examining a selection of interviews conducted by the Federal Writers’ Project under the auspices of the Works Progress Administration (WPA) in the 1930s (the WPA Narratives), this paper explores formers slaves’ memories of their enslaved fathers and the significance of the voluntary paternal presence in their life stories. It concludes that the role of the black father was of greater significance than so far recognised by the genealogical narratives that emerged from the slave communities of the Antebellum South.
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Tesis sobre el tema "Works Progress Administration (WPA)"

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Allee, Jessica. "New Deal Art Now: Reframing the Artifacts of Diversity". OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1536.

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New Deal Art Now offers a sampling of the breadth of the Works Progress Administration and Federal Art Projects (WPA/FAP), calling attention to the skills, histories, and social identities of an extraordinarily diverse spectrum of professional and amateur artists funded by the United States federal government during the Great Depression. The New Deal, a major economic stimulus initiative that ran from 1935-1943, included the Works Progress Administration Federal One Projects, encompassing fine art, music, theater, writing, and design. These projects provided economic support and cultural enrichment to hundreds of thousands of Americans, in the form of jobs, entertainment, and education in the arts. New Deal Art Now seeks to reframe a period of United States artistic production that is often narrowly cast in exhibitions and their related literature on the subject. The theme of diversity is explored through several critical lenses, such as questioning the relationship between art and artifact, considering that many creative works of the New Deal function as both. The majority of the exhibited artworks are juxtaposed against one another to challenge the designations that contemporary material culture traditionally assigns them. Showcasing 48 objects in total, the exhibits include painting, sculpture, educational models, archival film, and archival audio, which are juxtaposed alongside contemporary paintings, photography, and music, created in conjunction with this exhibition. By situating these works (as well as the very categories of amateur and professional, art and artifact, museum and archive, past and present) in productive relation to one another this exhibition argues for the significance of all of these works and artists to the diverse history of twentieth-century American art.
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Martel, Frédéric. "De la culture en Amérique : politique publique, philanthropie privée et intérêt général dans le système culturel américain". Paris, EHESS, 2006. http://www.theses.fr/2006EHES0083.

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Pour analyser la complexité du système culturel américain, cette recherche part du rôle de l'Etat (1ère partie "Politique de la culture") qui suit la création des agences culturelles fédérales, leur déclin et décrypte les « politiques de la culture » des administrations américaines jusqu'à aujourd'hui. Parallèlement, le rôle des États et des villes est analysé à travers les mécanismes décentralisés du financement de la culture. A ce point, il est possible de saisir les raisons de la faiblesse du rôle public. Dans une deuxième partie ("La société de la culture"), la recherche se fonde sur une analyse de la philanthropie, des fondations et du rôle majeur des universités dans l'art. A partir de centaines de documents d'archives (dont 434 en annexes) et de plus de 700 interviews réalisés dans 35 Etats et 110 villes américaines, le « modèle » culturel américain apparaît dans son originalité et sa complexité, ni dépendant de l'Etat, ni véritablement influencé par le marché
In order to analyze the complexity of the « American cultural system », this PhD dissertation begins in Part I (“Government of the arts”) with the role of the government following the creation of the federal arts agencies, examines the decline of these agencies, and deciphers the “cultural politics” (“politiques de la culture”) of subsequent American administrations to the present day. At the same time, the role of state and local governments is analyzed within the context of the decentralized mechanisms of arts funding. By this point, the limited role of the public sector becomes more comprehensible, for reasons that include the democratic ideal itself. In Part II (“Society and the arts”), this dissertation looks at philanthropy, foundations and the important role of universities play in the arts. Through hundreds of archival documents (among 434 as appendices) and more than seven hundred interviews in 35 states and 110 American cities, the American cultural model” appears in all its singularity and complexity, largely “nonprofit”, neither dependent on the state, nor truly influenced by the market
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Franich, Megan. "Works of Art, Arts for Work: Caroline Wogan Durieux, the Works Progress Administration, and the U.S. State Department". ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1170.

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The New Deal was one of the largest government programs implemented in the twentieth century. Yet only recently have historians begun to explore the impact of the Works Progress Administration (WPA) on American culture by studying its smaller programs such as the Federal Writer's, Theatre, and Art Projects. This paper explores the life of Caroline Wogan Durieux, a New Orleans artist, WPA Federal Art Project (FAP) administrator, and representative for the United States' State Department, centering upon Durieux's career from 1917 to 1943. Durieux's work with the FAP, and later the State Department, helped to redefine the role of art in American society by making art widely accessible to the public. With her influential connections in New Orleans society and her commitment to public art, Durieux bridged the gap between art for the privileged few and art for the masses.
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4

Taylor, John Harper. "The Federal Theatre Project : description of the administration of the FTP and its relationship with the Works Progress Administration". The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1240232182.

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Poupard, Laure. "L’expérience visuelle du New Deal : la propagande du gouvernement Roosevelt vue à travers ses expositions photographiques, 1935-1942". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040005.

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Cette étude porte sur les expositions photographiques produites par le gouvernement américain entre 1935 et 1942. Ces expositions avaient pour but de promouvoir les activités entreprises par l’administration Roosevelt dans le cadre de son programme de relance économique. L’étude est constituée de trois grandes parties : la première présente les enjeux politiques et sociaux du New Deal et éclaire les défis auxquels les propagandistes du gouvernement Roosevelt ont été confrontés. Elle montre alors l’intérêt et la fonction que la photographie et l’exposition ont eu dans le programme de propagande. La seconde présente le rôle joué par les expositions universelles dans le développement des techniques scénographiques employées par l’administration. La dernière porte sur les expositions artistiques du gouvernement et sur leur valeur propagandiste
This study focuses on photographic exhibitions produced by the US government between 1935 and 1942. These exhibitions aimed to publicize the Roosevelt administration’s economic stimulus program. The study is divided into three parts. The first part outlines the political and social issues of the New Deal while shedding light on the challenges faced by the propagandists in the Roosevelt administration, as well as the appeal and function of photography and exhibitions in its propaganda program. The second part considers the role played by world fairsin the development of design techniques employed by the administration. The final section addresses the government’s artistic exhibitions and their value as propaganda
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O'Dwyer, Kathryn A. "‘Posed with the Greatest Care’: Photographic Representations of Black Women Employed by the Work Progress Administration in New Orleans, 1936-1941". ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2630.

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For decades, scholars have debated the significance of the Works Progress Administration (WPA), emphasizing its political, economic, and artistic impact. This historiography is dominated by the accomplishments of white men. In an effort to highlight the long-neglected legions of black women who contributed to WPA projects and navigated the agency’s discriminatory practices, this paper will examine WPA operations in New Orleans where unemployment was the highest in the urban south, black women completed numerous large-scale projects, and white supremacist notions guided relief protocol. By analyzing the New Orleans WPA Photography collection, along with newspapers, government documents, and oral histories, a new perspective of the WPA emerges to illuminate the experiences of marginalized black women workers, illustrate how the legacies of slavery and effects of segregation impact black women’s employment opportunities, and highlight how black women made substantive contributions to public projects in the face of societal constraints.
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Butcher, Karyle S. "The works progress administration in Oregon : an administrative overview". Thesis, 1990. http://hdl.handle.net/1957/38034.

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The depression of the 1930s had an early effect on the state of Oregon. A decline in timber and agricultural production resulted in severe unemployment in the late 1920s. State and local charitable organizations attempted to care for the unemployed but they did not have the financial resources to do so. Although President Herbert Hoover was worried about the effects of the growing economic crisis on the business community, he continued to believe that the depression would be short lived despite the worsening social conditions. When Franklin Roosevelt was elected president he initiated a series of measures aimed at ending the depression and bringing people back into the work force. Among those measures was the Works Progress Administration (WPA). In Oregon the WPA built upon earlier state relief organizations. However, unlike the earlier Federal Emergency Relief Administration, the WPA was a federal organization staffed with federal employees. Its programs were run according to federal guidelines and regulations and much of its funding came from the federal government. Those guidelines often worked against the state programs. The means test, quota systems, and the need to refer programs to Washington D.C. prevented the Oregon program from being as effective as it could be. In addition, the Oregon legislature and governor acted against the program by not providing adequate funding to support it. However, even though Oregonians did not always accept the WPA, they were dramatically changed by its programs. The most obvious change was in the physical appearance of the state - new roads and highways, more bridges, expanded parks, additional airports, and many new services. The state was altered politically because by World War II, the federal government had permanently insinuated itself into the life of most Oregonians.
Graduation date: 1991
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"The Works Progress Administration in Hillsborough and Pinellas Counties, Florida, 1935 to 1943 [electronic resource] / by James Francis Tidd Jr". 1989. http://purl.fcla.edu/fcla/dl/SF00000015.jpg.

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Boardman, Michelle. "Ojibwa weavers and Works Progress Administration work relief a study of the Indian Weaving Unit Lac Du Flambeau, Wisconsin 1939-1941 /". 1994. http://catalog.hathitrust.org/api/volumes/oclc/30785921.html.

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Thesis (M.S.)--University of Wisconsin--Madison, 1994.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 143-148).
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Libros sobre el tema "Works Progress Administration (WPA)"

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Posters of the WPA. Los Angeles: Wheatley Press, in association with the University of Washington Press, Seattle, 1987.

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DeNoon, Christopher. Posters of the WPA. Los Angeles: Wheatley Press in association with University of Washington Press, 1987.

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United States. Works Progress Administration. y Fine Arts Program (United States. Public Buildings Service), eds. WPA artwork in non-federal repositories. 2a ed. [Washington, DC]: U.S. General Services Administration, Public Buildings Service, Historic Buildings and the Arts Center of Expertise, Fine Arts Program, 1999.

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United States. Works Progress Administration. y Fine Arts Program (United States. Public Buildings Service), eds. WPA artwork in non-federal repositories. 2a ed. [Washington, DC]: U.S. General Services Administration, Public Buildings Service, Historic Buildings and the Arts Center of Expertise, Fine Arts Program, 1999.

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United States. Works Progress Administration y Fine Arts Program (United States. Public Buildings Service), eds. WPA artwork in non-federal repositories. 2a ed. [Washington, DC]: U.S. General Services Administration, Public Buildings Service, Historic Buildings and the Arts Center of Expertise, Fine Arts Program, 1999.

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Carter, Ennis. Posters for the people: Art of the WPA. Editado por DeNoon Christopher y Peltz Alexander M. Philadelphia, PA: Quirk Books, 2008.

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Carter, Ennis. Posters for the people: Art of the WPA. Editado por DeNoon Christopher y Peltz Alexander M. Philadelphia, PA: Quirk Books, 2008.

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Carter, Ennis. Posters for the people: Art of the WPA. Editado por DeNoon Christopher y Peltz Alexander M. Philadelphia, PA: Quirk Books, 2008.

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Taylor, Nick. American-made: The enduring legacy of the WPA : when FDR put the nation to work. New York: Bantam Book, 2008.

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Taylor, Nick. American-made: The enduring legacy of the WPA : when FDR put the nation to work. New York: Bantam Book, 2008.

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Capítulos de libros sobre el tema "Works Progress Administration (WPA)"

1

Hannam, Ian. "Legislative Protection for the Soil Environment and Climate Change". En International Yearbook of Soil Law and Policy 2022, 51–82. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-40609-6_3.

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AbstractRecent court decisions in Australia and in overseas jurisdictions have made important progress in society’s acceptance of the significance of climate change in the long-term protection of the environment. The term ‘climate litigation’ is now generally used to refer to legal proceedings initiated to establish responsibility for a failure to prevent or reduce the rate of climate change and/or mitigate its negative consequences. Such legal proceedings are being initiated in courts, tribunals and other rule compliance monitoring bodies, operating around the world, at the domestic, regional, or global level. One decision, in the New South Wales Land and Environment Court on 26 August 2021, orders the New South Wales Environment Protection Authority to develop environmental quality objectives, guidelines and policies to ensure protection of the environment from climate change with regard to its duties under the Protection of the Environment Administration Act 1991. This decision is regarded as a landmark decision in New South Wales in that it orders a statutory authority to exercise its duty and legal responsibilities under the Protection of the Environment Administration Act with regard to the level of seriousness that climate change impacts have reached for the New South Wales environment. The case is also significant because the definition of “environment” under the Protection of the Environment Administration Act encapsulates a broad range of ecological elements, including the “soil”. In this context, this chapter argues that the decision is important for a number of reasons including: by interpretation “soil” is a component of the “environment” and it should be protected from climate change under the Protection of the Environment Administration Act; the way the decision is made provides a guiding framework which can used to examine existing environmental laws for protection of the soil environment against climate change; and it provides a guiding framework to prepare new soil legislation with the requisite procedures to develop environmental quality objectives, guidelines and policies to protect the soil environment from climate change. Having regard to these various aspects of the decision, they provide a guiding structure in which to assess the protection of the soil environment in New South Wales, but also a procedure which might be beneficial to other countries to assess the legal protection of the soil environment. The way soil is being used in Australia and around the world is directly contributing to global warming by releasing carbon dioxide and other greenhouse gases to the atmosphere. Soil degradation from agricultural land use, vegetation clearing and urban and infrastructure projects and pollution of soil from industrial works require closer attention from legislative and policy structures. Therefore, it is appropriate that increasing attention must be placed on the protection of the soil environment through the adoption of legislative, policy and mitigation responses which prevent the use of soil in a manner that makes it a significant contributor to climate change.
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Fox, Cybelle. "The WPA and the (Short-Lived) Triumph of Nativism". En Three Worlds of Relief. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691152233.003.0009.

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This chapter discusses the subsequent battle over citizenship and legal status restrictions in the Works Progress Administration (WPA), and the local implementation of those restrictions. When the WPA was first authorized in 1935, there were no citizenship or legal status restrictions for access to the program. Just as with Federal Emergency Relief Administration (FERA), New Deal officials expressly forbade local WPA administrators from discriminating on the basis of race, color, religion, or non-citizenship. Because of these non-discrimination provisions, blacks and Mexican Americans gained unprecedented access to WPA employment. Over time, however, Congress imposed successively harsher restrictions against aliens, barring the employment of illegal aliens on WPA projects in 1936 and imposing a full ban for legal non-citizens by 1939. While these citizenship restrictions constituted the greatest challenge to aliens' access to the welfare state during this period, its impact was short-lived and its effects fell disproportionately on Mexican non-citizens.
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Holden, Vanessa M. "Prologue". En Surviving Southampton, 1–2. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043864.003.0001.

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In the summer of 1937, in his interview with Susie R. C. Byrd, a worker with the Works Progress Administration (WPA), Allen Crawford stated, “I was bred and born and reared within three miles of Nat Turner’s insurrection—Travis Place.”1 The interview documents Crawford’s recollections of the stories he’d heard growing up in Southampton County about the Southampton Rebellion. Workers asked all participants in Virginia’s WPA interviews about slave rebellions as a part of their official questions and were met with varying responses from interviewees....
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Lena, Jennifer C. "The WPA and the Opening of the American Arts". En Entitled, 26–40. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0002.

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This chapter focuses on the infusion of state subsidies during the New Deal, which accelerated the pace of artistic legitimation and widened its path. Federal and state governments paid for the production and display of an enormous amount and variety of culture. This diversified the content and personnel in American creative fields and accelerated the transformation of many forms of vernacular culture into art. It was this world, rich with variety, in which an artistically voracious group of Americans was born and enculturated. The chapter then looks at the establishment of the Works Progress Administration (WPA). While the purpose of the WPA was to provide an income for starving artists, its unintended consequence was a radical opening of access to the arts and heretofore “illegitimate” culture. Under the WPA, the four programs referred to as “Federal Project Number One” provided subsidies for the production of visual art, music, theater, and literature.
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Kretz, Dale. "Epilogue". En Administering Freedom, 297–302. University of North Carolina Press, 2022. http://dx.doi.org/10.5149/northcarolina/9781469671024.003.0009.

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The Works Progress Administration (WPA) narratives collected during the Great Depression reveal ongoing grievances with the payment of military pensions as well as ex-slave pensions (also known as reparations). Indeed, the two were often confused by those testifying to the federally employed interviewers of the WPA. Accordingly, their testimonies should not be read merely as wistful reflections on a bygone era but rather as political appeals for reciprocity and condemnations of broken promises and the system upon which it was built. Pension struggles were, and remain, inseparable from the larger struggle for emancipation and the making of a true and meaningful freedom.
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Kar Tang, Jasmine. "“Do Not Disturb—Breastfeeding in Progress”: Reflections from a Lactating WPA". En Our Body of Work: Embodied Administration and Teaching, 163–66. Utah State University Press, 2022. http://dx.doi.org/10.7330/9781646422340.c007.2.

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Volpicelli, Robert. "Documentarian". En Transatlantic Modernism and the US Lecture Tour, 108–33. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192893383.003.0005.

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Chapter 4 considers how the US lecture tour provided the expatriate author Gertrude Stein with a chance to reacquaint herself with her native country. The media blitz that accompanied Stein’s 1934–5 tour—she made regular stops for photo ops, book signings, and radio interviews—has prompted critics to examine the way Americans saw Stein as a 1930s celebrity. This chapter is more interested, though, in the way Stein saw America, examining in particular her role as a social documentarian during one of the lowest points in the Great Depression. It specifically analyzes the way she developed a public lecturing practice invested as much in documenting her audiences as it was in speaking to them. It then goes on to compare her lecture-tour memoir, Everybody’s Autobiography, to the state and regional guidebooks being produced at that time by the New Deal’s Work Progress Administration (WPA) to reveal how these two forms of 1930s documentary come together in their renewed belief in the American collective. Finally, the many points of overlap between Stein’s memoir and WPA documentaries become an occasion to question previous readings of the author’s late 1930s politics, which have typically portrayed Stein as a stalwart social conservative.
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Graham, Maryemma. "Marriage Is a Green Apple". En The House Where My Soul Lives, 155—C9.P34. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780195341232.003.0009.

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Abstract This chapter recounts how, even though most of her time was spent going to meetings, working, reading, writing, and studying with Richard Wright, Margaret Walker had begun to respond to the advances of a young minister James Russell Brown sometime during 1936. She struggled with her feelings from the beginning: a strong sexual attraction demanding fulfillment and the need for restraint required by custom. She had to weigh these impulses against everything else that was occupying her time. The Works Progress Administration (WPA) job was going well, and she was writing constantly, experiencing success and support. But she saw herself falling hopelessly in love with Brown. She confided the private, inner story of the relationship with Brown in a thirty-two-page journal entry, in which she speaks honestly about her own sexual urges and the corresponding impact of sexual repression. The chapter then looks at Walker’s refusal of Brown’s marriage proposal because of her growing awareness of the limitations and expectations for women of her generation. The knowledge that marriage would go hand in hand with suppression of her creativity trumped all other knowledge and all feeling.
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"Chapter 2. People or Projects: The Works Progress Administration Versus the Public Works Administration Reconsidered as Economic Theory and Ideology". En People Must Live by Work, 57–89. University of Pennsylvania Press, 2018. http://dx.doi.org/10.9783/9780812295313-004.

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"Cell Structure And Function". En Oxford Assess and Progress: Medical Sciences, editado por Jade Chow, John Patterson, Kathy Boursicot y David Sales. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199605071.003.0013.

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Almost every medical student in the United Kingdom, and in many other countries, begins his or her studies with a course on basic cellular structure and function. Such courses are often designed to help students from a variety of educational backgrounds to appreciate the concepts and vocabulary central to all of the life sciences. Over time this core knowledge will be supplemented by other, more specific, areas of medical science until the point is reached at which learners can apply their scientific understanding to those processes of clinical reasoning that lead to diagnosis and treatment. Medical science assists the process of diagnosis by explaining how underlying disease states produce characteristic symptoms and signs. It also facilitates safer treatment by explaining many of the properties, both beneficial and deleterious, of the increasing range of oft en potent therapeutic agents used in clinical management. This chapter poses questions about the basic chemicals of life: proteins, lipids, and carbohydrates. It also covers significant features of the cell membrane and cellular organelles as well as cell division, cellular differentiation, and cell death. Understanding the basic principles of intracellular and intercellular communication and regulation provides the foundation for appreciating the role that these processes play in normal and abnormal neural and hormonal control, which will be considered in more detail in later chapters. All of these topics will eventually contribute to a medical student’s grasp of normal structure and function and how it becomes disturbed in disease. The current chapter also includes questions on basic pharmacokinetics. Knowing how each drug works — that is to say its kinetics and mode of action — is a first step in learning to prescribe safely. Other important principles will be added later in the medical student learning process: for example, the indications and contraindications for the use of a drug; any unwanted side-effects; the route of administration and dosages to produce optimal effects. All of this information must be mastered to help prevent the prescribing errors that are all too common in clinical practice.
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Informes sobre el tema "Works Progress Administration (WPA)"

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Howe, Carolyn. The production of culture on the Oregon Federal Arts Project of the Works Progress Administration. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.824.

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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt y Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), junio de 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
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Czajka, Leo, Florence Kondylis, Bassirou Sarr y Mattea Stein. Data Management at the Senegalese Tax Authority: Insights from a Long-term Research Collaboration. Institute of Development Studies, diciembre de 2022. http://dx.doi.org/10.19088/ictd.2022.020.

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As they increasingly adopt digital infrastructure, public administrations worldwide are increasingly collecting, generating and managing data. Empirical researchers are, at the same time, collaborating more and more with administrations, accessing vast amounts of data, and setting new research agendas. These collaborations have taken place in low-income countries in particular, where administrative data can be a valuable substitute for scarce survey data. However, the transition to a full-fledged digital administration can be a long and difficult process, sharply contrasting the common leap-frog narrative. Based on observations made during a five-year research collaboration with the Senegalese tax administration, this qualitative case study discusses the main data management challenges the tax administration faces. Much progress has recently been made with the modernisation of the administration’s digital capacity ,and adoption of e-filling and e-payment systems. However, there remains substantial scope for the administration to enhance data management and improve its efficiency in performing basic tasks, such as the identification of active taxpayers or the detection of various forms of non-compliance. In particular, there needs to be sustained investment in human resources specifically trained in data analysis. Recently progress has been made through creating – in collaboration with the researchers – a ‘datalab’ that now works to improve processes to collect, clean, merge and use data to improve revenue mobilisation.
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