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Autore: Grafiati

Pubblicato: 25 luglio 2024

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1

Speyer, Katherine E. "New York State Club Association v. City of New York: The Demise of the All-Male Club". Pace Law Review 10, n. 1 (1 gennaio 1990): 273. http://dx.doi.org/10.58948/2331-3528.1461.

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2

Barrows, Clayton, e David Bachrach. "Private club culture in London and New York during the Victorian era". Hospitality & Society 00, n. 00 (7 luglio 2021): 1–21. http://dx.doi.org/10.1386/hosp_00040_1.

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The private club literature is disparate and rarely draws comparisons between or among club cultures. In this article, club culture in New York and London are compared. Specifically, the history of private clubs in London and New York is explored, focusing on the latter part of the nineteenth century. Historical documents are reviewed in an attempt to establish the club culture in the respective cities, how clubs were viewed within their communities, and similarities that existed between ‘Club Land’ in London and similar club clusters in New York. While the press coverage in the respective cities seems to have been equally admiring of clubs and ‘clubmen’, some differences are identified between the respective club cultures and club identities, particularly with respect to the inclusivity of the clubs, and the expectations for the participation of women and married men in club life.

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3

Rider, Jacqueline H. "The Church Club of New York Library". Theological Librarianship 6, n. 2 (30 aprile 2013): 29–33. http://dx.doi.org/10.31046/tl.v6i2.296.

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Organized in 1887 by religious, financial, and social leaders in Manhattan, the Church Club of New York holds a library of some 1,500 volumes. It documents the religious roots and theological framework of New York’s financial elite, the birth of the Episcopal Church, and mainline American Protestantism’s reaction to the Social Gospel movement in the early 20th century. This essay discusses how titles illustrate the challenges these gentlemen confronted to their roles and their church’s identity in a rapidly changing society. Industrialization, modernization, immigration were all affecting their personal, professional, and spiritual lives. It also reflects on how the collection as a whole mirrors the evolution of one sector of 20th century American culture.

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4

Shubitz, Scott M. "LIBERAL INTELLECTUAL CULTURE AND RELIGIOUS FAITH: THE LIBERALISM OF THE NEW YORK LIBERAL CLUB, 1869–1877". Journal of the Gilded Age and Progressive Era 16, n. 2 (29 marzo 2017): 183–205. http://dx.doi.org/10.1017/s1537781417000056.

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This essay addresses the question of how the idea of liberalism and antireligious sentiment became associated during the Gilded Age. The subject of this essay—the New York Liberal Club, a debate and lecture group in New York City (1869–1877)—sheds light on the process in which liberalism, as an idea, outgrew its religious origins in early nineteenth-century America and more than ever became linked with antireligious sentiment. In the case of the New York Liberal Club, this development owed to the club's connection to social science and members' participation in the contentious debate over science and religion during the 1870s. In addition, it partly owed to club members' conception of liberalism as tolerance, open-mindedness, and a commitment to the free exchange of ideas. Because of this conception of liberalism, many club members saw liberalism and social science as a common cause, since both reflected a dedication to improving the world through free inquiry. Ultimately, these conceptions, as well as discourse at the club, led many observers in the public to incorrectly view all Liberal Club members (and liberalism itself) as in opposition to faith and religious belief.

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Goosman, Stuart L., e Bruce A. MacLeod. "Club Date Musicians: Playing the New York Party Circuit". Notes 52, n. 1 (settembre 1995): 122. http://dx.doi.org/10.2307/898830.

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Gay, Leslie C., e Bruce A. MacLeod. "Club Date Musicians: Playing the New York Party Circuit". Ethnomusicology 40, n. 3 (1996): 520. http://dx.doi.org/10.2307/852477.

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7

Stripp, Dorothy. "1886–1986 New York Mineralogical Club 100-Year Anniversary". Rocks & Minerals 61, n. 1 (gennaio 1986): 13–18. http://dx.doi.org/10.1080/00357529.1986.11768426.

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Stripp, Dorothy M. "The 100th Anniversary of the New York Mineralogical Club". Rocks & Minerals 62, n. 2 (marzo 1987): 90–92. http://dx.doi.org/10.1080/00357529.1987.11762635.

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9

Dicarlo, Abby L. "Kim Price-Glynn.Strip Club: Gender, Power, and Sex Work. New York: New York UP, 2010." Women's Studies 43, n. 1 (2 gennaio 2014): 103–6. http://dx.doi.org/10.1080/00497878.2014.852432.

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Joyce, H. Horatio. "Disharmony in the Clubhouse". Journal of the Society of Architectural Historians 78, n. 4 (1 dicembre 2019): 422–41. http://dx.doi.org/10.1525/jsah.2019.78.4.422.

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In Disharmony in the Clubhouse: Exclusion, Identity, and the Making of McKim, Mead & White's Harmonie Club of New York City, H. Horatio Joyce offers the first sustained case study of one of McKim, Mead & White's New York clubhouses. The Harmonie Club was a Jewish club, and Joyce explores how and why a firm associated with powerful Protestant interests came to design its home. His reconstruction of that story provides an unusually intimate portrait of an instance when the categories of race, gender, and class intersected to shape American society in the Gilded Age.

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Buszek, Maria Elena. "Ladies’ Auxiliary of the Lower East Side: Post-punk feminist art and New York’s Club 57". Punk & Post-Punk 9, n. 3 (1 novembre 2020): 425–42. http://dx.doi.org/10.1386/punk_00037_1.

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This article analyses the feminist art that emerged from New York City’s short-lived, post-punk venue Club 57 (1978–83), where music mixed with visual art, experimental film, performance and politics. A hub of New York’s ‘downtown scene’, Club 57 exemplified ways in which artists’ increasingly promiscuous experiments across media led them to abandon galleries and museums in favour of nightclubs, discos and bars. This tendency dovetailed with the practices of an emergent generation of feminist artists eager to both break out of the sexist art world and engage with popular culture and audiences. A look at the work of Club 57’s manager Ann Magnuson, the performances and collectives she organized there and at other downtown clubs and other significant women whose work Club 57 supported provides a snapshot of the feminist artists in post-punk New York City, many of whose art and activism continue into the present.

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Gagnon, Chantal, e Esmaeil Kalantari. "Canadian translated politics at the Economic Club of New York". Translator 23, n. 1 (13 ottobre 2016): 17–30. http://dx.doi.org/10.1080/13556509.2016.1236227.

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Kelly, Brian C., Jeffrey T. Parsons e Brooke E. Wells. "Prevalence and Predictors of Club Drug Use among Club-Going Young Adults in New York City". Journal of Urban Health 83, n. 5 (16 maggio 2006): 884–95. http://dx.doi.org/10.1007/s11524-006-9057-2.

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Ompad, Danielle C., Sandro Galea, Crystal M. Fuller, Darcy Phelan e David Vlahov. "Club Drug Use Among Minority Substance Users in New York City". Journal of Psychoactive Drugs 36, n. 3 (settembre 2004): 397–99. http://dx.doi.org/10.1080/02791072.2004.10400039.

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Zalewski, Leanne M. "Pioneering print collector: Samuel Putnam Avery (1822–1904)". Journal of the History of Collections 31, n. 2 (16 ottobre 2018): 403–10. http://dx.doi.org/10.1093/jhc/fhy034.

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Abstract Pioneering print collector and curator, Samuel P. Avery (1822–1904), donated a collection of 17,775 prints, including works by Cassatt, Whistler, Turner and Manet, to establish the Print Collection of the New York Public Library in 1900. Prior to his donation, Avery curated print exhibitions at the Library, Metropolitan Museum of Art, Grolier Club, and Union League Club. Through an examination of Avery’s persistent efforts to exhibit exemplary prints in museum and gallery settings – including an unusual collection of prints by women – this article provides evidence that Avery’s ground-breaking curatorial efforts led to the institutionalization of print display in New York.

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Wills, Jeanie, e Krystl Raven. "The founding five: transformational leadership in the New York League of Advertising Women’s club, 1912–1926". Journal of Historical Research in Marketing 12, n. 3 (20 maggio 2020): 377–99. http://dx.doi.org/10.1108/jhrm-04-2019-0015.

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Purpose This paper uses archival documents to begin to recover a history of women’s leadership in the advertising industry. In particular, this paper aims to identify the leadership styles of the first five presidents of the New York League of Advertising Women’s (NYLAW) club. Their leadership from 1912 to 1926 set the course for and influenced the culture of the New York League. These five women laid the foundations of a social club that would also contribute to the professionalization of women in advertising, building industry networks for women, forging leadership and mentorship links among women, providing advertising education exclusively for women and, finally, bolstering women’s status in all avenues of advertising. The first five presidents were, of course, different characters, but each exhibited the traits associated with “transformational leaders,” leaders who prepare the “demos” for their own leadership roles. The women’s styles converged with their situational context to give birth to a women’s advertising club that, like most clubs, did charity work and hosted social events, but which was developed by the first five presidents to give women the same kinds of professional opportunities as the advertising men’s clubs provided their membership. The first five presidents of the Advertising League had strong prior professional credibility because of the careers they had constructed for themselves among the men who dominated the advertising field in the first decade of the 20th century. As presidents of the NYLAW, they advocated for better jobs, equal rights at work and better pay for women working in the advertising industry. Design/methodology/approach This paper draws on women’s advertising archival material from the Schlesinger Library, Radcliffe and Wisconsin Historical Society to argue that the five founding mothers of the NYLAW provided what can best be described as transformational feminist leadership, which resulted in building an effective club for their members and setting it on a trajectory of advocacy and education that would benefit women in the advertising industry for the next several decades. These women did not refer to themselves as “leaders,” they probably would not have considered their work in organizing the New York club an exercise in leadership, nor might they have called themselves feminists or seen their club as a haven for feminist work. However, by using modern leadership theories, the study can gain insight into how these women instantiated feminist ideals through a transformational leadership paradigm. Thus, the historical documents provide insight into the leadership roles and styles of some of the first women working in American advertising in the early parts of the 20th century. Findings Archival documents from the women’s advertising clubs can help us to understand women’s leadership practices and to reconstruct a history of women’s leadership in the advertising industry. Eight years before women in America could vote, the first five presidents shared with the club their wealth of collective experience – over two decades worth – as advertising managers, copywriters and space buyers. The first league presidents oversaw the growth of an organization would benefit both women and the advertising industry when they proclaimed that the women’s clubs would “improve the level of taste, ethics and knowledge throughout the communications industry by example, education and dissemination of information” (Dignam, 1952, p. 9). In addition, the club structure gave ad-women a collective voice which emerged through its members’ participation in building the club and through the rallying efforts of transformational leaders. Social implications Historically, the advertising industry in the USA has been “pioneered” by male industry leaders such as Claude Hopkins, Albert Lasker and David Ogilvy. However, when the authors look to archival documents, it was found that women have played leadership roles in the industry too. Drawing on historical methodology, this study reconstructs a history of women’s leadership in the advertising and marketing industries. Originality/value This paper helps to understand how women participated in leadership roles in the advertising industry, which, in turn, enabled other women to build careers in the industry.

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Poloni, Marco. "Marxist Film Theory and Fight Club, Anna Kornbluh (2019)". Film Matters 12, n. 1 (1 marzo 2021): 127–29. http://dx.doi.org/10.1386/fm_00140_5.

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Kenney, Lance. "Louis Menand: The Metaphysical Club: A Story of Ideas in America. 2001. New York: Farrar, Straus and Giroux. 546 pp." Frontiers: The Interdisciplinary Journal of Study Abroad 9, n. 1 (15 agosto 2003): 201–4. http://dx.doi.org/10.36366/frontiers.v9i1.123.

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Louis Menand’s The Metaphysical Club, daunting in its choice of subject matter, closely aligns itself with the ancient sense of the word ‘history’ as a fluid, almost epic narrative. The Metaphysical Club of the title was a conversation group that met in Cambridge for a few months in 1872. Its membership roster listed some of the greatest intellectuals of the day: Charles Peirce, William James, Oliver Wendell Holmes, Chauncey Wright, amongst others. There is no record of the Club’s discussions or debates—in fact, the only direct reference to the Club is made by Peirce in a letter written thirty-five years later. Menand utilizes the Club as a jumping-off point for a sweeping analysis of the beliefs of the day. The subtitle of the book belies its true mission: ‘a story of ideas in America.’ Menand discusses the intellectual and social conditions that helped shape these men by the time they were members of the Club. He then shows the philosophical, political, and cultural impact that these men went on to have. In doing so, Menand traces a history of ideas in the United States from immediately prior to the Civil War to the beginning of the Cold War.

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19

Blehl, Vincent Ferrer. "John Henry Newman and Orestes A. Brownson as Educational Philosophers". Recusant History 23, n. 3 (maggio 1997): 408–17. http://dx.doi.org/10.1017/s003419320000577x.

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Orestes Brownson (1803–1876), preacher, journalist, editor, philosopher and controversialist, was born in Stockbridge, Vt., 16 September 1803. At the age of nineteen he became a Presbyterian, but two years later a Universalist. He married in 1827. From 1826 to 1831 Brownson preached in New Hampshire, Vermont and New York. He became a Unitarian, and was ordained a Unitarian minister in 1834. In 1836 he organized ‘The society for Christian Union and Progress’ and began to preach the ‘Church of the Future’. In the same year he became acquainted with Emerson, Alcott, Ripley and others who were labelled Transcendentalists. The latter were the dominant intellectual figures in American life until the middle of the century.

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Betjemann, Peter. "Race, Violence, and the Textual Politics of the New York Sketch Club". Archives of American Art Journal 60, n. 2 (1 settembre 2021): 4–25. http://dx.doi.org/10.1086/717524.

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Teo, Thompson S. H., Sheryl E. Kimes e Zhiyi Yong. "Case—The Rise and Fall of Taxi Club Management in New York". INFORMS Transactions on Education 20, n. 1 (settembre 2019): 28–32. http://dx.doi.org/10.1287/ited.2019.0207cs.

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Lazerwitz, Michael R. "The Moot: A Colonial New York Lawyers’ Club in the Early 1770s". American Journal of Legal History 56, n. 2 (6 maggio 2016): 265–97. http://dx.doi.org/10.1093/ajlh/njw002.

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Weltman, A. C., N. M. Bennett, D. A. Ackman, J. H. Misage, J. J. Campana, L. S. Fine, A. S. Doniger, G. J. Balzano e G. S. Birkhead. "An outbreak of hepatitis A associated with a bakery, New York, 1994: The 1968 ‘West Branch, Michigan’ outbreak repeated". Epidemiology and Infection 117, n. 2 (ottobre 1996): 333–41. http://dx.doi.org/10.1017/s0950268800001515.

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SummaryIn a community hepatitis A outbreak in the Rochester, New York area, 64 of 79 (81 %) people with anti-hepatitis A 1gM-antibodies and onset of symptoms from 9 April–31 May 1994, recalled eating food obtained from a retail buyer's club. Eleven (65%) of 17 households with cases contained club members compared with 7 (21%) of 34 neighbourhood-matched control-households (matched odds ratio 8·5; 95% CI 1·7–41·6). Club employees who ate sugar-glazed baked goods were at fourfold increased risk for hepatitis. The source of infection was an 1gM- positive baker who contaminated baked goods while applying sugar glaze. Computer-generated purchase lists implicated 11–12 March and 21–24 March as the most likely dates when contamination occurred. This investigation demonstrates the importance of food workers adhering to established hygiene practices. Computer-generated commercial datasets can be useful in epidemiologic investigations.

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Teo, Thompson S. H., Sheryl E. Kimes e Zhiyi Yong. "Case Article—The Rise and Fall of Taxi Club Management in New York". INFORMS Transactions on Education 20, n. 1 (settembre 2019): 26–27. http://dx.doi.org/10.1287/ited.2019.0207ca.

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Happersett, Susan. "The Cartesian MathArt Hive Exhibition, The Bowery Poetry Club, New York, 2009–2010". Journal of Mathematics and the Arts 4, n. 3 (settembre 2010): 163–72. http://dx.doi.org/10.1080/17513472.2010.490756.

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McGowan, Matthew. "Teaching Latin in New York City’s Public Schools: A Panel Discussion Sponsored by the New York Classical Club, May 4, 2012". Classical World 107, n. 2 (2013): 255–71. http://dx.doi.org/10.1353/clw.2013.0128.

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Luvaas, Brent. "Post No Bill: The Transience of New York City Street Style". Fashion Studies 1, n. 1 (2018): 1–20. http://dx.doi.org/10.38055/fs010101.

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The sidewalks outside New York Fashion Week are lined with makeshift plywood walls. They are designed to keep pedestrians out of construction zones, but they have become the backdrops of innumerable “street style” photographs, portraits taken on city streets of self-appointed fashion “influencers” and other stylish “regular” people. Photographers, working to build a reputation within the fashion industry, take photos of editors, bloggers, club kids, and models, looking to do the same thing. The makeshift walls have become a site for the staging and performance of urban style. This photo essay documents the production of style in urban space, a transient process made semi-permanent through photography.

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Bird, Jess. "Fire in the Bronx: Austerity, Quality of Life, and Nightlife Regulation in New York City Post-1975". Journal of Urban History 46, n. 4 (22 marzo 2019): 836–53. http://dx.doi.org/10.1177/0096144219836930.

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America’s underground economy has grown strikingly since the 1970s, reflecting consumer demand for cheap prices, workers’ search for alternative sources of income, and government intervention. Far from unregulated, this economy has been managed in crucial ways, revealing a fundamental paradox in free market rhetoric. This was particularly striking in New York City in the latter decades of the twentieth century, where a set of uneven responses to the underground economy expanded its boundaries through new licensing, zoning, and permitting requirements that many businesses could not conform to. A tragic fire at an immigrant social club in March 1990 revealed the problematic turns in municipal policy taken in the aftermath of the city’s fiscal crisis. The lead up and response to the Happy Land Social Club fire by city officials demonstrated a rise in punitive regulation aimed at New York’s marginalized residents in an era of alleged deregulation and small government fetish.

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Lee, Mitchell. "Self and The City: Social Identity and Ritual at New York City Football Club". Journal of Contemporary Ethnography 47, n. 3 (24 novembre 2016): 367–95. http://dx.doi.org/10.1177/0891241616677581.

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This article addresses the construction of a singing culture at New York City Football Club (NYCFC) over the course of its inaugural season in Major League Soccer (MLS). Although being a supporter can provide many of the feelings associated with the term “community,” in order to capture the fluid reality of twenty-first-century group formation, this article rejects that label, preferring to understand NYCFC fandom as an emerging “social identity.” Such an approach enables us to recognize the many layers of identification that form people’s self-concepts. I argue that NYCFC fandom, and perhaps social identities more broadly, are realized through ritual interaction in the form of normative group behavior. In this case, song is the meeting point of the converging worlds of soccer fandom and New York City, negotiating a shared musical culture that gives meaning to a new social identity.

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Le Beau, B. F. "The Universalist Movement in America, 1770-1880. By Ann Lee Bressler. New York: Oxford University Press, 2001. 204 pp. $35.00". Journal of Church and State 44, n. 2 (1 marzo 2002): 363–64. http://dx.doi.org/10.1093/jcs/44.2.363.

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Scriabine, Alexander. "The New York Lipid and Vascular Biology Research Club Angiogenesis and Atherosclerosis The Rockefeller University, New York, NY, USA Tuesday, May 2, 2000". Cardiovascular Drug Reviews 18, n. 2 (7 giugno 2006): 175–76. http://dx.doi.org/10.1111/j.1527-3466.2000.tb00041.x.

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ZELENSKY, NATALIE K. "Club Petroushka, Émigré Performance, and New York's Russian Nightclubs of the Roaring Twenties". Journal of the Society for American Music 14, n. 4 (novembre 2020): 480–509. http://dx.doi.org/10.1017/s1752196320000346.

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AbstractIn the midst of the Prohibition era, New York City proliferated with nightclubs that presented patrons with imagined worlds of music and entertainment. This essay explores the role of music in creating such imagined worlds, looking specifically at the Russian-themed nightclubs founded by and employing émigrés recently exiled from Bolshevik Russia. Examining Midtown's Club Petroushka as a prime example of such a space, this essay focuses on the so-called “Russian Gypsy” entertainment that caught the eye and ear of the club's patrons, whose ranks included Charlie Chaplin, Harpo Marx, and the Gershwin brothers. Based on an examination of archival material—including memoirs, compositions, and extant recordings of Club Petroushka's musicians and photographs detailing its interior—as well as on advertisements and reviews from Russian American and other newspapers and magazines, this essay contends that the “Russian Gypsy” music presented at Club Petroushka enabled a transformative experience for patrons while providing a performative space for its recently exiled musicians. I argue that two aspects of this music in particular enabled the transformative process as it was delineated in contemporary discourses: 1) heightened emotionality; and 2) playing with a sense of time (a musical attribute I call “achronality”). Examining the complex cultural entanglements at work in the performance of “Russian Gypsy” music and situating my analysis within a theoretical framework of night cultures proposed by Brian D. Palmer and mimesis proposed by Michael Taussig, this essay illuminates the multivalent role of this musical trope for the different constituencies comprising Club Petroushka, while it also documents the largely overlooked Russian-Romani musical tradition as it took shape in the anti-Bolshevik, first wave Russian diaspora.

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Nanín, José E., e Jeffrey T. Parsons. "Club Drug Use and Risky Sex Among Gay and Bisexual Men in New York City". Journal of Gay & Lesbian Psychotherapy 10, n. 3-4 (14 agosto 2006): 111–22. http://dx.doi.org/10.1300/j236v10n03_10.

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Nanin, Jose, e Jeffrey Parsons. "Club drug use and risky sex among gay and bisexual men in New York city". Journal of Gay & Lesbian Mental Health 10, n. 3 (2006): 111–22. http://dx.doi.org/10.1080/19359705.2006.9962457.

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Lifschutz, Leon. "Club Sports: Maximizing Positive Outcomes and Minimizing Risks". Recreational Sports Journal 36, n. 2 (ottobre 2012): 104–12. http://dx.doi.org/10.1123/rsj.36.2.104.

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Today's college students are getting involved outside the classroom in record numbers. One area that has witnessed massive growth is the realm of club sports. A New York Times article estimated that nearly two million students across the nation actively participate in club sports (Pennington, 2008). With so many students clamoring for these programs it is essential for institutions of higher education too understand what exactly a club sport is, and how it differs from its cousins, varsity sports and intramural sports. It is also important to recognize the many positive outcomes that can be a product of club sports. Club sports have the potential to support the educational mission of colleges and universities and can play an integral role in student success (Roberts, Miller, & Wells, 2003, p. 11). They can also contribute to student's pride in their institution and may play a factor in their willingness to give back after graduation. It is also important to identify the many areas of potential risk that exist for an institution. Sports inherently have risk and club sports' unique nature exacerbates issues such as travel, injury, and conduct. Furthermore, club sports do not receive the exposure or garner the prestige of varsity athletics. This article will define a club sport and explain some of the trends that have contributed to its rapid growth in recent years. It will also assess the positive outcomes and the risks of a club sports program in the context of higher education. Finally, the article will offer recommendations for Institutions to maximize the positive outcomes and manage the risks.

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Rayl, Susan. "“Holding Court”: The Real Renaissance Contribution of John Isaacs". Journal of Sport History 38, n. 1 (1 aprile 2011): 5–17. http://dx.doi.org/10.5406/jsporthistory.38.1.5.

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Abstract John Isaacs learned to play basketball while growing up in Harlem, New York. He gained top honors on his high school team and played professionally for the famed New York Renaissance, assisting in their 1939 “World” title. During World War II, Isaacs played for several professional basketball teams, including the 1943 champion Washington Bears. Following his basketball career, Isaacs worked full time as a clerk for New York Life Insurance during the day and at the Boys and Girls Club in the evening in the Bronx. Isaacs dedicated his life to the youth of New York City over the next fifty years, serving as a mentor and counselor, endorsing education through basketball, and teaching the history of the professional game. This brief biography of John Isaacs’ life highlights his early fight against racism while on the road with the Rens, his work with youth, and his quest for the retirement of Nathaniel “Sweetwater” Clifton’s jersey.

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Di Paoleo, Marianna. "Gloria Nardini, Che bella figura!: The power of performance in an Italian ladies' club in Chicago. (SUNY series in Speech Communication & SUNY series in Italian/American Studies.) Albany, NY: State University of New York Press, 1999. Pp. x, 164. Pb $19.95." Language in Society 30, n. 2 (aprile 2001): 324–27. http://dx.doi.org/10.1017/s0047404501392059.

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In this book, Nardini presents “a ‘thick description’ of the Collandia Ladies' Club” from an ethnographic, feminist perspective (p. 127). Using data she gathered as a participant observer in this women's auxiliary to an Italian-American men's club in Chicago, Nardini shows that “examining language use in this ‘community of practice’ allows us to revise our notions of women as powerless users of language” (128). In fact, these immigrant and first-generation Lucchese-American club women are shown to wield a considerable amount of power over one another and over the men in the club by using communicative tactics such as indirect speech to support the cultural norms of the club community.

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38

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

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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.

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39

Lerum, Kari. "Strip Club: Gender, Power, and Sex Work. By Kim Price-Glynn. New York: New York University Press, 2010. Pp. xiv+263. $75.00 (cloth); $22.00 (paper)." American Journal of Sociology 117, n. 1 (luglio 2011): 345–47. http://dx.doi.org/10.1086/661034.

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40

Glynn, Tom. "The Professionalization of a Calling: Mission and Method at the New York Library Club, 1885-1901". Libraries & the Cultural Record 41, n. 4 (2006): 438–61. http://dx.doi.org/10.1353/lac.2006.0058.

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41

Habich, Robert D., e Bryan Watermar. "Republic of Intellect: The Friendly Club of New York City and the Making of American Literature". Journal of American History 96, n. 1 (1 giugno 2009): 197. http://dx.doi.org/10.2307/27694765.

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42

Kahn, Douglas. "Christian Marclay's Early Years: An Interview". Leonardo Music Journal 13 (dicembre 2003): 17–21. http://dx.doi.org/10.1162/096112104322750737.

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The artist discusses with the author his early career and influences. Marclay explains his upbringing in Switzerland and his lack of familiarity with American mass culture, to which he credits his early experiments in art, music and performance using records. Marclay describes the evolution of his use of records and discusses other influences, such as art school and the New York club scene of the 1970s.

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43

Hinitz, Blythe. "NCSS Notable Trade Book Lesson Plan: The Bully Blockers Club". Social Studies Research and Practice 2, n. 2 (1 luglio 2007): 298–300. http://dx.doi.org/10.1108/ssrp-02-2007-b0014.

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This lesson plan can be used for compliance with the laws in twenty-nine states (and eleven in preparation) [New York Times, January 28, 2007] requiring that K-12 schools and school districts have plans in place for addressing bullying, teasing, and harassment in educational settings (including school buildings and premises and school buses). The trade book The Bully Blockers Club assists elementary level students in developing positive proactive anti-bullying and anti-harassment strategies.

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44

Longaker, Mark Garrett. "Bryan Waterman.Republic of Intellect: The Friendly Club of New York City and the Making of American Literature.:Republic of Intellect: The Friendly Club of New York City and the Making of American Literature.(New Studies in American Intellectual and Cultural History.)". American Historical Review 113, n. 2 (aprile 2008): 499–500. http://dx.doi.org/10.1086/ahr.113.2.499.

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45

McCoy, Garnett. "The Rise and Fall of the American Artists' Congress". Prospects 13 (ottobre 1988): 325–40. http://dx.doi.org/10.1017/s0361233300005329.

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In the fall of 1929, just after the stock market crash but before its effects were widely felt, a group of radical artists and writers in New York established the John Reed Club, named after the already legendary journalist, poet, and revolutionary activist. The founders, some of them members of the Communist Party, some loosely associated with the party's cultural magazine New Masses, were committed but restless young men in search of a focus for their political energies. Soon after the club began, the artist members created an art school, organized exhibitions, and sponsored a lecture series and discussion groups with emphasis on the practice and theory of art and art history from a Marxist point of view. As the Depression deepened, with dire consequences to artists dependent on an art market in a state of collapse, the John Reed Club's approach attracted growing attention.

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46

McCoy, Garnett. "The Rise and Fall of the American Artists' Congress". Prospects 13 (ottobre 1988): 325–40. http://dx.doi.org/10.1017/s0361233300006773.

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Abstract (sommario):

In the fall of 1929, just after the stock market crash but before its effects were widely felt, a group of radical artists and writers in New York established the John Reed Club, named after the already legendary journalist, poet, and revolutionary activist. The founders, some of them members of the Communist Party, some loosely associated with the party's cultural magazine New Masses, were committed but restless young men in search of a focus for their political energies. Soon after the club began, the artist members created an art school, organized exhibitions, and sponsored a lecture series and discussion groups with emphasis on the practice and theory of art and art history from a Marxist point of view. As the Depression deepened, with dire consequences to artists dependent on an art market in a state of collapse, the John Reed Club's approach attracted growing attention.

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47

Silvestri, Katarina, Mary McVee, Christopher Jarmark, Lynn Shanahan e Kenneth English. "Multimodal positioning of artifacts in interaction in a collaborative elementary engineering club". Multimodal Communication 10, n. 3 (1 dicembre 2021): 289–309. http://dx.doi.org/10.1515/mc-2020-0017.

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Abstract This exploratory case study uses multimodal positioning analysis to determine and describe how a purposefully crafted emergent artifact comes to influence and/or manipulate social dynamics, structure, and positionings of one design team comprised of five third-graders in an afterschool elementary engineering and literacy club. In addition to social semiotic theories of multimodality (e.g., Kress, G. (2010). Multimodality: a social semiotic approach to contemporary communication. New York, NY: Routledge) and multimodal interactional analysis (Norris, S. (2004). Analyzing multimodal interaction: a methodological framework. New York, NY: Routledge, Norris, S. (2019). Systematically working with multimodal data: research methods in multimodal discourse analysis. Hoboken, NJ: Wiley-Blackwell), Positioning Theory (Harré, R. and Van Langenhove, L. (1991). Varieties of positioning. J. Theor. Soc. Behav. 21: 393–407) is used to examine group interactions with the artifact, with observational data collected from audio, video, researcher field notes, analytic memos, photographs, student artifacts (e.g., drawn designs, built designs), and transcriptions of audio and video data. Analysis of interactions of the artifact as it unfolds demonstrates multiple types of role-based positioning with students (e.g., builder, helper, idea-sharer). Foregrounding analysis of the artifact, rather than the student participants, exposed students’ alignment or opposition with their groupmates during the project. This study contributes to multimodal and artifactual scholarship through a close examination of positions emergent across time through multimodal communicative actions and illustrates how perspectives on multimodality may be analytically combined with Positioning Theory.

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48

Livingtson, Katherine. "The Reality Club . John Brockman, Ed. Lynx, New York, 1988. viii, 326 pp. Paper, $9.95." Science 242, n. 4877 (21 ottobre 1988): 451. http://dx.doi.org/10.1126/science.242.4877.451.a.

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49

Parsons, Jeffrey T., Perry N. Halkitis e David S. Bimbi. "Club Drug Use Among Young Adults Frequenting Dance Clubs and Other Social Venues in New York City". Journal of Child & Adolescent Substance Abuse 15, n. 3 (27 febbraio 2006): 1–14. http://dx.doi.org/10.1300/j029v15n03_01.

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50

Kristmanson, Paula L. "Club PoM (for Macintosh). Je, tu, il… New York: Gessler Publishing Co. Inc., 1994Club PoM (for Macintosh). Je, tu, il… New York: Gessler Publishing Co. Inc., 1994." Canadian Modern Language Review 51, n. 3 (aprile 1995): 559–60. http://dx.doi.org/10.3138/cmlr.51.3.559.

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