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Art Nouveau (French pronunciation: [aʁ nuvo], Anglicised to /ˈɑrt nuːˈvoʊ/) is an international movement[2] and style of art, architecture and applied art—especially thedecorative arts—that peaked in popularity at the turn of the 20th century (1890–1905).[3] The name "Art Nouveau" is French for "new art". It is also known asJugendstil, German for "youth style", named after the magazine Jugend, which promoted it, and in Italy, Stile Liberty from the department store in London, Liberty & Co., which popularised the style. A reaction to academic art of the 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly stylized, flowing curvilinear forms.[4] Art Nouveau is an approach to design according to which artists should work on everything from architecture to furniture, making art part of everyday life.[5]
The movement was strongly influenced by Czech artist Alphonse Mucha, when Mucha produced a lithographed poster, which appeared on 1 January 1895 in the streets of Paris as an advertisement for the play Gismonda by Victorien Sardou, starring Sarah Bernhardt.[6] It was an overnight sensation, and announced the new artistic style and its creator to the citizens of Paris. Initially called the Style Mucha, (Mucha Style), this soon became known as Art Nouveau.[7]
Art Nouveau's fifteen-year peak was most strongly felt throughout Europe—from Glasgow to Moscow to Madrid—but its influence was global. Hence, it is known in various guises with frequent localised tendencies.[8] In France, Hector Guimard's metro entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought in Nancy. Victor Horta had a decisive impact on architecture in Belgium.[9] Magazines like Jugend helped spread the style in Germany, especially as a graphic artform, while the Vienna Secessionists influenced art and architecture throughout Austria-Hungary. Art Nouveau was also a movement of distinct individuals such as Gustav Klimt, Charles Rennie Mackintosh, Alphonse Mucha, René Lalique, Antoni Gaudí and Louis Comfort Tiffany, each of whom interpreted it in their own individual manner.[10][11]
Although Art Nouveau fell out of favour with the arrival of 20th-century modernist styles,[12] it is seen today as an important bridge between the historicism ofNeoclassicism and modernism.[11] Furthermore, Art Nouveau monuments are now recognized by UNESCO on their World Heritage List as significant contributions to cultural heritage.[13] The historic center of Riga, Latvia, with "the finest collection of art nouveau buildings in Europe", was inscribed on the list in 1997 in part because of the "quality and the quantity of its Art Nouveau/Jugendstil architecture",[14] and four Brussels town houses by Victor Horta were included in 2000 as "works of human creative genius" that are "outstanding examples of Art Nouveau architecture brilliantly illustrating the transition from the 19th to the 20th century in art, thought, and society".[1]
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Art Nouveau ( French pronunciation: [aʁ nuvo] , Anglicised to /ˈɑrt nuːˈvoʊ/ ) is an international movement [ 2 ] and style of ...
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We all have our favorite Freddy kills in the long series of fright films in the A Nightmare On Elm Street franchise, and it sparks endless debate among fans whenever the subject is broached.
With dozens of confirmed kills throughout the entire eight-movie Englund-era series, the body count is horrifyingly high, and it's a tough task to choose the best. My personal choice would be Dan's motorcycle nightmare in A Nightmare On Elm Street 5: The Dream Child, with Freddy's iron horse coming alive and melding with Dan's body. Never dream and drive!
But what about the actor who inhabited the striped sweater and greasy fedora all those years, Robert Englund?
At last weekend's Monsterpalooza convention in Los Angeles, Englund participated in a Nightmare On Elm Street Q&A panel on Sunday where the horror icon shared his favorite Freddy kill ever from the franchise. Drum roll, please! It's the "Hearing Aid" death from 1991's Freddy's Dead: The Final Nightmare, where the child murderer implants a diabolical organic device in Carlos' ear that causes a cranium-splitting headache.
Check it out with Englund's explanatory comments below, then tell us your favorite Freddy murder moment.


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Through the trees, the bright light shone. What the light was made of she couldn't say, but the closer she got, the more she felt it bore into her. The light was unlike any other. It sang of such beauty, and although the words were so similar to her own, they were somehow different. It was as if the light contained her true voice, and she felt that if she were to move into it, perhaps she could exist in a skin where she could finally sing the way she had always intended. Swooping through the branches, she held on tight to little Herbie. It seemed as if he too had become mesmerized by the light. Either that or he had fallen asleep again, but something told her that wasn't the case, for not even he would've been able to resist magic such as this. Turning her head, she could see the animals moving through the undergrowth, only they were changing shape as they ran. From fur and feathers to human skin, their shapes shifted back and forth until they became orbs, and as they glowed beside her, they zipped past until they were swallowed by the light. Each one of them on a journey of which so much would never be known.
Enchantingly surreal, captivating writing SK.
Wow. Yeah, so loving these.


text:
Treasury: the New Zealand Treasury 1840-2000, Malcolm Mckinnon
This entry was posted in Governance, History of Ideas, Methodology, Philosophy, Political Economy & History on 23rd November 2003 by Brian Easton.
This is a much longer version of a review published in New Zealand Economic Papers, 37(1), December 2003 295-302.
Keywords: Governance; History of Ideas, Methodology & Philosophy; Political Economy & History;
Treasury Secretary from 1986 to 1993, Graham Scott, got it quite wrong when he said shortly after the 1987 election, 'I'm interested in getting back to the old money-bags role, what Treasury did in the nineteenth century – the core of the finance ministry is its old functions. That's our knitting.' Historian Malcolm McKinnon is too polite to point out this is another example of an ahistorical economist misrepresenting the past. Except by his writing a history of the Treasury.
Only 50 of the 400 plus pages of Treasury are devoted to the nineteenth century, partly because of a lack of material, but also because the agency then is of limited interest. The Treasury is surely the oldest department of state: the contender is the Colonial Office (now the Department of Internal Affairs), also established in 1840, but since when did public bureaucrats work without getting paid? It is certainly the department which has retained its name the longest, although its functions have changed greatly over the years. McKinnon divides the book into three parts: Clerks 1840-1910, Accountants 1910-1961, and Economists 1961-.
The first (and longest) period has Treasury passively carrying out routine financial transactions, apparently giving little advice to its Minister. (Perhaps Robert Muldoon, rather than Scott, would have preferred a nineteenth century Treasury.) Some functions continued well into the twentieth century – the book describes Noel Lough learning to prepare (manually) some of the 200 odd cheques a day when he arrived in 1937 ('The ledgers were at high desks on stools') – until they were decentralised to individual government departments. Even so, there is a contemporary ring in the 1880 complaint that 'serious inconvenience and loss of time is caused to surveyors, engineers, and others, who are imprest officers, by the amount of account-keeping thrust upon them'.
McKinnon argues persuasively that there was barely any 'official' advice given through this period. Records are skimpy of course, and there are hints that Jas Heyward, the long serving Secretary from 1890 to 1906, gained his Ministers' confidence as an adviser. The chief executive's title of 'Assistant Treasurer' (to the Colonial Treasurer) until the 1870s, indicates the low status. Even in the 1920s the Secretary's career path was often promotion to the more prestigious and better paid Auditor Generalship.
Ironically then, nineteenth century decisions were made in a manner similar to which the populace thinks they are made today – by the politicians (Colonial Treasurer or Minister of Finance) with little input from officials. (How many times one does one tell an uniformed enquirer, that thinking about an issue goes back to officials' ruminations months or years earlier than the ministerial announcement, and if they really want to pontificate they ought to make an OIA enquiry for the relevant papers?)
Many readers, interested only in contemporary issues, will skip the early chapters. But there is an interest, nicely captured by John Hicks' thought that there was merit in each term getting the students to write their essays from a different past approach to economics, in turn physiocrat, mercantilist, classical, Marxist, … Hicks was after an ability to use different paradigms and to be robust enough intellectually to be able to see through them to the underlying economic issues, the suppleness of mind that characterised his Oxford graduates, which, alas, is given no great priority in today's teaching. The history of the Treasury continually faces the reader with policy responses arising from institutional differences such as external monetary and banking arrangements. It would be useful, for instance, if those who would advocate a monetary union with the Australian or US currencies, recognised that New Zealand was in a sterling union for over half its history, and explained why the reasons for abandonment in the 1930s are no longer relevant. (Perhaps the advocates do really want to take New Zealand back to the nineteenth century.)
Readers may be disappointed that McKinnon was not able to uncover any evidence of financial corruption among officials in the nineteenth century or later (politicians were less scrupulous), nor anything as sensational as the British nineteenth (CHX) century Treasury Secretary who threw himself out of an upper story window a week after his appointment. The closest is whether the actions of some officials during the early part of 1984 were constitutionally improper. (See pages 318-319.)
McKinnon identifies from about 1910 a transformation in the function of the Treasury towards accountancy similar to the Gladstonian revolution in the Britain in the 1860s, arguing that the 'revolution was grounded in a political economy of strict parliamentary control of public spending, with Treasury as a "constable on the block".' If McKinnon is correct – a simpler explanation is the British innovation took time to reach these shores – there is much to be explored about the growing power of parliament in this period. Whatever, t a change there was, as holders of diplomas of accountancy began to proliferate. The book identifies this phase as lasting through to 1961 (although of course every historian is always tentative about such clear cut divisions in time), devoting just over a hundred pages to the fifty years.
The Secretaries are becoming persons now. McKinnon instances George Campbell (1913-1922) who was president of the New Zealand Rugby Football Union (a Wellington representative rugby player, he was the Secretary closest to being an All Black, although a later one took ballet lessons); James (called 'John' in the illustration on page 75) Esson (1922-25) who became the Grand Master of the Order of Freemasons, retired to become a political power in the land, and died with an estate the equivalent today of $600,000; while Alexander Park (1930-1935) was Esson's executor. (A nice touch that, what economist would have thought to chase up Secretaries' wills?)
An entire chapter is devoted to the Great Depression. Here, and elsewhere, McKinnon is ill-served by the economists failure to have a comprehensive and authoritative of New Zealand's economic history. McKinnon does not get it wrong, but a framework of economic history would have added to his account.
I, like Scott, got a part of the Treasury's history wrong, or rather I now have a more precise understanding of that history. My first mea culpa is that I have argued that the history of the Treasury is one of fiscal stress, extreme fiscal stress, or intolerable fiscal stress. I now know that for over half its life fiscal stress failed to impinge upon the Treasury because it was not a fiscal manager. It certainly impacted on the Ministers who were responsible so, for instance, the reputation Harry Atkinson has suffered, for he presided during the Long Depression of the 1880s when the primary concern was to restrain government spending as revenue contracted and foreign loan sources dried up. Still the 'stress, stress, stress' principle – that there is always fiscal stress and it shapes the modern Treasury – remains valid.
I knew that the vision of the Treasury as eternally the most powerful department of state arising out of its fiscal management was wrong. I had noticed that the 1928 National Industrial Conference called by Prime Minister Gordon Coates – the first of the talkfests that have littered the last 75 years – was attended by politicians, businessmen (yes, no women at all), five professors of economics (more than would today), and the heads of all the relevant government departments (CHX). But there was nary a sign of a Treasury official, inconceivable as that would be today. This led me to formulate the hypothesis that the longest serving Secretary, Bernard Ashwin, founded the modern Treasury. It is now evident that he was a more transitional figure, presaging what would happen, although he remains the most important public servant of the 1939 to 1955 period when he was Secretary (and possibly the seven years earlier). Keith Sinclair, more modestly, describes him as one of the four powers in the land in the 1940s (with Peter Fraser, Walter Nash and Fintan Patrick Walsh).
I should have picked up a clue from the valued memoirs of Geoff Schmitt, who described a typical workday in Ashwin's life beginning at the office 9am (he may have been talking to Fraser after midnight), ensuring things were going well, and then at about 10am going off to a series of meetings for the rest of the day, presumably leaving the rest of the Treasury sorting their cheques and vouchers. Ashwin's power came from his talent, rather than from the power of the Treasury per se. The development of economic policy advice and management in New Zealand begins with those professors of economics and a handful of professional advisers (Dick Campbell, Horace Belshaw and Ashwin – Bill Sutch, is there but a decade younger), through the Economic Stabilisation Commission (Ashwin was its first chair) to the Treasury only in the early 1950s (around a group of young men – Noel Lough, Henry Lang, Jim Moriarty and Schmitt who were mentored by Ashwin). Lurking behind this book is an account of the history of New Zealand economics – with the rise of the Victoria University College economics department playing a crucial role.
This takes nothing away from Ashwin's achievements. Possibly the earliest masters economics graduate of Victoria University College (he missed out on a first by a poor commercial law mark – no great sin for an economist), he was the first economist among the Treasury's accountants, and the only one for almost two decades. His significant intellectual skills were supplemented by personal charisma and judgement beyond his years. (He is the youngest Secretary of the Treasury, Murray Horne excepted.) However, lest I be accused of the 'great man in history syndrome' – a misreading of my The Nationbuilders, which used biography to describe a historical process – he was not irreplaceable. Had his First World I bullet been inches more fatal, my guess is that Dick Campbell or Belshaw (or someone who copped the bullet) would have been an adequate replacement.
McKinnon describes Ashwin as a 'Keynesian', by which he means, I think, someone prone to intervention at the macro- and micro-economic levels. I doubt that Ashwin, trained in the 1920s, was Keynesian in the technical sense. Although he would have met Keynes at Bretton Woods, I doubt he ever read The General Theory. (Sutch reviewed it months after it was published.) There is an interesting 'back-of-the envelope' calculation by Ashwin in 1939 in which he assesses the available foreign currency and the employment implications, the precursor of the balance-of-payments-constrained economy model which the Treasury – especially Schmidt – developed in the early 1950s. Ashwin was the only economist in the Treasury in 1939, so he probably invented it himself, extending the fiscal calculations, which almost certainly go back to the nineteenth century, of the government revenue and loans available for spending to the economy as a whole. In which case Ashwin is thinking like a Keynesian, albeit an open economy one, who assesses the impact of the government's accounts on the economy as a whole.
Ashwin's great love was money and banking – described as the 'father and mother' of the Reserve Bank he demurred, but when he retired he left a vacuum in its Board. His micro-economic interests were more limited. I recall my shock at coming across an inter-departmental paper on transport subsidies for fertilizer, signed off by him which had no mention of their efficiency effects, the focus being entirely on the fiscal implications – 'stress, stress, stress'. It would, however, be ahistorical to expect an economist trained in the 1920s, working near a weak local university economics department, to be familiar with the welfare developments of the 1930s and later.
The point of the theoretical reflections in the last paragraphs is they are not there in the book. McKinnon is a conventional historian, not one of the history of ideas (let alone of economic ideas). On the other hand there is little literature from economists he could have called upon. In the interim until the gap is filled, we need to recognise that Ashwin, a survivor from the Depression, and his colleagues and immediate successors, were thinking about the economy from a quite different perspective from today. Hicks would approve.
Aswhin retired in 1955, the longest serving Secretary but still only 59. I suggested it was exhaustion plus the prospect of a successful private sector career which determined the decision. McKinnon records rumours that he fell out with the Prime Minister Sydney Holland although he recommended Ashwin's title. Ashwin is unique among Secretaries to be knighted, and only he and Lang are entries in The Dictionary of New Zealand Biography (although at least one of those alive today will appear in a future volume).
There is an interregnum after Ashwin, for his immediate successors were not as outstanding, and McKinnon assigns the rest of the 1950s to the 'accountants'. His new age dawns in 1961, shortly after Lang returns from a period as London Treasury officer, whose main function was to rise and manage loans. Lang had two advantages over Ashwin. He had Ashwin as a mentor. (Who was Ashwin's mentor? Possibly Esson.) And in England he observed the British Treasury and, no doubt, came home with some sort of like model in mind. (McKinnon pays much attention to Treasury developments overseas – especially in Australia and Britain.) Like Ashwin there was a period before Lang became Secretary in 1967, when he drove Treasury thinking from a lower level – notably the tea-room chats. The irony is that the man who presided over the first phase of the 'Economics' period of the Treasury was a graduate in accounting and philosophy and was always careful to disclaim being an economist. Yet he built up the economics cadre in the Treasury on Ashwin's foundations, to the point they became dominant. (No Secretary since Lang has lacked a degree in economics, but only two of the six also claimed accounting qualifications.)
The final half of the book is about the Lang and post-Lang treasury. It is a different sort of history now, because the records are richer, the department is in the public eye and hence the journalistic record, and many of those involved are still alive. (There were 55 who recorded oral interviews.) Contemporary history is a difficult exercise if only to distant the writer from the event. McKinnon does it well, although there will be further attempts to write the history of the period. While the future accounts will be welcome, what must be resisted that only insiders really knew what is going on and their esoteric knowledge is all that matters. McKinnon's account is likely to remain long the framework on which future re-writers will base their works.
To review the period, I make here four general points. The first is that the Lang Treasury was driven by a man – like Ashwin – of great ability and natural charisma. (His 'children' remain loyal to him. One chased me down the street to say my portrait in Nationbuilders was faithful.) He left a Treasury in his image, but one which none of his successors could manage. The policy revolution of the early 1980s emanating out of Economics II, the think tank, arose in part because Lang was not there to control it. Perhaps with the growth of staff numbers the task was impossible anyway. New management systems and styles were developed.
Second, the revolution also arose out of evolution in economic theory of the time. We are still too close to it to see it clearly – there may be already another underway led by the role of information in economic decisions if Joseph Stiglitz is right – although surely Treasury grasped an extreme version of the neo-classical/rational expectations synthesis of the time, and one which was already a little out of date. (The next time you are told that Treasury simply took the standard paradigm on the day recall, Keynes' remark about practical men being dependent on defunct economists.)
Third, we should never under-estimate the degree of fiscal stress in the 1970s. Coupled with inflation, the economy was not functioning well (although it was growing in the late 1970s and earl 1980s faster than the OECD average). Ironically, the inflation funded the deficit by expropriating the real value of the private sector's holdings of government debt. (Real interest rates were negative and tax was levied on nominal interest rates.) Much of the 1980's policy was concerned with easing the stress: the tax reforms; the privatisations and other commercialisations; the new modes of controlling government expenditures; even the new accounting systems. But the post-1984 period was also a period of fiscal laxity if the rise in government debt is any indication. Admittedly some of the debt arose from shifting the consequences of the Muldoon administration from below to above the line, but it would have been higher had not there been no sales of government assets. What seems to have happened is that the Treasury (and its political masters?) were willing to incur short-term deficits in belief that they would have long-term benefits – as in the case of the income tax reforms being net fiscal losers to make them palatable (the immediate losses being disguised by phasing effects). Even so, there is the extraordinary sentence in Economic Management invites fiscal irresponsibility, and one cannot help wondering whether the Reagan induced US deficits of the same time generated an unfortunate degree of insobriety. As for the current Bush ones, one is left with the uneasy feeling that right-wing deficits are justified and left-wing ones are not (just as in the hypocrisy of the nuclear standoff, the weapons of mass destruction were justified by the political colour of their possessors). There is much more to be explored here, and no doubt will. My concerns are not merely the impositions on future generations from higher government debt, but the way the internal deficit impacts upon the external deficit, the exchange rate, the tradeable sector and ultimately the growth prospects of the economy.
The fourth point is that the reforms had considerable distributional impacts. (Indeed the fiscal deficit does not get under control until the 1990/1991 packages which were at the expense of the poor, although it took a few years for the control to become apparent because the packages precipitated a macro-economic contraction.) Modern economics is peculiarly inept in dealing with redistributional impacts, even though they tend to be much greater than the efficiency gains. Politicians want to know about both, but advice tends to stress the latter and ignore the former – much to the political costs of the politicians. McKinnon is interested in the social origins of Treasury officials and tells of how earlier ones were of humble origins, but that increasingly their backgrounds have become privileged. Is this a hint that as the department gained power it became disconnected from ordinary New Zealanders?
The last point, like the rest of those in this section, is a meditation arising out of the book. McKinnon will have done economics a service if others are provoked to meditate too, or to add their memoirs and commentaries. (Send a copy to McKinnon, care of the Public History Section of the Ministry of Cultural and Heritage to add to the already substantial raw material he has built up for future scholars.)
This is a handsomely produced book, with detailed references (which I kept referring to) and bibliography. Added to his Independence and Foreign Policy and his editorship of The New Zealand Historical Atlas, it marks McKinnon as one of our major historians. The book itself is a milestone in public history of government departments, rich with many details which commonly got overlooked in the plodders of the past. I liked the attention to the details like where the Treasury was located, its size and composition, and the stories of the humdrum life of clerks.
The disappointments are the pictures, probably because McKinnon was overseas when the selection was made. Some are telling, such as those from the collection of John Anderson capturing the everyday and recreational life of Treasury. Others are irrelevant, missing that the story is about official advisers and not politicians. What is the point of a picture of Muldoon and Margaret Thatcher together?
Some of the classic cartoons of the 1980s and 1990s are there – Tom Scott's one of the son having 'absolutely no grasp on reality' could have a career as a Treasury economist. They remind us of the way Treasury was seem when it became prominent in the public eye. But none captures the genially subversive side of Treasury officials, like having been told by its Minister, David Caygill, that the place was a bit of a monastery, one official promenaded as a monk. I'd have also liked that poster of Muldoon as the 'Gross National Product' which appeared around Treasury in the early 1980s, reminding us that while the majority of Treasury officials remained loyal to the principles of a public adviser, they had their own principles too.
The saddest pictorial mistake is the label for the front cover which shows the current Treasury building with part of the Brett Graham sculpture 'The Navigator' in front (the waka bit actually, although it is known as the 'banana'). There is no mention that the sculpture rests in the Henry Lang Memorial Park, the only public recognition of a New Zealand Treasury secretary, perhaps the only one of its kind in the world. (What would be a suitable monument for Ashwin, or McIntosh, or Beeby?)
Normally one completes a biography reflecting on the significance of the life portrayed. But the New Zealand Treasury is still alive, so the relevant reflection may be its prospects. The dominant message is that it has been a living organism adapting to its economic and political environment. Its future will depend upon how that environment changes. That is why Graham Scott's hope that the Treasury would return to its (mid-twentieth century) knitting of managing the government accounts is misleading.
A Treasury could opt out of all macroeconomic and microeconomic policy issues which do not pertain to the public account. It would forecast the economy for fiscal purposes, but give no advice on macro-economic management, and where microeconomic issues did not impinge directly on the accounts – say in competitions policy – it could avoid comment. It is conceivable, but unlikely, not least because it would be a peculiar minister who was uninterested in such issues. (Historically the Treasury has had an exceptionally strong series of ministers since Gordon Coates, all ranked near the top of cabinet, except Muldoon when he first took over because of his youth, and Harry Lake fresh into cabinet in 1960 was ranked sixth behind already established ministers.)
It is not impossible that a strong non-Treasury minister could build up a countervailing department, although the recent experience of the Ministries of Economic Development and Social Development – both potential challengers to Treasury dominance – shows it is going to take years for them to develop the institutional structures, cadres and morale which Ashwin and Lang evolved (and which the publication of this book reinforces). In any case, as long as it is responsible for the fisc the Treasury remains in the centre of the political and government process. That requires a high quality staff, including economists who are going to have opinions – and give advice – on matters wider than the government accounts.
In the last pages of the book, McKinnon hints of the possibility of a Minister walking away from her or his department, describing in 2000 the 'relationship between department and government [as] particularly jagged'. There is the Coatesian option, which Paul Keating also took when he became minister for the Australian Treasury headed by John Stone in 1983, of having a thinktank attached to the ministerial office, and leaving the routines to the Treasury. The fear of such a possibility ought to lead to a degree of responsiveness to ministerial sensitivities by a department. Ashwin seems not to have been the only Secretary to move on as a result of tensions with the minister: Lang in 1976; Bernard Galvin in 1986. High quality leaders seem likely to lead to high quality clashes of temperament. (The nightmare Treasury faces would be a Prime Minister and Minister of Finance, neither of whom were fiscal conservatives. The closest since the 1920s was Norman Kirk who was offset by the doughty Bill Rowling.)
The institutional challenge that faces Treasury may come from the academy's concern with the quality of its work. Just as the plainest princess is said to be pretty and the dullest prince has his commonplace pronouncements raised to profundity and wit, the political power of the Treasury – together with its generous funding – means no one dares challenges their claims to excellence. And yet one is continually struck how pedestrian is much of its policy advice, how backward its 'research'.
To give but one example. In the late 1980s I connected with the Australian debate about its relative ranking in the OECD production stakes. It was a small step to New Zealand-Australian per capita GDP comparisons and I published about the inferior performance as early as 1993, and in learned articles shortly after. Paul Dalziel repeated the comparisons from 1998, and the NZIER in 2000. In 2002 the Treasury came to the same conclusion, with no reference to any of the earlier studies. There are many other such examples. Were Treasury staffed by physicists they would shortly put in a patent for the wheel.
If its bibliographies are any indication, the Treasury seems to have a rule of scrupulously ignoring any New Zealand research (in exceptional circumstances it may include papers by acolytes). This is a mark of mediocrity rather than excellence, of an inability to take up the challenges posed by quality minds. The impression is reinforced by obsequiousness to foreign research (which is sometimes misinterpreted, and often irrelevant). Admittedly Treasury faces a terrible dilemma explaining the economy's last two decades because the government followed past advisers, and the outcomes were vastly inferior from the promises. Existing Treasury officials, many of whom were in school when the advice was given, today carry the burden of the failed policies, for the institution lives even if the staff it move on. But if today's staff do not reflect on the past, and give an account consistent with it, they are likely to repeat its mistakes.
That is the power of this book. Treasury, who sponsored it, acknowledges it has a past and while the study is primarily a political and institutional history, even the Treasury economist as out of touch with reality as the Tom Scott cartoon claims, will recognise there is an economic history and a history of economic ideas lurking below the text. The academy has every incentive to assist them. (It has yet to fully appreciate the power of the Official Information Act as a research tool. Galvin was right to fear the act for the way it could allow independent assessment of the quality of Treasury advice.)
McKinnon concludes his magisterial account with '[i]n sum, not only Treasury's professionalism but its politics survived: the three legs of the [nineteenth century British Treasury] tripod, the Reserve Bank Act (the 'gold standard'), the Fiscal Responsibility Act ('the balanced Budget') and microeconomic reform ('Free trade') all remained more, or less, intact.' Narrow economists will ponder on the notion of progress in the profession: the wider public will note there is no reference to the welfare of the nation, the economic analysis of which developed from the 1920s, unemployment (the 1930s) or economic growth (the 1950s).
Brian Easton was one of the many consulted in Malcolm McKinnon's preparation of the text.
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redpajama_set_name: RedPajamaCommonCrawl


You are currently browsing the category archive for the 'Thomas Merton' category.
Sometimes it is therapeutic just to pause and take in a small portion of the beauty.
Thomas Merton wrote many beautiful words on love. In preparation for Valentine's Day, here are a few of my favourite short Merton quotes on love.
For Thomas Merton all concerns, issues, questions, and personal issues are subsumed under love.
For Thomas Merton love was the path of Christ and the way to discover the unity of all humankind.
In his book Disputed Questions, Thomas Merton identifies two false forms of love.
The greatest of God's secrets is God Himself.


text:
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Type to search oystermag.com
Know Your Trends: The Matildas Are Repping 90s Vibe Jerseys And You Should Too
Actual goals.
Text by Hayley Morgan
On top of having an anthem 'Everything We Ever Dreamed Of' dedicated to them, the Matildas (aka one of the most inspirational groups of women in Australia) have also had a national team kit designed exclusively for them by Nike.
For the rookies: the Matildas are Australia's women's football team and they are snatching victories like no one else — no dis against the Socceroos' achievements, but it was actually the Matildas who were our first national team to win two different confederations. While we are at a turning point for women in sport, the success of this current dream team would not be possible without the female athletes who paved the way. Now, they're quite literally the best team Australia has ever had and they're taking the sport to totally new heights.
And this team kit? Check it out! Created by the Nike design team, it's a big 90s mood across a fresh team jersey (which the players get to wear with matching socks), with painterly swatches that reference those jazzy vibes we all love so much. Nike went full 90s with it not just because this decade very hot right now — as we've seen across reissued grunge collections from Marc Jacobs and Anna Sui, plus an SS19 collection from Versace that calls on the era loudly — but the majority of the young team were actually born in the 90s. Also: the kit is made from 100% recycled materials, and each jersey repurposes 12 water bottles. The fact that Nike has diverted more than 6 billion plastic bottles from landfills into recycled polyester is not celebrated enough.
So, aside from looking fresh as heck embracing fashion's long-standing obsession with soccer (via Off-White, Yoon Ahn, Balenciaga, Versace, Burberry, Alexander Wang, Golf Wang… to name a few) as well as being very sustainable in your fashion choices, there are some genuinely deep reasons why repping a Matildas jersey should be part of your lewks right now. The team represents the ultimate girl squad, and not in a way that requires bottomless mimosas and an Instagram account, but in a way that is truly inspiring. In their entirety, as a crew of women who continuously work together to produce really impressive results, we're really stoked that they're the humans representing Australia right now.
Team captain Sam Kerr is 25 years old and got her start in sport by successfully playing Aussie Rules on her brother's team. Now one of the most prolific strikers in the world, last year she was named our Young Australian of the Year, she scored the most goals in two leagues, two years in a row, and was shortlisted for the FIFA award for Best Female Player for the second year.
"It would be a dream come true," Sam says on what it would mean to win on the world stage this month. "It's everything I've ever dreamed of. Being the first Aussies to do this would really change how people see women's football in Australia. We'd like to prove everyone wrong who doubts women's football and we want to show that women's football is at its peak. Football to me is way more than just a sport. It's everything and the tournament is the pinnacle."
Up front with Sam is Caitlin Foord, who has been shredding for Australia since 2011 — so flipping strong and powerful, she is already back for the big game in Paris this June after a pretty hectic foot injury that she refused to let keep her down.
Then there's Ellie Carpenter, who is only 19 and is our first Australian international soccer player to be born in the 21st century. Rare! She's featuring on the world stage in France this year after debuting at the Olympics aged 15, and we're pretty sure she is going to absolutely tear it up.
The brilliant and fearless attitude of the girls rings through in their rally cry — "Never Say Die" — and that's something you can look at and learn from every time you slip on your jersey cos it's printed right there on the inside. Yes to private positive affirmations! And yes to supporting the people — women — who're making Australia a country to actually be really proud of.
Images: Courtesy Nike
News/Television
The Trailer For The New Season Of 'Chilling Adventures Of Sabrina' Is Here
Hex yes.
Fashion/News
Telfar Is Teaming Up With The Gap
"Gap created the blueprint for my brand because the Gap person is literally everybody."
Film/News
Watch Adam Sandler In A New Safdie Brothers' Short
Yer boy.
An icon.
Stussy Teamed Up With Comme Des Garçons On A New Lewk
Call it a comeback.
Fashion/News/People
Football Legend / Cultural Icon Megan Rapinoe Is The New Face Of Loewe
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Poland Can Be A Mediator
The United States should take advantage of Poland's willingness to serve as an important guide and facilitator for American policy towards Eastern Europe and Eurasia.
In our meetings, Polish officials stressed their years of experience and knowledge about the priorities and concerns of their eastern neighbors. Moreover, Poland's successful transition to democracy gives the country, they argue, a moral authority in the region, as demonstrated by Warsaw's assistance during the Ukrainian Orange Revolution. Poland, for example, encouraged the EU to support the demonstrators and convinced EU foreign policy Chief Javier Solana to visit Kiev. There were also close contacts between Polish and Ukrainian NGOs, and Lech Walesa and other leading Solidarity activists also visited Ukraine to show their support for the demonstrators.
In addition, Warsaw's commitment to liberal democracy and market reforms makes Poland a good advocate to spread these ideas and democratic institutions further east, including into Belarus and Russia. Poland, for instance, is helping Ukraine in its quest to join both the EU and NATO by sharing its own experience with integration. In Belarus, both the Polish government and NGOs are trying to protect the interests of ethnic Poles from Aleksander Lukashenko's regime. US support of Poland's eastern policies will bring about increased stability and security in the surrounding eastern states, and the region as a whole, which also serves US global interests.
Previous: U.S. Military Assistance
Next: Resolve the Visa Issue


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What is the pill marked dan on one side and 5059 on the other peach color round and scored on the side that says dan?
by Anonymous 3 hours ago
Starmaster
It is Prednisolone: http://www.medicinenet.com/prednisolone/article.htm IMPRINT INFORMATION Characteristic Appearance Characteristic Appearance Color ORANGE (Peach) Score 2 Shape ROUND Symbol false Imprint Code DAN;DAN;5059 Coating false Size 6mm
Ihave a small round white pill scored on one side and marked with 54 210 on the other any ideas?
I have an orange/peach diamond pill. On one side it is scored with 9 and 3 on either side of the score and on the other side it says 463. What is this?
Hi! i dound a yellow pill that said DAN/5619 on one`side and 5 on the other side,anyone knows what it is and what is use for?
I have 2 white oval pills and each is scored on one side. One side on one pill says M357, and the other side on the other pill says M360. What are these pills?
Found a pill on my desk and would like to know what it is. It is white and on one side it has DAN and on the other side it has 5513. Anyone know what it is?
What kind of pill is a small white pill scored on one side and 54 543 on the other?
I have a small yellow round pill, scored on one side; the other side has a capital italicized "E" on the top half and "63" on the bottom half. What is this pill?
I have a round yellow pill with a fancy V on one side and the number 2683 on the other side, the side with the number is scored. Can you tell me what it is?
I have a pill that is round, white and scored, and on one side it says A234. What is this pill?
I found a white round pill and dont know what it is it says k38 on one side and nothing on the other


Coca-Cola isn't just a tasty beverage — its mild acidity makes it useful for commode-cleaning purposes. Are you looking for a way to deal with toilet limescale without shelling out cash for expensive bowl cleaners? Coke can often cost less than 50 cents per liter. Are you looking for non-toxic cleaning solutions?
Coke is perfectly safe for humans. Try these easy tricks today to start cleaning with Coke.
Measure out a cup or two of Coke. Open a bottle or can of Coke. You won't need much to clean your toilet — a standard-sized soda can contains 12 fluid ounces (1.5 cups), which should be plenty. If you have a bigger container of Coke, measure about this much and pour it into a glass.
Flush. While you let the Coke sit, the acids will slowly loosen the built-up stains in the bowl. Now, flush the toilet once. The loosened stains should be (at least partially) rinsed away with the toilet water.
Use lots of scrubbing. A good old-fashioned toilet brush is your best bet if simple flushing won't remove your stains. The mechanical action of a brush (or a similar item, like an abrasive pad) will further loosen built-up stains and help remove them from the walls of the bowl after you've treated them with Coke. Be sure to wash your hands after scrubbing and wear gloves if germs make you squeamish.
Open the bowl and scrub the stains with the brush.
Scrub once again with the brush and flush to rinse the stains away.


Visit us at Gitex 2018 in Dubai !
PCNET will exhibit the latest cabling solutions at Gitex 2018 in Dubai from Oct. 14 to Oct. 18. In this show, we'll present the extensive LAN cables from Cat.5e to Cat.8, with professional experiences on manufacturing cables; we welcome you to visit our booth for any OEM/distribution business discussion! Booth No.: Gulfcomm Z3-B33 Period: from Oct. 14 to Oct. 18, 2018.
PCNET will exhibit the latest cabling solutions at Sviaz 2017 in Moscow, Russia from Apr.25 to Apr. 28. In this show, we'll present the extensive LAN cables from Cat.5e to Cat.8, with professional experiences on manufacturing cables, we welcome you to visit our booth for any OEM/distribution business discussion!
PCNET will exhibit the latest cabling solutions at Computex, from June.2 to June.6, in Taipei World Trade Center, Hall 1. In this show, we'll present the extensive LAN cables from Cat.5e to Cat.8, with professional experiences on manufacturing cables, we welcome you to visit our booth for any OEM/distribution business discussion!
PCNet Wire & Cable Co., Ltd.


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Madigan Vocal Studio
My teaching philosophy is built from years of experience as a student in conservatory training, a professional opera singer and a studio teacher. I believe that each singer should be viewed as an individual, and that lessons should be tailored according to the needs of that individual for artistic growth and development. The vocal technique I teach is classical in its core, breath and relaxation based and serves to build a healthy instrument for whatever type of singing one wishes to pursue.
I am currently serving on the music faculty of Muhlenberg College and DeSales University, both located in Pennsylvania. Private lessons, online lessons and masterclasses are available at request.
"I was so blessed to have had Lauren as a vocal coach. I was eager to attend my lessons! I knew that I was always going to be greeted with a large smile and that I would get to work alongside someone who is talented and really pushes you to be the best version of yourself when you are with her. In my time with Lauren I decided that I wanted to try and transfer into a top ten conservatory program for classical voice...without hesitation, Lauren accepted this challenge and not only prepared me vocally, but made sure that I felt supported in every aspect of the process. Lauren focused on opening up my voice, bringing out the bigger, bolder voice inside of me that I didn't even know I had. She made sure that I had a thorough understanding of the vocal technique. I learned proper diction and musicality. I was prepared, focused and confident. With her help, consistent advice and support I was accepted into the Manhattan School of Music's classical voice and opera theater program."
- Maggie Shannon, Mezzo Soprano
"I studied voice with Lauren during all four of my years at Muhlenberg College. I was fortunate enough to understudy her in one production and play her daughter in another. During these productions she not only was able to teach me the proper way to approach the music during our lessons, but also how to apply it which she demonstrated flawlessly while onstage. Now, after graduation, I not only think of Lauren as a great vocal teacher, but also as a great friend. Her encouraging approach and classical technique helped my voice grow and blossom immensely and I would highly recommend her to anyone seeking a vocal coach."
- Samantha Simon, Soprano
"Lauren's committment to finding the best vocal technique and repertoire for my instrument has helped me grow immensely as an artist. She is constantly expanding my self-perception - every new piece is a challenge - and pays close attention to my vocal health. While studying with Lauren, I've understudied Rose Maurrant in Street Scene, performed for our college president, and was a soloist in a number of choir concerts. Kind, flexible, and responsive, Lauren is an amazing teacher as well as someone I would be thrilled to work with onstage."
- Alison Smith, Soprano
"I have had the opportunity to work with Lauren from a young age. As my voice matures, she tailors her instructions to my changing needs and patiently teaches me healthy breathing techniques and proper performance etiquette. Lauren is flexible with her schedule to accommodate my needs. She has supported me through several challenges as I grow as a performer with a comfort level that I cannot explain. Although Lauren is an internationally recognized performer, she is humble and personable and fosters a relaxed learning environment. I feel privileged to continue to learn from one of the best in business."
-Emily McManaman, Soprano
Student of the Lehigh Valley Charter High School for the Arts
"I had the absolute pleasure of studying with Lauren during all four of my years at Muhlenberg college. Singing was something that I had always loved to do, but I was lacking confidence in my abilities, and the discipline necessary to become the singer that I wanted to be. This all changed after just a few months of study with Lauren. Reflecting now upon our studying time together, Lauren has succeeded in being the teacher, mentor and friend that I was looking for in a vocal coach. She understood what my goals were and the styles of music that I wanted to study, and adapted our lessons accordingly while still pushing me to go well beyond the singer I was when I first met her. I am going to miss her dearly and I cannot recommend her enough to future students. If you are looking for a compassionate, attentive, talented teacher with years of experience behind her, then Lauren is the teacher for you!"
-Kimberly Suzzan, Mezzo-Soprano
"I started working with Lauren during my first semester at Muhlenberg and ended up learning from her over the course of four years. When I came in from high school, I came with past training, but some of that past training had resulted in unhealthy techniques that had grown into habits and made certain aspects of my voice, such as my falsetto, weaker than others. Lauren was quick to help me correct the flaws in my past training as well as encourage me in a much healthier direction. After my time with Lauren I feel like I have a much more solid foundation - and a much stronger falsetto - to continue my work as a singer without fear or need for concern for vocal health. She also encouraged me to expand my vocal repertoire and helped me to explore aspects of singing and technique - all while keeping the training and song selections tailored to the type of singer and person I was."
-Josh Portera, Tenor
"I'm so glad that I was able to have Lauren as a vocal instructor. Although I sing mostly for fun, Lauren helped me develop my confidence as well as my vocal skills. Lauren is a warm and caring teacher who always encouraged me and gave me help when I needed it. Her lessons and fun and relaxing and she is incredibly accommodating. Even under the strange circumstances of COVID-19, online voice lessons proved to be as productive and fulfilling as lessons in person thanks to Lauren's flexibility. The two of us would select songs together that were both appealing to me and challenging. I enjoyed learning from Lauren and whether you're a casual singer or someone who strives to be onstage, she's the best! I feel so lucky to have been assigned to her!
-Eliana Diamond, Soprano
"I learned so much about vocal technique (and many invaluable life lessons, as well!) during my three and a half years of lessons with Lauren. I use many of her warm ups and breath control exercises as preparation for auditions and performances even now, a year out of college!"
-Rachel Walker, Soprano
"Working with Lauren pushed me to develop a stronger work ethic when it came to approaching my music and to do so with proper technique. She helped me to go beyond just the words and notes on the page and to create fuller phrasing musically, as well as to really perform the pieces I was working on. In her lessons I felt connection with the music, and I was singing in a deeper and more moving way than I had ever felt before. I continue to try and find this feeling in the pieces I prepare even a year after our lessons together."
-Nikk Tetreault, Soprano
"Working with Lauren has opened up a new world of possibilities for me. She helped develop my technique in different styles, and I now have a new passion for operatic music. I always feel very connected with the music she gives me, and she finds the perfect songs to fit my voice. Lauren is the type of teacher who cares endlessly for her students. I know that I can always talk to her in our lessons, and she has been such an amazing mentor and teacher. She is truly an outstanding instructor who cares about her work and her students and she has shaped me into the musician I have always wanted to be!"
- Samantha Perry, Soprano
"Lauren fosters a safe and supportive environment to tackle a wide array of repertoire and styles. Not only does she instill a firm basis in vocal technique and healthy practices, but she gave me confidence in my own capabilities that has affected my auditions and performances since; with her guidance and support, I was able to tackel challenging works and move forward in my career as a performer. Her attention to detail, knowledge, and caring-demeanor make her a rare find in a vocal instructor.."
- Meg Falasco, Mezzo-Soprano
"When my assigned freshman year voice teacher left, I knew I had to request Lauren! Having studied with her for three years now, I agree with the highly-praised recommendations I received from her students back then. Her attention to detail, her honesty, and her depth of experience in all things vocal arts makes her a wonderful teacher for any voice student. Lauren was a great cheerleader and advocate to me, not only helping me notice areas that needed improvement , but also pointing out the good and offering loads of encouragement that helped me grow in confidence as a vocalist and to conquer insecurities and fears. I also love that I was able to both relate and look up to her. Lauren's accomplished career as a vocalistic her own right is a testament to how much she gets what it's like to be in your shoes as a student! She really helped me to set my own goals and to reach them at my own pace. Across many genres and vocal styles, her teaching style was highly adaptable and individualized. I'm lucky to have been her student in my time at Muhlenberg!
- Aileen Bergin, Soprano
"Working with Lauren Madigan has been a true honor. During our time together, Lauren catered to my needs as a vocalist, as she personalized my education and provided material that challenged me to grow as a singer. Lauren provided exquisite feedback, stimulating exercises, and assigned music that was best suited for me. Not only is she a professional instructor, she is a genuine, honest person who will encourage and root for her students on every step of their journey."
- Abigail Zuckert, Soprano


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U.S.WND VIDEO
'Joker' sentenced in theater massacre
Jury reaches verdict in death-penalty phase
Published August 7, 2015 at 7:18pm
(NBC NEWS) A Colorado jury ruled Friday that Aurora movie theater shooter James Holmes will be sentenced to life in prison for killing 12 people more than three years ago.
The nine-woman, three-man jury could not reach a unanimous decision and returned after less than seven hours of deliberation with the understanding that as a result, Holmes would not be sentenced to death but rather, life in prison without the possibility of parole.
The same jury found Homes guilty of 24 counts of murder — two for each person he killed on July 20, 2012 — in July.
My thoughts on 'GLBT' agenda 11 years ago – was I wrong?
Ilana Mercer January 20, 2022 at 7:33pm
Enough about the Uyghurs: Speak up about America's liberties lost
Amanda Thomason, The Western Journal January 19, 2022 at 8:03pm
APinto Westfield / Facebook screen shot
Woman loses envelope full of cash at park, good Samaritan finds and returns it


text:
module sgf4jParser {
  requires org.slf4j;

  exports com.toomasr.sgf4j.parser;
  exports com.toomasr.sgf4j.parser.board;
}

redpajama_set_name: RedPajamaGithub


text:
Download a list of all museums in Oklahoma by: Name | City | District
The list below are OMA Institutional members.
Sort this list by: Museum Name, City or District
Adair County Historical & Genealogical Association
American Banjo Museum
Honors the rich history, vibrant spirit and unlimited future of the banjo.
American Fidelity Heritage Center
Corporate archive
ARTSPACE at Untitled
Designed to stimulate creative thought and new ideas through contemporary art.
Billboard Museum Association
Bixby Historical Society
Provides educational opportunities about the history of Bixby and the surrounding area.
Blackwell Public Library
As an educational and cultural institution, the Blackwell Public Library welcomes exhibits and displays of interest, information and enlightenment to the community.
Bob Dylan Center
Opening May 2022
Bristow Historical Society & Museum
Dedicated to the preservation and promotion of the history of Bristow, Oklahoma and the immediate surrounding area.
Canadian Rivers Historical Museum
Housed in a unique 1903 building listed on the National Register of Historic Places, the museum has themed rooms, a wide variety of artifacts and the area's first log jail that was used prior to 1909.
Cherokee Strip Museum
Historically significant articles and artifacts which relate to the geographic region of Northwest Oklahoma known as the Cherokee Outlet.
Cherokee Strip Museum and Rose Hill School
Explore the remarkable events and people who made up the history of the Cherokee Outlet.
Tells stories of settlement on the Cherokee Strip.
Chickasaw Cultural Center
Reflects the vision, imagination, resilience and spirit of the Chickasaw people.
Chisholm Trail Heritage Center
Preserves the history, art and culture of the Chisholm Trail and the American West.
Chisholm Trail Museum and Horizon Hill
Discover the history of this cattle trail, the early pioneer settlers, and the home of the 2nd Territorial Governor.
Choctaw County Historical Society Frisco Depot Museum
Dedicated to railroad history and items of local and county-wide historical interest.
Choctaw Nation Museum
Tuskahoma
Displays on Choctaw history before European contact, the Trail of Tears, Choctaw life in Oklahoma, the Lighthorsemen, the Choctaw Code Talkers, Choctaw basketry, a gift shop selling Choctaw-made artwork, and much more.
Cimarron Heritage Center
Boise City
Citizen Potawatomi Nation Cultural Heritage Center
Serves to educate tribal members and the public through diverse cultural materials.
Claremore Museum of History
Preserves the heritage of Claremore.
Cleveland County Historical Society & Moore-Lindsay Historical House
Preserves the history of Cleveland County.
Comanche National Museum and Cultural Center
Provides a better understanding of the Comanche people through cultural items and history about the tribe.
D.C. Minner Rentiesville Museum and Oklahoma Blues Hall of Fame
Rentiesville/Checotah
Recognizes and documents the work of important Oklahoma blues artists. Home of the Dusk 'til Dawn Blues Festival.
Daystar Foundation and Library
Collects, cares for, and makes available books and memorabilia relating to the early days of Christian Science.
Inspiring children, connecting families, and building community through exploration, exhibits, programming and play.
Drumright Historical Society Museum
Drumright
Focused on the unique history of the first great oil discovery in Oklahoma.
E.W. Marland Estate
Ponca City
Showcases fine art, but is an architectural masterpiece in its own right. The grounds tell the story of the Marland Family, and the oil boom that made Ponca City what it is today.
Eastern Trails Museum
Edmond Historical Society & Museum
Exhibits cover Edmond's history from prehistoric times to the present.
Elk City Museum Complex
Complex includes National Route 66 Museum, National Transportation Museum, Old Town Museum, Farm and Ranch Museum, and Blacksmith Museum.
Eufaula Area Museum
Historical museum in the Eufaula area.
Federal Judicial Learning Center & Museum/Historical Society of US District Court for the Western District of Oklahoma
First Americans Museum
Shares the cultural diversity, history, and contributions of the First Americans and the 39 distinctive First American Nations in Oklahoma.
Forgotten Wheels Museum and Antiques
Impressive collection of "History of Wheels" including a teal '56 Chevy half-ton pickup.
Fort Towson Museums Association
Fort Towson
Museum is in the works and not yet open to the public.
Fred Jones Jr. Museum of Art
Provides a dynamic environment where people can discover meaning, pleasure and value in art.
Friends of the Capitol
Devoted to providing private funds to maintain and improve the beauty of the Oklahoma State Capitol and its iconic works of art.
Gene Autry Oklahoma Historical Society Museum
Gene Autry
Collection of vintage cowboys in entertainment memorabilia from the 1920s to present day.
General Tommy Franks Leadership Institute and Museum
Facility developed to enhance decision making and inspire the next generation of leaders.
Gilcrease Museum
Preserves and studies American art and history with collections from the American West, Native Americans and more.
Goddard Center for the Visual and Performing Arts
Encourages and supports participation, education and enjoyment of the visual and performing arts by all.
Grady County Historical Society & Museum
Grady County history, including early historical documents, records of early pioneers, railroads and more.
Greater Southwest Historical Museum
Collects, preserves, and interprets the social, cultural and economic history of South-Central Oklahoma.
Greenwood Cultural Center & Mabel B. Little Heritage House
Preserves African-American heritage and promotes positive images of the African-American community by providing educational and cultural experiences; promoting intercultural exchange; and encouraging cultural tourism.
Har-Ber Village Museum
An outdoor museum with artifacts from the earliest days of our nation's founding.
Harn Homestead Museum
Outdoor museum located on original Land Run property that is home to unique collections of Oklahoma's past.
Heart of Route 66 Auto Museum
Sapulpa
Features vintage cars and exhibits about Route 66 as well as a 66-foot-tall gas pump.
Heartland Aeronautical Experience & Aerospace Career Museum
Hennessey Public Library and History Center
The Sam and Burla Synder History Center, located in the Hennessey Public Library, is an archival collection point for local history, photos, letters, newspapers and other historical documents unique to the Chisholm Trail historical area.
Henry and Anna Overholser Mansion
This 1903 home stands as a tribute to one of Oklahoma City's truly remarkable families.
Henryetta Historical Society & Territorial Museum
Henryetta
Identify, collect, preserve and exhibit the superlative historical resources of Henryetta.
International Gymnastics Hall of Fame
J.M. Davis Arms & Historical Museum
Contains the single largest collection of guns in the world, as well as swords, knives, Civil War artifacts and more.
Jasmine Moran Children's Museum
Family destination where children can role-play in a variety of career opportunities and discover a world of fun through interactive play.
JRB Art at the Elms
Presents a diverse roster of emerging, established, and internationally exhibited artists who create in a wide range of media.
JRB Art Gallery at the Elms
Kiowa Tribal Museum
Protects, preserves, and perpetuates the Kiowa way.
Laboratory of History Museum
Preserves and interprets the history of the University of Central Oklahoma within the broader historical context of the community, state, and the nation.
Lachenmeyer Arts Center
Landmark for All Generations, Inc.
Okmulgee
Preserves artifacts and history of the former Okmulgee Colored Hospital building.
LeFlore County Museum at Hotel Lowrey
Acquires, documents and displays artifacts and other items related to the history of LeFlore County and its citizens.
Leona Mitchell Southern Heights Heritage Center and Museum
Cultural center tied to the exiled Ethnic Citizens of the former 5 Civilized Tribes, as official keepers of their collective ancestral story.
Lincoln County Historical Society Museum of Pioneer History
Mabee-Gerrer Museum of Art
Permanent collections include Egyptian, Greek and Roman objects, Renaissance art, Native American, Oceanic and more.
Mannford Museum
McCurtain County Veteran's Memorial Museum
Idabel
McLoud Historical Society Museum and Heritage Center
Medicine Park Aquarium & Natural Sciences Center
Medicine Park
Conservation through education - bringing people, nature and science together.
Meeker Historical Museum
Discover the stories of key community members and interesting nuggets of times past.
Metcalfe Museum
Artwork and artifacts depicting life during settlement in the region.
Military Memorial Museum
Minco Historical Society and Museum
Muscogee (Creek) Nation Cultural Center & Archives
As a gathering place for both teaching and learning, the Muscogee (Creek) Nation Cultural Center & Archives will bring generations together to be immersed in the living culture of the Muscogee (Creek) Nation.
Museum of Horseshoeing
See the tools, life and products of the horse shoers' world along with an extensive collection of the horse shoer in art.
Opening in fall of 2017 in Washington, D.C., the museum will provide guests with an immersive and personalized experience as they explore the history, narrative, and impact of the Bible.
Museum of the Great Plains
Discover Lawton's history and explore the settlement of the Great Plains.
Museum of the Red River
Ethnographic and archaeological artifacts from the Caddo and Choctaw, and more.
Museum of the Western Prairie
Chronicles the history of southwest Oklahoma, from geologic uplifts and ancient seas to irrigated farming and Altus Air Force Base.
National Cowboy & Western Heritage Museum
Collects, preserves, and exhibits Western history, art and culture.
National Rod and Custom Car Hall of Fame
Houses over 50 custom built exotic vehicles and related memorabilia of Darryl Starbird.
National Wrestling Hall of Fame and Museum
A focal point for preserving the heritage of the sport, recognizing extraordinary achievements and encouraging youth to aspire to lofty goals.
NBC Oklahoma Wigwam Gallery
Built to resemble the 1920s-era Wigwam Movie Theater that was once located there, the gallery promotes Oklahoma artists and art.
Ninety-Nines Museum of Women Pilots
Celebrates the history and achievements of women pilots around the world.
No Man's Land Museum
Goodwell
Variety of notable exhibits dedicated to preserving the history of the area, the Oklahoma panhandle.
Nowata County Historical Society Museum & Glass Mansion
Nowata
Okeene Historic Preservation Group
Okeene
Preserving the history and historical buildings of Okeene.
Oklahoma Black Museum and Performing Arts Center / National African American Jazz Legacy Museum
A resource to educate and inform the world at large about the origin of one of America's greatest art forms, handed down as a gift from people of African descent.
Oklahoma Blues Consortium
Oklahoma City Museum of Art
Enriching lives through the visual arts.
Oklahoma City National Memorial & Museum
Remembers all those who were killed, those who survived, and those who were changed by the Oklahoma City bombing.
Oklahoma City Zoo
Preserves the earth's natural resources, and conducts conservation programs that benefit animal and plant communities. Also houses ZooZeum with history of zoo.
Oklahoma Contemporary Arts Center
Provides the community with quality, accessible and affordable arts programming and education.
Oklahoma Forest Heritage Center Museum
Historical documents, wood art, tools and more pertaining to forestry.
Oklahoma Hall of Fame Gaylord-Pickens Museum
Tells Oklahoma's history through high-tech, interactive exhibits that celebrate the state's most accomplished individuals.
Collects, preserves and shares the history of Oklahoma and its people since before statehood.
Learning center exploring Oklahoma's unique history of geology, transportation, commerce, culture, aviation, heritage and more.
Oklahoma Indian Territory Museum of Black Creek Freedmen History
Oklahoma Railway Museum
Freight and passenger cars, steam engines, exhibits on railroad memorabilia; train rides available during specified periods.
Oklahoma Route 66 Museum
Journey through the history of the nation's most revered highway.
Oklahoma Sports Hall of Fame
Honors Oklahoma's greatest sports figures.
Oklahoma State Art Collection
Visual anthology of the history of artistic expression in Oklahoma.
Oklahoma State Firefighters Museum
Oklahoma State University Museum of Art
The collection offers a survey of global trends in the modern world, from the early nineteenth century to the late twentieth.
Oklahoma Visual Arts Coalition
Promotes public interest in the arts and helps people of all ages understand the visual arts.
Old Greer County Museum & Hall of Fame
Preserves the knowledge, history and people of Old Greer County.
Ottawa County Historical Society and Dobson Museum
Pawnee Bill Ranch and Museum
Original mansion of Wild West entertainer Gordon W. "Pawnee Bill" Lillie.
Pawnee County Historical Society & Musuem
Preserves the history and culture of Pawnee County and is the headquarters for Dick Tracy.
Philbrook Museum of Art
With art collections from around the world, the museum offers an array of opportunities to shop, dine, and enjoy the beauty of fine art.
Plains Indians & Pioneers Museum
Collects, preserves and interprets the history of Northwest Oklahoma.
Pottawatomie County Museum
Collections from the Pottawatomie Historical Society housed in a historic Santa Fe Railroad Depot.
Putnam City Schools Museum
Enriches the public through the preservation and interpretation of the heritage of the Putnam City School District.
Red Earth Art Center
Advancing the understanding and continuation of traditional and contemporary Native culture and art.
Route 66 Interpretive Center
Rural Oklahoma Museum of Poetry
Sam Noble Museum
Inspires minds to understand the natural and cultural world through collection-based discovery, interpretation and education.
Sand Springs Cultural and Historical Museum
Connects the local area's past, present and future though the preservation of cultural heritage and arts.
Sapulpa Historical Society Museums
Preserves the history of Sapulpa and maintains the Sapulpa Historical Museum, Sapulpa Fire Museum and the Waite Phillips-Barnsdall Filling Station Museum.
Science Museum Oklahoma
Enriching people's lives by reveling the wonder and relevance of Science.
Seminole Nation Museum
Documents and interprets the history and culture of the Seminole Nation of Oklahoma and the community of Wewoka.
Semple Family Museum at Southeastern Oklahoma State University
Exists to inspire future generations to hold sacred the enduring beauty of Southeastern's Native American Art collection.
Shawnee Tribe Cultural Center
Explore Shawnee culture. Listen to stories of the past, experience traditions now, help shape tomorrow.
Shortgrass Country Museum
Beautiful historic building featuring exhibits on all aspects of early-day life on the short-grass prairie.
SKELETONS: Museum of Osteology
Explores the form and function of the skeletal system.
Spiro Mounds Archaeological Center
Stafford Air and Space Museum
Collections of air and space exhibits, an interactive aviation gallery, more than 20 historic aircraft, unique space flight artifacts, Gen. Thomas P. Stafford information and more.
Standing Bear Museum & Education Center
Features tribal displays, traveling exhibits, artwork and other educational material.
Stephens County Historical Museum
See history lessons in the form of vignettes showcasing life in an early day town.
Stillwater History Museum at the Sheerar
Dedicated to collecting, preserving, and interpreting the history of Stillwater, Oklahoma.
Talbot Library and Museum
Colcord
Temple Museum Association
Focuses on the history of Temple, from dinosaurs to the B&O Cash Store to modern day.
The Grand Lodge of Oklahoma Museum and Library
Dedicated to the collection and preservation of Masonic Artifacts and Books with a particular emphasis on those items related to the history of Freemasonry in Oklahoma.
The Museum Broken Arrow
Gathers and preserves local and regional history and artifacts that enrich the heritage of Broken Arrow.
The Oklahoma City Rattlesnake & Venom Museum
Features a selection of venomous snakes and lizards from around the world as well as all of the venomous snakes of Oklahoma.
The Sherwin Miller Museum of Jewish Art
Educates about the Jewish experience in Oklahoma, the US and the world through exhibitions and programs on Jewish culture, history, religion and art.
Three Rivers Museum & Thomas-Foreman Historic Home
Tells the story of settlement in the Three Rivers region, one of the earliest areas west of the Mississippi to be settled.
Three Valley Museum
Named after the book Queen of the Three Valleys by Henry McCreary, which is about Durant, the museum focuses on the history of Bryan County.
Top of Oklahoma Historical Society Museum
Celebrates Blackwell and North Central Oklahoma from the Land Run to present day.
Tulsa Air and Space Museum & Planetarium
Chronicles the aerospace heritage of Tulsa, including early aviators, the Tulsa Municipal Airport, American Airlines, North American, Boeing and much more.
Tulsa Fire Museum
Preserving the history of the Tulsa Fire Department.
Tulsa Historical Society & Museum
Focuses on building, preserving, and presenting a broad based general collection of Tulsa's history.
Twin Cities Heritage Association Museum
Hartshorne
U.S. Army Fires Center of Excellence
Fort Sill
Oversees the Fort Sill National Historic Landmark and Museum, the U.S. Army Field Artillery Museum, and the U.S. Army Air Defense Artillery Museum.
University of Oklahoma Libraries
Develops and maintains programs that provide access to the informational resources necessary to fulfill the academic, research, artistic, scholarly and community leadership objectives of the University.
USA Softball
Home of the National Softball Hall of Fame and Museum with information on the sport's greatest athletes and their accomplishments.
W.T. Foreman Prairie House Foundation
The Foreman Prairie House stands as one of the earliest examples of the Prairie Style School of Architecture made famous by Frank Lloyd Wright.
Wagoner History Center
Wagoner
The story of early Wagoner history seen through photographs and personal items.
Washington Irving Trail Museum
Will Rogers Memorial Museum
Collects, preserves and shares the life, wisdom and humor of Will Rogers for all generations.
Wilson Historical Museum
Woodring Wall of Honor and Veterans Park
Living memorial to Oklahoma veterans, past and present located at Woodring Regional Airport.
Woolaroc Museum
Presents one of America's most unique displays of Western Art and artifacts; Native American pottery, baskets, blankets, cultural art and much more.
World Organization of China Painters
Dedicated to the appreciation and enrichment of the fine art of painting on china/porcelain.


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You are browsing: All The Death of Kings: Royal Deaths in Medieval England
The Death of Kings: Royal Deaths in Medieval England (Paperback)
A king's death was a critical and highly dramatic moment, often with major political consequences. Death in battle, whether that of Harold at Hastings or Richard III at Bosworth, could end a dynasty, while the secret murders of Edward II, Richard II and Edward V blighted the fortunes of their murderers. "The Death of Kings" is an account of what is known about the deaths of medieval kings, whether natural, violent or accidental (as William Rufus's death while out hunting in the New Forest). It shows how contemporaries and later writers, including Shakespeare, drew morals from such deaths and about the characters of individual kings, giving these deaths an imaginative and symbolic resonance that has lasted until the present day. Full of fascinating detail and personal information about the characters and attitudes of English kings and queens, "The Death of Kings" is a unique window into the heart of medieval society.
History & Politics History: Chronological Early history: c 500 to c 1450-1500 Medieval historyHistory & Politics Military History CrusadesHistory & Politics Military History English Civil WarHistory & Politics Regional & national history European history British & Irish history Publisher: Bloomsbury Publishing PLC Publication Date: 28/09/2006 ISBN-13: 9781852855857 Details: Type: Paperback Format: Books
Michael Evans has taught Medieval History at Christ Church College, Canterbury, and at the University of Reading.
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