View allAll Photos Tagged dissertation
my essay into how graphic design can enhance communication in data visualisation & information graphics:
visualisationmagazine.com/dissertation.htm
blog post: visualisationmagazine.com/blogvisualthinkmap/2009/11/how-...
Marylebone Railway Closure
Railwatch update from July 1986. I had joined the Railway Development Society earlier in the 1980s.
In 1985, I completed my geography degree dissertation! The Problems of Railway Closures, with reference to the proposed closure of the Marylebone - Amersham line.
'Looking at the frequent services operated today by Chiltern Railways, it seems hard to believe that the rail lines into Marylebone were once seriously considered for closure. Yet back in the mid-1980s under-utilization of the route led to proposals to convert the line into a dedicated bus route, with the site of Marylebone station being converted into a bus station, or sold off to raise an estimated £10 million. Today this proposal and others like it – such as a plan to convert much of what now forms London Overground north of the river into roads – are mostly forgotten. Yet for a time the possibility was very real, and London may have been left with a rail landscape very different from that which exists today.'
See more here: www.londonreconnections.com/2014/near-terminal-case-savin...
'British Rail formally announced plans to close Marylebone on 15 March 1984, pending a statutory consultation process, and closure notices were posted at the station. The proposals proved controversial and faced strong opposition from local authorities and the public, leading to a legal battle which lasted for two years. Despite the pending closure, passenger numbers only dropped by about 400 per day from 1968 levels. The conversion project proved impractical due to the headroom limitations on the line and the closure was quietly dropped.'
The station was revived under the control of the Network SouthEast sector of British Rail. The introduction of the inter-modal and unlimited use Capitalcard (now known as the Travelcard) led to a sharp rise in commuters into London, absorbing the spare capacity at Paddington and Baker Street and eliminating the possibility of Marylebone's services being diverted.'
'Marylebone was reprieved from the threat of closure on 30 April 1986, and an £85 million modernisation and refurbishment programme of the station and its services was granted. This was funded by selling part of the station to developers, including two of the original four platforms at the west of the station and the third span of the train shed. In order to replace these, the central cab road was removed, and two new platforms numbered 2 and 3 were created in its place. The run-down lines into Marylebone were modernised with new signalling and higher line speeds. In 1991, the fleet of Class 115 trains on local services was replaced by Class 165 Turbo trains, and service frequencies were increased. Services to Banbury were extended to the reopened Birmingham Snow Hill station in 1993, creating the first long-distance service into Marylebone since 1966. Initially this service ran at two-hourly intervals, but it proved popular and was increased to an hourly frequency in 1994.'
See more here: en.wikipedia.org/wiki/Marylebone_station#Closure_proposals
I like to think that my dissertation helped save the station and line in some small way :)
youd think that after making this kind of mess out of my dissertation that I would at least have a research question to show for it. but no, all ive got is a mess. at least its colorful. i need bigger paper.
edit may 2006: I now have questions, methods and a complete chapter. you can read all about it here.
Her Dissertation was "Ultrafast Photochemistry of Aqueous Iron(III) Complexes". That is completely over my head of how it fits into everyday life but I am very proud of her.
My work as a writer and as an artist have been closely connected for the past five years as I've worked on jewelry design and my dissertation in the same physical, mental, and emotional spaces. Dissertation Amulet makes these interconnections explicit, commemorating a landmark in my writing process. I preserved segments of text from a recently completed chapter under glass cabochons in a design evocative of my aesthetics as a writer.
The Voyage of Life: Old Age
West Building, Main Floor—Gallery 60
•Date: 1842
•Medium: Oil on Canvas
•Dimensions:
oOverall: 133.4 × 196.2 cm (52½ × 77¼ in.)
oFramed: 162.9 × 225.7 × 17.8 cm (64⅛ × 88⅞ × 7 in.)
•Credit Line: Ailsa Mellon Bruce Fund
•Accession Number: 1971.16.4
•Artists/Makers:
oArtist: Thomas Cole, American, 1801-1848
Overview
Cole’s renowned four-part series traces the journey of an archetypal hero along the “River of Life.” Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of “Youth” and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature’s fury, evil demons, and self-doubt will threaten his very existence. Only prayer, Cole suggests, can save the voyager from a dark and tragic fate.
From the innocence of childhood, to the flush of youthful overconfidence, through the trials and tribulations of middle age, to the hero’s triumphant salvation, The Voyage of Life seems intrinsically linked to the Christian doctrine of death and resurrection. Cole’s intrepid voyager also may be read as a personification of America, itself at an adolescent stage of development. The artist may have been issuing a dire warning to those caught up in the feverish quest for Manifest Destiny: that unbridled westward expansion and industrialization would have tragic consequences for both man and nature.
Inscription
•Bottom Edge, Left of Center: T. Cole / 1842
•Bottom Edge, Right of Center: Rome
Provenance
Sold by the artist to George K. Shoenberger [1809-1892], Cincinnati, perhaps as early as 1845 and no later than May 1846;[1] Shoenberger heirs, after 20 January 1892;[2] purchased 1908 by Ernst H. Huenefeld, Cincinnati;[3] gift 1908 to Bethesda Hospital and Deaconess Association of Methodist Church of Cincinnati;[4] sold 17 May 1971 through (Hirschl & Adler Galleries, New York) to NGA.
[2]For a discussion of a possible 1845 date, see Thomas Cole, Exh. cat. Memorial Art Gallery of the University of Rochester, 1969: 35. Other sources place the acquisition a bit later than 1845; see Paul D. Schweizer, “The Voyage of Life: A Chronology,” in The Voyage of Life by Thomas Cole, Paintings, Drawings, and Prints, Exh. cat. Museum of Art, Munson-Williams-Proctor Institute, Utica, New York, 1985: 45 (“December 1846?”), and Ellwood C. Parry III, The Art of Thomas Cole: Ambition and Imagination, Newark, Delaware, 1988: 332 (“sometime late in 1846 or, more likely, early in 1847”); however in a Boston Transcript article entitled “The Voyage of Life,” which appeared 21 May 1846, the pictures are mentioned as then belonging to “a wealthy gentleman of Cincinnati.”
[3]A letter of April 1979 from Mrs. Robert Heuck (in NGA curatorial files) specifies: “Mr. Shoenberger died in 1892, at which time many of the belongings of the home were given to heirs.” Shoenberger died 20 January 1892; for additional information, see The Biographical Cyclopaedia and Portrait Gallery with an Historical Sketch of the State of Ohio, 6 vols., Cincinnati, 1895: 6:1457-1458.
[4]Mrs. Robert Heuck, letter of April 1979 (in NGA curatorial files) states: “In 1908 Mr. and Mrs. Ernest W. [sic] Huenefeld purchased the land [and the house and contents].”
[5]Edward H. Dwight and Richard J. Boyle, “Rediscovery: Thomas Cole’s ‘Voyage of Life’,” Art in America 55 (May 1967): 62.
Associated Names
•Bethesda Hospital and Deaconess Association
•Hirschl & Adler Galleries
•Huenefeld, Ernst H.
•Shoenberger, George K.
Exhibition History
•1842—Annual Exhibition of Modern Artists, Piazza del Popolo, Rome, 1842, no cat.
•1842—Private Exhibition, Luther Terry’s studio, Orto di Napoli, Rome, 1842.
•1843—Pictures by Thomas Cole N.A. … The Voyage of Life! A Series of Allegorical Pictures, National Academy of Design, New York, 1843-1844, no. 4.
•1843—Second Exhibition, Boston Artists’ Association, 1843, no. 4.
•1844—Paintings Exhibited…, Pennsylvania Academy of Fine Arts, Philadelphia, 1844, no. 4.
•1848—Western Art Union, Cincinnati, 1848, no cat.
•1854—Pictures at the Ladies’ Gallery, Cincinnati, 1854, 2 and 5, no. 23, as Old Age.
•1983—A New World: Masterpieces of American Painting 1760-1910, Museum of Fine Arts, Boston; Corcoran Gallery of Art, Washington, D.C.; Grand Palais, Paris, 1983-1984, no. 28, repro.
•1985—The Voyage of Life by Thomas Cole, Paintings, Drawings, and Prints, Museum of Art, Munson-Williams-Proctor Institute, Utica, New York, 1985, 4, 5, 28, 30-32, 34-36, 38-40, 42, 44, 45, 48, 53, 66-69, no. 46.
•1994—Thomas Cole: Landscape into History, National Museum of American Art, Washington, D.C.; Wadsworth Atheneum, Hartford; The Brooklyn Museum, 1994-1995, fig. 118.
•1995—Loan for display with permanent collection, The Detroit Institute of Arts, 1995-1996.
•2000—Explorar el Edén: Paisaje Americano del Siglo XIX, Fundación Colección Thyssen-Bornemisza, Madrid, 2000-2001, no. 5, repro.
Technical Summary
Secondary ground layers include yellow under the man, the boat, and the angel; red under the dark sky at the top right. Infrared reflectography reveals underdrawing in the central rock formation, with a change of contour near the horizon line; and a possible slight change in the man’s left hand. There is a pentimento of two angels at the bottom of the line of angels in the center of the sky. There are scattered small losses and craquelure throughout.
All four paintings in The Voyage of Life series were executed on herringbone twill fabric with moderately fine threads and a moderately rough surface. The paintings were lined (apparently for the first time) and the original panel-back stretchers were replaced during treatment in 1970-1971. The presence of unused tack holes and the pattern of wear on the canvas edges suggest that the paintings were originally stretched and painted on slightly larger stretchers, and then restretched by the artist on the panel-backed stretchers. All four paintings have white ground layers; in specific areas of each painting (see individual comments, below) secondary ground layers of different colors were applied. Infrared reflectography reveals only minimal underdrawing. Paint was applied moderately thinly and with low and broad brushstrokes in some areas such as the skies, and more thickly and with some high impasto in details such as the figures and foliage. In general, the paintings are in excellent condition, with only scattered small losses, some craquelure, and minor abrasion. In 1970-1971, discolored varnish was removed and the paintings were restored.
Bibliography
•1843—“Cole’s Pictures at the National Academy of Design.” Anglo American (30 December 1843): 239.
•1843—“Dottings on Art and Artists. No. II.” New World 6 (25 February 1843): 246.
•1843—“Mr. Cole’s Paintings.” New-York Daily Tribune (26 December 1843): 2.
•1843—New-York Daily Tribune (18 February 1843): 3.
•1844—“A Few Words About Mr. Cole’s Paintings.” New World 8 (17 February 1844): 217.
•1844—“Cole’s Paintings.” New-York Daily Tribune (9 January 1844): 2.
•1844—“Editor’s Table.” The Knickerbocker 23 (January/February 1844): 97, 196.
•1844—P., S.H.J. “To Thomas Cole.” New Mirror 2 (27 January 1844): 269.
•1847—Transactions of the Western Art Union for the Year 1847. Cincinnati, 1847: 25.
•1848—Bryant, William Cullen. A Funeral Oration, occasioned by the death of Thomas Cole delivered before the National Academy of Design, New York, May 4, 1848. Philadelphia and New York, 1848: 30.
•1848—Whitley, Thomas W. Reflections on the Government of the Western Art Union and a Review of the Works of Art on Its Walls. [Originally published in the Herald of Truth] Cincinnati, 1848: 17-18.
•1849—Lanman, Charles. “The Epic Paintings of Thomas Cole.” Southern Library Messenger 15 (June 1849): 353.
•1849—Transactions of the Western Art Union for the Year 1848. Cincinnati, 1849: 10.
•1853—Noble, Louis Legrand. The Course of Empire, Voyage of Life, and other Pictures of Thomas Cole, N.A.. New York, 1853: 295-298, 301, 309, 312-314, 317, 320-322, 353, 359.
•1854—“Thomas Cole.” National Magazine 4 (April 1854): 318-321.
•1855—“Sketchings.” The Crayon 1 (7 February 1855): 92.
•1858—“Notes and Gleanings—Cole’s Pictures of Life.” National Magazine 13 (September 1858): 284-285.
•1860—Green, George W. Biographical Sketches. New York, 1860: 101, 105, 110-112.
•1860—“The Artists of America—Taken from New American Cyclopaedia.” The Crayon 7 (February 1860): 46.
•1865—Cummings, Thomas S. Historic Annals of the National Academy of Design (1825-1863). Philadelphia, 1865. Reprint, New York, 1965: 170, 176, 201.
•1932—Mayer, Frank Blackwell. With Pen and Pencil on the Frontier in 1851: The Diary and Sketches of Frank Blackwell Mayer. Edited by Bertha L. Heilbron. Reprint, Saint Paul, 1932: 41.
•1954—La Budde, Kenneth James. “The Mind of Thomas Cole.” Ph.D. dissertation, University of Minnesota, Minneapolis, 1954: 171, 212.
•1962—Devane, James. “Sightseers Have Visited Scarlet Oaks for 95 Years.” Cincinnati Enquirer (20 May 1962): 6A.
•1964—Noble, Louis Legrand. The Life and Works of Thomas Cole (1853). Edited by Elliot S. Vesell. Cambridge, Massachusetts, 1964: 220-224, 231, 233-235, 237, 239-240, 264.
•1967—Dwight, Edward H., and Richard J. Boyle. “Rediscovery: Thomas Cole’s ‘Voyage of Life’.” L’Art et les Artistes 55 (May 1967): 60-63.
•1967—Merritt, Howard S. “Thomas Cole’s List, ‘Subjects for Pictures.’” In Baltimore Museum of Art, Annual II: Studies on Thomas Cole, an American Romanticist. Baltimore, 1967: 84, 90.
•1970—Riordan, John. “Thomas Cole: A Case Study of the Painter-Poet Theory ofArt in American Painting from 1825-1850.” 2 vols. Ph.D. dissertation, Syracuse University, 1970: 1:99-100; 2:345, 455-497.
•1973—Wallach, Alan Peter. “The Ideal American Artist and the Dissenting Tradition: A Study of Thomas Cole’s Popular Reputation.” Ph.D. dissertation, Columbia University, New York, 1973: 70-72, 106.
•1976—Kurland, Sydney. “The Aesthetic Quest of Thomas Cole and Edgar Allan Poe: Correspondence in their Thought and Practice in Relation to their Time.” Ph.D. dissertation, Ohio University, Athens, 1976: 105-109, 172.
•1977—Wallach, Alan. “The Voyage of Life as Popular Art.” The Art Bulletin 59 (1957): 234.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 134, repro.
•1980—Coen, Rena N. “Cole, Coleridge and Kubla Khan.” Art History 3 (June 1980): 218, 227.
•1980—Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 11, 14, 88, repro.
•1981—Virdis, Caterina Limentani. “Paesaggio e racconto in Edgar Allan Poe.” Artibus et Historiae 4 (1981): 90, 94.
•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: color repro. 97, 112-13.
•1983—Schweizer, Paul D. “Another Possible Literary Source for Thomas Cole’s Voyage of Life.” In “New Discoveries in American Art.” Edited by Jayne A. Kuchina. The American Art Journal 15 (1983): 74-75.
•1985—The Voyage of Life by Thomas Cole, Paintings, Drawings, and Prints. Exh. cat. Museum of Art, Munson-Williams-Proctor Institute, Utica, 1985: 66-69.
•1987—Sarnoff, Charles A. “The Voyage of Life Had a Life of Its Own.” Paper presented to the NGA, January 1987.
•1987—Wilmerding, John. American Marine Painting. Rev. ed. of A History of American Marine Painting, 1968. New York, 1987: 44, 46, 47, color repro. 42.
•1988—Parry, Ellwood C., III. The Art of Thomas Cole: Ambition and Imagination. Newark, London, and Toronto, 1988: 218, 228, 265-268, 270-272, 275, 277, 280, 284-285, 291-298, 301-303, 332, 338, 378.
•1988—Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 11, 17, 102, 103, repro.
•1990—Powell, Earl A., III. Thomas Cole. New York, 1990: 103.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 263.
•1991—Wilmerding, John. American Views: Essays on American Art. Princeton, 1991: 56, 67, repro. 57-60.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 146, repro.
•1994—Truettner, William H., and Alan Wallach. Thomas Cole: Landscape into History. Exh. cat. Natl. Mus. of Am. Art, Wadsworth Atheneum, Hartford; Brooklyn Museum. Washington,1994: 42,46-47,79,82,84,98-101,113,130-133,138,144,149-150,152,154,182, no. 118.
•1995—Apostolos-Cappadona, Diane. The Spirit and the Vision: The Influence of Christian Romanticism on the Development of 19th-Century American Art. Atlanta, 1995: 137-148, fig. 29.
•1996—Kelly, Franklin, with Nicolai Cikovsky, Jr., Deborah Chotner, and John Davis. American Paintings of the Nineteenth Century, Part I. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 95-108, color repro.
•1998—Boeckl, Christine M. “Path/Road/Crossroads.” In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:692.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 308, 311, no. 250, color repro.
From American Paintings of the Nineteenth Century, Part I:
1971.16.4 (2553)
The Voyage of Life: Old Age
•1842
•Oil on Canvas, 133.4 × 196.2 (52½ × 77¼)
•Ailsa Mellon Bruce Fund
•Inscriptions:
oAt Bottom Edge, Left of Center: T. Cole / 1842
oAt Bottom Edge, Right of Center: Rome
Technical Notes
All four paintings were executed on herringbone twill fabric with moderately fine threads and a moderately rough surface. The paintings were lined (apparently for the first time) and the original panel-back stretchers were replaced during treatment in 1970—1971. The presence of unused tack holes and the pattern of wear on the canvas edges suggest that the paintings were originally stretched and painted on slightly larger stretchers, and then restretched by the artist on the panel-backed stretchers. All four paintings have white ground layers; in specific areas of each painting (see individual comments, below) secondary ground layers of different colors were applied. Infrared reflectography reveals only minimal underdrawing. Paint was applied moderately thinly and with low and broad brushstrokes in some areas such as the skies, and more thickly and with some high impasto in details such as the figures and foliage. In general, the paintings are in excellent condition, with only scattered small losses, some craquelure, and minor abrasion. In 1970-1971, discolored varnish was removed and the paintings were restored.
1971.16.4 (Old Age): Secondary ground layers include yellow under the man, the boat, and the angel; red under the dark sky at the top right. Infrared reflectography reveals underdrawing in the central rock formation, with a change of contour near the horizon line; and a possible slight change in the man’s left hand. There is a pentimento of two angels at the bottom of the line of angels in the center of the sky. There are scattered small losses and craquelure throughout.
Description by the Artist:
Fourth Picture: Old Age
Portentous clouds are brooding over a vast and midnight Ocean. A few barren rocks are seen through the gloom—the last shores of the world. These form the mouth of the river, and the boat, shattered by storms, its figures of the hours broken and drooping, is seen gliding over deep waters. Directed by the Guardian Spirit, who thus far has accompanied him unseen, the voyager, now an old man, looks upward to an opening in the clouds, from whence a glorious light bursts forth, and angels are seen descending the cloudy steps, as if to welcome him to the Haven of Immortal Life.
The stream has now reached the Ocean, to which all life is tending. The world, to Old Age, is destitute of interest. There is no longer any green thing upon it. The broken and drooping figures of the boat show that Time is nearly ended. The chains of corporeal existence are falling away; and already the mind has glimpses of Immortal Life. The angelic Being, of whose presence until now the voyager has been unconscious, is revealed to him, and with a countenance beaming with joy, shows to his wondering gaze scenes such as the eye of mortal man has never yet seen.
Dieser Doktorhut hat eine Geschichte - die Dissertation dazu gibt's auf Qucosa: tud.qucosa.de. Die URN der Dissertation lautet urn:nbn:DE:bsz:14-qucosa-147748.
Ein Bild mit Hut sagt mehr als tausend Worte! Deshalb sammeln wir Fotos individueller Dr.Hüte, die mit einer Open Access-Veröffentlichung auf www.qucosa.de verlinkt sind – auf Flickr, im SLUBlog und auf Twitter. Wir möchten damit erreichen, dass noch mehr Forschungsergebnisse elektronisch mit Open Acccess veröffentlicht werden, damit Wissen einfach geteilt und genutzt werden kann. Und Neugier wecken, denn unter jedem Doktorhut stecken Ideen, Anekdoten, Köpfe und die sprichwörtlichen Mühen der Ebene.
Haben Sie bereits beides erworben oder kennen jemand, der jemand kennt, die oder der einen Dr.-Hut mit Open-Access-Link zur eigenen Diss hat? Oder möchten Sie selbst Ihre Doktorarbeit nachträglich online veröffentlichen? Dann bitten wir Sie um eine Nachricht an das Qucosa-Team der SLUB.
Foto: Axel Spickenheuer
Well, I got my results for the semester back today… my exam went well and my dissertation went better, so I may or may not have bought myself a present…
… again …
… OOPS :D
A great art group made this poster for the occasion of my dissertation. Likely someone's (c) has been infringed; ask the authors of the poster :)
For my upcoming dissertation I will have to do a lot of research, so to motivate myself to do it I made a special notebook. The pages are partly printed preparation, partly scrap paper I had at home from various old notebooks and school exercise books.
Histoire des Ordres Militaires ou des Chevaliers (1721) by author Jacques Basnage de Beauval, and Abbe Giustiniani and others.
History of the Chevaliers from 370 AD to 1690 AD). Full original leather with numerous woodcuts engravings. Four volumes: 430p, 441p, 469p, 460p, (In French) .Published in Amsterdam by Pierre Brunei (1721).
Abe books: www.abebooks.com/book-search/title/histoire-des-ordres-mi...
E-book (Google): (Vol 4): books.google.com.au/books/about/Histoire_des_ordres_milit...
July 2019's theme was END.
Thanks so much to Nicework and WeWork The Link for helping us put it all together!
Thanks so much to Kubili Media House for the photos!
“The secret about ‘the end’ is that it actually contains countless possibilities.”
Our Rio de Janeiro chapter chose this month’s exploration of End and Isadora Zeferino illustrated the theme.
Here's a little bit more about our speaker -
Roberto Pombo is a Johannesburg based theatre-maker, educator and performer. He graduated with an Honours degree in Dramatic Arts from WITS University in 2008 and went on to complete a three year intensive training at the acclaimed Helikos International School of Theatre Creation.
Some of his performance credits include Robin Orlin’s Dressed to Kill, Kill to Dress; Jerome Bel's Shirtology; Jemma Kahn's We Didn't Come To Hell For The Croissants; The Play That Goes Wrong, directed by Alan Committie; and Sam Shepard’s Curse of the Starving Class, directed by Sylvaine Strike. He also plays with Anthea Moys on his off days.
Robaby Productions, his theatre company which was created in 2015 with his collaborators Joni Barnard and Toni Morkel, have produced the award winning Father, Father. Father!, which was invited to perform at the Amsterdam Fringe Festival in 2016, and the cult-hit KidCasino!, which has been touring since 2017. Roberto’s passion for theatre is strongly routed in the world of the clown, bouffon and the grotesque.
He recently completed his Masters dissertation in theatre through Wits University and went on to attend a three month pedagogic training at Helikos under the direction of world-renown theatre master, Giovanni Fusetti.
#creativemornings #jhb_cm #cmend
Dieser Doktorhut hat eine Geschichte - die Dissertation dazu gibt's auf Qucosa: tud.qucosa.de. Die URN der Dissertation lautet urn:nbn:DE:bsz:14-qucosa-132747. Foto: Ulrich van Stipriaan/ TUD
Ein Bild mit Hut sagt mehr als tausend Worte! Deshalb sammeln wir Fotos individueller Dr.Hüte, die mit einer Open Access-Veröffentlichung auf www.qucosa.de verlinkt sind – auf Flickr, im SLUBlog und auf Twitter. Wir möchten damit erreichen, dass noch mehr Forschungsergebnisse elektronisch mit Open Acccess veröffentlicht werden, damit Wissen einfach geteilt und genutzt werden kann. Und Neugier wecken, denn unter jedem Doktorhut stecken Ideen, Anekdoten, Köpfe und die sprichwörtlichen Mühen der Ebene.
Haben Sie bereits beides erworben oder kennen jemand, der jemand kennt, die oder der einen Dr.-Hut mit Open-Access-Link zur eigenen Diss hat? Oder möchten Sie selbst Ihre Doktorarbeit nachträglich online veröffentlichen? Dann bitten wir Sie um eine Nachricht an das Qucosa-Team der SLUB.
Marylebone Railway Closure
Here is a letter that I received from Dr. M. K. Hargreaves as I was a member of the Marylebone Travellers' Association.
In 1985, I completed my geography degree dissertation! The Problems of Railway Closures, with reference to the proposed closure of the Marylebone - Amersham line.
'Looking at the frequent services operated today by Chiltern Railways, it seems hard to believe that the rail lines into Marylebone were once seriously considered for closure. Yet back in the mid-1980s under-utilization of the route led to proposals to convert the line into a dedicated bus route, with the site of Marylebone station being converted into a bus station, or sold off to raise an estimated £10 million. Today this proposal and others like it – such as a plan to convert much of what now forms London Overground north of the river into roads – are mostly forgotten. Yet for a time the possibility was very real, and London may have been left with a rail landscape very different from that which exists today.'
See more here: www.londonreconnections.com/2014/near-terminal-case-savin...
'British Rail formally announced plans to close Marylebone on 15 March 1984, pending a statutory consultation process, and closure notices were posted at the station. The proposals proved controversial and faced strong opposition from local authorities and the public, leading to a legal battle which lasted for two years. Despite the pending closure, passenger numbers only dropped by about 400 per day from 1968 levels. The conversion project proved impractical due to the headroom limitations on the line and the closure was quietly dropped.'
The station was revived under the control of the Network SouthEast sector of British Rail. The introduction of the inter-modal and unlimited use Capitalcard (now known as the Travelcard) led to a sharp rise in commuters into London, absorbing the spare capacity at Paddington and Baker Street and eliminating the possibility of Marylebone's services being diverted.'
'Marylebone was reprieved from the threat of closure on 30 April 1986, and an £85 million modernisation and refurbishment programme of the station and its services was granted. This was funded by selling part of the station to developers, including two of the original four platforms at the west of the station and the third span of the train shed. In order to replace these, the central cab road was removed, and two new platforms numbered 2 and 3 were created in its place. The run-down lines into Marylebone were modernised with new signalling and higher line speeds. In 1991, the fleet of Class 115 trains on local services was replaced by Class 165 Turbo trains, and service frequencies were increased. Services to Banbury were extended to the reopened Birmingham Snow Hill station in 1993, creating the first long-distance service into Marylebone since 1966. Initially this service ran at two-hourly intervals, but it proved popular and was increased to an hourly frequency in 1994.'
See more here: en.wikipedia.org/wiki/Marylebone_station#Closure_proposals
I like to think that my dissertation helped save the station and line in some small way :)
Source: Thomasius, Christian, 1655-1728. Dissertatio inauguralis juridica de desertione ordinis ecclesiastici (Halae: Typis Christoph. Andreae Zeitleri, [1707?]); 21 cm. Call # German dissertations #13.
This concept map developed by Jason Rhode displays the predominant themes in the literature that he reviewed concerning social networks as part of his dissertation literature review. The complete corresponding reference list is posted at www.citeulike.org/user/jrhode/tag/disslit. Further details regarding Jason Rhode's dissertation are posted at www.jasonrhode.com/blog/dissdigest/
Dieser Doktorhut hat eine Geschichte - die Dissertation dazu gibt's auf Qucosa: tud.qucosa.de. Die URN der Dissertation lautet urn:nbn:DE:bsz:14-qucosa-38610.
.
Ein Bild mit Hut sagt mehr als tausend Worte! Deshalb sammeln wir Fotos individueller Dr.Hüte, die mit einer Open Access-Veröffentlichung auf www.qucosa.de verlinkt sind – auf Flickr, im SLUBlog und auf Twitter. Wir möchten damit erreichen, dass noch mehr Forschungsergebnisse elektronisch mit Open Acccess veröffentlicht werden, damit Wissen einfach geteilt und genutzt werden kann. Und Neugier wecken, denn unter jedem Doktorhut stecken Ideen, Anekdoten, Köpfe und die sprichwörtlichen Mühen der Ebene.
Haben Sie bereits beides erworben oder kennen jemand, der jemand kennt, die oder der einen Dr.-Hut mit Open-Access-Link zur eigenen Diss hat? Oder möchten Sie selbst Ihre Doktorarbeit nachträglich online veröffentlichen? Dann bitten wir Sie um eine Nachricht an das Qucosa-Team der SLUB.
Dissertations of the Prophecies by Thomas Newton 1758.
Which have remarkably been fulfilled and at this time are fulfilling in the world.
Dr. Thomas Newton, Chaplain to His Majesty and Her Royal Highness the Princess Dowager of Wales.
Printed for J. And R. Tonson in the Strand, London. Half Leather on marbled boards, 443 pages.
"Marylebone Railway Closure
A contemporary newspaper cutting from 16th Nov 1985.
In 1985, I completed my geography degree dissertation! The Problems of Railway Closures, with reference to the proposed closure of the Marylebone - Amersham line.
'Looking at the frequent services operated today by Chiltern Railways, it seems hard to believe that the rail lines into Marylebone were once seriously considered for closure. Yet back in the mid-1980s under-utilization of the route led to proposals to convert the line into a dedicated bus route, with the site of Marylebone station being converted into a bus station, or sold off to raise an estimated £10 million. Today this proposal and others like it – such as a plan to convert much of what now forms London Overground north of the river into roads – are mostly forgotten. Yet for a time the possibility was very real, and London may have been left with a rail landscape very different from that which exists today.'
See more here: www.londonreconnections.com/2014/near-terminal-case-savin...
'British Rail formally announced plans to close Marylebone on 15 March 1984, pending a statutory consultation process, and closure notices were posted at the station. The proposals proved controversial and faced strong opposition from local authorities and the public, leading to a legal battle which lasted for two years. Despite the pending closure, passenger numbers only dropped by about 400 per day from 1968 levels. The conversion project proved impractical due to the headroom limitations on the line and the closure was quietly dropped.'
The station was revived under the control of the Network SouthEast sector of British Rail. The introduction of the inter-modal and unlimited use Capitalcard (now known as the Travelcard) led to a sharp rise in commuters into London, absorbing the spare capacity at Paddington and Baker Street and eliminating the possibility of Marylebone's services being diverted.'
'Marylebone was reprieved from the threat of closure on 30 April 1986, and an £85 million modernisation and refurbishment programme of the station and its services was granted. This was funded by selling part of the station to developers, including two of the original four platforms at the west of the station and the third span of the train shed. In order to replace these, the central cab road was removed, and two new platforms numbered 2 and 3 were created in its place. The run-down lines into Marylebone were modernised with new signalling and higher line speeds. In 1991, the fleet of Class 115 trains on local services was replaced by Class 165 Turbo trains, and service frequencies were increased. Services to Banbury were extended to the reopened Birmingham Snow Hill station in 1993, creating the first long-distance service into Marylebone since 1966. Initially this service ran at two-hourly intervals, but it proved popular and was increased to an hourly frequency in 1994.'
See more here: en.wikipedia.org/wiki/Marylebone_station#Closure_proposals
I like to think that my dissertation helped save the station and line in some small way :)