Washington County, TN with a road map of Johnson City and surrounding areas on the back. Includes street index and subdivision index; map legend; business directory; and advertisements. Scale 1 in = 1.75 miles for the Washington County map. / https://dc.etsu.edu/rare-maps/1188/thumbnail.jpg

Includes street index. Insert on back with text indicating "What to do and see within the Johnson City area." Copyright Champion Map Corporation. Distributed by Johnson City Chamber of Commerce. Undated, but likely post-1963. No scale indicated. / https://dc.etsu.edu/rare-maps/1191/thumbnail.jpg

Includes street index. Insert on back with text indicating "What to do and see within the Johnson City area." Copyright Champion Map Corporation. Distributed by Johnson City Chamber of Commerce. Undated, but likely post-1963. No scale indicated. / https://dc.etsu.edu/rare-maps/1192/thumbnail.jpg

No scale provided. Undated pocket map of Washington County indicating Johnson City's roads. / https://dc.etsu.edu/rare-maps/1195/thumbnail.jpg

No scale provided. Undated pocket map of Washington County indicating Johnson City's roads. / https://dc.etsu.edu/rare-maps/1196/thumbnail.jpg

L’Archivio Graziano Arici est une archive photographique d’un genre résolument singulier ; elle réunit des enjeux et ou assemble des finalités qui ne se rejoignent que partiellement. Archive courante des photographies de Graziano Arici (photographe né en 1949 à Venise, résidant actuellement à Arles, et toujours en activité), fonctionnant comme une base d’images permettant au photographe d’accumuler et de vendre ses productions, elle est aussi, dès le départ, conçue comme une forme-conservatoire destinée, dans son ensemble, par son auteur même, à représenter une époque, à rester comme un témoignage porté par un regard sur une époque. Par l’acquisition de fractions d’archives photographiques, la mise en place d’une politique de préservation des images, et par ses créations, son travail plastique, le photographe se fait tout à la fois héritier d’un domaine précaire, mais aussi son passeur. Dans ce cas particulier, en effet, le rassemblement qu’est l’archive photographique se trouve être, non seulement, un lieu d’origine, premier, mais également l’endroit et le moment d’une recomposition, d’un remontage de productions antérieures, donnant ainsi naissance à un art consommé de l’assemblage, dans un lieu devenu paradoxal. / The Archive Graziano Arici is a definitely unique photograph Archive of its kind. It concentrates issues, or combine objectives which only partially meet. The standard Archive of Graziano Arici’s photograph (Arici is a photographer born in Venice, now living in Arles and still working) first acting as a picture-base which enables the photographer to gather together and sell his productions, is also, from the outset, designed as a conservation device, and by its author himself intended in its entirety to represent particular times and bear testimony to individual perceptions of those times ; by acquiring fractions of photograph archives, and setting up a picture-conservation policy, but through his own creation and plastic work as well, the photographer becomes heir to a fleeting world, and his go-between, too, giving birth to an art of assembling, and his archive becoming a paradoxical place.

Indigenous communities around the world are losing their languages at accelerating rates to the effects of the climate crisis and global capitalism. To preserve samples of these languages facing endangerment and extinction, samples of language use (e.g., audio-video recordings, photographs, textual transcriptions, translations, and analyses) are created and stored in language archives: repositories intended to provide long-term preservation of and access to language materials. In recent years, archives of all kinds are considering their origins and audiences. With the emergence of the community paradigm of archiving framework, the roles of archivists, communities, and institutions are under re-examination. Language archives too are reflecting this trend, as it becomes more common for speakers of Indigenous languages (also known as language communities) to document and archive their own languages and histories. As the landscape of language archiving expands, we now see increased emphasis on the re-use of archival material, particularly to support language revitalization—efforts to increase and maintain the use of the language. There are calls for language documentation (and, by extension, language archiving) to prioritize revitalization efforts. This dissertation is a case study of one language archive collection: the Boro Language Resource in the Computational Resource for South Asian Languages (CoRSAL) archive. The Boro Language Resource was created by Boro community members who are both experienced in linguistics and pedagogy and active in language revitalization efforts including research, educational, and cultural initiatives. This case study explores how the collection was designed, and how the material will be used in future language revitalization activities. Because this collection exemplifies the view of language documentation and archiving as revitalization-driven practices, the findings of this case study stand to inform future community archiving efforts aiming to support language revitalization.

No description available.

Washington, D.C. is a city that is designed to serve an entire nation; yet, as a result of this, its own history and people can seem to be lost in the shadow of the federal city. With an abundance of museums throughout the city, the museum that is needed, but no longer exists, is one for the District itself. This omissionleaves a tremendous gap in historical knowledge and no representation focused on the character of the city itself. How can we fulfill this need in a way that is unique to this specific city and would provide more than an exhibit by allowing people to be surrounded by and contribute to the accumulated evolution of their history? Adaptive reuse encourages the gradual unearthing of historical inspiration, which allows representation of existing and past local populations. For my thesis, I sought to fulfill this need by turning to the existing fabric of the city, learning from it, and eventually employing adaptive reuse techniques to unify the existing framework with the new program. / Master of Architecture / In a city such as Washington, D.C., which is filled with history and which focuses on historical knowledge and representation, the history and fabric of the city itself can seem to be overshadowed. By looking at the existing character of D.C. and its architecture as the foundation and using adaptive reuse techniques, the neighborhoods could be brought to the forefront and the true backbone of D.C. could shine. This would better represent a city that has been much more than a tourist attraction, but a home, and thus represent the people who have created this rich history. The people within the District need an outlet to regain ownership of their history, create a place to learn about their city, and share what makes the larger District so unique. For my thesis, I sought to explore this history and provide this outlet by repurposing an existing building within the city.

Cette thèse propose de porter une réflexion génétique sur les corpus d’archives cinématographiques à travers la notion centrale de processus d’écriture filmique. L’utilité de ce concept est de servir de cadre permettant d’observer les différentes interactions entre les différentes écritures filmiques selon les étapes de la fabrication d’un film, cela dans la perspective de montrer le lien qui existe entre les « choix » de l’auteur et les conditions de productions du film. L’entreprise marque sa filiation avec la génétique littéraire dont les concepts et méthodes ont été adaptés, transformés au contact des spécificités des genèses cinématographiques. A travers la notion de scripteur filmique, la pluralité de l’instance « auteur » est mise en évidence tout comme la notion d’avant-texte qui est dépendante du stade de la genèse que l’on choisit d’étudier. [etc.] / This thesis proposes to broach on a genetic reasoning about the film archives corpus via the central notion of filmic writing process. The usefulness of this concept is to provide a framework for observing the different interactions between the different film writingsaccording to the steps of making a film, in order to show the link between " the author’s “choices " and the conditions of production of the film. This undertaking marks its affiliation with the literature genetics whose concepts and methods have been adapted and transformed in contact with the specificities of the genesis of film. Through the notion of “film writer”, the plurality of the instance "author" is highlighted as the notion of pre-text that is dependent on the stage of genesis that one chooses to study. [etc.]