Journal articles: 'Brooklyn Bridge'

1

Fenton, Rachel J. "Brooklyn Bridge." English: Journal of the English Association 66, no. 255 (2017): 328–29. http://dx.doi.org/10.1093/english/efx036.

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Sheehy, Colleen J. "Monument and Miniature: Brooklyn Bridge and Centennial Souvenirs." Prospects 11 (October 1986): 273–81. http://dx.doi.org/10.1017/s0361233300005391.

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On May 24, 1983 Americans celebrated the Centennial of the Brooklyn Bridge's opening. On that day in New York City over two million people joined in the Rededication Day activities; millions more watched the fireworks display on television. During the months preceding Rededication Day, numerous magazines had featured articles on the Bridge; Ken Burns' award-winning documentary was broadcast on PBS; New York City museums opened exhibitions on the Bridge; the New York Academy of Sciences held a Bridge symposium; new artistic works with the Bridge as their subject were created; and a collection of Centennial souvenirs was produced. Rededication Day itself marked only the beginning of six months of Bridge-related activities. During 1983, the Brooklyn Bridge was as much “in the air” as it was in the East River. This kind of interest and affection can be described in terms applied to similar phenomena: Brooklyn Bridgephilia; Brooklyn Bridge Fever; Brooklyn Bridgemania.

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Smith, N. "Classic Project: Brooklyn Bridge." Engineering & Technology 12, no. 9 (October 1, 2017): 92–93. http://dx.doi.org/10.1049/et.2017.0935.

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Yegian, Mishac K., Serafim Arzoumanidis, Bryan P. Strohman, Kamal Kishore, and Jay Patel. "Appraising the Brooklyn Bridge." Civil Engineering Magazine Archive 79, no. 2 (February 2009): 38–49. http://dx.doi.org/10.1061/ciegag.0000212.

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Gonzalez, Evelyn. "Richard Haw.The Brooklyn Bridge: A Cultural History.:The Brooklyn Bridge: A Cultural History." American Historical Review 112, no. 4 (October 2007): 1192–93. http://dx.doi.org/10.1086/ahr.112.4.1192a.

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Elizabeth Bush. "Brooklyn Bridge (review)." Bulletin of the Center for Children's Books 62, no. 2 (2008): 74–75. http://dx.doi.org/10.1353/bcc.0.0395.

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Serzan, Kenneth P. "Rehabilitation of the Brooklyn Bridge." Structural Engineering International 5, no. 4 (November 1995): 244–46. http://dx.doi.org/10.2749/101686695780600926.

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Smith, Nick. "Washington Roebling: Bridge Builder." Engineer 300, no. 7919 (July 2020): 32–33. http://dx.doi.org/10.12968/s0013-7758(22)90518-5.

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9

Brady, Sean. "The Brooklyn Bridge: tragedy overcome (part 2)." Structural Engineer 93, no. 4 (April 1, 2015): 26–28. http://dx.doi.org/10.56330/kkfa5096.

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Brady, Sean. "The Brooklyn Bridge: tragedy overcome (part 1)." Structural Engineer 93, no. 3 (February 27, 2015): 28–30. http://dx.doi.org/10.56330/mhfi7968.

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To mark International Women's Day, Sean Brady presents the first of a two-part article exploring the construction of the Brooklyn Bridge and the crucial role Emily Warren Roebling played in making it a reality.

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Stern, John, and Carrie Wilson. "Aesthetic Realism and the Beauty of the Brooklyn Bridge." ICONI, no. 2 (2019): 128–36. http://dx.doi.org/10.33779/2658-4824.2019.2.128-136.

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This article is about one of the world’s most celebrated structures — the Brooklyn Bridge: what makes it beautiful, and why it has been loved by millions of people. It is based on this landmark principle, stated by Eli Siegel — poet, critic, and founder of the philosophy Aesthetic Realism: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” Beginning with the effect of this bridge on such artists and poets as Joseph Stella and Hart Crane, it then describes each step of the design and construction of this magnifi cent structure, showing how the making one of opposites — Power and Grace, Heaviness and Lightness, Firmness and Flexibility, Simplicity and Complexity — is what makes it a great work of both engineering and art. For example, in Bridges and Their Builders, Steinman and Watson write: “The pierced granite towers, the graceful arc of the main cables, the gossamer network of lighter cables, and the arched line of the roadway combine to produce a matchless composition, expressing the harmonious union of power and grace”. Doesn’t every person want to be at once strong and graceful? The authors describe how, as people are affected by the beautiful sensible relation of opposing forces working together for one purpose in the Brooklyn Bridge, they feel more hopeful that these same opposites can make sense in their own lives.

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Robert S. Fogarty. "Editorial: The Brooklyn Bridge and Other Transitions." Antioch Review 75, no. 4 (2017): 437. http://dx.doi.org/10.7723/antiochreview.75.4.0437.

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Doig, Jameson W. "The Brooklyn Bridge: A Cultural History (review)." Technology and Culture 47, no. 4 (2006): 847–48. http://dx.doi.org/10.1353/tech.2006.0222.

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Al-Qassaby, Neveen Diaa El-Deen. "Image as a Symbol: The Symbolic Connotations of Brooklyn Bridge in the Poems of Vladimir Mayakovsky’s “Brooklyn Bridge,” Hart Crane’s “To Brooklyn Bridge” and Marianne Moore’s “Granite and Steel”." CDELT Occasional Papers in the Development of English Education 74, no. 1 (April 1, 2021): 3–22. http://dx.doi.org/10.21608/opde.2021.195302.

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Mark, Robert, Margaret Latimer, Brooke Hindle, and Melvin Kranzberg. "Bridge to the Future: A Centennial Celebration of the Brooklyn Bridge." Technology and Culture 27, no. 2 (April 1986): 324. http://dx.doi.org/10.2307/3105168.

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Padilla, D. K. "Brooklyn Bridge Park: A Win-Win for the People of Brooklyn and the Environment." Ecological Restoration 30, no. 1 (March 1, 2012): 78. http://dx.doi.org/10.3368/er.30.1.78.

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Zhao, Pu. "A Short Comment on Hart Crane’s Poem To Brooklyn Bridge." Theory and Practice in Language Studies 5, no. 7 (July 25, 2015): 1489. http://dx.doi.org/10.17507/tpls.0507.23.

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Siegel, Steffen. "Spargel, Pumps und Brooklyn Bridge. Zur Zukunft des vergleichenden Sehens." Zeitschrift für Ideengeschichte 10, no. 2 (2016): 25–40. http://dx.doi.org/10.17104/1863-8937-2016-2-25.

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Zu einer Geschichte «neuer Medien» gehört immer auch eine Geschichte der «nicht mehr ganz so neuen Medien». Diese älteren aber verschwinden nicht einfach hinter den jüngeren, sie stellen vielmehr Fragen ganz eigener Art. Nur zwei Beispiele: Wie soll man umgehen mit all den Text- und Bildmedien, die gerade noch im Zentrum unseres Gebrauchs standen, nun aber einen so dramatischen Kursverfall erleiden? Wer läuft noch ans Regal zu einem alten Lexikon, um nachzuschlagen, was sich vom Schreibtisch aus auch im Internet finden lässt? Und wer macht sich die Mühe, in einer Diathek als Kleinbild-Dia herauszusuchen, was man anhand einer Bilddatenbank jederzeit auch als Digitalisat am Computer aufrufen kann? Genau besehen handelt es sich beim Gegenüber von Bibliothek und Mediathek aber um einen schiefen Vergleich.

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Urbanski, M., and R. Gleeson. "Strategies for Enhancing Marine (and Human) Habitat at Brooklyn Bridge Park." Ecological Restoration 30, no. 1 (March 1, 2012): 71–75. http://dx.doi.org/10.3368/er.30.1.71.

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20

Stuart, John A. "GENDER RECONFIGURED: Emily Roebling and the Construction of the Brooklyn Bridge." Architectural Theory Review 3, no. 1 (April 1998): 23–34. http://dx.doi.org/10.1080/13264829809478330.

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Kranakis, Eda Fowlks. "Bridge to the Future: A Centennial Celebration of the Brooklyn Bridge. Margaret Latimer , Brooke Hindle , Melvin Kranzberg." Isis 76, no. 4 (December 1985): 626–27. http://dx.doi.org/10.1086/354011.

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22

HAW, RICHARD. "American History/American Memory: Reevaluating Walt Whitman's Relationship with the Brooklyn Bridge." Journal of American Studies 38, no. 1 (April 2004): 1–22. http://dx.doi.org/10.1017/s0021875804007881.

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No one did more to sanctify and enshrine the image of Abraham Lincoln than Walt Whitman. The poet never met the president, but he embraced his image and claimed him as his own. In his “Death of Abraham Lincoln” speech, delivered on numerous occasions during the last 20 years of his life, Whitman involved himself in the cultural work of national definition, of posterity and legacy. He helped bridge the gap between complex personal history and official public memory. In service to the larger, national idea of union, democracy and selfless Americanism, Whitman's Lincoln, when compared to, for example Herndon's Life of Lincoln (1889), razed the contours of ambiguity and established the exemplary image of the “Martyr Chief.” The connection is both apt and ironic. What Whitman did for Lincoln in the aftermath of his death, others would do for the poet. Since Whitman's death in 1892, the poet's life and ideas have often been radically simplified; on other occasions his words have been recontextualized and appropriated to support a variety of different causes, concerns and ideologies. A driving factor in this process has been that, like Lincoln, Whitman's name carries with it a certain legitimacy. To evoke the approval of Whitman is to learn of the authority of an ideal, more perfect, America. And where Lincoln's name is inseparable from the American Civil War, Whitman has become most strongly associated with the metropolitan idea of New York, and Brooklyn in particular.

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23

Weidenaar, Reynold. "Composing with the Soundscape of Jones Street." Organised Sound 7, no. 1 (April 2002): 65–72. http://dx.doi.org/10.1017/s1355771802001103.

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This article traces the audio production and soundscape composition for a multimedia work for any solo instrument, colour video, and digital sound. There is an account of earlier soundscape recordings of the Brooklyn Bridge. A description of the visual images of Jones Street is followed by a portrayal of the street life and consequent soundscape. There is a report on stereo recording techniques, the sounds that were gathered, and the sounds that were selected as source material. A discussion of philosophical and aesthetic considerations precedes a detailed explanation of the digital processing and composing methods.

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rudi, jøran. "‘from a musical point of view, the world is musical at any given moment’: an interview with bill fontana." Organised Sound 10, no. 2 (August 2005): 97–101. http://dx.doi.org/10.1017/s1355771805000737.

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bill fontana is an american composer and artist who has been working with large-scale sound installations since the 1970s. in his installations he recontextualises sounds by transmitting them from one location to another, and uses the transported sounds as acoustical ‘overlay’, masking the sounds naturally occurring in the installation spaces. his installations often occur in central urban environments, and he has, for example, been commissioned in conjunction with the fifty-year anniversary of d-day (1994, paris), and the 100-year anniversary of brooklyn bridge (1983, new york city).

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Able, K. W., and T. M. Grothues. "Commentary of Strategies for Enhancing Marine (and Human) Habitat at Brooklyn Bridge Park." Ecological Restoration 30, no. 1 (March 1, 2012): 76. http://dx.doi.org/10.3368/er.30.1.76.

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Taghon, G. L. "Commentary of Strategies for Enhancing Marine (and Human) Habitat at Brooklyn Bridge Park." Ecological Restoration 30, no. 1 (March 1, 2012): 77. http://dx.doi.org/10.3368/er.30.1.77.

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27

Trax, Shirt. "No more mind games." Organised Sound 6, no. 3 (December 2001): 185–91. http://dx.doi.org/10.1017/s1355771801003041.

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The Spring sunshine makes the blind a perfect glowing square, clearly much later than the twenty-three minute duration of the live recording I set in motion, as I lay on my friend's bed alone, drunk on vodka and tonic and giddy with big city kicks after the very . . . Manhattan evening I was taken on. It was dark, I was too full of it to take the subway back to Brooklyn, I remember the cab ride over the bridge, no dog to greet me as I unlocked the heavy steel door. I was laughing at Alan Vega complaining about not being allowed to smoke, there was booing . . . ‘Frankie Teardrop’ had been glitching over Brussels for hours.

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Hussein, Mohamed, and Tarek Sayed. "Validation of an Agent-based Microscopic Pedestrian Simulation Model at the Pedestrian Walkway of Brooklyn Bridge." Transportation Research Record: Journal of the Transportation Research Board 2672, no. 35 (May 14, 2018): 33–45. http://dx.doi.org/10.1177/0361198118774182.

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The objective of this study is to validate a recently developed agent-based pedestrian simulation model, using data collected at the pedestrian walkway of Brooklyn Bridge. Video data were collected at the walkway and the trajectories of 294 pedestrians were extracted using computer vision. A genetic algorithm was applied to identify the optimum model parameters that minimize the error between the simulated and the actual trajectories of the calibration dataset. The simulation model was then applied to reproduce the trajectories of 214 pedestrians, considered for validation. The validation results showed that the model was capable of producing pedestrian trajectories with high accuracy, as the average location error between actual and simulated trajectories was for 0.32 m, while the average speed error was 0.06 m/s. Macroscopic results of the model were assessed by comparing the density–speed relationship in both actual data and the simulation. Finally, the accuracy of the model in reproducing the actual behavior of pedestrians during different interactions was evaluated. Results showed that the model was capable of handling these interactions with high accuracy, ranged between 79% and 100%.

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Young, Sean D., Qingpeng Zhang, Daniel Dajun Zeng, Yongcheng Zhan, and William Cumberland. "Social Media Images as an Emerging Tool to Monitor Adherence to COVID-19 Public Health Guidelines: Content Analysis." Journal of Medical Internet Research 24, no. 3 (March 3, 2022): e24787. http://dx.doi.org/10.2196/24787.

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Background Innovative surveillance methods are needed to assess adherence to COVID-19 recommendations, especially methods that can provide near real-time or highly geographically targeted data. Use of location-based social media image data (eg, Instagram images) is one possible approach that could be explored to address this problem. Objective We seek to evaluate whether publicly available near real-time social media images might be used to monitor COVID-19 health policy adherence. Methods We collected a sample of 43,487 Instagram images in New York from February 7 to April 11, 2020, from the following location hashtags: #Centralpark (n=20,937), #Brooklyn Bridge (n=14,875), and #Timesquare (n=7675). After manually reviewing images for accuracy, we counted and recorded the frequency of valid daily posts at each of these hashtag locations over time, as well as rated and counted whether the individuals in the pictures at these location hashtags were social distancing (ie, whether the individuals in the images appeared to be distanced from others vs next to or touching each other). We analyzed the number of images posted over time and the correlation between trends among hashtag locations. Results We found a statistically significant decline in the number of posts over time across all regions, with an approximate decline of 17% across each site (P<.001). We found a positive correlation between hashtags (#Centralpark and #Brooklynbridge: r=0.40; #BrooklynBridge and #Timesquare: r=0.41; and #Timesquare and #Centralpark: r=0.33; P<.001 for all correlations). The logistic regression analysis showed a mild statistically significant increase in the proportion of posts over time with people appearing to be social distancing at Central Park (P=.004) and Brooklyn Bridge (P=.02) but not for Times Square (P=.16). Conclusions Results suggest the potential of using location-based social media image data as a method for surveillance of COVID-19 health policy adherence. Future studies should further explore the implementation and ethical issues associated with this approach.

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Westgate, J. Chris. "“I'll Show You the Bowery from Chatham Square to the Cooper Institute”: The Entertainment and Ethics of Slumming in the Theatre." Theatre Survey 56, no. 2 (May 2015): 195–212. http://dx.doi.org/10.1017/s0040557415000071.

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In 1894, Robert Neilson Stephens's playOn the Bowerydebuted at Haverly's Fourteenth Street Theatre in New York City, with Steve Brodie, who had won fame for purportedly jumping from the Brooklyn Bridge years earlier, playing himself. Although Brodie's entrance is delayed until the second act, he rather quickly commandeers the plot and leads the rest of the characters through the Bowery and across the Brooklyn Bridge (where he reenacts his jump to enthusiastic audiences) to an East River pier, where he leaps into a burning building to rescue one of those perpetually distressed damsels from the 1890s. Naturally, mainstream newspapers were rather critical ofOn the Bowery’s literary merits. TheNew York Heraldclaimed that the play made “no dramatic pretensions,” and thePhiladelphia Inquireremphasized that it left the critic not “overly impressed with the play as a play.” TheNew York Timestook an especially harsh line. Lamenting the play's “threadbare plot” and “no originality,” and overreliance on Brodie's celebrity, its critic used the production as an opportunity to advance rigid delineations of highbrow and lowbrow, upper class and lower class, and literature and leisure. For what this reviewer described as the “Brodie audience,” the working-class spectators who crowded the gallery and boisterously cheered Brodie's every feat,On the Bowerygratified a yearning for escapism and entertainment.On the Bowerywas not, according to theTimes, geared to what the reviewer described as the “Booth audience,” the middle- and upper-class spectators who normally prized Edwin Booth's Shakespearean performances: “even the management does not take [Brodie] seriously.” If box office success is any measure, however, many from both the Booth and Brodie audiences did takeOn the Boweryseriously. Productions of the play toured for nearly three years, and a number of plays emulatedOn the Boweryduring the next five years. If Bruce McConachie is right that what is relevant is not “whether . . . melodramas were any good” but what audiences were watching and what meanings they were constructing from these plays, then theatre history should takeOn the Boweryseriously too.

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Cromley, Elizabeth C. "Review: Two Cities: New York and Brooklyn the Year the Great Bridge Opened by Margaret Latimer." Journal of the Society of Architectural Historians 44, no. 3 (October 1, 1985): 289–90. http://dx.doi.org/10.2307/990080.

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Talebinejad, Iman, Chad Fischer, and Farhad Ansari. "A hybrid approach for safety assessment of the double span masonry vaults of the Brooklyn Bridge." Journal of Civil Structural Health Monitoring 1, no. 1-2 (February 10, 2011): 3–15. http://dx.doi.org/10.1007/s13349-011-0003-y.

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Andreoni, Kenneth A. "“Live Kidney Donors Live Longer” and Would You Like to Buy Part of a Bridge in Brooklyn?" Archives of Surgery 145, no. 7 (July 1, 2010): 701. http://dx.doi.org/10.1001/archsurg.2010.109.

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Reynolds, Marie J. "Sharing Teaching Ideas: How Big Was That? Parade Prompts Turkey Talk." Mathematics Teacher 89, no. 8 (November 1996): 656–57. http://dx.doi.org/10.5951/mt.89.8.0656.

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Who would ever think that mathematics is alive and well in the minds and pens of the writers of the Macy's Thanksgiving Day Parade commentary? While the turkey was in the oven and its delicious aroma was wafting throughout the house, I settled down to watch some of the floats and bands appearing in the Macy's parade. I snapped my fingers to the catchy Broadway show tunes, tapped my feet to the rhythm of the bass drums in the marching bands, oohed and aahed as the brilliantly decorated floats passed on my television screen, and marveled at the size of the massive character balloons. Soon I recognized a pattern in the commentator's description of each balloon and began to scribble them down: “as large as two doors,” “bigger than a bedroom,” and “barely fits under the Brooklyn Bridge.” Estimation and problem solving—mathematics on Thanksgiving Day!

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Gonzalez, E. "RICHARD HAW. The Brooklyn Bridge: A Cultural History. New Brunswick, N.J.: Rutgers University Press. 2005. Pp. xi, 307. $26.95." American Historical Review 112, no. 4 (October 1, 2007): 1192–93. http://dx.doi.org/10.1086/ahr.112.4.1192-a.

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Zheng, Lai, Tarek Sayed, and Yanyong Guo. "Investigating factors that influence pedestrian and cyclist violations on shared use path: An observational study on the Brooklyn bridge promenade." International Journal of Sustainable Transportation 14, no. 7 (March 1, 2019): 503–12. http://dx.doi.org/10.1080/15568318.2019.1575495.

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WHALAN, MARK. "Jean Toomer, Technology, and Race." Journal of American Studies 36, no. 3 (December 2002): 459–72. http://dx.doi.org/10.1017/s0021875802006916.

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The close relationship between machine technology and the literature of American modernism has long been acknowledged. Indeed, it is hard to imagine Fitzgerald's work without its hyper-materialised cars (and metaphysically potent car crashes), or Dos Passos's USA without the representational possibilities of the camera eye. Other writers in the 1920s had equally famous fascinations with what cultural producers and critics often abstracted into the concept of “the machine”; William Carlos Williams described poetry as being “machines made of words,” and Hart Crane used one of the triumphs of American engineering, the Brooklyn Bridge, as the organising metaphor and structuring principle of his poem The Bridge, identifying his theme as “the conquest of space and knowledge.”1 Of course, writers' fascination with how machinery or technological innovation was effecting social change had not begun with modernism. Yet often goaded by the speed of innovation in the visual arts, some American modernist writers responded to what Cecelia Tichi has called a “gears-and-girders” world by rethinking their relation to time, space, communication and economy with an unprecedented radicalism. And in the 1920s – a decade which saw more cars in Manhattan than in the whole of Britain, Lindbergh's pioneering flight across the Atlantic, and the USA move decisively ahead of Europe in industrial productivity – this rethinking had a particularly pressing urgency. Jean Toomer was one of the writers who participated in this exercise, engaging with European art movements such as Dadaism and Futurism and their proposals for new relations between machine design and literary aesthetics.

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Steinert, Heinz. "“Is There Justice? No — Just Us!”." Israel Law Review 25, no. 3-4 (1991): 710–28. http://dx.doi.org/10.1017/s0021223700010700.

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I found the slogan used as the title of this paper one sunny and cold Sunday morning in winter, 1985, on a vertical steel bar in the middle of the Brooklyn Bridge, above the East River, written with that ugly black ink that has replaced the bright colours of earlier years of graffiti in New York. Still, in contrast to the meaningless scribblings or markings of warrior names usually found in Manhattan these days, the message is nearly a joyful one: there is no point in expecting or demanding a “just society” from a state or other authorities — we will have to look after that ourselves and we can do it. By implication the writer also tells us what popular demands for “justice” really mean: an end to injustice. They are not “positive” demands, but in fact criticisms of some state of affairs or measures taken (or not taken) by the authorities: we know very well what is not just, even though we may not know what a “just” society should look like, and may even be sceptical whether we would like to live in one.

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Kolisnychenko, Anna V., and Svitlana V. Kharytska. "INDIAN MYTHS AS THE BASIS OF HART CRANE’S MYTHMAKING." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 89–104. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-7.

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The article focuses on the specific significance of the myths of the indigenous peoples of North and South America for the formation of a special artistic creation of Crane’s “myth to God” (the definition of the poet). The purpose of the research is to identify and analyze the ancient mythologies used by Hart Crane to construct the future of America, which will be inspired by the new myth. This new myth, according to Crane, will emerge from the synthesis of all mythologies existing on the American continent, the achievements of all cultures whose peoples participated in the discovery and development of the New World, and the incredible success in the development of civilization that the Americans achieved. Crane’s poetry space is homogeneous. Probably somewhat eclectic, but homogeneity is achieved by a purposeful orientation to the subordination of all components to the American idea, that is, Crane’s space is a poetic melting pot. In accordance with the indicated homogeneity, in conducting the research the synergy of literary methods is used: biographical, which made it possible to follow the works from the initial idea to their creation; cultural-historical, due to which the characteristic features of the era of modernism are identified in the poet’s works; comparative, which makes it possible to compare the elements of work of different poets (not only modernists, but also remotely distant literary periods); ritual-mythological, intended for direct analysis of the paradigm of Indian myths; historical-functional, which made it possible to identify the reception of Crane’s works from total non-acceptance to the granting of program status; systemic-holistic, to which all the above-mentioned methods are subordinated, because it helps to highlight the main core (idea) of works (Crane’s “myth to God”), to which all other images, motives, plots, etc. are subordinated. In Hart Crane’s works, almost every word holds a mythological potential, it always functions in its original meaning, based on which the mythical context prevails. It can be the name of Pocahontas or the name of Atlantis, stirring up myths about the Indians and the conquest of America by the whites, or about the love of Pocahontas and Captain Smith, about Plato’s mythological Atlantis and the migration of the first settlers across the Atlantic, which in Crane’s time had also become a myth. Or maybe the seagull is one of Crane’s favorite images: an ordinary bird that circles over the Brooklyn Bridge and a permanent character in Native American mythology, in which the boundlessness of freedom and the ingenious mind of a trickster are combined. That is one verbal marker of Crane – the seagull – holds and simultaneously produces several meanings, from concreteness to the symbolism of the myth, as the majestic image of the Brooklyn Bridge, which removed the mythological dimension, became the new myth created by Hart Crane.

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Wissner, Reba. "From the Brooklyn Bridge to Pennsylvania Highway 11: Bernard Herrmann’s score for “the Hitch-Hiker” from radio drama to The Twilight Zone." Historical Journal of Film, Radio and Television 41, no. 2 (March 27, 2021): 394–426. http://dx.doi.org/10.1080/01439685.2021.1901964.

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Greenberg, Ken. "Toward the green city through revitalizing major obsolescent urban lands." Ekistics and The New Habitat 71, no. 424-426 (June 1, 2004): 30–34. http://dx.doi.org/10.53910/26531313-e200471424-426218.

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The author, an architect and urban designer, has played a leading role on a broad range of assignments in highly diverse urban settings in North America and Europe. Much of his work focuses on the rejuvenation of downtowns, waterfronts, neighborhoods, and campus master planning. His projects include the award-winning Saint Paul on the Mississippi Development Framework, the Brooklyn Bridge Park on the East River in New York, the East River waterfront in Lower Manhattan, the Fan Pier in Boston, the Southwest and Southeast Waterfronts in Washington, DC, the Vision Plan for Washington DC, Kendall Square and North Point/Lechmere Square in Cambridge, the Downtown Hartford Economic and Urban Design Action Strategy and the Downtown Master Plan for Fort Lauderdale. Current efforts include the " Big Picture for the Big Dig": the Rose Kennedy Greenway in Boston, the renewal of Regent Park, a major public housing project in Toronto; the implementation of the Convention District Master Plan in San Juan, P.R., and Urban Design advice for the Cincinnati Center City Development Corp (3CDC). In each city, with each project, his strategic, consensus-building approach has led to coordinated planning and a renewed focus on urban design. The text that follows is an edited and revised version of a paper presented at the international symposion on"The Natural City, " Toronto, 23-25 June, 2004, sponsored by the University of Toronto's Division of the Environment, Institute for Environmental Studies, and the World Society for Ekistics.

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Hartel, Herbert R. "Modernism, Identity, and Spirituality in Joseph Stella’s Paintings of Christian Subjects." Religion and the Arts 26, no. 4 (September 20, 2022): 498–521. http://dx.doi.org/10.1163/15685292-02604004.

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Abstract Joseph Stella is best known today as one of the first modernist painters in the United States. He created colorful Cubist-Futurist inspired paintings of modern urban structures and spaces, especially the Brooklyn Bridge and Coney Island. He occasionally did some paintings and drawings of Christian subjects, most often of the Virgin Mary and Jesus and more frequently in the late-1910s and 1920s, but these remain little-known and have received scant scholarly attention. Stylistically, they are rooted in a complex fusion of Symbolism, Cubism, and Futurism and often reflect the post-World War I return to greater verisimilitude and clear, solid forms and believable spaces. These works reveal Stella’s complex spirituality and how he reconnected to his Roman Catholic, Italian roots and reconciled them with American urban, industrial, and secular values. Most of them are complex syntheses of his Christian piety and sexual desires and needs. Although limited in quantity and scope, some writings by Stella and those who knew him suggest his sexual concerns were often intensely lustful and frenzied. Therefore his paintings of the Madonna usually show her as spiritually pure and sensuously arousing. A few paintings, particular from his last years and which do not depict female figures, are more introspective and tranquil in mood and attitude. Stella’s paintings of Christian subjects are an intriguing case study of how modernists returned to traditional religious themes and depicted them in ways that combined the old and the new, the modernist and the more traditionally representational, and the urban and industrial twentieth century with pre-modern life.

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Sorbie, Charles. "Alternatives for Buyers of Brooklyn Bridges." Orthopedics 23, no. 7 (July 2000): 674. http://dx.doi.org/10.3928/0147-7447-20000701-12.

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Rose, R. N. "“Brooklyn Poly”: The First Major Teaching Center of X-ray Powder Diffraction." Powder Diffraction 5, no. 3 (September 1990): 131–36. http://dx.doi.org/10.1017/s0885715600015554.

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That very large famous and infamous borough of New York City, namesake of one of the country's most graceful bridges, Brooklyn, was perhaps the least likely of places for the development of a teaching center of international brilliance – and, at that, in the then little known field of X-ray diffraction. Such was the case, however. Where else, it has been asked, could a visiting lecturer on X-ray technique look out at his audience and, to his dismay, find in the front row, Paul P. Ewald, Herman Mark, Isidor Fankuchen and David Harker – respectively, a founding father of X-ray diffraction, a founding father of polymer chemistry, an entrepreneur par excellence in X-ray crystallography, and a major player in macromolecular (proteins) analysis. Only there at the Brooklyn Polytechnic Institute. It was unique in its time and function as the pre-eminent school of learning for the rapidly evolving practices of polymer science and X-ray diffraction.

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Tomlins, Christopher L. "A Mysterious Power: Industrial Accidents and the Legal Construction of Employment Relations in Massachusetts, 1800-1850." Law and History Review 6, no. 2 (1988): 375–438. http://dx.doi.org/10.2307/743687.

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On 16 June 1837, at a little after six o'clock in the morning, a train of cars carrying lumber and gravel and crowded with twenty or more Irish track laborers and other workmen left the Boston depot of the Boston & Worcester Railroad Corporation bound for Worcester. About four miles out, just after the train had passed the City Mills and was nearing the Brookline road, a wheel on one of the cars broke. The train was thrown from the tracks. Two men were killed and several others severely injured.Among the injured was a man named Gilham Barnes, engaged by the Corporation about two weeks before to carry out maintenance work on several bridges between Boston and Worcester. On the previous day, Barnes, his brother Luther, and one of the men who worked with them had ridden the same train (an unscheduled track maintenance train known to the corporation as the “gravel” train) as far as the Arsenal bridge, which carried the railroad over the Watertown road in Brighton, to deliver materials and tools. On the morning of the sixteenth, Barnes sent the others by wagon via the Mill Dam toll road to begin work on the Arsenal bridge while he made arrangements with the conductor of the gravel train for additional materials to be carried to the Worcester bridge. Barnes intended, it would seem, to ride the gravel train as far as the Arsenal bridge where he would jump off and join his workmen. “We saw the train going out just after we paid [the] toll,” Luther Barnes later recounted. “Then near City Mills we saw shingles &c all about. I saw my brother running towards us. He waved his hat twice. And he held up his arm and I saw blood and flesh.”

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Nepa, Stephen. "A History of Brooklyn Bridge Park: How a Community Reclaimed and Transformed New York City's Waterfront eds. by Nancy Webster and David Shirley, and: Central Park Trees and Landscapes: A Guide to New York City's Masterpiece eds. by Edward Sibley Barnard and Neil Calvanese." New York History 99, no. 1 (2018): 121–26. http://dx.doi.org/10.1353/nyh.2018.0018.

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Manz, Beatrice. "Bride Kidnapping in Kyrgyzstan (Kyrgyzstan) 2004, 50 minutes. In Kyrgyz and Russian with English subtitles. Director: Petr Lom; Assistant Director: Fatima Sarbaeve; Distributor First Run Icarus Films, 32 Court Street, 21st Floor, Brooklyn, New York 11021 (718-488-8900; 800-876-1710; fax 718-488-8642; mailroom@frif.com; http://www.frif.com/." Middle East Studies Association Bulletin 39, no. 2 (December 2005): 296–97. http://dx.doi.org/10.1017/s0026318400048719.

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"Brooklyn Bridge." Leadership and Management in Engineering 1, no. 4 (October 2001): 81. http://dx.doi.org/10.1061/(asce)1532-6748(2001)1:4(81).

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Wynperle, Carol J., Kwok L. Tam, Lionel Bellevue, and Benjamin Szymanski. "The replacement of the Kosciuszko Bridge." Proceedings of the Institution of Civil Engineers - Bridge Engineering, April 20, 2023, 1–34. http://dx.doi.org/10.1680/jbren.21.00083.

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The Kosciuszko Bridge carries a 1.8-km-long segment of the Brooklyn-Queens Expressway over Newtown Creek between Brooklyn and Queens in New York City. The roadway is a vital link in the region's transportation network, carrying over 170,000 vehicles per day. Due to structural and operational deficiencies, the existing structure was replaced. The new bridge consists of two parallel structures, one eastbound and one westbound, with main spans mirroring one another. Each structure consists of a single tower cable-stayed main span over Newtown Creek with unbalanced main and back spans. This was the first cable-stayed bridge to be constructed in New York City, joining the ranks of the City's most iconic bridges. The paper will discuss the two main span structures and will focus primarily on the design and construction of the Westbound, Phase 2 bridge. Some of key design aspects will be outlined, including outboard cable anchorages, a concrete-filled counterweight and other details intended to facilitate construction, maintenance and inspection. The Eastbound, Phase 1 bridge was constructed under a design-build contract, and the Westbound, Phase 2 bridge as a design-bid-build. The paper will also touch on some of the design aspects that were refined during the second phase.

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CAI Yi-lun and JIA Xiao-yun. "Admiration and Doubt—Comparing Crossing Brooklyn Ferry and To Brooklyn Bridge." Sino-US English Teaching 16, no. 6 (June 28, 2019). http://dx.doi.org/10.17265/1539-8072/2019.06.005.

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Journal articles on the topic 'Brooklyn Bridge'

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