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Wikipedia:Sociology of Wikipedia via Rorty and Berger
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There are four main traditions in sociology: the post-modern tradition, the conflict tradition, the structural-functionalist tradition, and the symbolic-interactionist tradition. In a simplistic overview, post-modernists look at the world by comparing and contrasting different realities, often removing any centre. Conflict theorists look at how macro society organises its power relations via conflict. Structural-functionalists look at how macro society organises itself into a structure that creates functional interactions; it is about learning how society members work together, not against each other. Finally, symbolic-interactionists look at micro sociology; they analyse how individuals are socialised by society and how these individuals affect society.
This paper analyses the media of Wikipedia – an online free-content encyclopaedia that anyone can edit – via two sociological theorists. The Wikipedia encyclopaedia works by allowing the general public to edit and add to the encyclopaedia. Each individual can have an effect on Wikipedia, but Wikipedia is itself beyond anything an individual has contributed to it. It can be seen, therefore, that Wikipedia has distinct micro attributes common to symbolic interactionist theory. Furthermore, Wikipedia is created via the constant comparison and contrasting of the editors. Thus, Wikipedia can be seen to have attributes common to post-modern theory. Therefore, this paper will analyse Wikipedia from both symbolic-interactionist and post-modern perspectives via Peter L. Berger and Richard Rorty, respectively.
Contents
[hide]
1 Berger
1.1 Psychological dialectic
1.2 Sociological dialectic
1.3 Theoretical Dialectics
2 Rorty
3 Wikipedia
3.1 Berger & Wikipedia
3.2 Rorty & Wikipedia
4 Conclusion
5 References
Berger[edit]
Berger looks at the social-psychological processes of people to understand the sociology of knowledge. He calls this the sociology of psychology. He shows how an individual's subjective reality is socially constructed into the individual’s consciousness. He states that this "construction" can either be about the "objective reality" or subjective correlates. For Berger, objective reality is knowledge generally accepted by society as a whole. The fact that the Earth is round is an example of an objective reality. Subjective correlates are the ways the objective world becomes “real” to the individual. The fact that I personally believe the world round is an example of a subjective correlate.
Psychological dialectic[edit]
When Berger talks about social-psychology he is talking about how an individual is socialised in a society. He believes socialisation creates a psychological reality for the individual to gain “self,” have a conscious way to process her surroundings, and learn proper ways to interact with other individuals. Furthermore, A person’s psychological reality is in a continual “dialectic relationship” with society. Therefore, an individual can influence the society that has socialised her. For, society is comprised of multiple selves continually affecting and being affected by it. Dialectics is “the process, especially associated with Hegel, of arriving at the truth by stating a thesis, developing a contradictory antithesis, and combining and resolving them into a coherent synthesis.”
Berger states socialisation is the synthesis of the objective reality and subjective correlates. A successfully socialised individual is one that verifies and coincides with the “objective” reality – reality society has decided is real. Furthermore, the individual is socialised to such an extent that she can act completely spontaneously. In other words, the individual’s self, or consciousness, is unable to think outside of the objective reality she has subjectively apprehended. The individual creates identity via terms created by society and these terms become her reality, or “world”. Therefore, society is not only the definition of, but also a creator of, psychological reality.
Berger takes this dialectic concept, which he says is psychological, and extends it in order to understand the sociology of knowledge. He first states that society is the objectification of the almost infinite number of subjective realities, or “worlds,” held by each individual. Society, therefore, is the creation of an objective world above and beyond any individual’s subjective and preferential concept of the universe. Furthermore, society objectifies subjective individual experiences so other individuals can “subjectify” those experiences themselves. Berger believes the psychologically objective world is where “knowledge” is created and where that “knowledge” is reinforced because individuals have been psychologically socialised to believe the objective world is reality. The individual can use “common sense” to explain an experience instead of discerning the meaning from anew.
To give an example, say you believed your wife’s infidelity will bring on the wrath of the Gods because you have been socialised by your society to believe that when men become cuckolds the family is punished by the Gods. That year, there is an early frost and you lose half of your crops. This situation, in your mind, verifies the social knowledge that a wife’s infidelity brings on the wrath of the Gods. Via language and other social structures, you explain to your neighbours what happened. By using linguistics you have objectified your reality and your neighbours, in turn, internalise and personally “subjectify” your reality. They might accept your reality or they might come to the conclusion that their crops were frosted too but they were not cuckolded so that might not be the reason for the frost. If so, they might tell this disagreement to others. Through this dialectic process, society – as a whole with many parts – will decide if it considers the early frost was punishment from the Gods, if that reality is balderdash and it was the climate doing its non-anthropomorphic whim, or create some other psychological model (“models” will be explained later).
As the example shows, linguistics is a fundamental tool to objectify and explain a social reality to individuals. Furthermore, “language focalizes, patterns, and objectivates individual experience.”
Berger further extrapolates the importance society has for an individual, stating the effects of anomie – “the personal state of isolation and anxiety resulting from a lack of social control and regulation” – but this will not be addressed because it does not pertain to Wikipedia.
Sociological dialectic[edit]
Berger believes that there is not only a dialectic relationship between individual and society, but a dialectic relationship between society and its “world” – a sociologically dialectic relationship. The world, in becoming an objective reality for society creating it, is partially autonomous from society and is itself able to influence society. To return to linguistics, linguistics, created by society, imposes its logic on society. To synthesise his psychologically dialectic relationship and his sociologically dialectic relationship he states that society theoretically creates the sociology of knowledge to create a dialectic where society can generate its psychological reality and the dialectic of “world” creation. He also states that both psychological and sociological dialectics are concerned with an objective social reality and the subjective individualisation of that reality. “In both instances, the individual internalizes them to become given contents of his own consciousness, externalizes them again as he continues to live and act in society.”
Theoretical Dialectics[edit]
Berger talks about a third dialectic, the dialectic of the theoretical level of consciousness. This dialectic is about the relationship between psychological reality and psychological models. He believes this dialectic is created because of the human desire to explain experiences. To return to the cuckold example, humans desire to explain the experience of an early frost. The cuckold in our example uses a psychological model to explain the frost as the wrath of the Gods. However, another psychological model might explain the frost as caused by a profane climate. Therefore, “the model is part of the society’s general ‘knowledge about the world,’ raised to the level of theoretical thought.” Berger states that “psychological ‘knowledge’ is always part of a general ‘knowledge about the world’ –in this proposition lies the foundation of what, a little earlier, was called the sociology of psychology.
Psychological theoretic models must be empirically reinforced by the psychological objective reality of a society. The example that the Gods punish cuckolding is reinforced by the frost brought on by the Gods. Therefore, theoretical models can be empirically tested in relation to the objective reality of society, proving that the model is part of the same socially constructed reality as that society. The dialectics of the model created by society and the word – theoretical dialectics – is reinforced by the dialectics between society and the world – sociological dialectics. Finally, the theoretical model can act upon psychological reality, itself creating reality.
Rorty[edit]
Berger maintains a concept of an objective reality, albeit a psychological reality. Rorty removes any centre, any objectivity, and focuses on how an individual can work with subjective realities by becoming ironic. He states that “human beings are [not] something more than center-less webs of beliefs and desires.” Rorty seeks knowledge that corresponds with human need rather than reality itself.
Ultimately, Rorty believes people describe their reality via a vocabulary. This vocabulary explains one’s actions, beliefs, and life. He calls this vocabulary a “final vocabulary.” Rorty then defines an “ironist” as someone who fulfills three conditions. First, an ironist is someone doubtful of her own final vocabulary because she has empirically discovered other final vocabularies from other individuals. Second, she is aware she cannot remove her doubt about her vocabulary via her vocabulary only. Finally, she knows there is no reason her reality, or final vocabulary, is any closer to reality or a metaphysical reality than other vocabularies. Indeed, there is no actual Reality, only comparison between different realities. The implications of someone becoming an ironist are that she never believes in “Platonic” terms, Platonic world views, or Platonic metaphysics and is aware that her final reality, and therefore her self, is able to change.
An ironist distrusts “common sense” because common sense is acceptance that one’s own final vocabulary can define other final vocabularies. Instead, an ironist will try to interpret her own reality via the final vocabularies of others. The ironist will then compare the results of different final vocabularies and re-describe her final vocabulary, creating the best self for herself she can. Rorty calls this comparison “literary criticism.” He talks about how literary critics are defining books by how they relate to other books, consequently creating revised opinions about the book being defined and the defining book. He even posits that “literary criticism does for ironists what the search for universal moral principles is supposed to do for metaphysicians.”
An ironist compares without ever creating an “original” to compare all else against. Furthermore, the best critic of a person is another person; the best critique of a culture is another culture, etc. Doubts can be assuaged by creating as many acquaintances as possible. Rorty also believes that societies are bound together by common realities and common vocabularies, not philosophical beliefs.
Rorty does state that an ideal society would have an ironist elite with nominalist – “the doctrine that the various objects labelled by the same term have nothing in common but their name” – and historicist plebeians. These plebeians would not try to explain and fix social doubts by semantics and ethics, but by concrete alternatives. Furthermore, Rorty desires a public rhetoric to be nominalist and historicist, but not ironist because he does not believe an individual can be initially socialised when that individual has doubts about her socialisation. Furthermore, an ironist needs a society she can compare and contrast herself against.
Wikipedia[edit]
Wikipedia was created in 2001 and is an internet encyclopaedia that anyone can contribute to. Whenever an individual contributes to an article, their edit is clearly identified. Therefore, their postings can create respectability and social standing. Since new versions can be continually created, vandalism is easily fixed. All articles have a separate page where authors can discuss edits and differing opinions. Wikipedia is incredibly successful, with 1.3 million articles in 200 languages and more traffic than any other online encyclopaedia. Furthermore, Wikipedia is run completely by volunteers. Wikipedians say that although articles vary greatly in quality, they improve over time as contributors hone, polish and edit. Also, incorrect information can be corrected immediately.
In the Internet Age, you research a topic not by getting the final word from a single source but by using a multitude of sources. You do this because the Net makes it easy. Googling takes just seconds. But anyone who's tried googling a broad topic quickly runs into a frustrating problem: You end up with an overwhelming number of links, some of questionable relevance. This is where Wikipedia comes in. Wikipedia complements Google by providing a framework of understanding, a quick overview of the subject. Its articles often provide a list of relevant links to Web sites for further reference. If a date in a Wikipedia article is off by a few years, it is not an issue. The researcher knows that Wikipedia has no guarantee of accuracy, so she will cross-check any critical pieces of information with other sources. Wikipedia is an essential because it provides a starting point, an explorer's map to new territory rather than a faultless gazetteer.
Critics of Wikipedia say there is no minimum standard of grammar, readability and fact-checking.
Berger & Wikipedia[edit]
Berger would say that the dialectic relationship between Wikipedia and its constituents is much like the dialectics between individual and psychological reality, psychological reality and the psychological world, and the psychological world and psychological theory. He would also enjoy the centre and structure Wikipedia provides, allowing individuals to have dialectics between each other but eventually creating an objective structure. Also, individuals can still have dialectics between their subjective realities and Wikipedia, either editing the encyclopaedia or objectifying their realities. Berger would state that Wikipedia, via its dialectics, will become closer to the psychologically objective reality and world it is describing.
Berger would enjoy Wikipedia’s ability to elucidate the “framework” of a subject to individuals. He would say that the objective reality of Wikipedia is socialising the individual about a subject. Once the individual internalises, or subjectively correlates, the subject’s reality she can then have a dialectic relationship with Wikipedia about that subject, editing it if she so desires. Though Wikipedia is completely linguistic, Berger would say it still has drastic import because “language focalizes, patterns, and objectifies individual experiences.”
Furthermore, Berger would believe that reality is a psychological construction. Therefore, it does not really matter if Wikipedia adheres to “reality” in any “Platonic” metaphysical manner, only that Wikipedia adheres to the psychologically defined reality of the world. If Wikipedia says there are Martians, all that matters to Berger is that our socially constructed world believes there are Martians; whether there are Martians meta-psychologically or not is irrelevant to Berger. Also, Wikipedia is a good place for a model of psychological theory to be posited and empirically researched to see if it fits the psychological world.
Rorty & Wikipedia[edit]
Though Rorty is a post-modernist who disagrees with an actual Centre, his plebeian nominalists and historicists require a Centre. Therefore, he would enjoy Wikipedia’s centre and structure. Furthermore, the fact that problematic Wikipedia articles can be immediately changed is great for his plebeians’ requirement of concrete alternatives.
Rorty would not mind the “inaccuracy” or lack of minimum grammar standards because, to him, there is no such thing as inaccuracy or minimum standards; there are simply different final vocabularies and it is an ironist’s job to decide which she prefers. Just as an ironist compares different final vocabularies to create the best self for herself she can, Wikipedia compares differing final vocabularies to create a more “comprehensive” and “accurate” encyclopaedia.
Rorty would also like the dialog and constant comparing and contrasting between different article editors. Though he would state a true ironist would be able to accept two dissenting ideas as equally valid, Rorty would still be fine with Wikipedia creating a single article for his plebeian society.
Conclusion[edit]
This paper has striven to explain structural functionalist and post modern views about the politics of knowledge. It has then applied these views to a media type. The theorists chosen were Peter L. Berger and Richard Rorty. The media type chosen was Wikipedia. Wikipedia was a perfect fit for Berger because it is a media type where individuals interact to create a specific reality. Furthermore, these individuals interact via dialectics and, through subjective internalisation and externalisation, create an objective reality. Wikipedia was also a perfect fit for Rorty because it shows how multiple subjective individuals can interact to create better final vocabularies for themselves. Though Rorty’s ironists would not truly believe the objective reality created by Wikipedia, nor like the centrism of Wikipedia, Rorty’s nominalists and historicists, necessary for a liberal society utopia, would require this objectivity and centrism.
References[edit]
Spring, Ken. Berger CD Handout. Nashville: Belmont University, Politics of Knowledge, 2005
Dictionary.com, Dialectic , Lexico Publishing Group, LLC. 2005
OneLook Dictionary Search, anomie
Spring, Ken. Class discussions. Nashville: Belmont University, Politics of Knowledge, 2005
Spring, Ken. Rorty CD Handout. Nashville: Belmont University, Politics of Knowledge, 2005
Wolak, Josh. Personal interview. Nashville: Tautou Clubhouse, 2005
OneLook Dictionary Search, nominalist
Quon, Wynn. The new know-it-all: Wikipedia overturned the knowledge aggregation model by challenging contributors to constantly improve its entries, National Post's Financial Post & FP Investing (Canada), National Post. February 26, 2005 Saturday, National Edition
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The Stanley Hotel
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Stanley Hotel" redirects here. For the hotel in Nairobi, Kenya, see Stanley Hotel, Nairobi.
The Stanley Hotel
U.S. National Register of Historic Places
U.S. Historic district
Location
333 Wonderview Avenue, Estes Park, Colorado
Coordinates
40°23′0″N 105°31′6″W / 40.38333°N 105.51833°W / 40.38333; -105.51833Coordinates: 40°23′0″N 105°31′6″W / 40.38333°N 105.51833°W / 40.38333; -105.51833
Architect
Freelan Oscar Stanley, T. Robert Weiger, Henry Rogers
Architectural style
Colonial Revival
NRHP reference #
85001256[1]
Added to NRHP
May 26, 1977 (Expanded June 20, 1985 & April 16, 1998)
The Stanley Hotel is a 142-room Colonial Revival hotel in Estes Park, Colorado. Approximately five miles from the entrance to Rocky Mountain National Park, the Stanley offers panoramic views of Lake Estes, the Rockies and especially Long's Peak. It was built by Freelan Oscar Stanley of Stanley Steamer fame and opened on July 4, 1909, catering to the American upper class at the turn of the century.[2] The hotel and its surrounding structures are listed on the National Register of Historic Places.[1]
The Stanley Hotel hosted the horror novelist Stephen King, serving as inspiration for the Overlook Hotel in his 1977 bestseller The Shining and its 1980 film adaption of the same name, as well as the location for the 1997 miniseries. Today, it includes a restaurant, spa, and bed-and-breakfast and provides guided tours which feature the history and alleged paranormal activity of the site.
Contents
[hide]
1 History
2 Gallery
3 Architecture
3.1 Main Building
3.2 Concert Hall
3.3 The Lodge
3.4 The Hedge Maze
4 The Shining
5 Film location and arts venue
6 Haunted reputation
7 Famous Guests
8 Ownership History
9 See also
10 References
11 External links
History[edit]
In 1903, the Yankee steam-powered car inventor Freelan Oscar Stanley (1849-1940) was stricken with a life-threatening resurgence of tuberculosis.[3] The most highly recommended treatment of the day was fresh, dry air with lots of sunlight and a hearty diet. Therefore, like many "lungers" of his day, Stanley resolved to take the curative air of Rocky Mountain Colorado. He and Flora arrived in Denver in March and, in June, decided to spend the rest of the summer in the mountains, in Estes Park. Over the course of the season, Stanley's health improved dramatically.[2] Impressed by the beauty of the valley and grateful for his recovery, he decided to return every year. He lived to the ripe age of 91, dying of a heart attack in Newton, Massachusetts, one year after his wife, in 1940.
By 1907, Stanley had recovered completely. However, not content with the rustic accommodations, lazy pastimes and relaxed social scene of their new summer home, Stanley resolved to turn Estes Park into a resort town. In 1907, construction began on the Hotel Stanley, a 48-room grand hotel that catered to the class of wealthy urbanites who composed the Stanleys' social circle back east.[3]
The 4th Earl of Dunraven and Mount-Earl
The land was officially purchased in 1908 through the representatives of Lord Dunraven, the Anglo-Irish peer who had originally acquired it by stretching the provisions of the Homestead Act and pre-emption rights. Between 1872 and 1884, Dunraven claimed 15,000 acres (61 km2) of the Estes Valley in an unsuccessful attempt to create a private hunting preserve, making him one of the largest foreign holders of American lands. Unpopular with the local ranchers and farmers, Dunraven left the area for the last time in 1884 relegating the ranch to the management of an overseer.[2][3] Dunraven's presence in Colorado had become so well known in the United States that his situation was parodied in Charles King's novel Dunraven Ranch (1892) as well as James A. Michener's Centennial (1974). His reputation was such that, when Stanley suggested "The Dunraven" as a name for his new hotel, 180 people signed a buckskin petition requesting that he name it for himself instead.
The structure was completed in 1909 and featured a hydraulic elevator, dual electric and gas lighting, running water, a telephone in every guest room and a fleet of specially-designed Stanley "Model Z" Mountain Wagons to bring guests from the train depot twenty miles away; all of this at a time when Estes Park was little more than a locale for hunters and naturalists. Originally, Stanley chose an ocher color for the hotel's exterior with white accents and trim. The hotel was not equipped with heat until 1983 and closed for the winter every year. The presence of the hotel and Stanley's own involvement greatly contributed to the growth of Estes Park (incorporated in 1917) and the creation of the Rocky Mountain National Park (established in 1915).
Stanley operated the hotel almost as a pastime remarking once that he spent more money than he made each summer. In 1926, he sold the Stanley to a private company incorporated for the sole purpose of running it. The venture failed and, in 1929, Stanley purchased his property out of foreclosure selling it again, in 1930, to fellow auto and hotel magnate Roe Emery of Denver. During Emery's tenure as owner, the structures were painted white inside and out and most of the original electro-gas fixtures were replaced.
Gallery[edit]
June 2008
February 2011
South elevation
Lobby looking east
Music Room looking south
Architecture[edit]
The Stanley Hotel National Register Historic District contains eleven contributing buildings including the main hotel, a concert hall, carriage house and The Lodge, a smaller bed-and-breakfast originally called Stanley Manor. The buildings were designed by F.O. Stanley with the professional assistance of Denver architect T. Robert Wieger, Henry "Lord Cornwallis" Rogers, and contractor Frank Kirchoff. The site was chosen for its vantage overlooking the Estes valley and Long's Peak within the National Park. The main building is a steel-frame structure with wood cladding resting upon a granite masonry foundation. Wood for flooring, clapboarding and finishing was brought from Kirchoff's Denver Lumberyard and the Bluff City Lumber Company of Pine Bluff, Arkansas. The Griffith sawmill near Bierstadt Lake and Stanley's own Hidden Valley lumber operation, located in the future national park, supplied framing material. The materials were brought to Lyons, Colorado by rail and thence to Estes Park by mule-drawn wagon. Simultaneously, Stanley oversaw the construction of a hydroelectric power plant which brought electricity to Estes Park for the first time in 1909. Stanley claimed that his hotel was the first to be powered entirely by electricity from the lighting to the kitchens. Water was supplied by the Black Canyon Creek which was dammed in 1906.
The style of the campus is so-called Colonial Revival. Although rare in the western United States, F.O. Stanley chose the Colonial Revival for its fashionable popularity in New England where he had already designed his own home and a social club in the style. The hotel's clientele would presumably, like the Stanleys, have identified the style with New England respectability and sophistication in contrast to the rusticity of the surrounding town. At one time, Stanley planned to build another, more economical hotel in Estes Park as well as a headquarters and residence for the superintendent of the Rocky Mountain National Park in the same style, to harmonize with his grand hotel. While the forms and layouts of the buildings are suited to their modern uses, their ornamentation exhibits the stylistic hallmarks of Georgian or Federal architecture from the staunch symmetry of the south elevation to the cupola, dormers, Palladian windows, side- and fan-lights, scroll brackets and "swan's neck" pediments that articulate the exterior.
Main Building[edit]
The floor plan of the main hotel building was laid out to accommodate the various activities popular with the American upper class at the turn of the twentieth century and the spaces are decorated accordingly. The music room, for instance, with its cream-colored walls (originally green and white), large windows and fine, classical plaster-work was designed for letter-writing during the day and chamber music at night - cultured pursuits perceived as feminine. On the other hand, the smoking lounge (today the Piñon Room) and adjoining billiard room, with their dark stained-wood elements and granite fireplace were designated for enjoyment by male guests. Stanley himself, having been raised in a Protestant household in the tee-totaling State of Maine and having recovered from a serious lung disease, did not smoke cigars or drink alcohol, but these were essential after-dinner activities for most men at the time. Billiards, however, was among Stanley's most cherished pastimes.
The layout was also determined by air circulation. The window at the top of the grand stair provides a pleasant breeze across the lobby, French doors in the state rooms open onto shaded verandas and the two curving staircases connecting the guest corridors prevent stagnant air in the upper floors. Although the hotel was finally updated with central heating in 1983, guests still depend on Rocky Mountain breezes for cooling in the summer. Also completed in 1983, the hotel's service tunnel connects the basement level to the staff entrance. It is cut directly through the granite on which the hotel sits.
Concert Hall[edit]
The concert hall, east of the hotel, was built by Stanley in 1909 with the assistance of Henry "Lord Cornwallis" Rogers, the same architect who designed his summer cottage. According to popular legend, it was built as a gift for Flora Stanley who was an avid pianist despite her failing eyesight. The interior is decorated in the same manner as the smaller music room and somewhat resembles that of the Boston Symphony Hall (McKim, Mead & White, 1900) with which the Stanleys may have been familiar. The stage features a trap door, used for theatrical entrances and exits. The lower level once housed a bowling alley. This feature has long since disappeared but it possibly resembled the one at the Stanley's Hunnewell Club in Newton, pictures of which are archived in the Newton Free Library. The hall underwent extensive repair and renovation in the 2000s.
The Lodge[edit]
Once called Stanley Manor, this smaller hotel between the main structure and the concert hall is a 2:3 scaled-down version of the main hotel. Unlike its model, the manor was fully heated from completion in 1910 which may indicate that Stanley planned to use it as a winter resort when the main building was closed for the season. However, unlike many other Colorado mountain towns now famous for their winter sports, Estes Park never attracted off-season visitors in Stanley's day and the manor remained empty for much of the year. Today it is called The Lodge and serves as a bed-and-breakfast off-limits to the public.
The Hedge Maze[edit]
In 2015, the open area in front of the hotel, originally a driveway for Stanley Steamers and a promenade for guests to enjoy mountain views, was replaced with a hedge maze. This non-historic feature was added to evoke the hotel's connection to The Shining. Although a hedge maze features prominently in Stanley Kubrick's version of The Shining, no such feature can be found in Stephen King's novel. The lawn of the Overlook Hotel, as King imagined it, was adorned with topiary animals and it was set that way for the shooting of the miniseries in 1996. Historically, neither feature existed at the Stanley. The design was the result of a competition, chosen from amongst 300 entrants from across the globe. The winning submission was designed by New York architect Mairim Dallaryan Standing.[4] In 2016, John Cullen, owner of the Stanley Hotel, announced a competition for a sculpture to be the centerpiece of the terrace in front of the hotel. Sculptors Sutton Betti and Daniel Glanz won the competition with a sculpture of F.O. Stanley holding one of his violins. The sculpture was installed and dedicated on September 29, 2016. They used another hotel to film the outside shots and the Stanley for inside shots.
The Shining[edit]
Cover of The Shining, first edition, 1977
On October 30, 1974, horror writer Stephen King and his wife Tabitha spent one night at the Stanley Hotel during their one year of residency in Boulder, Colorado.[5] They were driving through Estes Park as night approached when they happened upon the Stanley Hotel. They decided to book a room and, upon checking in, discovered that they were the only overnight guests. "They were just getting ready to close for the season, and we found ourselves the only guests in the place — with all those long, empty corridors."[6][7] He and his wife were served dinner in an empty dining room accompanied by canned orchestral music. "Except for our table all the chairs were up on the tables. So the music is echoing down the hall, and, I mean, it was like God had put me there to hear that and see those things."[8] That night, according to King, "I dreamed of my three-year-old son running through the corridors, looking back over his shoulder, eyes wide, screaming. He was being chased by a fire-hose. I woke up with a tremendous jerk, sweating all over, within an inch of falling out of bed. I got up, lit a cigarette, sat in a chair looking out the window at the Rockies, and by the time the cigarette was done, I had the bones of The Shining firmly set in my mind."[9]
The Shining was published in 1977 and became the third great success of King's career after Carrie and 'Salem's Lot. The Overlook Hotel - the fictional hotel in King's book inspired by the Stanley - is an evil entity haunted by its many victims. Room 217 of the Overlook features prominently in the novel, having been the room where King spent the night at the Stanley. This is the room on the second floor in the center of the west wing with a balcony overlooking the south terrace. Room 217 remains the hotel's most requested accommodation.
Film location and arts venue[edit]
In 1980, The Shining became the basis for a film adaptation directed by Stanley Kubrick. Kubrick's vision for the movie differed from King's significantly in many ways, including the portrayal of the Overlook Hotel. The exteriors of Kubrick's Overlook were supplied by the Timberline Lodge on the slopes of Mt. Hood in Oregon. Inspiration for the interior sets (erected at Elstree Studios in England) came from the 1927 Ahwahnee Hotel in Yosemite National Park. The management of the Timberline Lodge, fearful that guests would refuse to stay in their Room 217 if it were featured in a horror movie, insisted that Kubrick change the haunted room in the film to Room 237.
In 1997 The Shining TV series was produced, with the Stanley Hotel as the primary shooting location. A playhouse version of the main building which adorned the lawn of the Overlook Hotel in the series can be viewed in the basement of the Stanley.
The Hotel has also been used as a filming location for other movies and TV shows; most notably, as the fictional "Hotel Danbury" of Aspen, CO, in the 1994 film Dumb and Dumber.[10]
From 2013 to 2015, the hotel property hosted the Stanley Film Festival, an independent horror film festival operated by the Denver Film Society, held in early May. The festival featured screenings, panels, student competitions, audience awards and receptions.[11] The Stanley Film Festival was put on hiatus in 2016, and canceled for 2017.[12]
The historic Stanley Concert Hall serves as venue for various musical groups such as country-punk band Murder By Death which has performed a Shining-themed series of concerts in the space.
Haunted reputation[edit]
Despite a peaceful early history, in the years following the publication of The Shining, The Stanley Hotel has gained a reputation among paranormal investigators for frequent activity.[13][14][15] The hotel offers guided "Ghost Tours" to guests and visitors which feature spaces reputed to be exceptionally active.[16][17] The hotel has also served as a location for numerous paranormal investigation shows such as Ghost Hunters[18][19] and Ghost Adventures.[20]
Famous Guests[edit]
The Stanley Hotel has hosted the following persons of note:
1934 - Erich Fromm, the German psychoanalyst[21]
1936 - Gov. Alf Landon (R, Kansas): opponent to Franklin Delano Roosevelt’s re-election[22][23]
1974 - Stephen King, author who was inspired to write The Shining from his stay in room 217[5]
1976 - Bob Dylan & Joan Baez, classic rock icons during the Rolling Thunder Revue tour[24]
1994 - HM Emperor Akihito of Japan with consort and crown prince, on a state visit to the US[25]
Ownership History[edit]
1908-26 - Freelan Oscar Stanley
1926-29 - The Stanley Corporation
1929-30 - Freelan Oscar Stanley
1930-? - Roe Emery
Maurice L. Albertson, Civil Engineer at CSU
Maxwell Abbell, Chicago real estate investor
1995–present - Grand Heritage Hotel Group
See also[edit]
Freelan Oscar Stanley
The Shining (novel)
The Shining (film)
The Shining (miniseries)
Colonial Revival Architecture
Estes Park, CO
National Register of Historic Places listings in Larimer County, Colorado
References[edit]
^ Jump up to: a b National Park Service (2008-04-15). "National Register Information System". National Register of Historic Places. National Park Service.
^ Jump up to: a b c "Rocky Mountain Legends". LegendsOfAmerica.com. Missing or empty |url= (help); |access-date= requires |url= (help)
^ Jump up to: a b c "Rocky Mountain National Park - Culture". US-Parks.com. Retrieved 2007-05-10.
Jump up ^ Turkewitz, Julie (3 September 2015). "Hotel That Inspired 'The Shining' Builds on Its Eerie Appeal". New York Times. Retrieved 17 September 2015.
^ Jump up to: a b Beahm, George (September 1998). Stephen King from A to Z: An Encyclopedia of His Life and Work. Andrews McMeel Publishing. ISBN 9780836269147.
Jump up ^ "The Stephen King Companion" Beahm, George Andrews McMeel press 1989
Jump up ^ "Stephen King Country" Beahm, George Running Press 1999
Jump up ^ Vvdailypress.com Archived October 18, 2006, at the Wayback Machine.
Jump up ^ "Stephen King: America's Best Loved Boogeyman" Beahm, George Andrews McMeel Press 1998
Jump up ^ "Stanley Hotel Ghost Story". Allstays.com. Retrieved 2007-05-09.
Jump up ^ McHargue, Brad. "Inaugural Stanley Film Festival to Showcase Independent Horror Cinema May 2–5 at the Stanley Hotel". Mile High Cinema. Retrieved 19 February 2013.
Jump up ^ Walker, Chris (15 November 2016). "Stanley Hotel Cancels 2017 Horror Film Fest; Film Center Director Resigns". Westword. Retrieved 27 March 2017.
Jump up ^ "Haunted Hotel History". www.stanleyhotel.com.
Jump up ^ "Stanley Ghost Stories Shine with Authenticity". www.stanleyhotel.com.
Jump up ^ McCarthy, Sky (14 April 2016). "Stanley Hotel guest captures creepy figure in lobby". Fox News.
Jump up ^ "Hotel Tours | Estes Park Colorado Tours | The Stanley Hotel". www.stanleyhotel.com.
Jump up ^ "UPDATED: Haunted Stanley Hotel Suspends Ghost Hunts".
Jump up ^ "The Stanley Hotel: Season 2, Episode 22". Syfy.
Jump up ^ "Best of the Stanley Hotel: Season 3, Episode 5". Syfy.
Jump up ^ "Stanley Hotel - Ghost Adventures - TravelChannel.com". Travel Channel.
Jump up ^ Funk, Rainer (2000). Erich Fromm: His Life and Ideas, an Illustrated Biography. A&C Black. p. 82. ISBN 9780826415196. Retrieved 14 October 2017.
Jump up ^ Mitchell, Steve (2016). Legendary Locals of Estes Park. Arcadia Publishing. ISBN 9781439655955. Retrieved 14 October 2017.
Jump up ^ "Headquarters at Estes Park for Alf Landon". Newspapers.com. Greeley Daily Tribune from Greeley, Colorado. June 24, 1936. Retrieved 14 October 2017.
Jump up ^ Johnson, Tracy (2000). Encounters with Bob Dylan: If You See Him, Say Hello. humble Press. ISBN 9780964700925. Retrieved 14 October 2017.
Jump up ^ "(album.rmnp100.com)". album.rmnp100.com. Retrieved 14 October 2017.
External links[edit]
Official Website
Stanley Hotel National Register Nomination
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Nandalal Bose
From Wikipedia, the free encyclopedia
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Nandalal Bose
নন্দলাল বসু
Born
(1882-12-03)3 December 1882
vill=Banipur,p.s= SANKRAIL,dist=HOWRAH ]], Bengal Presidency, British India(now Bihar, India)[1]
Died
16 April 1966(1966-04-16) (aged 83)
Calcutta, West Bengal, India
Nationality
Indian
Known for
Painting
Movement
Contextual Modernism
Yama and Savitri, from a painting by Nandalal Bose.
Nandalal Bose (Nondo-lal Boshū) (3 December 1882 – 16 April 1966) was one of the pioneers of modern Indian art and a key figure of Contextual Modernism.
A pupil of Abanindranath Tagore, Bose was known for his "Indian style" of painting. He became the principal of Kala Bhavan, Santiniketan in 1922. He was influenced by the Tagore family and the murals of Ajanta; his classic works include paintings of scenes from Indian mythologies, women, and village life.
Today, many critics consider his paintings among India's most important modern paintings.[2][3][4] In 1976, the Archaeological Survey of India, Department of Culture, Govt. of India declared his works among the "nine artists" whose work, "not being antiquities", were to be henceforth considered "to be art treasures, having regard to their artistic and aesthetic value".[5]
He was given the work of illustrating the constitution of India
Contents
[hide]
1 Early life
2 Career
3 His place in Indian Art
4 Students
5 Honours and awards
6 References
7 Further reading
8 External links
Early life[edit]
Nandalal was born on 3 December 1882 in a middle-class Bengali family of Kharagpur, in, Munger district of Bihar state. His father, Purnachandra Bose, was at that time working in the Darbhanga Estate.[6] His mother Kshetramonidevi was a housewife with a skill in improvising toys and dolls for young Nandalal. From his early days Nandalal began taking an interest in modelling images and later, decorating Puja pandals.
In 1898, at the age of fifteen, Nandalal moved to Calcutta for his high school studies in the Central Collegiate School. After clearing his examinations in 1902, he continued his college studies at the same institution. In June 1903 he married Sudhiradevi, the daughter of a family friend. Nanadalal wanted to study art, but he was not given permission by his family. Unable to qualify for promotion in his classes, Nandalal moved to other colleges, joining the Presidency College in 1905 to study commerce. After repeated failures, he persuaded his family to let him study art at Calcutta's School of Art.[7]
Career[edit]
As a young artist, Nandalal Bose was deeply influenced by the murals of the Ajanta Caves. He had become part of an international circle of artists and writers seeking to revive classical Indian culture; a circle that already included Okakura Kakuzō, William Rothenstein, Yokoyama Taikan, Christiana Herringham, Laurence Binyon, Abanindranath Tagore, and the seminal London Modernist sculptors Eric Gill and Jacob Epstein.[8][9]
To mark the 1930 occasion of Mahatma Gandhi's arrest for protesting the British tax on salt, Bose created a black on white linocut print of Gandhi walking with a staff. It became the iconic image for the non-violence movement.
His genius and original style were recognised by famous artists and art critics like Gaganendranath Tagore, Ananda Coomaraswamy and O. C. Ganguli. These lovers of art felt that objective criticism was necessary for the development of painting and founded the Indian Society of Oriental Art.
He became principal of the Kala Bhavana (College of Arts) at Tagore's International University Santiniketan in 1922.
He was also famously asked by Jawaharlal Nehru to sketch the emblems for the Government of India's awards, including the Bharat Ratna and the Padma Shri.[10] Along with his students, Nandalal Bose took up the historic task of beautifying/decorating the original manuscript of the Constitution of India.[11]
He died on 16 April 1966 in Calcutta.
Today, the National Gallery of Modern Art in Delhi holds 7000 of his works in its collection, including a 1930 black and white linocut of the Dandi March depicting Mahatma Gandhi, and a set of seven posters he later made at the request of Mahatma Gandhi for the 1938 Haripura Session of the Indian National Congress.[12]
His place in Indian Art[edit]
In his introduction for the Christie's catalogue, R. Siva Kumar wrote-[13]
Nandalal Bose (1882–1966) occupies a place in the history of Modern Indian art that combines those of Raphael and Durer in the history of the Renaissance. Like Raphael Nandalal was a great synthesizer, his originality lay in his ability to marshal discrete ideas drawn from Abanindranath Tagore, Rabindranath Tagore, E. B. Havell, Ananda Coomaraswamy, Okakura Kakuzo and Mahatma Gandhi into a unique and unified programme for the creation of a new art movement in India. And like Durer he combined a passion bordering on devotion with an irrepressible analytical mind that compelled him to prise open different art traditions and unravel their syntactic logic, and make them accessible to a new generation of Indian artists. But he did this so quietly and without self-assertive fanfare that the significance of his work is yet to be fully grasped even in India.
Students[edit]
Some of his students were Benode Behari Mukherjee, Ramkinkar Baij, Beohar Rammanohar Sinha, K. G. Subramanyan, A. Ramachandran, Henry Dharmasena, Pratima Thakur, Ramananda Bandopadhyay, Sovon Som, Jahar Dasgupta, Sabita Thakur, Menaja Swagnesh, Yash Bombbut, Satyajit Ray, Dinkar K Kowshik and Kondapalli Seshagiri Rao.
Also A.D.Jayathilake was one of his student from Ceylon (Sri Lanka) and had the opportunity to study under Dr.Nandalal Bose in the final batch (1948-1952).[14] Dr. Nandalal Bose's uniquely drawn two paintings; "Arjuna Tree"[15] and "Mango trees"[16] are currently with his Sri Lankan Student (A.D.Jaythilake).
Honours and awards[edit]
In 1956, he became the second artist to be elected Fellow of the Lalit Kala Akademi, India's National Academy of Art. In 1954, Nandalal Bose was awarded the Padma Vibhushan.
In 1957, the University of Calcutta conferred honorary D.Litt on him.[17] Vishvabharati University honoured him by conferring on him the title of 'Deshikottama'.
The Academy of Fine Arts in Calcutta honoured Nandalal with the Silver Jubilee Medal. The Tagore Birth Centenary Medal was awarded to Nandalal Bose in 1965 by the Asiatic Society of Bengal.
References[edit]
Jump up ^ "Nanadlal Bose A notable Indian painter of Bengal school of art.." 4to40.com. Retrieved 22 February 2014.
Jump up ^ "San Diego museum showcases Nandalal Bose". Rediff.com News. 25 June 2008.
Jump up ^ Robert L. Pincus (15 March 2008). "The Art of Nandalal Bose' is first U.S. showcase for an Indian icon". Paramus Post.
Jump up ^ Kamala Ganesh; Usha Thakkar (13 July 2005). Culture and the Making of Identity in Contemporary India. SAGE Publications. pp. 49–. ISBN 978-0-7619-3381-6.
Jump up ^ Nine Masters Government Museum and Art Gallery, Chandigarh. "Nine Masters: Rabindranath Tagore, Amrita Sher-Gil, Jamini Roy and Nandalal Bose, Ravi Varma, Gaganendranath Tagore, Abanindranath Tagore, Sailoz Mookherjea and Nicholas Roerich."
Jump up ^ C.H.Prahalada Rao; Litent (1 January 2014). Nandalal Bose. Litent. pp. 3–. GGKEY:D9L3P5T7YE4.
Jump up ^ Dinkar k Kowshik (1985). Nandalal Bose, the doyen of Indian art. National Book Trust, India. Retrieved 18 April 2012.
Jump up ^ Rupert Richard Arrowsmith, "The Transcultural Roots of Modernism: Imagist Poetry, Japanese Visual Culture, and the Western Museum System", Modernism/modernity Volume 18, Number 1, January 2011, 27–42. ISSN 1071-6068.
Jump up ^ Video of a Lecture mentioning Bose in the context of Indian influences n global modernism, London University School of Advanced Study, March 2012.
Jump up ^ "Nandalal Bose paintings on display in U.S". The Hindu. 15 March 2008.
Jump up ^ "The Constitution of India". World Digital Library. 7 May 2009. Retrieved 9 December 2010.
Jump up ^ "Bengal School of Art exhibition to open in US". The Economic Times. 24 June 2008.
Jump up ^ http://www.christies.com/lotfinder/drawings-watercolors/nandalal-bose-bull-fighter-5716124-details.aspx
Jump up ^ "About Art Benwinton". Art Benwinton. Retrieved 2017-08-27.
Jump up ^ "Art-1 Arjun Tree - Art Benwinton". Art Benwinton. Retrieved 2017-08-27.
Jump up ^ "Art-2 Mango Trees - Art Benwinton". Art Benwinton. Retrieved 2017-08-27.
Jump up ^ "Annual Convocation". University of Calcutta.
Further reading[edit]
Nandalal Bose and Indian painting, by Ramyansu Sekhar Das. Tower Publishers, 1958.
Nandalal Bose: a collection of essays : centenary volume. Lalit Kala Akademi, 1983.
Nandalal Bose, the doyen of Indian art. (National biography), by Dinkar Kowshik. National Book Trust, India, 1985.
Rhythms of India: The Art of Nandalal Bose, exhibition catalogue. Sonya Rhie Quintanilla. San Diego Museum of Art. 2008.
External links[edit]
Media related to Nandalal Bose at Wikimedia Commons
New York Times slideshow
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Fellows of the Lalit Kala Akademi
Painters
Jamini Roy
Nandalal Bose
Akbar Padamsee
Benode Behari Mukherjee
Anil Karanjai
N. S. Bendre
Kattingeri Krishna Hebbar
K. C. S. Paniker
M. F. Hussain
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Amar Nath Sehgal
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Kuvempu
C. Sivaramamurti
Ravi Shankar Raval
Mulk Raj Anand
M. S. Randhawa
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WorldCat Identities
VIAF: 13226970
LCCN: n83151942
ISNI: 0000 0001 2208 9147
GND: 123832632
SUDOC: 116727918
ULAN: 500121672
Retrieved from "https://en.wikipedia.org/w/index.php?title=Nandalal_Bose&oldid=809892082"
Categories:
Indian male painters
Fellows of the Lalit Kala Akademi
Recipients of the Padma Vibhushan in arts
People from Howrah district
1883 births
1966 deaths
Government College of Art & Craft alumni
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20th-century Indian painters
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