https://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&feed=atom&action=historyLondon: Past v. Present - Revision history2024-03-29T09:43:20ZRevision history for this page on the wikiMediaWiki 1.31.8https://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19621&oldid=prevTatedtsen: /* Fleet Street */2017-06-22T20:00:15Z<p><span dir="auto"><span class="autocomment">Fleet Street</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Newspapers, in printed form, are no longer everyone's first choice of where to get the news. People have cable news and radio to turn to when at home or in the car. So, in a society where Fleet Street is known for Sweeney Todd and the newspaper industry can be an afterthought, how is the culture surrounding Fleet Street remembered? Headlines today, whether it be newspaper or television, still attempt to capture the reader's eye by utilizing similar techniques. Today, people want to hear about celebrities lives, specifically the aspects they might be able to relate to. Journalists utilize this desire in their headlines. <br></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Newspapers, in printed form, are no longer everyone's first choice of where to get the news. People have cable news and radio to turn to when at home or in the car. So, in a society where Fleet Street is known for Sweeney Todd and the newspaper industry can be an afterthought, how is the culture surrounding Fleet Street remembered? Headlines today, whether it be newspaper or television, still attempt to capture the reader's eye by utilizing similar techniques. Today, people want to hear about celebrities lives, specifically the aspects they might be able to relate to. Journalists utilize this desire in their headlines. <br></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Today, Fleet Street is the topic of research surrounding industrial London. People want to know more about the history behind it now that it is no longer itself. Plaques are present in the sidewalk in front of office buildings to remember the former newspaper prints and houses of well-known people.<ref name = "O'Mara"> [<del class="diffchange diffchange-inline">O'Mara, R. (2003). London and Boswell. The Sewanee Review, 111(4), 595-602. Retrieved from </del>http://www.jstor.org.ezproxy.wpi.edu/stable/27549441],  O'Mara, R. (2003). London and Boswell. The Sewanee Review, 111(4), 595-602. Retrieved from JSTOR </ref> Journalists recognize how important Fleet Street was to their industry. Richard O'Mara, a journalist for the ''Baltimore Sun'', deemed Fleet Street "journalism's Valhalla", that is "a heaven you didn't have to die to get into".<ref name = "O'Mara"/> Although the printers are gone, the symbol Fleet Street stood for is the same, free press.  </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Today, Fleet Street is the topic of research surrounding industrial London. People want to know more about the history behind it now that it is no longer itself. Plaques are present in the sidewalk in front of office buildings to remember the former newspaper prints and houses of well-known people.<ref name = "O'Mara"> [http://www.jstor.org.ezproxy.wpi.edu/stable/27549441],  O'Mara, R. (2003). London and Boswell. The Sewanee Review, 111(4), 595-602. Retrieved from JSTOR </ref> Journalists recognize how important Fleet Street was to their industry. Richard O'Mara, a journalist for the ''Baltimore Sun'', deemed Fleet Street "journalism's Valhalla", that is "a heaven you didn't have to die to get into".<ref name = "O'Mara"/> Although the printers are gone, the symbol Fleet Street stood for is the same, free press.  </div></td></tr>
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</table>Tatedtsenhttps://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19620&oldid=prevTatedtsen: /* The Houses of Parliament and Big Ben */2017-06-22T19:59:24Z<p><span dir="auto"><span class="autocomment">The Houses of Parliament and Big Ben</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Taken by an unknown photographer in 1932, the past photo shows British soldiers gathering on Westminster Bridge for transportation to Shanghai. The comparison of photos speaks to a different cultural difference than the majority of the other comparisons. In the past photo, pedestrians are gathered on the bridge to watch soldiers cross the bridge on their way to battle. Today, pedestrians gather to watch the <del class="diffchange diffchange-inline">Changin </del>of the <del class="diffchange diffchange-inline">Gaurd </del>at Buckingham Palace or Windsor Castle. In the present day photo, people are simply living their everyday lives. Some are tourists taking pictures while on vacation. Some are Londoners trying to get to work. Some are long term students enjoying the city. Whatever the case, the people on the bridge in the present day photo are not worried about the same things as the people on the bridge in the past photo.  </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Taken by an unknown photographer in 1932, the past photo shows British soldiers gathering on Westminster Bridge for transportation to Shanghai. The comparison of photos speaks to a different cultural difference than the majority of the other comparisons. In the past photo, pedestrians are gathered on the bridge to watch soldiers cross the bridge on their way to battle. Today, pedestrians gather to watch the <ins class="diffchange diffchange-inline">Changing </ins>of the <ins class="diffchange diffchange-inline">Guard </ins>at Buckingham Palace or Windsor Castle. In the present day photo, people are simply living their everyday lives. Some are tourists taking pictures while on vacation. Some are Londoners trying to get to work. Some are long term students enjoying the city. Whatever the case, the people on the bridge in the present day photo are not worried about the same things as the people on the bridge in the past photo.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref> [https://commons.wikimedia.org/wiki/File:Bundesarchiv_Bild_102-13183,_London,_Soldaten_auf_Westminster-Bridge.jpg], London, Soldaten auf Westminster-Bridge [Photograph]. (1932). </ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref> [https://commons.wikimedia.org/wiki/File:Bundesarchiv_Bild_102-13183,_London,_Soldaten_auf_Westminster-Bridge.jpg], London, Soldaten auf Westminster-Bridge [Photograph]. (1932). </ref></div></td></tr>
</table>Tatedtsenhttps://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19619&oldid=prevTatedtsen: /* Westminster Abbey */2017-06-22T19:58:01Z<p><span dir="auto"><span class="autocomment">Westminster Abbey</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The past photo of Westminster Abbey was supplied by H.C. White Co. and is from ca.1909. Although lacking in physical differences, the past and present photos of Westminster Abbey show how technology is essential to our everyday activities. This is shown by the tourists taking pictures and the vehicles in the foreground. In the photo from 1909, <del class="diffchange diffchange-inline">th4e </del>pedestrians are simply traveling. They aren't relying on technology to get them where they need to go nor are they stopping to take selfies in front of the church. This is another example of how present day culture has adapted to rely upon technology.  </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The past photo of Westminster Abbey was supplied by H.C. White Co. and is from ca.1909. Although lacking in physical differences, the past and present photos of Westminster Abbey show how technology is essential to our everyday activities. This is shown by the tourists taking pictures and the vehicles in the foreground. In the photo from 1909, <ins class="diffchange diffchange-inline">the </ins>pedestrians are simply traveling. They aren't relying on technology to get them where they need to go nor are they stopping to take selfies in front of the church. This is another example of how present day culture has adapted to rely upon technology.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref> [https://www.loc.gov/item/2003674145/],  H.C. White Co, P. (ca. 1909) Westminster Abbey, England's most celebrated building, London. England London, ca. 1909. Chicago ; New York ; London: H.C. White Co., Dec. 7. [Photograph] Retrieved from the Library of Congress. </ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref> [https://www.loc.gov/item/2003674145/],  H.C. White Co, P. (ca. 1909) Westminster Abbey, England's most celebrated building, London. England London, ca. 1909. Chicago ; New York ; London: H.C. White Co., Dec. 7. [Photograph] Retrieved from the Library of Congress. </ref></div></td></tr>
</table>Tatedtsenhttps://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19616&oldid=prevTatedtsen: /* Background */2017-06-22T19:55:41Z<p><span dir="auto"><span class="autocomment">Background</span></span></p>
<a href="https://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19616&oldid=19612">Show changes</a>Tatedtsenhttps://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19612&oldid=prevTatedtsen: /* Introduction */2017-06-22T19:51:04Z<p><span dir="auto"><span class="autocomment">Introduction</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=Introduction=</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=Introduction=</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>This project focused on exploring the differences between London 100 years ago and London now. The background explores the differences in scholarly and newspaper articles published about the chosen venues and the deliverable focuses on the visual differences. Since this project focuses on famous London buildings, it is similar to another project about surrealistic paintings of famous London buildings. It is different, however, in the type of art used to complete the milestone- photography versus painting- and the specific buildings chosen. This project required me to access my seldom used creative gene. The deliverable is an art project, something I have very little experience with. It was useful, however, to be able to rely on the history related information in the background, a subject I am much more comfortable with. I wanted to challenge myself with this milestone, something I succeeded in doing by choosing an art project</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>This project focused on exploring the differences between London 100 years ago and London now. The background explores the differences in scholarly and newspaper articles published about the chosen venues and the deliverable focuses on the visual differences. Since this project focuses on famous London buildings, it is similar to another project about surrealistic paintings of famous London buildings. It is different, however, in the type of art used to complete the milestone- photography versus painting- and the specific buildings chosen. This project required me to access my seldom used creative gene. The deliverable is an art project, something I have very little experience with. It was useful, however, to be able to rely on the history related information in the background, a subject I am much more comfortable with. I wanted to challenge myself with this milestone, something I succeeded in doing by choosing an art project<ins class="diffchange diffchange-inline">.</ins></div></td></tr>
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</table>Tatedtsenhttps://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19610&oldid=prevTatedtsen: /* Introduction */2017-06-22T19:50:19Z<p><span dir="auto"><span class="autocomment">Introduction</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=Introduction=</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=Introduction=</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"><br></del></div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">This project focused on exploring the differences between London 100 years ago and London now</ins>. <ins class="diffchange diffchange-inline">The background explores </ins>the <ins class="diffchange diffchange-inline">differences in scholarly and newspaper articles published about </ins>the <ins class="diffchange diffchange-inline">chosen venues </ins>and the <ins class="diffchange diffchange-inline">deliverable focuses on the visual differences</ins>. <ins class="diffchange diffchange-inline">Since this project focuses on famous London buildings, </ins>it <ins class="diffchange diffchange-inline">is similar to another </ins>project <ins class="diffchange diffchange-inline">about surrealistic paintings of famous London buildings. It </ins>is different<ins class="diffchange diffchange-inline">, however, in </ins>the <ins class="diffchange diffchange-inline">type of art used </ins>to <ins class="diffchange diffchange-inline">complete the milestone- photography versus painting- and the specific buildings chosen. This </ins>project <ins class="diffchange diffchange-inline">required me </ins>to <ins class="diffchange diffchange-inline">access my seldom used creative gene. The deliverable is </ins>an <ins class="diffchange diffchange-inline">art </ins>project, <ins class="diffchange diffchange-inline">something I </ins>have <ins class="diffchange diffchange-inline">very little experience </ins>with. <ins class="diffchange diffchange-inline">It was useful, however, to be able </ins>to <ins class="diffchange diffchange-inline">rely on the history related information </ins>in the <ins class="diffchange diffchange-inline">background</ins>, <ins class="diffchange diffchange-inline">a subject I am much more comfortable with</ins>. <ins class="diffchange diffchange-inline">I wanted </ins>to <ins class="diffchange diffchange-inline">challenge myself with this </ins>milestone, <ins class="diffchange diffchange-inline">something I succeeded </ins>in <ins class="diffchange diffchange-inline">doing by choosing an art </ins>project</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">I suggest you save this section for last</del>. <del class="diffchange diffchange-inline">Describe </del>the <del class="diffchange diffchange-inline">essence of this project. Cover what </del>the <del class="diffchange diffchange-inline">project is </del>and <del class="diffchange diffchange-inline">who cares in </del>the <del class="diffchange diffchange-inline">first two sentences</del>. <del class="diffchange diffchange-inline">Then cover what others have done like </del>it<del class="diffchange diffchange-inline">, how your </del>project is different<del class="diffchange diffchange-inline">. Discuss </del>the <del class="diffchange diffchange-inline">extent </del>to <del class="diffchange diffchange-inline">which your strategy for completing this </del>project <del class="diffchange diffchange-inline">was new </del>to <del class="diffchange diffchange-inline">you, or </del>an <del class="diffchange diffchange-inline">extension of previous HUA experiences. </del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"><br><br></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">As you continue to think about your </del>project <del class="diffchange diffchange-inline">milestones</del>, <del class="diffchange diffchange-inline">reread the "Goals" narrative on defining project milestones from the [[HU2900]] syllabus. Remember: the idea is to </del>have <del class="diffchange diffchange-inline">equip your milestone </del>with <del class="diffchange diffchange-inline">a really solid background and then some sort of "thing that you do"</del>. <del class="diffchange diffchange-inline">You'll need </del>to <del class="diffchange diffchange-inline">add </del>in <del class="diffchange diffchange-inline">some narrative to describe why you did </del>the <del class="diffchange diffchange-inline">"thing that you did"</del>, <del class="diffchange diffchange-inline">which you'd probably want to do anyway</del>. <del class="diffchange diffchange-inline">You can make it easy for your advisors </del>to <del class="diffchange diffchange-inline">give you a high grade by ensuring that your project </del>milestone <del class="diffchange diffchange-inline">work reflects careful</del>, <del class="diffchange diffchange-inline">considerate, and comprehensive thought and effort </del>in <del class="diffchange diffchange-inline">terms of your background review, and insightful, cumulative, and methodical approaches toward the creative components of your </del>project <del class="diffchange diffchange-inline">milestone deliverables.</del></div></td><td colspan="2"> </td></tr>
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</table>Tatedtsenhttps://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19603&oldid=prevTatedtsen: /* Section 2: Deliverable */2017-06-22T19:43:00Z<p><span dir="auto"><span class="autocomment">Section 2: Deliverable</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=Section 2: Deliverable=</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=Section 2: Deliverable=</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"><br></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">In this section, provide your contribution, creative element, assessment, or observation with regard to your background research. This could be a new derivative work based on previous research, or some parallel to other events. In this section, describe the relationship between your background review and your deliverable; make the connection between the two clear. </del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"><br><br></del></div></td><td colspan="2"> </td></tr>
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</table>Tatedtsenhttps://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19602&oldid=prevTatedtsen: /* The Houses of Parliament and Big Ben */2017-06-22T19:42:42Z<p><span dir="auto"><span class="autocomment">The Houses of Parliament and Big Ben</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==The Houses of Parliament and Big Ben==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==The Houses of Parliament and Big Ben==</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In 1894, Edwin Chubb published an article <del class="diffchange diffchange-inline">for </del>in ''Journal of Education'' describing his experiences with the new Palace of Westminster. He describes the building as "magnificent" and "as familiar ... as the Statue of Liberty"<ref name = "Chubb"> [http://www.jstor.org.ezproxy.wpi.edu/stable/44043596], CHUBB, E. (1894). IN THE HOUSE OF COMMONS. The Journal of Education, 39(3 (953)), 36-37. Retrieved from JSTOR </ref><del class="diffchange diffchange-inline">. </del>Clearly, people thought the Houses of Parliament to be a symbol representative of their country. Chubb later writes about what it was like to sit in while the Houses were in session. In order to see their leaders in action, citizens must obtain passes granting them access to the rooms<ref name = "Chubb"/><del class="diffchange diffchange-inline">. </del>After Chubb got his pass, he had to wait 2 hours for a seat inside the room<ref name = "Chubb"/><del class="diffchange diffchange-inline">. </del>This shows the immense interest people had on what goes on inside the Houses. People wanted to see William Ewart Gladstone- the prime minister at the time the article was written- in action. The structure was not, however, only popular because of the politics that went on inside. ''The Music Times'' published an article in 1910 about bells, including Big Ben, the bell in the famous clock tower on the north end of the palace. The article regards a lecturer's criticism of the bell stating the "casting is not as good as it should be" and the crack, and subsequent holes, "injures the tone" of the bell<ref name ="Bells"> [http://www.jstor.org.ezproxy.wpi.edu/stable/pdf/907373.pdf?refreqid=excelsior%3Aaa6c17e0931f062b30ebf68fa52a028c], Bells, Carillons and Chimes. (1910). The Musical Times, 51(808), 372-373. doi:10.2307/907373 </ref><del class="diffchange diffchange-inline">. </del>The study of the palace and accompaning clock tower do not end with <del class="diffchange diffchange-inline">"</del>The Music <del class="diffchange diffchange-inline">Ttimes</del>'', but continue well into modern society. <br><br></div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In 1894, Edwin Chubb published an article in <ins class="diffchange diffchange-inline">the </ins>''Journal of Education'' describing his experiences with the new Palace of Westminster. He describes the building as "magnificent" and "as familiar ... as the Statue of Liberty"<ins class="diffchange diffchange-inline">.</ins><ref name = "Chubb"> [http://www.jstor.org.ezproxy.wpi.edu/stable/44043596], CHUBB, E. (1894). IN THE HOUSE OF COMMONS. The Journal of Education, 39(3 (953)), 36-37. Retrieved from JSTOR </ref> Clearly, people thought the Houses of Parliament to be a symbol representative of their country. Chubb later writes about what it was like to sit in while the Houses were in session. In order to see their leaders in action, citizens must obtain passes granting them access to the rooms<ins class="diffchange diffchange-inline">.</ins><ref name = "Chubb"/> After Chubb got his pass, he had to wait 2 hours for a seat inside the room<ins class="diffchange diffchange-inline">.</ins><ref name = "Chubb"/> This shows the immense interest people had on what goes on inside the Houses. People wanted to see William Ewart Gladstone- the prime minister at the time the article was written- in action. The structure was not, however, only popular because of the politics that went on inside. ''The Music Times'' published an article in 1910 about bells, including Big Ben, the bell in the famous clock tower on the north end of the palace. The article regards a lecturer's criticism of the bell stating the "casting is not as good as it should be" and the crack, and subsequent holes, "injures the tone" of the bell<ins class="diffchange diffchange-inline">.</ins><ref name ="Bells"> [http://www.jstor.org.ezproxy.wpi.edu/stable/pdf/907373.pdf?refreqid=excelsior%3Aaa6c17e0931f062b30ebf68fa52a028c], Bells, Carillons and Chimes. (1910). The Musical Times, 51(808), 372-373. doi:10.2307/907373 </ref> The study of the palace and accompaning clock tower do not end with <ins class="diffchange diffchange-inline">''</ins>The Music <ins class="diffchange diffchange-inline">Times</ins>'', but continue well into modern society. <br><br></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Topics of interest to present day historians include how the architecture of the palace was influenced by historical events, what purpose monuments such as the palace and Big Ben serve, and the art on the walls within the Houses of Parliament. Sean Sawyer, an architectural historian, explored the relationship between historical events and the changing architecture of the Palace of Westminster in his article "Delusions of National Grandeur: Reflections on the Intersection of Architecture and History at the Palace of Westminster, 1789-1834" for the ''Transactions of the Royal Historical Society'' journal in 2003. Sawyer talks about the "urban <del class="diffchange diffchange-inline">renweal</del>" of the palace between 1784 and 1834 that allowed the structure "to serve the institutions of national law and government"<ref name = "Sawyer"> [http://www.jstor.org.ezproxy.wpi.edu/stable/3679256], Sawyer, S. (2003). Delusions of National Grandeur: Reflections on the Intersection of Architecture and History at the Palace of Westminster, 1789-1834. Transactions of the Royal Historical Society, 13, 237-250. Retrieved from JSTOR </ref><del class="diffchange diffchange-inline">. </del>Sawyer and Chubb have both deemed the building to be modern for it's time period with Sawyer elaborating on the political relationships involved in choosing the new design. According to Sawyer, George III "approved of" John Soane's plans for a "grand royal entrance" but was won over by James Wyatt's "courtly graces"<ref name = "Sawyer"/><del class="diffchange diffchange-inline">. </del>Sawyer's article delves into the history behind the making of the palace as well as the architectural points other historians overlook. Another new <del class="diffchange diffchange-inline">interpretations </del>of monuments comes from Lubaina Himid in a book titled ''Black Knowledges/Black Struggles: Essays in Critical Epistemology''<del class="diffchange diffchange-inline">. In </del>a chapter focusing on the purpose of monuments in relation to culture. She mentions many London monuments, but specifically says Westminster has been at the "center of political and religious power in England for 1,000 years"<ref name = "Himid"> [http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1gn6bfp.11], Himid, L. (2015). Imaginary Black Topographies: What are Monuments For? In Ambroise J. & Broeck S. (Eds.), Black Knowledges/Black Struggles: Essays in Critical Epistemology (pp. 170-183). Liverpool: Liverpool University Press. Retrieved from JSTOR </ref>  She also mention the Oliver Cromwell statue and believes it necessary to mention "the memorial garden for the African governor of the Roman province of Britannia, Quintus Lollius Urbicus, has never been replaced since it was destroyed during the Second World War" <ref name = "Himid"/><del class="diffchange diffchange-inline">. </del>Himid's analysis of monuments <del class="diffchange diffchange-inline">not only in London </del>explores the relevant issues of race and gender in today's society. Although the subject of research from modern historians has not changed, their topics have adapted to fit with modern culture and societal problems.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Topics of interest to present day historians include how the architecture of the palace was influenced by historical events, what purpose monuments such as the palace and Big Ben serve, and the art on the walls within the Houses of Parliament. Sean Sawyer, an architectural historian, explored the relationship between historical events and the changing architecture of the Palace of Westminster in his article "Delusions of National Grandeur: Reflections on the Intersection of Architecture and History at the Palace of Westminster, 1789-1834" for the ''Transactions of the Royal Historical Society'' journal in 2003. Sawyer talks about the "urban <ins class="diffchange diffchange-inline">renewal</ins>" of the palace between 1784 and 1834 that allowed the structure "to serve the institutions of national law and government"<ins class="diffchange diffchange-inline">.</ins><ref name = "Sawyer"> [http://www.jstor.org.ezproxy.wpi.edu/stable/3679256], Sawyer, S. (2003). Delusions of National Grandeur: Reflections on the Intersection of Architecture and History at the Palace of Westminster, 1789-1834. Transactions of the Royal Historical Society, 13, 237-250. Retrieved from JSTOR </ref> Sawyer and Chubb have both deemed the building to be modern for it's time period with Sawyer elaborating on the political relationships involved in choosing the new design. According to Sawyer, George III "approved of" John Soane's plans for a "grand royal entrance" but was won over by James Wyatt's "courtly graces"<ins class="diffchange diffchange-inline">.</ins><ref name = "Sawyer"/> Sawyer's article delves into the history behind the making of the palace as well as the architectural points other historians overlook. Another new <ins class="diffchange diffchange-inline">interpretation </ins>of monuments comes from Lubaina Himid in a book titled ''Black Knowledges/Black Struggles: Essays in Critical Epistemology'' <ins class="diffchange diffchange-inline">in </ins>a chapter focusing on the purpose of monuments in relation to culture. She mentions many London monuments, but specifically says Westminster has been at the "center of political and religious power in England for 1,000 years"<ins class="diffchange diffchange-inline">.</ins><ref name = "Himid"> [http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1gn6bfp.11], Himid, L. (2015). Imaginary Black Topographies: What are Monuments For? In Ambroise J. & Broeck S. (Eds.), Black Knowledges/Black Struggles: Essays in Critical Epistemology (pp. 170-183). Liverpool: Liverpool University Press. Retrieved from JSTOR </ref>  She also mention the Oliver Cromwell statue and believes it necessary to mention "the memorial garden for the African governor of the Roman province of Britannia, Quintus Lollius Urbicus, has never been replaced since it was destroyed during the Second World War"<ins class="diffchange diffchange-inline">.</ins><ref name = "Himid"/> Himid's analysis of monuments explores the relevant issues of race and gender in today's society <ins class="diffchange diffchange-inline">in reelation to their historical importance</ins>. Although the subject of research from modern historians has not changed, their topics have adapted to fit with modern culture and societal problems.</div></td></tr>
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</table>Tatedtsenhttps://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19595&oldid=prevTatedtsen: /* Buckingham Palace */2017-06-22T19:35:54Z<p><span dir="auto"><span class="autocomment">Buckingham Palace</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 19:35, 22 June 2017</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l54" >Line 54:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Scholarly articles about Buckingham Palace in the early 20th century focused on what was being kept in the Palace such as  "The Royal Music Library at Buckingham Palace" in ''The Musical Times'' and ''Singing Class Circular'' and Lionel Cust's and Herbert Cook's "Notes on Pictures in the Royal Collections Article IX-'The Lovers,' at Buckingham Palace". It was not common to study the building at this time. When comparing two paintings from different exhibits, Cust and Cook commonly referred to specific paintings as "the Buckingham Palace picture"<ref name = "Cust Cook"> [http://www.jstor.org.ezproxy.wpi.edu/stable/856770], Cust, L., & Cook, H. (1906). Notes on Pictures in the Royal Collections Article IX-'The Lovers,' at Buckingham Palace. The Burlington Magazine for Connoisseurs, 9(38), 71-79. Retrieved from JSTOR </ref>. This shows the importance of the building the paintings were stored in. In "The Royal Music Library at Buckingham Palace" there is an excerpt from a letter written by Mendelssohn regarding his trip to Buckingham Palace. Mendelssohn says he wished to be able to "boast about it" while continuing on his journey and referred to the grand organ as "a very pretty feature in the room"<ref name = "Music"> [http://www.jstor.org.ezproxy.wpi.edu/stable/pdf/3369665.pdf?refreqid=excelsior%3A125ac768e452efda35d260366268e763], The Royal Music Library at Buckingham Palace. (1902). The Musical Times and Singing Class Circular, 43(713), 451-455. doi:10.2307/3369665 </ref>. These articles, albeit indirectly, show the grandeur of the Palace and how well revered it was. <br><br></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Scholarly articles about Buckingham Palace in the early 20th century focused on what was being kept in the Palace such as  "The Royal Music Library at Buckingham Palace" in ''The Musical Times'' and ''Singing Class Circular'' and Lionel Cust's and Herbert Cook's "Notes on Pictures in the Royal Collections Article IX-'The Lovers,' at Buckingham Palace". It was not common to study the building at this time. When comparing two paintings from different exhibits, Cust and Cook commonly referred to specific paintings as "the Buckingham Palace picture"<ref name = "Cust Cook"> [http://www.jstor.org.ezproxy.wpi.edu/stable/856770], Cust, L., & Cook, H. (1906). Notes on Pictures in the Royal Collections Article IX-'The Lovers,' at Buckingham Palace. The Burlington Magazine for Connoisseurs, 9(38), 71-79. Retrieved from JSTOR </ref>. This shows the importance of the building the paintings were stored in. In "The Royal Music Library at Buckingham Palace" there is an excerpt from a letter written by Mendelssohn regarding his trip to Buckingham Palace. Mendelssohn says he wished to be able to "boast about it" while continuing on his journey and referred to the grand organ as "a very pretty feature in the room"<ref name = "Music"> [http://www.jstor.org.ezproxy.wpi.edu/stable/pdf/3369665.pdf?refreqid=excelsior%3A125ac768e452efda35d260366268e763], The Royal Music Library at Buckingham Palace. (1902). The Musical Times and Singing Class Circular, 43(713), 451-455. doi:10.2307/3369665 </ref>. These articles, albeit indirectly, show the grandeur of the Palace and how well revered it was. <br><br></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Buckingham Palace has become, with the growth of the industry, one <del class="diffchange diffchange-inline">fo </del>London's top tourist attractions. Yet, a similar theme is followed in some present day articles about the structure. This includes Christopher Maxwell's "Chinoiserie at Buckingham Palace in the Nineteenth Century". Maxwell, however, includes introductory paragraphs about the history of the Palace, something articles from the past neglected. He mentions Queen Victoria being the first monarch to live in the Palace and says the "interiors stretched the classical tradition to its limits", referring to the elegantly decorated designs by John Nash<ref name = "Maxwell"> [http://www.jstor.org.ezproxy.wpi.edu/stable/20074863], Maxwell, C. (2007). Chinoiserie at Buckingham Palace in the Nineteenth Century. The Burlington Magazine, 149(1251), 383-392. Retrieved from JSTOR. </ref>. Although some research is still done regarding art and music inside the palace, the field has widened a bit to include film and <del class="diffchange diffchange-inline">architechture</del>. An article in the journal ''Film Comment'' describes some of Elizabeth II's history in regards to the film '"The Queen". The film and article discuss the untraditional burial of Princess Diana, while mentioning how Buckingham Palace was used in the cinemetography of the film<ref name = "Films">[http://www.jstor.org.ezproxy.wpi.edu/stable/43460313], Fuller, G. (2006). ROYAL PAINS. Film Comment, 42(5), 15-15. Retrieved from JSTOR </ref>. It is also safe to say Buckingham Palace is still a staple of London with those who visit saying they "felt very privileged" to be at the Palace in the Queen's presence<ref name = "UK"> [http://www.jstor.org.ezproxy.wpi.edu/stable/23510525], Adamson, K. (2006). UK and Ireland. Fontes Artis Musicae, 53(2), 97-97. Retrieved from JSTOR </ref>.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Buckingham Palace has become, with the growth of the industry, one <ins class="diffchange diffchange-inline">of </ins>London's top tourist attractions. Yet, a similar theme is followed in some present day articles about the structure. This includes Christopher Maxwell's "Chinoiserie at Buckingham Palace in the Nineteenth Century". Maxwell, however, includes introductory paragraphs about the history of the Palace, something articles from the past neglected. He mentions Queen Victoria being the first monarch to live in the Palace and says the "interiors stretched the classical tradition to its limits", referring to the elegantly decorated designs by John Nash<ref name = "Maxwell"> [http://www.jstor.org.ezproxy.wpi.edu/stable/20074863], Maxwell, C. (2007). Chinoiserie at Buckingham Palace in the Nineteenth Century. The Burlington Magazine, 149(1251), 383-392. Retrieved from JSTOR. </ref>. Although some research is still done regarding art and music inside the palace, the field has widened a bit to include film and <ins class="diffchange diffchange-inline">architecture</ins>. An article in the journal ''Film Comment'' describes some of Elizabeth II's history in regards to the film '"The Queen". The film and article discuss the untraditional burial of Princess Diana, while mentioning how Buckingham Palace was used in the cinemetography of the film<ref name = "Films">[http://www.jstor.org.ezproxy.wpi.edu/stable/43460313], Fuller, G. (2006). ROYAL PAINS. Film Comment, 42(5), 15-15. Retrieved from JSTOR </ref>. It is also safe to say Buckingham Palace is still a staple of London with those who visit saying they "felt very privileged" to be at the Palace in the Queen's presence<ref name = "UK"> [http://www.jstor.org.ezproxy.wpi.edu/stable/23510525], Adamson, K. (2006). UK and Ireland. Fontes Artis Musicae, 53(2), 97-97. Retrieved from JSTOR </ref>.</div></td></tr>
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</table>Tatedtsenhttps://londonhuawiki.wpi.edu/index.php?title=London:_Past_v._Present&diff=19594&oldid=prevTatedtsen: /* Westminster Abbey */2017-06-22T19:35:12Z<p><span dir="auto"><span class="autocomment">Westminster Abbey</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 19:35, 22 June 2017</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l60" >Line 60:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Presently, Westminster Abbey is one of the most renowned churches in England, if not the world. It is a huge tourist attraction and the subject of many historical inquiries. But, what was it like 100 years ago? Were people as interested in the history of the building as they are now? Well, in 1907, a music journal titled ''The Music Times'' published four issues of their journal each containing an article about music in the Abbey<ref name = "Crotchet"> [http://www.jstor.org.ezproxy.wpi.edu/stable/pdf/903538.pdf], Crotchet, D. (1907). Westminster Abbey. The Musical Times, 48(770), 221-227. doi:10.2307/903538. Retrieved from JSTOR </ref>. These articles show how esteemed the Abbey was during the early 20th century. The author of the articles states "of all the beautiful cathedrals and abbeys in this fair land of ours none can compare with the stately fane of Westminster"<ref name = "Crotchet"/>. It is not surprising that Westminster Abbey was a focal point of research 100 years ago seeing as the church was first built over 900 years ago. It is surprising, however, how infatuated with the Abbey Crotchet seemed to be, saying the church built on the command of Edward the Confessor was "the first Abbey worthy of the name of Westminster"<ref name = "Crotchet"/>. It is clear that Westminster Abbey is still a well-respected venue, the emphasis being on still. Crotchet was not the only one who believed the Abbey to be a place worthy of admiration. An article in ''The British Medical Journal'' written by a graduate of Edinburgh in 1871 used the terms "venerable", "illustrious", and 'honoured" to describe the church and the people buried there in a request for a bust of Lord Lister to be present in the Abbey<ref name = "Lister"> [http://www.jstor.org.ezproxy.wpi.edu/stable/25296308?Search=yes&resultItemClick=true&searchText=westminster&searchText=abbey&searchUri=%2Faction%2FdoAdvancedSearch%3Fed%3D1915%26amp%3Bsd%3D1900%26amp%3Bc2%3DAND%26amp%3Bc1%3DAND%26amp%3Bf1%3Dall%26amp%3Bf0%3Dall%26amp%3Bacc%3Don%26amp%3BresultsServiceName%3DdoBackToBasicResults%26amp%3Bbk%3Don%26amp%3Brefreqid%3Dexcelsior%253A03a52b82debbcd8b39cb07f6a48c77b7%26amp%3Bq0%3Dwestminster%2Babbey%26amp%3Bc4%3DAND%26amp%3Brr%3Don%26amp%3Bf2%3Dall%26amp%3Bc6%3DAND%26amp%3Bc3%3DAND%26amp%3Bf5%3Dall%26amp%3Bf6%3Dall%26amp%3Bc5%3DAND%26amp%3Bf3%3Dall%26amp%3Bar%3Don%26amp%3Bgroup%3Dcontrol%26amp%3Bf4%3Dall&refreqid=search%3A53c191957c90f7b21a9ccd59aa43d8b4&seq=1#page_scan_tab_contents], An Edinburgh Graduate of 1871. (1912). Lord Lister And Westminster Abbey. The British Medical Journal, 1(2670), 523-523. Retrieved from JSTOR </ref>. <br><br></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Presently, Westminster Abbey is one of the most renowned churches in England, if not the world. It is a huge tourist attraction and the subject of many historical inquiries. But, what was it like 100 years ago? Were people as interested in the history of the building as they are now? Well, in 1907, a music journal titled ''The Music Times'' published four issues of their journal each containing an article about music in the Abbey<ref name = "Crotchet"> [http://www.jstor.org.ezproxy.wpi.edu/stable/pdf/903538.pdf], Crotchet, D. (1907). Westminster Abbey. The Musical Times, 48(770), 221-227. doi:10.2307/903538. Retrieved from JSTOR </ref>. These articles show how esteemed the Abbey was during the early 20th century. The author of the articles states "of all the beautiful cathedrals and abbeys in this fair land of ours none can compare with the stately fane of Westminster"<ref name = "Crotchet"/>. It is not surprising that Westminster Abbey was a focal point of research 100 years ago seeing as the church was first built over 900 years ago. It is surprising, however, how infatuated with the Abbey Crotchet seemed to be, saying the church built on the command of Edward the Confessor was "the first Abbey worthy of the name of Westminster"<ref name = "Crotchet"/>. It is clear that Westminster Abbey is still a well-respected venue, the emphasis being on still. Crotchet was not the only one who believed the Abbey to be a place worthy of admiration. An article in ''The British Medical Journal'' written by a graduate of Edinburgh in 1871 used the terms "venerable", "illustrious", and 'honoured" to describe the church and the people buried there in a request for a bust of Lord Lister to be present in the Abbey<ref name = "Lister"> [http://www.jstor.org.ezproxy.wpi.edu/stable/25296308?Search=yes&resultItemClick=true&searchText=westminster&searchText=abbey&searchUri=%2Faction%2FdoAdvancedSearch%3Fed%3D1915%26amp%3Bsd%3D1900%26amp%3Bc2%3DAND%26amp%3Bc1%3DAND%26amp%3Bf1%3Dall%26amp%3Bf0%3Dall%26amp%3Bacc%3Don%26amp%3BresultsServiceName%3DdoBackToBasicResults%26amp%3Bbk%3Don%26amp%3Brefreqid%3Dexcelsior%253A03a52b82debbcd8b39cb07f6a48c77b7%26amp%3Bq0%3Dwestminster%2Babbey%26amp%3Bc4%3DAND%26amp%3Brr%3Don%26amp%3Bf2%3Dall%26amp%3Bc6%3DAND%26amp%3Bc3%3DAND%26amp%3Bf5%3Dall%26amp%3Bf6%3Dall%26amp%3Bc5%3DAND%26amp%3Bf3%3Dall%26amp%3Bar%3Don%26amp%3Bgroup%3Dcontrol%26amp%3Bf4%3Dall&refreqid=search%3A53c191957c90f7b21a9ccd59aa43d8b4&seq=1#page_scan_tab_contents], An Edinburgh Graduate of 1871. (1912). Lord Lister And Westminster Abbey. The British Medical Journal, 1(2670), 523-523. Retrieved from JSTOR </ref>. <br><br></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Popular opinion of the Abbey in the early 1900s is massivley on the positive side and it doesn't seem to have changed much. Westminster is still the focus of many researchers in fields of history, art, music and many more. In his book about Edward the Confessor, Eric Fernie dedicates an entire chapter to Westminster Abbey saying it "has a good claim to being the most important building project of his reign"<ref name = "Edward"> [http://www.jstor.org.ezproxy.wpi.edu/stable/pdf/10.7722/j.ctt163tbc2.13.pdf?refreqid=excelsior%3Ab3a484818373ba48daa024ac8b885910],  Fernie, E. (2009). Edward the Confessor’s Westminster Abbey. In MORTIMER R. (Ed.), Edward the Confessor: The Man and the Legend (pp. 139-150). Boydell and Brewer. Retrieved from JSTOR</ref>. Fernie goes on to explain the architecture and construction of the building before it was knocked down in 1245 for Henry III's new church<ref name = "Edward"/>. Other historians have examined different aspects of the church's history. Ian Atherton examined the connection cathedrals have to the reformation in an article in ''The Historic Journal'' <ref> [http://www.jstor.org.ezproxy.wpi.edu/stable/40930362], ATHERTON, I. (2010). CATHEDRALS, LAUDIANISM, AND THE BRITISH CHURCHES. The Historical Journal, 53(4), 895-918. Retrieved from JSTOR </ref>. He describes the multiple viewpoints historians have about the role of cathedrals in post-<del class="diffchange diffchange-inline">reformationn </del>England and why so many focus on Westminster Abbey. Another aspect of modern studies about the Abbey revolve around art and filmography. The journal article "Using Popular Film in the Architectural History Classroom", Rumiko Handa describes the increase in the use of actual buildings for film and describes <del class="diffchange diffchange-inline">Westminste </del>Abbey as an "already popular" site<ref name = "Film"> [www.jstor.org/stable/10.1525/phr.2009.78.3.367], Handa, R. (2010). Using Popular Film in the Architectural History Classroom. Journal of the Society of Architectural Historians, 69(3), 311-319. doi:10.1525/phr.2009.78.3.367 </ref> Handa goes on to explain the differences between Westminster and York Minster, the church used to film the coronation scene in ''Elizabeth'' <ref name = "Film"/>. One difference she mentions is the triforiums in the two buildings. Westminster has a  </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Popular opinion of the Abbey in the early 1900s is massivley on the positive side and it doesn't seem to have changed much. Westminster is still the focus of many researchers in fields of history, art, music and many more. In his book about Edward the Confessor, Eric Fernie dedicates an entire chapter to Westminster Abbey saying it "has a good claim to being the most important building project of his reign"<ref name = "Edward"> [http://www.jstor.org.ezproxy.wpi.edu/stable/pdf/10.7722/j.ctt163tbc2.13.pdf?refreqid=excelsior%3Ab3a484818373ba48daa024ac8b885910],  Fernie, E. (2009). Edward the Confessor’s Westminster Abbey. In MORTIMER R. (Ed.), Edward the Confessor: The Man and the Legend (pp. 139-150). Boydell and Brewer. Retrieved from JSTOR</ref>. Fernie goes on to explain the architecture and construction of the building before it was knocked down in 1245 for Henry III's new church<ref name = "Edward"/>. Other historians have examined different aspects of the church's history. Ian Atherton examined the connection cathedrals have to the reformation in an article in ''The Historic Journal'' <ref> [http://www.jstor.org.ezproxy.wpi.edu/stable/40930362], ATHERTON, I. (2010). CATHEDRALS, LAUDIANISM, AND THE BRITISH CHURCHES. The Historical Journal, 53(4), 895-918. Retrieved from JSTOR </ref>. He describes the multiple viewpoints historians have about the role of cathedrals in post-<ins class="diffchange diffchange-inline">reformation </ins>England and why so many focus on Westminster Abbey. Another aspect of modern studies about the Abbey revolve around art and filmography. The journal article "Using Popular Film in the Architectural History Classroom", Rumiko Handa describes the increase in the use of actual buildings for film and describes <ins class="diffchange diffchange-inline">Westminster </ins>Abbey as an "already popular" site<ref name = "Film"> [www.jstor.org/stable/10.1525/phr.2009.78.3.367], Handa, R. (2010). Using Popular Film in the Architectural History Classroom. Journal of the Society of Architectural Historians, 69(3), 311-319. doi:10.1525/phr.2009.78.3.367 </ref> Handa goes on to explain the differences between Westminster and York Minster, the church used to film the coronation scene in ''Elizabeth'' <ref name = "Film"/>. One difference she mentions is the triforiums in the two buildings. Westminster has a  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>"strongly expressed threestory elevation" possibly for "sightseers on grand occasions", but York Minster's triforium is "tucked under the roof and unlit"<ref name = "Film"/>. These differences show how truly grand Westminster Abbey is and represent the reasons for its being built. Westminster Abbey is, has, and seemingly always will be, a grand structure in London, studied by any and respected by all.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>"strongly expressed threestory elevation" possibly for "sightseers on grand occasions", but York Minster's triforium is "tucked under the roof and unlit"<ref name = "Film"/>. These differences show how truly grand Westminster Abbey is and represent the reasons for its being built. Westminster Abbey is, has, and seemingly always will be, a grand structure in London, studied by any and respected by all.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br><br></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br><br></div></td></tr>
</table>Tatedtsen