Wheel Works Mansfield

wheel works mansfield
  • New Zealand writer of short stories (1888-1923)
  • Mansfield is a local government district in Nottinghamshire, England. According to the 2001 UK census, its population was 98,181.
  • Katherine (1888–1923), New Zealand short-story writer; pseudonym of Kathleen Mansfield Beauchamp Murray. Her stories range from extended impressionistic evocations of family life to short sketches. Notable collections: In a German Pension (1911) and Bliss (1920)
  • a town in north central Ohio
  • change directions as if revolving on a pivot; "They wheeled their horses around and left"
  • Used in reference to the cycle of a specified condition or set of events
  • steering wheel: a handwheel that is used for steering
  • A circular object that revolves on an axle and is fixed below a vehicle or other object to enable it to move easily over the ground
  • A circular object that revolves on an axle and forms part of a machine
  • a simple machine consisting of a circular frame with spokes (or a solid disc) that can rotate on a shaft or axle (as in vehicles or other machines)
  • A place or premises for industrial activity, typically manufacturing
  • Such activity as a means of earning income; employment
  • whole shebang: everything available; usually preceded by `the'; "we saw the whole shebang"; "a hotdog with the works"; "we took on the whole caboodle"; "for $10 you get the full treatment"
  • performance of moral or religious acts; "salvation by deeds"; "the reward for good works"
  • Activity involving mental or physical effort done in order to achieve a purpose or result
  • plant: buildings for carrying on industrial labor; "they built a large plant to manufacture automobiles"
wheel works mansfield - Mansfield Park
Mansfield Park
Mansfield Park
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Though Jane Austen was writing at a time when Gothic potboilers such as Ann Ward Radcliffe's The Mysteries of Udolpho and Horace Walpole's The Castle of Otranto were all the rage, she never got carried away by romance in her own novels. In Austen's ordered world, the passions that ruled Gothic fiction would be horridly out of place; marriage was, first and foremost, a contract, the bedrock of polite society. Certain rules applied to who was eligible and who was not, how one courted and married and what one expected afterwards. To flout these rules was to tear at the basic fabric of society, and the consequences could be terrible. Each of the six novels she completed in her lifetime are, in effect, comic cautionary tales that end happily for those characters who play by the rules and badly for those who don't. In Mansfield Park, for example, Austen gives us Fanny Price, a poor young woman who has grown up in her wealthy relatives' household without ever being accepted as an equal. The only one who has truly been kind to Fanny is Edmund Bertram, the younger of the family's two sons.
Into this Cinderella existence comes Henry Crawford and his sister, Mary, who are visiting relatives in the neighborhood. Soon Mansfield Park is given over to all kinds of gaiety, including a daring interlude spent dabbling in theatricals. Young Edmund is smitten with Mary, and Henry Crawford woos Fanny. Yet these two charming, gifted, and attractive siblings gradually reveal themselves to be lacking in one essential Austenian quality: principle. Without good principles to temper passion, the results can be disastrous, and indeed, Mansfield Park is rife with adultery, betrayal, social ruin, and ruptured friendships. But this is a comedy, after all, so there is also a requisite happy ending and plenty of Austen's patented gentle satire along the way. Describing the switch in Edmund's affections from Mary to Fanny, she writes: "I purposely abstain from dates on this occasion, that everyone may be at liberty to fix their own, aware that the cure of unconquerable passions, and the transfer of unchanging attachments, must vary much as to time in different people." What does not vary is the pleasure with which new generations come to Jane Austen. --Alix Wilber

This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

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Shore Theater
Shore Theater
Coney Island, Brooklyn, New York City, New York, United States The seven-story theater and office building recently known as the Shore Theater and originally known as the Coney Island Theater is one of the largest, most substantial structures in Coney Island in Brooklyn and, when it was constructed in 1925, represented the optimistic attitude of that period for the successful year-round development of Coney Island as a premier entertainment district. Seeking to change the atmosphere of the resort from the somewhat seedy aura it had developed in the 19th century into an area of wholesome family amusement, the city constructed the Boardwalk and extended subway service to Stillwell Avenue while private developers built enclosed amusement parks, restaurants and hotels. The Coney Island Theater was part of this redevelopment effort and featured live performances as well as motion picture screenings. The neo Renaissance Revival style building was constructed and owned by the Chanin Construction Company and leased to the prominent Loew’s theater chain. This large building contained stores, a theater and offices, originally intended for businesses related to the theater industry. Faced with brick and terra-cotta and highlighted by stone and terra-cotta details this structure presents a grand and substantial counterpoint to Coney Island’s more modest one- and two-story buildings. The architects, Reilly & Hall, were leading theater architects of the day. Their selection for the design of the building is indicative of the desire, on the part of Coney Island’s civic and business leaders, to confer legitimacy, grandeur, and elegance on Coney Island. The building is organized in a tri-partite configuration, with a rusticated base, a buff brick shaft and a crown featuring a central arcade and balcony. The Shore Theater Building is a remarkably intact survivor of the early 20th century period when Coney Island was New York City’s playground, and was striving to become a year-round entertainment district for the entire city. DESCRIPTION AND ANALYSIS Coney Island Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These lines were built by businessmen and entrepreneurs who developed large hotels on the eastern end of the island and wanted to provide easy access to Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the west side. The Manhattan Beach Hotel was opened in 1877 on the far eastern end of Coney Island, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878, primarily drawing its clientele from Brooklyn’s middle-class business community. Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day-trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as “Lucy the Elephant” (destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton became “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.” By the end of the 19th century a series of devastating fires opened up vast tracts of land for redevelopment and the West Brighton section became home to a new type of diversion: the enclosed amusement park. In 1895 Paul Boyton’s Sea Lion Park opened, quickly succeeded in 1897 by George C. Tilyou’s legendary Steeplechase Park, and Coney Island took on a different mien. These parks, along with Luna Park (opened in 1903) and Dreamland (opened in 1904) offered thrilling, gravity-defying mechanical rides as well as exotic fantasy architecture shimmering with millions of electric lights, sideshows, live entertainment, theatrical reenactments, music and dance halls, bathing pavilions, and eateries. It was during the first decades of the 20th century, with the advent of the great amusement parks, that the idea of the “New Coney Island” began to take shape. The “New Coney Island” was a notion promulgated by some Coney business leaders to turn Coney Island into a year-round resort, similar to Atlantic City. Chief among the goals of the “New Coney Island” was to slough off the seedy, somewhat
793 UXK - 1934 SS 1 20hp Four Light Saloon
793 UXK - 1934 SS 1 20hp Four Light Saloon
"Sports cars have passed through a stage of evolution during the past few years and instead of the raucous machine of high horse power, popular a few years ago, the modern sports car is a refined and trim machine capable of really high speeds yet withal quite docile and easily handled. The 20hp S.S.1 Saloon is definitely a car of the sporting type, yet from the points of view of quietness, smoothness in running, soft suspension and body equipment, the model under review compares in a very favourable light with its ordinary touring counterpart . . . Altogether then the S.S.1 is a car for the connoisseur who requires an automobile of outstanding appearance with a good all-round performance" (The Motor, July 3rd 1934) Brand new for the 1934 season, the S.S.1 20hp Saloon was the most expensive model offered by S.S. Cars Ltd that year. Based around the same cruciform-braced, 9ft 11in wheelbase chassis frame as its lesser Coupe and Tourer siblings, the stunning Four Light design was equipped with an underslung rear axle, all-round semi-elliptic leaf-sprung suspension and cable-operated 12.5in drum brakes. Employing a two-inch wider track than their forebears, the 1934-model year 20hp cars also benefited from a more powerful version of Standard's smooth, alloy cylinder head topped 2663cc sidevalve straight-six engine not to mention an improved four-speed manual transmission (with synchromesh on 2nd, 3rd and 4th gears). A world away from earlier S.S.1 variants - in dynamic if not stylistic terms - they were proof that there was real substance to William Lyons' fledgling marque. Allying flamboyant curves to subtle detailing, the svelte two-door 20hp Saloon was little short of an Art Deco masterpiece. With its raked / shield-shaped radiator grille, daringly low roof line, moulded spare wheel cover, full flowing wings, heavily louvered bonnet / chassis side rail covers, subtly curved front / rear windscreen surrounds and wide opening doors, the flagship S.S.1 was a match for anything that contemporary French or Italian coachbuilders could create. Barely less dramatic, the four-seater interior featured an imposing four-spoke sprung steering wheel, hexagon surround instruments, rich wood veneers, sunburst patterned door cards and sumptuous Vaumol leather upholstery. Belying appearances and despite the presence of a sliding sunroof, it could accommodate tall drivers with ease. Reputedly able to exceed 80 mph and return 23 mpg under favourable conditions, the S.S.1 20hp Saloon proved a worthy ancestor to the likes of the S.S. Jaguar 100. Of the circa 1,100 made, just 45 or so are thought to have survived to the present day. This particular example - chassis number 247468 - was completed on 21st February 1934 and dispatched to Australian distributors, Tozer Kemsley & Millbourne, early the following month. Road registered in Victoria during April 1934, nothing is known of the car's subsequent history until January 1961 when it resurfaced in the hands of Mansfield resident, John Kannegiesser Esq. Acquired by William Dean Esq of Welshpool around 1973 - 1974 as a potential source of spares for his existing 1933 S.S.1 Coupe, the non-running 20hp Saloon was nonetheless deemed too good to cannibalise. Given to Ivan Stephens Esq in 1990 as part payment for the restoration work he had carried out on Mr Dean's aforementioned Coupe, the Four Light was itself treated to an extensive refurbishment. Initially got going with another sidevalve powerplant during 1993, the S.S.1 was later reunited with its factory fitted engine. Able to boast 'matching' chassis, engine and body numbers, the car also pleasingly retains such original features as its motif-laden radiator cap / Lucas 'Long Range' headlamps, 'Owl Eye' type rear lamps, correct style instruments and Ace wheel discs. Driven regularly before being entered by Mr Stephens for Shannon's Melbourne Grand Prix auction in March 2000, chassis 247468 did not find a buyer under the hammer but subsequently sold to Brian Beni Esq. Repatriated to the UK during 2001, the 20hp Saloon was then purchased by David O'Rorke of Farnham, Surrey. Laid-up at the premises of renowned Sandy, Bedfordshire-based S.S. specialist Davenport Motors, it entered the current ownership in November 2004. Tasked with recommissioning the four-seater, Davenport and his team duly overhauled its front suspension, steering and brake system etc. Granted the UK registration number '793 UXK' during October 2005, the Four Light attended various rallies and events over the next twelve months including the Jaguar Drivers Club's S.S.1 75th Anniversary Concours at Eynsham Park where it was awarded 3rd place. Subtly upgraded with a more modern coil, electric fuel pump and in-line filter, chassis 247468 also benefits from twin SU carburettors in place of its original (but weedy) RAG component. Recently MOT tested, the 20hp Saloon was invited to form part of the Jaguar Daimler Heritage Trust's official display at th

wheel works mansfield
wheel works mansfield
The garden party
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Virginia Woolf once described Katherine Mansfield as "of the cat kind, alien, composed, always solitary & observant." All of these qualities are on display in Mansfield's writing, as well; hers are lonely tales of missed connections, inchoate longings, and complicated emotions within the context of a rigidly defined social setting. Born in New Zealand, Mansfield set many of her stories there, even though she emigrated to England in 1908 at age 19, never to return. Her characters are almost invariably middle-class, the daughters, sweethearts, wives, and widows of office clerks, military men, businessmen. In "At the Bay," for example, Mansfield focuses on the Burnell family as they take their summer vacation at the beach. Not content to follow just one character through the story, she drifts in and out of the consciousness of half a dozen, from the family cat to Stanley and Linda Burnell, their children, Linda's sister, Beryl and their in-laws, the Trouts. Dipping into Linda's thoughts, for example, we learn that she loves her husband--"not the Stanley whom everyone saw, not the everyday one; but a timid, sensitive, innocent Stanley who knelt down every night to say his prayers and who longed to be good." Unfortunately for Linda, "she saw her Stanley so seldom." Mansfield then swoops into the mind of Stanley's brother-in-law, Jonathan Trout, who is discontented with his life but knows he hasn't the will to change it, and then on to Beryl, whose longing for "someone who will find the Beryl they none of them know" leads her into a rash action.
In the title story, Mansfield concentrates on young Laura Sheridan on the afternoon of her family's garden party. The story follows the family through the preparations--flags to identify the different sandwiches, the delivery of cream puffs, the setting up of a marquee on the lawn. This perfect idyll is broken, however, by news of a fatal accident down the lane. A young workman has been killed, leaving a wife and five children. Into Laura's perfect Eden, death comes whispering and her reaction to it is both subtle and surprising. In fact, many of Mansfield's stories feature young women on the brink of adulthood--facing, for the first time, the realities of their constricted lives. Love is a trap; childbearing is another; death can be "simply marvellous." Mansfield died in 1923 of tuberculosis, leaving behind a body of work that is as bold, unconventional, and modern as she was. The Garden Party and Other Stories is a fitting epitaph. --Alix Wilber