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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Connecting the Classical to New England
Still Image
Catalog Entry
<p>Saint Mark’s Horses in Venice have a long, well-traveled history, especially for horses that are not actually living creatures. Cast of copper and various other elements, they are an outstanding example of human ingenuity (Alunno-Rossetti and Marabelli 161). The cause of their creation is unknown; however, their design is exemplary and their path throughout Europe is well-known. Their original location atop the Hippodrome in Istanbul could mean they were a tribute to their venue at the track, located in a long dismantled empire. Then they arrived in Italy at St. Mark’s Basilica, moving to the top of Arc de Triomphe in France with Napoleon Bonaparte, and finally back to St. Mark’s (Dowson). They will most likely never return to Istanbul, where they originated, as they are too fragile and they have already undergone major tests their structural integrity in Italy. The preservation of these horses has become as important as their heritage. The horses have been damaged by air pollution, salt, and sun. They have also been damaged during their many travels (Alunno-Rossetti and Marabelli 162). <br /><br /> Walden Pond in Concord, Massachusetts, is an important part of cultural heritage in New England. Thoreau, the mid-nineteenth century author and a founder of American conservation, lived a quiet life on Walden Pond, and he documented it in his book <em>Walden</em>. He also wrote about his many travels in Maine, a trip to Canada, and of course about civil disobedience. He found great happiness in the simplest things and in the many journeys of life. He probably would have made a quest for the conservation of St Mark’s Horses because they have a high cultural and artistic value. He may not have been into fancy attire or factory lines; what he valued were classical traditions and classic literature, and these horses were created in classical times. Thoreau would have valued the preservation of St. Mark’s Horses as he was for maintaining the arts, and he would have been devastated by the environmental causes of their disintegration (Walden Woods Project). <br /><br /> If Thoreau were to discuss St. Mark’s Horses, it would be through journeys of conquest and classical tradition in Homeric literature. Thoreau celebrated Odysseus and his many conquests and voyages, for Thoreau felt it was important for man to journey to find the best in life. The peace you discover in the world as an explorer was more powerful than any belonging you could have. Odysseus himself is similar to St. Mark’s Horses and their various travels. Perhaps Thoreau would have celebrated the journeys of St. Mark’s Horses as well, a symbol moved from place to place thriving and setting example as to just how amazing man is. Just as Thoreau’s voyages and journeys took him through Massachusetts, Maine, and even into Canada, Odysseus journeyed to find his greatest gifts and to evade a restless sedentary life. Thoreau’s epic journey, Odysseus’s epic journey, and St. Mark’s Horses are all connected with a story of travel and a wish for one last journey home.</p>
Bibliography
<p>Alunno-Rossetti, V., and M. Marabelli. “Analyses of the Patinas of a Gilded Horse of St Mark's Basilica in Venice: Corrosion Mechanisms and Conservation Problems.” <em>Studies in Conservation</em>, vol. 21, no. 4, 1976, pp. 161–170. <em>JSTOR</em>, http://www.jstor.org/stable/1505640</p>
<p>Dowson, Thomas. “The Horses of St. Mark’s Basilica in Venice.” <em>Archaeology Travel</em>. 2 May 2018, https://archaeology-travel.com/friday-find/the-horses-of-st-marks-basilica-in-venice/. Accessed 2 May 2018.</p>
<p>“Henry David Thoreau.” <em>The Walden Woods Project</em>, https://www.walden.org/thoreau/. Accessed 4 May 2018.</p>
<p>Thoreau, Henry David. <em>Walden, and On the Duty of Civil Disobedience</em>. 1995. <em>Project Gutenberg</em>, www.gutenberg.org/files/205/205-h/205-h.htm.</p>
Photographer(s)
Kisha G. Tracy
Robert D. Gosselin, Alum, Fitchburg State University
Catalog Entry Author(s)
Bob Williams, Student, Fitchburg State University
Research Assistant(s)
Alex Voyiatzis, Student, Fitchburg State University
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Venice, Italy - St. Mark’s Horses; Concord, MA - Thoreau's Walden Pond
alum
animal
author
british literature I spring 2018
classical tradition spring 2018
environment
FAMExhibition
italy
massachusetts
statue
thoreau
-
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dea4110ba369e3d1a29920fab76ac7da
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Connecting the Classical to New England
Still Image
Catalog Entry
<p>When it comes to the Greek mythical figure Hercules, most people would say that they are very familiar with his courage, his muscular body, and his overall importance as an heroic figure. There is no doubt that Hercules fits perfectly with all of those qualities. However, his story goes deeper into the possibility of the beloved hero having a history of mental illness and violence. Hercules’ disturbing antics share very similar qualities to the local story dated back in the year 1892 of the Lizzie Borden axe murder case. Each was originally not known to cause any type of disturbances, thus presenting questions concerning their moments of insanity and what caused them to go insane. <br /><br /> In this image of pottery owned by the Fitchburg Art Museum, Hercules is in the midst of struggling to accomplish his second labor out of twelve: slaying the great Lernean Hydra. With the assistance of his nephew Iolaus, Hercules was eventually able to defeat the nine-headed beast, but what even brought him here in the first place? All fingers point right at Hera, the wife of Hercules’ father Zeus. Hera was constantly furious at her husband as he would frequently cheat on her with his several mistresses. To vent her frustrations, she would lash out and get revenge on them or on their children. One of the mistresses turned out to be the mortal woman Alcmene. Zeus was very attracted to her - so much so that he traveled down to earth, transformed himself into her husband, and seduced her. They eventually became the parents to a child named Hercules, who was half human, half god. After many failed attempts at trying to kill him as an infant, Hera sent down a madness on Hercules when he was older, making him kill his own wife and children. As punishment for the murders, he was assigned the twelve labors. <br /><br /> Several hundreds of years after Hercules’ time, the world was introduced to Lizzie Andrew Borden, who was born on July 19, 1860. Lizzie was the daughter of Sarah and Andrew Borden and grew up in Fall River, Massachusetts. After the death of her mother, Andrew remarried a woman named Abby, with whom Lizzie, as well as her sister Emma, did not want anything to do. On the morning of August 4, 1892, both Abby and Andrew Borden were found murdered from a “brutal hatchet attack” in their Fall River home. The case was a <em>cause célèbre</em> all across the United States, many speculating about Lizzie’s mental health, some thinking she lapsed into a moment of insanity when the murder occurred. <br /><br /> It’s very interesting how you can dig deep into a story and how many different connections you can discover. Although both Hercules and Lizzie Borden were overcome with insanity leading up to their murders, that insanity stemmed from different starting points. Hercules’ insanity was caused by Hera being a nuisance. As for Lizzie, her insanity was, according to some theories, fueled by jealousy and greed; the jealousy came from the feelings she had towards her stepmother, while the greed was always there because Lizzie was probably well aware that she and her sister would come into a sizable inheritance after their parents’ deaths. It seems as though, even with iconic figures such as Hercules, everyone has their own trigger and/or breaking point.</p>
Bibliography
<p>Carlisle, Marcia R. "What Made Lizzie Borden Kill?" <em>American Heritage</em>, vol. 43, no. 4, 1992, alistapart.com/article/writeliving. <br /><br /> “Lizzie Borden.” <em>Biography.com, A&E Networks Television</em>, 27 Apr. 2017, www.biography.com/people/lizzie-borden-9219858.</p>
<p>Mark, Joshua J. “The Life of Hercules in Myth & Legend.” <em>Ancient History Encyclopedia</em>, 23 July 2013, https://www.ancient.eu/article/733/.</p>
Photographer(s)
Provided by Fitchburg Art Museum
Catalog Entry Author(s)
Rachel Rudsit, Student, Fitchburg State University
Research Assistant(s)
Samantha Flament, Student, Fitchburg State University
Other
Herakles Slaying the Hydra, 350-325 BC
Apulian
Red Figure
Museum Purchase, 2001.3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Greece - Hercules Pottery; Fall River, MA - Lizzie Borden House
artifact
british literature I spring 2018
classical tradition spring 2018
deities
disability
FAMExhibition
fitchburg art museum
greece
massachusetts
mythology
pottery
women
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Connecting the Medieval to New England
Still Image
Catalog Entry
Old Sturbridge Village is a living museum of colonial times that seeks to educate people on our not-so-distant past. Demonstrations, such as Redcoats and Rebels, include the firing of period rifles. Massachusetts is well-known for its rich colonial history, so it’s no wonder people flock to this quaint village. We tend to romanticize the past, and perhaps the reason we participate in reenactments is the same as why we patronize them – to feel closer to those events. Whether it’s the fashion or the weapons, history has a way of enchanting us, especially if you live in New England. It’s hard to ignore the events that brought us to today. It’s a point of pride that we live so close to so many prominent historical sites. <br /><br />In the one and only Sherwood Forest you can find battle demonstrations at the Robin Hood Festival. This show of swordsmanship can bring you right back to the time of the tales. It’s hard not to be obsessed with the character’s archetype – the do-good rebel with a bow is still around in today’s media in the forms of DC Comics Oliver Queen, <em>The Hunger Games'</em> Katniss Everdeen, Marvel’s Hawkeye, etc. It’s a character almost everyone can connect to – it calls to the hero we all wanted to be growing up. And that’s one of the reasons we celebrate his story through reenactments as adults. <br /><br />King Richard’s Faire in Carver, Massachusetts draws thousands of people each year to its many shows. One such show is the joust. This past 2017 season saw Sir Wolfric, Lord of Middleton, clashing with Sirs Joseph, Gregory, and Don Mitri for the hand of Princess Elizabeth. As one of the most popular attractions at King Richard’s Faire, these knights are cheered on by hordes of patrons and some of the Faire’s Village Cast. The cast is made up of a diverse group of actors of all ages. Jouster and Villager Fight Director Dan Reed talks about his love of WWE as one of his inspirations for getting into stage combat. When asked what brought them to work for the faire, most of the cast will cite fond childhood memories there as a patron. As for the draw to medieval and Renaissance themed events, it’s easy to see the "White Knight complex" in most of the people on site, and it’s no surprise that you’ll find many regular D&D players there. Whether it’s an obsession with their own Norse heritage, or that they just want to wear chain mail and carry a sword, the pull is strong. There is a certain romance involved in dressing up in garb, playing a character from another time, and hitting each other with fight-grade steel. People want to feel like they’re part of something bigger than themselves. They want to feel connected to the past or the heroes of their childhood, and participating in these events is definitely one way to do it.
Bibliography
<p>“Old Sturbridge Village.” <em>Home | Old Sturbridge Village</em>, 7 Apr. 1970, www.osv.org/.</p>
<p>Nottinghamshire County Council. “Robin Hood Festival 2018.” <em>Nottinghamshire County Council</em>, 2018, www.nottinghamshire.gov.uk/planning-and-environment/country-parks/sherwood-forest/robin-hood-festival.</p>
Reed, Dan. Personal interview. 2017.
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Jackilyn Teague, Alum, Fitchburg State University
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sherwood Forest, England - Robin Hood Festival; Carver, MA - King Richard’s Faire; Sturbridge, MA - Redcoats and Rebels
alum
colonial america
england
entertainment
FAMExhibition
hammondexhibition
massachusetts
reenactments
robin hood
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666f96ad571a3b0d9f409e61f2bcd90b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Connecting the Medieval to the United States
Still Image
Catalog Entry
<p>A saint named Giulia della Rena was brought to my attention during my research into another saint, Mary of Egypt. Mary was a very complicated lady in her youth. She was tempted by sexual activity and could not give up her desire to pursue these activities. Even though Saint Giulia did not have the same problems, they do have something in common. Giulia was a very selfless lady. One day there was a building that had caught on fire, and she went into that building to rescue a child from death. In Mary's case she went off into the desert to free herself from sexual temptations. She spent 47 years alone in the desert until one night she "burned" in the desert all alone and was finally free and put out of her misery. <br /><br />Both of these women were selfless and just wanted to do what was right in their respective situations. Mary’s might be a bit more dramatic, but they both had good intentions. <br /><br />Rose Hawthorne, who was Nathaniel Hawthorne's youngest daughter, became a candidate to be a Catholic saint. Rose was born on May 20, 1851, in Lenox, Massachusetts. She spent 50 years of her life as expected of a well-to-do daughter of a literary man. She got married, traveled to Europe, and mingled with the literati and East Coast society. After those 50 years she wanted something more in life. She wanted to create a new identity. After her closest family member passed away and her marriage crumbled, she took the vow to be a nun. She relates to both Giulia and Mary because all they wanted was to be something valuable to others. <br /><br />Saints and their shrines are very important to today's society. They are a place of worship that people go to were they can seek advice. It is very tragic when a shrine gets tampered with. Saints are important to learn about because they make mistakes just like everyone else, but they go an extra step to prove that they can become better people.</p>
Bibliography
Harvey, Katherine. “The Saintliness of Undecayed Corpses.” <em>The Atlantic</em>, Atlantic Media Company, 27 Oct. 2017, www.theatlantic.com/technology/archive/2017/10/saint-corpses/ 544241/?utm_source=atlfb.<br /><br />Landrigan, Leslie. “Rose Hawthorne, Nathaniel Hawthorne's Daughter, Becomes Candidate for Catholic Saint.” <em>New England Historical Society</em>, 16 Nov. 2017, http://www.newenglandhistoricalsociety.com/rose-hawthorne-daughter-nathaniel-becomes-candidate-catholic-saint/.<br /><br />Oxford, Clerk of. “A Clerk of Oxford.” <em>The Saints and Shrines of England</em>, 1 Jan. 1970, aclerkofoxford.blogspot.com/2017/10/the-saints-and-shrines-of-england.html.
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Dominique Perla, Student, Fitchburg State University
Research Assistant(s)
Samantha Foster-Smith, Student, Fitchburg State University
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Certaldo, Italy - Saint Giulia della Rena Body (Chiesa dei Santi Jacopo e Filippo); Hawthorne, NY - Rose Hawthorne Grave (Motherhouse of the Dominican Sisters)
british literature I fall 2017
FAMExhibition
hammondexhibition
middle ages fall 2017
new york
religion
saint
women
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0272fdfc1af44ef60a64f43e7a736520
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Connecting the Medieval to New England
Still Image
Catalog Entry
Notre-Dame de Paris Cathedral started its construction in 1163 and finished in 1345, the exact dates are unknown. It is a well-known medieval Catholic church located in Paris, France. It is well-known for its French Gothic architecture and stained glass windows. Outside of the cathedral is a statue of "Charlemagne et ses leudes," or "Charlemagne and his guards." The piece was made of bronze by two brothers Charles and Louis Rochet and installed in 1882. Charlemagne was king of the Franks and united Europe during the beginning of the Middle Ages. <br /><br />St. Anthony's of Padua in Shirley, Massachusetts is a Roman Catholic church. The rural archdiocesan parish was originally established in 1905. Beside the church is Whiteley Park, a veterans park named after John Whitely, the last Shirley Elder of the Shirley Shaker community. <br /><br />The medieval text, the <em>Heliand</em> or the Anglo-Saxon Bible, translates Christianity into something they can relate to through their previous religion. It tells a similar story to Genesis and was written by an anonymous monk. Instead of being a gentle healer, the son of God is portrayed as a warrior. Often times they refer to God as the Cheiftain of the people. <br /><br />The concept that connects these three is the idea of religion and war, how they affect the community not only individually but together. In order to convert the pagans to Christianity, the <em>Heliand</em> made the Son of God a warrior. This idea of religious figures being warriors is what connects the three. The local site being a war memorial in front of a Christian church reflects the French site of the Charlemagne statue in front of Notre-Dame Cathedral. Charlemagne helped to unite Europe, the French included, and John Whiteley helped unite the people of Shirley, Massachusetts.
Bibliography
<p>“About Our Parish.” <em>St Anthony Church</em>, stanthonyshirley.org/parish-life/about.</p>
<p>"About Shirley." <em>Town of Shirley Massachusetts</em>, www.shirley -ma.gov/Pages/ShirleyMA_WebDocs/about.</p>
<p>“Building history.” <em>Our Lady of Paris</em>, notredamedeparis.fr/en/la-cathedrale/histoire/historique-de-la-construction/.</p>
<p>Krogt, René van der, and Peter van der Krogt. “Charlemagne et ses leudes.” <i>Statues – Hither & Thither</i>, http://vanderkrogt.net/statues/object.php?%20webpage=ST&record=frif004.</p>
Photographer(s)
Kisha G. Tracy
Jon Jones, Adult Learning in the Fitchburg Area (ALFA)
Catalog Entry Author(s)
Deanna Wood, Student, Fitchburg State University
Research Assistant(s)
Holly Elworthy, Student, Fitchburg State University
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Paris, France - Charlemagne et Ses Leudes (Notre-Dame Cathedral); Shirley, MA - St. Anthony's of Padua and Whiteley Park
british literature I fall 2017
cathedral
charlemagne
church
FAMExhibition
hammondexhibition
middle ages fall 2017
religion
statue
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Connecting the Medieval to New England
Still Image
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<p>It has often been believed that great bodies of water house fantastic creatures of all kinds. Nowadays, we often see myths of serpentine creatures hiding below the surface of which we are uninformed, but through the study of different cultures of different times we can trace how we’ve used fantasy to fill in gaps in knowledge. The photograph is of Giant’s Causeway, a span of basalt columns located in County Antrim, Northern Ireland. It resulted from an old volcanic eruption, but the Gaelic legend has it that Scottish giant Bennandonner challenged Irish giant Fionn to a duel, and so Fionn built the causeway for their meeting. Fionn defeated Benandonner by pretending to be an infant of the real Fionn. When Benandonner saw this and imagined the colossal size of the real Fionn, he fled back to Scotland and destroyed the bridge behind him so he wouldn’t be followed. More of the hexagonal basalts can be seen on the Scottish isle of Scaffa, which likely led to the existence of such a story. With legends such as this from the medieval North, we can draw parallels to modern day New England’s own brand of fantasy and how it, too, has a way of seeping into reality. <br /><br /> The Connecticut River is practically an exhibit for local undersea legends here in New England, home to monsters such as the Glowing Thing of Moore Lake and the 200 foot long Big Conn. The Big Conn, or “Connie” as locals call it, is rumored to have more of its kind residing in the Hog River in a concrete tunnel below Hartford, Connecticut. The possibility of such colossal sea creature has terrified and intrigued residents who have braved the dark tunnel since the 1800s. <br /><br /> The Viking poet Egil Skalligrimsson, depicted in <em>Egil’s Saga</em>, product of a family line of werewolves and trolls, represents a culture that instead of fearing legends, chose to integrate them into Icelandic society through stories. Medieval Icelanders saw the world differently than we do today. Where we tend to see bodies of water as masses of scary, unbreathable spaces, to Icelanders sea travel was the basis of society, ships being their vehicles. Egil, his father Skalligrim, the bony-faced berserk, and grandfather Kveldulf, a werewolf, who “was still only a youth when he became a Viking and went raiding,” all lived lives pirating and traveling by ship. When they weren’t at sea, they were at home on the coast until their next voyage to Norway or Ireland. The waters in which they traversed were as familiar to them as local roads are to us, and so Skalligrim founded Borg by the shoreline in Iceland for ease of travel, just as Fionn created the rocky bridge in the Irish sea. We can argue that the legend of Connie, although not having founded her home, still dominates the waters she inhabits for her sheer size. So when we think of fantastic beasts now, we may picture images of giant, terrifying snakes swimming beneath the brine, but Iceland’s medieval legends were only terrifying if you threatened their home. <br /><br /> The lives of giants are certainly eccentric ones of adventure and valor, anchored only by the ocean’s reach. It is when two giants of different lands clash that land becomes a valid medium. Giant’s Causeway is a hybrid of the societal giants of <em>Egil’s Saga</em> and the local sightings of Connie. Fionn and Bellandonner are giants living in the same world as humanity like Egil’s family, different to Connie who dwells beneath unknown waters. Medieval Icelandic tales depict giants realistically to capture the strength of their country in living beings, but Giant’s Causeway proves that these large beings of fiction compel us to question the physical world. <br /><br /> Giant creatures have long been in our imagination. Where once they stood as a symbol of strength, thought to have shaped the world with their titanic power over the seas, they are now often believed to swim beneath it. Humanity has grown to understand more about the dry land on which we live, but we realize that much of our water is still unexplored. This mysterious space below us has fueled the belief of modern sea monsters, but nothing like the patriotic hulks that would once walk over them. And so the legends of colossi inevitably sank below the causeways.</p>
Bibliography
<span class="TF">"Egils Saga." <i>The Sagas of Icelanders: A Selection. </i>Edited by Jane Smiley, and Robert Leland Kellogg. Translated by Bernard Scudder. </span>Kindle ed., Penguin. 2005.<br /><br />Ibarra, Eileen S. “The Comic Character of Fin M'Coul, the Hibernian Hercules, in Carleton's 'A Legend of Knockmany'.” <em>Folklore</em>, vol. 82, no. 3, 1971, pp. 212–215. <em>JSTOR</em>, jstor.org/stable/1258403.<br /><br />Kennedy, Alasdair. “In Search of the 'True Prospect': Making and Knowing the Giant's Causeway as a Field Site in the Seventeenth Century.” <em>The British Journal for the History of Scienc</em>e, vol. 41, no. 1, 2008, pp. 19–41. <em>JSTOR,</em> jstor.org/stable/30160859.<br /><br />“The Big Conn: Monster or Myth.” <em>Connecticut River Conservancy</em>, www.ctriver.org/the-big-conn-monster-or-myth/.
Photographer(s)
Kisha G. Tracy
Julia Thomas, Student, Fitchburg State University
Catalog Entry Author(s)
Jonathan Medlin, Student, Fitchburg State University
Research Assistant(s)
Nathan Paquette, Student, Fitchburg State University
Accessible Description of Image(s)
First image: A black and white photograph of a basalt rock cliff to the right of the photograph. These rocks are ascending downwards until they hit sea level. On the outskirts of the basalt rocks to the left of the photograph lies the ocean with waves coming south east. These waves are hitting the basalt rocks with little to no force.
Description by: Samantha Beauchamp, Student, Fitchburg State University
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Title
A name given to the resource
County Antrim, Northern Ireland - Giant's Causeway; New England - Connecticut River
british literature I fall 2017
connecticut
FAMExhibition
ireland
massachusetts
middle ages fall 2017
monsters
natural heritage
new hampshire
photography ii fall 2017
river
sagas
vermont
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Connecting the Medieval to New England
Still Image
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In the image of the Madonna and the lily, the image is focused on the flower, and you can see the blurry outline of Madonna in the background. This image reflects and represents the story of <em>Judith</em> in many ways. Judith is described as “brilliant” and “radiant” (118), meaning she is beyond beautiful. The story also depicts Judith as extremely “wise” and “holy” (119). Judith becomes a female heroine in the story because her action to save her people was in the name of God. She wanted to rid her people of the leader of the Assyrian army Holofernes' power over and killing of the Hebrew people. Holofernes was an “evil doer…[and] a cruel prince, oppressing men…” (119). Judith’s goal is essentially to save her people. She devises a plan to get into Holofernes' room and decapitate him. Judith left the Assyrians leaderless, and they were ultimately defeated. Judith committed those actions under God and in order to save the Hebrews from being killed, and throughout this story she remains a female heroine. The focus of the photo is on the beautiful lily and viewers may overlook the Madonna in the background, just as Judith was hidden behind her beauty. She is seen only for her looks and not for her power and faith in God, and this image shows how the Madonna and Judith have more aspects in common than most people may think. This image can be connected to Judith because although she does represent beauty, like the lily, but she also represents the holiness and strength of the Madonna. <br /><br />The Virgin Mary shrine connects to both the image of Madonna and the lily as well as the story of Judith. Madonna is another name for the Virgin Mary, mother of God. The Virgin Mary statue in Clinton is enclosed in a structure to protect and preserve the condition for years to come. However, the shrine is evidently weathered. The outward appearance of the Virgin Mary connects with Judith because they are viewed and judged based on what they look like from the outside. The weathered shrine, because of its appearance, makes many people overlook such a beautiful representation of the Virgin Mary. Unfortunately, people will see the outward appearance and care little about the old, falling apart statue. However, until viewers realize that it represents a woman who was exponentially holy and possessed a beautiful spirit in the name of God, then they will not truly understand how these images and the story connect. This is similar to how viewers may only view the beautiful flower in the Madonna and the lily image. It is important to view every aspect of an image in order to realize that details may be hidden in the background or underneath weathered statues. Lastly, the shrine is covered and protected by a structure that houses the Virgin Mary. Judith uses her faith and love of God to defeat her enemies. She prayed and worshipped to him daily and that gave her strength. The structure surrounding and covering the Virgin Mary shrine can be viewed as God’s love and support protecting and keeping her safe. <br /><br />Author and speaker Matt Fradd explains how Mary, the Madonna and Judith might have more than being holy and powerful maidens of the Lord. Fradd explains how “each crushed the head of the enemy king” (Fradd). Judith beheaded Holofernes and saved the Hebrew people, and apparently Mary crushed the head of Satan, although some speculate this is inaccurate and false because only God could possibly eliminate Satan. However, Fradd explains its possibility by stating, "it is precisely because of her unique role in salvation history that we can say of [Mary], in a way that we can’t of others, that the God of peace crushed Satan under her feet” (Fradd). Furthermore, the images and the text depict the presence of God protecting and supporting Judith, the Madonna, and the Virgin Mary. Benedikt Otzen compares Judith to the Old Testament. He focuses on the theme that "Judith is the struggle between the God of Israel and the heathen king usurping the place of God” (Otzen 101). He focuses much on the religious aspect of the story and how Judith was successfully heroic due to her faith in God. Once viewers realize that the images contain representations of Mary, it makes it easier to understand how God clearly connects these powerful women.
Bibliography
Black, Joseph, et al, eds. <em>The Broadview Anthology of British Literature: The Medieval Period, Volume 1.</em> 3rd ed., Broadview, 2015.<br /><br />Fradd, Matt. <em>What do Jael, Judith, and Mary Have in Common. Apologetics.</em> mattfradd.com/what-do-jael-judith-and-mary-have-in-common/. <br /><br />Otzen, Benedikt. <em>Tobit and Judith</em>. Sheffield Academic Press, 2002.
Photographer(s)
Kisha G. Tracy
Hannah Geiger, Student, Fitchburg State University
Catalog Entry Author(s)
Tatyana D'Agostino, Student, Fitchburg State University
Research Assistant(s)
Aaron Canterbury, Student, Fitchburg State University
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Chiusdino, Italy - Madonna Statue (Abbazia di San Galgano); Clinton, MA - Private Mary Shrine
british literature I fall 2017
FAMExhibition
hammondexhibition
italy
judith
massachusetts
middle ages fall 2017
photography ii fall 2017
statue
women
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Connecting the Medieval to New England
Still Image
Catalog Entry
<p>Giovanni Boccaccio is the author of the famous <em>Decameron</em>. He was born in 1313 in Certaldo or Florence, Italy; the exact location is unknown. He died December 21st, 1375. His gravestone is located inside the Church of Saints Jacob and Filippo in Certaldo, Italy. After the death of his father and stepmother due to the plague, Boccaccio began the composition of the <em>Decameron</em>. In the <em>Decameron</em>, Boccaccio focuses on numerous ideas throughout, but one specific idea is the focus on fortune and disability in Day 2, Story 1. Day 2, Story 1 is a story about a man named Martellino, who pretends to be visibly crippled in order to enter a heavily-packed church of a saint who has just deceased. Everyone makes a pathway for Martellino in order for him to be ‘healed’ by the saint for his disability, but someone in the crowd notices him and everyone starts to kick and fight him for lying about his disability. <br /><br />Joseph Palmer was born in 1789 in a village between Leominster and Fitchburg, Massachusetts. He was persecuted at the age of forty because of his beard. Palmer died in 1873. This persecution made such an impact on his life and is so widely known that it is engraved on his gravestone. Boccaccio also has writing on his gravestone, which he composed himself before he died. Palmer was persecuted because in the year 1830 citizens went as far as attacking Palmer with razor blades outside of a hotel in an attempt to cut off his beard. Palmer defended himself, rightfully so, and was sent to Worcester County Jail. During this time period, beards were considered the mark of lunatics. It is interesting how going against the social norms and having a beard enraged people enough to attack him and try to cut off his beard. Palmer was also attacked while in jail and continuously defended himself; they placed him in solitary confinement numerous times. During the Medieval period, disability was sometimes something that needed correction or needed to be cured. It is also known for using the “religious model,” which replaces medicine with religion. <br /><br />The connection Palmer and the character Martellino in the <em>Decameron</em> is how both were attacked due to not following social norms, but there are complex differences in their situations. In the <em>Decameron</em>, Martellino is only attacked because he lied about his disability; the civilians wanted Martellino to be healed. They wanted Martellino to be healed because it goes against the social norm during that time period of accepting someone who is a cripple. They relied on religion as medicine in order to change that. Their beliefs in this method were very strong, so the fact that someone would mock their beliefs and not respect the process they believed in was problematic. In Joseph Palmer’s case, not only was he considered to be a lunatic just because of his long facial hair, he was also accused of communing with the devil by his local preacher. It is interesting how hundreds of years later you can still be attacked for not following the social norms of the time period and how society takes action into their own hands in order to correct what they believe to be wrong, even authorities.</p>
Bibliography
“Certaldo.” Giovanni Boccaccio, www.certaldo-info.com/giovanni_boccaccio.htm. “Decameron Web.” <em>Decameron Web | Boccaccio</em>, www.brown.edu/Departments/Italian_Studies/dweb/boccaccio/life1_en.php. <br /><br />“Disability in the Medieval Period.” <em>Rooted in Rights</em>, www.rootedinrights.org/disability-in-the-medieval-period/. <br /><br />“Joseph Palmer: The Eccentric War Veteran Who Was Sent to Jail for Wearing a Beard.” <em>The Vintage News,</em> 24 Nov. 2017, m.thevintagenews.com/2017/11/24/the-man-who-was-sent-to-jail-for-wearing-a-beard/. <br /><br />Landrigan, Leslie. “Joseph Palmer Persecuted for Wearing a Beard.” <em>New England Historical Society</em>, 26 May 2017, www.newenglandhistoricalsociety.com/joseph-palmer-persecuted-wearing-beard/. <br /><br />“Remembering One Hero's Fight Against Anti-Beardism.” <em>Atlas Obscura</em>, Atlas Obscura, 14 Apr. 2015, www.atlasobscura.com/places/grave-of-joseph-palmer.<br /><br />Wheatley, Edward. "Cripping the Middle Ages, Medievalizing Disability Theory." <em>Stumbling Blocks Before the Blind: Medieval Constructions of a Disability. </em>University of Michigan Press, 2010. pp. 1-25, https://books.google.com/books?id=4Ofb5TWuJPoC&lpg=PR1&ots=rdboMV3bRw&dq=Stumbling+Blocks+Before+the+Blind+wheatley&lr=&pg=PR1&hl=en#v=twopage&q&f=false.
Photographer(s)
Kisha G. Tracy
Madison Whitten, Student, Fitchburg State University
Catalog Entry Author(s)
Courtney Jensen, Student, Fitchburg State University
Research Assistant(s)
Madison Dalmaso, Student, Fitchburg State University
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Certaldo, Italy - Giovanni Boccaccio Grave (Chiesa dei Santi Jacopo e Filippo); Leominster, MA - Joseph Palmer Grave (Evergreen Cemetery)
author
boccaccio
british literature I fall 2017
cemetery
church
disability
FAMExhibition
fitchburg
grave
hammondexhibition
italy
massachusetts
middle ages fall 2017
photography ii fall 2017
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Title
A name given to the resource
Connecting the Medieval to New England
Still Image
Catalog Entry
<p>Whydah Pirate Museum is in Yarmouth, Massachusetts. The wreck of the Whydah Gally is approximately fifteen-hundred feet off Marconi Beach in Cap Cod, with most of its wreckage submerged in sand. Originally built in 1715 as a transport ship for slaves, the Whydah Gally sat at one-hundred feet in length and weighed over three-hundred tons. During its first and only voyage as a slave transport ship, it was taken by pirate captain Sam “Black” Bellamy after a three-day chase. By the time Bellamy’s fleet reached New England after taking over the Whydah, he and his crew had plundered over fifty separate vessels. On the night of April 26, 1717, a nor’easter struck the Whydah, running the ship aground on a sandbar. Many of the pieces recovered from the wreck are on display in the Whydah Pirate Museum, which currently houses a full-size replica of the ship. Since the wreck’s discovery by an underwater explorer named Barry Clifford, over two-hundred-thousand pieces have been recovered by Clifford’s team according to Ian Aldrich of <em>New England Today.</em> The wreck of the Whydah is one of the only golden-age pirate wrecks with undoubted conformation thanks to the discovery of a plaque and bell with the ship’s name on both, which makes it a cultural symbol of the late golden-age of pirating. Not only is it one of the only identified golden-age pirate wrecks with two pieces of proof confirming the ship’s identity, but it also remains in the New England area, making it a valuable symbol of pirating and pirate culture during the early 18th century. Pirating and pirates have a long-standing history in the seafaring world. Traversing oceans and battling the elements can be just as deadly as the pirating and raiding, and the 18th-century pirate lifestyle owes a great deal to that of their Viking metaphorical ancestors. <br /><br />Vikings are synonymous with pirating, looting, raiding, and seafaring travel. Some would consider Vikings to be some of the best sea navigators of their day, and with good reason. Being a Viking was a job, and that job involved pirating. If a Viking wasn’t an excellent navigator, fighter, or plunderer of goods, the Viking wasn’t good at their job. <br /><br /><em>Egil’s Saga</em> follows the story and lives of the clan Egil Skallagrimsson, who holds the titles of farmer, skald, and Viking. The saga spans multiple generations and goes through the family’s history from Egil’s grandfather to Egil’s offspring. Like the pirates aboard the Whydah, Vikings plundered for loot across the seas. While pirates primarily overtook ships, and preferred not to fight and risk losing the enemy’s ship and the cargo it held, Vikings primarily raided along coastal waters and, as a result, didn’t have the heavy economical restrictions as golden-age pirates. As <em>The Sagas of the Icelanders</em> edited by Jane Smiley notes, the Viking’s “[f]irst notable attack on England came, according to the Anglo-Saxon Chronicle, in 793, when the church on the island of Lindisfarne was plundered and some people were slain.” While being a Viking was a job and title, piracy in the golden-age of pirates was more akin to a way of life. Vikings could go back home to their family in Iceland or Norway, but pirates didn’t typically have national allies, which made going to any kind of home much more difficult. <br /><br />The image chosen to go with <em>Egil’s Saga</em> and subsequently the Whydah Pirate Museum and Whydah shipwreck is the image of a Viking longboat at the Roskilde Ship Museum in Denmark. Both Vikings and the more modern, golden-age pirate used ships as their primary method of travel, which makes this image serve as a reminder not only of the seafaring ways of pirates and Vikings, but the possible dangers of sea travel during the period. This is an excellent image of a piece of Viking cultural history and, in part, the pseudo ancestors to the golden-age pirates of the 17th and 18th century.</p>
Bibliography
Aldrich, Ian. “The Whydah Gally | History of a Cape Cod Pirate Ship.” <em>New England Today</em>, 28 Nov. 2017, newengland.com/today/living/new-england-history/whydah-gally-history-cape-cod-pirate-ship/. <br /><br /><span class="TF">"Egils Saga." <i>The Sagas of Icelanders: A Selection. </i>Edited by Jane Smiley, and Robert Leland Kellogg. Translated by Bernard Scudder. </span>Kindle ed., Penguin. 2005.<br /><br />“Real Pirates.” <em>Field Museum</em>, 2009, archive.fieldmuseum.org/pirates/index.html. <br /><br />Webster, Donovan. “Pirates of the Whydah.” <em>National Geographic</em>, 1999, www.nationalgeographic.com/whydah/story.html.
Photographer(s)
Kisha G. Tracy
Allison St. Peter, Student, Fitchburg State University
Catalog Entry Author(s)
Nicholas Powell, Student, Fitchburg State University
Research Assistant(s)
Heather Ferguson, Student, Fitchburg State University
Accessible Description of Image(s)
First image: This black and white scene reveals a large canoe-like silhouette inside of a building on the coast overlooking a large harbor. The glass wall reveals a person in the harbor rowing a kayak with a foggy outline of buildings in the background on the opposite coast.
Description by: Michael Brito, Student, Fitchburg State University
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Roskilde, Denmark - Roskilde Ship Museum; West Yarmouth, MA - Whydah Pirate Museum and Whydah Gally
british literature I fall 2017
denmark
FAMExhibition
hammondexhibition
massachusetts
middle ages fall 2017
museum
photography ii fall 2017
pirate
sagas
ships
travel
viking
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
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Connecting the Medieval to New England
Still Image
Catalog Entry
<p>Giovanni Boccaccio wrote Day 10, Story 10, also known as the story of Griselda, as the final tale in his <em>Decameron</em>. This story takes place in a town south of Turin, Italy, and revolves around the tale of an Italian Marquis of Saluzzo named Gualtieri, who is plagued with the responsibility to produce an heir to continue his bloodline as the leader of his people, a problem that he chooses to solve by marrying a peasant woman named Griselda. <br /><br /> Certaldo, Italy - Casa del Boccaccio; Giovanni Boccaccio [1313-1375] <br /><br /> Much like Gualtieri, Italian writer and poet, Giovanni Boccaccio managed to create his own legacy through his life and works which since then have become some of the greatest historical features of his hometown of Certaldo, Italy. Found on Via Boccaccio, within the heart of Certaldo, buildings such as Boccaccio’s very own home have been turned into museums to pay homage to one of Italy’s most prominent literary figures. Casa del Boccaccio was Boccaccio’s childhood home since the early 13<sup>th</sup> century. It was restored in 1823, although the original structure of the home was damaged on January 15, 1944, due to an airstrike during World War II. Since then, the house has been rebuilt and renovated to preserve the illustrious works of the poet, including furniture and various illustrated editions of the <em>Decameron</em> that survived the war. Other objects that can be found within the small museum include a collection of late 14<sup>th</sup> to early 15<sup>th</sup>-century women’s shoes, the fresco painting of Boccaccio by painter Benvenuti housed within “the poet’s room," and various geographical, historical, and cultural exhibitions dedicated to Boccaccio’s time. Lastly, housed within Boccaccio’s home is the tombstone plate of the poet, although the actual poet’s remains reside in another tomb located in the Chiese dei Santi Jacopo e Filippo, known as the Church of St. Jacopo and Filippo, also located in Certaldo. <br /><br /> Fitchburg, MA - Fitchburg Art Museum; Eleanor Norcross [1854-1923] <br /><br /> New England, though in many ways different from Certaldo, Italy, contains many museums that house a tremendous amount of history. One such museum is the Fitchburg Art Museum, located in Fitchburg, Massachusetts. Like many other cultural heritage sites like Casa del Boccaccio, we can thank legacy for its existence. The Fitchburg Art Museum owes its creation to its founder, Ella Augusta, better known as Eleanor Norcross. Eleanor Norcross much like Boccaccio grew up in the town for which she is famous. From an early age her parents, who were also influential Fitchburg residents, supported her pursuits in the arts, painting, and art collecting. Her father, Amasa Norcross, survived both Eleanor’s mother and younger brother, resulting in a strong relationship with his only daughter. Due to his influence, Eleanor went on to study fine arts in Paris, France, through which she then became the avid painter we know today. This was not enough, however. Eleanor wanted to share her appreciation for the arts and the collections that inspired her with all her fellow Fitchburg residents. It was through this goal that the Fitchburg Art Museum was born, first as the Fitchburg Art Center (1929) and later on as the current museum. Much like Boccaccio, though Eleanor never lived to see the result of her dream realized, or the effects of her inspiration, her legacy lives on through those who have chosen to preserve her memory and work. As a result, through a translation of her vision, her collection has grown and will continue to do so, so long as cultural heritage continues to be of importance.</p>
Bibliography
Boccaccio, Giovanni. "Day 10, Story 10." <i>The Decameron. </i>Translated by Wayne A. Rebhorn. W.W. Norton and Company, 2016.<br /><br />“Casa del Boccaccioente Nazionale Giovanni Boccaccio.” <em>Giovanni Boccaccio National Organization,</em> www.casaboccaccio.it/casa-boccaccio.html#stanza. <br /><br />“Eleanor Norcross.” <em>Fitchburg Art Museum</em>, fitchburgartmuseum.org/eleanor-norcross.php. <br /><br />“Evoking Eleanor: The Art, Life, and Legacy of FAM Founder Eleanor Norcross.” <em>Fitchburg Art Museum</em>, fitchburgartmuseum.org/evoking-eleanor.php. <br /><br />Scharnagl, Donna. “Certaldo, A Tuscan Town That Gets Your Attention.” <em>Discover Tuscany, </em>discovertuscany.com/tuscany-destinations/certaldo-an-overview.html.
Catalog Entry Author(s)
Maria Pedroza-Acosta, Student, Fitchburg State University
Research Assistant(s)
Katie LeProhon, Student, Fitchburg State University
Accessible Description of Image(s)
First image: In this picture is an Italian, cobble-stoned street that reaches to a background with vague hills and farmland. Aged houses with wooden shutters line both sides of the streets along with terraces and various bushes. The houses are colored similarly as they are all different shades of brown. In the street are scattered people along with a dog.
Description by: Tyler Ansin, Student, Fitchburg State University
Photographer(s)
Kisha G. Tracy
Robert D. Gosselin, Alum, Fitchburg State University
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Title
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Certaldo, Italy - Casa del Boccaccio; Fitchburg, MA - Fitchburg Art Museum
alum
author
boccaccio
british literature I fall 2017
FAMExhibition
fitchburg
italy
massachusetts
middle ages fall 2017
museum