1
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Dublin Core
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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
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 - 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
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Title
A name given to the resource
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
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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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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Dublin Core
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Connecting the Classical to New England
Still Image
Catalog Entry
The current Globe Theater located in London, England was officially opened by Queen Elizabeth II in 1996. The opening show in this newly-opened theater was a performance of <em>Henry V</em>. In this image of Shakespeare’s Globe Theater, the focus is on the masks of comedy and tragedy. These masks of drama date back to Greek mythology. The mask on the left is Thalia, who is the muse of comedy. On the right of the photo is Melpomene, representing tragedy. Since Ancient Greece, every play script has included aspects of tragedy, comedy, or both, especially the great plays of William Shakespeare performed at the Globe Theater depicted here. One of Shakespeare’s greatest tragedies, <em>Hamlet</em>, is often performed at the Globe. In his tragedy, Shakespeare presents us with our tragic hero Hamlet, who is trying to avenge his father’s death. He sees the ghost of his father, who tells him his brother and Hamlet’s uncle killed him to marry the Queen Gertrude and take over the crown. In an effort to frame his uncle and trap him in his lie, Hamlet sets up a performance that seems to have a plot similar to the lies that Hamlet is accusing Claudius of hiding. Hamlet watches closely to see how Claudius reacts to the performance, hoping he will show guilt all over his face and reveal himself as King Hamlet’s murderer. This play within a play, “The Murder of Gonzago," is relevant to the evolution of plays themselves. <br /><br />In Lenox, Massachusetts is located the Shakespeare Company Theater. Founded in 1978, The Shakespeare Company in Lenox is dedicated to both Shakespeare’s works as well as medieval theater. During this opening year of 1978, the company performed only two different plays, <em>A Midsummer Night’s Dream</em> and <em>Three Voices of Edith Wharton</em>. During last year’s performance season, the Company staged ten different plays, including <em>The Merchant of Venice, Or, The Two Gentleman of Verona, The Taming, Ugly Lies the Bone, Cry “Havoc”, Sotto Voce, Twelfth Night, The Emperor of the Moon, </em>and <em>It’s a Wonderful Life</em>. At Shakespeare and Company, “[they] embrace the classical ideals and visceral experience of Shakespeare’s work: collaboration, commitment to language, physical prowess and the embodied voice."<br /><br />Now, for the greater question, what do <em>Hamlet</em>, the Globe Theater, and the Shakespeare Company Theater of Lenox, Massachusetts have in common? They all advocate for the culture and importance of theater. The Globe Theater focuses on the impact Shakespeare had on the world of theater and performance and strives to help in the education of Shakespeare. In his play <em>Hamlet</em>, Shakespeare incorporates a “play within a play” as a way to, as Jillian Woods wrote in her article “Hamlet: The Play within the Play”, “produce a real impact on those who view [it]” (Woods). The Shakespeare Company keeps Shakespeare’s work alive by its dedication to his plays and medieval theater in general.
Bibliography
<p>“About Us / Shakespeare's Globe.” <em>Shakespeare's Globe</em>, <a href="http://www.shakespearesglobe.com/about-us">www.shakespearesglobe.com/about-us</a>. Accessed 4 May 2018.<br /><br /> Mackay, Charles. <em>A Glossary of Obscure Words and Phrases in the Writings of Shakspeare and<br /> His Contemporaries</em>. Sampson, Low, Marston, Searle & Rivington, 1887.<br /><br /> “Performance History.” <em>Shakespeare & Company</em>, www.shakespeare.org/about/performance-history. Accessed 4 May 2018.<br /><br /> Wood, Jillian. “Hamlet: the Play within the Play.” <em>The British Library,</em> 6 Nov. 2015, <a href="http://www.bl.uk/shakespeare/articles/hamlet-the-play-within-the-play">www.bl.uk/shakespeare/articles/hamlet-the-play-within-the-play</a>.</p>
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Brianna Ohman, Student, Fitchburg State University
Research Assistant(s)
Anthony de Freitas, Student, Fitchburg State University
Oliver Dogbe, 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
London, UK - Shakespeare's Globe Theater; Lenox, MA - Shakespeare Company Theater
author
british literature I spring 2018
classical tradition spring 2018
drama
england
entertainment
london
massachusetts
shakespeare
theater
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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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6ba95dddfc67ab5c39df9efac15dda98
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Connecting the Medieval to New England
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<p><span style="font-weight:400;">Throughout the Sahel region of Africa, women have long been the storytellers and weavers-of-history-into-tales told repeatedly over the centuries. The heroines in these tales are resourceful, and intelligent, who may play both the narrator and performer (El-Nour). These stories often brought both memorable events as well as everyday occurrences, social dictates, and cultural mores into the future so people would remember what had occurred in the past. </span></p>
<p><span style="font-weight:400;">Harriet Wilson, born in Milford, New Hampshire in 1825 to an Afro-American father and white mother, was just such a person: a storyteller who through her autobiography, became the first published Afro-American author. She narrated her own history in her book </span><i><span style="font-weight:400;">Our Nig </span></i><span style="font-weight:400;">or </span><i><span style="font-weight:400;">Sketches of a Free Black</span></i><span style="font-weight:400;"> published in 1859 with the hope of earning enough money to keep her and her son, George, alive. After it was published, thought originally to be the work of a white author, it became a controversial story told with an emotional and narrative power that was deemed “unsettling” to many who read it. It wasn’t just read in the United States, but had an international following as well (<em>The Harriet Wilson Project</em>).</span></p>
<p><span style="font-weight:400;">What the book reveals is Wilson’s tenacity and drive to survive in spite of the odds. Between the ages of five and six, Harriet was abandoned by her mother and began serving as an indentured servant. She was able to attend school three months each year between 1832 and 1834 in Milford, NH. By the time she reached eighteen, she had taken on several other jobs serving local families, but her health began to fail between 1846 and 1850, when she was listed as a town pauper. In 1851 Harriet married Thomas Wilson in Milford, and by 1852 their son, George, was born at the Hillsborough County Poor Farm, where they were living. Just prior to this, Harriet had a small success when she published her poem, </span><i><span style="font-weight:400;">Fading Away</span></i><span style="font-weight:400;">, in the local Farmer’s Cabinet newspaper (<em>The Harriet Wilson Project</em>).</span></p>
<p><span style="font-weight:400;">Harriet’s husband, Thomas, is said to have died in May of 1853. In 1855, she returned to live at the poor farm while George was sent to live as a foster child with a local family and eventually returned to the poor farm where he died at the age of seven in 1860. Harriet’s health was a continual issue which often left her on the edge of poverty even though she earned a small amount as a seamstress, servant, and seller of hair products throughout New England. Her hair product business began to make money and between 1857 and 1960, it is reported that she became self-sufficient. It was during this period that </span><i><span style="font-weight:400;">Our Nig</span></i><span style="font-weight:400;"> was published. Her later years were spent in and around Boston where she was a lecturer and spiritualist. It is thought that she died in 1900 (<em>The Harriet Wilson Project</em>).</span></p>
<p><span style="font-weight:400;">Seventy-four years after Wilson’s book was published, Henry Louis Gates discovered Wilson’s Afro-American heritage, republished the work, pulling it out of obscurity and putting it back on the shelves of contemporary readers (<em>The Black Past</em>). A statue of Wilson now stands in a park in Milford, NH. </span></p>
Bibliography
<p><span style="font-weight:400;">El-Nour, Eiman Abbas H. "</span><span style="font-weight:400;">Not just a pretty face: Women as storytellers and subjects in the folktales of Northern Sudan." </span><i>Tydskrif Vir Letterkunde</i><span style="font-weight:400;"> </span><span style="font-weight:400;">48.2 (2011): 171-185. <br /><br /><em>The Black Past</em>, 2020. https://www.blackpast.org/.<br /><br /><em>The Harriet Wilson Project</em>. http://www.harrietwilsonproject.net/. </span></p>
<p></p>
Catalog Entry Author(s)
Gail Hoar, Adult Learning in the Fitchburg Area
Photographer(s)
From the Harriet Wilson Project
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Title
A name given to the resource
African Storytellers (Milford, NH - Harriet Wilson)
africa
african american
ALFA
author
new hampshire
statue
women
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fbc0b036072a938339804dc3b93af7f6
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A name given to the resource
Connecting the Medieval to the United States
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<p class="p2">In 2010, I moved to South Carolina from Virginia and made a new friend. I also learned about the Gullah-Geechee heritage in South Carolina. My friend’s mother, who passed away in 2004, was one of the country’s noted Gullah language experts. This is a brief story of how a group of enslaved West African people formed a nation in the North American continent and have preserved their heritage, identity, traditions, and culture for over 300 years.</p>
<p class="p2">At the heart of Gullah-Geechee cultural survival in North America is the creation of a new language that members of differing tribes could understand, but which remained unintelligible to the white society and masters that surrounded them. Historically, the language evolved as a Creole trade language in Sierra Leone in the 17<span class="s2">th </span>and 18<span class="s2">th </span>centries and was brought to North America with the Rice Slaves (Turner)</p>
<p class="p2">Its preservation, in large part, is thanks to the contributions of Virginia Mixson Geraty. Geraty lived for over fifty years in the Edisto Island area of South Carolina in the heart of the Low Country. This is the same area where West Africans were brought from Sierra Leone to the Charleston Slave Market and auctioned off to owners of cotton, rice, and indigo plantations.</p>
<p class="p2">She first learned the Gullah language from a family servant, Maum Chrish’. By the 1950’s “Ginia” was one of very few people in the country who could fluently speak, read, and write this unique, English-based Creole language. <span class="s3">She fiercely defended the language at a time when Gullah speech was ridiculed as "ignorant" and "backward," urging that white teachers be trained in Gullah to better serve the local student populations. </span></p>
<p class="p2">During her 89 years, she created a Gullah/English dictionary, translated the Gospel according to St. Luke, translated Dubois Heyward’s “Porgy,” and authored a number of other books in the Gullah language. She also provided dialect coaching and consultation to the BBC (“The Story of English”), <span class="s4">was a librarian with the Charleston County District schools for twenty years, and became an adjunct professor of Gullah </span>at the College of Charleston, where she received an honorary Doctorate of Humane Letters from the college in 1995.</p>
<p class="p2"><em>Gullah Language Tidbits</em></p>
<ul class="ul1"><li class="li3">The language spoken by the Gullah-Geechee people is "Gullah." Gullah is a Creole language made up of English, and several African languages. The primary African language that makes up the Gullah language is Kria, spoken by the people of Sierra Leone (Turner).</li>
<li class="li3">Gullah is the only English-based Creole language used in the US. (New Orleans Creole is French)</li>
<li class="li3">Supreme Court Justice Clarence Thomas was raised as a Gullah-speaker.</li>
<li class="li3">In 2017, Harvard University began to offer Gullah as a language class in the African Languages Program.</li>
<li class="li3">In the 1930’s and 40’s, the <span class="s2">linguist Lorenzo Dow Turner </span>did a seminal study of the language based on field research in rural communities in coastal South Carolina and Georgia. Turner found that Gullah is strongly influenced by African languages in its phonology, vocabulary, grammar, sentence structure, and semantics. Turner identified over 300 <span class="s2">loanwords </span><span class="s3">from various </span><span class="s2">languages of Africa </span>in Gullah and almost 4,000 African personal names (basket names) used by Gullah people. He also found Gullahs living in remote seaside settlements who could recite songs and story fragments and do simple counting in the <span class="s2">Mende</span>, <span class="s2">Vai</span>, and <span class="s2">Fulani </span>languages of West Africa.</li>
<li class="li3">In 1949, Turner published his findings in <i>Africanisms in the Gullah Dialect</i>. The fourth edition of the book was reprinted with a new introduction in 2002.</li>
</ul>
Bibliography
The Charleston Museum. "Foot too Crooked." <em>YouTube</em>, 20 February 2013. https://youtu.be/RZFiDbhHo1c.<br /><br />Geraty, Virginia Mixson. <em><span id="productTitle" class="a-size-extra-large">Gulluh Fuh Oonuh/Gullah for You: A Guide to the Gullah Language. </span></em><span class="a-size-extra-large">Sandlapper, 1998.</span>
<p class="p1">Heyward, DuBose. <em>Porgy: A Gullah Version. </em>Trans. Virginia Mixson Geraty. Gibbs Smith, 1990. <br /><br />Jones, Jr., Charles Colcock. <i>Gullah Folktales from the Georgia Coast</i>. University of Georgia Press, 2000.<br /><br />Opala, Joseph A. "The Gullah: Rice, Slavery, and the Sierra Leone-American Connection." <span>Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition, <em>Yale University</em>. https://glc.yale.edu/sites/default/files/files/Gullah%20Language.pdf. </span></p>
Turner, Lorenzo Dow. <i>Africanisms in the Gullah Dialect.</i> University of South Carolina Press, 2002.
Catalog Entry Author(s)
Veda Ross, Adult Learning in the Fitchburg Area
Photographer(s)
From the <a href="https://www.findagrave.com/memorial/45599953/virginia-joyce-geraty">Find a Grave site</a>
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Title
A name given to the resource
New Language for Old (South Carolina - Gullah-Geechee)
africa
african american
ALFA
author
language
south carolina