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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
A name given to the resource
Connecting the Classical to New England
Still Image
Catalog Entry
Under construction
Photographer(s)
Kisha G. Tracy
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Title
A name given to the resource
Verona, Italy - Verona Arena; Clinton, MA - Fuller Field (Entry in Progress)
arena
clinton
italy
-
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1672f2b8d52869e81f3f6a5f46ddc978
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
<p>There are three legends of three knights in three different countries around the world. The first is the well-known legend of King Arthur and how he pulled the sword from stone. The second legend is the story of Sir Galgano, a knight who became a saint. The last legend is of Sir James Gunn, the knight of prince Henry Sinclair. All three of these stories involve a knight, a sword, and the legend they left behind. <br /><br />Although many have heard different stories of King Arthur, this story comes from <em>Le Morte d’Arthur</em> by Thomas Malory. As the story goes, Arthur, before he became the king, was raised by Sir Ector. Sir Kay and Sir Ector, his foster-brother, were planning to take part in a New Year’s joust. Sir Kay forgot his sword. Arthur goes back to their lodging to get Sir Kay’s sword and return it to him. When he arrives at the lodging he finds the placed locked with no one inside, so instead Arthur goes to a churchyard where he finds a sword in a stone. He “lightly and fiercely pulled it out of the stone” (Malory). This sword however was special; it can only be pulled from the sword by the true and rightful king of England. Many tried to pull the sword, but to no avail. This is the story of how Arthur becomes King. People see that he is able to pull the sword from the stone and realize he must be the king. This legend is an iconic one. While this story originates from England, a similar legend exists in Italy. <br /><br />The story of Sir Galgano is one of a knight who becomes a saint. The story goes that Sir Galgano was a famous knight, who was contacted by Archangel Michael in a dream. Michael leads this knight reluctantly to a hill in Monte Siepi, where a small circular church stood. Michael asked him to renounce all worldly pleasure. Being the short-tempered knight that he is, he says, “Indeed, I would gladly follow your order, but doing so for me would be as easy as splitting rocks with a sword.” Galgano draws his sword and strikes the rock to prove a point. Sir Galgano was expecting the sword to break, but the sword “penetrated the rock like a hot knife through butter” (O’Reilly). His story spread far and wide. The devil sent an evil man disguised as a monk to kill Galgano. The wolves he befriended killed this evil man protecting Galgano. A year after sinking the sword into the stone Galgano died. His story was so well-known that bishops and abbots attended the funeral. The sword can be seen even today, protruding from the jagged rock, surrounded by the Monte Siepi Chapel. His canonization, the process for someone to officially become a saint, began a few years after his death, in 1185. It was “suggested by some as the inspiration for the British legend,” the story of King Arthur in Britain (Horty). While these stories come from countries on the other side of the world, there is a legend of a knight in New England.<br /><br />Prince Henry Sinclair led an expedition to explore Nova Scotia and Massachusetts in 1398, 90 years before Columbus! The Westford knight is a carving of a knight with a cracked sword and a shield. This knight was one of Prince Sinclair’s knights. While he was exploring Massachusetts, the loyal attendant, by the name of Sir James Gunn, died. In memory of Sir James Gunn they carved an effigy into a rock. This rock had scratches on it previously and “were incorporated into the man-made design” ("The Westford Knight"). This carving was not always believed to be from a Scottish explorer. It was believed to be a Native American carving or a colonial one. <br /><br />These stories all have their differences and similarities. All originated in different countries, telling tales of three separate times. These stories, and the physical remnants they left behind, are important. They connect the history from every country.</p>
Bibliography
Horty, Daniel. "The Legendary Sword in the Stone of San Galgano." <em>Ancient Origins</em>, 28 Apr. 2014, www.ancient-origins.net/artifacts-other-artifacts/legendary-sword-stone-san-galgano-002968. <br /><br />Malory, Thomas. <em>Le Morte D'Arthur</em>. Random House Publishing Group, 1999. <br /><br />O'Reilly, Hugh. "The Sword of St. Galgano." <em>Tradition in Action,</em> 5 Nov. 2016, traditioninaction.org/religious/h141_Galagano.htm. <br /><br />“The Westford Knight.” <em>Clan Gunn Society of North America</em>, clangunn.us/knight.htm.
Photographer(s)
Kisha G. Tracy
Olivia Grant, Student, Fitchburg State University
Catalog Entry Author(s)
Kyle Humphreys, Student, Fitchburg State University
Research Assistant(s)
Nicholas Estrela, Student, Fitchburg State University
Accessible Description of Image(s)
First image: There is a sword, thrust directly into a large rock. By looking closer at the blade, you can almost feel as if the sword itself tells a story that stretches far beyond its appearance. The corroded blade guard tells a story as old as time itself. The handle lacks any kind of hand protection, but is curved and designed for the user to hold the weapon with ease. Finally, the blade is tapered off at the end with a circular end, likely important to its very design. The blade is sheathed within the rock itself.
Description by: Nicholas Bryant, 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
Chiusdino, Italy - Sword of Saint Galgano (Cappella di San Galgano a Montesiepi); Westford, MA - The Westford Knight
abbey
british literature I fall 2017
FAMExhibition
hammondexhibition
italy
king arthur
knight
massachusetts
middle ages fall 2017
photography ii fall 2017
saint
sword
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b4772990af92c9e72f566d8388ef110c
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
<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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f769f0376004f6a17ecedca5f156cc97
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
<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
A name given to the resource
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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3a8af90d9e233bf3b0c8b8e86e5e71aa
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
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 Classical to New England
Still Image
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As an ancient country, Rome was built by the twins named Romulus and Remus. Amulius is the brother of grandfather of the twins, who plans to kill them for the power. The result is that the twins are saved by a she-wolf. The she-wolf brings them up until a shepherd discovers them. Finally, the twins become the founders of Rome. It is the story of the picture The She-Wolf. <br /><br />In the sculpture named The Capitoline Wolf with Romulus and Remus, a similar image to The She-Wolf, two boys are fed by a she-wolf. In Japan, several legends are related to She-Wolf. For example, Japanese Prince called Yamatotakeru is guided by a wolf once when he loses his way during one of his campaigns. Similarly, The Turki, one branch of the Hun people, are killed out by neighboring kingdoms, with only one ten-year-old boy survivor. He is saved and brought up by a she-wolf and they have ten babies. Known by kingdoms, the boy is killed finally. While the she-wolf flees away with their ten children. Surprisingly, they prospered and took wolf as their totem. Another similar legend talks about a god wolf, who guides the victory of the war. Besides, in the history written in the ancient Asia the wolf is regarded as the symbol or the ancestor. For instance, the Mongolians are descendants of a god wolf and a white deer; the Uigur people take wolf as a symbol of bravery; wolf becomes the ancestor of the Ainu people. It is related to the photo I chosen before, which tells the story about how Rome was founded. The she-wolf saves and brings up Romulus and Remus who are twins and build up Rome later. Those above exemplify that the she-wolf is paramount in a great range of world culture as a symbol or a belief. <br /><br />Some scholars show the suspicion about the twins’ growth. Look at the words in <em>The Classical Weekly</em> [3]: “Sceptics who have their doubts concerning the truth of the story recorded in Livy" (1.4.6). Concerning the suckling of Romulus and Remus by a she-wolf will have their scepticism jarred by the following, printed in <em>The New York Herald Tribune</em>, April 5, 1927: Allahabad, India, April 4: "A seven-year old boy was rescued by an Allahabad police executive in the Maiwana district, several miles from human habitation, where he had been living with wolves. The child is completely wild, moves on his hands and knees and on his back are protuberances resembling a series of hardened corns.” This boy is finally brought to an asylum. That is to say, it is not easy to be a normal person under such a wild circumstances. Therefore, the scholars doubt that whether the twins can be normal ones after living in a wild environment for a long time. Other legends claim the city is named after a woman, Roma [4]. But the version of twins is the best popular one among several different legends. <br /><br />Menotomy Native American Hunter [5] is a statue located in Arlington, MA, created in 1911 by Sculptor Cyrus E. Dal. The She-wolf is used in a popular Roman myth where the wolf had protected and nurtured the abandoned brothers Romulus and Remus, being very protective and conscious of its surroundings. In a way this statue of the hunter shows equal signs of defensive survival. She-wolf contributes much to the building of Rome, which shows its great powerful symbol of its time. It is not a kind-hearted creature. It is a defensive animal contrarily. Otherwise, the hunter holds some arrows in his hand which shows a necessary protection and survival.
Bibliography
[1] The Capitoline Wolf with Romulus and Remus: Musei Capitolini, Palazzo dei Conservatori, Rome
[2] She-Wolf mosaic: Garcia, Brittany. "Romulus and Remus." Ancient History Encyclopedia. Ancient History Encyclopedia, 18 Apr 2018. Web. 29 Apr 2018. https://www.ancient.eu/Romulus_and_Remus/
[3] Burriss, Eli Edward. “Romulus, Remus, and the She-Wolf.” The Classical Weekly, vol. 21, no. 13, 1928, pp. 104–104. JSTOR, JSTOR, www.jstor.org/stable/4389078.
[4] Mark, Joshua J. "Ancient Rome." Ancient History Encyclopedia. Ancient History Encyclopedia, 02 Sep 2009. Web. 29 Apr 2018. https://www.ancient.eu/Rome/
[5] Menotomy Native American Hunter statue Arlington MA. http://freedomsway.org/redesign2/wp-content/uploads/2016/09/arlington-dallin-indian-hunter-1024x1015.jpg
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Mingmin Miao , Student, Fitchburg State University
Research Assistant(s)
Tenzin Dhakpa, Student, Fitchburg State University
Chris Lach, Student, Fitchburg State University
Zachary Romero, Student, Fitchburg State University
Victoria Weeks, Student, Fitchburg State University
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Rome, Italy - The She-Wolf Mural; Arlington, MA - Menotomy Native American Hunter
british literature I spring 2018
classical tradition spring 2018
italy
massachusetts
mural
mythology
statue
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8c1e7deda1ccf9236cba9f941bdea248
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Connecting the Classical to New England
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War is an unfortunate reality of life. Many civilizations prepare for war and have many factions and groups dedicated to protecting the nation form invaders. Those who fall in war often receive monuments, dedicated by those they gave their lives to protect. War has a dire impact on society, and many lives are impacted by its arrival. Much can be learned of cultures through their memorials and monuments, such as their value of warriors, and how sacrifice and loss are processed by the population. Monuments to the fallen have been erected around the world since the times of the Ancient Greeks. One such monument that was placed to honor those fallen soldiers was the Statue of Minerva in Rome, Italy. <br /><br />The Statue of Minerva, located in the Gallery Il Vittoriano in Rome, Italy, is a tall statue of the Roman goddess Minerva. Dedicated as a monument to fallen soldiers, the statue serves as a reminder of those who have given their lives to defend others. Minerva is the Roman goddess of battle, the arts, and craft. Minerva is also heralded as a protector of soldiers on the battlefield. Those who had family on the battlefield would often pray to Minerva, asking to keep their loved ones safe, and to ensure their victory. This aspect of Minerva is detailed further in the <em>Iliad</em>, written by the epic poet Homer. In Book 6 of the <em>Iliad, </em>Hector, the Prince of Troy, falls back from the battle to ask his mother to pray to the goddess Minerva to protect the Trojan troops: “’Holy Minerva,’ she cried, ‘Protectress of our city, mighty goddess, break the spear of Diomed and lay him low before the Scaean gates.’” (Homer, Book 6). The Trojan women call upon Minerva to stop the Grecian warrior Diomed and to protect the Trojan troops and city. The idea of calling upon one to protect the homeland from an invading force is not limited to the ancient Romans. Civilizations spanning the globe and across time have built monuments memorializing the soldiers who have given their lives in battle. <br /><br />The Memorial to the Lexington Minuteman located on Lexington Battle Green in Lexington, MA, United States, also is dedicated to fallen soldiers. The Minutemen were civilians tasked with defending the newborn America from the British. These citizens were not officially trained and instead were citizens whom coalesced together to form a militia for the colonies. Much like the Statue of Minerva at Il Vittoriano, the Minuteman Monument at Lexington is dedicated to those colonists that sacrificed their lives in order to defend their home and families. And like Minerva, the Minutemen and other militia members were seen as the protectors of an infant America and were praised and honored after death. The fact that these two statues, separated by thousands of miles and hundreds of years, were created to serve the same purpose proves that soldiers will never be forgotten. Those who fall protecting their homeland from invaders have been memorialized since ancient times and will continue to be remembered.
Bibliography
<p>Chu, David S.C., et al. “Decision Making for Defense.” <em>New Challenges, New Tools for Defense Decisionmaking</em>, 1st ed., RAND Corporation, 2003, pp. 13–32. <em>JSTOR</em>, www.jstor.org/stable/10.7249/mr1576rc.10.</p>
<p> </p>
<p>Pettyjohn, Stacie L. “Continental Defense, 1783–1815.” <em>U.S. Global Defense Posture, 1783–2011</em>, RAND Corporation, 2012, pp. 15–18. <em>JSTOR</em>, www.jstor.org/stable/10.7249/j.ctt24hrv8.11.</p>
<p><br /> Van Evera, Stephen. “Offense, Defense, and the Causes of War.” <em>International Security</em>, vol. 22, no. 4, 1998, pp. 5–43. <em>JSTOR</em>, JSTOR, www.jstor.org/stable/2539239.</p>
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Nick Elliott, Student, Fitchburg State University
Research Assistant(s)
Tatiana Maldonado, Student, Fitchburg State University
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Rome, Italy - Gallery Il Vittoriano Statue of Minerva; Lexington, MA - Minuteman Monument
american revolution
british literature I spring 2018
classical tradition spring 2018
deities
italy
massachusetts
statue
war
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08208284142e699770926b42aa1f564b
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Connecting the Classical to New England
Still Image
Catalog Entry
The cultural heritage point I chose for this project is the Dogana da Mar Venice Atlas, which is located in Venice, Italy. The statue is of two Atlas’s holding up the world on top of the Punta della Dogana, which is an art museum located around the Dogana da Mar building. This piece I thought has similar features to the Minuteman Statue located in Lexington, Massachusetts. They both are made of bronze. They both have symbolic meanings to something else. They both represent more than they are. They are representative to groups as a whole. <br /><br />For the Atlas statue, it is representative of Venice as a whole and is a form of union strength with Atlas showing off how he can hold the entire world on his shoulders. On a top the golden globe that Atlas is holding is a goddess. The goddess is Fortune. The intended purpose for the goddess was to be a weather vane. It is also symbolic to show that you never know what life has in store for you and that you should always remember that fate can be unpredictable so be on your toes. <br /><br />The Minuteman Statue is of a man named Captain John Parker. He was the leader of Lexington Military during 1775 during various battles that were located in Lexington and Concord. Cpt. Parker was represented by various models with one of them being a Medford native Arthur Mather, who was a cartoonist. The term “minuteman” was used to describe the military as a whole. It was meant to show respect to those who were the first responders during any threat that had occured. <br /><br />The two statues are representatives of the groups and a sense of loyalty and resemblance to a group that is meaningful to the area in which they are located. <br /><br />For the literary connection to them I thought that the "Star Spangled Banner" was an appropriate representation of being symbolic to a group. With the song being the national anthem it is already representative of the United States as a whole, putting all the people within the country into sixteen lines. The song was created from the War of 1812 when the British ships were being bombed and lighting up the sky. The song was created as a poem by Francis Scott being representative to the United States military just like the Minuteman Statue was created to show and represent in a physical way. The three works have the sense that community is important to the local area that they are a part of. The Star Spangled Banner was meant to have heart warming feel to those that are graced to hear within our nation and is all around different sports events within the states to show that we all are one represented by those that play. The Doganga da Mar Atlas is that physical form of showing the nation of Venice as a whole just like the Minuteman Statue for those that served in the military at the time with other volunteers also.
Bibliography
<p>Alchin, Linda. “War of 1812 (Aka the 'Second War for Independence').” <em>United States History for Kids</em>, www.american-historama.org/1801-1828-evolution/star-spangled-banner-lyrics.htm. Accessed , 9 Jan. 2018.<br /><br /> “Dogana Da Mar.” <em>Venice the Future</em>, www.venicethefuture.com/schede/uk/132?aliusid=132. Accessed 4 May 2018<br /><br /> “Minuteman Statue.” <em>Visit Lexington MA</em>, www.tourlexington.us/attractions/pages/minuteman-statue.</p>
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Steven Collins, Student, Fitchburg State University
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Title
A name given to the resource
Venice, Italy - Dogana da Mar Venice Atlas; Lexington, MA - Minuteman Monument
american revolution
classical tradition spring 2018
italy
massachusetts
statue
venice
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6b9afcbd8fcb450ce69dc1c4a6cde7f0
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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
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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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Connecting the Classical to New England
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<p>When people come together, living in the same area and interacting with one another it can rightfully be called a community. But a community is more than just a gathering of people who live together. The dynamics of community reflect an altruistic point of view; people come together in times of crisis to assist one another. Communities are more than the sum of their parts, creating a society which is centered around a powerful sense of camaraderie. This is especially prevalent in two places exhibited here: The Basilica in Pompeii, Italy, and Main Street in Fitchburg, Massachusetts.</p>
<p>To the Romans, the basilica was a central engine of the community. “Basilicae” were public buildings, having a similar role to government districts such as we have today. Pompeii’s basilica was no different in this function. Located on the southwest corner of Pompeii’s forum, the basilica was a place for official business, where local government matters such as court trials were discussed as well as a place business was conducted (Fulford 290). Consequently, the basilica was a cornerstone of any ancient Roman community (literally in the case of Pompeii), as a place where public business was carried out. The basilica was always among the first public works constructed in a Roman settlement, considered to be vital to a city’s function (Ball and Dobbins 484). The idea driving Roman society was the <em>res publica</em>, or “public matters.” The Romans believed that government was a part of society and that society was made up of shared concerns of the people and the land they lived on (Nelsestuen 133). This concept is where we get the word for the American form of government that we have today, the “republic.”</p>
<p>People today have their own type of basilica, in the form of areas often referred to as “downtown.” In the community of Fitchburg, a cultural center around Main Street fulfills this role. Down this road, there are thriving shops and restaurants mixed in with official buildings such as post offices, religious organizations, the library, and even the Fitchburg Art Museum. Once upon a time there was even a Fitchburg theatre which drew large audiences from the 1930s until the 1970s. People in this city often walk this road for no reason other than to enjoy the thriving sense of kinship that one feels upon seeing all that this community has to offer.</p>
<p>The theme of community is a powerful one which has its roots in the ancient world, specifically Classical era Greece. In his <em>Works and Days</em>, Hesiod claimed “he who enjoys a good neighbor has a precious possession…Take fair measure from your neighbor and pay him back fairly with the same measure, or better, if you can; so that if you are in need afterwards, you may find him sure” (Hesiod 347-351). The idea that people assist one another and benefit from their mutual assistance is the bedrock on which large communities function. Western culture is built around this idea that we are stronger together than we are alone. </p>
Bibliography
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<p><br /><span style="color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-style:normal;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;float:none;">Grant A. Nelsestuen. “Overseeing<span> </span></span><em style="font-style:italic;line-height:inherit;color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;">Res Publica</em><span style="color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-style:normal;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;float:none;">: The<span> </span></span><em style="font-style:italic;line-height:inherit;color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;">Rector</em><span style="color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-style:normal;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;float:none;"><span> </span>as<span> </span></span><em style="font-style:italic;line-height:inherit;color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;">Vilicus</em><span style="color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-style:normal;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;float:none;"><span> </span>in<span> </span></span><em style="font-style:italic;line-height:inherit;color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;">De Re Publica</em><span style="color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-style:normal;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;float:none;"><span> </span>5.”<span> </span></span><i style="font-style:italic;line-height:inherit;color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;">Classical Antiquity</i><span style="color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-style:normal;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;float:none;">, vol. 33, no. 1, 2014, pp. 130–173.<span> </span></span><i style="font-style:italic;line-height:inherit;color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;">JSTOR</i><span style="color:#333333;font-family:Arial, 'Helvetica Neue', Helvetica, Arial, sans-serif;font-size:14px;font-style:normal;font-weight:400;letter-spacing:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;background-color:#ffffff;float:none;">, www.jstor.org/stable/10.1525/ca.2014.33.1.130.</span></p>
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Dylan Arruda, Student, Fitchburg State University
Research Assistant(s)
Michael Maggioli, Student, Fitchburg State University
Caitie Mayo, 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
Pompeii, Italy - Basilica; Fitchburg, MA - Main Street
british literature I spring 2018
classical tradition spring 2018
fitchburg
italy
massachusetts
pompeii