1
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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
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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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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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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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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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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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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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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
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 - 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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Title
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Connecting the Medieval to New England
Still Image
Catalog Entry
<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
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
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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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
GLASTONBURY ABBEY, UK<br /><br />The original picture I had chosen for this project was of Glastonbury Abbey, located in Somersetshire, England. Glastonbury Abbey is the supposed burial place of both King Arthur and his Queen Guenevere. I have been completing some research into Thomas Malory’s <em>Le Morte d’Arthur</em> and thought that this photograph was of great importance to the legacy of the story and should be addressed on a deeper level. The legend of King Arthur is timeless and well-known throughout the world of literary scholars and beyond, which makes this abbey a fascinating site of cultural heritage. <br /><br />TEXTUAL EVIDENCE <br /><br />In the text <em>Le Morte d’Arthur</em>, there are many references to the original site and its scenery. In the text, Guenevere does state the want to be buried next to her King: “Hither he cometh as fast as he may to fetch my corpse, and beside my lord King Arthur, he may bury me” (Malory 738). This correlates to the findings at the actual site of Glastonbury Abbey, where two corpses were found buried who were thought to be Arthur and Guinevere, and both remains were confirmed as one male and one female. It is also mentioned that Lancelot had brought the remains of Guenevere to Glastonbury: “How sir Launcelot went with his seven followers to Almesbury, found there Queen Guenevere dead, whom they brought to Glastonbury” (Malory 738). These literary clues along with evidence of the found bodies take the legend of King Arthur a bit closer to reality, and as remarkable as that is within its own right, the fact that the world still offers the original site intact is marvelous. Seeing how other locations around the world have taken the style and grace of the abbey, it’s exciting to see the heritage become much more prevalent within places that affect societies further than their own backyard. <br /><br />GLASTONBURY ABBEY, HINGHAM, MA. <br /><br />Here in America’s New England, there are plenty of nods to our former roots in the UK. If the name of “New England” itself isn’t enough, there are also towns like Worcester, Bedford, Bridgewater, Alton, and more. Perhaps the most fascinating, however, is the inclusion of some ancient architectural nods found throughout the region matching that of old texts. Although the original Glastonbury Abbey is located in Somersetshire, England, there is another Glastonbury Abbey found in Hingham, Massachusetts. This abbey is named after the original and takes pride in the associated fame of its legendary history. Due to the medieval context of the original's history, along with it being the “earliest site of Christianity in England”, the abbey in Hingham pays homage to its existence and keeps its culture alive here in the United States. With the surrounding towns of Hingham, MA, have some English connection, the abbey decided it would be a perfect site to extend its notable history and valued presence. The abbeys themselves are both made of stone, resembling that of a castle, with plentiful flowers and gardens around the outside edging. The windows vary from regular glass to stained glass, and both the original Glastonbury Abbey and the Hingham site are still active monasteries to this day. Both of the sites are connected through religion and the deep ties that bind their faith further can be seen in the similar ambience, scenery, architecture, and belief.
Bibliography
<p>“Accessibility Navigation.” <em>Glastonbury Abbey: The Archaeological Story</em>, www.reading.ac.uk/archaeology/research/projects/arch-rg-glastonbury.aspx.<br /><br />“Excavations at Glastonbury Abbey: Reassessing the Medieval Monastery.” <em>m</em><em>edievalists.net</em>, 9 Nov. 2017, http://www.medievalists.net/2017/11/excavations-glastonbury-abbey-1908-79-reassessing-medieval-monastery/.<br /><br />Urbanus, Jason. “Legends of Glastonbury Abbey.” <em>Archaeology Magazine</em>, 16 Feb. 2016, www.archaeology.org/issues/208-1603/trenches/4172-trenches-england-glastonbury-abbey.</p>
Catalog Entry Author(s)
Michael Workman, Student, Fitchburg State University
Research Assistant
Matthew Badagliacca, Student, Fitchburg State University
Patrick Brophy, Student, Fitchburg State University
Noah Milliard, Student, Fitchburg State University
Other Suggested Pairings
MYLES STANDISH CEMETERY, DUXBURY, MA <br /><br />There are plenty of other sites around New England that can connect in some way to the literature and cultural heritage of<em> Le Morte d’Arthur</em> and Glastonbury abbey. The Myles Standish cemetery in Duxbury, MA, is the oldest cemetery found within America. It’s long standing history of staying intact, along with the aged stonework are a perfect display of how this old burial place of individuals has withstood the test of time, while gaining some fame over the years for its age and look, similar to that of Glastonbury Abbey. <br /><br />CUMBERLAND MONASTERY, CUMBERLAND, R.I. <br /><br />Another site which connects in some way is the Cumberland Monastery in Cumberland, Rhode Island. This site is home of the “Nine Men’s Misery,” where legend has it nine men were slain and buried on it’s ground by the Indians in Pierce’s fight March 26, 1676. This legend of these men has grown across the local area, and although much more modern than the legend of King Arthur, it relates due to its idea of a lost figure(s) killed and buried within religious grounds. To add to religious and legendary history, the monastery is a beautiful place where nature thrives, amongst sunny skies and a peaceful setting that makes death seem a little less intimidating.
Research Assistant(s)
Matthew Badagliacca, Student, Fitchburg State University <br />Patrick Brophy, Student, Fitchburg State University <br />Noah Milliard, 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
A name given to the resource
Glastonbury, UK - Glastonbury Abbey; Hingham, MA - Glastonbury Abbey
abbey
british literature I fall 2017
england
king arthur
massachusetts
middle ages fall 2017
religion
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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
The Mappa Mundi is a 14th-century map that depicts the known world during the year 1300. Regions marked on the map include Europe, Africa, the Middle East, and certain expanses of Asia. The map was crafted in England and is preserved to this day in the English city of Hereford. One interesting aspect around this map is the theory scholars have developed that the cartographer never left England. Due to this the map is not seen as an accurate geographical representation of the land. Instead it is seen as a representation of the land based off of the cartographer's knowledge of religious texts and myths. Obviously, this meant the map was never actually used for navigation. <br /><br />This division between culture and geography is the primary theme that connects the map to the Andlo-Saxon text <em>Judith. </em>The idea of distant lands as dangerous is seen in these two pieces. The authors were well-versed in their cultural norms close to where they existed, but, instead of being able to travel outside to these “dangerous” areas, they based their geography on the locations as they were described in texts they read. The Mappa Mundi creator likely never left England once in his whole life. <em>Judith</em>'s antagonist Holofernes is an Assyrian. Judith's knowledge of Assyria and Babylon were a stylized depiction based on legends, rather than geographical and historical facts. <br /><br />Along with the theme stated above, another key similarity between Mappa Mundi and Judith is the obvious connection of having anonymous creators. <br /><br />My local connection to Judith and the Mappa Mundi is a map depicting the aerial view of Cape Cod. The map is held in the Nina Heald Webber Cape Cod Canal collection. Like the Mappa Mundi, it is undated, making an estimated origin date difficult to determine. <br /><br />The world outside of your home town or village was a scary and dangerous place and not too many people were brave enough to adventure out and comprehend everything else the world has to offer. They had to rely on information gathered from others to create objects that in return would help even more people develop knowledge.
Bibliography
Denholm-Young, N. “The Mappa Mundi of Richard of Haldingham at Hereford.” <em>Speculum</em>, vol. 32, no. 2, 1957, pp. 307–314. <br /><br />Terkla, Dan. “The Original Placement of the Hereford Mappa Mundi.” <em>Imago Mundi,</em> vol. 56, no. 2, 2004, pp. 131–151.<br /><br />“The Opening of the Cape Cod Canal.” <em>Bulletin of the American Geographical Society</em>, vol. 46, no. 11, 1914, pp. 832–834.
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Kevin Sim, Student, Fitchburg State University
Research Assistant(s)
Nick Elliott, Student, Fitchburg State University
Accessible Description of Image(s)
First image: This picture depicts a medieval map. The picture zooms in and focuses on a specific portion of the map. The map is on brown, coffee-colored material. There are words on it in written language. A drawn road connects a small tower to the image of a large castle. There also appears to be some words on the map that reference place names.
Description by; Louise Symonds, 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
Hereford, UK - Mappa Mundi; Boston, MA - Cape Cod Map, Nina Heald Webber Cape Cod Canal Collection (Historic New England)
artifact
babylon
british literature I fall 2017
england
judith
maps
massachusetts
middle ages fall 2017
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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
Forest Hill Cemetery, found in the city of Fitchburg, Massachusetts, is recognizable by its rolling green hills, large number of head stones and burial sites, and wide open landscape. It was first established in 1856 and was designed by the architect Amasa Farrier. It is also well-known for its prominence of military members who are buried on the site as well as various ethnicities including French, English, Irish, German, Greek, Hispanic, and more. Mt. Elam Road, the road where the cemetery resides, also has significant historical value for the city. According to the Fitchburg Reconnaissance Report this road was first built in order to be a "designated scenic road" and also connects to downtown Fitchburg as well as Route 2. The geology of the city also plays an important role to Forest Hill Cemetery. Perhaps the most striking aspect of these burial grounds is the rise and fall of the hills on the property. The Fitchburg Reconnaissance Report says that, during the ice age, ice settled in the area and helped to create the "bowl shaped area" as well as the steep hills found in the city and in the cemetery. It is likely that these hills were an inspiration for the name of the cemetery. The largest cemetery in Fitchburg, it currently has approximately 60,000 grave sites, and there are currently plans to expand the site over the next 5-7 years according to the <em>Sentinel and Enterprise</em> newspaper. While this cemetery is certainly unique in its own ways, it still represents the traditional values of American burial practices. These values are noticeably different in other cultures, specifically the Old Norse burial practices of the Middle Ages. <br /><br />The Nordic burial mounds found in Jelling, Denmark are a striking example of the differences between the pagan burial rituals of the Norse and the modern American rituals. These two nearly identical mounds are about 70 meters in diameter and 11 meters high. These mounds would be built over the graves of prevalent members of the Norse community and are intricately layered to ensure they would last for centuries. A later addition to the mounds, a runic stone erected by Harald Bluetooth, represents the shift from a pagan society to a Christian one in later years. This site also once contained the first Christian church built in Jelling. This site offers an ideal illustration for the sudden shift in religious ideas and customs for the Norse people. Changing burial practices and other customs are also something that can be seen in the Icelandic sagas. <br /><br />The Icelandic sagas, the lore and founding literature of these people, contains scenes of burial procedures and how these procedures were affected by the shift from paganism to Christianity. This is specifically apparent in <em>Erik the Red's Saga</em>. In chapter 6 of this saga, we see Thorstein who, along with many of his fellow villagers, has succumbed to sickness. He returns from the dead to tell Gurdid, a female villager, that he wishes to be buried with the new Christian rituals. He says to her from beyond the grave, "These [pagan] practices will not do… I want to have my corpse taken to a church" (664). Only after Thorstein and his fellow villagers have been buried in consecrated grounds do their spirits finally rest. This scene represents the shift in religious views as well as burial rituals, something that was important to the Norse people as well as the people of the United States. While there are certainly differences between the customary rituals of medieval Norse culture and modern-day American culture, the value of finding appropriate places to bury our dead remains constant in these societies. This can be seen at the Forest Hill Cemetery in Fitchburg, Massachusetts, as well as at the historical site of Jelling, Denmark.
Bibliography
Dobbins, Elizabeth. “Fitchburg Looks to Expand Forest Hill Cemetery.” <em>Sentinel and Enterprise</em>, 30 Aug. 2017. <br /><br /><span class="TF">"Erik the Red's Saga." <i>The Sagas of Icelanders: A Selection. </i>Edited by Jane Smiley, and Robert Leland Kellogg. Translated by Keneva Kunz. Penguin, New York, 2001. </span><br /><br />Freedom's Way Heritage Association. <em>Fitchburg Reconaissance Report: Freedom's Way Landscape Inventory</em>. 2006, ci.fitchburg.ma.us/DocumentCenter/Home/View/482.<br /><br />Galvin, William Francis. “Welcome to MACRIS.” <em>Welcome to MACRIS</em>, mhc-macris.net/. <br /><br />“Jelling Mounds, Runic Stones and Church.” <em>UNESCO World Heritage Centre</em>, whc.unesco.org/en/list/697. <br /><br /><span class="TF"></span>
Photographer(s)
Kisha G. Tracy
Katie Duncan, Student, Fitchburg State University
Catalog Entry Author(s)
Alexander Dewhurst, Student, Fitchburg State University
Research Assistant
Matthew McCann, Student, Fitchburg State University
Research Assistant(s)
<span>Matthew McCann, Student, Fitchburg State University</span>
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
Jelling, Denmark - Gorms Høj; Fitchburg, MA - Forest Hill Cemetery
british literature I fall 2017
burial practices
cemetery
denmark
FAMExhibition
fitchburg
grave
hammondexhibition
massachusetts
middle ages fall 2017
photography ii fall 2017
sagas
viking
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b300263e3fcfbbee5baed77aeee6705d
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
The statue of Boudicca in London, England is in memoriam of the great Celtic queen of the Iceni tribe, who led a revolt against Rome after they removed her tribe’s status as allies and took her husband’s land after his death. Her objections to these actions were met with a flogging and the raping of her two daughters. Her revolt had her tearing Roman cities apart, leaving 80,000 Roman citizens dead before she was defeated. <br /><br /> A little closer to home, the Anne Hutchinson statue in Boston, Massachusetts was built to honor the bravery of Anne Hutchinson, a woman who was willing to express her own religious beliefs and challenge the sexism that held her to a submissive role. This led to her being banished from the community of Puritan Massachusetts; she then moved to the colony that is now known as Portsmouth, Rhode Island only to be killed by the Native Americans known as the Siwanoy alongside most of her children. <br /><br /> Judith was the young Hebrew woman who stood up on behalf of her people at Bethulia when an army arrived to conquer the land. Using her wits and beauty, Judith maneuvered her way to Holofernes, the leader of the army, and beheaded him in his sleep. This lead to her people rising up and taking back their land and Judith heralded as a hero.
Bibliography
<p><span class="TF"><span class="tf">Ades, David. "Boudicca."<i> Social Alternatives</i>, vol. 29, no. 1, 2010, pp. 48<i>, ProQuest Central</i>, https://web.fitchburgstate.edu:2443/login?url=https://search.proquest.com/docview/213966314?accountid=10896.</span></span></p>
<p>McGunigal, Lisa. "The criminal trial of Anne Hutchinson: ritual, religion, and law." Mosaic: An interdisciplinary critical journal, vol. 49, no. 2, 2016, p. 149. General OneFile, link.galegroup.com/apps/doc/A462327512/ITOF?u=mlin_c_fitchcol&sid=ITOF&xid=75f74d22. <br /><br />Potter, T W. You Are Looking For. Oxford University Press, 23 Sept. 2004, ds5tw8cn5h.search.serialssolutions.com/?ctx_ver=Z39.88-2004&ctx_enc=info%3Aofi%2Fenc%3AUTF-8&rfr_id=info%3Asid%2Fsummon.serialssolutions.com&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.title=Oxford%2BDictionary%2Bof%2BNational%2BBiography&rft.au=T.%2BW.%2BPotter&rft.atitle=Boudicca&rft.date=2004-09-23&rft.pub=Oxford%2BUniversity%2BPress&rft.isbn=019861411X&rft_id=info%3Adoi%2F10.1093%2Fref%3Aodnb%2F2732&rft.externalDocID=10_1093_ref_odnb_2732¶mdict=en-US. <br /><span class="TF"><span class="tf"> </span></span></p>
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Charles Gomez, Student, Fitchburg State University
Research Assistant(s)
Megan Burnap, 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 - Statue of Boudicca; Boston, MA - Statue of Anne Hutchinson
british literature I fall 2017
england
FAMExhibition
judith
massachusetts
middle ages fall 2017
photography ii fall 2017
statue
women