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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
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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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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Connecting the Medieval to New England
Still Image
Catalog Entry
Notre-Dame de Paris Cathedral started its construction in 1163 and finished in 1345, the exact dates are unknown. It is a well-known medieval Catholic church located in Paris, France. It is well-known for its French Gothic architecture and stained glass windows. Outside of the cathedral is a statue of "Charlemagne et ses leudes," or "Charlemagne and his guards." The piece was made of bronze by two brothers Charles and Louis Rochet and installed in 1882. Charlemagne was king of the Franks and united Europe during the beginning of the Middle Ages. <br /><br />St. Anthony's of Padua in Shirley, Massachusetts is a Roman Catholic church. The rural archdiocesan parish was originally established in 1905. Beside the church is Whiteley Park, a veterans park named after John Whitely, the last Shirley Elder of the Shirley Shaker community. <br /><br />The medieval text, the <em>Heliand</em> or the Anglo-Saxon Bible, translates Christianity into something they can relate to through their previous religion. It tells a similar story to Genesis and was written by an anonymous monk. Instead of being a gentle healer, the son of God is portrayed as a warrior. Often times they refer to God as the Cheiftain of the people. <br /><br />The concept that connects these three is the idea of religion and war, how they affect the community not only individually but together. In order to convert the pagans to Christianity, the <em>Heliand</em> made the Son of God a warrior. This idea of religious figures being warriors is what connects the three. The local site being a war memorial in front of a Christian church reflects the French site of the Charlemagne statue in front of Notre-Dame Cathedral. Charlemagne helped to unite Europe, the French included, and John Whiteley helped unite the people of Shirley, Massachusetts.
Bibliography
<p>“About Our Parish.” <em>St Anthony Church</em>, stanthonyshirley.org/parish-life/about.</p>
<p>"About Shirley." <em>Town of Shirley Massachusetts</em>, www.shirley -ma.gov/Pages/ShirleyMA_WebDocs/about.</p>
<p>“Building history.” <em>Our Lady of Paris</em>, notredamedeparis.fr/en/la-cathedrale/histoire/historique-de-la-construction/.</p>
<p>Krogt, René van der, and Peter van der Krogt. “Charlemagne et ses leudes.” <i>Statues – Hither & Thither</i>, http://vanderkrogt.net/statues/object.php?%20webpage=ST&record=frif004.</p>
Photographer(s)
Kisha G. Tracy
Jon Jones, Adult Learning in the Fitchburg Area (ALFA)
Catalog Entry Author(s)
Deanna Wood, Student, Fitchburg State University
Research Assistant(s)
Holly Elworthy, Student, Fitchburg State University
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
Paris, France - Charlemagne et Ses Leudes (Notre-Dame Cathedral); Shirley, MA - St. Anthony's of Padua and Whiteley Park
british literature I fall 2017
cathedral
charlemagne
church
FAMExhibition
hammondexhibition
middle ages fall 2017
religion
statue
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Dublin Core
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Connecting the Medieval to New England
Still Image
Catalog Entry
<p>Thingvellir National Park is a beautiful historic site in Iceland about fifty kilometers outside of Reykjavík, the capital city of Iceland. It was originally the location of the Althing, Iceland’s central location for law and order that was established by Vikings who settled there hundreds of years ago. The Althing has since been relocated to Reykjavík for a more modernized government, however, Iceland’s government is still referred to as the Althing.</p>
<p>Thingvellir is now regarded as a National Park and historical site. This is due to the importance of this location and its relation to the history of Iceland becoming its own nation, with its own parliament, set of laws, and traditions. Even furthermore, this was one of the first locations of its type: “The Althing (Parliament), a supreme court of legislature and laws in the land, is held there; it is the oldest one in the world, founded on the Mount of Laws at Thingvellir, 930” (Magnusson 435). This need for parliament arose because Iceland was populated by a seafaring nation, the Vikings. A group of these people at one point had no land to call their own. This changed as outlined in <em>Erik the Red’s Saga</em>: “Afterwards Aud set out to seek Iceland, having twenty free men in her ship. Aud came to Iceland, and passed the first winter in Bjarnarhofn (Bjornshaven) with her brother Bjorn. Afterwards she occupied all the Dale country between the Dogurdara (day-meal river) and the Skraumuhlaupsa (river of the giantess’s leap), and dwelt at Hvamm” (“Erik the Red's Saga” 654). Aud then had crosses erected symbolizing the new land becoming Christian, and many wealthy Vikings as well as those fleeing from their crimes came to reside in Iceland. This brings about the need for a government and set of laws for this new nation of people. Hence Thingvellir and the Althing was founded as a location of Vikings to make laws. <br /><br />This is why a local historical site that can be connected to Thingvellir is the John Adams Courthouse in Boston. While it may not be a beautiful Icelandic national park, it is the original location of the Massachusetts Supreme Judicial Court and the Court of Appeals. This building was recently renovated and renamed as it was formerly known as the Suffolk County Courthouse, originally built in 1893. It was the location for the Supreme Judicial Court in Massachusetts well over 100 years ago. The Supreme Court is a building made for the public; it was originally created for the need for law and order in Suffolk County and unified the area.<br /><br />Thingvellir has the same sort of effect on the people visiting this historic site and has always had this effect amongst Icelanders as the following quote notes: “[B]y staging the drama in the place which is so often seen as the symbolic center of the Icelandic nation, the place where history meets nature, people and parliament declared openly their union with the past” (Halfdanarson 8). This notes the connection between the history of Iceland and how Thingvellir effected the growth of the country. The same can be said for the John Adams Courthouse, as when it was originally built in Suffolk County, it helped unify the State and created law and order in Massachusetts as a whole.</p>
Bibliography
<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> pp. 653–74. <br /><br />Hálfdanarson, Guðmundur. “Þingvellir: An Icelandic ‘Lieu De Mémoire’” <em>History and Memory</em>, vol. 12, no. 1, 2000, pp. 4–29. <em>JSTOR</em>, www.jstor.org/stable/10.2979/his.2000.12.1.4.<br /><br />Loeffler, Jane C. "The Importance of Openness in an Era of Security." <em>Architectural Record</em>, vol. 194, no. 1, Jan. 2006, pp. 81-83. <em>EBSCOhost</em>, web.fitchburgstate.edu:2443/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=19556558&site=ehost-live<br /><br />Magnusson, Kristjan H. “Iceland -- The Land of Ice And Fire." <em>The American Magazine of Art</em>, vol. 21, no. 8, 1930, pp. 435–438. <em>JSTOR</em>, www.jstor.org/stable/23931815.
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Corey Hayashi, Student, Fitchburg State University
Accessible Description of Image(s)
First image: You are looking from on top of a rocky hill. A line of pine trees with think, blade-like leaves diagonally rims the side of the hill. The tree line starts a third of the way up the left side of the photo and ends three-fourths of the way to the right of the photo's bottom. A path leaves the diagonal line of trees only to head to the right. This encases two picnic tables between the trees and path. Further up the photo mostly consists of different colored and shaded grassy ground. A river, which looks to be draining out of a marsh-like land with a bridge, cuts from the left of the photo to the right. Past the river are five joined houses and a church which is further to the left of the houses. The houses seem to only have a single door and a few large pine trees are at the back of them. Past the houses the terrain seems to be some random, rocky, ten-foot cliffs with the houses starting at the very bottom. Past these cliffs the terrain is smooth until the bases of some mountains and hills come into view.
Description by: Elrik Iarson, Student, Fitchburg State University
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Title
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Thingvellir, Iceland - Thingvellir National Park; Boston, MA - The John Adams Courthouse
iceland
law
massachusetts
middle ages fall 2017
sagas
viking
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Dublin Core
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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
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Title
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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 Medieval to New England
Still Image
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How exactly do Oxford University, Fitchburg State University, and <em>The Reeve’s Tale</em> compare with one another? I promise you it’s not because they’re all related to England in some form or another. What they all have in common revolves around education and universities. <br /><br />Oxford University is the oldest university in the English-speaking world and was only established as a university around 1167 when Henry II banned students from studying at the University of Paris (“Introduction and History.”). This fact alone sparked some interest in our tale, <em>The Reeve’s Tale</em>, since revenge and a bit of pettiness are sparks of inspiration for this story. Fitchburg State University hasn’t exactly been around as long as Oxford has. It was established in 1894 and was known as State Normal School in Fitchburg (“History of the University.” ). What’s interesting is that Oxford started out as a school solely for men while FSU started as a school solely for women.<br /><br />So how do these three compare to one another? Despite both of the schools' rich history, the comparison among the three focuses on the two college students who are main characters in <em>The Reeve’s Tale</em>. John and Aleyn are two students from a college in Cambridge. They’re your usual overly confident college students who think they can outsmart the miller, Symkyn, who is known for cheating and stealing from people who come to use his mill. The part that shocked me the most was when Symkyn actually looked down on the college students because of their educational background (Benson). Ironically, the students come from an educated class whereas the miller does not have an education. <br /><br />Oxford University is believed to have been established due to the fact that Henry II didn’t want students going to the University of Paris while Fitchburg State was only opened to women for teaching and was not allowed to offer bachelor's degrees until years and years later. Both the universities and the students were stumped by some sort of roadblock. Luckily for us today, that so called roadblock was cleared. Oxford is now a highly prestigious school that is open to both male and female and offers many more fields of study. Fitchburg State University has grown in size, is open to both males and females, and has moved passed from just offering an associate's or bachelor's, but now has several master’s programs as well. Lastly, in <em>The Reeve’s Tale</em>, the college students, John and Aleyn, took back control and not only did they prove their wits, but they were able to retaliate successfully (Benson). Now, whether that retaliation was positive or negative is up for debate.
Bibliography
<p>Chaucer, Geoffrey. "The Reeve's Tale." Translated by Larry D. Benson, 2008, sites.fas.harvard.edu/~chaucer/teachslf/rvt-par.htm. <br /><br />“History of the University.” Fitchburg State University, fitchburgstate.edu/about/history-of-the-university/. <br /><br />“Introduction and History.” University of Oxford, ox.ac.uk/about/organisation/history?wssl=1.<br /><br />“University of Oxford.” Encyclopædia Britannica, 27 Jan. 2017, britannica.com/topic/University-of-Oxford.</p>
Photographer(s)
Kisha G. Tracy
Catalog Entry Author(s)
Ivy Benoit, Student, Fitchburg State University
Research Assistant(s)
Emma Page, Student, Fitchburg State University
Accessible Description of Image(s)
First image: The photograph is an overlooking shot of a city from a leftward view. The main focus of the photo is an old-looking building with a dome roof. There are large windows scattering the building. It also has multiple entrance ways. This takes up around half of the photo. In the middle of the photo there is a walkway of sorts and people are walking on it. To the right is an open courtyard with building behind it in the city. The top of the photo contains the sky.
Description by: Colin Fagan, Student, Fitchburg State University
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Title
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Oxford, UK - Oxford University; Fitchburg, MA - Fitchburg State Univeristy
british literature I fall 2017
chaucer
england
fitchburg
massachusetts
middle ages fall 2017
university
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Connecting the Medieval to New England
Still Image
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<p>Giovanni Boccaccio is the author of the famous <em>Decameron</em>. He was born in 1313 in Certaldo or Florence, Italy; the exact location is unknown. He died December 21st, 1375. His gravestone is located inside the Church of Saints Jacob and Filippo in Certaldo, Italy. After the death of his father and stepmother due to the plague, Boccaccio began the composition of the <em>Decameron</em>. In the <em>Decameron</em>, Boccaccio focuses on numerous ideas throughout, but one specific idea is the focus on fortune and disability in Day 2, Story 1. Day 2, Story 1 is a story about a man named Martellino, who pretends to be visibly crippled in order to enter a heavily-packed church of a saint who has just deceased. Everyone makes a pathway for Martellino in order for him to be ‘healed’ by the saint for his disability, but someone in the crowd notices him and everyone starts to kick and fight him for lying about his disability. <br /><br />Joseph Palmer was born in 1789 in a village between Leominster and Fitchburg, Massachusetts. He was persecuted at the age of forty because of his beard. Palmer died in 1873. This persecution made such an impact on his life and is so widely known that it is engraved on his gravestone. Boccaccio also has writing on his gravestone, which he composed himself before he died. Palmer was persecuted because in the year 1830 citizens went as far as attacking Palmer with razor blades outside of a hotel in an attempt to cut off his beard. Palmer defended himself, rightfully so, and was sent to Worcester County Jail. During this time period, beards were considered the mark of lunatics. It is interesting how going against the social norms and having a beard enraged people enough to attack him and try to cut off his beard. Palmer was also attacked while in jail and continuously defended himself; they placed him in solitary confinement numerous times. During the Medieval period, disability was sometimes something that needed correction or needed to be cured. It is also known for using the “religious model,” which replaces medicine with religion. <br /><br />The connection Palmer and the character Martellino in the <em>Decameron</em> is how both were attacked due to not following social norms, but there are complex differences in their situations. In the <em>Decameron</em>, Martellino is only attacked because he lied about his disability; the civilians wanted Martellino to be healed. They wanted Martellino to be healed because it goes against the social norm during that time period of accepting someone who is a cripple. They relied on religion as medicine in order to change that. Their beliefs in this method were very strong, so the fact that someone would mock their beliefs and not respect the process they believed in was problematic. In Joseph Palmer’s case, not only was he considered to be a lunatic just because of his long facial hair, he was also accused of communing with the devil by his local preacher. It is interesting how hundreds of years later you can still be attacked for not following the social norms of the time period and how society takes action into their own hands in order to correct what they believe to be wrong, even authorities.</p>
Bibliography
“Certaldo.” Giovanni Boccaccio, www.certaldo-info.com/giovanni_boccaccio.htm. “Decameron Web.” <em>Decameron Web | Boccaccio</em>, www.brown.edu/Departments/Italian_Studies/dweb/boccaccio/life1_en.php. <br /><br />“Disability in the Medieval Period.” <em>Rooted in Rights</em>, www.rootedinrights.org/disability-in-the-medieval-period/. <br /><br />“Joseph Palmer: The Eccentric War Veteran Who Was Sent to Jail for Wearing a Beard.” <em>The Vintage News,</em> 24 Nov. 2017, m.thevintagenews.com/2017/11/24/the-man-who-was-sent-to-jail-for-wearing-a-beard/. <br /><br />Landrigan, Leslie. “Joseph Palmer Persecuted for Wearing a Beard.” <em>New England Historical Society</em>, 26 May 2017, www.newenglandhistoricalsociety.com/joseph-palmer-persecuted-wearing-beard/. <br /><br />“Remembering One Hero's Fight Against Anti-Beardism.” <em>Atlas Obscura</em>, Atlas Obscura, 14 Apr. 2015, www.atlasobscura.com/places/grave-of-joseph-palmer.<br /><br />Wheatley, Edward. "Cripping the Middle Ages, Medievalizing Disability Theory." <em>Stumbling Blocks Before the Blind: Medieval Constructions of a Disability. </em>University of Michigan Press, 2010. pp. 1-25, https://books.google.com/books?id=4Ofb5TWuJPoC&lpg=PR1&ots=rdboMV3bRw&dq=Stumbling+Blocks+Before+the+Blind+wheatley&lr=&pg=PR1&hl=en#v=twopage&q&f=false.
Photographer(s)
Kisha G. Tracy
Madison Whitten, Student, Fitchburg State University
Catalog Entry Author(s)
Courtney Jensen, Student, Fitchburg State University
Research Assistant(s)
Madison Dalmaso, Student, Fitchburg State University
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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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Connecting the Medieval to New England
Still Image
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<p>Whydah Pirate Museum is in Yarmouth, Massachusetts. The wreck of the Whydah Gally is approximately fifteen-hundred feet off Marconi Beach in Cap Cod, with most of its wreckage submerged in sand. Originally built in 1715 as a transport ship for slaves, the Whydah Gally sat at one-hundred feet in length and weighed over three-hundred tons. During its first and only voyage as a slave transport ship, it was taken by pirate captain Sam “Black” Bellamy after a three-day chase. By the time Bellamy’s fleet reached New England after taking over the Whydah, he and his crew had plundered over fifty separate vessels. On the night of April 26, 1717, a nor’easter struck the Whydah, running the ship aground on a sandbar. Many of the pieces recovered from the wreck are on display in the Whydah Pirate Museum, which currently houses a full-size replica of the ship. Since the wreck’s discovery by an underwater explorer named Barry Clifford, over two-hundred-thousand pieces have been recovered by Clifford’s team according to Ian Aldrich of <em>New England Today.</em> The wreck of the Whydah is one of the only golden-age pirate wrecks with undoubted conformation thanks to the discovery of a plaque and bell with the ship’s name on both, which makes it a cultural symbol of the late golden-age of pirating. Not only is it one of the only identified golden-age pirate wrecks with two pieces of proof confirming the ship’s identity, but it also remains in the New England area, making it a valuable symbol of pirating and pirate culture during the early 18th century. Pirating and pirates have a long-standing history in the seafaring world. Traversing oceans and battling the elements can be just as deadly as the pirating and raiding, and the 18th-century pirate lifestyle owes a great deal to that of their Viking metaphorical ancestors. <br /><br />Vikings are synonymous with pirating, looting, raiding, and seafaring travel. Some would consider Vikings to be some of the best sea navigators of their day, and with good reason. Being a Viking was a job, and that job involved pirating. If a Viking wasn’t an excellent navigator, fighter, or plunderer of goods, the Viking wasn’t good at their job. <br /><br /><em>Egil’s Saga</em> follows the story and lives of the clan Egil Skallagrimsson, who holds the titles of farmer, skald, and Viking. The saga spans multiple generations and goes through the family’s history from Egil’s grandfather to Egil’s offspring. Like the pirates aboard the Whydah, Vikings plundered for loot across the seas. While pirates primarily overtook ships, and preferred not to fight and risk losing the enemy’s ship and the cargo it held, Vikings primarily raided along coastal waters and, as a result, didn’t have the heavy economical restrictions as golden-age pirates. As <em>The Sagas of the Icelanders</em> edited by Jane Smiley notes, the Viking’s “[f]irst notable attack on England came, according to the Anglo-Saxon Chronicle, in 793, when the church on the island of Lindisfarne was plundered and some people were slain.” While being a Viking was a job and title, piracy in the golden-age of pirates was more akin to a way of life. Vikings could go back home to their family in Iceland or Norway, but pirates didn’t typically have national allies, which made going to any kind of home much more difficult. <br /><br />The image chosen to go with <em>Egil’s Saga</em> and subsequently the Whydah Pirate Museum and Whydah shipwreck is the image of a Viking longboat at the Roskilde Ship Museum in Denmark. Both Vikings and the more modern, golden-age pirate used ships as their primary method of travel, which makes this image serve as a reminder not only of the seafaring ways of pirates and Vikings, but the possible dangers of sea travel during the period. This is an excellent image of a piece of Viking cultural history and, in part, the pseudo ancestors to the golden-age pirates of the 17th and 18th century.</p>
Bibliography
Aldrich, Ian. “The Whydah Gally | History of a Cape Cod Pirate Ship.” <em>New England Today</em>, 28 Nov. 2017, newengland.com/today/living/new-england-history/whydah-gally-history-cape-cod-pirate-ship/. <br /><br /><span class="TF">"Egils Saga." <i>The Sagas of Icelanders: A Selection. </i>Edited by Jane Smiley, and Robert Leland Kellogg. Translated by Bernard Scudder. </span>Kindle ed., Penguin. 2005.<br /><br />“Real Pirates.” <em>Field Museum</em>, 2009, archive.fieldmuseum.org/pirates/index.html. <br /><br />Webster, Donovan. “Pirates of the Whydah.” <em>National Geographic</em>, 1999, www.nationalgeographic.com/whydah/story.html.
Photographer(s)
Kisha G. Tracy
Allison St. Peter, Student, Fitchburg State University
Catalog Entry Author(s)
Nicholas Powell, Student, Fitchburg State University
Research Assistant(s)
Heather Ferguson, Student, Fitchburg State University
Accessible Description of Image(s)
First image: This black and white scene reveals a large canoe-like silhouette inside of a building on the coast overlooking a large harbor. The glass wall reveals a person in the harbor rowing a kayak with a foggy outline of buildings in the background on the opposite coast.
Description by: Michael Brito, Student, Fitchburg State University
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Roskilde, Denmark - Roskilde Ship Museum; West Yarmouth, MA - Whydah Pirate Museum and Whydah Gally
british literature I fall 2017
denmark
FAMExhibition
hammondexhibition
massachusetts
middle ages fall 2017
museum
photography ii fall 2017
pirate
sagas
ships
travel
viking
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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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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/.
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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