Found 377 Learning Lab Collections
This collection brings together EDSITEment and Smithsonian resources to support the initial research into a project for National History Day 2019, "Triumph and Tragedy in History."
These resources - including photographs, objects, portraits, lesson plans, and articles - explore triumphs and tragedies in American industrialization from the late 18th century through the early 20th century. Resources highlight influential industrialists called "captains of industry" by some and "robber barons" by others, catastrophes that occurred as a result of rapid industrialization, labor leaders who fought successfully for the rights of laborers dismal conditions, the origins of child labor laws, leading inventors and their inventions, and other important topics. The second tile of this collection contains questions to help with the analysis of photograph, document, artwork, portrait, and object resources.
By no means is this collection comprehensive; instead, it provides a launching point for further research.
This collection was created in collaboration with EDSITEment, a website for K-12 educators from the National Endowment for the Humanities.
Share your National History Day collections and let us know what you think! Write to us on Twitter: @EDSITEment & @SmithsonianLab, #NHD2019. If you publish a collection on your National History Day topic, be sure to enter #NHD2019 in the description!
Tags: strike, protest, union, andrew carnegie, john d. rockefeller, j.p. morgan, cornelius vanderbilt, henry clay frick, helen frick, andrew w. mellon, newsies, newsboys, child labor reform, thomas alva edison, incandescent lamp, nikola tesla, electric motor, electric power, alexander graham bell, telephone, christopher latham sholes, c. lathan sholes, carlos glidden, samuel soule, typewriter, triangle shirtwaist factory fire, pinkerton national detective agency, matewan massacre, wall street bombing of 1920, boston molassses disaster, asa philip randolph, a. philip randolph, john llewellyn lewis, john l. lewis, frances perkins, samuel gompers i.l.g.w.u, international ladies garment workers union, david dubinsky, company towns, #NHD
This collection will examine examples of art as a form of communication between the human and spiritual worlds. These forms of communication may include examples of direct communication — in which an individual or group uses art to speak to and influence the spiritual world — as well as examples that serve to document practices, beliefs, and the place of spiritual practices in society at large.
The form and focus of these communications expressed through art can help to explain the values of particular cultures or individuals, or may serve to question or enforce certain cultural beliefs. This type of art may be the expression of the needs of a social group or culture, such as prehistoric cave paintings that might have functioned in rituals to ensure successful hunts or plentiful game. It may serve to enforce a political agenda such as the Law Code of Hammurabi. Or it may express an individual's personal interpretation and experience of spirituality such as the illustrated poetry of William Blake. However, form does not always imply the expected function: the 19th century English painter and poet Dante Gabriel Rossetti sometimes drew on religious subjects or themes and much of his work has a mysterious and mystical atmosphere. Yet Rossetti, describing his spiritual beliefs, called himself an “art Catholic,” implying that if he engaged in a spiritual dialog through his art, it was with art itself (Faxon, 1989).
This collection will look at examples
from the prehistoric era through the early 20th century. These
examples help to contextualize the inner lives of individuals, and
the collective inner life of the cultures, their environments, wants,
needs, and values, to foster a greater appreciation of and respect
for these peoples and cultures.
Although there is only limited firm evidence of the purpose of cave art found at sites such as Lascaux, Chauvet, and Les Trois-Frères, scholars generally agree that it served some religious purpose. Various theories have been proposed to provide more specific explanations. Cave art, particularly Paleolithic cave art, depicts almost exclusively animals. Hunting was crucial to the survival of early humans, and it is possible that the images were created as part of hunting rituals. Images of animals superimposed over each other many have represented fertility rituals aimed at increasing the amount of game animals. Some images appear to have been deliberately scratched or gouged with spearheads — in some cases blood was painted flowing from these wounds — suggesting that the images may have been intended as a type of sympathetic magic giving hunters power over and protection from large and dangerous animals (Benton & DiYanni, 2012).
Other images are less easy to explain and have given rise to controversial theories such as the bird-faced human figure in the Lascaux Shaft Scene, that combine elements of humans with other animals in a single figure. The Shaft Scene appears to describe a narrative although the exact meaning is not completely clear. A wounded bison stands ready to charge; the animals intestines appear to be pouring out of its abdomen and a spear is shown near its hindquarters. In front of the bison is a stick figure human with a bird's face. The human figure appears to have fallen or been knocked over. Just below this odd figure is a line topped by a bird, perhaps an object belonging to the bird-faced man. This figure and others that combine humans and other animals into one figure such as The Sorcerer in Les Trois-Freres may document early humans' mythology, and could suggest the origins of certain beliefs and practices (Curtis, 2006).
The meaning of the Law Code of Hammurabi is less ambiguous — the spiritual and the legal/political aspects of the culture are united. The stele dates to approximately 1760 BCE and is divided into two sections. The lower section, which takes up the majority of the stele, consists of the code of laws in effect at the time. The relief at the top depicts the Babylonian king Hammurabi receiving the laws from the god Shamash. The implication is clear: the law itself is a religious document and the social rules it describes are the will of the gods — and Hammurabi whose authority is bolstered by the approval of the gods (Benton & DiYanni, 2012).
The spiritual is not always a numinous experience in a cave. Some early laws and social codes were framed as divine communications that enforce social norms and rules — even now, witnesses in courts are generally sworn in by placing their hand on a Bible. Communication with the spiritual in examples such as the Law Code of Hammurabi is aimed at establishing and enforcing order and lending it a weight of legitimacy. It is as critical for the members of an urban culture, such as Babylon, to abide by rules to maintain peace with their neighbors as it was for the Paleolithic peoples to ensure successful hunts. And, kings such as Hammurabi believed it was critical to protect their power. By aligning themselves with gods, they could borrow some of the gods' power in the minds of the people and make rebellion or betrayal a kind of sacrilege. Hammurabi, in fact, was declared a god in his own lifetime (Van De Mieroop, 2005).
Music may also function as a form of communication between gods and humans. In pharaonic Egypt, religious festivals appear to have prominently involved music and dance. Music may have been used in religious rituals to communicate with the gods, invoke deities, or as a medium to transmit offerings. Some instruments were associated with specific deities: the sistrum with Hathor and Isis and the tambourine with Bes. Sistrums may have been played during rituals associated with Hathor to invoke her — and to placate her. Although images of deities playing musical instruments are relatively rare in Egyptian art, Bes is frequently depicted dancing and playing a tambourine. Unlike the other gods, Bes used music to communicate with humans. Bes was associated with the home and family — the front rooms of Egyptian homes appear to have contained shrines to Bes — and he remained a popular deity among the people throughout Egypt's history. Bes was believed to protect people, particularly women in childbirth, by playing music to frighten away evil spirits. Amulets of Bes dancing and playing a tambourine appear to have been a common type of protective amulet worn around the neck. It is worth noting that depictions of Bes differ markedly from depictions of most other Egyptian deities: he is represented in lively motion. In contrast to the image of Egyptian religion based primarily on royal tombs and, therefore, focused on death and the elite members of society, Bes was closely tied to life and the lives of common people (Simmance, n.d.).
Composed by the poet Valmiki in India the fifth century BCE, the Rāmāyana relates the deeds and adventures of Rama, an avatar of Vishnu. According to J. L. Brockington, in Indian tradition the Rāmāyana is designated the ādikāvya, which may be translated as “the first poetic work,” and is regularly referred to as being sung as opposed to spoken in contrast to the Mahābhārata. In one version of the framework story introducing the Rāmāyana, Rama is described as the perfect human being. His behavior is therefore worth emulating, and it is likely that as early as the first millennium BCE that was in a sense being done literally through plays and dances reenacting the story (Brockington, 1998). In that sense, the Rāmāyana represents a complex, evolving dialog, a lived experience of both artistic and spiritual expression.
Euripides' tragic drama The Bacchae is another example of theater acting as a complex dialog between the human and the spiritual worlds. The plot of The Bacchae revolves around the arrival of the god Dionysos in the city of Thebes where his ecstatic worship is opposed by Pentheus, the king of Thebes. As Segal writes, the play is morally ambiguous and may have been designed to implicate the audience in the action. Although Dionysos is a disturbance to Thebes, Pentheus' response is heavy-handed and unsympathetic. However, as the drama unfolds, the audience that may have been rooting for Dionysos is confronted with a climax that sees the god orchestra Pentheus' gruesome death. It is important to note that Dionysos was a well-established and liked god in Athens and that Classical Greek drama was written to be performed during annual festivals in Dionysos' honor. As Vellacott writes, during the festival a statue of Dionysos was brought from a shrine to the amphitheater to watch the plays. As Segal notes, it is unlikely that the play is meant to be critical of Dionysos (his actual worship was much more restrained than depicted in the play or the myths it was based on) but its presentation, at a fundamentally religious festival with the god literally in the audience, could not but have sparked another dialog within the audience, a reflection on their relationship to the god and the sometimes overwhelming forces he represents.
Temple of Isis at Pompeii declares both the strength of her
worshipers' belief and the endurance of her cult in the face of
repeated official sanctions. The temple was damaged in an earthquake
in 62 AD but was rebuilt by the time of the eruption of Vesuvius in
79 AD; in fact, it was the only civic building in that area of
Pompeii that had been completely rebuilt (Hackworth, 2006).
The apparent preference for a foreign goddess in a Roman city is all
the more significant in light of imperial persecutions and
prohibitions against her worship dating back to Augustus and coming
to a head in 19 CE when Emperor Tiberius exiled thousands of freedmen
who were adherents of the religion (Heyob, 1975). However, the cult
of Isis continued to flourish. By the time of Pompeii's destruction,
her worship appears to have included individuals from all classes of
society, from members of the imperial family and municipal officials
to freedmen and slaves (Takacs, 1995). The remains of the temple can
still be seen on the original site and at the nearby Museo
Archeologico Nazionale di Napoli. Although Egyptian decoration was
incorporated in the design of the temple and cult objects, the plan
of the building and the style of the frescoes was Roman (Moorman,
2011). The navigium Isidis fresco appears to show a distinctly
Egyptian scene, Isis resurrecting her husband-brother Osiris, but in
a purely Roman style. The Pompeiian worshipers of Isis were part of
Roman culture but may have been seeking an opportunity to engage in
personally meaningful spiritual communication outside of the
state-sectioned venues and deified emperors (Hackworth, 2006).
Early Buddhist art avoided direct representations of the Buddha. The first iconic representations of the Buddha were likely not created until approximately the 2nd century CE in the area of Gandhara, in modern-day Pakistan, under the influence of the Kushan emperors. After their conversion to Buddhism, the Kushan produced distinctive images of the Buddha that drew on Greco-Roman traditions while creating an iconographically unique image that was clearly identifiable as the Buddha (Benton & DiYanni, 2012).
Many of these early sculptures of the Buddha depict a serene, sublime figure, perfectly proportioned and untouched by time or the rigors of his life. However, a small group of statues presents a radically different image of the Buddha. One of these statues, Fasting Buddha, created between the 2nd and 4th centuries CE, depicts the physical effects of the Buddha's forty-five days of fasting and meditation before achieving enlightenment. In an interview with Hyperallergic in 2016 when Fasting Buddha was seen publicly at an Auctionata sale, Dr. Arne Sildatke, Auctionata's head of Asian art, explained that although the Fasting Buddha and similar images can be compared to depictions of the crucified Jesus Christ, the Buddhas are not images of death and resurrection. Instead, they are meant to communicate to followers Buddhism the concepts of self-empowerment and the overcoming of suffering, according to Sildatke. Despite the figure's protruding bones, sunken stomach, and hollow face, the image expresses the strength of the Buddha's will (Voon, 2016).
The Ajanta caves in Maharashta state, India, contain some of the finest examples of Indian Buddhist art and represent several centuries of complex artistic spiritual expression. The caves were created as a monastery and decorated in the Gupta style of sculpture and painting. The Gupta style moved away from the Greco-Roman influence and embraced a more fully Indian style in which characteristics of physical beauty associated with Indian art are adapted to symbolize spiritual beauty (Benton & DiYanni, 2012).
The monks' work on the caves was likely supported during its later phase by wealthy patrons, including the 5th century CE Emperor Harisena and his courtiers. These patrons sponsored the construction and ornamentation of specific caves to honor the Buddha and earn religious merit, as well as worldly praise, for themselves. According to Spink, Cave 1, created in the late 5th century CE, was sponsored by Harisena. Cave 1 contains some of the most sumptuous and well-preserved murals in Ajanta. It is likely that these images, including the Bodhisattva Padmapani, are so well-preserved because Cave 1 was never used for worship. Spink theorizes that Cave 1 was not used because Harisena died suddenly before the cave could be dedicated. An undedicated cave could not be used for worship; therefore, if the cave was indeed left undedicated, Harisena would not have achieved the religious merit he desired (Spink, 2008). In that case, Harisena's attempt to communicate with the spiritual, to have his faith validated, and his attempt to communicate his spiritual virtue to the human world were both left unfulfilled.
Rich ornament and stylization was also used to signify spirituality in European Christian manuscript paintings. As Christianity spread through Europe, representations were adapted to the local Celto-Germanic styles, which bore more in common with the luxurious, symbolic, and stylized Byzantine art than the naturalistic Greco-Roman tradition. The Book of Kells is an illuminated gospel created c. 800 CE by Irish monks. A figure of St. John on one folio is an exercise in elaborate stylization, a purely two-dimensional figure made up of patterns of decorative lines, emphasizing the image's spiritual rather than physical reality (Benton & DiYanni, 2012).
An illuminated gospel such as the Book of Kells was not merely a book — as the chalice used in Mass is not merely a cup — it was created as a sacred object (Calkins, 1983). Like the images in Chauvet cave or the ceremonial sistra used in Egyptian religious ceremonies, it formed part of the necessary accouterments of communication with the spiritual. And, therefore, its form and image took precedence over its physical practicality (Calkins, 1983). In that light, the entire object itself, not only individual folios, can be seen as a translation of spiritual experiences and a vehicle for spiritual communion.
Liturgical music has been a key part of Christian ritual since the earliest days of the religion. Most early Christian music was woven into the services and often consisted of chants based exclusively on scripture. Over time, the scope of music in Christianity grew and original pieces were composed. One notable composer in the Early Middle Ages was Hildegard of Bingen (1098-1179). Beginning in early childhood, Hildegard experienced intense visions. She entered a community of nuns when she was eight and became a poet, composer, and playwright (Benton & DiYanni, 2012).
Hildegard also wrote several books detailing her mystical visions and theological instructions derived from them. One of these, Scivias, contained sections that Hildegard later adapted to the Ordo Virtutum, a sacred music drama (King-Lenzmeier, 2001). The plot revolves around the struggle between the devil and the Virtues for a human soul. The Ordo was not written to be performed as part of the Mass or liturgy and does not depict biblical events: the allegorical story is adapted directly from her personal visionary experiences (Potter, 1986). When performing the Ordo, the nuns were embodying and participating in Hildegard's visions by bringing these invisible spiritual experiences into the human world (Davidson, 1992).
The Unicorn Tapestries were made in Brussels c. 1500 and depict the hunt, capture, and death of a unicorn. The tapestries may have been made as a wedding gift and may have been intended to communicate a multilayered message that combined romance and fertility with Christian doctrine (Benton & DiYanni, 2012). The chivalric tradition of courtly love had introduced the idea that romantic love was a symbol of God's love: Marie de France's Eliduc employs this symbolism to suggest that when two individuals loved each other completely they could leave each other for God, separating to live in different religious communities (Potkay, 1994). In The Unicorn Tapestries, Margaret B. Freedman explores the complex interweaving of secular and religious messages encoded in the tapestries, including references that syncretize polytheistic deities into Christian mythology. For example, the fountain in the tapestries may be a symbol of the Virgin Mary, who was compared to a fountain in many medieval hymns, as well as Venus and Cupid, who were frequently depicted holding court in gardens dominated by a fountain. The highly detailed flora in several of the tapestries also simultaneously references Christ and Venus. In Freedman's analysis, the tapestries can be understood as symbolizing and communicating the doctrines and values of the overlapping Christian god of heaven and the god of love, a concept that was well-established by the late medieval period. In the context of the tapestries as a wedding gift, this dual meaning is perfectly appropriate to express, reminding the newlyweds of their spiritual, personal, and social duties and rewards.
In 15th century Florence, a renewed interest in and availability of Classical Greek and Roman scholarship fueled the development of Neoplatonism, a new school of philosophy that sought to merge the principles espoused by the Classical Greek philosopher Plato and the Roman philosopher Plotinus with Christian spirituality. Platonism and Christianity are dualistic and perceive a separation between the physical and the spiritual that humans should strive to breach. According to Neoplatonist thought, this could be done by recognizing the spark of the divine — the work of God — in beautiful things in the physical world; therefore, the love of beauty was a form of worship (Benton & DiYanni, 2012). Florentine Renaissance ideals of beauty were heavily indebted to Greco-Roman traditions that emphasized harmony, rationality, and balance. Therefore, in art and architecture, this could be performed by using geometry as a symbol.
The elaborate geometrical floor pavings in the Medicis' private chapel, the Chapel of the Magi, may be a deliberate geometric code that communicated Neoplatonic ideals and functioned as a type of devotional communication. Cosimo de' Medici, who commissioned the chapel, and several of the artists and architects involved in the design and construction of it were closely involved with the founding of the Accademia Platonica in Florence, an influential group of scientists, artists, and philosophers and which was the cradle of Neoplatonism. The chapel's pavings following distinctive, complex geometrical patterns and ratios tied to Neoplatonic thought. The chapel was constructed for the use of the Medici family and those close to them — it was not intended as a place of worship for the public. Therefore, the Medicis and the artists, scientists, and intellectuals close to them could freely express in a precise geometric language certain beliefs and modes of thinking that were not completely orthodox. In the carefully measured, sumptuous marble pavings of the chapel, they could demonstrate theories of elevated scientific and religious though: divine harmony communicated through mathematics (Bartoli, 1994).
The 17th century English poet John Donne combined sexual language and spiritual subject matter to express his concept of ecstatic love. In this concept, an individual achieves unity of body and soul and reaches spiritual truths through sexual union with another individual they love. The soul is capable of awareness and growth only through love, and during sex the souls of the individuals mingle, each soul gaining greater knowledge of itself in relation to the body. The individual is then a complete self: a being that is a synthesis of its physical and spiritual aspects (Thommen, 2014).
This concept is described in Donne's poem "The Extasie":
see by this it was not sex,
We see we saw not what did move;
But as all several souls contain
Mixture of things, they know not what,
Love these mix’d souls doth mix again
And makes both one, each this and that
“The Extasie,” therefore, communicates Donne's own understanding and experience of spiritual communion. Like the Neoplatonics, Donne's efforts to interact with the spiritual are focused on resolving the perceived conflict between the physical and the spiritual by seeking the divine in the physical — but uniting body and soul by being united with another individual.
Communication with the spiritual is also blended with sensuality in Gianlorenzo Bernini's Ecstasy of St. Teresa (1645-52). The subject of the sculpture, St. Teresa of Avila, was famous for her ecstatic visions as described in her writing, particularly her c. 1567 Autobiography. Teresa described a process of mental prayer that resulted in spiritual union with God and produced visions and intense physical and emotional responses. As quoted by Thommen, Eleanor McCann pointed out that St. Teresa and Donne's descriptions of communication with the spiritual through the experience of physical ecstasy and union are, despite the author's differences, remarkably similar.
Bernini's sculpture is based on the episode from St. Teresa's Autobiography when an angel appeared to her and thrust a golden spear into her heart, producing an intense pain and an “infinite sweetness” that she described as the “sweetest caressing of the soul by God” (Benton & DiYanni, 2012). The sculpture, therefore, is in the interesting position of relating mystical communication third hand. Unlike the nuns in Hildegard of Bingen's community, Bernini had no direct contact with St. Teresa and his translation of her experience was inevitably colored by his own experiences and personality and the preferences of his patron. Although Bernini emphasized the sensuality of St. Teresa's experience, the sculpture occupies a supernatural sphere, distinct from the related sculpturing groupings that are placed firmly in the physical world and the space occupied by the viewer (Wittkower, 1980). The viewer is invited to witness the point of contact and communication between the physical and the spiritual (Boucher, 1998).
In The Book of Urizen, published in 1794, English poet and painter William Blake communicated a profoundly personal, visionary spirituality that expressed his major moral and philosophical concerns. Blake, like Hildegard of Bingen and St. Teresa of Avila, experienced visions. He saw himself as a prophet and believed that the duty of a poet was “To open the Eternal Worlds, to open the immortal Eyes of Man inwards into the Worlds of Thought” (Benton & DiYanni, 2012).
The Book of Urizen is a creation myth structured along the lines of Genesis but with Blake's Urizen in place of God. Urizen is a god of reason and logic and law — a deity of pure materialism, enslaved and enslaving who creates the world so that he may have something to rule. Urizen represents both dogmatic, essentially materialistic religious laws and Newtonian reason. To Blake, these were both forces that blind humans to the spiritual by trapping and circumscribing human imagination, thereby preventing them from communicating with the spiritual, creative world that would otherwise be their birthright (Frye, 1990). By creating The Book of Urizen and his other illuminated books of poetry and painting, Blake attempted to communicate his experience of the spiritual and warn of the consequences of either rejecting personal communication with the spiritual and imagination or of ceding that direct, personal experience to a higher, worldly authority.
Communication between the human and the spiritual is not always easy nor does a familiar form always imply the expected function. These points are illustrated in the works of the English poet Christina Rossetti and her brother the painter and poet Dante Gabriel Rossetti.
Christina was deeply religious and often used her poetry to explore both the rewards and struggle she associated with faith. Unlike St. Teresa of Avila, Hildegard of Bingen, or William Blake, Christina's experience of the spiritual was not mystical. Rather than communicating with the spiritual through ecstatic visionary experiences, Christina's efforts to communicate and achieve union with the spiritual were the result of the effort of her faith, and that effort, and her doubts, are expressed in her poetry. In “Alas, my Lord,” (1874), Christina describes the difficulty of this process and expresses her doubts as well as her desire for spiritual affirmation — some communication, a response from the spiritual, that her efforts are not in vain (Avery, 2014).
Alas my Lord,
How should I wrestle all the livelong night
With Thee my God, my Strength and my Delight?
How can it need
So agonized an effort and a strain
To make Thy Face of Mercy shine again?
How can it need
Such wringing out of breathless prayer to move
Thee to Thy wonted Love, when Thou art Love?
In contrast, her brother Dante Gabriel was not a practicing Christian, although he used Christian iconography and language, particularly in his early works. Dante Gabriel referred to himself as an “Art Catholic,” implying that his interest in the imagery of encounters with the spiritual was largely aesthetic (Faxon, 1989). In addition, he often used Christian iconography and language in the context of secular love poems (Roe, 2010). In Dante Gabriel's art, such as The Girlhood of Mary Virgin (1848-1849), representations of the spiritual were not strictly religious but rather an iconographical shorthand for the artist's sincere, personal communication with their imagination. Particularly in his early career when he identified as a member of the Pre-Raphaelite Brotherhood, he believed that medieval art was more sincere, more closely connected to the natural world, in opposition to the British Academic tradition embodied by Sir Joshua Reynolds, which he believed was formulaic and insincere (Faxon, 1989). Therefore, the religious subject matter so prominent in medieval art took on a new meaning and the spiritual was transferred from the Christian God to the artist's quest for genuine inspiration.
The Dream of Geronitus, Op. 38, composed by Edward Elgar in 1900, is a powerful sonic portrait of an encounter with the spiritual. Set to the text of a poem by John Henry Newman, it describes the death of a man, Gerontius, and his soul's journey to the throne of God to receive judgment. A dramatic and technically challenging piece, it explores communication with the spiritual as a psychologically complex, and not always pleasant, experience. The rapture Gerontius experiences is counterpointed by the appearance of devils and his own doubts that his soul is worthy to face God. The Judgment scene, in fact, depicts that ultimate communication with the spiritual as an almost unbearable experience. For the scene when Gerontius beholds the glance of God and receives judgment, the score instructs: “For one moment, must every instrument exert its fullest force.” (Burton, 2003).
In 1974, The Dream of Gerontius figured heavily in Penda's Fen, a film written by David Rudken and directed by Alan Clarke for the BBC. The film's protagonist Stephen, writes about The Dream of Gerontius in the beginning of the film, which then unravels his nationalist and orthodox Christian certainty through visionary experiences that lead him to reject his former beliefs. Stephen's encounters with the spiritual challenge the priggish patriotism and the national and moral myth he embraced, embodied by a middle-aged couple who have successfully campaigned to ban a film exploring Jesus as a man rather than as a god. At one point Stephen plays the Judgment scene from The Dream of Gerontius on the organ in his father's church, triggering a vision of cracks appearing in the church floor, the crucified body of Jesus, and a voice commanding Stephen to unchain Jesus from the strictures of conservative Christianity. Later, he experiences a vision of King Penda, the last pagan king of England, and, grasping that his culture is ultimately a hybrid one comprised of a mingling of various religions, languages, and peoples, rejects his former beliefs (Sandhu, 2014). The experience is as unsettling for the viewer as it is for Stephen. in Penda's Fen the spiritual intrudes on assumptions and certainties and by irrupting reality leads both Stephen and the viewer to question their assumptions and demands that they take part in a wider, richer communication with the spiritual and the world.
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On February 19, 1942, Executive Order 9066 (#EO9066) was signed by President Franklin Delano Roosevelt, resulting in the imprisonment of Japanese Americans & Japanese nationals in prison camps across the United States. In this short film, "Righting a Wrong", students can learn more about this history as they hear from a museum expert, who provides a behind-the-scenes look at personal objects from Japanese American youth who had lived in incarceration camps during World War II. http://
The artifacts include a boy scout uniform that honors the 100th infantry battalion of Nisei soldiers, a thousand-stitch sash created by community members that served as an amulet for a soldier at war, and traditional Japanese geta sandals created for a son by his father that feature Mickey Mouse.
This Smithsonian Learning Lab collection received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.
These resources were developed for use with the Smithsonian's exhibition Narwhal; Revealing an Arctic Legend. For more information about this traveling exhibition, please visit the Smithsonian Institution Traveling Exhibition Service (SITES).
This topical collection includes resources related to featured women artists, actresses and performers. This collection includes portraits of the artists, actresses and performers, related artifacts, articles, videos with experts, and related Smithsonian Learning Lab collections. Use this collection to launch lessons about the women's life stories, primary source analysis, and examination of the context in which these women lived and made their contributions. This collection is not comprehensive but rather provides a launching point for research and study.
Keywords: Hattie McDaniel, Aretha Franklin, Frida Kahlo, Anna May Wong, Selena Quintanilla, Maria Tallchief, Maya Lin, Gladys Bentley, #BecauseOfHerStory
The Search for an American Identity: Smithsonian-Montgomery College Faculty Fellowship 2019 Opening Panel Resources
This collection serves as an introduction to the opening panel of the 2019 Smithsonian-Montgomery College Faculty Fellowship Program. This year's theme is “The Search for an American Identity: Building a Nation Together.” Three Smithsonian staff members will present at the opening panel, including David Penney (Associate Director of Research and Scholarship at the National Museum of the American Indian), Ranald Woodaman (Director of Exhibitions and Public Programs at the Smithsonian Latino Center), and Paula Johnson (Curator at the National Museum of American History). Their bios, presentation descriptions, and other resources are included inside.
As you explore the resources be sure to jot down any questions you may have for the presenters.
It's going to be a great seminar series!
"Sometimes I feel that I can hardly wait till the time comes to escape from city life, to the free air of the everlasting hills." -Mary Vaux Walcott, Letters to Charles Walcott, Feb 19, 1912.
This collection contains personal selections from the nearly 800 botanical illustrations by Mary Walcott held at the Smithsonian American Art Museum.
From Wikipedia (March 5, 2019): Mary Morris Vaux[a] was born in Philadelphia, Pennsylvania, to a wealthy Quaker family. After graduating from the Friends Select School in Philadelphia in 1879, she took an interest in watercolor painting. When she was not working on the family farm, she began painting illustrations of wildflowers that she saw on family trips to the Rocky Mountains of Canada. During the family summer trips, she and her brothers studied mineralogy and recorded the flow of glaciers in drawings and photographs. The trips to the Canadian Rockies sparked her interest in geology.
In 1880, at the age of nineteen, Vaux took on the responsibility of caring for her father and two younger brothers when her mother died. After 1887, she and her brothers went back to western Canada almost every summer. During this time she became an active mountain climber, outdoors woman, and photographer. Asked one summer to paint a rare blooming arnica by a botanist, she was encouraged to concentrate on botanical illustration. She spent many years exploring the rugged terrain of the Canadian Rockies to find important flowering species to paint. On these trips, Vaux became the first women to accomplish the over 10,000 feet ascent of Mount Stephen. In 1887, on her first transcontinental trip via rail, she wrote an engaging travel journal of the family's four-month trek through the American West and the Canadian Rockies.
Over her father's fierce objections, Mary Vaux married the paleontologist Charles Doolittle Walcott, who was the Secretary of the Smithsonian Institution, in 1914, when she was 54. She played an active part in her husband's projects, returning to the Rockies with him several times and continuing to paint wildflowers. In 1925, the Smithsonian published some 400 of her illustrations, accompanied by brief descriptions, in a five-volume work entitled North American Wild Flowers. In Washington, Mary became a close friend of First Lady Lou Henry Hoover and raised money to erect the Florida Avenue Meeting House, so that the first Quaker President and his wife would have a proper place to worship. From 1927 to 1932, Mary Vaux Walcott served on the federal Board of Indian Commissioners and, driven by her chauffeur, traveled extensively throughout the American West, diligently visiting reservations.
When she was 75, she made her first trip abroad to Japan to visit lifelong friend and fellow Philadelphia Quaker, Mary Elkington Nitobe, who had married Japanese diplomat Inazo Nitobe.
She was elected president of the Society of Woman Geographers in 1933. In 1935, the Smithsonian published Illustrations of North American Pitcher-Plants, which included 15 paintings by Walcott. Following the death of her husband in 1927, Walcott established the Charles Doolittle Walcott Medal in his honor. It is awarded for scientific work on pre-Cambrian and Cambrian life and history. Walcott died in St. Andrews, New Brunswick.
#fivewomenartists #5womenartists #BecauseOfHerStory
This collection reinforces the question:
How do the parts of plants and animals help them to grow and survive?
Students will look for patterns as they observe various plant and animal artifacts to determine the necessary parts for living organisms.
The visible thinking routine of "parts, purposes and complexities" will be at the center of this collection as we analyze the needs of plants and animals and how their parts satisfy those needs. While we took a deep dive into just a couple of the living things, I've included a few other artifacts for educator choice.
This collection also utilizes the See, Think, Wonder routine to help pique student interest, build student engagement and introduce the concept of parts and purposes of living things.
*I paired this lesson with a real world observation of a plant to observe, examine and describe the function of plant parts.
On April 5-6, 2019, the Kennedy Center will host an evening of "Legendary Women's Voices," as performed by Cynthia Erivo and the National Symphony Orchestra. Featuring repertoire by artists ranging from Marian Anderson and Nina Simone to Gladys Knight and Beyoncé, the performances aim to honor a diversity of iconic women musicians. The event is being co-promoted by the Smithsonian Year of Music. Through the Learning Lab, the Smithsonian highlights a collection of artifacts that relate to the musicians featured in the Kennedy Center concerts.
This collection serves as a preview for the third of six seminar sessions in the 2019 Smithsonian-Montgomery College Faculty Fellowship Program. This year's theme is “The Search for an American Identity: Building a Nation Together.”
The National Museum of African American History and Culture tells American History through an African American lens. Kinshasha Holman Conwill, Elaine Nichols, and Ariana Curtis will engage participants in an exploration of the cultural collections of the museum as markers of identity. A fuller description and presenter bios are included inside the collection.
Resources included in this collection have been chosen by the presenters for participants to explore before the seminar itself.
This collection serves as an exploration of America’s direct involvement in the Holocaust. Through the use of American propaganda, stories of the rescue and liberation of Jewish people in Europe, and images of remembrance and memorial, this exhibit intends to shed light on the bleak but often romanticized narrative that is the United States’ response to the Holocaust. The exhibit focuses on America’s role in helping to stop the Holocaust, or at certain points their lack thereof, though the nation’s contributions to the situation through their belief systems, actions, and policies. The exhibit seeks to explore the contrast of anti-Semitism in American citizens and those who fought to free the victims of anti-Semitism in Europe, in addition to However, what is drawn from this idea is what we remember in our collective memory. While remembering those who suffered, as well as those who rescued the suffering, the United States must not dismiss the prevalence of anti-Semitism in America at the time of the mass genocide, whether it was in the form of anti-Jewish rallies or in the form of legislation.
This collection addresses the issue of antisemitism in the United States leading up to and during the Holocaust. Anti semitism was displayed in America through cartoons, preferences of American citizens, discriminatory policies, as well as support for the Nazi party. There was anti semitism present throughout America, and such anti semitism became obvious through a lack of action during the Holocaust. Juxtaposed against this striking anti semitism are the American people and groups that worked to help Jews and fought for their equality. Despite the inaction promoted through anti semitism, many groups did work against discrimination and the Nazi goal.
Through this curation, one can see a clear story path. It all begins with the struggles that started in Europe that forced these refugees to attempt to flee to asylum. Getting to America, for those trying to escape, was a very difficult feat due to new legislation and American stubbornness towards immigrants. For those lucky enough to get to America, they soon discovered that this “sanctuary” held many of the same prejudice and anti semitic beliefs that were forged in Europe. Overall, this curation was made to track the struggles of Jews through all stages in their journey to America.
This collection will take a deeper look into anti semitism in America juxtaposed to the upstanders who fought back. By looking at the Holocaust in American society through this dual lense, it illustrates the two extremes in the society. Bitter and severe hatred was seen on one side as anti semitsm was fueled by racist and elitist attitudes. But this does not tell the whole story; many efforts were taken by Americans, specifically the Jewish American community, to raise awareness for the cause and in many instances take active steps to help those suffering in Europe.
This collection serves as a preview for the fifth of six seminar sessions in the 2019 Smithsonian-Montgomery College Faculty Fellowship Program. This year's theme is “The Search for an American Identity: Building a Nation Together.”
National Air and Space Museum curator Cathleen Lewis will discuss objects from the Space Race gallery, in particular how spacesuits from the USSR and the United States indicate differing cultural and aesthetic answers to similar engineering challenges.
Resources included in this collection have been recommended by the presenter for participants to explore before the seminar itself.
Welcome to the National Museum of African American History and Culture's Collection Connection Grid for National History Day 2020! Below is an assortment of selected documents, images, objects and videos that highlight the African American experience in relation to the 2020 NHD theme: Breaking Barriers in History. Use these items as inspiration for a project topic, or use the items to help expand your research on a topic you have already selected. This collection is designed to be self-guided by students and educators participating in National History Day.
Keywords: African American, NMAAHC, National History Day, NHD, Collection, Connection, Grid, breaking, barriers, history, project, topic, ideas, 2020
This collection explores students' 4th Amendment rights in public schools by examining four landmark Supreme Court cases on the issue: New Jersey v. T.L.O. (1985), Safford Unified School District v. Redding (2009), Vernonia School District v. Acton (1995), and Board of Education v. Earls (2002). It asks students to think about the following overarching question: Has the Supreme Court maintained the right balance between school safety and students' privacy rights? The collection also includes differing perspectives on the issue as well as current events.
This collection was created by Jared Tupuola, a Smithsonian Asian Pacific American Center intern. Jared dove into the histories of Chinese laborers and the Golden Spike Anniversary, the 150th anniversary of the completion of the Transcontinental Railroad.
"On May 10, 1869, the Central Pacific and Union Pacific rail lines were connected in a highly publicized ceremony attended by railroad laborers, major financial supporters and the press. Led by industrial tycoon, Leland Stanford, the event commemorated the birth of the First Transcontinental Railroad. The completion of the railroad made national news and was lauded as a great economic and cultural success for the U.S.
Despite the attention given to the event, there remained one group of contributors who were almost entirely left out of being recognized for their integral work to the project; Chinese railroad laborers. Although making up the vast majority of the physical work force behind the railroad, Chinese labor contributions were largely disregarded. This instance was not unique to many early Chinese Americans who faced discrimination, animosity, and degradation not only in rail work, but in almost every industry and facet of life. The hardships for early Chinese in America were exacerbated by the passage of the Chinese Exclusion Act in 1882 which not only prevented further immigration from China to the U.S., it also birthed an impetus to drive out Chinese communities already established.
Through this collection, the work, lives, and experiences of Chinese laborers and migrants are presented as an opportunity to learn more about how some of America's earliest Chinese residents navigated America in the late 19th Century. This collection provides art, ceramics and information that expounds upon the realities of Chinese American life and the First Transcontinental Railroad while ensuring that the Chinese contributions are not forgotten. By no means an exhaustive resource, this collection allows for an introduction into Chinese contributions to the Transcontinental Railroad and encourages further exploration into the topic."
This collection highlights important information and pictures of battles of the Revolutionary War. The materials are not in timeline order. They are simply for research purposes for the students.
Resources for lessons on biodiversity, specifically for the YAG Podcasting project unit on biodiversity.
Resource materials for lessons on mosquitoes, specifically for the YAG Podcast Mosquito Unit.