2 10 581 http://collections.ecu.edu/files/original/20/540/OR_Maremagnum_Complex.jpg e03a276394e96f053f7451af7381ab31 http://collections.ecu.edu/files/original/20/540/Maremagnum_Complex_-_Ariel_Fricke.pdf 5f583fd6ec132136c9b819fa45179143 PDF Text Text Maremagnum Complex Moll d’Espanya was a dockyard that was transformed to the Maremagnum Complex in preparation for the 1992 Olympic Games. This complex includes “a shopping mall, aquarium, multi-screen cinema, and open public areas” (Sanchez 2002: 295). The shopping mall is typical in its promotion of consumption for leisure, but atypical in its purpose of connecting interior and exterior spaces. In the front and the back of the mall there are open public spaces for which the structure serves as a passageway. This is an atypical design because postmodern leisure often has a focus on “enclosed, safe environments which guarantee pleasure through continuous consumption and isolation from urban reality outside” (Sanchez 2002: 295). Looking at the exterior open spaces at the Maremagnum Complex, one can see that they serve a purpose slightly different from that of the mall, they do not promote “consumer practices but […] traditional ones such as strolling, chatting” and “playing” (Sanchez 2002: 295). The usage of a place can determine its social role. The typical visitor to the Maremagnum Complex is not a tourist but a student, or an employee of a nearby facility. Visitors determine the “social meaning” of the “urban space” by using it for “everyday activities” rather than functioning as a tourist attraction (Sanchez 2002: 296). The environment “shaped the practices” but these practices “changed the urban environment” (Hochadel and Nieto-Galan 2016: 7) Redevelopment for the 1992 games provided vibrant spaces, such as the Maremagnum Complex, but also caused changes in the urban layout and culture of Barcelona. The city became “catalanised, globalised, informationalised, gentrified, redesigned, and europeanised” (McNeill 2002: 245). On a more colloquial note some say even the “sounds and smells have changed” (McNeil 2002: 245). � 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 Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons 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 Maremagnum Complex Subject The topic of the resource Maremagnum Complex Description An account of the resource The Maremagnum Complex is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Ariel Fricke, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/06/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image Date Created Date of creation of the resource. 02/06/2017 Ariel Fricke Barcelona Maremagnum Complex Spain http://collections.ecu.edu/files/original/20/542/OR_Parc_Diagonal_Mar_-_panoramio_-_sito.rm_[8].jpg 7a052cf2753e5304de8a6df22e3c91c4 http://collections.ecu.edu/files/original/20/542/Audio_Recording_1_AshleyWeingartz.m4a 59844b3f3002fbc0728e4a4b7e02405d http://collections.ecu.edu/files/original/20/542/Parc_de_Diagonal_Mar_-_Ashley_Weingartz.pdf 5749defa4deb47b1391941c9bb310d8a PDF Text Text Parc de Diagonal Mar When countries begin to consider hosting large athletic events such as the Olympics, much discussion begins on the features of the given cities being considered to host and what features need to be improved. Leading up to the 1992 Olympics, city officials in Barcelona decided that a large part of their preparation would be centered around adding more green space to the city. Since the beginning of the twenty-first century, the parks and gardens that were dreamed up in preparation for the 1992 Olympics have become a central part of the Barcelonan way of life. One of the most notable additions of parks to Barcelona since the twenty-first century began has been the Parc de Diagonal Mar. “The city […] has set its sights on the next major urban spectacle to follow in the tradition of the 1888 and 1929 World’s Fairs and the Olympics: a 2004 World Forum for World Cultures to be located in the eastern reaches of the city towards the Besós river” (McNeill 2002: 248). This is the central part of the new extension of the city. Its location is significant in that it is newly developed in an area that was first declared an important park district by the planner Ildefons Cerdà. Now it connects the Mediterranean Sea into an enormous “green lung” that is meant to be “substantial and sustainable” (Kent 2002: 238-39). Today, it seems that the focus on gardens is finally coming to an organized fruition in Barcelona. The people of Barcelona are invested in the parks and the parks conform to the structure of the city. Though parks in Barcelona have gone through many trials and errors, they are finally becoming the center of urban life the way so many have envisioned. “These revitalization projects create the possibility of bringing such obsolete urban spaces back into the city’s consciousness and geographical boundaries, encouraging a rediscovery of the city’s topography” (Sánchez 2016: 301). Had Barcelona not hosted the 1992 Olympics, many of these improvements that greatly enriched the quality of life for the citizens of Barcelona may not have been made (Kent 2002: 230). � 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 Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons 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 Parc de Diagonal Mar Subject The topic of the resource Parc de Diagonal Mar Description An account of the resource The Parc de Diagonal Mar is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Ashley Weingartz, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/06/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/06/2017 Ashley Weingartz Barcelona Parc de Diagonal Mar Spain http://collections.ecu.edu/files/original/20/566/Syllabus_HONS_2011_22_AUG_16.pdf a70fb450c8a8e5937d1b16b1393a0f4a PDF Text Text HONS 2011: (A Fall 2016 Honors Seminar) BARCELONA: AN URBAN CULTURAL HISTORY Dr. Benjamin Fraser Contact Info: BATE 3324a / fraserb14@ecu.edu MW 2:00-3:15 Mamie Jenkins 104 (Regular Class Meetings) Brewster 212-D (Digital Humanities Class Meetings) COURSE DESCRIPTION: Barcelona: An Interdisciplinary Urban Cultural History is a course foregrounding the connections between landscape, art, culture and the hallmark material sites of this coastal Catalan capital. Students will approach this single global city from multiple perspectives: fictional and documentary film with English subtitles, science fiction in English translation, urban planning, and urban history. Student-led and professor-assisted discussions of readings, filmic and literary texts emphasize the city’s history and uneven geographical development. Key questions driving the course include: How is the city both an idea and a thing, both a material and an immaterial practice? How do the rural and the urban intersect in city and area planning? How is space constructed in certain interests? Who has the ‘right to the city’ and who is excluded from a full access to public space? And even, How are the struggles over access to Barcelona we will discuss similar or different from struggles over access to spaces in Greenville, NC or across the US? Many of the readings and films of the class focus on immigration and how the notion of belonging maps to space and place unevenly for immigrant populations. The relevance of this topic will be made concrete through visits by guest lecturers: a specialist in Urban Barcelona, a specialist in immigration to Spain, and two members of Greene County Health Care. Key sites in the city reflected in film and literature include architect Antonio Gaudí’s Sagrada Familia and Parque Güell, urban planner Ildefons Cerdà’s Eixample district extending beyond the city’s medieval walls, and touristic icons of the Olympic Village, the Plaça Cataluyna, the Ramblas and the Mediterranean sea itself. A digital humanities project (students may choose to work collaboratively or individually) will transpose original student writing into written, audio and video texts mapped onto an interactive map of Barcelona itself using tools such as garageband, iMovie, Final Cut Pro, and Omeka/Neatline software. No knowledge of Spanish, literature or film necessary. This class will actively promote study abroad, in Barcelona or elsewhere, as a way of pushing Honors Students to understand the twenty-first century’s increasing emphasis on population movements and flows from an interdisciplinary perspective. �COURSE LEARNING OBJECTIVES: —Understand the material and mental aspects of space/place and landscape —Understand the interdisciplinary (humanities, social science) nature of space —Demonstrate knowledge of Barcelona, identifying its key urban sites —Demonstrate knowledge of the components of film form and literary genre —Demonstrate a familiarity with digital tools —Evaluate the potential of digital projects for connecting disciplines —Evaluate how social marginality affects one’s right to space —Evaluate the connection between form and content across artistic products —Analyze the representation of Barcelona in filmic and literary texts —Analyze the experience of immigration across multiple global contexts —Create original analyses of urban culture in written, audio and/or video form —Create a collaborative or individual digital project using Omeka/Neatline ATTENDANCE POLICY: Students are required to attend all course meetings and are expected to actively contribute to class discussion. Students who are absent more than three class meetings will have their grade lowered by 4% for each absence over three. GRADING AT A GLANCE: 100-94% = A 93-90% = A89-87% = B+ 86-83% = B 82-80% = B79-77% = C+ 76-73% = C 72-70% = C69-67% = D+ 66-63% = D 60-62% = Dbelow 60% = F COURSE ASSIGNMENTS IN BRIEF: 10% Attendance and Participation 20% Student-led (professor-assisted) discussion of readings and cultural text 10% Weekly response papers (students complete 5 out of 8; 4-5 pages each) 60% Multi-component contribution to digital project COURSE ASSIGNMENTS IN DETAIL: 10% Attendance and Participation 20% Student-led (professor-assisted) discussion of readings and cultural text In preparing for discussions, student discussion leaders should: read / watch all assignments for the week; become ‘experts’ on the material, doing further research on the web or in the library to be able to answer student questions; create materials for a presentation and a handout. The students will lead their peers in a discussion of the cultural text and readings for that Monday, and the professor will help as needed. �10% Presentation using Prezi or Power Point with images (~15 minutes) 2% Introductory interactive activity 2% Background information about cultural text (creator, origin, addl. info, etc.) 2% A 2-3 sentence summary of each reading for the day 2% Between 5-10 factual comprehension questions – cultural text 2% Quality of delivery 10% Handout (basis of class discussion and help for others in the class) 2% Background information about cultural text (creator, origin, addl. info, etc.) 2% A 2-3 sentence summary of each reading for the day 2% Between 5-10 factual comprehension questions – cultural text 2% Between 5-10 brief quotations from the readings – to be used by others 2% Between 5-10 open-ended discussion questions – cultural text and readings 10% Weekly response papers (students complete 5 out of 8; 4-5 pages each) Weekly response paper instructions (5 out of 8 required) These are first-draft attempts to reflect on one or more specific sites in Barcelona presented in the cultural text and readings for the week. Try to blend information about the site itself (outside of the text) with how the site appears or is represented in the cultural text considered (in the film, prose, etc.). What is most important is to synthesize the elements of the cultural text and elements of the critical/supplemental readings. Beyond that, the point is to work on developing an engaging writing style. These weekly response papers should yield the raw material that you will refine in creating your audio, video and text work. Write about a site that interests you presented in the material for that week, whether it is major or minor, and seek out other information (cited appropriately) about that site. 5 Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Paper quotes appropriately and concisely from most or all readings for the week Demonstrates a high level of originality, intellectual curiosity, creativity Specific places in Barcelona are the center of the paper, sustained throughout 4 Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Student quotes appropriately and concisely from more than 1 reading for the week Evidence of originality, intellectual curiosity, creativity There is a focus on specific places in Barcelona but this focus could be improved 3 Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Student quotes appropriately and concisely from more than 1 reading for the week Some weak references to specific places in Barcelona 2 Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Some implied engagement with readings for the week Some weak references to specific places in Barcelona 1 Paper is under 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Little or no engagement with readings for the week evidenced �No reference to specific places in Barcelona 60% Multi-component contribution to digital project (student may choose collaborative or individual work; in the case of collaborative work by two people, each product must be double the words/time) 5% Audio file #1 (1’30”-2’00”) and accompanying 250-word written text 5% Audio file #2 (1’30”-2’00”) and accompanying 250-word written text 5% Audio file #3 (1’30”-2’00”) and accompanying 250-word written text 5% Video file #1 (1’30”-2’00”) and accompanying 250-word written text 10% Polished written text #1 750 words and accompanying image(s) 10% Polished written text #2 750 words and accompanying image(s) 10% Polished written text #3 750 words and accompanying image(s) 10% Revised weekly response paper, expanded to 5-6 pages/1500 words Audio file and/or Video file instructions (3 audio required, 1 video required) The idea is that these are refined, condensed, improved, and rewritten revisions of one aspect of the weekly response papers. Focus on writing clearly but intelligently for a broad audience and emphasize a concrete and ‘mappable’ location in Barcelona. 5 Suitable for publication Accompanying text is 250 words and matches exactly the audio No identifiable problems with either audio quality or audio editing Main point clear at outset, no edits needed to content Clear focus on a specific place in Barcelona Text/narration quotes appropriately and concisely from 3 readings from the class Video includes clear, relevant, and public-domain images, cited appropriately Demonstrates a high level of originality, intellectual curiosity, creativity 4 Accompanying text is 250 words and matches exactly the audio Identifiable problems with either audio quality or audio editing Main point clear at outset, only one minor edit needed in content Clear focus on a specific place in Barcelona Text/narration quotes appropriately and concisely from 2 readings from the class Video includes clear, relevant, and public-domain images, cited appropriately Evidence of originality, intellectual curiosity, creativity 3 Accompanying text is 250 words and matches exactly the audio Substantial problems with either audio quality or audio editing Main point is clear at outset but some content editing is needed throughout Clear focus on a specific place in Barcelona Text/narration quotes appropriately and concisely from 2 readings from the class Video includes clear, relevant, and public-domain images, cited appropriately 2 Accompanying text is not 250 words Substantial problems with both audio quality and audio editing Content focuses on specific place in Barcelona but main point not clear at outset Text/narration quotes appropriately and concisely from 1 reading from the class �There are problems with the video images, but images are cited appropriately 1 There is no accompanying 250-word text Audio quality is poor and audio editing is poor Content does not focus on a specific place in Barcelona Text/narration lacks appropriate and concise quotations from class readings There are problems with the video images, and images are not cited appropriately Polished written text instructions (3 required) The idea is that these are refined, condensed, improved, and rewritten revisions of one aspect of the weekly response papers. Focus on writing clearly but intelligently for a broad audience and emphasize a concrete and ‘mappable’ location in Barcelona. 5 Suitable for publication Written text is 750 words, accompanying image is appropriate No identifiable problems with writing quality or editing/organization of writing Main point clear at outset and throughout, no edits needed to content Paper quotes appropriately and concisely from 3 or more readings from the class Image is clear, relevant and is cited properly Demonstrates a high level of originality, intellectual curiosity, creativity 4 Written text is 750 words, accompanying image is appropriate Identifiable problems with either writing quality or editing/organization of writing Main point clear at outset and throughout, only 1-5 minor edits needed in content Paper quotes appropriately and concisely from 2-3 readings from the class Image is clear, relevant and is cited properly Evidence of originality, intellectual curiosity, creativity 3 Written text is 750 words, accompanying image is appropriate Substantial problems with either writing quality or editing/organization of writing Main point is clear at outset but some content editing is needed throughout Paper quotes appropriately and concisely from 2-3 readings from the class Image is clear, relevant and is cited properly 2 Written text is 750 words, accompanying image is appropriate Writing quality is poor and editing is poor Content focuses on specific place in Barcelona but main point not clear at outset Paper quotes appropriately and concisely from 1 readings from the class No image or image not cited properly 1 Written text is under 1000 words and/or no accompanying image Writing quality is poor and editing is poor Content does not focus on a specific place in Barcelona No image or image not cited properly Revised weekly response paper instructions (1 required) The idea is that these are refined, expanded, improved, and rewritten revisions of one aspect of the weekly response papers. Focus on writing clearly but intelligently for a broad audience and emphasize a concrete and ‘mappable’ location in Barcelona. �5 Suitable for publication Written text is 1500 words Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins No identifiable problems with writing quality or editing/organization of writing Main point clear at outset and throughout, no edits needed to content Paper quotes appropriately and concisely from 3 or more readings from the class Demonstrates a high level of originality, intellectual curiosity, creativity Specific places in Barcelona are the center of the paper, sustained throughout Expansion indicates heavy revision and great improvement from weekly paper 4 Written text is 1500 words Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Identifiable problems with either writing quality or editing/organization of writing Main point clear at outset and throughout, only 1-5 minor edits needed in content Paper quotes appropriately and concisely from 2-3 readings from the class Demonstrates some originality, intellectual curiosity, creativity Expansion indicates some revision and improvement from weekly paper 3 Written text is 1500 words Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Substantial problems with either writing quality or editing/organization of writing Main point is clear at outset but some content editing is needed throughout Paper quotes appropriately and concisely from 2-3 readings from the class Demonstrates some originality, intellectual curiosity, creativity Expansion indicates some revision and improvement from weekly paper 2 Written text is 1500 words Paper is 4-5 pages double-spaced Times New Roman 12 pt. font 1” margins Writing quality is poor and editing is poor Content focuses on specific place in Barcelona but main point not clear at outset Paper quotes appropriately and concisely from 1 readings from the class Demonstrates little originality, intellectual curiosity, creativity Scarce evidence of revision and improvement from weekly paper 1 Written text is under 1500 words Writing quality is poor and editing is poor Content does not focus on a specific place in Barcelona Demonstrates little originality, intellectual curiosity, creativity No evidence of revision and improvement from weekly paper WRITING INTENSIVE REQUIREMENTS: This course requires 20-25 pages of reflective, unedited writing-to-learn (5 response papers of 4-5 pages each) and also 18-19 pages of polished edited academic writing (creating 1 polished critical paper @ 5-6 pages/1250-1500 words, 3 polished critical written products @ 3 pages / 750 words each; and 4 polished critical audio/video products @ 1 page/250 words each). �UNIVERSITY WRITING PORTFOLIO REQUIREMENT: As part of campus writing assessments, you will submit one major writing project, along with a description of the assignment for that project and brief responses to four questions about your writing, near the end of this course. These materials will be uploaded to your "University Writing Portfolio," which you will access and create (if you have not already done so in a previous WI course) through the "iWebfolio Student portfolio" link in Pirate Port (https://pirateport.ecu.edu/portal/). Instructions for creating your University Writing Portfolio and uploading your materials are available online (www.ecu.edu/QEP) and in person at the University Writing Center (www.ecu.edu/writing/uwc), located in Joyner Library. You will be asked to answer the following Writing Self-analysis Questions: 1. What aspects of your writing in the project are effective and why do you think they are effective? 2. What do you think could be improved in your written project and how could it be improved? 3. Briefly describe the process you used to write the project. Do you think the process you used was effective? Why or why not? 4. Have you applied anything that you learned in previous WI courses, including English 1100 and 2201 (or the equivalent if taken at another institution), to the writing that you have done in this course? What have you applied and how have you applied it? HUMANITIES FOUNDATIONS GOALS: Goal 1. Students will learn the subject matter of at least one discipline in the humanities. (Film) Students will gain familiarity with the formal analysis of filmic texts, the relationship between form and content in a film (mise-en-scene, camera, sound, editing…). (Genre Literature) Students will gain familiarity with the central characteristics and the history of science fiction literature in Spain. Goal 2. Students will learn the research methodology applied by disciplines in the humanities. Students will gain practice in identifying themes and strategies of representation in both film and in literature and advancing original analyses of cultural products. These practices will be modeled by the professor and by secondary literature and will familiarize students with humanistic inquiry in a broad sense. Goal 3. Students will learn about the discipline’s contribution to general knowledge. In understanding and applying the research methodology characteristic of the humanities, students will appreciate how individual films and literature express perspectives on the �representation of the lived human experience in specific times and places. They will also tie these insights into problems that relate to the social sciences. INNOVATIVE INSTRUCTIONAL TECHNIQUES: This class is highly innovative in its use of a digital humanities approach to the culture of Barcelona. Thanks to a generous start-up grant I have added 8 MAC computers equipped with digital humanities software to the GIScience Lab in Brewster 212-D, and am working with Geography, Planning and Environment Chair Burrell Montz and GIScience Center director Tom Allen to open that space up for collaborative student work. Working with Wendy Creasey, Ginny Sconiers and Laurie Godwin of ITCS and the Multimedia Center I have been able to request a network installation of digital mapping software Omeka/Neatline. Students will use this software, as well as digital tools for the creation of audio and video files (garageband, iMovie, Final Cut Pro) to contribute their original analyses of cultural products to an individual or collective digital project on Barcelona. Students will have the option of contributing to a project that will be turned into an app. In addition, there will be a connection with the East Carolina region that centers on the theme of immigration. Both of the films Biutiful and En construcción foreground the theme of immigration to Barcelona (from China and Senegal; and from North Africa respectively). Having students converse with outreach workers from the organization Greene County Health Care, which serves 20,000+ migrants in the Eastern NC area, provides an opportunity that will connect the themes of these films with our area. ACADEMIC INTEGRITY: The following Academic Integrity Violations appear in the Academic Integrity policy of East Carolina University: A. Principle of Academic Integrity Academic integrity is expected of every East Carolina University student. Academic honor is the responsibility of the students and faculty of East Carolina University. B. Academic Integrity Violations--Academically violating the Honor Code consists of the following: 1. Cheating--Unauthorized aid or assistance or the giving or receiving of unfair advantage on any form of academic work. 2. Plagiarism--Copying the language, structure, ideas, and/or thoughts of another and adopting same as one's own original work. 3. Falsification--Statement of any untruth, either spoken or written, regarding any circumstances relative to academic work. 4. Attempts--Attempting any act that if completed would constitute an academic integrity violation as defined herein. PLEASE NOTE: Academic integrity is a fundamental value of higher education and East Carolina University; therefore, I will not tolerate acts of cheating, �plagiarism, falsification or attempts to cheat, plagiarize or falsify. Should I determine that an academic integrity violation has taken place, I reserve the right either to assign a grade penalty or to refer the case to the Office of Student Conflict Resolution for an Academic Integrity Board hearing. The minimum grade penalty that I will assign is an F for the assignment/course. Should it come to my attention that you have had a prior academic integrity violation, or if there are other aggravating circumstances, I will refer the case directly to the Office of Student Conflict Resolution. Should the Academic Integrity Board determine that you committed an academic integrity violation, you may be assigned a grade penalty and/or any other sanction allowed in the student Code of Conduct, up to and including suspension from the University. EMERGENCY CLOSINGS: To access University information about school closings IN CASE OF EMERGENCY: Severe weather: http://www.ecu.edu/cs-admin/oehs/emergency/severe-weather.cfm ECU Emergency notices (including closings): http://www.ecu.edu/alert/ Emergency information hotline: (252) 328-0062 STUDENTS WITH DISABILITIES: East Carolina University seeks to comply fully with the American with Disabilities Act (ADA). Students requesting accommodations based on a disability must be registered with the Department for Disability Support Services located in Slay 138. (252) 737-1016 (Voice⁄TTY) COURSE CONTENT: All course materials on Blackboard DUE DATES AT A GLANCE: Rule 1: If you miss an initial deadline, or resubmit an assignment, the highest possible score you may receive on an assignment is a 4.5 (out of 5; 90%). Rule 2: All assignments may be revised and handed in by the final exam date. Your new grade will replace the old grade (see rule 1). Weekly response papers: #1 Wednesday August 31 #2 Wednesday September 7 #3 Wednesday September 14 #4 Wednesday September 21 #5 Wednesday October 19 #6 Wednesday October 26 #7 Wednesday November 2 �#8 Wednesday November 9 Wednesday September 28 Audio file #1 and written text (250 words) Audio file #2 and written text (250 words) Polished Written text #1 (750 words) Wednesday November 15 Audio file #3 and written text (250 words) Polished Written text #2 (750 words) Monday December 12 (DATE OF FINAL EXAM) Polished Written text #3 (750 words) Video file and written text (250 words) Revised Weekly Response Paper (1500 words) +any rewrites/re-recordings may be turned in by the start of the final exam course period WEEK 1: [INTRODUCTION TO THE COURSE] Introduction to Barcelona / Introduction to the course Monday August 22 Professor-led discussion of readings and introduction to cultural text Bowen, William M. et al. “What Is Urban Studies?” Jacobs, Jane “The Uses of Sidewalks” Wirth, Louis “Urbanism as Way of Life” Mumford, Lewis. “What is a City?” Wednesday August 24 Professor-led discussion of readings and introduction to cultural text Vilarós, Teresa M. “A Cultural Mapping of Catalonia.” Elorza, Antonio. “Some Perspectives on the Nation-State and Autonomies in Spain.” Mar-Molinero, Clare. “The Politics of Language: Spain’s Minority Languages.” Fernández, Josep-Anton. “Becoming Normal: Cultural Production and Cultural Policy in Catalonia.” de Toro Santos, Xelís. “Negotiating Galician Cultural Identity.” Lasagabaster, Jesús María. “The Promotion of Cultural Production in Basque.” WEEK 2: [INTRODUCTION TO BARCELONA] This Week’s Cultural Text Hughes, Robert Barcelona the Great Enchantress (2004) Chapter 1 Monday August 29 �Student-led discussion of readings and cultural text [group 1] Choay, Françoise. The Modern City: Planning in the 19th Century Hall, Thomas. Planning Europe’s Capital Cities: Aspects of Nineteenth–Century Urban Development. Chapter on Barcelona. **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #1 Wednesday August 31 Professor-led discussion of readings and cultural text Degen, Mónica Montserrat. Sensing Cities: Regenerating Public Life in Barcelona and Manchester, Introduction. Resina, Joan Ramon. Barcelona’s Vocation of Modernity. Rise and Decline of an Urban Image, Introduction. **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #1 WEEK 3: [SAGRADA FAMILIA, PARC GÜELL, MONTJUÏC] This Week’s Cultural Text Teshigahara, Hiroshi Antonio Gaudí (1984) Monday September 5 No class – State Holiday Wednesday September 7 Student-led discussion of readings and cultural text [group 2] Sobrer, Josep Miquel. “Against Barcelona? Gaudí, the City and Nature.” Longhurst, Alex. “Culture and development: The impact of 1960s ‘desarrollismo’.” **FIRST AND LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #2 OPTIONAL READING: Kent, Conrad. “From Pleasure Gardens to Places Dures: Continuity and Change in Barcelona’s Public Spaces.” WEEK 4: [THE EIXAMPLE AND THE BARRIO CHINO] This Week’s Cultural Text Guerín, José Luis En construcción (2001) Monday September 12 Student-led discussion of readings and cultural text [group 3] Zarzoso, Alfons and Àlvar Martínez-Vidal. “Laboratory medicine and surgical enterprise in the medical landscape of the Eixample district.” Zarzoso, Alfons and José Pardo-Tomás. “Anatomy of an urban underworld: A medical geography of the Barrio Chino.” �**FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #3 Wednesday September 14 Professor-led discussion of readings and cultural text Loxham, Abigail “Barcelona under construction” Resina, Joan Ramon “The Construction of the Cinematic Image” **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #3 WEEK 5: [PLAÇA CATALUNYA, RAMBLAS, PARC DE LA CIUTADELLA] This Week’s Cultural Text: Hughes, Robert Barcelona the Great Enchantress (2004) Chapter 2 Monday September 19 Student-led discussion of readings and cultural texts [group 4] Hochadel, Oliver and Agustí Nieto-Galan. “Introduction.” Hochadel, Oliver and Laura Valls. “Civic nature: The transformation of the Parc de la Ciutadella into a space for popular science.” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #4 Wednesday September 21 Professor-led discussion of early short films: de Chomón, Segundo El hotel eléctrico/The Electric Hotel (1908) https://www.youtube.com/watch?v=aZFdaqQky2o de Chomón, Segundo Barcelone, principale ville de la Catalogne/Barcelona, Principal Town of Catalonia (1912) https://www.youtube.com/watch?v=Nw19vfHjAKw More available at: https://archive.org/details/segundodechomon Creating good quality digital audio and video files **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #4 WEEK 6: [GUEST SPEAKER WEEK] Monday September 26 Visitors: Dr. Stephen Vilaseca, Northern Illinois U Dr. Araceli Masterson, Augustana C **FIRST DAY TO TURN IN AUDIO FILES WITH WRITTEN TEXT #1, #2 **FIRST DAY TO TURN IN POLISHED WRITTEN TEXT #1 Wednesday September 28 Visitors: Steve Davis and Imelda Moye, Greene County Health Care **LAST DAY TO TURN IN AUDIO FILES WITH WRITTEN TEXT #1, #2 �**LAST DAY TO TURN IN POLISHED WRITTEN TEXT #1 WEEK 7: [PEER EDITING / TECHNICAL EDITING OF CONTRIBUTIONS] Monday October 3 Workshop contributions already turned in or in preparation Wednesday October 5 How to create videos with iMovie: Laurie Godwin, University Multimedia Center, ITCS WEEK 8: [FALL BREAK on Oct. 10, Dr. FRASER away Oct. 12] Monday October 10 No class – fall break Wednesday October 12 No class – Dr. Fraser away. In lieu of class, each student should continue working on: AUDIO FILES WITH WRITTEN TEXT #3 POLISHED WRITTEN TEXT # 2 WEEK 9: [SCIENCE FICTION AS IMMIGRATION] This Week’s Cultural Text Mendoza, Eduardo No Word from Gurb (1991) Monday October 17 Student-led discussion of readings and cultural text [group 5] Malmgren, Carl D. “Self and Other in SF: Alien Encounters.” Oxford, Jeffrey. “(De)Constructing Cultural Identity in Sin noticias de Gurb.” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #5 Wednesday October 19 Professor-led discussion of readings and cultural text Santoro Domingo, Pablo. “Science Fiction in Spain: A Sociological Perspective.” Jameson, Fredric. “Science Fiction as a Spatial Genre: Generic Discontinuities and the Problem of Figuration in Vonda McIntyre’s ‘The Exile Waiting.’” **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #5 WEEK 10: [MENTAL HEALTH AND HOSPITALS] �This Week’s Cultural Text García Roure, Abel Una cierta verdad [A Certain Truth] (2008) Monday October 24 Student-led discussion of readings and cultural text [group 6] Ochoa, S. et al. “Met and Unmet Needs of Schizophrenia Patients in a Spanish Sample.” Duñó, Rosó et al. “Subjective Quality of Life in Schizophrenia Outpatients in a Catalan Urban Site.” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #6 Wednesday October 26 Professor-led discussion of readings and cultural text Conway, Madeline. “The Politics of Representation of Disability in Contemporary Spain.” Snyder, Sharon L. and David T. Mitchell “Body Genres: An Anatomy of Disability in Film.” **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #6 WEEK 11: [AMUSEMENT PARKS] This Week’s Cultural Text Hughes, Robert Barcelona the Great Enchantress (2004) Chapter 3 Monday October 31 Student-led discussion of readings and cultural text [group 7] Sastre-Juan, Jaume and Jaume Valentines-Àlvarez. “Technological fun: The politics and geographies of amusement parks.” Ferran, Jordi and Agustí Nieto-Galan. “The city of electric light: Experts and users at the 1929 international exhibition and beyond.” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #7 Wednesday November 2 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #7 WEEK 12: [POBLE NOU, THE OLYMPIC VILLAGE, THE MEDITERRANEAN] This Week’s Cultural Text González Iñárritu, Alejandro Biutiful (2010) Monday November 7 Student-led discussion of readings and cultural text [group 8] McNeill, Donald. “Barcelona: Urban Identity 1992-2002” �Sánchez, Antonio. “Barcelona’s Magic Mirror: Narcissism or the Rediscovery of Public Space and Collective Identity?” **FIRST DAY TO TURN IN WEEKLY RESPONSE PAPER #8 Wednesday November 9 Professor-led discussion of readings and cultural text Del Mar Azcona, María “‘We Are All Uxbal’: Narrative Complexity in the Urban Borderlands in Biutiful” Lefebvre, Henri “The Right to the City” **LAST DAY TO TURN IN WEEKLY RESPONSE PAPER #8 WEEK 13: [VIDEO PROJECTS IN DISSH/GIS Lab Brewster D-212] Monday November 14 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. **FIRST DAY TO TURN IN AUDIO FILES WITH WRITTEN TEXT #3 **FIRST DAY TO TURN IN POLISHED WRITTEN TEXT # 2 Wednesday November 15 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. **LAST DAY TO TURN IN AUDIO FILES WITH WRITTEN TEXT #3 **LAST DAY TO TURN IN POLISHED WRITTEN TEXT # 2 WEEK 14: [VIDEO PROJECTS IN DISSH/GIS Lab Brewster D-212] [THANKSGIVING WEEK, NO CLASS ON NOV. 23] Monday November 21 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. **FIRST DAY TO TURN IN POLISHED WRITTEN TEXT #3 **FIRST DAY TO TURN IN VIDEO FILE #1 WITH WRITTEN TEXT **FIRST DAY TO TURN IN REVISED WEEKLY RESPONSE PAPER EXPANDED **FIRST DAY TO TURN IN ANY REVISIONS (AUDIO #1, #2, #3; POLISHED #1, #2) Wednesday November 23 No class - Thanksgiving WEEK 15: [VIDEO PROJECTS IN DISSH/GIS Lab Brewster D-212] Monday November 28 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. Wednesday November 30 Digital lab time – meet in DISSH/GIS Lab Brewster D-212 during class and by appt. �WEEK 16: Monday December 5 Meet in Mamie Jenkins to discuss your favorite contribution informally 2-3 minutes Possibility of presenting final project to entire Honors College students and staff in public venue to be explored. FINAL EXAM DAY AND TIME Monday December 12, 2:00-4:30pm **LAST DAY TO TURN IN POLISHED WRITTEN TEXT #3 **LAST DAY TO TURN IN VIDEO FILE #1 WITH WRITTEN TEXT **LAST DAY TO TURN IN REVISED WEEKLY RESPONSE PAPER EXPANDED **LAST DAY TO TURN IN ANY REVISIONS (AUDIO #1, #2, #3; POLISHED #1, #2) PARTIAL LIST OF COURSE READINGS: FILMS (with English subtitles): García Roure, Abel, dir., Una cierta verdad [A Certain Truth] (2008) González Iñárritu, Alejandro, dir., Biutiful (2010) Guerín, José Luis, dir., En construcción [In Construction] (2001) Teshigahara, Hiroshi, dir., Antonio Gaudí (1984) de Chomón, Segundo, dir. El hotel eléctrico [The Electric Hotel] (1908); Barcelone, principale ville de la Catalogne[Barcelona, Principal Town of Catalonia] (1912) NOVELS (in English translation): Mendoza, Eduardo. Sin noticias de Gurb [No Word from Gurb], (English reprint 2007) NON-FICTION / SECONDARY READINGS: Bodenhamer, David J. John Corrigan, Trevor M. Harris, eds. 2010. The Spatial Humanities: GIS and the Future of Scholarship. Bloomington & Indianapolis. Bowen, William M., Ronnie A. Dunn and David O. Kasdan. 2010. “What is ‘Urban Studies’: Context, Internal Structure and Content.” Journal of Urban Affairs 32(2): 199–227. Choay, Françoise. 1969. The Modern City: Planning in the 19th Century. Trans. M.Hugo and G. R. Collins. New York: George Braziller. Conway, Madeline. “The Politics of Representation of Disability in Contemporary Spain.” Contemporary Cultural Studies. Ed. Barry Jordan and Rikki MorganTamosunas.London: Oxford UP, 2000. 251-59. Print. �Daniels, Stephen, Dydia DeLyser, J. Nicholas Entrikin and Douglas Richardson, eds. 2011. Envisioning Landscapes, Making Worlds: Geography and the Humanities. London and New York: Routledge. Dear, Michael, Jim Ketchum, Sarah Luria, and Doug Richardson, eds. 2011. GeoHumanities: Art, History, Text at the Edge of Place. Abingdon; New York: Routledge. Degen, Mónica Montserrat. 2008. Sensing Cities: Regenerating Public Life in Barcelona and Manchester. London & New York: Routledge. Duñó, Rosó, Esther Pousa, Cristina Domènech, Ainhoa Díez, Ada Ruiz, Roser Guillamat.“Subjective Quality of Life in Schizophrenia Outpatients in a Catalan Urban Site.” Journal of Nervous and Mental Disease 189.10 (2001): 685-90. Web. Accessed 15 Nov. 2015. http://schizophreniabulletin.oxfordjournals.org/content/29/2/201.full.pdf Epps, Brad, ed. 2002. “Barcelona and the Projection of Cataluña,.” Special Section of the Arizona Journal of Hispanic Cultural Studies 6: 191–287. Hall, Thomas. 1997. Planning Europe’s Capital Cities: Aspects of Nineteenth–Century Urban Development. London: E and FN SPON. Hughes, Robert. 1992. Barcelona. New York: Knopf. Jameson, Fredric. “Science Fiction as a Spatial Genre: Generic Discontinuities and the Problem of Figuration in Vonda McIntyre’s ‘The Exile Waiting.’” Science Fiction Studies 14.1 Loxham, Abigail. 2006. “Barcelona under Construction: The Democratic Potential of Touch and Vision in City Cinema as Depicted in En construcción (2001).” Studies in Hispanic Cinemas 3(1): 35–48. Malmgren, Carl D. “Self and Other in SF: Alien Encounters.” Science Fiction Studies 20.1 (1993): 15-33. McNeill, Donald. 1999. Urban Change and the European Left: Tales from the New Barcelona. London; New York: Routledge. Mumford, Lewis. 2005. “What is a City?” 1937. In The City Reader, Richard T. LeGates and Frederic Stout, eds., 3rd edition, 92–96. London: Routledge. Ochoa, S., J.M. Haro, J. Autonell, A. Pendàs, F. Teba, M. Márquez, and the NEDES Group. “Met and Unmet Needs of Schizophrenia Patients in a Spanish Sample.”Schizophrenia Bulletin 29.2 (2003): 201-10. Web. Accessed 15 Nov. 2015. Oxford, Jeffrey. “(De)Constructing Cultural Identity in Sin noticias de Gurb.” Ojáncano 25 (abril de 2004): 75-89. Resina, Joan Ramon. 2008. Barcelona’s Vocation of Modernity. Rise and Decline of an Urban Image, Stanford: Stanford University Press. Santoro Domingo, Pablo. “Science Fiction in Spain: A Sociological Perspective.” Science Fiction Studies 33.2 (2006): 313-31. Snyder, Sharon L. and David T. Mitchell “Body Genres: An Anatomy of Disability in Film.” The Problem Body: Projecting Disability on Film. Ed. S. Chivers, N. Markotić. Columbus: The Ohio State University Press, 2010. 179-204. Print. � 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 Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons 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 Digital Barcelona Syllabus Subject The topic of the resource Digital Barcelona Syllabus Description An account of the resource Syllabus for the HONS2011 Class, a Fall 2016 Honors Seminar at East Carolina University Creator An entity primarily responsible for making the resource Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/20/2017 Language A language of the resource English Type The nature or genre of the resource Document http://collections.ecu.edu/files/original/34/983/Brianna1.1.JPG a9da78a7399eb4cbadf00098b1c1a7a6 http://collections.ecu.edu/files/original/34/983/BriannaPlumb1.m4a 89fe06a9f8c62e692a8c0c6f6156e6e6 http://collections.ecu.edu/files/original/34/983/PuertoMaderoBriannaPlumbEdited.docx 7691f6dc16f842c64af5f065b842bd48 http://collections.ecu.edu/files/original/34/983/PuertoMaderoBriannaPlumb2.pdf 944f581a76f4acf41fd8cd8d103aa3f0 PDF Text Text Puerto Madero Puerto Madero is a dock side area where many tourists and runners visit. People who go to this area can walk without have worry about dodging or getting run over by cars. Sometimes there are street performers playing music or putting on shows, and many stop to take pictures and enjoy themselves. There are many locals who show up in groups near some restaurants with large windows to practice their dance moves, hoping to better their dances and performances. A notable landmark in this area is the Puente de la Mujer, Spanish for the “Women’s Bridge.” This is a footbridge connecting the two sides of the port that was built during 1998, right before Argentina’s economic collapse. This is one of the largest rotating pedestrian bridges in the world and allows for the safe passage of ships of various types. Many people stop to take pictures of the beautiful spectacle while others take pictures on it. Regardless, this area is great for those who love to take pictures, eat local cuisine, or see street performances. � 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 Digital Buenos Aires Subject The topic of the resource Digital Buenos Aires Description An account of the resource Digital Buenos Aires Creator An entity primarily responsible for making the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl Contributor An entity responsible for making contributions to the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl 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 Puerto Madero, Buenos Aires Subject The topic of the resource Puerto Madero dockside district Creator An entity primarily responsible for making the resource Brianna Plumb, Brandon Sugg http://collections.ecu.edu/files/original/34/984/BriannaPlumb2.1.JPG fdb8ca7b13a1de9732e8f4b4af08eab3 http://collections.ecu.edu/files/original/34/984/BriannaPlumb2.2.m4a 75d445a99bf0b50018e4df687c409b55 http://collections.ecu.edu/files/original/34/984/PalermoBriannaPlumb.pdf f2c39183b95429d0237ea8df843dff11 PDF Text Text Pallermo Pallermo is a beautiful neighborhood filled with eye-catching graffiti, delicious restaurants, and walkable streets. Often, people are posing next to the street art in order to have their own unique photo shoot. The graffiti in this location does not symbolize violence in the area nor the prominence of gangs but, instead, symbolizes the freedom of speech that was once not available to the citizens of Argentina. Many restaurants, building owners, and even the government employs artists to display their art on certain buildings as to make their streets look more inviting and unique. In these areas, it almost feels unnatural to see no graffiti down a street or alleyway; however, it will not be long until that area is covered with a local artist’s work. The art is constantly changing throughout the city, but bigger murals are respected by all artists until that specific artist chooses to change it. The restaurant and bars around this location are great for a night out with friends, possible date night, or just having fun walking around. Visitors are sure to enjoy themselves in this stunning city. � 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 Digital Buenos Aires Subject The topic of the resource Digital Buenos Aires Description An account of the resource Digital Buenos Aires Creator An entity primarily responsible for making the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl Contributor An entity responsible for making contributions to the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl 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 Palermo, Buenos Aires Subject The topic of the resource Palermo neighborhood Creator An entity primarily responsible for making the resource Brianna Plumb, Brandon Sugg http://collections.ecu.edu/files/original/34/985/BriannaPlumb3.1.m4a 734f29a303797ae324ab7672b64a021d http://collections.ecu.edu/files/original/34/985/BriannaPlumb3.2.MOV 687fb42967d2370bde0336775e5822f0 http://collections.ecu.edu/files/original/34/985/DeltaTigreBriannaPlumb.pdf 30cd6ef5b1201259e944899355b73e26 PDF Text Text Delta Tigre The boat tour of the Delta Tigre and the northern zone of Buenos Aires is a delightful, one-hour experience that is unlike any other. Through this tour, the participants see various houses through the Delta Tigre and some buildings in the northern zone of Buenos Aires. An interesting prospect of this experience is that every house along this area has a boat and a dock. The reason for this oddity is that the only mode of transportation for these people are boats. If one were to look at a map of the locations of these houses, they will realize that there are no streets anywhere close to them; therefore, the only effective mode of transportation for these residents are boats. The architecture and landscaping of these houses are interesting as well as beautiful. There are many places along this tour that can be rented or further explored, some not all; however, most of these places are not cheap to rent due to their unique nature. Many tourists opt to visit for a weekend or just a day. Either way, the boat tour of the Delta Tigre show be experienced at least once upon visitation. � http://collections.ecu.edu/files/original/34/985/Delta_del_Tigre_1.jpg d73636db80742600521dc72594a6a1c2 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 Digital Buenos Aires Subject The topic of the resource Digital Buenos Aires Description An account of the resource Digital Buenos Aires Creator An entity primarily responsible for making the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl Contributor An entity responsible for making contributions to the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl 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 Delta Tigre, Buenos Aires Subject The topic of the resource Delta Tigre river delta in Buenos Aires Creator An entity primarily responsible for making the resource Brianna Plumb, Brandon Sugg http://collections.ecu.edu/files/original/34/986/BriannaPlumb4.1.m4a ee1633296adce8629f93f0e52a2f3254 http://collections.ecu.edu/files/original/34/986/JardinBotanicoBriannaPlumb.pdf 848cc9209eef8985699ec00e86479c6c PDF Text Text Jardín Botánico Carlos Thays de la Ciudad Autónoma de Buenos Aires The Jardín Botánico Carlos Thays de la Ciudad Autónoma de Buenos Aires is a botanical garden filled with vast amounts of foliage. This triangularly shaped garden sits between Santa Fe Avenue, Las Heras Avenue, and República Árabe Siria Street. Upon entering, it feels like everyone has been transported outside the city into a magnificently, well-groomed forest. The only indication that the garden is still located in the city is the occasional sound of traffic. This gorgeous landscape has beauty around every corner, nook, and cranny. Adding to the atmosphere of the elegant vegetation are jaw-dropping sculptures, monuments, and greenhouses. This botanical garden is perfect for walking around with friends and loved ones, a breath of fresh air when they city feels overwhelming, a perfect place for taking pictures, or as a muse for an artist or painter. If one part of the garden does not please the viewer, there are three other types of gardens to go to: Roman garden, French garden, Oriental garden, and Argentinean Indigenous Americas garden. This rare spectacle was declared as a national monument in 1996, so there is luckily no worry of people destroying its artistry anytime soon. � http://collections.ecu.edu/files/original/34/986/Buenos_Aires_Entrada_al_Jardin_Botanico_Carlos_Thays.jpg def767e35acc3d92caf1d616051c93cb 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 Digital Buenos Aires Subject The topic of the resource Digital Buenos Aires Description An account of the resource Digital Buenos Aires Creator An entity primarily responsible for making the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl Contributor An entity responsible for making contributions to the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl 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 Jardín Botánico Carlos Thays, Buenos Aires Subject The topic of the resource Carlos Thays Botanical Garden in Buenos Aires Creator An entity primarily responsible for making the resource Brianna Plumb, Brandon Sugg http://collections.ecu.edu/files/original/34/999/MALBAMuseumBriannaPlumb.1.JPG 10d902af00e36d426dc586423b552150 http://collections.ecu.edu/files/original/34/999/MALBAMuseumBriannaPlumb.docx 011183350a41b1f01d003ca33bdcbda1 http://collections.ecu.edu/files/original/34/999/MALBAMuseumBriannaPlumb.2.m4a b605358277f8eff70ae3b2696e1b9bcf http://collections.ecu.edu/files/original/34/999/MALBAMuseumBriannaPlumb.3.pdf 647f4f66a3d234a0c0d3d902d8fc8e73 PDF Text Text MALBA Museum The Museo de Arte Lationoamericano de Buenos Aires, otherwise known as the MALBA Museum, is located on Figueroa Alcorta Avenue in the neighborhood of Palermo. This memorable museum is run by Fundación MALBA, a nonprofit organization whose president, Eduardo Costantini, established the museum on September 20, 2001. The design of the building was created through a contest where 450 proposals were submitted for review. The candidates of the proposals were from 45 different countries; however, first place was awarded to three young architects from Argentina. The goal for the museum is to research, collect, promote, and preserve Latin American art from the start of the twentieth century to the present. The artwork held in this museum is focused around the Costantini Collection and continues to add works from modern, Latin American, artists. Moreover, the museum hosts art and film exhibitions as well as cultural activities. The museum educates the public on a variety of Latin American artists and their unique art styles. Receiving over a million visitors annually, the MALBA Museum is loved by art enthusiasts across the globe. � 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 Digital Buenos Aires Subject The topic of the resource Digital Buenos Aires Description An account of the resource Digital Buenos Aires Creator An entity primarily responsible for making the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl Contributor An entity responsible for making contributions to the resource Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl 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 MALBA Museum, Buenos Aires Subject The topic of the resource The MALBA Museum in Buenos Aires Creator An entity primarily responsible for making the resource Brianna Plumb, Brandon Sugg http://collections.ecu.edu/files/original/20/551/OR_Replica-Museum-Submarine-Barcelona-Ictineo-Ii-895157.jpg 54e5dd96454b9f99df3a1bfad3255901 http://collections.ecu.edu/files/original/20/551/Submarine_-_Brooke_Palmer.pdf 6c269eaee70c9ba37d18b9a27b52f820 PDF Text Text The Submarine The city of Barcelona was full of dreamers: artists and scientists with an array of ideas that contributed to history and culture. One of these scientists was the famous inventor Narcís Monturiol. While Monturiol did not contribute to Barcelona’s physical landscape and structure, he created the first fully functional submarine to explore the waters of Barcelona: a machine he decided to call Ictíneo. Authors Hochadel and Nieto-Galan claim that Barcelonan history would not be the same, “without accounting for the role of science” (2016: 5). This is especially true in the case of Monturiol’s submarine. His invention opened a whole new world of discovery for the Catalan people and eventually, the world. Especially because Barcelona was not the only European country interested in underwater exploration at the turn of the 1800s. In Barcelona: The Great Enchantress, author Robert Hughes explains that Europeans as a whole “dreamed of probing the depths of the sea” for centuries (Hughes 2004: 88). He goes on to say that this dream came to fruition once Monturiol decided to apply engines to the contraption (Hughes 2004: 89). Not only was this a scientific achievement, it also gave Catalans a sense of pride that one of their own was able to make such a contribution to the scientific world. As the original submarine was unfortunately destroyed, a model and monument of the first submarine, Ictineo I, can be found at the entrance of Barcelona’s Museu Marítim or Maritime Museum in the Gothic Quarter (Narcís). Another monument of the submarine can be found at Plaça de Catalunya in the window of an antique shop (Hughes 2003: 82). This allows for Monturiol’s legacy to be remembered to this day. Institutions around Barcelona such as the Maritime Museum, which displays the submarine, allow “involvement of interested committed and often highly skilled citizens” in order to learn more about Barcelona’s “construction of an �urban culture of natural history” (Hochadel and Valls 2016: 26). While the submarine is not technically something that developed naturally, it did help scientists make more discoveries of the natural world beneath the blue, both at the time it was invented and today as the technologies from the original submarine have been the basis of underwater exploration around the globe. �Works Cited “Narcís Monturiol’s Submarines Ictineo I and II”. Beyond Victorian. 2011, September 25. Web. 2016, November 14. https://beyondvictoriana.com/2011/09/25/93-narcisomonturiols-submarines-ictineo-i-and-ii/ � http://collections.ecu.edu/files/original/20/551/Palmer_Brooke_Submarine.m4a de7f9de08e75d648ec6d0d5cb0dbe36c 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 Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons 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 The Submarine Subject The topic of the resource The Submarine Description An account of the resource The Submarine is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Brooke Palmer, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/09/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image, Sound Date Created Date of creation of the resource. 02/09/2017 Barcelona Brooke Palmer Ictineo I Spain Submarine http://collections.ecu.edu/files/original/20/554/gran_teatre_del_liceu_OR1.jpg 121abbb7468def5de0ce1799184f7d24 http://collections.ecu.edu/files/original/20/554/gran_teatre_del_liceu_OR2.jpg abcce2fbbede9024d0d76afd8ecd1b50 http://collections.ecu.edu/files/original/20/554/The_Gran_Teatre_del_Liceu_-_Brooke_Palmer.pdf 35b3c48e3831b822aa7c50dbfba76772 PDF Text Text Gran Teatre del Liceu The Gran Teatre del Liceu is a Barcelonian theatre and opera house. In the early 19th century, Barcelona was thriving in population and economics due to its importance as a port and trading city (Hall 1997: 128). This allowed Barcelona to undergo regularization, or a sense of new order or organization as opposed to its troubled past (Choay 1969: 15). Building a music conservatory was a symbol of stability that contributed to this regularization. According to the Liceu’s official website, the building was designed by Miquel Garriga i Roca and it was opened to the public on April 4, 1847, almost 10 years after the idea of an opera house first came to fruition (“History”). The Liceu is located in the Rambla, or “the iconic promenade in the Old Quarter” (“The Building”). This famous arts institute is still in operation to this day, but its journey through time has not been too kind. The Liceu has had numerous dangerous encounters that interfered with its structure and operation. In 1861, a fire broke out and completely destroyed the entire auditorium (“Important Events”). In 1893, two bombs were thrown onto the main floor. Miraculously, only one of the bombs detonated, but it killed and injured many civilians (Sobrer 2002: 216). The auditorium and stage were destroyed once again by a fire in 1994. After it was rebuilt its ownership was shifted to the public, or more specifically to the Consortium after previously being owned by Societat de Propietaris, or Society of Owners (“History”). Since its reopening at the turn of the 21st century, no such travesties have occurred. The Liceu is still well into production and operation. It is owned by the Consortium, or a group made up of a variety of Barcelonan councils such as the Consorci del Gran Teatre del Liceu and the Barcelona City Council (“History”). Today, the Liceu is fully operational with performances being conducted with every season. �Works Cited "History" Gran Teatre Del Liceu. Fundació Del Gran Teatre Del Liceu, n.d. Web. 02 October 2016. https://www.liceubarcelona.cat/en/history "Important Events" Gran Teatre Del Liceu. Fundació Del Gran Teatre Del Liceu, n.d. Web. 02 October 2016. https://www.liceubarcelona.cat/en/esdeveniments-importants "The Building" Gran Teatre Del Liceu. Fundació Del Gran Teatre Del Liceu, n.d. Web. 02 October. 2016. https://www.liceubarcelona.cat/en/ledifici � 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 Digital Barcelona Subject The topic of the resource Sights around Barcelona Description An account of the resource The items (text documents, audio, video) used in the collection were created by the students from Fall 2016 HONS 2011.003: Barcelona: An Urban Cultural history class taught by Dr. Benjamin Fraser. Creator An entity primarily responsible for making the resource Benjamin Fraser Irina Swain Camille Kresz Language A language of the resource English, Spanish Identifier An unambiguous reference to the resource within a given context Digital Barcelona Date Created Date of creation of the resource. January 2017 Publisher An entity responsible for making the resource available Irina Swain Camille Kresz Rights Information about rights held in and over the resource Creative Commons 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 The Gran Teatre del Liceu Subject The topic of the resource The Gran Teatre del Liceu Description An account of the resource The Gran Teatre del Liceu is located in Barcelona, Spain Creator An entity primarily responsible for making the resource Brooke Palmer, Benjamin Fraser Publisher An entity responsible for making the resource available Camille Kresz Date A point or period of time associated with an event in the lifecycle of the resource 02/10/2017 Rights Information about rights held in and over the resource Creative Commons Language A language of the resource English, Spanish Type The nature or genre of the resource Document, Still Image Date Created Date of creation of the resource. 02/10/2017 Barcelona Brooke Palmer Gran Teatre del Liceu Spain