44 10 581 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 Spenser in Ireland Subject The topic of the resource Spenser in Ireland Description An account of the resource Spenser's time in Ireland Creator An entity primarily responsible for making the resource Sarah Parrish Date Created Date of creation of the resource. 4-16-18 References A related resource that is referenced, cited, or otherwise pointed to by the described resource. “Biography.” Spenser Online, http://www.english.cam.ac.uk/spenseronline/scholarly-resources/biography/. Accessed March 2018. Hadfield, Andrew. Edmund Spenser: A Life. Oxford UP, 2012. Judson, Alexander C. The Life of Edmund Spenser. Edited by Greenlaw, E., Osgood, C.G., Padelford, F.M., Heffner, R.Oxford UP, 1945. Maley, Willy. A Spenser Chronology. MacMillian, 1994. Spenser, Edmund. Selected Letters and Other Papers. Edited by Christopher Burlinson and Andrew Zurcher, Oxford UP, 2009. 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 References Description An account of the resource “Biography.” Spenser Online, http://www.english.cam.ac.uk/spenseronline/scholarly-resources/biography/. Accessed March 2018. Hadfield, Andrew. Edmund Spenser: A Life. Oxford UP, 2012. Judson, Alexander C. The Life of Edmund Spenser. Edited by Greenlaw, E., Osgood, C.G., Padelford, F.M., Heffner, R.Oxford UP, 1945. Maley, Willy. A Spenser Chronology. MacMillian, 1994. Spenser, Edmund. Selected Letters and Other Papers. Edited by Christopher Burlinson and Andrew Zurcher, Oxford UP, 2009. https://collections.ecu.edu/files/original/26/837/image08.jpg 2ce2ad2289fac14dc31e1be97db85020 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 Historic Image Gallery of Kilcolman Source A related resource from which the described resource is derived Dr. Thomas Herron, ECU 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 Resistivity testing at Kilcolman in 1993, part of archaeological excavations directed by Eric Klingelhofer. Photo credit: E. Klingelhofer. Source A related resource from which the described resource is derived Dr. Thomas Herron, ECU https://collections.ecu.edu/files/original/30/958/Reviews_for_CS.docx adfd1842b3113e5e5d1725c04b1ba19d 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 Overview for Centering Spenser  Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU 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 Reviews https://collections.ecu.edu/files/original/20/546/OR_Teatre_Romea_-_Barcelona_[Catalonia].jpg 4348b1a0e61bb16cdb03f0fe614d4da1 https://collections.ecu.edu/files/original/20/546/Romea_Theater_-_Samuel_Alvarado.pdf 4a07c97b819eb2fb23239f39380a0ad3 PDF Text Text Romea Theater In the writings by Alfons Zarsozo and José Pardo-Tomas entitled “Anatomy of an Urban Underworld,” they refer back to tourist guides produced in Barcelona in 1929 that featured routes through the area known today as El Raval (Zarsozo and Pardo-Tomas 2016). Simply mentioning “severe overcrowding” while skimming the surface of the character and history of El Raval, tour guides purposely avoided the conditions of the residents living there. One particular point of interest for tours within the El Raval, on the corner of Carrer de l’Hospital and Carrer de la Junita de Comerc (just a block away from La Rambla) was the Romea Theater. According to the Government of Catalunya website, individuals and establishments are awarded with the Cross of St. George as an esteemed honor in Catalonian culture that signifies great nobility. Created in 1981, the award (named after the patron saint of Catalonia) is for those people or locations that performed “outstanding services in Catalonia in defense of their identity” or otherwise civic and cultural accomplishments. The Romea Theater was awarded the Cross of St. George in 2015 for its contributions to the spirit of Catalonian culture. As discussed in Robert Hughes’ writings of Barcelona, the Catalonian culture was nearly defeated several times by government forces as well as a political crisis during the reign of Francisco Franco (2004). This theater stood as a representation of Catalunya art and humanity that managed to thrive despite the constant opposition, giving an outlet to an array of creative minds in the form of writers, directors, and actors. The theater itself still operates today, giving residents and tourists an upscale location to marvel both at classic architecture and modern theater. � https://collections.ecu.edu/files/original/20/546/Alvarado-Romea_Theater_Audio.mp3 37fa89373518742563ab1577df74a4d5 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 Romea Theater Subject The topic of the resource Romea Theater Description An account of the resource The Romea Theater is located in Barcelona, Spain. Creator An entity primarily responsible for making the resource Samuel Alvarado, 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 Romea Theater Samuel Alvarado Spain https://collections.ecu.edu/files/original/34/1004/GarrettReid3.jpg 0cc8c2218cb9e1a47931adf5677c3bb8 https://collections.ecu.edu/files/original/34/1004/GarrettReid3.1.m4a 3668a2ac4f7b63ab3c6e104ecde5e3c9 https://collections.ecu.edu/files/original/34/1004/GarrettReidRosedaldePalermo.docx 97d7b99ff7e75db73a562500220b6f1a https://collections.ecu.edu/files/original/34/1004/GarrettReidRosedaldePalermo.1.pdf 396dbebb59c16ff37bcc3e7cdb751a75 PDF Text Text The Rosedal de Palermo is one of the most popular parks in Buenos Aires due to its beauty, size, and historical significance. Originally the site of past Argentina president Juan Manuel de Rosas’ country home, the garden has been a public landmark since his defeat in battle on February 3rd, 1852. The significance of this date was cemented into the park through its name, Parc 3 de Febrero. Created in 1912, the garden was designed by Charles (Carlos) Thays and his student Benito Carrasco. Their design features an amphitheater, an Andalusian terrace, and a special garden dedicated to legendary writers and poets, including stone busts of 26 great literary figures. The primary attraction, however, is the collection of over 18,000 roses covering acres of land. With over 1,000 different species of roses on display, the garden is truly a sight to behold. If those features weren’t enough, bordering the floral canvas that is the Rosedal, is a beautiful lake that surrounds the majority of the garden, making the view from the outside as magical as the ones found within. While the garden is a paradise at any time of the year, visiting in July might earn you free flowers and cuttings, as the garden is pruned during this month. The garden is an oasis of green in the bustling Palermo neighborhood, and is a must-see attraction for all. � 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 Rosedal de Palermo, Buenos Aires Subject The topic of the resource The Rosedal de Palermo Park in Buenos Aires Creator An entity primarily responsible for making the resource Garrett Reid, Brandon Sugg https://collections.ecu.edu/files/original/26/832/image03.jpg d790f6c1670eb377e5088e62303e68f3 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 Historic Image Gallery of Kilcolman Source A related resource from which the described resource is derived Dr. Thomas Herron, ECU 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 Ruins of Kilcolman, from The Mirror of Literature, Amusement, and Instruction 33 (1839): 9. Source A related resource from which the described resource is derived Dr. Thomas Herron, ECU https://collections.ecu.edu/files/original/22/590/W11.png 7fa0a7e776f84a44dc8543f4b044a7f4 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 "Reading" Fashion in A. Pushkin's Eugene Onegin: Word as Image in 1820s Imperial Russia Subject The topic of the resource The importance of fashion in XIX Century Russian Literature, with referene to Eugene Onegin.  Description An account of the resource Images to match citations, revealing the significance of evolving Russian fashion during the period of Eugene Onegin.  Creator An entity primarily responsible for making the resource Elizabeth LaFave Source A related resource from which the described resource is derived  (English) Bernstein, Aline. Masterpieces of Women's Costume of the 18th and 19th Centuries. Mineola, NY: Dover Publications, 2001. Efimova, L. V., and T. S. Aleshina. Russian Elegance: Country and City Fashion from the 15th to the Early 20th Century. London: Vivays Pub., 2011. Hahn, H. Scenes of Parisian Modernity. New York: PALGRAVE MACMILLAN, 2016. Hiner, Susan. Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France. Philadelphia: University of Pennsylvania Press, 2010. Perrot, Philippe. Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century. Princeton, NJ: Princeton University Press, 1996. Pushkin, Alexander. Eugene Onegin: A Novel in Verse (Oxford's World's Classics). Translated with an Introduction and Notes by James E. Falen. NY: Oxford University Press, 2009.  Ribeiro, Aileen. The Art of Dress: Fashion in England and France, 1750-1820. London: Yale University Press, 1995. Salmond, Wendy R., et al. Konstantin Makovsky: The Tsars painter in America and Paris. Washington, D.C., Hillwood Estate, Museum & Gardens, 2015. Takeda, Sharon Sadako., et al. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles County Museum of Art, 2016.   (Russian) Кирсанова Р. М. Костюм в русской художественной культуре. М.: Большая Советская Энциклопедия, 1995. Лотман Ю. М. Роман А. С. Пушкина “Евгений Онегин”: Комментарий // Лотман Ю. М. Пушкин: Биография писателя; Статьи и заметки, 1960-1990; “Евгений Онегин”: Комментарий. - СПб.: Искусство-СПб, 1995. С. 472-762. Лотман, Юрий. Беседы о русской культуре. СПб.: Искусство-СПб, 1994.  Русская культура. М.: Белый город, 1995. Пушкин А. С. “Евгений Онегин”// А. С. Пушкин. Полное собрание сочинений в 10 тт. Издание третье. М.: Наука. Т. 4. С. 6-213; 581-608.   Date A point or period of time associated with an event in the lifecycle of the resource Spring 2016 Rights Information about rights held in and over the resource Permission to use images, from the Middleton album and exhibit, granted by Angie Dodson of Hillwood Estate, Museum and Garden. Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. All rights belong to their respective owners. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document «Но в городах, по деревням Ещё мазурка сохранила Первоначальные красы: Припрыжки, каблуки, усы Всё те же: их не изменила Лихая мода, наш тиран, Недуг новейших россиян» (5, XLII, 128). 1. “But in small town and countryside The old mazurka hasn’t faltered; It still retains its pristine joys: Moustaches, leaps, heel-pounding noise Remain the same; they’ve not been altered By tyrant-fashion’s high decrees, The modern Russian’s new disease” (Chapter 5, Stanza 42, Page 128). 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 Russian Traditional Dress Subject The topic of the resource Eugene Onegin: Reading Fashion Description An account of the resource Russian pride in traditional clothing. Creator An entity primarily responsible for making the resource Elizabeth LaFave Source A related resource from which the described resource is derived Text: Alexander Pushkin; Eugene Onegin  Image: Russian Elegance: Country and City Fashion from the 15th to the Early 20th Century Publisher An entity responsible for making the resource available Text: Oxford's World Classics Image: Vivays Publishing countryside pride tradition https://collections.ecu.edu/files/original/20/567/Sagrada_OR.jpg 574f88f5412b3bc262306715050d2c06 https://collections.ecu.edu/files/original/20/567/Sagrada_OR_2.jpg bade4ba89caaf2f4cb8c9f344279c6bc https://collections.ecu.edu/files/original/20/567/Sagrada_Familia_-_Camille_Kresz_Benjamin_Fraser_[eds].pdf f77952ae90c396f1a98866bfdd9dd35b PDF Text Text Sagrada Família The Temple Expiatori de la Sagrada Família located in the heart of the city of Barcelona began to be built in 1875. This expiatory temple is one of the most well-known monuments in Barcelona, and even Spain as a whole, for a variety of reasons. One of those reasons is because it is technically a construction project; one that has lasted a little over one hundred and thirty years. Indeed, the proposal for the project was made in 1870 and fundraising began in 1873 (Sobrer 2002: 205-06). Francisco de Paula del Villar was the first architect to work on the Sagrada Família project. Antoni Gaudí took over in at the end of 1883 when Francisco de Paula del Villar abandoned the project and he worked on it until his death in 1926. His detailed plans were used after his death until they were vandalized or destroyed during the Spanish Civil War a few years later (Sobrer 2002). The Sagrada Família is a very interesting looking building—unlike many of the surrounding buildings, it is not quadratic. The shapes of the building are soft and round. The steeples are rounded and pointed, with unique figurines at the top of each one. Another aspect of the church that adds to its beauty is the extensive use of alabaster. The windows are coated with layers, which allows the church to possess a distinguished look. Alabaster, the semi-soft stone, is usually flaxen or very faint in color—almost see-through. This contributes to the surreal atmosphere of the church and presents the viewer with a sense that they are in a space that is touched by heaven. Other rare procedures were used, like maqueta funicular, or unique touches like trencadís, the recycling of scrap materials to create convoluted mosaics (Sobrer 2002: 209-210). 1 �Antonia Gaudí was very well known for his naturistic designs. Intended to resemble a mountain of its own, the Sagrada Família will triangulate the two peaks that Barcelona sits at the foot of: Montjuïc and Tibidabo. Inside the Sagrada Família are many more allusions to the beauty of the natural world. There are stained glass windows, but unlike most stained glass windows that are present in many other churches, these windows are stained with bright greens and blues that allow more natural light to come into the cathedral. The shades of blue and green are reflected all around the room giving it the look and feel of a forest setting. The columns along the halls work with these colorful cascades to further the illusion of the forest. Having the plan of morphing Barcelona into a city interwoven with nature, Gaudí shaped the Sagrada Família in accordance with the outline of Montserrat, the holy mountain home to La Moreneta, the patron saint of Catalonia (Sobrer, 2002: 208). In doing so, Gaudí introduced the concept of faith through an architectural tribute to Barcelona. It is believed that Gaudí designed the church to reach a height slightly below that of Montjuïc (the highest point in Barcelona) so that God’s creation was “never superseded by man (Structure and form: web).” It was built to inspire religious and patriotic revival within the people. The church features three grand façades, so that no matter what entry point visitors choose they will experience something deeply profound. The Nativity Façade was the most directly influenced by Gaudí, being designed and completed under his direction. The Nativity portal is known as the one clear Catholic reformism. This façade is dedicated to the birth of Jesus and faces northeast toward the direction of the rising sun, covered in intricately sculpted designs and figures. The Passion façade was one of the features added after the loss of Gaudí and his coveted plans. This façade faces the West and was designed to strike fear in the viewer. Facing the setting sun, it shows a stark contrast to the intricacies of the Nativity Façade with its bare walls and columns made to imitate human bones. All of these design elements allude to the fact that 2 �this façade was designed to tell the story of the death and suffering of Christ. Construction began for the final façade in 2002, the Glory Façade. This façade will eventually be the main access to the central nave, dedicated to the journey of humankind through the acceptance of God, death, final judgment and eventually Glory. Throughout its history, the Sagrada Família has also been the subject of criticisms and controversies. After the Spanish Civil War, Barcelona was in shambles; the Franco regime caused all of Barcelona to become neglected and ignored. The architectural masterpiece was regarded as nothing more than “disposable rubbish,” with famous author George Orwell calling the monument “one of the most hideous buildings in the world” (Hughes 2004: 29-30). Thankfully, as time passed Barcelona began to redevelop itself as a city. Matters such as architecture began to gain importance again. Another controversy is the fact that today many locals to Barcelona are upset that tourists are funding a holy and sacred church, but a few accept that there are not many other way to receive a continuous large sum of money to complete the church. Its ongoing construction is now almost completely funded by tourists who flock to the site. On one hand, this is bringing tremendous tourist traffic to Barcelona and greatly impacting the economy. On the other hand, many are concerned that this tourist traffic is actually taking away from the cultural significance of the Sagrada Família. While tourism is definitely an effective way to raise funds, there are concerns that this form of funding obstructs the original intention of the Sagrada Família. Sobrer proudly proclaims that, “In its monumentality, the Sagrada Família is a triumph, an outburst of imagination and playfulness” (Sobrer 2002: 206). Even more, the Sagrada Família is a sign of perseverance. Despite the controversies, despite the lead architect dying before its completion, and despite the hardships of Barcelona’s past, the mighty building is not 3 �only still standing—its construction continues even today. This contributes to the building’s strength against time and its strength against life. No matter the obstacle, the Sagrada Família stays strong as almost a symbol: if it can go through the life that it has, it, along with Barcelona, can conquer anything. —Edited by Camille Kresz and Benjamin Fraser with text from Samuel Alvarado, Graziella Dominado, Rachel Harris, Amy Musgrave, Brooke Palmer, Lillie Rhodes, Sarah Spangler and Vyas Jayati 4 � https://collections.ecu.edu/files/original/20/567/Ashley_Weingartz_-_Sagrada_Familia.pdf 65d70938017133a3210fb6ae7e285372 PDF Text Text Sagrada Família The Sagrada Família is a powerful example of nature being brought into the actual architecture of the city. The Sagrada Família began construction in 1882, and since then has become an iconic tourist attraction in Barcelona. The building is said “to be a mountain itself instead rather than sit on one” which helps explain why tourists find it so awe-inspiring (Sobrer 2002: 206). The architect of the Sagrada Família was Antoni Gaudí and as Hughes notes in his book, Barcelona: The Great Enchantress, “The Sagrada Família was intended to be what its name says: a ‘temple,’ where Catalans (and, Gaudí hoped, eventually the whole Catholic world) would converge to do penance for the sins of ‘modernity’” (Hughes 2004: 130). The construction still continues today but while the construction began as a great symbol of religious ideals, it has become an icon of Barcelona’s tourism industry and is now funded as such (Sobrer 2002: 206). The larger question in all of this is whether the Sagrada Família is a uniquely Barcelonan conception or just an attempt to attract tourism and set itself on the world stage of other modern cities. Though it does follow the pattern of iconic cultural spaces being exploited and/or funded by tourists, the Sagrada Família is uniquely Barcelonan in its foresight to include nature in its architecture. The scene of the Tree of Life in the Sagrada Família from Teshgahara’s documentary about Antoni Gaudí shows how nature was integrated into this massive monument. Gaudí was intentional about his use of nature and as Sobrer notes, “Nowadays the emblem of the city’s architecture is the Sagrada Família, and the city’s reputation in the non-negligible world of tourism is built around Gaudí” (Sobrer 2002: 209). � 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 Sagrada Família Subject The topic of the resource Sagrada Família Description An account of the resource The Sagrada Família is a church located in Barcelona, Spain Creator An entity primarily responsible for making the resource Samuel Alvarado, Graziella Dominado, Rachel Harris, Amy Musgrave, Brooke Palmer, Lillie Rhodes, Sarah Spangler, Jayati Vyas, Camille Kresz, 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 02/21/2017 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. 02/21/2017 Amy Musgrave Barcelona Brooke Palmer Graziella Dominado Jayati Vyas Lillie Rhodes Rachel Harris Sagrada Familia Samuel Alvarado Sarah Spangler Spain https://collections.ecu.edu/files/original/22/616/salon_culture.png 7578d9c3ada4d5002a3d6c97812bfa58 https://collections.ecu.edu/files/original/22/616/IMG_7428.1.JPG 21571a6b9c2b9018b1df7ee3def92d6b 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 "Reading" Fashion in A. Pushkin's Eugene Onegin: Word as Image in 1820s Imperial Russia Subject The topic of the resource The importance of fashion in XIX Century Russian Literature, with referene to Eugene Onegin.  Description An account of the resource Images to match citations, revealing the significance of evolving Russian fashion during the period of Eugene Onegin.  Creator An entity primarily responsible for making the resource Elizabeth LaFave Source A related resource from which the described resource is derived  (English) Bernstein, Aline. Masterpieces of Women's Costume of the 18th and 19th Centuries. Mineola, NY: Dover Publications, 2001. Efimova, L. V., and T. S. Aleshina. Russian Elegance: Country and City Fashion from the 15th to the Early 20th Century. London: Vivays Pub., 2011. Hahn, H. Scenes of Parisian Modernity. New York: PALGRAVE MACMILLAN, 2016. Hiner, Susan. Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France. Philadelphia: University of Pennsylvania Press, 2010. Perrot, Philippe. Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century. Princeton, NJ: Princeton University Press, 1996. Pushkin, Alexander. Eugene Onegin: A Novel in Verse (Oxford's World's Classics). Translated with an Introduction and Notes by James E. Falen. NY: Oxford University Press, 2009.  Ribeiro, Aileen. The Art of Dress: Fashion in England and France, 1750-1820. London: Yale University Press, 1995. Salmond, Wendy R., et al. Konstantin Makovsky: The Tsars painter in America and Paris. Washington, D.C., Hillwood Estate, Museum & Gardens, 2015. Takeda, Sharon Sadako., et al. Reigning Men: Fashion in Menswear, 1715-2015. Los Angeles County Museum of Art, 2016.   (Russian) Кирсанова Р. М. Костюм в русской художественной культуре. М.: Большая Советская Энциклопедия, 1995. Лотман Ю. М. Роман А. С. Пушкина “Евгений Онегин”: Комментарий // Лотман Ю. М. Пушкин: Биография писателя; Статьи и заметки, 1960-1990; “Евгений Онегин”: Комментарий. - СПб.: Искусство-СПб, 1995. С. 472-762. Лотман, Юрий. Беседы о русской культуре. СПб.: Искусство-СПб, 1994.  Русская культура. М.: Белый город, 1995. Пушкин А. С. “Евгений Онегин”// А. С. Пушкин. Полное собрание сочинений в 10 тт. Издание третье. М.: Наука. Т. 4. С. 6-213; 581-608.   Date A point or period of time associated with an event in the lifecycle of the resource Spring 2016 Rights Information about rights held in and over the resource Permission to use images, from the Middleton album and exhibit, granted by Angie Dodson of Hillwood Estate, Museum and Garden. Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. All rights belong to their respective owners. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document «Сквозь тесный ряд аристократов, Военных франтов, дипломатов, И гордых дам она скользит; Вот села тихо и глядит, Любуясь шумной теснотою, Мельканьем платьев и речей, Явленьем медленным гостей Перед хозяйкой молодою» (8, VI, 187).  “Through ranks of men from highborn classes, Past diplomats and soldier-fops, And haughty dames…then calmly stops To sit and watch the grand procession— The gowns, the talk, the milling mass, The slow parade of guests who pass Before the hostess in succession” (Chapter 8, Stanza 6, Page 187).     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 Salon Culture Subject The topic of the resource Eugene Onegin: "Reading Fashion" Description An account of the resource The soirées of the Russian elite, as part of salon culture. Creator An entity primarily responsible for making the resource Elizabeth LaFave Source A related resource from which the described resource is derived Text: Alexander Pushkin; Eugene Onegin  Image: ZinaidaVolkonskaya's 'Salon in Moscow'             Лотман, Юрий. Бесебы о русской культуре. Санкт-Петербург, «Искусство-СПБ», 1994.  Publisher An entity responsible for making the resource available Text: Oxford's World Classics salon culture https://collections.ecu.edu/files/original/34/981/MakaylaHarris1.2.png ebbd038ed2cc39d2f012c85720e067a1 https://collections.ecu.edu/files/original/34/981/MakaylaHarris1.1.m4a f1f09beae7dc7e20a3b906fee95d17e7 https://collections.ecu.edu/files/original/34/981/SanTelmoMakaylaHarris.pdf 755c1a01674dfae0cc57e889a8ab16c3 PDF Text Text San Telmo is the oldest barrio, a district of a town, in Buenos Aires. It was named after San Pedro González Telmo, a patron saint of seafarers, from the 17th century. In the beginning, San Telmo was a neighborhood of mansions and other homes, but a cholera epidemic broke out and many fled. A wave of European immigrants later made this neighborhood their home. San Telmo attracted artists, reflects bohemian influence, and established a hotspot for tango. Sundays are the best time to go, because of all of the markets and parties on Calle Defensa. There is such a wide variety of items you can get at the markets- matte cup and straw, leather products, woven attire, gems, jewelry, the list goes on. There are many tango performances that the public can go watch. With many great restaurants comes great cuisine. A snack that many enjoy is a choripan, sausage on bread, which tastes amazing with chimichurri, a veggie marmalade. There is a plethora of restaurants to choose from, it all depends on what you are in the mood for. Not in the mood to eat, there are also pubs in this area. � 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 San Telmo, Buenos Aires Subject The topic of the resource Barrio of San Telmo Creator An entity primarily responsible for making the resource Makayla Harris, Brandon Sugg