23
10
581
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https://collections.ecu.edu/files/original/34/989/Lenahobson3.mp4
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https://collections.ecu.edu/files/original/34/989/ElTigreLenaHobson.pdf
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Text
El Tigre is a beautiful town within Buenos Aires Province. Tourist and natives’ love
visiting this weekend destination. In order to get to El Tigre you have to take a train,
which is about forty-five minute ride from the city. The regions name comes from
“tigres ” or jaguars that used to be hunted there.
The small little island has several small streams and rivers where you can ride your
boats and canoes. Taking a boat ride around the Delta is a must do activity here. You
are able to get away from the city life, and enjoy beautiful scenery. Puerto de Frutos
is also located in el Tigre, which is a fair that has many antique shops, restaurants,
pubs, and an amusement park called Parque de la Costa! A lot of the items here are
handcrafted items like reed, wicker, and cane furniture. You are also able to find
very cute modern home décor as well. A long with the handcrafted items, you also
have a large selection of meats, cheese, olives, and homemade jams.
�
https://collections.ecu.edu/files/original/34/989/El_tigre_Argentina_[4188160481].jpg
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Title
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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
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Irina Swain, Brandon Sugg, Laura Levi Altstaedter, Magali Krosl
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Title
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El Tigre, Buenos Aires Province
Subject
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The town of El Tigre in the province of Buenos Aires
Creator
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Lena Hobson, Brandon Sugg
-
https://collections.ecu.edu/files/original/20/572/Electricity_Technology_and_Architecture_-_Benjamin_Fraser_[ed].pdf
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Text
Electricity, Technology and Architecture
Technology in Barcelona thrived in the early 1900s thanks to healthy competition between
many firms (Ferran and Nieto-Galan 2016: 224). Before the introduction of electricity and light
and the founding of the Asociación Española de Luminotecnia (AEL), citizens of Barcelona lived
a lifestyle that revolved around daylight; they were not able to do a majority of things once the sun
had set, because they were not able to see. The AEL had goals to change all of this—it did not aim
to make artificial light a luxury good, but a normal item which anyone could enjoy. The AEL
wanted to be able to “spread ‘modern’ methods for ‘scientific’ use of light and its practical
application to hygiene, traffic regulation, decoration, and home comfort” (Ferran and Nieto-Galan
2016: 223). They wanted people all over the city to be able to improve their daily life functions by
extending the time periods in which they were able to do them. This took time and many different
approaches. The switch to a more thermal and hydroelectric approach lowered costs and allowed
for more civilians to be able to have electricity at their disposal. In 1915, the city held the
International Exhibition of Electrical Industries, which “celebrate(d) the city’s early
electrification” (Ferran and Nieto-Galan 2016: 224). Due to competition with wood, kerosene
lamps and candles, “it took decades for electricity to fully spread into urban life” (Ferran and
Nieto-Galan 2016: 225). There were many ups and downs in cost, efficiency, and benefit that took
a toll on Barcelona’s inhabitants, but in the end electricity was efficient and beneficial enough that
it could then be used in other locations across the Catalan capital.
Electrical light is evidence of an entirely different kind of, yet monumental, modernism
that reached Barcelona in the 1800s. To imagine Barcelona without electricity today would be to
pretend as though half of the city did not even exist. “Electric lighting was presented as an agent
of change from night into day” (Ferran and Nieto-Galan 2016: 231), allowing for the emergence
�of electrical appliances and longer opening hours for shops. This also made life at home easier, as
all the rooms in the house could continue to be used even at night. La Rambla was the prime
location for experimenting with the trials and errors of urban electricity. The first time that light
was truly implemented and used efficiently was during the year 1875. A spotlight was put in place
illuminating an area of approximately 750 meters, from the Porta de la Pau to the Opera, the Liceu
(Ferran and Nieto-Galan 2016: 223). During this time there was also another lighting fixture set
up to illuminate a factory that was next to the seafront. The 1880s and onward were known as a
transitional period for Barcelona; during this time, “electricity played a crucial role in the profound
technological changes that progressively transformed urban landscapes and citizens’ habits”
(Ferran and Nieto-Galan 2016: 224-25).
The AEL was the first group that tackled attempting to introduce lighting to Barcelona, but
it was not until Universal Exhibitions were held in both 1888 and 1929 that it became a more
locally acceptable thing to use in daily life. It was also during the year 1888 when the Exhibition
was held where “more than 2,000 Edison electric lamps passed through La Rambla, Passeig de
Colom (Hotel International), the exhibition, and on its grounds, the magic fountain and the night
celebrations at the maritime display” (Ferran and Nieto-Galan 2016: 224). This allowed for the
night time to now become an active time where tasks and chores could be done, instead of only
being limited to the daytime. After the Exhibition in 1888, the Parc de la Ciutadella, along with La
Rambla, became the hot spots for “science popularization,” with the creation of such sites as the
Museu Martorell, the zoological garden, and the Umbracle (Sastre-Juan and Valentines-Álvarez
2016: 97). These additions to the Parc de la Ciutadella were things that the public had never seen
before, which would make them more open to new technology that was being brought up during
this time. The citizens became more familiar with change, which then made them more open to
�the idea of trial and error that came with the introduction of electricity in their area. This allowed
for the start of the modification of La Rambla, which would in turn lead to the modification of all
of Barcelona.
Although there was quite a bit of opposition to the idea of electric lighting in Barcelona at
first, the exchange of new electrical knowledge led to its widespread use. Introduction of electricity
is known as one of the “most thrilling developments in the interwar period” in Barcelona (Ferran
and Nieto-Galan 2016: 228). The 1929 Barcelona International Exhibition paved the way for
marketing and advertising techniques that were eventually able to spread the idea to every corner
of the city. For example, even though people in the neighborhood of Sant Gervasi were against an
electric lamppost, the people residing in the Poble Sec neighborhood celebrated lighting. The
change in people’s minds in regards to electricity can be partially attributed to the magnificence
of the electric magic fountain designed by Carles Buigas. It was the most liked spectacle at the
Exhibition, and it helped the public appreciate electricity. As a result, electric lighting attracted
new customers in places like the Pompeya music hall in Paral-lel or Cinema Mayland in Placa
d’Urquinaona (Hughes 2004: 127). Shops on Avinguda del Portal de l’Angel continuously kept
their lights on at night in order to promote their businesses (Ferran and Nieto-Galan 2016: 237).
Many groups wanted to further incorporate the use of electrical light into the home and appliances.
To do so, showrooms were created to demonstrate how artificial light could be incorporated into
the home. These models were meant to replicate a home setting in order to encourage others to use
electrical lighting. Additionally, in 1930, the Barcelona City Council announced that the owner
of the best lit shop window would receive a reward of 10,000 pesetas. Thirty-six shops entered,
and this was a successful attempt in spreading the use of electrical light in Barcelona (Ferran and
Nieto-Galan 2016: 235). After a while, ‘showrooms’ became very popular as they provided a space
�for experts as well as laypeople to come gain knowledge on electrical lighting as well as compare
electrical devices such as lamps, vacuum cleaners, refrigerators, etc. before making a decision to
buy one. This helped bridge the gap between skepticism and curiosity, allowing people to focus
on the benefits of electrical lighting and begin incorporating it seamlessly in their everyday life. In
short, “electricity [raised people] to the throne of the utmost comfort” (Ferran and Nieto-Galan
2016: 238), and in turn, completely transformed the nature and progression of Barcelona’s urban
atmosphere in a relatively short period of time.
While modern technology is used for light, it can also be used for recreation. The
installation of electrical lighting in the city paved the way for the emergence of amusement parks
throughout Barcelona. The article “Technological Fun” describes the “politics and geographies”
of amusement parks (Sastre-Juan and Valentines-Álvarez 2016: 92) and begins with a journalistic
text from 1926. The journalist describes the city as “dancing a marvelous dance around the
foreigner” (Sastre-Juan and Valentines-Álvarez 2016: 92) and continues to describe the dizzy
feelings and sharp sounds juxtaposed with city work life—the amusement parks are “alongside
transport networks” and function in conjunction with the city (Sastre-Juan and Valentines-Álvarez
2016: 92). The authors make a point that amusement parks are not just for fun, three things are
considered.
“The public and their experience of technological fun” comes first, then “the
mechanical rides,” and finally, “the promoters and their ideologies” (Sastre-Juan and ValentinesÁlvarez 2016: 96).
The fact that “amusement parks are included as elements of the perceived experience of
urban technification and transformation of public spaces” (Sastre-Juan and Valentines-Alvarez
2016: 92) speaks to the underlying technological, social, and political significance they possess.
Back then, all amusements parks were located on the periphery of the city of Barcelona, in three
�main areas: Parc de la Ciutadella, Collserola mountain range, and Montjuic Hill (Sastre-Juan and
Valentines-Alvarez 2016: 95), otherwise known as the ‘technological fun belt’. These amusement
parks were chockfull of rides, cafes, open green spaces, museums, sculptures, and so on. They
were originally targeted towards the bourgeoisie, but eventually customers from the middle class
and ‘respectable’ part of the working class began to visit them as well. The first mechanical
rollercoaster was introduced in 1888 in the Parc de la Ciutadella but was later moved to Placa de
Catalunya (Sastre-Juan and Valentines-Álvarez 2016: 96). These mechanical rides were not the
only attractions at the parks. At amusement parks one could enjoy “music, eating, drinking,
strolling around, and watching other people” (Sastre-Juan and Valentines-Álvarez 2016: 97).
In addition to being places that provided entertainment to people of all ages, amusement
parks were a grand representation of the influence of urbanism on the city of Barcelona. The
explosion in the popularity of amusement parks occurred during “urban transformations and social
struggles” (Sastre-Juan and Valentines-Álvarez 2016: 100). This, nonetheless, had negative
implications on the impoverished residents of the shanties that previously occupied the area that
Montjuic now did. Not everyone in Barcelona was a proponent of these parks, and there was
notable resistance to their being located within the city. Alongside the ‘technological fun belt’ was
the ‘red-and-black belt’, where the poor people were being relocated to ‘casas baratas,’ or ‘cheap
houses’. To tie it all together, “the regime of the pleasure of the new mechanized and standardized
technological fun was closely tied to the rise of the new technical elites and in tune with the new
regimes of knowledge” (Sastre-Juan and Valentines-Alvarez 2016: 111). All of this, then, was
about much more than just roller coaster rides. Changes in electricity and technology were
transforming urban culture in Barcelona.
�Architecture has been another spectacular presence in the Catalan Capital. In the third
chapter of his book Barcelona: The Great Enchantress, Robert Hughes describes the period of the
Renaixence as having “plenty of architecture of stunning and almost implausible originality”
(Hughes 2004: 113) and compares the culture of Barcelona to a museum (Hughes 2004: 114). In
addressing the transitions between old and new perspectives on architecture and technology,
Hughes compares buildings before and after the Renaissance in terms of technological
advancements. He explains the various ways in which brick can be used, for example, noting that
it can create “flat Catalan arches, round Moorish ones, cogging, diapers, tricky reveals, [or]
corbels” (Hughes 2004: 116). This was groundbreaking, as brick had previously been seen as a
plain material with little more than a single use. Hughes’ fascination with developing architectural
shapes and figures is evident in his admiration of the workmanship of the Palau de la Musica
Catalana, where he states, “No modernista building in Barcelona was or ever would be as
ecstatically received as Domènech’s Palau de la Musica Catalana” (Hughes 2004: 126-27). This
particular building was awarded the Argument's best building prize in 1908 for displaying “genius
and art characteristic of Catalunya, strong as its race, great as its history, and beautiful as its
incomparable sky” (Hughes 2004: 116). Hughes continues to describe the building, stating that no
music hall had such an “intense, even furious” commitment and loyalty to its performers as this
building did. Additionally, He admires the Sagrada Familia for both its architecture, and its ability
to bring people together: “The Sagrada Familia was intended to be what its name say: a temple,
where Catalans would converge to do penance for the sins of modernity (Hughes 2004: 130).
These and other readings discussing interconnected issues of electricity, technology, and
architecture in Barcelona highlight the social discontent in Barcelona that comes with the evolution
of new ideas. While not all people agree with shifts to modernity, they can be indicative of details
�about the culture affected by the changes. Overall, the challenges Barcelona faced were connected
to a sense of pride, being as it was said that “there is no blood and race definition of who is and
isn’t a Catalan. The mere fact of being Catalan confers no rights or privileges in Catalunya”
(Hughes 2004: 130). The people of Catalunya were the ones who were there from the start to the
finish; they went through it all, and experienced everything and they felt very prideful in this fact.
—Edited by Benjamin Fraser from original texts by Andrew Lee, Jayati Vyas, Claudia
Woznichak
�
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
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English, Spanish
Identifier
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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
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Title
A name given to the resource
Electricity, Techonology and Architecture
Subject
The topic of the resource
Electricity, Techonology and Architecture
Creator
An entity primarily responsible for making the resource
Andrew Lee,
Jayati Vyas,
Claudia Woznichak,
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
03/01/2017
Rights
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Creative Commons
Language
A language of the resource
English, Spanish
Type
The nature or genre of the resource
Document
Date Created
Date of creation of the resource.
03/01/2017
Andrew Lee
Barcelona
Claudia Woznichak
Jayati Vyas
Spain
-
https://collections.ecu.edu/files/original/26/831/image02.jpg
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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
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Title
A name given to the resource
Engraving of Kilcolman after T. Crofton Croker. From Mr. and Mrs. S.C. Hall, Ireland: Its Scenery, Character, etc. 3 vols (London: How and Parsons, 1841-3): I.93.
Source
A related resource from which the described resource is derived
Dr. Thomas Herron, ECU
-
https://collections.ecu.edu/files/original/27/892/55.jpg
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Dublin Core
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Title
A name given to the resource
Reconstructed Kilcolman Gallery
Source
A related resource from which the described resource is derived
Dr. Thomas Herron, ECU
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Title
A name given to the resource
Entrance to bawn wall with sheela-na-gig statue. A machicolation guards the entrance. Few traces of the bawn wall still exist, hence this entirely conjectural reconstruction. View from west.
-
https://collections.ecu.edu/files/original/27/904/67.jpg
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reconstructed Kilcolman Gallery
Source
A related resource from which the described resource is derived
Dr. Thomas Herron, ECU
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Entrance to staircase from ramparts of Tower House. View from the south.
-
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Title
A name given to the resource
Esplugües de Llobregat
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Text
1
Esplugües de Llobregat
Esplugües de Llobregat is a municipality located in southern Barcelona. It houses many
historical landmarks such as the palace of Can Cortada, home of famous Catalan author, Baron
Malda, as well as Can Cargol, the home of Xavier Corberó, a famous Catalan artist and good
friend of Robert Hughes. In his book Barcelona: The Great Enchantress, Hughes wrote of the
winding catacombs underneath Can Cargol and the entirety of Esplugües de Llobregat (2004: 5) ,
which had been dug for both storage and defense during the times of Roman control over the
region. Robert Hughes suggested that these caves, which were reminiscent of “the secret
labyrinth of a snail shell,” might have been the inspiration for the borough’s name which
translates to House of the Snail. While there, Hughes found an old printing press in one of the
catacombs’ storage rooms and thought it to be used by radicals during the 17th century to
produce Anti-Carlist texts (2004: 5).
Oliver Hochadel and Agustí Nieto-Galan discussed Eduardo Mendoza’s novel, The City of
Marvels, in which the main character is introduced distributing “anarchist pamphlets to (the)
workers” of Barcelona (2016: 1). This theme of demonstrating political activism can be seen
throughout the entirety of Barcelona’s history. An example is the Setmana Tràgica or tragic
week outlined in a book chapter by Teresa Vilarós. Tragic week is the name for the weeks of July
25 to August 2, 1909 in which there were a number of conflicts between the working class of
Barcelona and the Spanish Army (Vilarós 1995: 41). According to Hochadel and Nieto-Galan,
many historians view Barcelona as the “world capital of anarchism” as it serves as a strong
component of Catalan culture and can be found throughout the city’s history, even in regions as
small as Esplugües de Llobregat (2016: 3).
1
�
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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
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Title
A name given to the resource
Esplugües de Llobregat
Subject
The topic of the resource
Esplugües de Llobregat
Description
An account of the resource
Esplugües de Llobregat is located in Barcelona, Spain.
Creator
An entity primarily responsible for making the resource
Kendall Schunk, 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
Barcelona
Esplugües de Llobregat
Kendall Schunk
Spain
-
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PDF Text
Text
The Estancia Don Silvano offers guests the opportunity to experience a taste of the gaucho
lifestyle. A true ranch, the Don Silvano showcases standard animals like horses, pigs, and sheep,
while also displaying more exotic animals like peacocks, flamingo, parrots, and more! Guests
can also expect shows of Gaucho skill, horseback riding, a ropes course and zipline, and a show
of folk music and dance. To display their horseback riding proficiencies, the ranch’s gauchos
race, demonstrate traditional hunting methods, and compete in a historical horseback test of
skill previously used to prove a rider’s eligibility as a suitor. This event is an unforgettable
showing of style, fun, and flair. Guests, inspired by the riders’ skill or otherwise interested, can
try their hand at horseback riding on some of the ranch’s beautiful horses. Although not as
high-speed as the ride of the guachos, the horses take a path that offers new and fantastic
views of the Estancia Don Silvano. Thrill-seeking guests can have their fun on the the ropescourse, which offers guests a bird’s eye view, as well as the opportunity to zipline back down to
the ground below. Then at lunchtime is the traditional folk-music show, including beautifully
performed songs and dances. During the show, guests will be served an Argentine barbecue
lunch including cuts of meat, traditionally prepared potatoes, artisanal bread, and more! For a
great all-day ranch excursion, the Estancia Don Silvano is for you.
�
Dublin Core
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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
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Title
A name given to the resource
Estancia Don Silvano, Buenos Aires
Subject
The topic of the resource
The Estancia Don Silvano "Ranch" in Buenos Aires
Creator
An entity primarily responsible for making the resource
Garrett Reid, Brandon Sugg
-
https://collections.ecu.edu/files/original/22/610/fashion.png
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Dublin Core
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Title
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"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 <em>Eugene Onegin. </em>
Description
An account of the resource
Images to match citations, revealing the significance of evolving Russian fashion during the period of <em>Eugene Onegin. </em>
Creator
An entity primarily responsible for making the resource
Elizabeth LaFave
Source
A related resource from which the described resource is derived
<p align="center"> (English)</p>
<p>Bernstein, Aline. <em>Masterpieces of Women's Costume of the 18th and 19th Centuries</em>. Mineola, NY: Dover Publications, 2001.</p>
<p>Efimova, L. V., and T. S. Aleshina. <em>Russian Elegance: Country and City Fashion from the 15th to the Early 20th Century</em>. London: Vivays Pub., 2011.</p>
<p>Hahn, H. <em>Scenes of Parisian Modernity</em>. New York: PALGRAVE MACMILLAN, 2016.</p>
<p>Hiner, Susan. <em>Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France</em>. Philadelphia: University of Pennsylvania Press, 2010.</p>
<p>Perrot, Philippe. <em>Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century</em>. Princeton, NJ: Princeton University Press, 1996.</p>
<p><strong>Pushkin, Alexander. <em>Eugene Onegin: </em>A Novel in Verse (Oxford's World's Classics). Translated with an Introduction and Notes by James E. Falen. NY: Oxford University Press, 2009. </strong></p>
<p>Ribeiro, Aileen. <em>The Art of Dress: Fashion in England and France, 1750-1820</em>. London: Yale University Press, 1995.</p>
<p>Salmond, Wendy R., et al. Konstantin <em>Makovsky: The Tsars painter in America and Paris. </em>Washington, D.C., Hillwood Estate, Museum & Gardens, 2015.</p>
<p>Takeda, Sharon Sadako., et al. <em>Reigning Men: Fashion in Menswear, 1715-2015</em>. Los Angeles County Museum of Art, 2016.</p>
<p> </p>
<p align="center">(Russian)</p>
<p>Кирсанова Р. М. <em>Костюм в русской художественной культуре</em>. М.: Большая Советская Энциклопедия, 1995.</p>
<p>Лотман Ю. М. Роман А. С. Пушкина “Евгений Онегин”: Комментарий // Лотман Ю. М. <em>Пушкин: Биография писателя; Статьи и заметки, 1960-1990; “Евгений Онегин”: Комментарий. </em>- СПб.: Искусство-СПб, 1995. С. 472-762.</p>
<p>Лотман, Юрий. <em>Беседы о русской культуре</em>. СПб.: Искусство-СПб, 1994. </p>
<p><em>Русская культура</em>. М.: Белый город, 1995.</p>
<p><strong>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.</strong></p>
<p><em> </em></p>
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
<p>«Уединенный кабинет,</p>
<p>Где мод воспитанник примерный</p>
<p>Одет, раздет и вновь одет?</p>
<p>Всё, чем для прихоти обильной</p>
<p>Торгует Лондон щепетильный</p>
<p>И по Балтическим волнам</p>
<p>За лес и сало возит нам,</p>
<p>Всё, что в Париже вкус голодный,</p>
<p>Полезный промысел избрав,</p>
<p>Изобретает для забав,</p>
<p>Для роскоши, для неги модной, -</p>
<p>Всё украшало кабинет</p>
<p>Философа в осьмнадцать лет» (1, XXIII, 14)<em>.</em></p>
<br /><br />“The room where fashion’s model pupil<br />
<p>Is dressed, undressed, and dressed again?</p>
<p>Whatever clever London offers</p>
<p>To those with lavish whims and coffers,</p>
<p>And ships to us by Baltic seas</p>
<p>In trade for tallow and for trees;</p>
<p>Whatever Paris, seeking treasure,</p>
<p>Devises to attract the sight,</p>
<p>Or manufactures for delight,</p>
<p>For luxury, for modish pleasure—</p>
<p>All this adorned his dressing room,</p>
<p>Our sage of eighteen summers’ bloom” (Chapter 1, Stanza 23, Page 14). </p>
<p><em><br /> </em></p>
<p> </p>
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
Fashion's Dressing Room
Subject
The topic of the resource
<em>Eugene Onegin: </em>"Reading Fashion"
Description
An account of the resource
Eugene Onegin, a pupil of the highest fashion trends centered around London and Paris, boasted an expansive wardrobe.
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; <em>Eugene Onegin <br /></em>Image: Красавец мужчина<strong>. </strong>Русский модник XVIII – начала ХХ века / Авт. –сост. Н.М. Виноградова.
Publisher
An entity responsible for making the resource available
Text: Oxford's World Classics
Image: M. Исторический музей
fashion
London
Onegin
Paris
-
https://collections.ecu.edu/files/original/22/601/M24.png
b8ec68582479b167f0bb58eca8231ff3
https://collections.ecu.edu/files/original/22/601/IMG_7426.1.JPG
ae2fda44ec87a05edd8b9cb8eb374fec
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 <em>Eugene Onegin. </em>
Description
An account of the resource
Images to match citations, revealing the significance of evolving Russian fashion during the period of <em>Eugene Onegin. </em>
Creator
An entity primarily responsible for making the resource
Elizabeth LaFave
Source
A related resource from which the described resource is derived
<p align="center"> (English)</p>
<p>Bernstein, Aline. <em>Masterpieces of Women's Costume of the 18th and 19th Centuries</em>. Mineola, NY: Dover Publications, 2001.</p>
<p>Efimova, L. V., and T. S. Aleshina. <em>Russian Elegance: Country and City Fashion from the 15th to the Early 20th Century</em>. London: Vivays Pub., 2011.</p>
<p>Hahn, H. <em>Scenes of Parisian Modernity</em>. New York: PALGRAVE MACMILLAN, 2016.</p>
<p>Hiner, Susan. <em>Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France</em>. Philadelphia: University of Pennsylvania Press, 2010.</p>
<p>Perrot, Philippe. <em>Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century</em>. Princeton, NJ: Princeton University Press, 1996.</p>
<p><strong>Pushkin, Alexander. <em>Eugene Onegin: </em>A Novel in Verse (Oxford's World's Classics). Translated with an Introduction and Notes by James E. Falen. NY: Oxford University Press, 2009. </strong></p>
<p>Ribeiro, Aileen. <em>The Art of Dress: Fashion in England and France, 1750-1820</em>. London: Yale University Press, 1995.</p>
<p>Salmond, Wendy R., et al. Konstantin <em>Makovsky: The Tsars painter in America and Paris. </em>Washington, D.C., Hillwood Estate, Museum & Gardens, 2015.</p>
<p>Takeda, Sharon Sadako., et al. <em>Reigning Men: Fashion in Menswear, 1715-2015</em>. Los Angeles County Museum of Art, 2016.</p>
<p> </p>
<p align="center">(Russian)</p>
<p>Кирсанова Р. М. <em>Костюм в русской художественной культуре</em>. М.: Большая Советская Энциклопедия, 1995.</p>
<p>Лотман Ю. М. Роман А. С. Пушкина “Евгений Онегин”: Комментарий // Лотман Ю. М. <em>Пушкин: Биография писателя; Статьи и заметки, 1960-1990; “Евгений Онегин”: Комментарий. </em>- СПб.: Искусство-СПб, 1995. С. 472-762.</p>
<p>Лотман, Юрий. <em>Беседы о русской культуре</em>. СПб.: Искусство-СПб, 1994. </p>
<p><em>Русская культура</em>. М.: Белый город, 1995.</p>
<p><strong>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.</strong></p>
<p><em> </em></p>
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
<p>«В последнем вкусе туалетом</p>
<p>Заняв ваш любопытный взгляд,</p>
<p>Я мог бы пред ученым светом</p>
<p>Здесь описать его наряд;</p>
<p>Конечно б это было смело,</p>
<p>Описывать моё же дело:</p>
<p>Но панталоны, фрак, <span style="text-decoration: underline;">жилет</span>,</p>
<p>Всех этих слов на русском нет» (1, XXVI, 16). <br /><br /><br />“In current fashions of <em>toilette,</em></p>
<p>I might describe in terms more knowing</p>
<p>His clothing for the learned set.</p>
<p>This might well seem an indiscretion,</p>
<p>Description, though is my profession;</p>
<p>But <em>pantaloons, gilet, </em>and <em>frock—</em></p>
<p>These words are hardly Russian stock” (Chapter 1, Stanza 26, Page 16). </p>
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
Fashions of Toilette: Pantaloons, Frock, and Жилет
Subject
The topic of the resource
<em>Eugene Onegin: </em>"Reading Fashion"
Description
An account of the resource
Continued European influences on Russian styles and fashion amongst the city's elite.
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; <em>Eugene Onegin <br /></em>Image: <em>Костюм в Русский Художественной Культуре<br /> <span>Лотман, Юрий. </span><em>Бесебы о русской культуре</em><span>. Санкт-Петербург, «Искусство-СПБ», 1994.</span><em> </em></em>
Publisher
An entity responsible for making the resource available
Text: Oxford's World Classics
Image: Большая Советская Энициклопедия
Frock
Pantaloons
Toilette
жилет
-
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.” <em>Spenser Online</em>, http://www.english.cam.ac.uk/spenseronline/scholarly-resources/biography/. Accessed March 2018. <br /><br />Hadfield, Andrew. <em>Edmund Spenser: A Life</em>. Oxford UP, 2012. <br /><br />Judson, Alexander C. <em>The Life of Edmund Spenser</em>. Edited by Greenlaw, E., Osgood, C.G., Padelford, F.M., Heffner, R.Oxford UP, 1945. <br /><br />Maley, Willy. <em>A Spenser Chronology</em>. MacMillian, 1994. <br /><br />Spenser, Edmund. <em>Selected Letters and Other Papers</em>. 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
February 12 1594
Subject
The topic of the resource
February 12
Description
An account of the resource
“Lord Roche is decreed possession of disputed lands.” (Maley, 61)