24 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 February 1581 Subject The topic of the resource February Description An account of the resource Spenser would have traveled through or around the Bog of Allen, the largest in Ireland and a noted problem for soldiers; the Bog dominates the Irish midlands to the west of Dublin. Spenser compares the forces besieging the Castle of Alma to insects that torment travelers on the Bog in the FQ II.ix.16. (Judson, 95) 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 February 7 1598 Subject The topic of the resource February 7 Description An account of the resource Spenser granted permission to postpone term arrearages of rent due on Buttevant Abbey, a property he had obtained for his son, Peregrine. (Judson, 195; Hadfield, 363-64) 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 February 8 1587 Subject The topic of the resource February 8 Description An account of the resource Mary Stuart beheaded; Spenser later writes in FQ about Queen Elizabeth’s reluctance to kill her cousin and the justice of Mary’s punishment. (Judson, 122) https://collections.ecu.edu/files/original/34/1005/FeriadeMataderos.jpg a19734a58702d091bced2040f9fd5e0b https://collections.ecu.edu/files/original/34/1005/FeriadeMatederosGarrettReid.docx bc0585e97a7c2e290ff2c9e28b5e3110 https://collections.ecu.edu/files/original/34/1005/FeriadeMatederosGarrettReid.1.mp4 f436c9b967ce8e9a202d6f880103cb3d https://collections.ecu.edu/files/original/34/1005/FeriadeMatederosGarrettReid.2.pdf 300f0a158aec35b2105ab57a082984c5 PDF Text Text The Feria de Mataderos is an opportunity to bring some of the country lifestyle into the city. Like many other fairs in Buenos Aires, it is an open market filled with exotic and artisanal products, and occurs every Sunday. In some cases, the Feria de Mataderos has had over 700 stands selling these goods, with around 15,000 people (locals and tourists alike) experiencing the fair. At the fair you can expect to see mate, clothing, jewlrey, musical instruments, art, and handmade goods. Along with the crafts, the Feria also has a good selection of food, with stands offering empanadas, choripan, locro, and more. While you eat, you’ll likely be able to see a cultural show, such as regional music and dance or displays of gaucho (or cowboy) related abilities. What separates the Feria de Mataderos from the other fairs you might come across is the authenticity. Only a small percentage of tourists make their way to the fair, making it a mostly unaltered experience of the culture. This also affects the entire atmosphere, as the locals are frequently as excited to be there as the tourists. This energy and authenticity is what makes the fair such a great destination. Whether you’re interested in shopping, eating, or just absorbing the culture, the Feria de Mataderos is a great event to attend. � 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 Feria de Mataderos, Buenos Aires Subject The topic of the resource The Feria de Mataderos fair in Buenos Aires Creator An entity primarily responsible for making the resource Garrett Reid, Brandon Sugg https://collections.ecu.edu/files/original/34/995/Feria_de_San_Telmo.jpg 69566bb3d5922a14460cf7a77e122723 https://collections.ecu.edu/files/original/34/995/MaxKilgore3.1.mp4 8d3f05a52db509f97db7eef8afa5023f https://collections.ecu.edu/files/original/34/995/FeriaSanTelmoMaxKilgore.pdf f22d2fa4b32bcd8d6aba22f902fc0db1 PDF Text Text Feria de San Telmo Fería de San Telmo is a street fair held every Sunday from 10 to 4 in Buenos Aires near the historic Plaza de Mayo. Here, 270 exhibitors set up shop each Sunday to sell wonderful antiquities to the people of Argentina and travelers to the city. The fair may be hard to navigate at first glance as it is usually host to 10’s of thousands of people each week, making it one of the city’s largest and most popular street fairs. To help aid shoppers in finding what interests them most, the fair categorizes itself in different ways depending on what is being sold in that area. For instance, the fairs “Feria de las Artes” identifies a section of vendors who are solely dedicated to selling works of art that showcase the unique artistic flair of Buenos Aires. Likewise, the fairs “Walk of Native People” section showcases vendors who sell crafted goods that originated in Argentina such a jewelry, bags, and hand stitched sweaters. Outside of these sections, vendors are given free range to sell any items from antiques to crafted goods to start up ideas developed by small businesses. Even the surrounding shops participate in the festivities by opening their doors and bringing products outside to sell. The fair, however, is not simply about blindly selling goods to a consumer. Instead, it shows the culture of Argentina not only through the goods being sold but through festivities such as tango, singing, food, and other public displays. Whether you are looking to explore more of the Argentinian culture or simply looking for a souvenir to bring home, Fería de San Telmo is a must stop destination on your next trip to Buenos Aries. � 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 Feria de San Telmo, Buenos Aires Subject The topic of the resource Street Fairs held near Plaza de Mayo, Buenos Aires Creator An entity primarily responsible for making the resource Max Kilgore, Brandon Sugg https://collections.ecu.edu/files/original/22/626/Picture2.png 6fb3d202848bb4944dfa8cb7e12985a4 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. 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 Frock https://collections.ecu.edu/files/original/22/621/furcoat.png 3b191a0c4137243e33bb079d3e60c187 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 «Еще усталые лакеи На шубах у подъезда спят» (1, XXII, 14).  “And while the weary band of servants Still sleeps on furs at carriage door” (Chapter 1, Stanza 22, Page 14).     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 Fur Coats: Шуба Subject The topic of the resource Eugene Onegin: "Reading Fashion" Description An account of the resource Often worn to keep warm during the coldest months, fur coats were a staple worn by the masses; paired with both traditional Russian clothing and the western European styles. 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: Красавец мужчина. 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 fur coat шуба https://collections.ecu.edu/files/original/27/896/59.jpg c9d3f8f8a3501af9e436d4f7e8b7e28c 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 Reconstructed Kilcolman Gallery 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 Garden wheel-barrow. View from south. https://collections.ecu.edu/files/original/27/897/60.jpg 0b8656a57f8c5f6dadffd768d1cd4dc0 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 Reconstructed Kilcolman Gallery 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 Garden. View from east. Large ceramic planters are copied from Barryscourt, Co. Cork. Entry to bawn area is on the left, in the west wall. https://collections.ecu.edu/files/original/20/573/Gaudi_-_Camille_Kresz_Benjamin_Fraser_[eds].pdf f42a0feece9e0fa8a2427c7eae374185 PDF Text Text Gaudí: Nature, Religion and Politics The documentary Antoni Gaudí by Teshigahara (1984) is a great showcasing of the buildings that were designed by the architect, such as the Casa Milà, Colonia Güell, Park Güell, and the Casa Batlló, but especially the Sagrada Família. The Sagrada Família is of the most famous tourist destinations in Barcelona. This beautiful piece of architecture, like Gaudí’s work in general, veered from the norm of the time. His architectural pieces were like nothing else in the city. While many buildings were very straight edged and industrial, Gaudí worked with a style that was more whimsical and curved, and he even tried to bring in aspects of the natural world. Because it is known as Gaudí’s most famous work, Sagrada Família is the last building shown in Teshigahara’s documentary, and its representation takes up the greatest chunk of time (56:30-1:10:53). His work has allowed for so many advancements to be made in Barcelona, and as a consequence, Gaudí will never be forgotten—his work will live on forever. Today, no one dares to challenge or correct his work or question his stylistic choices; however, this was not always the case. Prior to the Spanish Civil War (1936-39) there were people who opposed Gaudí’s work. Some of the intellectuals of the time mocked Gaudí’s creation, including George Orwell who called it “one of the most hideous buildings in the world” (Sobrer 2002: 210). Orwell quoted in his Homage to Catalonia that “the Anarchists had bad taste in not blowing it [Sagrada Família] up when they had the chance” during the Spanish Civil War (Orwell 1938: 225). Gaudí’s work was also representative of Catalan Modernisme, which was opposed by the Noucentistes (Sobrer 2002: 210). However, the traits that define Noucentistes—“noucentisme, imperialisme, arbitrarisme, classicisme, civiltat”—all align with Gaudí’s work as it improves previous architectural styles and encapsulates essence of Barcelona (Sobrer 2002: 211). Today, the Sagrada Família stands as a monument to a vision born of a period of social and ideological conflict; it is a supreme exemplar of values that Gaudí explored in almost all of his works (Kent 2002: 227). It contributes to the “standard, popular, totalizing �vision of Barcelona, figured as a combination of old and new emblematic elements” (Balibrea 2010: 204). Not merely an architectural genius, Gaudí also a member of the Asspciació Catalana d’Excursions Científiques. This group, full mountain aficionados, was a good fit for Gaudí. All of his life, Gaudí has had a special place in his heart for mountains. This affection and interest only grew when Gaudí began to establish solid philosophies towards nature. He took inspiration from another architect, Paul Abadie, the designer of a Parisian church located on the mountain Montmartre. However, Gaudí took a different approach to Abadie’s idea. He decided to forego using Barcelona’s mountains, Montjuïc and the Collserola range, and instead turn Barcelona into a mountain itself. To accomplish this, Gaudí toyed with the relationship between Barcelona’s neighboring city and the Sagrada Família (Sobrer 2002: 205-06). Rarely is a mention of Barcelona made without a reference to Antonio Gaudí—known for his unique and modern style that has made is works iconic. He drew many of his influences from nature and paid close attention to detail in his structures. His work manages to be “genuinely and forthrightly modern while still incorporating regional differences” (Hughes 2004: 113), an aspect that is important for Catalan architectural nationalism , as outlined by architect Domènech i Montaner. In most if not all of his plans Gaudí let religion, in addition to nature, inspire his design of the buildings. Heaven, or Paradise, was an inspiration for Gaudí. He incorporated his thoughts of what he thought Paradise is like into many of his works, not just Sagrada Família. When he designed and built Park Güell for example, “Gaudí created the garden with a series of references to Paradise” (Kent 2002: 226). Gaudí’s work also incorporated some political influences. When he was getting the original financing for the Sagrada Família done, he was able to reach across class lines to get people to donate to the project. Sobrer points out this fact, writing that “Gaudí himself, in his fund-raising efforts, spoke of sacrifice, of giving ‘til it hurts’ as he gathered contributions from �all runs of society” (Sobrer 2002: 218). This was unusual, as most of the time it was just people from the upper class that would donate to such projects and finance them. People from lower classes helping with funding was something that was not as common. He was also motivated by a populist impulse as he used techniques like trencandís and maqueta funicular, notably for the construction of Parc Güell. Trencadís is using broken tile from various sources to tile and decorate a specific item, there are different pictures and colors included when using this method. Gaudí asked people to bring him broken pieces of tile. There is also a deeper meaning to trencadís, as Josep Sobrer discusses in his article “Against Barcelona”: “in symbolic terms, trencadís exalts the poor, the broken, the outcast” (Sobrer 2002: 212). Gaudí did not just use tile from the rich, and that is one way that Gaudí was able to uplift the poor. Maqueta funicular is a technique using buckshot and string, or chain, to calculate the shape of arches and inclination of columns. Gaudí’s techniques, like his work, are also criticized for their anti-intellectualism and reactionary conservatism (Sobrer 2002: 213). However, the evolutionary nature of Gaudí’s work was not appreciated on a large scale until decades after his death. Indeed, in the middle of construction for Sagrada Família Gaudí unfortunately died when he “was killed by a street car one June day in 1926” (Hughes 2004: 128). According to Sobrer, “[Barcelona]'s reputation in the non-negligible world of tourism is built around Gaudí" (Sobrer 2002: 209). Antonio Gaudí’s unique style of architecture is incredibly specific to Barcelona, it blends a surrealist style and traditional architectural design into a beautiful functional structure. His designs truly are incomparable to those in any other city in the world, and have been highlighted by many photographers and filmmakers alike. Gaudí’s work was very different from that of other architects in his time; it has been closely associated with Catalan spaces. In fact, it can be argued that “to decry Gaudí would be to decry Barcelona, if not Catalonia” (Sobrer 2002: 209). �—Edited by Camille Kresz and Benjamin Fraser with text from Victoria Bishop, Ariel Fricke, Rachel Harris, Grace Langley, Tricia Malcom, Amy Musgrave, Kendall Schunk, Sarah Spangler, Vyas Jayati and 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 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 Gaudí: Nature, Religion and Politics Subject The topic of the resource Gaudí: Nature, Religion and Politics Creator An entity primarily responsible for making the resource Victoria Bishop, Ariel Fricke, Rachel Harris, Grace Langley, Tricia Malcom, Amy Musgrave, Kendall Schunk, Sarah Spangler, 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 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 Amy Musgrave Ariel Fricke Barcelona Claudia Woznichak Grace Langley Jayati Vyas Kendall Schunk Rachel Harris Sarah Spangler Spain Tricia Malcom Victoria Bishop