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                <text>The image depicts a beer dive or also known as a two cent restaurant because a roll and coffee were served for two cents.  Men are photographed at tables with some slumped over and sleeping while others appear talking.  Their clothing is in disrepair.  The restaurant/dive is very dark with only a couple of lights displayed and a low ceiling so it appears to be in a cellar.  Maggie’s neighborhood would probably have contained such a dive/restaurant.</text>
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                <text>Jacob Riis discussed the large number of saloons where there were 111 places of worship and 4,065 saloons below Fourteenth Street.  Patrons were interracial men and women.  Young boys frequented the saloons, picking up beer for their elders even though laws prohibited selling beer to children.  The saloons often were owned by local politicians and located in the tenement neighborhoods and even in the residents’ buildings.  This saloon atmosphere eventually became part of Maggie’s life with Pete.</text>
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                <text>Jacob Riis reported on his experience of accompanying the police on a raid of a beer dive.  He described the filthy dive of beer drinking men and women who scattered as the police entered, only to be captured and arrested.  This beer is often unlicensed and drugs are added to produce froth on it.  Many of the dives were known as two cent restaurants because they also served coffee and rolls for two cents.  Often each round of beer entitled the customer to sit or sleep all night so tramps were a common phenomenon in the dive.  This type of alcohol dominated atmosphere is what Maggie would have experienced which led to her desire to search for something more in life.</text>
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                <text>This advertisement was interesting due to it’s claims for free bicycle samples. Laid out just like a modern car ad, this bicycle ad tries to attract as many different customers as possible. It appeals to those who have more money and want the newest ’99 models, while also offering models from years past such as ’98 and ’97 models. They also offer a free bicycle to anyone who is willing to help market the company’s “superb” wheels. The ad also covers purchasing terms that are similar to a modern car purchase. No money was needed in advance and they were willing to ship the bicycles to anywhere. I found it interesting how the company was willing to take multiple approaches in an attempt to sell their product to any potential customer.</text>
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                <text>K. G. Mead Cycle Co.</text>
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                <text>"A Hundred Years of the American Navy" Collier's Weekly Journal of Art, Literature, and Current Events 24.14 (6 January 1900) Print.</text>
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                <text>January 6 1900</text>
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                <text>Scott Nye</text>
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                <text>This advertisement caught my attention with it’s claim. The title “Easily Earned” refers to the sofa that would be given to anyone who could sell 52 boxes of toilet soaps. The ad also talks about a catalog that could be sent as well. This ad seems very similar to a modern pyramid scheme to get people to sell an item with a reward if the sell enough of the item. Not only does this advertisement remind me of a pyramid scheme, it is one of the first advertisements pertaining to a mail order catalog. Companies such as Sears and Roebuck would soon be household names for consumer products, so it is neat to see this ad as a precursor to what would come later. </text>
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                <text>Bullock, Ward &amp; Co</text>
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                <text>"A Hundred Years of the American Navy" Collier's Weekly Journal of Art, Literature, and Current Events 24.14 (6 January 1900) Print.</text>
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                <text>Scott Nye</text>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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                <text>For my research paper I will be focusing on women's clothing in the 1850's and on and how it defined them.  Below are two pictures from a book I found in the library by Elisabeth McClellan titled "Historic Dress in America 1800-1870" and it goes into deep detail of the types of clothing that were popular for both men and women during this era.  The first image shows how the women dress from 1850 - 1860, and the second how they dressed from 1860 - 1870.  The first collection of illustrations shows the various features associated with a hoop shirt, such as the wire webbing underneath and all the intricate lace decorations.  During the 1850's women were just beginning to become more involved with society and they wanted to be defined by their dress.  They would try to look as elegant as they could by wearing these elaborate dresses to make them look beautiful.  Beauty at that time was defined by how big and decorated your dress was and how tight your waist was.  Beauty was a shape and what you looked like on the outside, rather than health and inner beauty.  As for the second set of illustrations, they focus more on the idea of the "New Woman."  In these pictures the women are featured in dresses that are looser and without the wire netting.  The picture in the middle is the most important because it is the "croquet costume," and an example of the dresses women would wear to the sporting events.  This type of dress was significant because it defined women as an active part of society and although the dresses were still elegant they allowed the women to do more.  Women still tried to look beautiful, but also embraced their new look that allowed them to take part more in societal activities, such as sports.  I thought this was significant because one can relate it to Henry James' "Washington Square."  These women expressed themselves through their dress, just as Catherine did with her lively dress.  Catherine was so dull in personality she tried to make up for it by showing off in her elegant dress, and it did work, but it attracted a man that only made her life more difficult.  </text>
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                <text>Elisabeth McClellan (author), Sophie B. Steel and Cecil W. Trout (illustrators) </text>
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                <text>McClellan, Elisabeth.  "Historic Dress in America." Philadelphia: George W. Jacobs &amp; Company, 1910.  Print.  </text>
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                <text>George W. Jacobs &amp; Company, 1910.</text>
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                <text>December 7, 2015</text>
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                <text>Taylor Caldwell</text>
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                <text>1850s -1870s</text>
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                <text>A Hundred Years of the United States Navy</text>
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                <text>I was drawn to the photos that went along with the article on the US Navy. The image is accompanied by an article talks about the technology that the United States had started to implement in their battleships. The article was written by “An Officer In The Service”, but it is clear that the writer has an in depth background in the history of the US Navy. I am not surprised that the writer chose to stay anonymous considering the numerous Pacific campaigns that were taking place. In the late 1890s and early 1900s, the US was actively involved in few different conflicts. The article that goes along with the image also seems to be hinting at the growth of the US as a major military power and that the US is starting to hold its own internationally. The civil war marked the first use of iron-armored ships in the US, and less that 40 years later, the US fleet is comprised of almost entirely steel ships. Rather than the ships of the past, these warships were built with the single purpose of engaging enemy targets. That combined with engines means that the speed of naval warfare has also significantly increased. As shown in the image, there is a stark contrast between the older ships on the left and the newer ones on the right. Not only is the Navy developing a larger fleet, but they are working to stay on the technical front of warfare. &#13;
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                <text>"A Hundred Years of the American Navy" Collier's Weekly Journal of Art, Literature, and Current Events 24.14 (6 January 1900) Print.</text>
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                <text>Scott Nye</text>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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                <text>Metropolitan Magazine 1895, "The New Woman" and "The March of Progress"</text>
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                <text>These articles appeared consecutively in the December 1895 issue of &lt;em&gt;Metropolitan&lt;/em&gt; magazine. "The New Woman: What She Is and What She Does," profiles a series of so-called "New Women" who have occupations including that of department-store window-dresser, archaeologist, composer, and so on. Others are highlighted because they successfully overpower burglars. One is featured because she has popularized the carrying of canes by women. The subsequent article highlights technological innovations including the "Trolley sprinkler" and a bicycle that has an ice skate for the front wheel, so that it can be more easily used (supposedly) in wintry conditions. &lt;br /&gt;&lt;br /&gt;Both of these articles portray their subjects in less-than-totally serious lights, to the extent that it makes you wonder if they are mocking the idea of the New Woman, on the one hand, and technological progress, on the other. They also make some of the more fantastical descriptions of American society in &lt;em&gt;Martin Dressler&lt;/em&gt; seem less fantastic-- more believable. Of the skate-bicycle, the author claims that it is an "entirely practicable affair" (433); however, it's not actually clear how the cyclist would actually propel such a device across an icy surface. Likewise, it's not clear that the article is actually celebrating the New Woman for her intellectual attainments. Arranging department store displays is not that different from decorating a home; and the archeologist is admired more for climbing the Alps (the subject of a full-page photograph) than for actually pursuing archeological study.</text>
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                <text>"The New Woman: Who She Is and What She Does," &lt;em&gt;Metropolitan Magazine , &lt;/em&gt;December 1895: 429-31; "The March of Progress, &lt;em&gt;Metropolitan Magazine,&lt;/em&gt; Dec. 1895: 432-33.</text>
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                <text>Jean Lee Cole</text>
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                <text>The illustration here depicts Champ De Mars (Field of Mars) as it will be at its completion.  The people of New York were still very interested in progress and foreign accomplishments. New York was growing rapidly at the turn of the century, so readers would be very interested in reading about the World’s Fair and seeing the architectural feats on display like in the illustration. </text>
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                <text>Towne, Charles A. "Plans for the Paris World's Fair." Comopolitan Dec. 1899: n.</text>
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                <text>This series of illustrations was created by Charles Dana Gibson and is titled “A New York Day: ‘Night’” (573-577).  This was featured in the November monthly issue of Scribner’s Magazine.  Charles Dana Gibson was a famous graphic artist who is best known for the iconic image of the beautiful and dependent American woman.  This is a series of illustrations that demonstrates a series of events that could typically take place on an evening in New York City.  This was one of the reasons I chose this series of images; the women are displayed in with elaborate dresses, clean hairstyles, and have a notion of confidence.  This is illustrated on the title page of the series as the woman is dressed so properly and has her head slightly tilted up, showing she is independent and confident in herself.  The following illustration is the girls meeting the musician they will watch at the show and it is evident they are somewhat enthused by him.  The second illustration features five men in “The Club,” which I would consider a gentlemen’s club where men would discuss women and drink for leisure.  The final illustration depicts the men surrounding one of the women that looks as if she was a performer and it is almost as if they are looking as her like a piece of meat, or as if they do not care for her at all.  I found this series of images to relate to many of the details within Maggie: A Girl of the Streets.  First, I would say the women represent the world Maggie was fascinated with and what drew her to the life with Pete.  She was so engrossed in the dresses and the performers she saw because it was this whole different life to her, which I think was common thought of this era in New York.  I believe there was a huge separation of class spheres, which was evident through the manners and dress of the people.  I also felt this series of images depicted the idea of Pete, as he was never really enthused with the plays they attended and also was engulfed in this idea of being a man of spotless reputation.  In a way it was also as if they people of this time could hide their insecurities through the way they dress.  Therefore, I feel this was a strong reputation Maggie and Pete.  &#13;
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                <text>Gibson, C. D. "A New York Day: ‘Night’." Scribner's Magazine [New York City] 1898, Vol. XXIV, No. 5: 573-577. Print.&#13;
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                <text>This image depicts the Silent Protest Parade on July 28th, 1917, which consisted of 8,000 to 10,000 African Americans protesting the lynching of African Americans and black violence. Civil Rights activist W. E. B. Du Bois and the NAACP organized this protest in an effort to convince President Woodrow Wilson to uphold his promise to implement anti-lynching and anti-violence legislation to protect African Americans. This image includes rows of young children holding hands while participating in this protest.</text>
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                <text>The New York Public Library</text>
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              <elementText elementTextId="548">
                <text>Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, The New York Public Library. "Children in the Silent Protest Parade, 1917. (The Brownies' Book)" The New York Public Library Digital Collections. 1920 - 1921. http://digitalcollections.nypl.org/items/510d47df-7944-a3d9-e040-e00a18064a99</text>
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                <text>Shannon Ferrara</text>
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                <text>"Eventually they entered into a dark region where, from a careening building, a dozen gruesome doorways gave up loads of babies to the street and the gutter." (6, Crane)&#13;
&#13;
This particular quote is almost an exact description of the image I have found. During Crane's description of the  dismal setting of the impoverished area of New York, he really brings out naturalism here. The setting in this sentence is written as though it is the subject, which really adds to the effect that Crane is trying to convey to the reader. This quote is also very interesting because it is a clear example of how people, or "babies" in this specific quote, were "responding to the stimuli" of the environment of the time. Crane describes it in this way to really bring out the idea that the people in these poor areas had no power or control over their environment because it had sucked the life out of them. It is almost ironic how this quote gives nonliving objects humanlike characteristics and vice versa. The use of phrases like “careening building” and “a dozen gruesome doorways gave up loads of babies” really depicts Crane’s view of naturalism in that the environment determines the individual.</text>
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                <text>Jacob Riis (How the Other Half Lived)</text>
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                <text>Roberts, Hannah. "The Slumdogs of New York: Remarkable Images Open a Window into the Squalor and Deprivation Endured by Immigrant Families in an Unrecognisable 19th Century America." Mail Online. Associated Newspapers, n.d. Web. 11 Nov. 2015. &lt;http://www.dailymail.co.uk/news/article-2089243/Slumdogs-New-York-The-remarkable-images-capturing-immigrant-families-unrecognisable-19th-century-New-York.html&gt;</text>
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                <text>Adam Monticollo</text>
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                <text>The image shows Jewish immigrants en route to America, probably via Ellis Island as it served as the main hub for the immigration of European Jews during the time. The image not only shows Jewish migrants but how the US would start becoming a melting pot of multiple religions and how New York would serve as a main source of new people funneling into the US, catalyzing the city's growth with a new foreign population.</text>
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                <text>David Grubin</text>
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                <text>Grubin, David. The Jewish Americans. PBS.org. Web. 5 Nov. 2015.</text>
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                <text>Jonathan Lim</text>
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        <name>1890s</name>
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        <name>Immigrants</name>
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            <element elementId="50">
              <name>Title</name>
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                <elementText elementTextId="3">
                  <text>1890s</text>
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            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
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                <elementText elementTextId="4">
                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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        <name>Dublin Core</name>
        <description>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/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>“Tibbetts’ Hydroidic Obesity Pills ad, The Ladies’ World (Vol. 13, No. 8), 1892." </text>
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          <element elementId="41">
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                <text>The item I choose is an advertisement for diet pills for women called “Tibbetts’ Hydroidic Obesity Pills.” There is a picture of a women that says, “as I was” and then a picture of a women saying “as I am.” These two images are trying to show the audience the transformation one can have when they use this diet pill. The audience for this specific item is obese women. The slogan for the diet pill is, “The only known remedy for obesity.” The advertisement gives information about pricing, how much weight can be lost, and the address of the chemist whom makes the pill. I am not sure if the creator of the pill is the same person whom created the advertisement. At the bottom of the advertisement it states, “ George Burwell, Chemist, 176 Boylston St., Boston.” It is not specific if he is the also the person who created this advertisement. This item was interesting to me because I was shocked when I saw it. In today’s society there are advertisements all over for diet pills and “tricks” to losing weight but I was unaware this was happening then. The advertisement in a way reminds me of Catharine from Washington Square. Even though she is not described as obese in anyway, her father is always criticizing her for the way she looks and acts. It is a similar idea of how society harps so much on physical appearance and people are often trying to change how they look. </text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="512">
                <text>Unknown. “ Are You too Fat?” August, 1892. The Ladies’ World. Vol. 13. -No. 8, Boston. Page 14. </text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="513">
                <text>The Ladies’ World. Vol. 13. -No. 8. August, 1892. </text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="514">
                <text>November 3, 2015</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="515">
                <text>Erin Donlon</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="516">
                <text>Unknown </text>
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  <item itemId="65" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="3">
                  <text>1890s</text>
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            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="4">
                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="502">
                <text>"Why Don't Ye Shoot</text>
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            <name>Description</name>
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                <text>	The item I chose is an etching that depicts a scene in which there seems to be a conflict between a man and a woman. The man is pointing a gun at the woman and she can be seen saying “Why Don’t Ye Shoot”. Louis Loeb, a famous American artist, etched this item. The audience of this etching seems to be the average everyday person. This scene seems to provide insight at what life could have been like in the 1890’s. This etching reminds me of how I imagined life to be like after reading Maggie; A Girl of the Street. The idea of confrontation was familiar in both works an example from Stephen Crane’s work is when Jimmie says “ When I catch dat Riley kid I’ll break ‘is face”(Crane pg.9). This kind of violent thinking is seen in the etching when the woman says, “ Why don’t ye shoot” when a gun is pointed in her face (Century, pg. 168). Another connection that led me to see a similarity between Maggie: A girl of the Streets and this etching is in the way the people seem to talk. It seems as though it comes from instinct instead of being well thought out. I also feel as though this etching shows how people of the 1890’s think. It brings the idea of naturalism in works we have read this semester. In works with naturalism people were pessimistic and reacted to the environment more than planning ahead and thinking things through. Characters in these types of works were also characterized as animalistic. In Crane’s work this is depicted by infants who “played or fought with other infants or sat stupidly in the way of vehicles”( Crane pg.7). In this work the infants are being depicted as animals probably a stay cat. In the etching I chose I see the people as having animalistic qualities as well. For example the women seems to be the “alpha male” and the other two men are cowering in fear, this depiction makes me think of the typical actions of a dog.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="504">
                <text>The Century- Louis Loeb</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="505">
                <text>Loeb, Louis. "Why Don't Ye Shoot." The Century XLVII (June 1894): 168. Print.</text>
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            <name>Publisher</name>
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              <elementText elementTextId="506">
                <text>The Century </text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="507">
                <text>November 3, 2015</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="508">
                <text>Brandon Desintonio-Perez</text>
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          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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              <elementText elementTextId="509">
                <text>1890's</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="3">
                  <text>1890s</text>
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            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="4">
                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
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          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="496">
                <text>The Klondike Gold Fields - Exploring the Yukon Rivers in Search of Gold</text>
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            <description>An account of the resource</description>
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                <text>The item I chose to examine for this article was one of the many pieces of equipment used by gold miners during the Klondike Gold Rush that was called a “rocker box.”  This item was used for the means of separating “alluvial placer gold” from the sand and gravel quite extensively in the 19th century for placer mining.  The equipment consisted of a high-sided box, which would open on one end and on top, and then placed on rockers to stream out whatever the miners could see what was or was not gold.  The rocker boxes needed to be operated very cautiously in order to avoid losing any of the gold they were mining for. Although this equipment was quite big, and even more challenging to move, the rocker could pick up twice the quantity of the gravel, and thus allowing the possibility of more gold in one day than from just an ordinary gold mining pan that most miners would use.  &#13;
This item was used rather considerably during the gold rush for the Klondike region of the Yukon Rivers in Canadian territory once local miners had discovered gold in August of 1896.  When newspapers went on to advertise gold mining to American citizens that following year, various miners from Seattle, Washington and San Francisco, California made their way through the ports of Southeast Alaska to travel either through “White Pass” or “Chilkroot” trails that led to the Yukon region. Out of the vast amount of 100,000 miners en route to Northwestern Canada, only a fraction of 30,000 miners had actually survived the voyage, whereas only 4,000 individuals were the only ones that came across any gold throughout a three-year span until 1899 when more gold had been found in regions of Alaska and these gold fields had depleted.  &#13;
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            <name>Creator</name>
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              <elementText elementTextId="498">
                <text>Collier's Weekly: A Journal of Art, Literature and Current Events </text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="499">
                <text>Adney, Tappan. "The Klondike Gold Fields." Collier's Weekly 30 December 1899: 6. Print</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="500">
                <text>1899</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="501">
                <text>Evan Orfanos</text>
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  </item>
  <item itemId="63" public="1" featured="0">
    <fileContainer>
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        <src>http://www.loyolanotredamelib.org/en203/files/original/043868ce3eca998ac2b38790adfe3c5d.pdf</src>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="3">
                  <text>1890s</text>
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              </elementTextContainer>
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            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="4">
                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
                </elementText>
              </elementTextContainer>
            </element>
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      <name>Text</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="487">
                <text>The Vanderbilt Marlborough Union</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The Vanderbilt-Marlborough Union, at the very beginning of the magazine starts out almost idealizing this marriage describing it as though it was a perfect extremely extravagant wedding just before breaking from this line of progression to state how the Vanderbilt household was not functioning at its best of late. The audience for this item appears to be the middle class specifically it may be of greatest interest to those in the upper middle class who look upon the super-rich with aspirations of becoming like them. The article seems to somewhat try to bring the super-rich class down to within reach by depicting this almost perfect wedding, in their ranks, and then saying that everything is in fact not fine, that there has been some infighting among the elders of the family. The creator of this article would have known what he was saying and as such it implies either someone that was disgruntled at the existence of this super-rich class, or he knew that those aspiring to be like the super-rich would be glad to see them brought down to a more obtainable position. The description of Mr. Marlborough especially shows this when the article describes his stature saying that it is quite unimpressive. The description of the clothing echoes this when it says that the way he dresses is almost negligent.  The article goes on to describe the castle of Blenheim owned by Mr. Marlborough saying that it is a very large estate of almost ten square miles and that the Vanderbilt mansions don’t even rival the size. Instead the Vanderbilt mansions are described in this article as admirable training schools from which to graduate to a castle. In describing the homes as a school the author may be implying to the audience that the only real difference between them and the super-rich is education.</text>
              </elementText>
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          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="489">
                <text>H. M. Breen</text>
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            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="490">
                <text>Breen, H. M. “The Vanderbilt Marlborough Union.” Metropolitan Magazine Dec. 1895: 375-80 Print.</text>
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          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="491">
                <text>Metropolitan Magazine</text>
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            </elementTextContainer>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="492">
                <text>11/3/2015</text>
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            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="493">
                <text>Dalton Spatz</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="494">
                <text>Print.</text>
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            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="495">
                <text>1890's</text>
              </elementText>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3">
                  <text>1890s</text>
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              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="4">
                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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      <name>Text</name>
      <description>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.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>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/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="477">
                <text>Cornell vs. UPenn, Dec. 30, 1899</text>
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          <element elementId="49">
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            <description>The topic of the resource</description>
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              <elementText elementTextId="478">
                <text>Sports article</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The item chosen is an example of sports journalism back in the 1890s, a summary of a college football game played between Cornell University and the University of Pennsylvania, where each team is described in great detail about their season and what happened during the game.&#13;
	The first thing to note is the diction used throughout the sports article. It is much more formal compared to the diction used today, using expressions like “depression” to describe a team doing badly and “between these two elevens” to describe two teams (Camp 22). In addition, the two colleges are continuously referred to as “her” whenever describing each team, such as, “During two halves of thirty-five minutes Cornell never once succeeded in making her five yards” (22). The diction used is very intentional and even reflects a time where entertainment is growing into the sports industry. The audience is definitely meant for sports fans, and being in New York as a center of entertainment, this sports article is a good example of how the entertainment industry grew in New York from the theater to amateur sports like college football. Another thing to note is how much detail the article tells about the game; today, sports articles may note highlights and notable players but the article really tells a story about how the two teams played against one another. To add, this seems to be a fitting article from Walter Camp because he used to be a football player and gained fame from his association with Yale athletics and American football (Smith). The sports article seems to mesh well into the magazine as well, mixing in with the current events in the beginning and the stories scattered around, and the use of photography definitely helps people visualize something completely foreign to them such as American football. &#13;
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                <text>Camp, Walter. “A Review of the Pennsylvania – Cornell Game.” Collier’s Weekly 24:13 (1899): 22. Print.</text>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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                <text>The item I choose to analyze is an article called “Undergraduate Life at Smith College” This article gives a comprehensive description of what life is like for an average student at Smith College. The audience could be many people, but I believe it to be the young women of the middle and upper class on the East Coast. Alice Katherine Fallows, the author of this article, also wrote other things. She wrote a self-help book series that was featured in the Journal of Education. It’s apparent while reading the article that Fallows is an alumni of Smith College and gained a positive outlook on being an educated women. She speaks frankly on what it’s like to go to Smith and highlights all the positives of being a woman at Smith College. The illustrator, Walter Appleton Clark, also seems to have direction with his art work in the article. Clark was the official illustrator for the Scribner’s Magazine for many years. His art work represents the movement towards impressionism and modernism which perfectly captures the essence of what a women’s college was at that time, a new modern way forward. For an example, there is a sketch on page 45 called the “Practice Illustration”. This illustration features a group of girls practicing some sport on the field. Heavy, dark outlines are used throughout the drawing and the girls are depicted roughly shoving each other. This is the opposite way a woman would be depicted from previous decades. Clark also uses defined yet ghostly forms to draw the faces of the girls playing. Some are depicted smiling, others frowning, and the rest don’t really have a face. (Fallows, 45) The contrast between dark heavy lines and the lightly drawn faces, show the pull and tug that existed in being a New Woman. &#13;
What makes this item interesting is that it solely focused on women outside the sphere of domesticity. I believe that this is representative of the New Woman Movement. It shows the movement from training in the home to in the job force. It also shows the beginnings of the first wave of feminism. For an example, Fallows describes students’ attitudes towards Smith College. She says that “…a student wish[es] to be the best kind of college woman, instead of some weak imitation of a college man.”(Fallow, 41) Here she establishing that women’s colleges are just as prestigious and valid as men’s colleges. She emphasizes this by using strong language like “weak imitation”. She also breaks down the myths of women’s colleges. She continues saying that “College is not a cloister, to develop a race of nuns. It opens up to a girl many new connections with her fellow-beings.” (Fallow, 41) Fallow is highlighting the positives of being a part of a women’s college by first debunking the myth and then providing what women’s colleges do instead. &#13;
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                <text>Alice Katherine Fallows and Walter Appleton Clark</text>
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                <text>Fallows, Alice Katherine. "Undergraduate Life at Smith College." Scribner's Magazine July 1898: &#13;
     37-58. Print.&#13;
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            <name>Date</name>
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                <text>November 3, 2015</text>
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                <text>Gabriella Green</text>
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        <name>Women's Rights</name>
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