tag:blogger.com,1999:blog-9005958367941646952024-02-06T19:02:57.352-08:00Megan Kita: Studies in American Material CultureAnonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-900595836794164695.post-68665204774390465522012-12-02T18:13:00.002-08:002012-12-02T18:13:18.514-08:00Exhibits
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<b style="mso-bidi-font-weight: normal;">First
Exhibit- Walking in the Shoe’s of a …<o:p></o:p></b></div>
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<br /></div>
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In the first exhibit (Fall) I chose to group <span style="mso-spacerun: yes;"> </span>(opposite side of glass class) the
shoes, card case, and in the glass case the assembly gown, 18<sup>th</sup>
century waistcoat and 19<sup>th</sup> century waistcoat, day dress, dolman, and
half of the quilt. The reason that I picked these items first was because in
the second exhibit excluding the quilt that is in it everything has to do with
weddings. I thought that viewers can go through the exhibit as a title of
“Walking in the shoes of/at a…” and depending what the object is a person can
relate to it how it fits them.<span style="mso-spacerun: yes;">
</span>Examples:</div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">Shoes-
Walking in the shoes of a…Centennial Celebration<o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Times; mso-bidi-font-family: Times; mso-bidi-font-size: 18.0pt; mso-bidi-font-weight: bold;">Assembly Gown- Walking in the shoes of A..Woman
celebrating the Centennial</span><o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: #262626; font-family: Times; font-size: 13.0pt; mso-bidi-font-family: Times;">19<sup>th</sup> Century Waist Coat-Walking in the shoes of an
upper class man<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: #262626; font-family: Times; font-size: 13.0pt; mso-bidi-font-family: Times;">Day Dress- Walking in the shoes of a woman an upper class woman<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="color: #262626; font-family: Times; font-size: 13.0pt; mso-bidi-font-family: Times;">Dolman- Walking in the shoes of a..Single woman- 1884<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Times; mso-bidi-font-family: Times; mso-bidi-font-size: 18.0pt; mso-bidi-font-weight: bold;">18th-Century Waistcoat-Walking in the shoes of a
Captain<o:p></o:p></span></i></div>
<!--EndFragment--><br />
<br />
<br />
<br />
Exhibit 1<br />
<img height="285" src="webkit-fake-url://34CCA1CE-FEC6-47A4-B3A5-E3FF382AB6B0/application.pdf" width="320" /><br />
<br />
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<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Times; font-size: 13.0pt; mso-bidi-font-family: Times;">Second Exhibit- Wedding Theme <o:p></o:p></span></b></div>
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<span style="color: #262626; font-family: Times; font-size: 13.0pt; mso-bidi-font-family: Times;">In the second exhibit (Spring) I
choose to group all the items that had something to do with a wedding. The top
hat, corset, combination of wedding gowns, the 1850’s wedding gown and the
trousseau dress. This would obviously be a wedding theme, along with having the
quilt being there too. In this display however, we would display the entire
quilt. <o:p></o:p></span></div>
<!--EndFragment--><br />
<br />
Exhibit 2<br />
<img height="283" src="webkit-fake-url://8AF95506-4D9D-47A5-85E8-3DAB77237F96/application.pdf" width="320" />Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-23404430413220029392012-11-25T12:49:00.005-08:002012-11-25T12:49:36.534-08:00Smelling an Exhibit
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In today’s society we find distinctions betweens social
classes, races, genders, etc. mainly by seeing these things with our eyes. Did
you ever stop to consider that smell is also a factor in these distinctions?
According to Mark M. Smith and his book <i style="mso-bidi-font-style: normal;">Sensing
the Past </i>he describes in his chapter about “Smell” that we do and people
have for hundreds of years classified things, objects, people, and events
according to smell. Here is an example to better understand this notion.
Imagine you are walking in a park and you smell garbage the entire time you are
there. You might not stay long at the park and you might assume that the park
is not kept clean due to the fact that the neighborhood/town it is in does not
have a lot of money. Therefore the up keeping of the park is poor. Now imagine
that you are in the same park and you smell flowers instead. This would
probably cause you to stay longer and to assume that the neighborhood/town has
money to keep the park clean. Without consciously realizing it these smells have
caused you to associate social/economically issues in the surrounding area of
the park and assuming things because of a smell. </div>
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<br /></div>
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Odors that are pleasant to smell are usually associated with
wealthier people. Whereas odors that make you want to hold your noise or even
gag are associated with the lower class. These distinctions have been going on
for years. We don’t often think about it but when we do carefully we can see
how we often judge others and create stereotypes depending on what we smell. </div>
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<br /></div>
<div class="MsoNormal">
It would be pretty neat if we could find a way in our
exhibit that created a smell to relate with each object or the exhibit as a
whole. You could take that many different routes to this approach. Perhaps you
can have the smell of the event or place the person was wearing the object at.
You could also have the smell of the place they purchased it at. It would be
pretty interested to somehow incorporate a smell or smells in the experience of
an exhibit. In the case of my dress since it was worn by Fianna Grube who lived
on a farm the smell would probably unfortunately be manure. However luckily for
the exhibit the wedding was in January and most likely you wouldn’t be able to
smell anything on the farms. </div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-76550291039544114372012-11-18T14:43:00.004-08:002012-11-18T14:43:16.398-08:00Hide and Seek: The truth of your body
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<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">In the Book <i>The Prosthetic Impulse</i>
by Marquard Smith and Joanne Morra there is an essay called “The Vulnerable
Articulate which I found to have an interesting relation to certain objects we
have and use today in our world. This essay has a letter in it from 1907 from a
woman who had just received a prosthetic leg and how grateful she was for it.
Her friends did not even recognize her since she had been known to always have
a crutch. What struck my attention was when Smith said, “This is a perfect
instance of the history of the development of prosthetic technology as it
stands and falls on its ability to play hide- and- seek with the truth.”(49).
Playing hide-and –seek with the truth, isn’t this something that most of us do?
For the prosthetic leg is helping the woman walk and she can cover it up with
her clothes. The process of putting the leg on is in the privacy of her home.
Unless she verbally tells someone who she does not know that she has a fake leg
nobody but herself would know that under her pants or under her skirt is a
prosthetic leg. However this leg makes her feel good inside that she can now
“pass” as being or at least looking normal to those on the outside.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><br /></span></div>
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<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">This brings me to the article “Active
Ingredients,” by Dan Rose. Rose talks about a man taking a shower and the
process of showering when he then gets shampoo in eyes. This causes him to then
look at the shampoo and read the directions and to see that is named Head and
Shoulders by the Proctor Gamble Company. Washing your hair with a specific
shampoo can actually have the same affect as a woman putting on a prosthetic
leg. Here is how: The act of taking a shower and washing your hair is done
privately. While in the shower it doesn’t matter what shampoo you use but it
cleans your hair. Once your hair dries afterward your hair looks clean and can
even make it glow. There is a process of getting your hair to have that affect and
to most likely make you feel good about yourself and that act takes place in
the privacy of your home. <o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><br /></span></div>
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<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">Objects ranging from all kinds from prosthetic
body parts to shampoos and body cleansing products there are company’s creating
objects that are used privately in order hide the truth. We all use products
that hide the truth and people have been for hundreds of years. Think about a
woman’s corset. A woman wore a corset to change the shape of her body. I’m not
sure if Fianna Grube wore a corset with her wedding dress but considering the
year she was married 1856 it wouldn’t be surprising. The way her dress was
tight at the top and the skirt flowed could have also shaped her body and was
able to hide the truth of her body as well.<o:p></o:p></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-91039330307501369382012-11-11T06:45:00.001-08:002012-11-12T11:58:04.895-08:00Blue Jeans<!--[if gte mso 9]><xml>
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Who would think that there is so much to uncover behind a
pair of blue jeans? I would have never even thought about any type of
relationship to blue jeans and people if it wasn’t for the book <i style="mso-bidi-font-style: normal;">Blue Jeans, The Art of the Ordinary</i> by
Daniel Miller and Sophie Woodard. Blue jeans are something that a lot of us wear frequently. Not
only blue jeans but clothes in general. What is it that influences us to wear
what we wear? One of the ideas that Miller talks about is the relationship
between parent and child. I agree that parents have an influence on what
children wear. As the child grows up their choices still might reflect the
influences of the earlier years one way or another. Darren is a man who is
interviewed in the book along with his father about their clothing choices. Although
the two men might not now wear the same type of thing, both of them tend to
wear things that make them stand out. Darren’s father claims that this is
because of him and that his son now does that same thing, wearing clothing that
makes him stand out. That influence of Darren’s father when he was a kid is the
reason that Darren dresses the way that he does now. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I think about the Fianna Grube’s wedding dress, I am
curious if her mother, father, or even fiancé at the time had any influence of
the color, style etc of the dress. Perhaps her mother wore a dress such as the
one that she did. Maybe Martin Peiffer preferred his bride to be in blue and
brown and that is why she chose those colors. Fianna could have be influenced
not by a person but by fashion in her day from reading Godey’s Lady Book and
Magazine. We will never know for sure why Fianna chose the dress that she did,
perhaps it was just because she liked it and it was comfortable for her. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In Miller and Woodard's book he finds out something that most of the
people who he interviewed had something in common and that was that jeans are
comfortable to wear. People wear certain things because that is what makes them
feel comfortable. This feeling of comfort then eases the mind. Interesting, how
the articles of clothing you are wearing can make you feel a specific way.
Think about the clothes that you choose to wear and how they make you feel.
Fianna’s wedding dress may have been comfortable for most brides it was
probably made not for comfort but for her to feel beautiful. </div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-1131944595666410952012-11-04T12:35:00.001-08:002012-11-04T12:35:12.647-08:00Captions..Deciding on a Theme
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<b style="mso-bidi-font-weight: normal;">The girl next door, Fianna
Grube wore this handmade wedding gown at age the of nineteen. She married her
neighbor Martin Peiffer 18 years older than her in Salunga, Pennsylvania on
January 22<sup>nd</sup>, 1856 prior to the Civil War. Mennonite farmers, fairly
wealthy, raised six children on their Lancaster Co. Farm. <o:p></o:p></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><br /></b></div>
<div class="MsoNormal">
In this caption I tried to depict a more overall story of
the people and the place of <span style="mso-spacerun: yes;"> </span>where
the wedding gown came from. I chose my first words to be “The girl next door”
because I think that those words could interest people considering it is a
common phrase that is used. And due to the evidence Fianna was the next door
neighbor to Martin Peiffer in Salunga, PA. I think that putting the age may capture the interest of the audience as well, putting
a “wow” factor into the statement. This could cause some humor thinking that,
the girl next door was really the little girl next door to Martin Peiffer.
Having the date in the caption is extremely important in order to give viewers
an idea of the time. Also mentioning that they were Mennonite farmers gains
viewers who do not know what Mennonites are to want to learn and helps others
who know what Mennonites are to understand better their way of life. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Here comes the bride!
All Dressed in…Not White! Nineteen-year-old Mennonite woman, Fianna Grube wore
this fashionably handmade wedding gown when she married her farmer neighbor who
was 18 years older than her during the winter of 1856 in Salunga, PA. Mennonites
are known to be plain, simple, and farmers which indicates the simple and
plainness of the gown.<o:p></o:p></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><br /></b></div>
<div class="MsoNormal">
I used a different approach to this caption with the first
sentence trying to capture attention from the audience using the song that goes
“here comes the bride, all dressed in white.”<span style="mso-spacerun: yes;"> </span>I still find it important to mention how Fianna and her
husband were neighbors and were Mennonites so I added them into the description
as well. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">This handmade wedding
gown was worn by a nineteen year old woman in 1856 who was married by a
Mennonite Reverend in Salunga, Pa. The bride’s Mennonite religion caused her to
choose blue and brown silk for her wedding day to a man on a neighboring farm. <o:p></o:p></b></div>
<div class="MsoNormal">
This caption I decided not use any names of the people who
were involved with the wedding dress. This makes the story a little less
personal than the ones above. I think that after our class on Monday and our
discussion in class I will have a better idea of the caption that I think will
be the best fit for the exhibit. I also think that I might inquire some more
information about Fianna Grube and her family that I may choose to change my
captions around.</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com1tag:blogger.com,1999:blog-900595836794164695.post-38621587875245486022012-10-29T10:59:00.001-07:002012-10-29T10:59:22.538-07:00The Girl Next Door
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<span class="Apple-style-span" style="color: #1a1a1a; font-family: 'Times New Roman';"><span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"> When
assigned the blue and brown wedding gown from Drexel University’s Historical
Costume Collection, there was an article that went along with the dress. The
article is from The Richmond News Leader on August 26th of 1974. The article
talks about how Mrs. Donald Buckley formally Martha Elizabeth Lees wore this
gown that has been passed down through the generations but making her only the
second woman to wear the dress. The article has the name of the married woman
who originally wore the dress on the date of January 22, 1856 in Lancaster, PA.
The woman’s married name was Mrs. Martin Peiffer. </span><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">("Wedding Dress Spans Generations" 1974)</span><span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"> Newspaper records from the Lancaster Examiner and Herald
and The Lancaster Intelligencer and Weekly Advertiser confirm that on the 22</span><sup><span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 11.0pt;">nd</span></sup><span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"> of
January in 1856 that Martin Peiffer of West Hempfield, PA married Fianna Grube
of East Hempfield, PA. The originally owner of this wedding gown is Miss Fianna
Grube. <o:p></o:p></span></span></div>
<span class="Apple-style-span" style="color: #1a1a1a; font-family: 'Times New Roman';">
<div class="MsoNormal">
<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><span style="mso-tab-count: 1;"> </span>According
to the records in the “Personal Records of J.J. Strine” the Mennonite Reverend
Strine married the couple on the date of January 22<sup>nd</sup>, 1856. It does
not say or suggest where the ceremony took place and how many people attended.
During this time era you did not need to have a Pennsylvania marriage license
to get married. Strine was known to always be ready and willing to marry people
that you could knock on his front door and he would marry you there. Due to the
fact that Reverend J.J. Strine was a Mennonite other evidence provides us to
believe that both Fianna Grube’s family and Martin Pieffer’s family were
Mennonites as well. (Weiser et al. 2001) Mennonites have been known to be
people who live a simple life where most live and work on farms (Durnbaugh 2003).
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><span style="mso-tab-count: 1;"> </span>When
researching Fianna Peiffer (formally Fianna Grube) in the 1880 East Hempfield,
Lancaster, PA Census it displays the Peiffer family members, their age, and
occupations. The document indicates that this information was recorded on June
1<sup>st</sup>, 1880 in East Hempfield Township, in Lancaster, Pennsylvania.
This lets us know that Martin and Fianna have been married for twenty-four
years since they were married in 1856. It shows that Martin Peiffer (Fianna
Grube’s husband and the head of the household) at age 61 and his occupation is
a farmer. Fianna is listed at age 43 as the wife and her occupation is “keeping
home.” There are five children listed on the census. Emma Peiffer (age 22),
Martin Peiffer (age 20), John Peiffer (age 19), Fianna Peiffer (age 12), Mary
Peiffer (age 11). All of the children are listed as “at home”. Another woman
was listed on the census as Elizabeth Grube (age 81) under “Mother-in-law”.
There was one last person listed under the Peiffer household and that was Annie
Becker (age 22) under “servant.” <span style="mso-spacerun: yes;"> </span>(CENSUS)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><span style="mso-tab-count: 1;"> </span>After
finding this information I was able to find the 1864 Bridgens’ Atlas of
Lancaster, Co. that had the names of families and where they lived. As I found
the area of Salunga, Pa and East and West Hempfield, there was something
extraordinary to the story of Fianna Grube. The name Grube and M.B. Peiffer are
located right next to each other on the map. This could mean several things.
Considering this map was recorded in 1864 the couple had been married for
almost ten years. It could have been a possibility that Fianna’s father had
moved next to the Peiffer farm within those ten years or that the Peiffer’s
moved next to the Grube’s farm. However the likely case is that the Peiffer and
Grube families had lived next to each other and that is how and why Fianna and
Martin Peiffer met and came to marry each other. Fianna could be considered as
“The girl next door,” to Martin or “The little girl next door” considering the
census records displays that the couple was 18 years apart. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><span style="mso-tab-count: 1;"> </span>Since
the wedding was in January of 1856, I looked back at newspaper articles in 1855
to see if I could find anything that had to deal with fashion and why Fianna
might have had a wedding dress as she did. I came across a small article in the
Lancaster Intelligencer on November 6<sup>th</sup>, 1855 titled “Still Greater Attraction.”
This article discussed a book and magazine that was basically a guide for
women. The magazine is called Godey’s Lady Book. The article described the
upcoming magazine stories that would be out in January 1856 where it talked
about fashion. Considering that Fianna was getting married then, this means she
would have had to get her dress made before that Godey’s Lady Book Volume 52
came in out. With this information I then looked up “Godey’s Lady Book Volume
51: From July to December 1855.” Since the Lancaster Intelligencer was a
newspaper that was available to Fianna it would be possible that by seeing the
ads for Godey’s Lady Book she decided to get the issues herself. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><span style="mso-tab-count: 1;"> </span>With
Godey’s Lady Book and Magazine we are able to compare the style, design, and
color to Fianna’s wedding gown. There is a picture in the magazine that has the
same style of sleeves that Fianna has on her gown. The sleeves are layered with
fringe on each layer just as Fianna’s sleeve are. There is also another picture
of a woman wearing a dress with the skirt of the dress alternating colors just
as the skirt of Fianna’s dress is. The designs on Fianna’s under sleeves match
designs that are displayed in this magazine issue. All of this indicates that
Fianna’s gown was fashionable. Although we can not be sure if it was her who
saw these designs or a friend or family member, we can be sure that she was
fashionable due to the fact that her gown resembled pictures in Godey’s Lady
Book. Along with that we can not be certain if it was Fianna or another member
of her family or friends who made this dress we are pretty certain that the
dress was handmade. The stitching in the dress is not straight resembling that
this was not factory produced. Having a dress such as the one Fianna had means
that most likely her family had a good amount of money in order for us to be
able to compare it to designs in Godey’s Lady Book and Magazine. </span><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">(Hale et al. 1855)</span><span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;"><span style="mso-tab-count: 1;"> </span>In
the article from 1974 from the Richmond News Leader along with the dress there
is a reference of a woman who was the owner of it at the time that it was given
to Drexel University and the name was Miriam Kendig. However the name Miriam
Kendig was then crossed out. This could possibly be the previous owner since I
found in the book Pennsylvania Mennonite Heritage that Emma Peiffer (the oldest
daughter of Martin and Fianna Peiffer) married Benjamin Emmet Kendig a doctor
in the Salunga area. This could mean that Fianna passed down her wedding gown
to her oldest daughter Emma and it was then kept in her family and passed down
to her daughters making its way to Martha Elizabeth Lees of Chester who was the
second person to wear the dress before it came to Drexel University’s Historic
Costume Collection.</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
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</span></div>
<div class="MsoNormalCxSpFirst">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Works Cited<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">1. Bridgens, H.F. “1864 Bridgens’ Atlas
of Lancaster, Co. Penna from Actual Surveys by H.F. Bridgens and Assistant. H.F
Bridgens No. 38, Hudson Street Philadelphia. Pg 26. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">2. Durnbaugh, Donald F. “Mennonites.” <i style="mso-bidi-font-style: normal;">Dictionary of American History</i>. Ed.
Stanley I. Kutler. 3<sup>rd</sup> ed. Vol. 3. New York: Charles Scribner’s
Sons, 2003. 309-310 <i style="mso-bidi-font-style: normal;">Gale Virtual
Reference Library</i>. Web. 27 Oct. 2012. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">4.
Hale , Sarah J., and Louis A. Godey. <i>Gode'ys Lady Book and Magazine: Volume
LI.From July-December 1856 </i>. Philadelphia: 1855. <a href="http://books.google.com/books?id=K8ZMAAAAMAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0">http://books.google.com/books?id=K8ZMAAAAMAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0</a><o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">5.
"Marriages.." <i>Lancaster Examiner and Herald (PA)</i>, January 30,
1856.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">6.
"Marriages.." <i>Lancaster Intelligencer & Weekly Advertiser</i>,
January 29, 1856.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<i><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">7.
Pennsylvania Mennonite Heritage Volume 25-Number 1</span></i><span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">. Lancaster Mennonite Historical
Society, 2002.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">8.
"STILL Greater Attractions." <i>Lancaster Intelligencer & Weekly
Advertiser</i>, November 6, 1855.
http://digitalnewspapers.libraries.psu.edu/Default/Skins/civilwar/Client.asp?skin=civilwar&AW=1351450368212&AppName=2
(accessed October 26, 2012).<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">9.
“Wedding Dress Spans Generations." <i>Richmond News Leader</i>, Monday 08,
1974.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 16.0pt;">10.
Weiser, Fredericks, and Debra D. Smith . <i>Personal Marriage Records of
Reverend J.J Strine 1815-1870</i>. Apollo, PA: Closson Press, 2001.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle">
<span style="font-family: "Times New Roman"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">11. Year: 1880; Census Place: East
Hempfield, Lancaster, Pennsylvania; Roll; 1141; Family History Film: 1255141; Page
1A; Enumeration Disctric; 122; Image: 0004.<o:p></o:p></span></div>
<!--EndFragment--><br />
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-15152785980030720012012-10-27T10:25:00.002-07:002012-10-27T10:25:57.295-07:00Clothing: It Does Speak To Us<br />
<div class="MsoNormal">
Have you ever looked at someone or a picture of someone and
judged them by what they are wearing? Most likely we are all guilty of this.
This has been going on for hundreds probably even thousands of years. We go
back to the story of Marx’s Coat by Peter Stallybrass and how in the 1850’s
Marx, who had to pawn his overcoat knew that it would affect his status in
society and even opportunities. Since it was winter time and the weather was
cold, without an overcoat to wear people who did not know Marx would classify
him as a poor, unworthy, uneducated man. Although he may have been poor Marx
was a writer, which meant he was at least somewhat educated. Marx needed to
make money and he needed to go to the British Museum in order to research to
help him write. However without that
overcoat he would not be allowed in. This reminds me of certain places we have
today. Certain places such as restaurants, dance clubs, country clubs, and
lounges have dress codes. If you are not dressed a certain way than you are not
allowed in the establishment. Even if you have a ticket you will be denied
access and most likely judged by people around you who are going in and out,
just as Marx would be without his overcoat.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This brings me to the other reading from this past week and
that is the “Clothing as Language: An Object Lesson in the Study of the
Expressive Properties of Material Culture” by Grant McCracken. Think about the
first three words of this chapter, “Clothing as Language.” Isn’t it true?
Clothing is like a language. When you see an article of clothing anywhere,
whether in a store or on a person, does it not speak to you in some way? You
interpret something from it. In McCracken’s research he surveyed several people
by showing them articles of clothing and gave them a list of vocabulary words
to choose from to identify what type of person they think would wear it. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The first time I saw the wedding dress assigned to me I thought about who I
thought would wear this. Since it is blue and brown and somewhat shiny I thought
that probably a middle class woman wore it. That was all just going off what I
first saw. When we
first see an article of clothing we get a first impression. We need to remember
that just like a first impression with a person that after the first impression
with an article of clothing there is still so much we do not know. If we take
the time to get to know and research the piece we may uncover things that
have been waiting to be uncovered for years. This past week I went to the
Historical Society in Lancaster, PA where I have uncovered things about the dress that by just looking at it you would never be able to tell.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-43736167055350135942012-10-14T11:41:00.002-07:002012-10-14T11:41:18.879-07:008 Outfit Changes a Day!
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I used to think I was crazy when I would change my
outfit three times of day, when I went to work, when I was working out, and
clothes to wear after I was done working out. After reading <i style="mso-bidi-font-style: normal;">Fashioning the Bourgeoisie: A History of
Clothing in the Nineteenth Century</i> by Philippe Perrot I am enlightened to
know that changing my outfit three times a day is nothing compared to the
amount of times women in the nineteenth changed their outfits. These women of
“high society” changed their outfits anywhere from seven to eight times a day.
They changed them depending on the time of the day. Outfits differed from
breakfast to walks to lunch to shopping to dinners and so on. There was an
outfit for every occasion. These is really fascinating considering that in our
costume collection that will be exhibited at Drexel University we will have on
display many of these types of outfits that women changed into throughout the
day. </div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
Another
thing that caught my interest that is discussed in Perrot’s book along with the
article “Dress” in the Oxford Art Library is the garments that were made in
order to shape a person’s body, especially women. Going back to all of those
women who changed their outfits numerous times a day there was a process to all
of this madness of dressing and looking the way they did. Before they put on
the outer garments they put on garments underneath, garments that shaped their
body to what was in style at that time. In my opinion the most outrageous
garment was the corset. The corset shapes the mid section of the body changing
throughout the years. Although it might have made the woman look beautiful and
elegant it wasn’t always that safe. It could and in fact did damage the bodies
of young girls and women. There will be a corset on display in the costume
collection at Drexel University.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
When
analyzing the wedding dress that I am researching I can only imagine that the
bride was very petite considering that an article I have on the dress describes
it being a size 5. Could it be that the bride was actually a size 7 or 8 but
was squeezed into a corset? Absolutely, considering this dress was worn in
1856 and corsets were worn more often than not during that time. </div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-44787613782686188572012-10-07T09:38:00.002-07:002012-10-07T09:38:29.108-07:00Here Comes The Bride
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When I was a child I was never interested in museums except
for the ones that were hands-on especially when museums where I didn’t have to
read much. However as I got older I began to appreciate museums and wanted to
learn from the exhibits and displays that were in them. </div>
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<br /></div>
<div class="MsoNormal">
It takes a lot of time, thought, and dedication when it
comes to putting a museum exhibit together. Museum exhibits want to create
interest in people in order for them to learn about the object or objects and
somehow relate to them. That is very difficult to do considering every person
has different interests. That is why labels are extremely important when
creating an exhibit. Museum labels are not as easy to write as someone might
think. There are label-writing competitions in order to help writers enhance
and get ideas on how to create labels that will interest their visitors. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In <i><span style="color: black; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Exhibit Labels: An Interpretive Approach </span></i><span style="color: black; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;">by Beverly Serrell, she talks about how
title labels are what captures a visitor to become interested in reading more
about the object. This got me thinking on what I should title the wedding dress
I am studying in order to really gain the interest of the visitors to want to
read and learn more. Perhaps something such as “Here Comes the Bride.” I’m
thinking that this could lead people to get the song in their head that goes
“Here comes the bride all dressed in white,” and as they sing it realize this
dress is not white, why not? This could cause them to wonder and want to read
more as </span><span style="color: black; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Ken Yellis points out in is an important factor
in “Fred Wilson, PTSD, and Me: Reflections on the History Wars.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><br /></span></div>
<div class="MsoNormal">
<span style="color: black; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">This interest can cause a person to become so
interested and want to know everything about the dress, which is the goal. In
the article “Exhibit Makeovers: Do-It-Yourself,” by Alice Parman, she describes
the theories of Alfred North Whitehead and his ideas on how a person who falls
in love with an object will want know everything about it, which he calls the
stage of Romance. In order for a person to read any further into it they need
to fall in love with it. I think that if you first look at my wedding dress you
would not think that it was a wedding dress. When I first saw it I was shocked
at the colors it was, brown and blue. Since today’s society tends to think of a
wedding dress as white or ivory I think that the title of “Here Comes the
Bride,” will intrigue visitors to read more on what they are seeing.<span style="mso-spacerun: yes;"> </span><span style="mso-bidi-font-style: italic;"><o:p></o:p></span></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-83900381671844991092012-09-30T07:09:00.003-07:002012-09-30T07:09:28.421-07:00A Rose Blanket: Response to Readings
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<br />
<div class="MsoNormalCxSpFirst">
There are so many things in the world today that we
overlook not realizing that if we take some time we might find some history in
them. Things such as architecture, the objects inside of the structure along
with landscape. These things can provide us with information of the way people
lived, what they did, and how or why they did things. <span style="mso-tab-count: 1;"> </span></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
I found it to be quite shocking and interesting
when reading “The Architecture of Racial Segregation: The Challenges of
Preserving the Problematical Past,” by Robert Weyeneth and “White and Black Landscapes
in Eighteenth-Century Virginia,” by Dell Upton. The reason I find it to be
shocking and interesting is because this is the first time that I thought of
how architecture and landscape have the ability to be objects of study and help
us learn about history, especially the topic of segregation. Both of these
articles discussed the different ways in which architecture and landscape
segregated blacks and whites. For instance on plantations the main house was
for the white owner and the other smaller buildings around the main house were
used for slaves for either work or their living quarters. By studying all of
these objects we can get a glimpse of how both whites and blacks lived on a
plantation. The things that were used in these buildings can help us identify
how life was different for whites and blacks. Not only is a plantation example but
also at the time the Jim Crow Laws were enacted and “separate but equal” was
considered to be fair we can see that by certain architecture, objects in these
structures, and landscapes that everything was not equal and fair. That is an
important part of our history but one many do not like to bring up or talk
about. However, the evidence of these objects speaks more than written
documents. </div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
Going back to the 1800’s objects that were used in
homes and/or businesses explain to us a lot about history as well. For example,
the spinning wheel. The women of New England used the spinning wheel to create
clothes, fabrics, and other “fancy works” that were used in that time era. The
object that I studied in the book <i style="mso-bidi-font-style: normal;">The Age
of Homespun</i>, by Lauren Thatcher Ulrich was a rose blanket. The rose blanket
was becoming quite popular and they were being seen and sold all over the
country due to production factories with power machinery. However the
particular blanket in this book was a homemade one determined by the fact that
there is a center seam, which identifies it was homemade. The person who
created this blanket had probably seen friends or neighbors with one but couldn’t
afford to buy one and therefore made one. This makes me wonder if the wedding
gown I am researching was homemade because the women couldn’t afford to buy
one. Therefore through my research I will be looking to find similar wedding
gowns made in the 1850’s that were produced in a factory by machinery. This
will be able to help me perhaps understand the reasoning for creating the
homemade wedding gown the way it is. </div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-22818235396420673652012-09-23T13:38:00.002-07:002012-09-23T13:38:28.832-07:00Response to Readings
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<br />
<div class="MsoNormalCxSpFirst">
<span style="mso-tab-count: 1;"> </span>Kenneth
L. Ames did a fantastic job in describing the layout of a 19<sup>th</sup>
Century Victorian house in his article “Meaning in Artifacts: Hall Furnishings
in Victorian America. I was able close my eyes and specifically visual the
hallways with furniture and the décor that was most likely displayed in these
upper-middle class homes. The piece of furniture that I found to be appealing
was the hallstand. This piece of furniture was huge and usually in the front of
the hall placed where everyone who entered the house could see it.<span style="mso-spacerun: yes;"> </span>The residents hung and placed objects
on the hallstand that were used frequently such as coats and hats or displayed
items of some type of sentimental value to them on the shelves for all to see. Mirrors
were also sometimes attached to the hallstands enabling those to get a glimpse
of their self when entering or exiting the house. </div>
<div class="MsoNormalCxSpFirst">
<br /></div>
<div class="MsoNormalCxSpMiddle">
Since
hairwork was extremely popular in Victorian American I envisioned that perhaps
a friendship album or hairwork album discussed in “Love Entwined, The Curious
History of Hairwork in America,” by Helen Sheumaker would be an object placed
on a hallstand. Hairwork would represent a person so intimately since it was a
piece of their body. Depending on friends who might have sent the resident of
the house their hairwork with their hair and a personal note attached, a
friendship album or hairwork album could be a tremendous object to show off to
their guests their status in society by the people they knew.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
Hairwork
was something that was handmade and usually made by women. <span style="mso-spacerun: yes;"> </span>This gave extreme value to it especially
if it was made for someone as a gift, such as hair jewelry or a hair wreath
made of family members hair. Handmade objects meant that time and hard work was
put into. It made that object have a personal meaning for the person who was
receiving it. The 1856 wedding gown that I am researching this semester was
handmade. Perhaps the woman who wore the wedding gown had a hallstand in her
home and was able to get a last look at herself before she exited the house on
her way to her wedding ceremony. </div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
Women
would create their hairwork pieces at home but once completed some were lucky
enough to have their items displayed in public. Whether or not the entire town
had a chance to see their work they would still display it in their homes
allowing all of their guests to admire it’s beauty. This reminded me of the
wedding gown. Although it was made at home and took time and hard work it was
made for the bride to wear in public for people to notice and admire it. </div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
As
Karin Dannehl describes in her article “Object Biographies,” every object like
a person has a story of how it was made and the purpose for which it was made.
The object when we see it now will never again be like the object it was when
it was first created because it has gone through its stages of life. However we
can still get a grasp of the purpose and history of the object.</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-46424159979480516472012-09-16T08:22:00.001-07:002012-09-16T08:29:30.560-07:00My Response to "In Small Things Forgotten" by James Deetz and "Building in the Wood in the Eastern United State; A Time-Place Perspective" by Fred B Kniffen & Henry Glassie<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>It
wasn’t until the first day of this class that I had ever really thought about
how objects play a huge role in understanding a culture. The saying that comes
to my mind is “maybe what you are looking for has been in front of you the
whole time.” I find that to be especially true after reading the book “In Small
Things forgotten,” by James Deetz and the article “Building in Wood in the
Eastern United States: A Time-Place Perspective,” by Fred B, Kniffen and Henry
Glassie. In “Small Things Forgotten,” Deetz chooses several objects to analyze
and explains how we can learn about a culture from it. Sometimes if you’re
lucky you can pick up an object and there might just be a date on it. How about
that for a start? However, that is not always the case. Deetz talked about
ceramics, houses, and what I thought was most interesting, gravestones and how
we can analyze these objects to understand a culture. <br />
<br /></div>
<div class="MsoNormal">
Most
but not all gravestones have the date of when a person was born and the date
that they died. Having the date that they died is extremely helpful in
understanding why types of gravestones, materials, and designs might have been made
during that specific time. We can only assume that the gravestone was made
around the date in which the death occurred. That is something that I had never
once thought about but that is truly in the reach of our hands to explore and
research. Deetz takes us through several carvers’ designs and the evolution of
them throughout the 1700’s in the New England area. Each carver was from a
different area. Some carvers may have only been several miles away but the
technique they used was sometimes completely different from the other. Back
then they did not have technology to communicate with one another about what
they were doing or how they were making their gravestones. Think about today,
once you create something new you can instantly put it online and someone from
all the way across the world can adapt your idea. Do you think that in the
future the objects that we use today can be studied to understand our culture too?
<br />
<br /></div>
<div class="MsoNormal">
This
past week when I saw for the first time the wedding gown that I will be
researching, I got lucky! Why? Because there was a tag stitched inside the gown
with the name of the woman who wore it and the date when she wore it, January
22<sup>nd</sup>, 1856. Sometimes all we have to do is pick up something and
look at it. From an article that came with it, it stated that the women was
married in Lancaster, PA. I will be able to research that specific area and
perhaps generate the information on why the dress was made the way it was for a
woman living there. </div>
<div class="MsoNormal">
<br />
It
is these things that are right in front of us that are clues waiting to be
unveiled to give us a better understanding of how and why people lived and did
the things they did. <a href="http://www.blogger.com/blogger.g?blogID=900595836794164695" name="_GoBack"></a></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-36809925890367325162012-09-10T09:23:00.000-07:002012-09-10T09:23:30.760-07:00Object Analysis Method
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<div class="MsoNormalCxSpFirst" style="line-height: normal; text-indent: .5in;">
<span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: 16px;">After reading the articles that were assigned to us in class
I was able to learn and become familiar with different types of methodologies
that have been used in studying material culture. I find it interesting that
there is not one concrete way to research this field but the ways that are
discussed in these articles are very similar to each other. My approach is to
take ideas and steps from several of the articles and to combine them in order
to create a multi-step method in researching the history of the object that I
have been given, a wedding gown. I particularly took steps that related to
clothing or steps that I felt could be great guides when researching an article
of clothing.</span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">The first step that I will use is “Description” which comes
from Jules Prown, “Mind in Matter; An introduction to Material Culture Theory
and Method.” This first step is simply looking at the dress and describing in
the best detail what I see first hand, from the material/materials that were
used to colors and details on the gown. I will also incorporate from Joan
Severa and Merrill Horswill’s article, “Costume as Material Culture,” the
Design and Construction step they have in their outline. This step by Severa
and Horswill is a great guide for analyzing particular areas of a dress and in
this case a wedding gown. The basic elements which include bodice, sleeve, and
skirt will be the sections where I focus on the shape and measurements. This
step only focuses on the dress itself as an object. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">The second step will come from E. McClung Flemings article,
“A proposed Model,” and it will include one of his five properties, “History”.
Since I was provided the year of the wedding gown which is 1856 I will research
any more information I can find out about that year with women’s dresses, and
specifically wedding gowns. I will look to research the person who made the
gown and who they were making it for. Perhaps I will be able to use “fashion
plates” as mentioned in Severa and Horswill’s articles to get an understanding
of the style during that time period. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">Following the “Description” and “History” step, the next
step will come from one of E. McClung Fleming’s operations, “Cultural Analysis”
which is also from the same article, “A Proposed Model.” This is the time where
the description of the gown and the history of that time period cross over one
another. Here is where I will analyze the relationship between the two forming
hypothesis’s of the culture in which it was created. Crossing those two
subjects over can tell you a lot about a culture. For instance depending on the
stich of material we might be able to tell if it was stitched by hand or
perhaps a machine. All of this stuff relates back to the people and the culture
that they were living in at the time the gown was created. In this step I will
also take several other wedding gowns and compare them with the one I am
researching. I intend to particularly look at the colors chosen in the gown and
what they might resemble. Doing this will help me to find similarities and
differences which could ultimately lead to information to the social status of
someone who might have worn a gown such as this one. My main interests lie in
determining the social status of a women with this particular wedding gown.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">The final step I will use in my method is again from E. McClungs
Fleming’s article “A proposed Model” and it is also his final operation step
which is “Interpretation.” Based on all of the information found about gown,
the history, and the culture, at this point I will interpret the meaning of
everything, from my perspective on the facts I have researched. Depending on
the person who researched the object the interpretation can differ depending on
their interest. That is why studying material artifacts is important when
researching the history of cultures. <o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; text-indent: .5in;">
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Since
the goal of this research is to ultimately create an exhibit, I have chosen
steps from methods that I feel will best suit the research of my specific
object, a wedding gown. All of the methods that were mentioned in the articles
are all great guides when studying any material object to find out the history
of its culture. However, some steps I felt were not relevant in researching my
object in the amount of time that will be given to do it. Therefore I chose
steps that I felt would provide my audience the best history of the gown when
admiring it as an exhibit. <o:p></o:p></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/02684984114462630719noreply@blogger.com0tag:blogger.com,1999:blog-900595836794164695.post-38861902613261834922012-09-02T12:22:00.001-07:002012-09-02T12:22:41.271-07:00Statement of Purpose<div class="separator" style="clear: both; text-align: center;">
</div>
<h3>
</h3>
<div>
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<span style="font-family: 'Times New Roman';"> </span><span style="font-family: 'Times New Roman';"> In December of 2011, as I
graduated from Temple’s School of Tourism and Hospitality Management, I felt a
great amount of joy and pride in the achievement of my bachelor’s degree in
Sports Management. While being in
the School of Tourism and Hospitality Management with a concentration in Sport,
I was able to research and explore the sports industry. As I was required to
complete a 600 hour, 10 credit full-time internship along with a 3 credit
research project, I took the initiative to explore an unfamiliar place to me. I decided to approach Arizona State University about inquiring an internship that was not yet a position. They accepted my offer to be an intern in the Athletic Equipment Department and it was there that I was able to take what I
learned in the classroom and apply it to the sports industry. The purpose of my
research project was to show the need for a full-time intern in the athletic
equipment department at Arizona State. After months of thorough research I was
able to present my results to the ASU Athletic Department, not just as an
academic project but as a true proposal. This project was my proudest
achievement at Temple and it allowed me to see how much I enjoy doing research
that ultimately will benefit others. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';"> Recently
I have become a Graduate Extern for the Athletic Equipment Department at Temple
University. Since I was lucky
enough to find a job I love in the industry that I studied during my undergrad
I felt it was time to pursue another passion of mine, poetry. The Master of
Liberal Arts program was the perfect fit for me. I believe that poetry is
created through any type of inspiration. The idea that I can take so many
different classes and learn about a wide variety of topics and issues will only
open up my world to more inspiration. This well rounded view should one day
help me to achieve my ultimate goal of one day publishing a book of poetry. Taking
Studies of American Material Culture class is giving me the opportunity to
explore an area that I have never studied before. I am extremely excited to research about the history of
an object from Drexel University's Historic Costume Collection and to work with people who’s passion is in American material culture
to help create an exhibit to be on display for all to see. There is no question
in my mind that engaging in this class and working with passionate people will
be a huge asset through the journey of my poetry inspirations. <o:p></o:p></span></div>
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