Jonathan Edwards is probably the archetypal Puritan. He was brilliant, enrolled in Yale at age 13, wrote an essay about spiders, p. 172. His sermon, Sinners in the Hands of an Angry God, is probably the most famous sermon every preached in this country. What I’d like you to read from it are the 2nd and 3rd whole paragraphs on p. 180. This is where he makes his famous analogy using the spider.

No quiz on Jonathan Edwards.

Discussion Question: What point is Edwards making about God and people in his description?and this is the insturction; or each of the stories , I’ve listed some topics for you to write a paragraph about. You may write on a topic I’ve listed, or you may choose to write on something else. It’s up to you; it doesn’t matter to me which you do.

IMPORTANT: Your paragraph must be at least 10 lines long. It can be longer, but it must be at least 10 lines.

You must make an honest effort to give a good answer which shows some thought. If all you do is summarize the story or state generalities, you will get no credit for your paragraph. You need details.

In addition to your original posting, you need to do one response to another posting. It must be at least 5 lines long. You can’t just say “I agree” or “That’s a good idea.” You must have some substance.

I’ve put the discussion dates on the discussion page right after the discussion question. Please take the dates seriously. I will give you the response once you answer the question, and I got only 2 hours

Read the following sections in your online book: ; ; and . When you have finished reading, write two discussion questions for the class. A good discussion question should explain what you read that made you consider this question and why you think answering it will be important for the class. (50 words each)

Sample:

In 4.3 the authors put a lot of emphasis on the role of the conflict, instructing us that the we need the conflict in order to have any theme. Does all story have to have conflict, or do I have to make up terrible things to have happened to me in order to have a personal narrative? The thing is, my life is pretty chill, and I don’t necessarily know that I need to add a bunch of angst or manufacture trauma in order to tell my story.

Answer the following questions in reference to the excerpt found in this Learning Unit from George Orwell’s “Shooting an Elephant.” (video)

1. How does the author want the reader to feel after reading this passage (the dominant impression he wants the reader to have)?
2. Examine the passage for appeals to sense description and make a note of four or five examples.
3. How would you describe the pacing of the event in the passage? Do you note any evidence of transitions?

**** you will write about the helmet

2 pages for draft and 6 pages for final

For Paper only: Showcase how the Humanities apply to everyday life. Choose a work of art and interpret what the artist is trying to convey in terms of human life/living. Be critical, and identify/apply key themes and characteristics learned from our course. Draw connections with your personal life. Write a 6-7-page paper using 2 or more sources. 1 outside source and 1 source from our class. Papers must be at least 6 total pages long and follow standard MLA formatting (typed, double-spaced, 12 pt. Times New Roman font, 1-inch margins). Please cite (using MLA) all of the required sources and have a Works Cited page.

Checklist for Draft Paper:

• 2 full pages or more; 1 minimum. Treat this as brainstorming, try to get some ideas out; write multiple versions if needed.
• Start your draft paper as if you are having a conversation with your friend, talk about life, and talk about your thoughts on the subject you are writing about.
• Do not include MLA heading, (my name, your name, class); only page numbers and title, please.
• Works cited should be at the very end.
• Your paper should include one in-class source and one source from your own research. So, one of the texts from class and the other is from your research from the library or a valid scholarly source. If you are unsure, ask me. NO WIKI.

Checklist for Final Paper:

• Check your page length and sources.
• If completing a project, submit the project separately. (Picture, video, or pdf; will be found in final module)
• Do not include MLA heading, (my name, your name, class); only page numbers and title, please.
• Works cited should be at the very end.
• Your paper should include one in-class source and one source from your own research. So, one of the texts from class and the other is from your research from the library or a valid scholarly source. If you are unsure, ask me. NO WIKI.
• Remember, this is a creative project, so be creative!
• For your paper, you are essentially doing what we have been doing in our discussion posts. Seeing how these methods of creative expression are relative to human life. Be that through any method of artistic expression.

  Reading: :

• Hamlet

  One of Shakespeare’s most famous tragedy dramas is Hamlet. William Shakespeare was a renowned English poet, playwright, and actor born in 1564 in Stratford-upon-Avon. His birthday is most commonly celebrated on 23 April, which is also believed to be the date he died in 1616.Shakespeare was a prolific writer during the Elizabethan and Jacobean ages of British theatre (sometimes called the English Renaissance or the Early Modern Period). Shakespeares plays are perhaps his most enduring legacy, but they are not all he wrote. Shakespeares poems also remain popular to this day. Synopsis:Events before the start of Hamlet set the stage for tragedy. When the king of Denmark, Prince Hamlets father, suddenly dies, Hamlets mother, Gertrude, marries his uncle Claudius, who becomes the new king.A spirit who claims to be the ghost of Hamlets father describes his murder at the hands of Claudius and demands that Hamlet avenge the killing. When the councilor Polonius learns from his daughter, Ophelia, that Hamlet has visited her in an apparently distracted state, Polonius attributes the princes condition to lovesickness, and he sets a trap for Hamlet using Ophelia as bait.To confirm Claudiuss guilt, Hamlet arranges for a play that mimics the murder; Claudiuss reaction is that of a guilty man. Hamlet, now free to act, mistakenly kills Polonius, thinking he is Claudius. Claudius sends Hamlet away as part of a deadly plot.After Poloniuss death, Ophelia goes mad and later drowns. Hamlet, who has returned safely to confront the king, agrees to a fencing match with Ophelias brother, Laertes, who secretly poisons his own rapier. At the match, Claudius prepares poisoned wine for Hamlet, which Gertrude unknowingly drinks; as she dies, she accuses Claudius, whom Hamlet kills. Then first Laertes and then Hamlet die, both victims of Laertes rapier.T

  ---

*** I need two pages for the draft and 6 pages for the final

For Paper only: Showcase how the Humanities apply to everyday life. Choose a work of art and interpret what the artist is trying to convey in terms of human life/living. Be critical, and identify/apply key themes and characteristics learned from our course. Draw connections with your personal life. Write a 6-7-page paper using 2 or more sources. 1 outside source and 1 source from our class. Papers must be at least 6 total pages long and follow standard MLA formatting (typed, double-spaced, 12 pt. Times New Roman font, 1-inch margins). Please cite (using MLA) all of the required sources and have a Works Cited page.

Checklist for Draft Paper:

• 2 full pages or more; 1 minimum. Treat this as brainstorming, try to get some ideas out; write multiple versions if needed.
• Start your draft paper as if you are having a conversation with your friend, talk about life, and talk about your thoughts on the subject you are writing about.
• Do not include MLA heading, (my name, your name, class); only page numbers and title, please.
• Works cited should be at the very end.
• Your paper should include one in-class source and one source from your own research. So, one of the texts from class and the other is from your research from the library or a valid scholarly source. If you are unsure, ask me. NO WIKI.

Checklist for Final Paper:

• Check your page length and sources.
• If completing a project, submit the project separately. (Picture, video, or pdf; will be found in final module)
• Do not include MLA heading, (my name, your name, class); only page numbers and title, please.
• Works cited should be at the very end.
• Your paper should include one in-class source and one source from your own research. So, one of the texts from class and the other is from your research from the library or a valid scholarly source. If you are unsure, ask me. NO WIKI.
• Remember, this is a creative project, so be creative!
• For your paper, you are essentially doing what we have been doing in our discussion posts. Seeing how these methods of creative expression are relative to human life. Be that through any method of artistic expression.

Reading:

Boarding School Portraits of Tom Torlino

John Choate, Boarding School Portraits of Tom Torlino
by DR. HAYES PETER MAURO

John N. Choate, Tom Torlino [version 3], 1882 (Carlisle Indian School Digital Resource Center); John N. Choate, Tom Torlino [version #2], 1885 (Carlisle Indian School Digital Resource Center)

In these two side-by-side photographs we are presented with two faces. At first glance, the faces seem to have different appearances and identities. The first portrait, made in 1882, depicts a man named Tom Torlino. Torlino, a Native American, was a member of the Navajo, an Indigenous people native to the southwestern United States. He was also a student at the famous Carlisle Indian Industrial School in Carlisle, Pennsylvania. Carlisle was a federally funded boarding school dedicated to the assimilation of Native American youths in an effort to make them enculturated as Americanthat is, in accordance with cultural attributes common to middle-class Anglo-Americans of the time. With this mission in mind, Torlinos appearance in the first image reveals very specific information about his perceived identity. He wears Indigenous clothing, jewelry, a long shock of dark hair, and has bronzed skin. In contrast, the second photograph, made three years later following his matriculation at the school, we see a nearly unrecognizable Torlino. His appearance mimics that of the aforementioned middle-class Anglo-American man of the late 19th century: short-cropped hair, a respectable three-piece suit, no jewelry, and lighter skin. On closer inspection therefore, the two photographs represent the same individual, photographed before and after his arrival, matriculation, and Americanization at the Carlisle Indian Industrial School. Torlino was photographed in both instances by John Choate, a commercial studio photographer in Carlisle, who was hired by the Carlisle School administration to photograph some of its students.

Domestic science class at the Carlisle Indian Industrial School, c. 1903 (Library of Congress, Washington, D.C.)

Torlinos physical transformation was to be perceived by the contemporary viewer as the byproduct of Torlinos education at Carlisle, one of the earliest federally funded, off-reservation, Indigenous boarding schools. The curriculum sought to forcibly assimilate the students through religious evangelization, learning English, physical exercise, and acquiring a marketable skill that would serve them after leaving the school. In sum, Torlino and his classmates were seen as needing a sort of transfiguration from their perceived savage origins as Indigenous peoples into civilized, self-sufficient Americans, per common cultural definitions and norms of that time.

John N. Choate, Tom Torlino [version 3], 1882 (Carlisle Indian School Digital Resource Center)

Before-and-after portraiture

However, Choate was known to dress up the students and stage them for the before portrait, to make them look more savage. He had an array of props, costumes, and studio lighting tricks to darken the skin tone, which was intended to play to pre-existenting racial prejudices. Conversely, in the after portrait, he would commonly intensify the studio lighting to lighten skin tone. These studio pyrotechnics, as well as the photographic before-and-after formula itself, were commonplace in both Europe and the United States throughout the 19th and first half of the 20th centuries. Indigenous peoples around the colonized world were ritualistically photographed in these ways, which tended to reinforce pre-conceived racial and cultural stereotypes commonly held by European-American viewers. Taken together this photographic technique is called before-and-after portraiture. It is usually intended to display some sort of progress or evolution perceivable in the individual between the first and second photographs.

Indigenous assimilation

Choates portraits of Torlino were taken at the behest of Richard Henry Pratt, an army officer and Carlisles first superintendent. Pratt advocated for Indigenous assimilation to resolve the so-called Indian Question, a political debate crystalized in Francis A. Walkers influential 1874 book The Indian Question. [1] This question had two parts, and considered the following:

What shall be done with the Indian as an obstacle to the national progress? What shall be done with him when, and so far as, he ceases to oppose or obstruct the extension of railways and settlements?[2]

John N. Choate, Tom Torlino [version #2], 1885 (Carlisle Indian School Digital Resource Center)

Like most European Americans at the time, Walkera former Commissioner of Indian Affairsviewed Indigenous Americans as savage and heathen peoples who were morally and spiritually unredeemable, and thus Pratts assimilation school had its skeptics. Photography provided documentary proof that Pratts studentsyoung people taken from reservations often thousands of miles away and transported to Carlislecould be reeducated and made into contributors to national progress. Prints of these photographic negatives appeared side-by-side in school publications such as newsletters, magazines, and yearbooks. All of this had a political end: to secure increased funding from the federal government for Pratts assimilation experiment.

Choates photographs of Torlino were intended to be both instructional and moralizing. They were instructional in the sense that they displayed correct evolution within the persons photographed. In other words, the person had successfully navigated the assimilation process and had acquired a new persona: the ideal middle-class American citizen. However, Pratt demanded more than just instruction with these photographs. He wanted Choate to convey to Pratts intended audiences that the person in each picture was fundamentally transformed morally. They have (seemingly) accepted Christ as their savior and had left behind heathen Indigenous spiritual practices. In short, they had been saved.

Manifest Destiny

In addition to these dynamics, a further examination of the broader social and political culture within the United States at the time is needed to fully place these images in proper historical context. Throughout the 19th centuryespecially in the decades following the Civil Warthe federal government sought to annex and incorporate the expanding nations vast physical frontier and to claim the land and resources it contained. This was codified in a doctrine called Manifest Destiny. Essentially, this doctrine underwrote the governments economic agenda of westward expansion by giving it a moral fervor. Expansion was often cast in moralizing terms and as a spiritual and moral clash between binary forces: savagery versus civilization. Importantly, Manifest Destiny ultimately had its justification in then-current interpretations of the Bible. Many Christian Americans of the 19th century perceived the relatively new nation as a New Jerusalem freed from the social and religious bonds of the captivity of Rome (a metaphor commonly used to describe Catholic Europe). Part of this destiny was the fulfillment of a perceived spiritual covenant with God, in which American Christians felt obligated to purify the frontier of heathen elements, notably uncivilized Indigenous Americans. The American historian Frederick Jackson Turner summed up this viewpoint succinctly in 1893:

In this advance, the frontier is the outer edge of the wavethe meeting point between savagery and civilization the frontier is the line of most rapid and effective civilization.[3]

The taking over of the savage frontier and introducing civilization was positioned as both progressive and moral. The pair of photographs shows the improved and saved Torlino on the right, who is compared to his previous savage and heathen former self on the left. These seemingly didactic images have a deeply troubling history, steeped in racist ideologies that placed white, European-descended Christians above Indigenous cultures, as they contributed to the stereotyping and erasure of Indigenous identities and ways of life. [4]

[1] Francis A. Walker, The Indian Question (Boston: James R. Osgood & Co., 1874).

[2] Walker (1874), p. 17.

[3] Frederick Jackson Turner, The Significance of the Frontier in American History, Rereading Frederick Jackson Turner, edited by John Mack Faragher (New Haven: Yale University Press, 1994), pp. 3160.

[4] Elizabeth Edwards, Photography and Anthropological intention in Nineteenth Century Britain, Revista de Dialectologia y Tradiciones Populares, volume LIII, number 1 (1998), pp. 2348.

smarthistory.org

*** I need two pages for the draft and 6 pages for the final

For Paper only: Showcase how the Humanities apply to everyday life. Choose a work of art and interpret what the artist is trying to convey in terms of human life/living. Be critical, and identify/apply key themes and characteristics learned from our course. Draw connections with your personal life. Write a 6-7-page paper using 2 or more sources. 1 outside source and 1 source from our class. Papers must be at least 6 total pages long and follow standard MLA formatting (typed, double-spaced, 12 pt. Times New Roman font, 1-inch margins). Please cite (using MLA) all of the required sources and have a Works Cited page.

Checklist for Draft Paper:

• 2 full pages or more; 1 minimum. Treat this as brainstorming, try to get some ideas out; write multiple versions if needed.
• Start your draft paper as if you are having a conversation with your friend, talk about life, and talk about your thoughts on the subject you are writing about.
• Do not include MLA heading, (my name, your name, class); only page numbers and title, please.
• Works cited should be at the very end.
• Your paper should include one in-class source and one source from your own research. So, one of the texts from class and the other is from your research from the library or a valid scholarly source. If you are unsure, ask me. NO WIKI.

Checklist for Final Paper:

• Check your page length and sources.
• If completing a project, submit the project separately. (Picture, video, or pdf; will be found in final module)
• Do not include MLA heading, (my name, your name, class); only page numbers and title, please.
• Works cited should be at the very end.
• Your paper should include one in-class source and one source from your own research. So, one of the texts from class and the other is from your research from the library or a valid scholarly source. If you are unsure, ask me. NO WIKI.
• Remember, this is a creative project, so be creative!
• For your paper, you are essentially doing what we have been doing in our discussion posts. Seeing how these methods of creative expression are relative to human life. Be that through any method of artistic expression.

Street Art

Street art grew from its primary roots in 1970s graffiti but can be traced back to cave paintings as a communal form of artistic expression.

Students will create a 1 page-long typed response to one of three review prompts. Responses must be in MLA format.

Purpose:

• Explore in writing what you have read/watched and what we have presented in the modules.

Instructions:

• No Citations; this is purely based on your knowledge.
• Restate the chosen topic/question in the first few sentences of your response.

Topic/Questions:

1. Compare and Contrast two works from Weeks 3-4. Focus on symbols, archetypes, and universal themes.

No Crying Allowed in the Barbershop

Pepn Osorio, En la barbera no se llora (No Crying Allowed in the Barbershop)
by DR. MAYA JIMNEZ

The Puerto Rico born artist Pepn Osorio trained as a sociologist and became a social worker in the South Bronx. His work is inspired by each of these experiences and is rooted in the spaces, experiences, and people of American Latino culture, particularly Nuyorican communities. Osorios large-scale installations are meant for a local audience, yet they have also been exhibited in mainstream cultural institutions (though after the 1993 Whitney Biennial, Osorio vowed to show his work first within the community, and then elsewhere).

Pepn Osorio, No Crying Allowed in the Barbershop (En la barbera no se llora), 1994 (New Museum installation, 2023), mixed media with barber chairs, photographs, objects, and video, variable dimensions (Museo de Arte de Puerto Rico, San Juan; photo: Steven Zucker, CC BY-NC-SA 2.0) Pepn Osorio

Nuyorican

Puerto Rico is a United States territory. Its residents are United States citizens and carry an American passport, yet they cannot vote in presidential elections or have representatives voting for their interests in Washington, D.C. This sense of marginality is further complicated when one considers that Nuyoricans often retain a distinct sense of cultural pride that is informed by their dual American and Puerto Rican identities.

Having lived both experiencesthat of a Puerto Rican and NuyoricanOsorio is best known for large-scale installations that address street life, cultural clashes, and the rites of passage experienced by Puerto Ricans in the United States. Outside the traditional museum setting, and commissioned by Real Art Ways (RAW) from Hartford, Connecticut, En la barbera no se llora (No Crying Allowed in the Barbershop) is a mixed-media installation first exhibited in the Puerto Rican community of Park Street in Hartford. Created in collaboration with local residents, Osorio engaged the public through conversation, workshops, and artistic collaborations. The art itself is visually lavishhis installations have often been dubbed Nuyorican Baroque (a reference to the 17th-century style characterized by theatricality and opulence and found in both Europe and Latin America).

Pepn Osorio, No Crying Allowed in the Barbershop (En la barbera no se llora), 1994 (New Museum installation, 2023), mixed media with barber chairs, photographs, objects, and video, variable dimensions (Museo de Arte de Puerto Rico, San Juan; photo: Steven Zucker, CC BY-NC-SA 2.0) Pepn Osorio

Masculinity

Inspired from his first haircut in Santurce, Puerto Rico, Osorio recreates the space of the barbershop as one that is intensely packed with masculine symbols like barber chairs, car seats, sports paraphernalia, depictions of sperm and a boys circumcision, phallic symbols, and male action figurines. Osorio boldly challenges the idea of masculinity, and particularly of machismo, in Latino communities.

Barber chair with chucheras, Pepn Osorio, No Crying Allowed in the Barbershop (En la barbera no se llora), 1994 (New Museum installation, 2023), mixed media with barber chairs, photographs, objects, and video, variable dimensions (Museo de Arte de Puerto Rico, San Juan; photo: Steven Zucker, CC BY-NC-SA 2.0) Pepn Osorio

Chucheras

Spanish for trinkets or knick-knacks, and known to art historians as kitsch, chucheras overpopulate Osorios work. These include Puerto Rican flags, religious ornaments, plastic toys, dolls, ribbons, beads, etc., all of which functionto quote art historian Anna Indych-Lpezas a gesture of cultural resistance, presented as something universal yet personal. [1] The chucheras included in the installation En la barbera no se llora, (a flag, fake foliage, baseballs, framed portraits of famous Latin American and Latino men), serve to localize the work, yet these objects also raise issues of social class expressed here through taste, and the distinction between high and low arteffectively straddling a fine line between cultural celebration and social critique.

Pepn Osorio, No Crying Allowed in the Barbershop (En la barbera no se llora), 1994 (New Museum installation, 2023), mixed media with barber chairs, photographs, objects, and video, variable dimensions (Museo de Arte de Puerto Rico, San Juan; photo: Steven Zucker, CC BY-NC-SA 2.0) Pepn Osorio

Video

One prominent aspect of En la barbera no se llora are the video installations featuring Latino men from Park Street in stereotypically masculine poses. The men vary in age. Osorio included older men from the retirement home, Casa del Elderly, presenting the issue of machismo as multi-generational and deeply ingrained in Nuyorican culture. As a foil to this construction, the artist also included videos of men crying, with the public reacting both in sympathy and disgust.

These same men then participated in workshops, in which they discussed how notions of masculinity had shaped their personal relationships as brothers, husbands, and fathers. Despite this participation of men, most of the visitors to the barbershop installation were, in fact, women. [2]

While En la barbera no se llora (No Crying Allowed in the Barbershop) challenges definitions of masculinity, it also brings upin a more subtle waythe relationship between machismo and homophobia, violence, and infidelity, and the ways in which popular culture, religion, and politics help craft these identities and issues.

[1] Anna Indych-Lpez, Nuyorican Baroque: Pepn Osorios Chucheras, Art Journal, volume 60, number 1 (2001), p. 75.

[2] Erika Suderburg, Space, Site, Intervention: Situating Installation Art (Minneapolis: University of Minnesota Press, 2000), p. 323.

Students will create a 1 page-long typed response to one of three review prompts. Responses must be in MLA format.

Purpose:

• Explore in writing what you have read/watched and what we have presented in the modules.

Instructions:

• No Citations; this is purely based on your knowledge.
• Restate the chosen topic/question in the first few sentences of your response.

Topic/Questions:

1. Compare and Contrast two works from Weeks 3-4. Focus on symbols, archetypes, and universal themes.

reading:

Stop Motion Animation

What is stop motion animation?
Stop motion animation is an advanced flipbook-style form of animation. It involves photographing and then physically manipulating objects within your frame. As each frame is played in sequence, the technique creates the effect of an object moving itself. Stop motion animation is a technique whose secret lies between each frame of the action. Effortlessly simple in its final form, the flow and flourish of stop motion photography belies the painstaking attention to detail being paid between each snap of the set-up.

It may be a comparatively low-budget technique against the cream of the Hollywood crop, but the results speak for themselves in terms of originality, form and style – and with decades of successful stop-go animations becoming British daytime TV institutions and Oscar winners alike, stop motion animation is a widely celebrated art form too.

Types of stop motion animation.
Object motion.
No budget? No problem – grab whatevers handy and bring it to life.
Examples: The Humpty Dumpty Circus (1898)

Claymation.
Sculpt characters and props from modeling clay to create strange new worlds.
Examples: Morph, Wallace & Gromit

Pixilation.
Bring live actors into the mix – and prepare to hold that pose for still photography.
Examples: Htel lectrique (1908)

Cutout-Motion.
Craft your cast and their surroundings from paper and shoot top down in two dimensions.
Examples: The Spirit of Christmas (Matte Stone and Trey Parker)

Puppet Animation.
Push the aesthetics of your project even further and create sophisticated puppets to pose in the frame.
Examples: Coraline, Kubo and the Two Strings

Silhouette Animation.
Add a backlight to your cut-outs and bring secretive shadow-play into the mix.
Examples: The Adventures of Prince Achmed (1926), Papageno (1935)

History of stop motion animation.

The proliferation of snap-it-and-forget-it via digital cameras and smartphones has brought the potential for stop motion into households across the world, but as the 20th century dawned the art form was reserved for those with the budget and time to painstakingly produce it.

Beginning with whats thought to be the very first entry in the genre, The Humpty Dumpty Circus was released in 1898. Creators J. Stuart Blackton and Albert E. Smith used a variety of childrens toys – long before Woody and Buzz arrived on the animated scene – to depict the hidden lives of circus performers.

Wladyslaw Starewicz was another pioneer of the form, producing a series of works throughout the 1910s and 1920s, most notably Lucanas Cervus. The title, from the Latin for stag beetle, used a variety of wee beasties which Starewicz had taxidermised into an all-star cast. The results shocked audiences into thinking the animator had trained them to wander about on hind legs, carrying household objects around as these characters do.

Willis OBrien was the mastermind behind the animation for the cinematic icon King Kong in his 1933 big screen adventure – but OBrien mastered the trade for a film released in 1925 called The Lost World. Based on the Arthur Conan Doyle novel of the same name, the film depicts a cast of explorers in search of a band of dinosaurs which still roam the earth, mixing mind-blowing effects and some clever film editing.

OBrien mentored a man whose work would go on to define this era of special effects in cinema. Ray Harryhausen was a one-man machine whose work on the likes of The Beast from 20,000 Fathoms and 20 Million Miles to Earth propelled 1950s cinema into a pulpy golden age. Later work on The Golden Voyage of Sinbad and Clash of the Titans (1981) is absolutely essential viewing.

As the medium evolved it spread further into the mainstream, including TV and music videos. Aardman Animations was responsible for globe-gripping examples of both. They created the claymation character Morph, first seen interacting with British broadcasting legend Tony Hart on our screens each week before getting his own series. Aardman was also the effects team behind Peter Gabriels Sledgehammer – a whirlwind of stop motion effects encapsulated into the video for one pop song and a touchstone of 1980s nostalgia.

Students will create a 1 page-long typed response to one of three review prompts. Responses must be in MLA format.

Purpose:

• Explore in writing what you have read/watched and what we have presented in the modules.

Instructions:

• No Citations; this is purely based on your knowledge.
• Restate the chosen topic/question in the first few sentences of your response.

Topic/Questions:

1. Compare and Contrast two works from Weeks 3-4. Focus on symbols, archetypes, and universal themes.

A Domestic Cookbook

Matilda Russell, A Domestic Cookbook: Containing a Careful Selection of Useful Receipts for the Kitchen

Malinda Russell: African American Cook and Author

First African American Cookbook Author, 1866

Fruitcake, page 8 in A Domestic Cook Book; baked and photo by Mercy Ingraham.

The only information we have about Malinda Russell is what was published in the introduction to her 1866 cookbook. Sadly, the entire print run, except it seems for one copy, presumably hers, was destroyed in a fire that destroyed the newspaper printing plant where her book was published, along with a number of other commercial structures in Paw Paw, Michigan.

Following is the only concrete information currently known. If you are a student looking for a research project or a scholar working in this period of African-American history, you will find in Malinda Russell the story of a woman of indomitable will, and impressive talents. Besides the fact that she lived in the South during the period when virtually all people of African descent were enslaved, which will have made her one of the relatively few African Americans with agency. Her boy was born disabled, so on top of everything else, she had a son who was not fully able-bodied to take care of. I imagine that for many reasons, baking worked for her, but also that it was something that she could do with her son.

---

I was born in Washington County, and raised in Green County, in the eastern part of Tennessee. My mother, Malinda Russell, was a member of one of the first families set free by Mr. Noddie, of Virginia. I am the daughter of Karon, the youngest child of my grandmother. My mother being born after the emancipation of my grandmother, her children are by law free. My mother died when I was quite young. At the age of about nineteen, I set out for Liberia; but being robbed by some member of the party with whom I was traveling, I was obliged to stop at Lynchburgh, Virginia, where I commenced cooking, and at times traveling with ladies as nurse; and always received the praise of being faithful. The following is a certificate given me by Doct. More at the time I started for Liberia:

We, the undersigned, have been acquainted with Malinda Russell, a free woman of color, for the last eight or ten years, and certify that she is a girl of fine disposition and business-doing habits. Her moral deportment, of late, has been respectable; and we have little doubt, should she reach Liberia, in Africa; to which place she is now bound, that she will make a valuable citizen.

About this time I married in Virginia. Anderson Vaughan, my husband, lived only four years. I have always been called by my maiden name since his death. I am still a widow, with one child, a son, who is crippled; he has the use of but one hand. While in Virginia, I kept a wash house. The following is my advertisement:

Malinda Vaughan, Fashionable Laundress, would respectfully inform the ladies and Gentlemen of Abingdon, that she is prepared to wash and iron every description of clothing in the neatest and most satisfactory manner. Every article washed by her, she guarantees shall pass unscathed through the severest ordeal of inspection, without the remotest danger of condemnation. She can conscientiously boast of a proficiency in her business, and all clothing committed to her charge shall be neatly executed and well taken care of. She hopes to receive, as she shall exert herself to deserve, a sufficiency of patronage to insure her a permanent location. Her charges shall correspond with the times.ABINGDON, May 3.

I returned to Tennessee, and, after the death of my husband, kept a boarding-house on Chuckey Mountain, Cold Springs, for three years. My boarders and visitors were from almost every State in the Union, who came to the Springs for their health. After leaving the boarding-house, I kept a pastry shop for about six years, and, by hard labor and economy, saved a considerable sum of money for the support of myself and son, which was taken from me on the 16th of January, 1864, by a guerrilla party, who threatened my life if I revealed who they were. Under those circumstances we were obliged to leave home, following a flag of truce out of the Southern borders, being attacked several times by the enemy.

Hearing that Michigan was the Garden of the West, I resolved to make that my home, at least for the present, until peace is restored, when I think of returning to Greenville, Tennessee, to try and recover at least a part of my property.

This is one reason why I publish my Cook Book hoping to receive enough from the sale of it to enable me to return home. I know my book will sell well where I have cooked, and am sure those using my receipts will be well satisfied.

PAW PAW, MICH., May, 1866.

RULES AND REGULATIONS OF THE KITCHEN.

The Kitchen should always be Neat and Clean. The Tables, Pastry Boards, Pans, and everything pertaining to Cookery, should be well Cleansed.

I have made Cooking my employment for the last twenty years, in the first families of Tennessee, (my native place,) Virginia, North Carolina, and Kentucky. I know my Receipts to be good, as they always have given satisfaction. I have been advised to have my Receipts published, as they are valuable, and every family has use for them. Being compelled to leave the South on account of my Union principles, in the time of the Rebellion, and having been robbed of all my hard-earned wages which I had saved; and as I am now advanced in years, with no other means of support than my own labor; I have put out this book with the intention of benefiting the public as well as myself.

I learned my trade of FANNY STEWARD, a colored cook, of Virginia, and have since learned many new things in the art of Cooking.

I cook after the plan of the VIRGINIA HOUSEWIFE.

MALINDA RUSSELL.

El Cocinero Espaol

Encarnacin Pinedo, El Cocinero Espaol

El Cocinero Espaol was the first Mexican-American cookbook published in the U.S., written by Encarnacin Pinedo. Cookbook contains Introduction, recipes in alphabetical order by type, and index. Published in San Francisco in 1898.

In 1991 Ruth Reichl, then a Los Angeles Times food writer, observed that much of the style now identified with California cuisine, and with nouvelle cuisine du Mexique, was practiced by Encarnacin Pinedo a century earlier. A landmark of American cuisine first published in 1898 as El cocinero espaol (The Spanish Cook), Encarnacin’s Kitchen is the first cookbook written by a Hispanic in the United States, as well as the first recording of Californio foodMexican cuisine prepared by the Spanish-speaking peoples born in California. Pinedo’s cookbook offers a fascinating look into the kitchens of a long-ago culture that continues to exert its influence today.

Of some three hundred of Pinedo’s recipes included herea mixture of Basque, Spanish, and Mexicanmany are variations on traditional dishes, such as chilaquiles, chiles rellenos, and salsa (for which the cook provides fifteen versions). Whether describing how to prepare cod or ham and eggs (a typical Anglo dish labeled “huevos hipcritas”), Pinedo was imparting invaluable lessons in culinary history and Latino culture along with her piquant directions.

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The Pinedo family was prominent in the Santa Clara Valley and its history is intertwined with that of Mission Santa Clara and the city itself. In 1839, Lorenzo Pinedo (the sole survivor of a shipwreck off Monterey) married Carmen Berreyesa. Lorenzo and Carmen had two children: Dolores, born in 1840, and Encarnacin, born in 1848.

The family was well-placed, as is evidenced by Encarnacin Pinedos account of attending the wedding of Juan Bautista Alvarado, the governor of Alta California, in 1839. According to Encarnacins personal writings, her father Lorenzo Pinedo built the first family residence in Santa Clara in 1844. The house was located just outside of the Mission Santa Clara grounds on what is now the north side of Alviso Street.

The Pinedo, Berreyesa, and Peralta families were all highly influential Californio landowners, but the United States-Mexican War of 1846-1848 sharply reduced the wealth and privilege of these early families. Encarnacin was a well-known cook during her lifetime, and published the seminal Californian-Mexican cookbook El Cocinero Espaol in 1898. The book was written in Spanish, and featured mainly Mexican, Spanish, and Basque ingredients and recipes. She attended college from 1851 to 1852.

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