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2 10 91 https://physiology.oberlincollegelibrary.org/files/original/b5144ce8e42a2f568e79c0d78755c4be.jpg 07a367584254f43d8639c1d720a0a6d4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource College Decisions Description An account of the resource Acceptance letters with an intent to enroll, a commitment to the "wrong" college Date A point or period of time associated with an event in the lifecycle of the resource 2016 Type The nature or genre of the resource Photograph Format The file format, physical medium, or dimensions of the resource Image https://physiology.oberlincollegelibrary.org/files/original/3cb8a52331dfeebd1f962d4ed8823791.png ff383418ed63fa1c0ff93ad0a5708d59 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Comparison of Epiglottis Creator An entity primarily responsible for making the resource Lexi Reed Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Lexi Reed Format The file format, physical medium, or dimensions of the resource image Type The nature or genre of the resource photograph https://physiology.oberlincollegelibrary.org/files/original/c2d9750bd49476e5f407d751c1add152.jpg afa667cb65280be0ed8715cb65133a20 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Conjur Woman Description An account of the resource Romare Bearden's collages are some of his most powerful and expressive works. Stylistically, they reference the Cubist works of Picasso and Braque, whom Bearden met in Paris in 1950, and the photomontages of the Berlin Dadaists whom Bearden was introduced to by his teacher, artist George Grosz, as well as African American folk collage. The subject matter, however, is all Bearden's, including references to his African American heritage and the black experience in the United States. Bearden began making his collages around 1963, cutting images from popular magazines, combining them with colored papers, and adding paint or other media to weave the compositions together. He used photostats (early photocopies) to create an overall unity within his compositions and to produce large works that in many cases-including the AMAM's Conjur Woman-have the scale and impact of a painting. After moving to the Antilles in 1973, Bearden's work frequently incorporated the brilliant colors of the Caribbean. The bright green of the AMAM collage, for ex ample, serves as a lush backdrop for a conjure woman-spelled "conjur" by Bearden-dressed in deep blue with a pink snake spiraling around her outstretched right arm. Bearden was fascinated by the conjure woman and her Caribbean counterpart, the Obeah woman-spiritual healers who were respected and feared for their traditional knowledge from Africa-and he depicted them throughout his career. Creator An entity primarily responsible for making the resource Romare Bearden American, 1911–1988 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/10404">Allen Memorial Art Museum</a>, <span>R. T. Miller Jr. Fund</span> Date A point or period of time associated with an event in the lifecycle of the resource 1975 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Collage with spray paint on paper Overall: 46 × 36 in. (116.8 × 91.4 cm) Frame: 48 × 38 × 3 in. (121.9 × 96.5 × 7.6 cm) Type The nature or genre of the resource Collage Rights Information about rights held in and over the resource Romare Bearden Foundation / Visual Artists and Galleries Association (VAGA), New York, NY Identifier An unambiguous reference to the resource within a given context 2001.3 https://physiology.oberlincollegelibrary.org/files/original/5ce2cbe314d1820d6fbc4150f6fee2f2.jpg d4c971ac5b3fc8d7b73bf2d05beb9ba6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Description An account of the resource "David” by Bernini is a life-size marble sculpture depicting the biblical David, about to throw the stone that will bring down Goliath, whom he then beheads. Compared to earlier works on this subject such as the David of Michelangelo, the sculpture broke new ground in its sense of movement and its psychological intensity. This sculpture shows a key event from the Old Testament during the war between the Israelites and the Philistines. Goliath was the battle champion of the Philistines, and he challenged the Israelite army to settle the conflict by single combat. David is a young shepherd who has gained fame as the king’s musician but accepts the challenge when no one else steps forward to defend the Israeli cause. David refuses the king’s offer of the royal armor and faces Goliath with just a stone from his sling. “When the Philistine [Goliath] arose and came and drew near to meet David, David sprinted toward the battle line to meet the Philistine. And David put his hand in his bag and took out a stone and slung it and struck the Philistine on his forehead. The stone sank into his forehead, and he fell on his face to the ground.” Bernini shows David clothed as a typical shepherd, and at his feet lies the armor of Israel’s King, Saul, given to David for battle. The armor is shed by David, as he was unaccustomed to it, and he had faith that he can fight better without the constraint of the heavy armor. At David’s feet is also his harp. The harp was often included as an iconographic device for David, which references to his skills as a harpist. The biblical David was a favorite subject among artists and had been treated by sculptors such as Donatello (c.1440s), Verrocchio (1473-1475), and Michelangelo (1501-1504). Bernini’s David, though influenced by these works, adds to the art form in different and significant ways. This sculpture was one of many commissioned to decorate the villa of Bernini’s patron Cardinal Scipione Borghese, where it is exhibited today, as part of the Galleria Borghese. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Italian, 1598-1680 Date A point or period of time associated with an event in the lifecycle of the resource 1623–24 Type The nature or genre of the resource Sculpture Source A related resource from which the described resource is derived <a href="https://joyofmuseums.com/museums/europe/italy-museums/rome-museums/galleria-borghese/david-by-bernini/">Joy of Museums</a> Format The file format, physical medium, or dimensions of the resource Marble 170 cm (67 in) Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Haley Gee Interviewee The person(s) being interviewed David Benzing Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50:39 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Benzing Date A point or period of time associated with an event in the lifecycle of the resource 2019 Description An account of the resource <br /><iframe style="width: 100%; height: 1000px;" src="http://oberlincollegelibrary.org/ohms-viewer/viewer.php?cachefile=Oberlin_College_TA02.xml"></iframe> Contributor An entity responsible for making contributions to the resource Nicholas Rutland https://physiology.oberlincollegelibrary.org/files/original/5a36fb40990a2e6fb3d78ae6009f0f77.pdf 686ca6197841b430e6b1e3b4ad1a1683 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Do Not Go Gentle Into That Good Night Description An account of the resource A selection from "The Poems of Dylan Thomas". Creator An entity primarily responsible for making the resource Dylan Thomas Source A related resource from which the described resource is derived <a href="https://bookshop.org/books/the-poems-of-dylan-thomas/9780811221146">The Poems of Dylan Thomas</a> Publisher An entity responsible for making the resource available New Directions Publishing Corporation Date A point or period of time associated with an event in the lifecycle of the resource 2017 Type The nature or genre of the resource Poem Identifier An unambiguous reference to the resource within a given context 9780811221146 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Effects of prenatal exposure to the Dutch famine on adult disease in later life: an overview Creator An entity primarily responsible for making the resource Tessa J. Roseboom, Jan H.P. van der Meulen, Anita C.J. Ravelli, Clive Osmond, David J.P. Barker, & Otto P. Bleker Source A related resource from which the described resource is derived <a href="http://www.sciencedirect.com/science/article/pii/S0303720701007213">Molecular and Cellular Endocrinology</a>, <span><em>185</em>(1-2), 93-98</span> Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Rebekah Daniels Type The nature or genre of the resource Journal article Rights Information about rights held in and over the resource Elsevier Science Ireland Ltd. Format The file format, physical medium, or dimensions of the resource Article https://physiology.oberlincollegelibrary.org/files/original/0cc57cfebe149c82f1806ea3bb31cefd.jpg fcc1981a099b621655aed9d79898506f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Feeding the Ducks Creator An entity primarily responsible for making the resource Mary Cassatt (American, 1845–1926) Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/2771">The Allen Memorial Art Museum</a>, R. T. Miller Jr. Fund Date A point or period of time associated with an event in the lifecycle of the resource 1895 Format The file format, physical medium, or dimensions of the resource Drypoint and aquatint Image: 11 3/4 × 15 3/4 in. (29.9 × 40 cm) Sheet: 14 11/16 × 18 3/4 in. (37.3 × 47.6 cm) Identifier An unambiguous reference to the resource within a given context 1957.19 https://physiology.oberlincollegelibrary.org/files/original/d51dfdb6c898f2cfe1cd05f6e2087b43.jpg cc9f9afbd8b68305055a749c667a5af1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female Figure Description An account of the resource The Baule people believe that all individuals have spirit mates in the ‘other world'. Under normal circumstances, these spirit spouses reside in their own place and aid the individual. However, due to certain circumstances, the spirit mate may become upset or angered and cause a crisis or a problem related to sexual dysfunction in marriage. These spirits and their grievances would be revealed through divination, and following that a carver would be commissioned to create images of standing males or females, with reserved demeanor and of elegant form, that represent the spirit mate of a given individual. The carving of a figure of this kind is commissioned as a stand-in for the other world mate, and offerings are placed at its feet in hope that the spirit will be placated and the problem will be solved. Of particular importance with regards to this object is the fact that it has been completely covered with gold leaf. The gold is a symbol of high rank and status often associated with chieftainship among the Baule. It is therefore quite probable that this figure was commissioned by a chief or high ranking nobleman to represent their particular spirit mate. Occasionally, images that are near to spirit mates are kept as tutelary images by diviners. In some cases, such figures develop a dirty and encrusted surface. However, were such a figure or pair of figures to be made for a chief, the pieces would likely be covered in gold leaf and kept clean. It is therefore not possible to determine the exact use of the figure, however, what is certain is that this was a valued and treasured object created for a high ranking individual in traditional Baule society. Creator An entity primarily responsible for making the resource Baule peoples Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/36139">Allen Memorial Art Museum</a>, <span>Gift in honor of Alexandra Gould (OC 2011)</span> Date A point or period of time associated with an event in the lifecycle of the resource 20th century Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Wood and gold leaf Overall: 10 3/4 × 1 1/4 × 1 1/4 in. (27.3 × 3.2 × 3.2 cm) Type The nature or genre of the resource Figure Identifier An unambiguous reference to the resource within a given context 2011.26.10 https://physiology.oberlincollegelibrary.org/files/original/1a9fdb94b4e6141fedbbac98c3f4f1b4.jpg 782050fa5b6b2620a5fe68b2c05d7ee7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gin Lane Description An account of the resource Many of William Hogarth’s prints call attention to social ills within 18th-century British society, thereby paving the way for healing. Here, Hogarth represents the dire effects of gin consumption, which had risen steeply in the first decades of the 18th century. The print represents February 1, 1751, a day in one of London’s poorer neighborhoods, where every group, from the elderly to infants, is addicted to the substance and devastated by the consequences. In the middle ground, a woman in a wheelbarrow—no longer able to support her own cup—is served by supposed nurses who “charitably” assist her. Penury awaits everyone as figures pawn their last possessions. Gin is the cause of suicide (at right) and civic neglect (a house falls down in the middle distance), Hogarth argues. Children are neglected, abandoned, and killed. Paired with the print Beer Street, in which Hogarth envisions a healthy society that consumes a national and nutritional beverage, Gin Lane successfully helped to raise awareness of the necessity for civic regulations in the sale of gin, which came under increasing control that same year. Creator An entity primarily responsible for making the resource William Hogarth English, 1697–1764 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/15672">Allen Memorial Art Museum</a>, <span>Annie A. Wager Bequest</span> Date A point or period of time associated with an event in the lifecycle of the resource 1751 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Etching and engraving Image: 15 3/8 × 12 13/16 in. (39.1 × 32.5 cm) Sheet: 24 13/16 × 18 7/8 in. (63 × 48 cm) Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context 1975.228