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6 10 91 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) https://physiology.oberlincollegelibrary.org/files/original/4db0f70d04781f67c624e36b793ca6b3.png 6fbe807b1bd24a23df258af8ba99ca00 Hyperlink A link, or reference, to another resource on the Internet. 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 Oberlin Mudd Slinger Description An account of the resource A playlist created by Mudd patrons that answered the question "Mudd Study Playlist: what songs motivate you to study?" Creator An entity primarily responsible for making the resource Joseph Maiville Date A point or period of time associated with an event in the lifecycle of the resource 2019 Type The nature or genre of the resource Playlist of songs Source A related resource from which the described resource is derived <a href="https://open.spotify.com/playlist/4SHamtEEjsiSIV6wtLpprt">Spotify</a> https://physiology.oberlincollegelibrary.org/files/original/cd5154cd950d7f3c8638e964f8ae8139.jpg 3f9ab2e95e0acd68af5523e1abc4d439 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 The Education of Black People: Ten Critiques, 1906–1960 Description An account of the resource Undoubtedly the most influential black intellectual of the twentieth century and one of America’s finest historians, W.E.B. Du Bois knew that the liberation of African Americans required liberal education and not vocational training. He saw education as a process of teaching certain timeless values: moderation, an avoidance of luxury, a concern for courtesy, a capacity to endure, a nurturing love for beauty. At the same time, Du Bois saw education as fundamentally subversive. This was as much a function of the well-established role of education—from Plato forward—as the realities of the social order under which he lived. He insistently calls for great energy and initiative; for African Americans controlling their own lives and for continued experimentation and innovation, while keeping education’s fundamentally radical nature in view. Taken together, these ten essays cover half a century during which the social, political, and technological transformations were unparalleled by any in recorded history. And while Du Bois reflects these changes, certain constants persist: a demand for excellence, sacrifice, and a life of service; and an insistence that while such a life will bring hardships and temptations, it will also bring fulfillment. In Du Bois’s view, only with such a life will one truly live. In this affirmation, there runs a particular feeling that the history of African Americans has profoundly influenced their ideas about service, of compassion, of justice. Though containing speeches written nearly one-hundred years ago, and on a subject that has seen more stormy debate and demagoguery than almost any other in recent history, The Education of Black People approaches education with a timelessness and timeliness, at once rooted in classical thought that reflects a remarkably fresh and contemporary relevance. Creator An entity primarily responsible for making the resource W. E. B. Du Bois Publisher An entity responsible for making the resource available Monthly Review Press Date A point or period of time associated with an event in the lifecycle of the resource 2001 Type The nature or genre of the resource Book (Collection of speeches) Source A related resource from which the described resource is derived <a href="https://monthlyreview.org/product/education_of_black_people/">Monthly Review Press</a> Identifier An unambiguous reference to the resource within a given context 9781583670439 https://physiology.oberlincollegelibrary.org/files/original/599dcdd0fd64ab1dee4ce0f7680b84e2.jpg abf4b33ab7cdb74de6f63780f24573b0 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 Power Figure (Nkisi Nkondi) Description An account of the resource Kongo spiritual thought was dominated by the dualistic concept of natural order and oppositional chaos which were kept in balance by the chief, ancestors, and the individual, acting in societally prescribed manners. With a breakdown in this balance, inauspicious events such as sickness, infertility or unexpected calamities occurred and were regarded as proof of witchcraft or evil sorcery, or conversely, the failure of the individual to obey the social mores that maintain stability. In such a case, a ritual expert or Nganga was required to rectify the problem. The role of the Nganga was to prescribe a specific charm, or nkisi (plural minkisi), consisting of a plethora of materials based on sympathetic magic that when added together and ‘activated’ by some means at the Nganga’s disposal would serve as an effective countermeasure to rebalance the natural forces gone awry. Most minkisi were little more than packets containing various organic and inorganic materials such as remains of predatory animals or stones and sand from the graves of powerful chiefs. However, in certain cases, the form taken was that of a human or animal figure empowered as an nkisi by the insertion of the prescribed materials into cavities in the body or added to the body of the figure itself. This nkisi figure is masterfully carved as a naturalistic standing male; his face strong and aggressive, and his hair a complex of feathers and other organic objects in a complex coif. The body is covered by a large quantity of various magical materials. The figure is ‘empowered’ by the addition of the nkisi charm in its belly and possibly in other cavities as well. The addition of white pigment to the face connects the nkisi with the spirit world. Creator An entity primarily responsible for making the resource Bakongo Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/36172">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, cloth, feathers, ritual materials, bush rope, animal fur, glass, and nails Overall: 21 × 4 1/2 × 4 1/2 in. (53.3 × 11.4 × 11.4 cm) Type The nature or genre of the resource Figure Identifier An unambiguous reference to the resource within a given context 2011.26.43 https://physiology.oberlincollegelibrary.org/files/original/fbdc23663fe7e11ee144c6ee60a03e38.jpg d1a5f4aa38b7cc14b8699fe383586ebe 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 Yoke Description An account of the resource Hung Liu was born in Changchun, China, in 1948. Her father, a former Nationalist Army officer, was imprisoned by the Chinese Communist government in 1949, leaving Hung to be raised by her mother and several aunts in Beijing. As a teenager during the Cultural Revolution, Hung was sent by the government to live and work in a rural village for several years. After returning to Beijing, she attended the Beijing Teachers College and the Central Academy of Fine Arts, where she studied Socialist Realist painting. Hung emigrated to the United States in 1984 and earned an MFA from the University of California at San Diego in 1986. She is currently a professor of art at Mills College in Oakland, California. Hung is best known for creating paintings based on photographs. Some of the photographs she uses are historical images of life in late nineteenth- and early twentieth-century China; others are more recent images relating to Hung's own life since her move to the United States. Many of her paintings raise issues about the historical and contemporary status of women, children, and other traditionally underprivileged social groups. The paintings also frequently address much broader questions involving the history of colonialism, emigration, and the nature of transnational cultural identity. Hung paints in an evocative, expressionistic style, building up her images with thin layers of paint that emphasize her creative process and the differences in meaning between her works and the photographs on which they are based. Yoke was inspired by a historical photograph of a Tibetan criminal wearing a cangue, a type of heavy, wooden collar that was used as a punishment in traditional China. The dimensions and weight of the cangue were such that the wearer typically could not stand upright or reach around the collar to feed himself. Instead, he was forced to lie on the ground and depend on the kindness of passersby for food and drink. It was a cruel form of punishment that begs larger questions about the nature of justice and the power of governments to oppress their own people. The fact that the person in this image is a Tibetan who is being punished by the Chinese also concentrates our attention more specifically on the long and troubled history of relations between those two peoples. Creator An entity primarily responsible for making the resource Hung Liu American, born in China, 1948 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/4695">Allen Memorial Art Museum</a>, <span>Gift of the Estate of Esther S. Weissman</span> Date A point or period of time associated with an event in the lifecycle of the resource 1997 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Oil on canvas Overall: 80 × 80 in. (203.2 × 203.2 cm) Type The nature or genre of the resource Painting Rights Information about rights held in and over the resource Hung Liu Identifier An unambiguous reference to the resource within a given context 2006.23 https://physiology.oberlincollegelibrary.org/files/original/bf8c8360f6d889415884b8260c87e255.jpg fa5a7580490d202f203de84d574bcf67 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 The Prodigal Son Description An account of the resource Auguste Rodin is arguably one of the most influential artists of the modern age, and produced a vast array of sculptures in plaster, marble, and bronze, as well as many drawings. His works are known for championing the ruggedness, strength, and materiality of the human body and the powerful emotions to which it is subject. Rodin was awarded numerous public commissions in France in the late nineteenth century, and took up subjects ranging from portraits of notable men, such as the writer Honoré de Balzac, to those inspired from biblical or classical events. This powerfully emotional work displays the vulnerability of its protagonist, a young man who kneels on a massive rock, torso uncomfortably angled, head thrown back and arms outstretched. His face, with open mouth, is similar to that in numerous other works by the artist that express sorrow, longing, or fear. The prodigal son, from a biblical parable, leaves his family and returns destitute, pleading for mercy and forgiveness. His despair, energy, and pentup feelings are fully expressed in Rodin's work. The figure was created by Rodin for inclusion in the late 1880s in his monumental Gates of Hell; he appears twice in the right panel, both vertically and horizontally as part of a group with a female body, later reworked by the artist as the Fugit Amor group, and symbolic of the disillusionment and pain of dying love. Neither group is present in an April 1887 photograph of the plaster model for the Gates, but a freestanding Fugit Amor was exhibited in plaster in Paris in 1887; therefore, the initial conception for the group, and Oberlin's male figure, probably dates to that year. As he did with other figures from the Gates, Rodin enlarged, modified, and reused a single figure from his initial idea to create a monumental work, as is the case for The Prodigal Son. Creator An entity primarily responsible for making the resource François-Auguste-René Rodin French, 1840–1917 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/6928">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 c. 1905 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Bronze with dark green patina Overall: 54 1/4 × 26 × 27 in. (137.8 × 66 × 68.6 cm) Type The nature or genre of the resource Sculpture Identifier An unambiguous reference to the resource within a given context 1955.32 https://physiology.oberlincollegelibrary.org/files/original/be02cb06598638b9f7189120a8c602b0.jpg 4a9157521a010ffd54d8d435201569e6 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 The Stigmatization of St. Francis Description An account of the resource An exceptional colorist and the most sensitive of draftsmen, Barocci executed only a few prints. Not surprisingly, his approach to printmaking was quite painterly. Here he creates an atmospheric representation of Saint Francis receiving the stigmata while praying in the hills above Assisi. Through a judicious application of both etching and engraving—an innovative combination at the time—Barocci translates the saint’s ecstasy into a physical haze of natural forms in the background that fade away from Francis’s more strongly delineated figure. Through masterful handling of the medium, Barocci conveys the intensity and wonder of the saint’s experience. Creator An entity primarily responsible for making the resource Federico Barocci Italian, ca. 1535–1612 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/1881">Allen Memorial Art Museum</a>, <span>Gift of Parks and Christie Campbell</span> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1581 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 Overall: 9 × 5 13/16 in. (22.9 × 14.8 cm) Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context 1983.32 https://physiology.oberlincollegelibrary.org/files/original/0bec2f9661f1609009e335033e6db47a.PNG 799c848c3df3c674b334e893d71f084e 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 The mediating role of positive relations with others in associations between depressive symptoms, social skills, and perceived stress. Creator An entity primarily responsible for making the resource Segrin, Chris and Rynes, Kristina N. Source A related resource from which the described resource is derived <a href="https://journals.ohiolink.edu/pg_200?::NO:200:P200_ARTICLEID:330674582">Journal of Research in Personality</a>, Vol. 43, Iss. 6, December, 2009, pp. 962-971 Date A point or period of time associated with an event in the lifecycle of the resource 2009 Contributor An entity responsible for making contributions to the resource Max Scott Cheyenne Arthur Type The nature or genre of the resource journal article Identifier An unambiguous reference to the resource within a given context 10.1016/J.JRP.2009.05.012 https://physiology.oberlincollegelibrary.org/files/original/434af434e3e97fecd46c6c4df9f77c8e.jpg 5cb0825861f43ddb67725e5a6448ce9d 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 St. Sebastian Tended by Irene Description An account of the resource This work-one of the most important Northern Baroque paintings in the United States-is a strikingly sensitive vision of physical suffering. The third-century Saint Sebastian, shot with arrows by his fellow guardsmen for having converted to Christianity, was tended by the Roman widow Irene and her maidservant; none of the arrows had pierced a vital organ and they were able to bring him back to health. Here, left for dead, with his now gray, bloodless arm tied by a leather strap to a tree, he slumps forward as the women, fully absorbed in their work, tenderly begin to nurse him. Saint Sebastian was invoked against the plague; one that struck Utrecht, Amsterdam, and Rotterdam in 1624 may have helped to occasion the present work. For the upright composition, Ter Brugghen was likely inspired by Caravaggio's Deposition, as well as by a lost work by his compatriot, Baburen. Ter Brugghen was the only one of the Utrecht Caravaggisti-Dutch artists from Utrecht active in Rome, influenced by the works of Italian artist Caravaggio- to live in Rome in the early years of the seventeenth century, during Caravaggio's activity there. In Oberlin's work, the three figures are tightly massed in a monumental pyramidal composition whose strong diagonals, shallow space, and scale heighten its emotive power. The richness of the painting's cool chiaroscuro-the play of light and shadow over its three figures-is contrasted with the orange glow of the setting sun over the distant, desolate landscape in the background, over which black birds fly. Pierre Rosenberg, former director of the Louvre, published the painting in 2006 in his book Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Having conducted a survey of curators and art historians, Oberlin's painting was found to be cited more often than any other as meeting that extremely high standard-and, as a result, it is the book's front cover image. The AMAM owes its purchase to the connoisseurship of the museum's former director Charles Parkhurst, who first saw the work at a dealer in New York in the spring of 1953. After discussion with Oberlin art professor Wolfgang Stechow, he agreed to move forward on the purchase. The dealer was then in touch with Samuel Kress, for whom it had been reserved, to gain his approval. The painting might equally have gone when it was earlier in the hands of another dealer to the Rijksmuseum in Amsterdam or to the museum in Utrecht. The Rijksmuseum, however, did not have available dollar funds while the Utrecht museum did not act quickly enough, due in part to a misdirected letter. Ter Brugghen first studied with the artist Abraham Bloemaert before leaving the Netherlands for Italy. Upon his return to Utrecht he painted both religious and genre subjects, such as flute and lute players, and allegories, and was praised above all other Utrecht artists by the great painter Rubens on the latter's trip to that city in 1627. Creator An entity primarily responsible for making the resource Hendrick ter Brugghen Dutch, ca. 1588–1629 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/9232">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 1625 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Oil on canvas Overall: 58 11/16 × 47 in. (149.1 × 119.4 cm) Frame: 66 7/16 × 54 11/16 × 3 13/16 in. (168.8 × 138.9 × 9.7 cm) Type The nature or genre of the resource Painting Identifier An unambiguous reference to the resource within a given context 1953.256 https://physiology.oberlincollegelibrary.org/files/original/fa0c4299ae865bdf5949155127e2c456.jpg 1d7a57f9285637a5d58205d7eb8f56eb 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 Cleopatra Creator An entity primarily responsible for making the resource Giampietrino (Giovanni Pietro Rizzoli) Italian, active 1495–1540 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/1697">Allen Memorial Art Museum</a>, <span>Gift of the Samuel H. Kress Foundation</span> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1515 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Oil on panel, mounted on mahogany Overall: 29 7/8 × 21 1/8 in. (75.9 × 53.7 cm) Type The nature or genre of the resource Painting Identifier An unambiguous reference to the resource within a given context 1961.81