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    <title><![CDATA[Children and Youth in History]]></title>
    <link>http://cyh.rrchnm.org/items/browse?tag=Gender&amp;output=rss2</link>
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    <pubDate>Wed, 11 Aug 2021 03:20:27 +0000</pubDate>
    <managingEditor>chnm@gmu.edu (Children and Youth in History)</managingEditor>
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      <title><![CDATA[Incidents in the Life of a Slave Girl  (Slave Narrative)]]></title>
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                                    <div class="element-text">Incidents in the Life of a Slave Girl  (Slave Narrative)</div>
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                                    <div class="element-text"><p>The book-length narrative, <em>Incidents in the Life of a Slave Girl</em> (1861), chronicles the experiences of Harriet Jacobs who was born a slave in Edenton, North Carolina, in 1813. Harriet was unaware of her slave status until at age six, her mother died and she was sent to live in the house of her mistress. Margaret Horniblow taught Harriet how to read and write in the years before she died and bequeathed the 11-year-old Harriet to her 3-year-old niece, Mary Matilda Norcom. Residing in the Norcom household throughout her adolescence, Harriet endured unremitting sexual harassment from Mary's father, Dr. James Norcom, and became the object of abuse by his jealous wife. Harriet used pseudonyms throughout her narrative as in chapters 5 and 6 in which she described the abuse commonly endured by adolescent girls in the slave south.</p> 
  
<p>In addition to recounting her own experiences as a girl, Jacobs also describes those of numerous other children—black and white, free and unfree, male and female, children and adolescents—including her own. In an attempt to resist her master, Harriet had two children with Samuel Tredwell Sawyer, a young white lawyer. </p> 

<p>Why might Jacobs have emphasized her identity as a "slave girl" and not as a "child" or "woman?" In what ways did Jacobs' description of her lived reality challenge dominant ideals of girlhood in antebellum culture? What purposes might girlhood have served in the formation of broader notions about race, nation, gender, sexuality, and American identity? How did Jacobs' description of herself compare with the depiction of black girls as "pickaninnies" like the devilish Topsy in <em>Uncle Tom's Cabin</em> (1852)? By staking a claim to her innocence did Jacobs appropriate feminine purity from white girls like Stowe's idealized Little Eva, a central figure in the anti-slavery novel that evoked readers' sympathy far and wide? In what ways might Jacob's figure of the slave girl have been useful to the cause of Abolition ardently championed by her editor, Lydia Maria Child, a women's right's supporter, and the author of  <em>The Girl's Own Book</em> (1833)? In what ways might these varied constructions of girlhood have reflected and influenced broader historical changes?</p>
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                                    <div class="element-text">Jacobs, Harriet Ann. <em>Incidents in the Life of a Slave Girl Written by Herself.</em>A full-text version is available at Project Gutenberg, <a class="external" href="http://www.gutenberg.org/etext/11030">http://www.gutenberg.org/etext/11030</a> (accessed August 12, 2010). Annotated by Miriam Forman-Brunell.</div>
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                                    <div class="element-text"><h3>The Trials Of Girlhood (ch 5)</h3>

<p>During the first years of my service in Dr. Flint's family, I was accustomed to share some indulgences with the children of my mistress. Though this seemed to me no more than right, I was grateful for it, and tried to merit the kindness by the faithful discharge of my duties. But I now entered on my fifteenth year--a sad epoch in the life of a slave girl. My master began to whisper foul words in my ear. Young as I was, I could not remain ignorant of their import. I tried to treat them with indifference or contempt. The master's age, my extreme youth, and the fear that his conduct would be reported to my grandmother, made him bear this treatment for many months. He was a crafty man, and resorted to many means to accomplish his purposes. Sometimes he had stormy, terrific ways, that made his victims tremble; sometimes he assumed a gentleness that he thought must surely subdue. Of the two, I preferred his stormy moods, although they left me trembling. He tried his utmost to corrupt the pure principles my grandmother had instilled. He peopled my young mind with unclean images, such as only a vile monster could think of. I turned from him with disgust and hatred. But he was my master. I was compelled to live under the same roof with him--where I saw a man forty years my senior daily violating the
most sacred commandments of nature. He told me I was his property; that I must be subject to his will in all things. My soul revolted against the mean tyranny. But where could I turn for protection? No matter whether the slave girl be as black as ebony or as fair as her mistress. In either case, there is no shadow of law to protect her from insult, from violence, or even from death; all these are inflicted by fiends who bear the shape of men. The mistress, who ought to protect the helpless victim, has no other feelings towards her but those of jealousy and rage. The degradation, the wrongs, the vices, that grow out of slavery, are more than I can describe. They are greater than you would willingly believe. Surely, if you credited one half the truths that are told you concerning the helpless millions suffering in this cruel bondage, you at the north would not help to tighten the yoke. You surely would refuse to do for the master, on your own soil, the mean and cruel work which trained bloodhounds and the lowest class of whites do for him at the south.</p>

<p>Every where the years bring to all enough of sin and sorrow; but in slavery the very dawn of life is darkened by these shadows. Even the little child, who is accustomed to wait on her mistress and her children, will learn, before she is twelve years old, why it is that her mistress hates such and such a one among the slaves. Perhaps the child's own mother is among those hated ones. She listens to violent outbreaks of jealous passion, and cannot help understanding what is the cause. She will become prematurely knowing in evil things. Soon she will learn to tremble when she hears her master's footfall. She will be compelled to realize that she is no longer a child. If God has bestowed beauty upon her, it will prove her greatest curse. That which commands admiration in the white woman only hastens the degradation of the female slave. I know that some are too much brutalized by slavery to feel the humiliation of their position; but many slaves feel it most acutely, and shrink from the memory of it. I cannot tell how much I suffered in the presence of these wrongs, nor how I am still pained by the retrospect. My master met me at every turn, reminding me that I belonged to him, and swearing by heaven and earth that he would compel me to submit to him. If I went out for a breath of fresh air, after a day of unwearied toil, his footsteps dogged me. If I knelt by my mother's grave, his dark
shadow fell on me even there. The light heart which nature had given me became heavy with sad forebodings. The other slaves in my master's house noticed the change. Many of them pitied me; but none dared to ask the cause. They had no need to inquire. They knew too well the guilty practices under that roof; and they were aware that to speak of them was an offence that never went unpunished.</p>

<p>I longed for some one to confide in. I would have given the world to have laid my head on my grandmother's faithful bosom, and told her all my troubles. But Dr. Flint swore he would kill me, if I was not as silent as the grave. Then, although my grandmother was all in all to me, I feared her as well as loved her. I had been accustomed to look up to her with a respect bordering upon awe. I was very young, and felt shamefaced about telling her such impure things, especially as I knew her to be very strict on such subjects. Moreover, she was a woman of a high spirit. She was
usually very quiet in her demeanor; but if her indignation was once roused, it was not very easily quelled. I had been told that she once chased a white gentleman with a loaded pistol, because he insulted one of her daughters. I dreaded the consequences of a violent outbreak; and both pride and fear kept me silent. But though I did not confide in my grandmother, and even evaded her vigilant watchfulness and inquiry, her presence in the neighborhood was some protection to me. Though she had been a slave, Dr. Flint was afraid of her. He dreaded her scorching rebukes. Moreover, she was known and patronized by many people; and he did not wish to have his villany made public. It was lucky for me that I did not live on a distant plantation, but in a town not so large that the inhabitants were ignorant of each other's affairs. Bad as are the laws and customs in a slaveholding community, the doctor, as a professional man, deemed it prudent to keep up some outward show of decency.</p>

<p>O, what days and nights of fear and sorrow that man caused me! Reader, it is not to awaken sympathy for myself that I am telling you truthfully what I  suffered in slavery. I do it to kindle a flame of compassion in your hearts for my sisters who are still in bondage, suffering as I once suffered.</p>

<p>I once saw two beautiful children playing together. One was a fair white child; the other was her slave, and also her sister. When I saw them embracing each other, and heard their joyous laughter, I turned sadly away from the lovely sight. I foresaw the inevitable blight that would fall on the little slave's heart. I knew how soon her laughter would be changed to sighs. The fair child grew up to be a still fairer woman. From childhood to womanhood her pathway was blooming with flowers, and overarched by a sunny sky. Scarcely one day of her life had been clouded when the sun rose on her happy bridal morning.</p>

<p>How had those years dealt with her slave sister, the little playmate of her
childhood? She, also, was very beautiful; but the flowers and sunshine of love were not for her. She drank the cup of sin, and shame, and misery, whereof her persecuted race are compelled to drink.</p>

<p>In view of these things, why are ye silent, ye free men and women of the
north? Why do your tongues falter in maintenance of the right? Would that I had more ability! But my heart is so full, and my pen is so weak! There are noble men and women who plead for us, striving to help those who cannot help themselves. God bless them! God give them strength and courage to go on! God bless those, every where, who are laboring to advance the cause of humanity!</p>



<h3>The Jealous Mistress (ch 6)</h3>


<p>I would ten thousand times rather that my children should be the
half-starved paupers of Ireland than to be the most pampered among the slaves of America. I would rather drudge out my life on a cotton plantation, till the grave opened to give me rest, than to live with an unprincipled master and a jealous mistress. The felon's home in a penitentiary is preferable. He may repent, and turn from the error of his ways, and so find peace; but it is not so with a favorite slave. She is not allowed to have any pride of character. It is deemed a crime in her to wish
to be virtuous.</p>

<p>Mrs. Flint possessed the key to her husband's character before I was born. She might have used this knowledge to counsel and to screen the young and
the innocent among her slaves; but for them she had no sympathy. They were the objects of her constant suspicion and malevolence. She watched her husband with unceasing vigilance; but he was well practised in means to evade it. What he could not find opportunity to say in words he manifested in signs. He invented more than were ever thought of in a deaf and dumb asylum. I let them pass, as if I did not understand what he meant; and many were the curses and threats bestowed on me for my stupidity. One day he caught me teaching myself to write. He frowned, as if he was not well pleased; but I suppose he came to the conclusion that such an
accomplishment might help to advance his favorite scheme. Before long, notes were often slipped into my hand. I would return them, saying, "I can't read them, sir." "Can't you?" he replied; "then I must read them to you." He always finished the reading by asking, "Do you understand?" Sometimes he would complain of the heat of the tea room, and order his supper to be placed on a small table in the piazza. He would seat himself there with a well-satisfied smile, and tell me to stand by and brush away the flies. He would eat very slowly, pausing between the mouthfuls. These intervals were employed in describing the happiness I was so foolishly
throwing away, and in threatening me with the penalty that finally awaited my stubborn disobedience. He boasted much of the forbearance he had exercised towards me, and reminded me that there was a limit to his patience. When I succeeded in avoiding opportunities for him to talk to me at home, I was ordered to come to his office, to do some errand. When there, I was obliged to stand and listen to such language as he saw fit to address to me. Sometimes I so openly expressed my contempt for him that he would become violently enraged, and I wondered why he did not strike me.</p>

<p>Circumstanced as he was, he probably thought it was better policy to be forebearing. But the state of things grew worse and worse daily. In desperation I told him that I must and would apply to my grandmother for protection. He threatened me with death, and worse than death, if I made any complaint to her. Strange to say, I did not despair. I was naturally of a buoyant disposition, and always I had a hope of somehow getting out of his clutches. Like many a poor, simple slave before me, I trusted that some threads of joy would yet be woven into my dark destiny.</p>

<p>I had entered my sixteenth year, and every day it became more apparent that
my presence was intolerable to Mrs. Flint. Angry words frequently passed between her and her husband. He had never punished me himself, and he would not allow any body else to punish me. In that respect, she was never satisfied; but, in her angry moods, no terms were too vile for her to
bestow upon me. Yet I, whom she detested so bitterly, had far more pity for
her than he had, whose duty it was to make her life happy. I never wronged
her, or wished to wrong her, and one word of kindness from her would have
brought me to her feet.</p>

<p>After repeated quarrels between the doctor and his wife, he announced his
intention to take his youngest daughter, then four years old, to sleep in
his apartment. It was necessary that a servant should sleep in the same
room, to be on hand if the child stirred. I was selected for that office,
and informed for what purpose that arrangement had been made. By managing
to keep within sight of people, as much as possible, during the day time, I
had hitherto succeeded in eluding my master, though a razor was often held
to my throat to force me to change this line of policy. At night I slept by
the side of my great aunt, where I felt safe. He was too prudent to come
into her room. She was an old woman, and had been in the family many years.
Moreover, as a married man, and a professional man, he deemed it necessary
to save appearances in some degree. But he resolved to remove the obstacle
in the way of his scheme; and he thought he had planned it so that he
should evade suspicion. He was well aware how much I prized my refuge by
the side of my old aunt, and he determined to dispossess me of it. The
first night the doctor had the little child in his room alone. The next
morning, I was ordered to take my station as nurse the following night. A
kind Providence interposed in my favor. During the day Mrs. Flint heard of
this new arrangement, and a storm followed. I rejoiced to hear it rage.</p>

<p>After a while my mistress sent for me to come to her room. Her first
question was, "Did you know you were to sleep in the doctor's room?"<br />

"Yes, ma'am."<br />

"Who told you?"<br />

"My master."<br />

"Will you answer truly all the questions I ask?"<br />

"Yes, ma'am."<br />

"Tell me, then, as you hope to be forgiven, are you innocent of what I have
accused you?"<br />

"I am."<br />

She handed me a Bible, and said, "Lay your hand on your heart, kiss this
holy book, and swear before God that you tell me the truth."</p>

<p>I took the oath she required, and I did it with a clear conscience.</p>

<p>"You have taken God's holy word to testify your innocence," said she. "If
you have deceived me, beware! Now take this stool, sit down, look me
directly in the face, and tell me all that has passed between your master
and you."</p>

<p>I did as she ordered. As I went on with my account her color changed
frequently, she wept, and sometimes groaned. She spoke in tones so sad,
that I was touched by her grief. The tears came to my eyes; but I was soon
convinced that her emotions arose from anger and wounded pride. She felt
that her marriage vows were desecrated, her dignity insulted; but she had
no compassion for the poor victim of her husband's perfidy. She pitied
herself as a martyr; but she was incapable of feeling for the condition of
shame and misery in which her unfortunate, helpless slave was placed. Yet
perhaps she had some touch of feeling for me; for when the conference was
ended, she spoke kindly, and promised to protect me. I should have been
much comforted by this assurance if I could have had confidence in it; but
my experiences in slavery had filled me with distrust. She was not a very
refined woman, and had not much control over her passions. I was an object
of her jealousy, and, consequently, of her hatred; and I knew I could not
expect kindness or confidence from her under the circumstances in which I
was placed. I could not blame her. Slaveholders' wives feel as other women
would under similar circumstances. The fire of her temper kindled from
small-sparks, and now the flame became so intense that the doctor was
obliged to give up his intended arrangement.</p>

<p>I knew I had ignited the torch, and I expected to suffer for it afterwards;
but I felt too thankful to my mistress for the timely aid she rendered me
to care much about that. She now took me to sleep in a room adjoining her
own. There I was an object of her especial care, though not to her especial
comfort, for she spent many a sleepless night to watch over me. Sometimes I
woke up, and found her bending over me. At other times she whispered in my
ear, as though it was her husband who was speaking to me, and listened to
hear what I would answer. If she startled me, on such occasions, she would
glide stealthily away; and the next morning she would tell me I had been
talking in my sleep, and ask who I was talking to. At last, I began to be
fearful for my life. It had been often threatened; and you can imagine,
better than I can describe, what an unpleasant sensation it must produce to
wake up in the dead of night and find a jealous woman bending over you.
Terrible as this experience was, I had fears that it would give place to
one more terrible.</p>

<p>My mistress grew weary of her vigils; they did not prove satisfactory. She
changed her tactics. She now tried the trick of accusing my master of
crime, in my presence, and gave my name as the author of the accusation. To
my utter astonishment, he replied, "I don't believe it; but if she did
acknowledge it, you tortured her into exposing me." Tortured into exposing
him! Truly, Satan had no difficulty in distinguishing the color of his
soul! I understood his object in making this false representation. It was
to show me that I gained nothing by seeking the protection of my mistress;
that the power was still all in his own hands. I pitied Mrs. Flint. She was
a second wife, many years the junior of her husband; and the hoary-headed
miscreant was enough to try the patience of a wiser and better woman. She
was completely foiled, and knew not how to proceed. She would gladly have
had me flogged for my supposed false oath; but, as I have already stated,
the doctor never allowed any one to whip me. The old sinner was politic.
The application of the lash might have led to remarks that would have
exposed him in the eyes of his children and grandchildren. How often did I
rejoice that I lived in a town where all the inhabitants knew each other!
If I had been on a remote plantation, or lost among the multitude of a
crowded city, I should not be a living woman at this day.</p>

<p>The secrets of slavery are concealed like those of the Inquisition. My
master was, to my knowledge, the father of eleven slaves. But did the
mothers dare to tell who was the father of their children? Did the other
slaves dare to allude to it, except in whispers among themselves? No,
indeed! They knew too well the terrible consequences.</p>

<p>My grandmother could not avoid seeing things which excited her suspicions.
She was uneasy about me, and tried various ways to buy me; but the
never-changing answer was always repeated: "Linda does not belong to _me_.
She is my daughter's property, and I have no legal right to sell her." The
conscientious man! He was too scrupulous to _sell_ me; but he had no
scruples whatever about committing a much greater wrong against the
helpless young girl placed under his guardianship, as his daughter's
property. Sometimes my persecutor would ask me whether I would like to be
sold. I told him I would rather be sold to any body than to lead such a
life as I did. On such occasions he would assume the air of a very injured
individual, and reproach me for my ingratitude. "Did I not take you into
the house, and make you the companion of my own children?" he would say.
"Have _I_ ever treated you like a negro? I have never allowed you to be
punished, not even to please your mistress. And this is the recompense I
get, you ungrateful girl!" I answered that he had reasons of his own for
screening me from punishment, and that the course he pursued made my
mistress hate me and persecute me. If I wept, he would say, "Poor child!
Don't cry! don't cry! I will make peace for you with your mistress. Only
let me arrange matters in my own way. Poor, foolish girl! you don't know
what is for your own good. I would cherish you. I would make a lady of you.
Now go, and think of all I have promised you."</p>

<p>I did think of it.</p>

<p>Reader, I draw no imaginary pictures of southern homes. I am telling you
the plain truth. Yet when victims make their escape from the wild beast of
Slavery, northerners consent to act the part of bloodhounds, and hunt the
poor fugitive back into his den, "full of dead men's bones, and all
uncleanness." Nay, more, they are not only willing, but proud, to give
their daughters in marriage to slaveholders. The poor girls have romantic
notions of a sunny clime, and of the flowering vines that all the year
round shade a happy home. To what disappointments are they destined! The
young wife soon learns that the husband in whose hands she has placed her
happiness pays no regard to his marriage vows. Children of every shade of
complexion play with her own fair babies, and too well she knows that they
are born unto him of his own household. Jealousy and hatred enter the
flowery home, and it is ravaged of its loveliness.</p>

<p>Southern women often marry a man knowing that he is the father of many
little slaves. They do not trouble themselves about it. They regard such
children as property, as marketable as the pigs on the plantation; and it
is seldom that they do not make them aware of this by passing them into the
slave-trader's hands as soon as possible, and thus getting them out of
their sight. I am glad to say there are some honorable exceptions.</p>

<p>I have myself known two southern wives who exhorted their husbands to free
those slaves towards whom they stood in a "parental relation;" and their
request was granted. These husbands blushed before the superior nobleness
of their wives' natures. Though they had only counselled them to do that
which it was their duty to do, it commanded their respect, and rendered
their conduct more exemplary. Concealment was at an end, and confidence
took the place of distrust.</p>

<p>Though this bad institution deadens the moral sense, even in white women,
to a fearful extent, it is not altogether extinct. I have heard southern
ladies say of Mr. Such a one, "He not only thinks it no disgrace to be the
father of those little niggers, but he is not ashamed to call himself their
master. I declare, such things ought not to be tolerated in any decent
society!"</p>
</div>
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                    <div class="element-text-empty">[no text]</div>
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      <pubDate>Sun, 05 Sep 2010 20:52:47 +0000</pubDate>
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      <title><![CDATA[Advice of an Aztec Mother to Her Daughter [Document]]]></title>
      <link>https://cyh.rrchnm.org/items/show/443</link>
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                                    <div class="element-text"><p>Franciscan friar Bernardino de Sahagún recorded this text in the mid-16th century as part of an effort to gather information about native Aztec history and customs. Sahagún went to Mexico in 1529 as one of the first missionaries assigned to the newly conquered territory of New Spain. He remained there until his death, preaching and instructing youth in Spanish, Latin, science, religion, and music. He acquired mastery of the Aztec language and collected information to help missionaries and government officials convert the indigenous people to Christianity.</p> 
<p>The 12-volume manuscript included text, illustrations, and a grammar of the Aztec language. Completed in 1569, authorities in Spain did not want the work published in New Spain for fear of encouraging the continuation of indigenous practices. It was first published in 1829 as <em>Historia General de las Cosas de Nueva España</em>, with an English translation in 1831.</p>
<p>The advice given to a young daughter, likely near marriageable age, in this excerpt reflects the Aztec (Nahua) philosophy of personal balance in earthly life. Moral, psychological, and physical health related to well-being, righteousness, and purity. Compare this advice with the counsel offered to young boys. In what ways does the advice for daughters differ from that of sons, and how does each relate to the principle of balance and the dangers of earthly life?</p>
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                                    <div class="element-text">Bernardino de Sahagún, <em>Historia de Nueva España</em>, Lib. VI., Cap. XIX, "Advice of an Aztec Mother to Her Daughter," in William Hickling Prescott, Wilfred Harold Munro, William Robertson, and George Ticknor, <em>The Works of William H. Prescott</em> (J. B. Lippincott, 1904), Appendix, Part II.  (accessed March 5, 2009). Annotated by Susan Douglass.</div>
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                                    <div class="element-text"><p>My beloved daughter, very dear little dove, you have already heard and attended to the words which your father has told you. They are precious words, and such as are rarely spoken or listened to, and which have proceeded from the bowels and heart, in which they were treasured up; and your beloved father well knows that you are his daughter, begotten of him, are his blood, and his flesh; and God our Lord knows that it is so. Although you are a woman, and are <em>the image of your father</em>, what more can I say to you than has already been said? What more can you hear than what you have heard from your lord and father, who has fully told you what it is becoming for you to do and to avoid. . . .</p>
<p>Nevertheless, that I may do towards you my whole duty, I will say to you some few words—The first thing that I earnestly charge upon you is, that you observe and do not forget what your father has now told you, since it is all very precious. . . . If God gives you life, with these same words will you teach your sons and daughters, if God shall give you them. The second thing that I desire to say to you is, that I love you much, that you are my dear daughter. Remember that nine months I bore you in my womb, that you were born and brought up in my arms. I placed you in your cradle, and in my lap, and with my milk I nursed you. . . .</p>
<p>Take care that your garments are such as are decent and proper; and observe that you do not adorn yourself with much finery, since this is a mark of vanity and of folly. As little becoming is it, that your dress shall be very mean, dirty, or ragged; since rags are a mark of the low, and of those who are held in contempt. Let your clothes be becoming and neat, that you may neither appear fantastic nor mean. When you speak, do not hurry your words from uneasiness, but speak deliberately and calmly. Do not raise your voice very high, nor speak very low, but in a moderate tone. Neither mince, when you speak, nor when you salute, nor speak through your nose; but let your words be proper, of a good sound, and your voice gentle. Do not be nice in the choice of your words. In walking, my daughter, see that you behave becomingly, neither going with haste, nor too slowly; since it is an evidence of being puffed up, to walk too slowly, and walking hastily causes a vicious habit of restlessness and instability. Therefore neither walk very fast, nor very slow; yet when it shall be necessary to go with haste, do so,—in this use your discretion. And when you may be obliged to jump over a pool of water, do it with decency, that you may neither appear clumsy nor light. When you are in the street, do not carry your head much inclined, or your body bent; nor as little go with your head very much raised; since it is a mark of ill breeding; walk erect, and with your head slightly inclined. Do not have your mouth covered, or your face, from shame, nor go looking like a near-sighted person, nor, on your way, make fantastic movements with your feet. Walk through the street quietly, and with propriety. Another thing that you must attend to, my daughter, is, that, when you are in the street, you do not go looking hither and thither, nor turning your head to look at this and that; walk neither looking at the skies, nor on the ground. . .</p>
<p>Download the full text of the document as pdf 
<a class="external" href="http://chnm.gmu.edu/cyh/images/
Handout-Advice of an Aztec Mother to Her Daughter.pdf">here.</a></p>
</div>
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                                    <div class="element-text">442, 441</div>
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      <pubDate>Wed, 02 Jun 2010 03:36:15 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[Advice of an Aztec Father to His Sons [Document]]]></title>
      <link>https://cyh.rrchnm.org/items/show/442</link>
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                                    <div class="element-text"><p>Franciscan friar Bernardino de Sahagún recorded this text in the mid-16th century as part of an effort to gather information about native Aztec history and customs. Sahagún went to Mexico in 1529 as one of the first missionaries assigned to the newly conquered territory of New Spain. He remained there until his death, preaching and instructing youth in Spanish, Latin, science, religion, and music. He acquired mastery of the Aztec language and collected information to help missionaries and government officials convert the indigenous people to Christianity.</p> 
<p>The 12-volume manuscript included text, illustrations, and a grammar of the Aztec language. Completed in 1569, authorities in Spain did not want the work published in New Spain for fear of encouraging the continuation of indigenous practices. It was first published in 1829 as <em>Historia General de las Cosas de Nueva España</em>, with an English translation in 1831.</p>
<p>The document illustrates elements in the socialization of boys, whose way of life and culture by the time of Sahagún had been irrevocably altered by Spanish rule. It also illustrates the importance of respect for elders, and the refinements of rhetoric in the language of the Aztecs (Nahua). The advice given to the son reflects the Aztec (Nahua) philosophy of keeping personal balance in earthly life. Moral, psychological, and physical health, were related to well-being, righteousness, and purity. Compare the father's advice about duty, public behavior, and moral responsibility to his son with 
<a class="external" href="http://chnm.gmu.edu/cyh/primary-sources/443">the mother's advice to her daughter</a>. In what ways does the advice for daughters differ from that of sons?</p> 

<p>Download the full text of the document as pdf 
<a class="external" href="http://chnm.gmu.edu/cyh/images/
Handout-Advice of an Aztec Father to His Son.pdf">here.</a></p>
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                                    <div class="element-text">Bernardino de Sahagún (translated by Charles E. Dribble and Arthur J.O. Anderson), <em>Florentine Codex: General History of the Things of New Spain</em>, Book 6—Rhetoric and Moral Philosophy, Chapter 22 (Santa Fe: School of American Research and the University of Utah, 1954), excerpts from pages 105-106; 121-126. (accessed February 15, 2010). Annotated by Susan Douglass.</div>
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                                    <div class="element-text"><p>O my son, O my youth, O boy, O servitor, listen, for our lord hath placed you here. And now, to you who are my son, who are my child, who are my precious necklace, who are my precious feather, who are my oldest, my second, my youngest son. I speak, I call out a word or two. Verily, now I form, I say, I reflect upon the word or two which I shall give thee of my motherhood, my fatherhood. I shall perform my obligation, lest tomorrow, the next day, our lord, . . . will have hidden us. Certainly no one enjoys the hard, the heavy. Certainly our living on earth is not assured. . .</p>
<p>Here is what thou art to do, what thou art to realize, that which. . . the old men, the old women…our forefathers, left as they departed. For they came to live on earth; for they came to live with others. And they came to occupy position and authority among the people. . . .</p>
<p>Behold still a word to finish my talk. Perhaps I shall deceive if I have hidden a word left by our forefathers as they departed, in order that you may dwell with others on earth, in order that you may be prudent in all things, in everything.</p>
<p>First: you are to be one who rises from sleep, one who holds vigil through the night. You are not to give yourself excessively to sleep, lest it will be said of you, lest you will be called a heavy sleeper, one who goes falling asleep, a constant sleeper, a dreamer. . . .</p>
<p>And second, you are to be prudent in your travels; peacefully, quietly, tranquilly, deliberately you are to go, to take the road, to travel. Do not throw your feet much, nor raise your feet high, nor go jumping, lest it be said of you, lest you be named fool, shameless. Neither are you to travel very slowly, nor to drag your feet, lest it be said of you that you are a dragger, you are a lout. . .</p>
<p>Also you are not to hang your head, not to incline your head much, not to stand up off balance, not to look sideways, not to look out of the corner of your eyes, lest it be said of you that you are an imbecile. . .</p>
<p>Third: you are to speak very slowly, very deliberately; you are not to speak hurriedly, not to pant, nor to squeak, lest it be said of you that you are a groaner, a gawker, a squeaker. . . .</p> 
<p>Fourth: you are to pretend not to dwell on that which is done, that which is performed. Especially you are to depart from, to forsake evil. And you are not to peer at one, not to peer into one's face, not to stare at one...especially a woman. . .</p>
<p>Fifth: Guard, take care of your ears, of that which you hear. Do not gossip; let what is said remain as said. Ignore it. Pretend not to understand the words. If you cannot ignore it, respond not. And speak not; only listen; let what is said remain as said. . . .</p>
<p>Thus this is very necessary; you are to be prudent, O my precious son. Do not die somewhere in vice, do not die somewhere in vain. Take good heed, take care; see to it that your eyes are open.</p>
<p>Sixth: when you are summoned. . . you are to arise responding, to arise quickly. If you are to be sent as a messenger, you are to run, to be swift. If you are ordered to get something, you are to get it promptly. You are to travel swiftly, to travel bounding, in no wise sluggish; like the wind are you to go. . . .</p>
<p>Seventh: as you are to array yourself, as you are to clothe yourself, you are not to dress vainly, you are not to array yourself fantastically, you are not to place upon yourself the gaudy cape, the gaudy clothing, that which is embroidered. Neither are you to put on rags, tatters, an old loosely-woven cape. . . .</p>
<p>Thus are you to tie on your cape: do not tie it on so that you go tripping over it; neither are you to shorten your cape. Moderately are you to tie it on. Nor are you to expose your shoulder. . . place on you that which is always good, proper, all fine.</p>
<p>Eighth: Listen! Above all you are to be prudent in drink, in food. . . in this wise: when you are to eat, you are not to be hasty, not to be impetuous; you are not to take excessively nor to break up your tortillas. You are not to put a large amount in your mouth; you are not to swallow it un-chewed. You are not to gulp like a dog, when you are to eat food. . . .</p>
<p>And when you are ready to eat, you are to wash your hands, to wash your face, to wash your mouth. And if somewhere you are to eat with others, do not quickly seat yourself at the eating place with others. . . . And you, when you have eaten, once again are you to wash your hands, to wash your mouth, to clean your teeth.</p>
<p>In brief, these are the words as I give you. . . as many words lie guarded. . . Our forefathers, the old men, the old women, the white-haired ones, the white-headed ones, departed leaving them. The many words—O that you could later take them to heart!. . .</p>
<p>They went saying that on earth we travel, we live along a mountain peak. Over here there is an abyss, over there is an abyss. Wherever you are to deviate, wherever you are to go astray, there will you fall, there will you fall into the deep. . .</p>

<p>Download the full text of the document as pdf <a class="external" href="">here</a>.</p> 
</div>
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            <div id="document-item-type-metadata-related-primary-sources" class="element">
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                                    <div class="element-text">441, 443</div>
                    </div><!-- end element -->
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      <pubDate>Wed, 02 Jun 2010 03:30:31 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[How the Aztec (Nahua) Raised Sons as Warriors [Document]]]></title>
      <link>https://cyh.rrchnm.org/items/show/441</link>
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                                    <div class="element-text">How the Aztec (Nahua) Raised Sons as Warriors [Document]</div>
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                                    <div class="element-text"><p>Franciscan friar Bernardino de Sahagún recorded this text in the mid-16th century as part of an effort to gather information about native Aztec history and customs. Sahagún went to Mexico in 1529 as one of the first missionaries assigned to the newly conquered territory of New Spain. He remained there until his death, preaching and instructing youth in Spanish, Latin, science, religion, and music. He acquired mastery of the Aztec language and collected information to help missionaries and government officials convert the indigenous people to Christianity.</p> 
<p>The 12-volume manuscript included text, illustrations, and a grammar of the Aztec language. Completed in 1569, authorities in Spain did not want the work published in New Spain for fear of encouraging the continuation of indigenous practices. It was first published in 1829 as <em>Historia General de las Cosas de Nueva España</em> with an English translation in 1831.</p>
<p>The document illustrates elements in the socialization of boys who were among the nobility, whose way of life and culture by the time of Sahagún had been irrevocably altered by Spanish rule and the influence of the Catholic missionaries. Other passages in this book of the <em>Florentine Codex</em> refer to values such as chastity for boys as well as girls, the civic duties and roles of a ruler, and other personal virtues.</p>
<p>Download the full text of the document as pdf  <a class="external" href="http://chnm.gmu.edu/cyh/images/Handout-How the Aztec Raised Sons as Warriors.pdf">here.</a></p>

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                                    <div class="element-text">Bernardino de Sahagún (translated by Charles E. Dribble and Arthur J.O. Anderson), <em>Florentine Codex: General History of the Things of New Spain</em>, Book 8—Kings and Lords, Chapter 21 (Santa Fe: School of American Research and the University of Utah, 1954), excerpt from pages 75-77. (accessed February 2, 2010). Annotated by Susan Douglass.</div>
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                                    <div class="element-text"><p>And behold how began the life of the young boy. At first, while still a small boy, his hair was shorn. And when he was already ten years old, they then let a tuft of hair grown on the back of his head. And when he was fifteen years old, then the tuft of hair became long. [This was] when he had nowhere taken captives.</p> 
<p>And if he took a captive with the help of others, —perchance doing so with the aid of two, or of three, or four, or of five, or of six, at which point came to an end [the reckoning] that a captive was taken with others' help—then the lock of hair was removed. And this was the division of their captive: in six parts it came. The first, who was the real captor, took his body and one of his thighs—the one with the right foot. And the second who took part [in the capture] took the left thigh. And the third took the right upper arm. The fifth took the right forearm. And as for the sixth, he took the left forearm.</p> 
<p>And when the tuft on the back of his head was removed, he was shorn so that he was left [another] lock: his hair dress kept, on the right side, the hair hanging low, reaching the bottom of his ear; to one side [only] was is lock of hair set. When this [was done], he assumed another face, he appeared otherwise, so that it might be seen that he had made a captive with the help of others [and that] the tuft of hair on the back of his head had been removed.</p>
<p>And then his grandfather, or his beloved uncle, addressed him. He said to him: “My beloved grandson, the sun the lord of the earth, hath washed thy face. You have taken another face; and you have gone to throw yourself against the foe. Let them take you if, without profit, once more you take a captive with the aid of others. What would you be? Would you have a young girl's lock of hair? Take care lest you again take a captive with others' help. Cast yourself against our foes…</p>

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                                    <div class="element-text">442, 443</div>
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      <pubDate>Wed, 02 Jun 2010 02:56:19 +0000</pubDate>
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      <title><![CDATA[Boys' Initiation Mask (keweke) Papua New Guinea [Object] ]]></title>
      <link>https://cyh.rrchnm.org/items/show/428</link>
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                                    <div class="element-text">Boys&#039; Initiation Mask (keweke) Papua New Guinea [Object] </div>
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                                    <div class="element-text"><p>This mask worn by boys during initiation rituals in Papua New Guinea is made of painted bark cloth and canvas stretched over a cane frame. The long fiber fringe adds movement to the mask, which is worn during dances and other secret rituals that that comprise boyhood initiation rites. These rituals often involve disguises, as initiates endure trials, receive food and drink from villagers, and accept the knowledge of elders. The mask form is also a reference to the spirits of ancestors who have come through these life stages and continued on. The long, oval masks are similar to the <em>gope</em> spirit boards that represent the ancestors at home, protecting its inhabitants. This mask is from the Wapo Creek or Era River area near the Gulf of Papua, though there are many other styles and forms of initiation masks as well as face and body paint used by the numerous tribes in the region.</p>  </div>
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                                    <div class="element-text">Photo © The Israel Museum, Jerusalem, Wapo Creek, Papuan Gulf, , Melanesia, Cane, wood, bark cloth, canvas, paint, fiber, Accession number: B85.0350, &lt;a class=&quot;external&quot; href=&quot;http://www.imj.org.il/imagine/collections/item.asp?itemNum=224467&quot;&gt;http://www.imj.org.il/imagine/collections/item.asp?itemNum=224467&lt;/a&gt; (accessed March 26, 2010). Annotated by Susan Douglass.</div>
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        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/469/fullsize"><img src="/files/display/469/square_thumbnail" class="thumb" alt="Boys&amp;#039; Initiation Mask (keweke) Papua New Guinea [Object] " width="250" height="250"/>
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      <pubDate>Tue, 01 Jun 2010 20:33:15 +0000</pubDate>
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      <title><![CDATA[Girl with Mossi Doll, Burkina Faso [Still Image]]]></title>
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                                    <div class="element-text"><p>This girl is from a village in the Mossi country of Burkina Faso (a landlocked country in West Africa). The doll she is holding is a traditional wooden figurine made from one piece of wood standing on a broader base. The doll displays the characteristics of an adult woman, with suggestions of facial features and elaborate hairstyles, and usually with mature female breasts that represent the fulfillment of motherhood. Scarification [scarring] patterns on the body that traditionally mark passage to adulthood are also represented by carved patterns. Mossi dolls are typically carved by male blacksmiths and are given to girls for play. The child calls it <em>biiga</em> ("child"), and carries the doll about with her, tucking it into the waistband of her skirt, and pretends to feed, wash and groom it. Sometimes it is adorned with beads, cowrie shells, dressed with pieces of leather or cloth, and the girl might bring it wildflowers. In the market, a girl may place her doll on the edge of a merchant's mat and expect to receive a small sample of the wares—a few peanuts, a pastry, or a piece of fruit.</p>
<p>Mossi dolls are also the focus of rituals associated with motherhood. When a young girl displays her doll to older women, they may respond, "May God give you many children." At festivals, if a child gives her doll to an adult to hold, it is customary to give the child a small present when giving the doll back. Other rituals include the use of dolls to ensure fertility in marriage (accomplished by giving the doll a name). Handling the doll with care is seen as auspicious for childbearing and survival of children. Before the marriage ceremony, a young woman carries the doll on her back to the market, and a few days after marriage, she is given some straw in place of the doll and asked which sex her first child will be. Mossi dolls are passed down through female generations, and before a woman gives birth, she washes the doll she played with in childhood before washing her own baby. Similarly, the first drops of milk are given to the doll, and it is again carried on the mother's back before the infant is placed there for the first time. According to reports culled by anthropologists, these rituals were to ensure that the newborn infant's soul enters the world of its parents, called <em>yisa biiga</em>, or "to call the child," and "to prevent the child from returning," or <em>gidga ti da biiga lebera me</em>, to the world of the ancestral spirits. Women who remain childless after a few years of marriage use the dolls for votive purposes, adorning them with cowry shells and carrying them everywhere while expressing their wish for a child.<a href="#note1" id="fn1" class="footnote">1</a></p>

 
<div id="notes">
<p><a href="#fn1" id="note1" class="footnote">1</a> Christopher D. Roy, "Mossi Dolls," <em>African Arts</em> 14, no. 4 (August 1981): 47-88.</p>
</div>
</div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
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                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Photograph:  Burkina Faso, 2006, village of Dablo, little girl with her doll, # EPV0645.JPG, Art and Life in Africa Project, The University of Iowa, The School of Art and Art History, &lt;a class=&quot;external&quot; href=&quot;http://www.uiowa.edu/~africart/Changing%20Burkina/index.htm&quot;&gt;&quot;Changing Burkina&quot;&lt;/a&gt; (accessed November 23, 2009). Annotated by Susan Douglass.</div>
                    </div><!-- end element -->
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        <div id="additional-item-metadata-transcription" class="element">
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            <div id="additional-item-metadata-online-submission" class="element">
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                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-posting-consent" class="element">
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        <h3>Bibliographic Citation</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-provenance" class="element">
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            <div id="additional-item-metadata-rights-holder" class="element">
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                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Still Image Item Type Metadata</h2>
        <div id="still-image-item-type-metadata-physical-dimensions" class="element">
        <h3>Physical Dimensions</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="still-image-item-type-metadata-image-description" class="element">
        <h3>Image Description</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="still-image-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/430/fullsize"><img src="/files/display/430/square_thumbnail" class="thumb" alt="Girl with Mossi Doll, Burkina Faso [Still Image]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Mon, 18 Jan 2010 03:56:42 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/430/fullsize" type="image/jpeg" length="68793"/>
    </item>
    <item>
      <title><![CDATA[Ancient Greek Adolescent Girls at Play [Sculpture]]]></title>
      <link>https://cyh.rrchnm.org/items/show/381</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Ancient Greek Adolescent Girls at Play [Sculpture]</div>
                    </div><!-- end element -->
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                    <div class="element-text-empty">[no text]</div>
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            <div id="dublin-core-description" class="element">
        <h3>Description</h3>
                                    <div class="element-text"><p>This small (5.5 inches high) terracotta sculpture was made in Greek southern Italy in the late fourth century BCE.  It depicts two adolescent girls playing the game of "knucklebones" (<em>astragaloi</em> in Greek).  The game was usually played like the modern game of "jacks": one threw the knucklebones in the air and attempted to catch as many as possible.  They were also used like modern "dice."  Each of the four long sides of the knucklebone had a value: the convex side was worth 3, the concave 4, and the two flat sides 1 and 6.  Most knucklebones were made out of the actual ankle bones of sheep or goats, but fancier ones were made of ivory, bronze, or terracotta.  Children of both sexes, adolescent girls, and young women played knucklebones as revealed by statues like this one as well as paintings on vases.</p>

<p>This statue is both a depiction of a game and a representation of gender ideals. Whereas girls in the nearby city-state of Sparta were taught to read and write and engaged in athletic competitions, those in Athens spent their girlhoods largely indoors practicing the domestic arts (e.g., spinning, weaving, cooking, and childcare). Athenian girls typically married at the age of 15 or so and spent the rest of their lives engaged in household activities.</p>
</div>
                    </div><!-- end element -->
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        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Source</h3>
                                    <div class="element-text">Image courtesy of the British Museum (GR 1867.5-10.1 (Terracotta D 161)
&lt;a class=&quot;external&quot; href=&quot;http://www.britishmuseum.org/explore/highlights/highlight_objects/gr/t/group_of_knucklebone_players.aspx&quot;&gt;http://www.britishmuseum.org/explore/highlights/highlight_objects/gr/t/group_of_knucklebone_players.aspx&lt;/A&gt; (accessed December 7, 2009). Annotated by Miriam Forman-Brunell and David D. Leitao.
</div>
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                    <div class="element-text-empty">[no text]</div>
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                    <div class="element-text-empty">[no text]</div>
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                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
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    <h2>Still Image Item Type Metadata</h2>
        <div id="still-image-item-type-metadata-physical-dimensions" class="element">
        <h3>Physical Dimensions</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="still-image-item-type-metadata-image-description" class="element">
        <h3>Image Description</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="still-image-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/397/fullsize"><img src="/files/display/397/square_thumbnail" class="thumb" alt="Ancient Greek Adolescent Girls at Play [Sculpture]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Fri, 04 Dec 2009 03:49:54 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/397/fullsize" type="image/jpeg" length="518552"/>
    </item>
    <item>
      <title><![CDATA[Native American Children and Toys [Engravings]]]></title>
      <link>https://cyh.rrchnm.org/items/show/361</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Native American Children and Toys [Engravings]</div>
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        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Description</h3>
                                    <div class="element-text"><p>Theodore de Bry included this colorful engraving in his publication of Hariot's, <em>A Briefe and True Report of the New Found Land of Virginia</em> (1590). It was based on a watercolor by John White (fig. 2) painted five or six years earlier. 
Despite their differences, in both versions a mother is standing with her 8- to 10-year-old daughter who is wearing a string of beads and a leather string around her waist (tied to another holding moss between her legs). The girl is holding an English "puppet" or "poppet." In 16th century England, wax dolls (of adult women) like this one were mass-produced from molds. According to Hariot, a scientific advisor who sailed to Roanoke in 1585-6 and collaborated with John White while colonizing the mid-Atlantic region, the native people were "greatlye delighted” with the "puppets and babes" "broughte oute of England." The rattle, which did not appear in John White's water color, was a popular toy in early modern Europe.</p> 

<p>Representations like these can be useful sources of information about Native-American children. However, those who produced them drew upon artistic traditions and Western cultural values in their often embellished and stylized representations of indigenous children. As a result, these visual sources must be used critically, cautiously, and comparatively. For instance, how does the girl in John White’s watercolor compare with one in the lavish engraving? Also compare the girl in the hand-painted illustration to the boy in the 1705 engraving published in <em>The History and Present State of Virginia, In Four Parts</em> (fig. 3).</p>

<p>What might account for the change in the sex of the child and the toys in their hands? Robert Beverley did write this book just a few years after his 16-year-old wife died while giving birth to their only son. In what ways might the boy also have served as a more suitable representation of emergent Enlightenment notions of childhood innocence and activity at the dawn of the 18th century?</p> 
</div>
                    </div><!-- end element -->
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                    <div class="element-text-empty">[no text]</div>
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            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Theodore de Bry, <em>A Briefe and True Report of the New Found Land of Virginia</em>, 1590. Image courtesy of the Mariners' Museum; John White, water color, c. 1586, courtesy British Museum; Robert Beverley, <em>The History and Present State of Virginia, In Four Parts</em>. London: Printed for R. Parker, MDCCV, 8-9, <em>Documenting the American South</em>, <a class="external" href="http://docsouth.unc.edu/southlit/beverley/beverley.html">http://docsouth.unc.edu/southlit/beverley/beverley.html</a> (accessed November 7, 2009). Annotated by Miriam Forman-Brunell.</div>
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                    <div class="element-text-empty">[no text]</div>
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                    <div class="element-text-empty">[no text]</div>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Relation</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Format</h3>
                    <div class="element-text-empty">[no text]</div>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Type</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-identifier" class="element">
        <h3>Identifier</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-coverage" class="element">
        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Additional Item Metadata</h2>
        <div id="additional-item-metadata-transcription" class="element">
        <h3>Transcription</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-local-url" class="element">
        <h3>Local URL</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-online-submission" class="element">
        <h3>Online Submission</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-posting-consent" class="element">
        <h3>Posting Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-submission-consent" class="element">
        <h3>Submission Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-edit" class="element">
        <h3>Process Edit</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-annotate" class="element">
        <h3>Process Annotate</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-review" class="element">
        <h3>Process Review</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-website-image" class="element">
        <h3>Website Image</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-analyzing-sources" class="element">
        <h3>Analyzing Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-source" class="element">
        <h3>Source</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-bibliographic-citation" class="element">
        <h3>Bibliographic Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-provenance" class="element">
        <h3>Provenance</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-citation" class="element">
        <h3>Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-spatial-coverage" class="element">
        <h3>Spatial Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights-holder" class="element">
        <h3>Rights Holder</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Document Item Type Metadata</h2>
        <div id="document-item-type-metadata-text" class="element">
        <h3>Text</h3>
                                    <div class="element-text"><p>Caption: "Woman, and a Boy running after her."<br />
"The Boy wears a Necklace of Runtees, in his right hand is an Indian Rattle, and in his left a roasting Ear of Corn. Round his Waste is a small string, and another brought cress thro his Crotch, and for decency a soft skin is fastn'd before."</p>

<p>See: Robert Beverley, <em>The History and Present State of Virginia, In Four Parts</em>. London: Printed for R. Parker, MDCCV. 8–9.</p></div>
                    </div><!-- end element -->
            <div id="document-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/394/fullsize"><img src="/files/display/394/square_thumbnail" class="thumb" alt="Native American Children and Toys [Engravings]" width="250" height="250"/>
</a></div><div class="item-file image-jpeg"><a class="download-file" href="/files/download/395/fullsize"><img src="/files/display/395/square_thumbnail" class="thumb" alt="Native American Children and Toys [Engravings]" width="250" height="250"/>
</a></div><div class="item-file image-jpeg"><a class="download-file" href="/files/download/396/fullsize"><img src="/files/display/396/square_thumbnail" class="thumb" alt="Native American Children and Toys [Engravings]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Wed, 18 Nov 2009 04:18:27 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/394/fullsize" type="image/jpeg" length="455969"/>
    </item>
    <item>
      <title><![CDATA[Operation Babylift [Still Images]]]></title>
      <link>https://cyh.rrchnm.org/items/show/344</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Operation Babylift [Still Images]</div>
                    </div><!-- end element -->
            <div id="dublin-core-subject" class="element">
        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-description" class="element">
        <h3>Description</h3>
                                    <div class="element-text"><p>These photographs were taken on April 5, 1975 on one of the Pan Am passenger planes that airlifted Vietnamese orphans and Amerasian children of American servicemen and Vietnamese women for Operation Babylift. In the final weeks before the fall of Saigon in April 1975, President Gerald Ford authorized the operation as a gesture to repatriate children who would be American citizens if recognized by their American fathers, ultimately allocating two million dollars to airlift 2,700 orphans to the United States. Children were also airlifted to Australia, Europe, and Canada in separate efforts. Volunteers, soldiers and military nurses accompanied the children on the flights. The first flight, a cargo plane carrying 330 adults and children, crashed shortly after take-off, killing 154 passengers, including 87 of the children. President Ford himself met the first flight that landed safely and carried an infant onto U.S. soil.  Accommodations also included cargo planes with rows of cradle boxes strapped to the floors, children arrayed on benches meant to transport goods or soldiers, and harried adults who made do with too little food and supplies for the trip. Some of the participants went on to adopt children from the group. Operation Babylift children, some of whom were disabled, and many of whom suffered from malnutrition, were adopted by American families. When they grew to adulthood, many of the orphans visited Vietnam and sought information about their birth parents, experienced reunions, and learned more about the land and culture of their birth. Today there are support groups both online and in person for the parents and children who shared this experience. These organizations still support individuals seeking knowledge and contact with their birth parents and siblings. The cross-cultural experience of these children both as orphans and as reminders of a foreign war can be compared with the wartime experiences of children in other places. In the case of the Amerasian children, there is significant longitudinal research material from the time of their childhood to their current adulthood, including accounts of their journey’s home, and their efforts to connect with others who share this heritage.</p></div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Photographs by Joyce Harrington and Edwina Aki Lee, "Operation Babylift Photographs from Pan Am Airlift April 5, 1975," <em>Adopt Vietnam</em>, <a class="external" href="http://www.adoptvietnam.org/adoption/babylift-photos0.html">http://www.adoptvietnam.org/adoption/babylift-photos0.html</a> (accessed October 13, 2009). Annotated by Susan Douglass.</div>
                    </div><!-- end element -->
            <div id="dublin-core-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-contributor" class="element">
        <h3>Contributor</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-relation" class="element">
        <h3>Relation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-format" class="element">
        <h3>Format</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-language" class="element">
        <h3>Language</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-type" class="element">
        <h3>Type</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-identifier" class="element">
        <h3>Identifier</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-coverage" class="element">
        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Additional Item Metadata</h2>
        <div id="additional-item-metadata-transcription" class="element">
        <h3>Transcription</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-local-url" class="element">
        <h3>Local URL</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-online-submission" class="element">
        <h3>Online Submission</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-posting-consent" class="element">
        <h3>Posting Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-submission-consent" class="element">
        <h3>Submission Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-edit" class="element">
        <h3>Process Edit</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-annotate" class="element">
        <h3>Process Annotate</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-review" class="element">
        <h3>Process Review</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-website-image" class="element">
        <h3>Website Image</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-analyzing-sources" class="element">
        <h3>Analyzing Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-source" class="element">
        <h3>Source</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-bibliographic-citation" class="element">
        <h3>Bibliographic Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-provenance" class="element">
        <h3>Provenance</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-citation" class="element">
        <h3>Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-spatial-coverage" class="element">
        <h3>Spatial Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights-holder" class="element">
        <h3>Rights Holder</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Still Image Item Type Metadata</h2>
        <div id="still-image-item-type-metadata-physical-dimensions" class="element">
        <h3>Physical Dimensions</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="still-image-item-type-metadata-image-description" class="element">
        <h3>Image Description</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="still-image-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/425/fullsize"><img src="/files/display/425/square_thumbnail" class="thumb" alt="Operation Babylift [Still Images]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Mon, 09 Nov 2009 02:13:45 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/425/fullsize" type="image/jpeg" length="216281"/>
    </item>
    <item>
      <title><![CDATA[Pippi Graffiti Stencil [Image]]]></title>
      <link>https://cyh.rrchnm.org/items/show/326</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Pippi Graffiti Stencil [Image]</div>
                    </div><!-- end element -->
            <div id="dublin-core-subject" class="element">
        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-description" class="element">
        <h3>Description</h3>
                                    <div class="element-text"><p>This image found on a wall around the University of Vienna and the Austrian Parliament, in 2008, is a graffiti stencil of Pippi Longstocking, the eponymous fictional character created by the Swedish children's book author, Astrid Lindgren, in 1945. Since then, <em>Pippi Långstrump</em> (in Swedish) has been translated into 90 languages and made into movies and TV series. The image here is based on the portrayal of Pippi by Inger Nilsson, the 9-year-old actress who starred in a 1968 Swedish TV series. Dubbed versions were shown on German TV in 1971 and in the U.S. by 1973 where they became enormously popular.</p> 

<p>Though she is known by other names around the world ("Harisnyás Pippi" in Hungarian), Pippi is an iconic figure whose gravity defying red braids, oversized shoes, mismatched socks, home-made clothing, and freckled face represent her playful and plucky world view.</p>

<p>Pippi is an independent, unconventional, anti-authoritarian 9-year-old rebel who lives alone in a villa she shares with her monkey and horse. Although she is a perpetual outsider, Pippi is an advocate for the rights of children, generous with her wealth (though unmaterialistic), and a critic of unquestioned adult authority. She is enormously strong (lifting a horse and flinging policemen) and has a great sense of humor.  The self-educated Pippi challenges the status quo by contesting language, logic, and principles as expressed here with her creative answer to the math problem: "2 x 3 = 4."</p> 

<p>Illegally stenciled onto a wall in a public space, this graffitied image of Pippi  expresses the subversive principles and practices of young adults who have made this "anti-Shirley Temple" into  a poster child of the counter culture. As the quintessential gender bender, Pippi is especially beloved by girls and women. But not all: some see her as a poor role model for children.</p> 

<p>Pippi's world-wide reach provides unique opportunities for in-depth and cross cultural analyses of Pippi's meanings to children and youth. The enormous variety of sources available (e.g., books, movies, dolls as well as children's drawings and handmade costumes, etc.) make it possible to utilize textual, visual, and material culture methods of research.</p> 

 
</div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Photo Credit: Matthew Gallaway, Vienna, Austria, 2008. Annotated by Miriam Forman-Brunell.</div>
                    </div><!-- end element -->
            <div id="dublin-core-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-contributor" class="element">
        <h3>Contributor</h3>
                                    <div class="element-text">Miriam Forman-Brunell</div>
                    </div><!-- end element -->
            <div id="dublin-core-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-relation" class="element">
        <h3>Relation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-format" class="element">
        <h3>Format</h3>
                                    <div class="element-text">image/jpeg</div>
                    </div><!-- end element -->
            <div id="dublin-core-language" class="element">
        <h3>Language</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-type" class="element">
        <h3>Type</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-identifier" class="element">
        <h3>Identifier</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-coverage" class="element">
        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Additional Item Metadata</h2>
        <div id="additional-item-metadata-transcription" class="element">
        <h3>Transcription</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-local-url" class="element">
        <h3>Local URL</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-online-submission" class="element">
        <h3>Online Submission</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-posting-consent" class="element">
        <h3>Posting Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-submission-consent" class="element">
        <h3>Submission Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-edit" class="element">
        <h3>Process Edit</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-annotate" class="element">
        <h3>Process Annotate</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-review" class="element">
        <h3>Process Review</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-website-image" class="element">
        <h3>Website Image</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-analyzing-sources" class="element">
        <h3>Analyzing Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-source" class="element">
        <h3>Source</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-bibliographic-citation" class="element">
        <h3>Bibliographic Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-provenance" class="element">
        <h3>Provenance</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-citation" class="element">
        <h3>Citation</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-spatial-coverage" class="element">
        <h3>Spatial Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights-holder" class="element">
        <h3>Rights Holder</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Still Image Item Type Metadata</h2>
        <div id="still-image-item-type-metadata-physical-dimensions" class="element">
        <h3>Physical Dimensions</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="still-image-item-type-metadata-image-description" class="element">
        <h3>Image Description</h3>
                                    <div class="element-text">Graffiti stencil in black paint on yellow wall. Stencil of Pippi Longstockings-eque character (face and shoulders - smiling with pigtails) above text: &quot;2 x 3 = 4&quot;)</div>
                    </div><!-- end element -->
            <div id="still-image-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/264/fullsize"><img src="/files/display/264/square_thumbnail" class="thumb" alt="Pippi Graffiti Stencil [Image]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Mon, 19 Oct 2009 00:18:12 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/264/fullsize" type="image/jpeg" length="201479"/>
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