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    <title><![CDATA[Children and Youth in History]]></title>
    <link>http://cyh.rrchnm.org/items/browse/3?tag=1750-1914&amp;output=rss2</link>
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    <pubDate>Wed, 11 Aug 2021 03:22:54 +0000</pubDate>
    <managingEditor>chnm@gmu.edu (Children and Youth in History)</managingEditor>
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      <title><![CDATA["Alice in Wonderland" [Movie]]]></title>
      <link>https://cyh.rrchnm.org/items/show/420</link>
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    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">&quot;Alice in Wonderland&quot; [Movie]</div>
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                                    <div class="element-text"><p>The silent 1903 British production, <em>Alice in Wonderland</em>, is the first film adaptation of <em>Alice's Adventures in Wonderland</em> (1865) written by Charles Lutwidge Dodgson under the pseudonym Lewis Carroll. Percy Stow and Cecil Hepworth directed this pioneering film version based on Sir John Tenniel's original illustrations.</p> 

<p>Film archivists at the British Film Institute National Archive used color film tinting to restore the only extant copy of the film (badly damaged by the natural decline of nitrate) that dated to the dawn of the movie industry. The original 12-minute movie (8 minutes of which have survived) was the longest film ever produced in England by 1903. Cecil M. Hepworth cast himself as the Frog Footman and his wife as the White Rabbit and the Red Queen. A family pet starred as The Cheshire cat. The playing cards in the Queen's Procession include a cast of child actors. May Clark (a film cutter and production secretary for Hepworth Film Studios) starred as Alice; the film was shot at Walton-on-Thames, Surrey, England, UK.</p>

<p>It is commonly assumed that Charles Lutwidge Dodgson based the character of Alice on 10-year-old, Alice Pleasance Liddell (1852 – 1934), the little girl who inspired <em>Alice's Adventures Under Ground</em>, and whom Dodgson liked to photograph in occasionally suggestive poses. For a time, Dodgson was close friends with Alice and her young siblings; he also had friendships with other girls many of whom he also photographed, some in the nude and semi-nude. Although 20th century biographers alleged that Dodgson was obsessed with little girls, recent scholarship suggests that Dodgson's photographs were more typical of the "Victorian child cult" aesthetic that represented child-nudity as an expression of innocence. (The phenomenon of "girl worship" also appeared in the literary works of other canonical male authors such as Wordsworth, Dickens, and Ruskin, who idealized and idolized little girls.)</p>  

<p>Along with other authors from the Golden Age of children's literature, however, Dodgson represented children as constrained by culture but not victimized by it. In the book as in the film, Alice is independent, intelligent, and curious.</p>  

<p>In what ways was the representation of Alice—not as a fragile flower but as competent and self-reliant—consistent with changing ideals of middle-class girlhood and in which ways did it depart from them? Researchers might consider comparing Alice's original depiction with her portrayal in the film that was produced nearly 40 years after the book's publication. What accounts for the changes? Consider the influence of late Victorian and early Edwardian notions of girlhood on the filmmakers by examining the recently established girls' high schools that fostered an academic and sporting ethos. What meanings might the film have had to school-aged English girls at the turn of the century?</p>
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                                    <div class="element-text">Hepworth, Cecil and Percy Stow. <em>Alice in Wonderland</em>. American Mutoscope and Biograph Company
Edison Manufacturing Company
Kleine Optical Company, 1903. Annotated by Miriam Forman-Brunell and Carol Dyhouse.</div>
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                    <div class="element-text-empty">[no text]</div>
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                    <source src="https://cyh.rrchnm.org/archive/files/alice_in_wonderland_1903_93072e28a2.mp4" type="video/mp4" />
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      <pubDate>Tue, 30 Mar 2010 00:37:44 +0000</pubDate>
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    <item>
      <title><![CDATA[The International Children's Digital Library]]></title>
      <link>https://cyh.rrchnm.org/items/show/415</link>
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    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">The International Children&#039;s Digital Library</div>
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                                    <div class="element-text">445, 414</div>
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                                    <div class="element-text">http://en.childrenslibrary.org/index.shtml </div>
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                                    <div class="element-text">ICDL Foundation and University of Maryland, College Park</div>
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                                    <div class="element-text">February 2010</div>
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                                    <div class="element-text"><p>The <a class="external" href="http://en.childrenslibrary.org/index.shtml"><em>International Children's Digital Library</em></a> (ICDL) is a bookmobile for the global age. The goal of the ICDL Foundation, housed at the University of Maryland, College Park, is to collect children's literature from as many world languages as possible and to make these available in digital form. The rationale supports the <a class="external" href="http://www.unesco.org/new/en/unesco/">United Nations' Educational Scientific and Cultural Organization (UNESCO)</a> concept that learning in the mother tongue is a human right. Its mission is also to support children (and with them, adults) reading for pleasure. The ICDL is a public project framed within a research project on the use and effects of literature on children as readers. The research and development team includes children who have helped form the criteria and interface of the project, and it also includes a longitudinal study of children readers from schools in New Zealand, Germany, Honduras, and the United States.</p> 
<p>While the website has a very complex home page that is surprisingly cluttered for a digital interface laboratory, but it is attractively arranged, with bright colors and an appealing logo. The homepage is designed to announce and support the site's function as the research and collection portal. Most importantly, the homepage provides at least a dozen different ways to read books. In the left-hand corner, there is a link to <a class="external" href="http://www.childrenslibrary.org/icdl/SimpleSearchCategory?ilang=English">"Read Books."</a> Just below that, other links include a <a class="external" href="http://www.childrenslibrary.org/icdl/Login?ilang=English">sign-in option</a> and various instructions for searching, reviewing, and guidelines for use. Scattered all over the home page are thumbnail images of book covers and a selection of featured books in various languages, including a portal to download iPhone apps for portable reading pleasure.</p> 
<p>The heart of the website is the <a class="external" href="http://www.childrenslibrary.org/icdl/SimpleSearchCategory?ilang=English">reading interface</a>. From the icon in the upper left corner, a colorful page opens with a pane for book covers. Buttons all around it allow readers to choose by age groupings, by cover color, by length of book, by topic (animals, fantasy, fairy tales, etc), and by collection, including recently added books and exhibitions. Pushing the button brings thumbnail covers into the pane or successive panes. Finally, clicking on the cover gives the inviting message "Read this Book" in a choice of languages. The whole book then appears in miniature. Clicking on each page opens a simple reading pane with just a few arrows and a "home" icon as well as access to the search page and a sign-in option for adults and children to create bookmarks and libraries, store searches and the like. Hyperlinks at the edge of the reading pane include author information, "about this book," and other books by the same author. The reading interface is very much like reading a book, and can easily be paged backwards or forwards by clicking any page. The art of children's book illustration finds ample support in the beautifully scanned and sized reading interface. The collection currently contains 4,346 books, both in copyright and in the public domain, written in 54 languages.  About 40% of the collection consists of historical books, and the rest are contemporary works.</p>
<p>The International Children's Digital Library is a feast for children who are bookworms. It is also a treasure trove for teachers of reading, literature, science, social studies, and world cultures or geography. Scholarly researchers will find in its global collection a wealth of material for comparison, thematic exploration, historical studies of childhood and reading, and interdisciplinary studies of all kinds. The fact that the project serves the needs of both avid readers for pleasure and researchers makes it extremely valuable as a locus for learning about reading, cultures, and the stuff of stories and images. It will create a lot of synergy for a long time to come, not only as a repository, but as an engine for generating literature and grooming new connoisseurs of literature among young and old.</p>
<p>While the project invites publishers, authors, and others to submit books and grant permission for scanning and publication on the site, it is not possible to download or otherwise reproduce or alter the books. Moreover, books that ultimately appear on the site are selected by the project researchers based on collection development criteria. Currently, no "born digital" books are included, but the project may eventually include motion pictures and other media. The ICDL plans to incorporate biographies of authors and illustrators, annotations, reviews by readers (including children), as well as translations of works where permitted. It may in the future also include reading activities to supplement the experience of reading, or for pedagogical use. Beyond the primary function of making literature for children accessible wherever children live, and beyond the mere fun of reading the works, the collection is also a computer science project for the purpose of improving computer interfaces for children and the use of digital materials by a wide audience of users for various purposes.</p>
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            <div id="website-review-item-type-metadata-website-reviewer" class="element">
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                                    <div class="element-text">Susan Douglass</div>
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        <h3>Website Reviewer Institution</h3>
                                    <div class="element-text">George Mason University</div>
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                                    <div class="element-text">The International Children&#039;s Digital Library is a feast for children who are bookworms. It is also a treasure trove for teachers of reading, literature, science, social studies, and world cultures or geography. </div>
                    </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/444/fullsize">ICDL.jpg</a></div>]]></description>
      <pubDate>Tue, 02 Mar 2010 14:56:21 +0000</pubDate>
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    <item>
      <title><![CDATA[Children's Books Online: The Rosetta Project]]></title>
      <link>https://cyh.rrchnm.org/items/show/414</link>
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                                    <div class="element-text">Children&#039;s Books Online: The Rosetta Project</div>
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        <h3>Source</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="dublin-core-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="dublin-core-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Contributor</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Rights</h3>
                    <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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        <h3>Language</h3>
                    <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>
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            <div id="dublin-core-coverage" class="element">
        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
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    <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 -->
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        <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>Website Review Item Type Metadata</h2>
        <div id="website-review-item-type-metadata-website-url" class="element">
        <h3>Website URL</h3>
                                    <div class="element-text">http://www.childrensbooksonline.org/</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-creator" class="element">
        <h3>Website Creator</h3>
                                    <div class="element-text">Beck Foundation</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-date-of-review" class="element">
        <h3>Date of Review</h3>
                                    <div class="element-text">February 2010</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-review-text" class="element">
        <h3>Website Review Text</h3>
                                    <div class="element-text"><p><a class="external" href="http://www.childrensbooksonline.org/"><em>Children's Books Online: the Rosetta Project</em></a> is a unique effort to make illustrated, "antique" children's books accessible. The site, supported by the <a class="external" href="http://www.thebeckfoundation.org/">Beck Foundation</a>, claims to have originated with a single collector, but supporting documentation is thin. It has grown to "tens of thousands of illustrated pages" in several languages, according to the text, with new books appearing every week. </p>
<p>Despite a less than optimal site design and reading interface, the content is very rich and will provide pleasure for readers and research material for scholars and students. The several hundred books date to the 19th and early 20th centuries, and include original editions of such classic stories as <a class="external" href="http://www.childrensbooksonline.org/pinocchio/index.htm"><em>Pinocchio</em></a>, <a class="external" href="http://www.childrensbooksonline.org/alice_in_wonderland/index.htm"><em>Alice in Wonderland</em></a>, <a class="external" href="http://www.childrensbooksonline.org/max_und_moritz/index.htm"><em>Max and Moritz</em></a>, as well as Kate Greenaway poems, fairy tales, children's book series and a few early textbooks. Nursery rhyme books and alphabet books, with their period illustrations, offer a window into American and European middle- and upper-class childhood, as well as artists' conceptions of children of non-literate classes.</p> 

<p>While many of the line drawings, woodcuts, and lithographs show idealized views of childhood, others contain text and images that would be considered racist or inappropriately violent today. These stories and images serve as primary source material for the history of childhood, reflecting images of childhood and projections of normative standards for children. These include some very harsh views of historical childhoods in which poverty, illness, cruelty, and caprice were perceived as normal. Views of class distinctions can also be glimpsed, as well as standards of living and items of consumption.</p>
<p>The site's layout and design are needlessly cluttered and cumbersome. The designers used the books' illustration material to create logos and clip art, but used them too liberally. The layout of the <a class="external" href="http://www.childrensbooksonline.org/">homepage</a> against a white background requires a lot of scrolling. The alternating text and links sections are poorly spaced, with some duplication, and requires too much effort. For example, an inconspicuous link <a class="external" href="http://www.childrensbooksonline.org/library.htm">"To the library"</a> connects to the booklist but so does clicking on a red wagon. A few featured book titles are linked near the top of the page, but access to the library page should be better highlighted. The "library" link is mislabeled <a class="external" href="http://www.childrensbooksonline.org/library.htm">"Table of Contents,"</a> and embellished with an optically disturbing page background, more clip art, more featured books, and more scrolling until the user reaches a set of illustrated, hyperlinked panes that navigate through the library.</p> 
<p>Five panes indicate books indexed by age and interest level, from pre-reader to adult, each linked to a list of hyperlinked titles that connect to the reading interface. Three of these panes link to a list of multiple language books, an alphabetical "super-index," and the search interface. The various art image logos reappear on some page footers as navigation symbols leading to the home page, library, store, search, donate, and volunteer pages. A tighter design would increase functionally and clarity.</p>
<p>The reading interface is neither as simple nor as attractive as it could be. For example, book titles are written in code as well as presented as thumbnail images too small to be read. These "open" the books that then enable readers to turn pages by clicking navigation arrows. A few multimedia books are also available with audio readings. At the <a class="external" href="http://www.museumstorechildrensbooksonline.org/PDShopPro/shop/">Rosetta Museum Store</a> downloads can be purchased.</p> 
<p>The foreign language reader is very clumsy but free of charge. Below each page view is a list of languages in which the book has been translated. Clicking the button for a language brings a pop-up screen positioned over the page but it has to be moved to view the illustration again. Paging forward, the window disappears, and the reader has to close and re-select the language button for each page of the translation. This detracts from the flow of reading: page-select language-move window-read—repeat.</p> 
<p>The Rosetta Project's reader interface thus compares unfavorably with the <a class="external" href="http://chnm.gmu.edu/cyh/website-reviews/415">International Children's Digital Library (ICDL)</a>. (ICDL books available in multiple languages replace the original text with the translation language directly on the page image.) Despite the flaws in the site design, the Rosetta Project offers a rich resource for educators and researchers alike, and an excellent, accessible archive of the canonical works and curiosities of children's literature.</p> 

</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-image-file-name" class="element">
        <h3>Image File Name</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-reviewer" class="element">
        <h3>Website Reviewer</h3>
                                    <div class="element-text">Susan Douglass</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-reviewer-institution" class="element">
        <h3>Website Reviewer Institution</h3>
                                    <div class="element-text">George Mason University</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-pullquote" class="element">
        <h3>Pullquote</h3>
                                    <div class="element-text">Despite the flaws in the site design, the Rosetta Project offers a rich resource for educators and researchers alike, and an excellent, accessible archive of the canonical works and curiosities of children’s literature.</div>
                    </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/443/fullsize">children of the wigwam.jpg</a></div>]]></description>
      <pubDate>Tue, 02 Mar 2010 14:20:00 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/443/fullsize" type="image/jpeg" length="65239"/>
    </item>
    <item>
      <title><![CDATA[Slave Women and Children [Law]]]></title>
      <link>https://cyh.rrchnm.org/items/show/401</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">Slave Women and Children [Law]</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>Although marriage was not forbidden between Europeans and slaves or other non-Europeans, it was quite rare and entailed a drop in social status for the European. Nevertheless, sexual relationships occurred—sometimes coerced, sometimes by mutual agreement. The children born to slave women by these relationships were seldom openly acknowledged by their fathers, and thus usually followed the fate of their mothers. Religious and secular authorities were not at ease with this situation. This can be seen in church proclamations that called on Europeans to baptize all their slave children, and secular laws that sought to regulate the living conditions of slave children, especially of mixed race. In the following excerpt, it is noteworthy that the "children of free heathen" are also mentioned. These "heathens" were probably not Khoikhoi, but rather former slaves, either from East Africa or Asia, who bought or earned their freedom and were known as Free Blacks. In this case, the designation "heathen" might also refer to followers of Islam.</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">"Laws and Regulations Respecting Slaves at the Colony the Cape of Good Hope since the Year 1658 till a. 1805." In <em>Dutch laws translated into English</em>. 1806. James Ford Bell Library. University of Minnesota.</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 -->
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        <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 -->
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        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
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        <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>Document Item Type Metadata</h2>
        <div id="document-item-type-metadata-text" class="element">
        <h3>Text</h3>
                                    <div class="element-text"><p>20 June 1766</p>
<p>That in future the Statutary Law that no Children of free Heathen begotten on their female Slaves, whether the Estate be beforehand or not, may be sold, nor the Mothers of those Children, should the Estate be solvent, shall be observed, and it is likewise understood to forbid all Executors and Administrators of Estates without Exception and they are hereby forbidden accordingly to sell Children begotten by Christians on their Slaves whether the Estate be solvent or not; with authority to allow such a Child or Children to follow those who may apply for them and be willing to bring up those otherwise Unfortunates in the Reformed Religion; or in default of such should the children be descended from European Blood, but not otherwise, to give them to the Deacons of the Reformed Congregation in order to be brought up in the Poor House & instructed in the above mentioned manner.</p>

<p>That towards the Encouragement of Fidelity among the Slaves, with regard to those who possess them in property, such of them as rescue their Masters or Mistresses from any great Danger of their Lives or save them from being murdered, or use their utmost endeavor thereto at the risk of their own Lives, must immediately be made free and above all may not be sold either by their Masters, or by Executor or Administrators of Estates.</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 -->]]></description>
      <pubDate>Mon, 18 Jan 2010 03:44:52 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[A Narrative of the Life of Mrs. Mary Jemison [Literary Excerpt]]]></title>
      <link>https://cyh.rrchnm.org/items/show/400</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"><em>A Narrative of the Life of Mrs. Mary Jemison</em> [Literary Excerpt]</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>In 1753, 15 year old Mary Jemison was captured by Indians along the Pennsylvania frontier during the Seven Years' War between the French, English, and Indian peoples of North America. She was adopted and incorporated into the Senecas, a familiar practice among Iroquois and other Indian peoples seeking to replace a lost sibling or spouse. Mary married and raised a family in the decades before and after the American Revolution; many captives, once adopted and integrated into an Indian community, refused the opportunity to return home, finding life in Indian society more rewarding. In 1823 Mary Jemison related her life story to James Seaver, a doctor who lived near her home in western New York. Seaver's story of "the white woman of the Genessee," as she became known, sold over 100,000 copies in 1824.</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">James E. Seaver, <em>A Narrative of the Life of Mrs. Mary Jemison</em> (Canadaigua, N.Y.: J.D. Bemis, 1824), 43–51.</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">
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                                    <div class="element-text"><p>Having made fast to the shore, the squaws left me in the canoe while they went to their wigwam or house in the town, and returned with a suit of Indian clothing, all new, and very clean and nice. My clothes, though whole and good when I was taken, were now torn in pieces, so that I was almost naked. They first undressed me and threw my rags into the river; then washed me clean and dressed me in the new suit they had just brought, in complete Indian style; and then led me home and seated me in the center of their wigwam.</p>

<p>I had been in that situation hut a few minutes, before all the squaws in the town came in to see me. I was soon surrounded by them, and they immediately set up a most dismal howling, crying bitterly, and wringing their hands in all the agonies of grief for a deceased relative.</p>

<p>Their tears flowed freely, and they exhibited all the signs of real mourning. At the commencement of this scene, one of their number began, in a voice somewhat between speaking and singing, to recite some words to the following purport, and continued the recitation till the ceremony was ended; the company at the same time varying the appearance of their countenances, gestures and tune of voice, so as to correspond with the sentiments expressed by their leader:</p>

<p>"Oh our brother! Alas! He is dead—he has gone; he will never return! Friendless he died on the field of the slain, where his bones are yet lying un-buried! Oh, who will not mourn his sad fate? No tears dropped around him; oh, no! No tears of his sisters were there! He fell in his prune, when his arm was most needed to keep us from danger! Alas! he has gone! and left us in sorrow, his loss to bewail: Oh where is his spirit? His spirit went naked, and hungry it wanders, and thirsty and wounded it groans to return! Oh helpless and wretched, our brother has gone! No blanket nor food to nourish and warm him; nor candles to light him, nor weapons of war:—Oh, none of those comforts had he! But well we remember his deeds! —The deer he could take on the chase! The panther shrunk back at the sight of his strength! His enemies fell at his feet! He was brave and courageous in war! As the fawn he was harmless: his friendship was ardent: his temper was gentle: his pity was great! Oh! our friend, our companion is dead! Our brother, our brother, alas! he is gone! But why do we grieve for his loss? In the strength of a warrior, undaunted he left us, to fight by the side of the Chiefs! His war-whoop was shrill! His rifle well aimed laid his enemies low: his tomahawk drank of their blood: and his knife flayed their scalps while yet covered with gore! And why do we mourn? Though he fell on the field of the slain, with glory he fell, and his spirit went up to the land of his fathers in war! Then why do we mourn? With transports of joy they received him, and fed him, and clothed him, and welcomed him there! Oh friends, he is happy; then dry up your tears! His spirit has seen our distress, and sent us a helper whom with pleasure we greet. Dickewamis has come: then let us receive her with joy! She is handsome and pleasant! Oh! she is our sister, and gladly we welcome her here. In the place of our brother she stands in our tribe. With care we will guard her from trouble; and may she be happy till her spirit shall leave us."</p>

<p>In the course of that ceremony, from mourning they became serene—joy sparkled in their countenances, and they seemed to rejoice over me as over a long-lost child. I was made welcome amongst them as a sister to the two squaws before mentioned, and was called Dickewamis; which being interpreted, signifies a pretty girl, a handsome girl, or a pleasant, good thing. That is the name by which I have ever since been called by the Indians.</p>

<p>I afterwards learned that the ceremony I at that time passed through, was that of adoption. The two squaws had lost a brother in Washington's war, sometime in the year before, and in consequence of his death went up to Fort Pitt, on the day on which I arrived there, in order to receive a prisoner or oil enemy's scalp, to supply their loss. It is a custom of the Indians, when one of their number is slain or taken prisoner in battle, to give to the nearest relative to the dead or absent, a prisoner, if they have chanced to take one, and if not, to give him the scalp of an enemy. On the return of the Indians from conquest, which is always announced by peculiar shoutings, demonstrations of joy, and the exhibition of some trophy of victory, the mourners come forward and make their claims. If they receive a prisoner, it is at their option either to satiate their vengeance by taking his life in the most cruel manner they can conceive of; or, to receive and adopt him into the family, in the place of him whom they have lost. All the prisoners that are taken in battle and carried to the encampment or town by the Indians, are given to the bereaved families, till their number is made good. And unless the mourners have but just received the news of their bereavement, and are under the operation of a paroxysm of grief, anger and revenge; or, unless the prisoner is very old, sickly, or homely, they generally save him, and treat him kindly. But if their mental wound is fresh, their loss so great that they deem it irreparable, or if their prisoner or prisoners do not meet their approbation, no torture, let it be ever so cruel, seems sufficient to make them satisfaction. It is family, and not national, sacrifices amongst the Indians, that has given them an indelible stamp as barbarians, and identified their character with the idea which is generally formed of unfeeling ferocity, and the most abandoned cruelty.</p>

<p>It was my happy lot to be accepted for adoption: and at the time of the ceremony I was received by the two squaws, to supply tile place of their mother in the family; and I was ever considered and treated by them as a real sister, the same as though I had been horn of their mother.</p>

<p>During my adoption, I sat motionless, nearly terrified to death at the appearance and actions of the company, expecting every moment to feel their vengeance, and suffer death on the spot. I was, however, happily disappointed, when at the close of the ceremony the company retired, and my sisters went about employing every means for my consolation and comfort.</p>

<p>Being now settled and provided with a home, I was employed in nursing the children, and doing light work about the house. Occasionally I was sent out with the Indian hunters, when they went but a short distance, to help them carry their game. My situation was easy; I had no particular hardships to endure. But still, the recollection of my parents, my brothers and sisters, my home, and my own captivity, destroyed my happiness, and made me constantly solitary, lonesome and gloomy.</p>

<p>My sisters would not allow me to speak English in their hearing; but remembering the charge that my dear mother gave me at the time I left her, whenever I chanced to he alone I made a business of repeating my prayer, catechism, or something I had learned in order that I might not forget my own language. By practising in that way I retained it till t came to Genesee flats, where I soon became acquainted with English people with whom I have been almost daily in the habit of conversing.</p>

<p>My sisters were diligent in teaching me their language; and to their great satisfaction I soon learned so that I could understand it readily, and speak it fluently. I was very fortunate in falling into their hands; for they were kind good natured women; peaceable and mild in their dispositions; temperate and decent in their habits, and very tender and gentle toward me. I have great reason to respect them, though they have been dead a great number of years.</p>

<p>The town where they lived was pleasantly situated on the Ohio, at the mouth of the Shenanjee: the land produced good corn; the woods furnished plenty of game, and the waters abounded with fish. Another river emptied itself into the Ohio, directly opposite the mouth of the Shenanjee. We spent the summer at that place, where we planted, hoed, and harvested a large crop of corn, of an excellent quality.</p>

<p>About the time of corn harvest, Fort Pitt was taken from the French by the English.</p>

<p>The corn being harvested, the Indians took it on horses and in canoes, and proceeded down the Ohio, occasionally stopping to hunt a few days, till we arrived at the mouth of Sciota river; where they established their winter quarters, and continued hunting till the ensuing spring, in the adjacent wilderness. While at that place I went with the other children to assist the hunters to bring in their game. The forests on the Sciota were well stocked with elk, deer, and other large animals; and the marshes contained large numbers of beaver, muskrat, etc., which made excellent hunting for the Indians; who depended, for their meat, upon their success in taking elk and deer; and for ammunition and clothing, upon the beaver, muskrat, and other furs that they could take in addition to their peltry.</p>

<p>The season for hunting being passed, we all returned in the spring to the mouth of the river Shenanjee to the houses and fields we had left in the fall before. There we again planted our corn, squashes, and beans, on the fields that we occupied the preceding summer.</p>

<p>About planting time, our Indians all went up to Fort Pitt, to make peace with the British, and took me with them. We landed on the opposite side of the river from the fort, and encamped for the night. Early the next morning the Indians took me over to the fort to see the white people that were there. It was then that my heart bounded to be liberated from the Indians and to he restored to my friends and my country. The white people were surprised to see me with the Indians, enduring the hardships of a savage life, at so early an age, and with so delicate a constitution as t appeared to possess. They asked me my name; where and when I was taken—and appeared very much interested on my behalf. They were continuing their inquiries, when my sisters became alarmed, believing that I should be taken from them, hurried me into their canoe and recrossed the river—took their bread out of the fire and fled with me, without stopping, till they arrived at the river Shenanjee. So great was their fear of losing me, or of my being given up in the treaty, that they never once stopped rowing till they got home.</p>

<p>Shortly after we left the shore opposite the fort, as I was informed by one of my Indian brothers, the white people came over to take me back; but alter considerable inquiry, and having made diligent search to find where I was hid, they returned with heavy hearts. Although I had then been with the Indians something over a year, and had become considerably habituated to their mode of living, and attached to my sisters, the sight of white people who could speak English inspired me with an unspeakable anxiety to go home with them, and share in the blessings of civilization. My sudden departure and escape from them, seemed like a second captivity, and for a long time I brooded the thoughts of my miserable situation with almost as much sorrow and dejection as t had done those of my first sufferings. Time, the destroyer of every affection, wore away my unpleasant feelings, and I became as contented as before.</p></div>
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      <pubDate>Mon, 18 Jan 2010 03:17:50 +0000</pubDate>
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      <title><![CDATA[Charlotte Temple: A Tale of Truth (1791) [Literary Excerpt]]]></title>
      <link>https://cyh.rrchnm.org/items/show/399</link>
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                                    <div class="element-text"><em>Charlotte Temple: A Tale of Truth</em> (1791) [Literary Excerpt]</div>
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                                    <div class="element-text"><p><em>Charlotte Temple: A Tale of Truth</em>, published in 1791, was the first American bestseller. The author, Susanna Haswell Rowson, was born in England circa 1762, and died in 1824 in Massachusetts, where she spent most of her life. Charlotte Temple tells the story of a young English girl who is lured away from her school by an army officer, Montraville. On board ship to his posting in revolutionary-era New York, Montraville seduces Charlotte. Once in New York, Montraville gradually abandons the "ruined" Charlotte who, after a downward spiral into remorse, illness, poverty, and the birth of a child, dies. Seduction novels were popular in the 18th century, and the widely read Charlotte Temple went through more than 200 editions. But Rowson, who despite her childhood as the daughter of an English revenue officer became a committed republican, used her novel to protest the sexual double standard that ruined the lives of women like Charlotte.</p> </div>
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                                    <div class="element-text">Susanna Haswell Rowson, <em>Charlotte Temple: A Tale of Truth</em>, ed. Francis W. Halsey (Philadelphia: Matthew Carey, 1794; repr., New York: Funk and Wagnalls Co., 1905), vol.2, pp.3–10.</div>
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                                    <div class="element-text"><p><strong>CHAPTER 18 REFLECTIONS</strong> "And am I indeed fallen so low," said Charlotte, "as to be only pitied? Will the voice of approbation no more meet my ear? and shall I never again possess a friend, whose face will wear a smile of joy whenever I approach? Alas! how thoughtless, how dreadfully imprudent have I been! I know not which is most painful to endure, the sneer of contempt, or the glance of compassion, which is depicted in the various countenances of my own sex: they are both equally humiliating. Ah! my dear parents, could you now see the child of your affections, the daughter whom you so dearly loved, a poor solitary being, without society, here wearing out her heavy hours in deep regret and anguish of heart, no kind friend of her own sex to whom she can unbosom her griefs, no beloved mother, no woman of character will appear in my company, and low as your Charlotte is fallen, she cannot associate with infamy."</p>

<p>These were the painful reflections which occupied the mind of Charlotte. Montraville had placed her in a small house a few miles from New-York: he gave her one female attendant, and supplied her with what money she wanted; but business and pleasure so entirely occupied his time, that he had little to devote to the woman, whom he had brought from all her connections, and robbed of innocence. Sometimes, indeed, he would steal out at the close of evening, and pass a few hours with her; and then so much was she attached to him, that all her sorrows were forgotten while blest with his society: she would enjoy a walk by moonlight, or sit by him in a little arbour at the bottom of the garden, and play on the harp, accompanying it with her plaintive, harmonious voice. But often, very often, did he promise to renew his visits, and, forgetful of his promise, leave her to mourn her disappointment. What painful hours of expectation would she pass! She would sit at a window which looked toward a field he used to cross, counting the minutes, and straining her eyes to catch the first glimpse of his person, till blinded with tears of disappointment, she would lean her head on her hands, and give free vent to her sorrows: then catching at some new hope, she would again renew her watchful position, till the shades of evening enveloped every object in a dusky cloud: she would then renew her complaints, and, with a heart bursting with disappointed love and wounded sensibility, retire to a bed which remorse had strewed with thorns, and court in vain that comforter of weary nature (who seldom visits the unhappy) to come and steep her senses in oblivion.</p>

<p>Who can form an adequate idea of the sorrow that preyed upon the mind of Charlotte? The wife, whose breast glows with affection to her husband, and who in return meets only indifference, can but faintly conceive her anguish. Dreadfully painful is the situation of such a woman, but she has many comforts of which our poor Charlotte was deprived. The duteous, faithful wife, though treated with indifference, has one solid pleasure within her own bosom, she can reflect that she has not deserved neglect—that she has ever fulfilled the duties of her station with the strictest exactness; she may hope, by constant assiduity and unremitted attention, to recall her wanderer, and be doubly happy in his returning affection; she knows he cannot leave her to unite himself to another: he cannot cast her out to poverty and contempt. She looks around her, and sees the smile of friendly welcome, or the tear of affectionate consolation, on the face of every person whom she favours with her esteem; and from all these circumstances she gathers comfort: but the poor girl by thoughtless passion led astray, who, in parting with her honour, has forfeited the esteem of the very man to whom she has sacrificed every thing dear and valuable in life, feels his indifference in the fruit of her own folly, and laments her want of power to recall his lost affection; she knows there is no tie but honour, and that, in a man who has been guilty of seduction, is but very feeble: he may leave her in a moment to shame and want; he may marry and forsake her for ever; and should he, she has no redress, no friendly, soothing companion to pour into her wounded mind the balm of consolation, no benevolent hand to lead her back to the path of rectitude; she has disgraced her friends, forfeited the good opinion of the world, and undone herself; she feels herself a poor solitary being in the midst of surrounding multitudes; shame bows her to the earth, remorse tears her distracted mind, and guilt, poverty, and disease close the dreadful scene: she sinks unnoticed to oblivion. The finger of contempt may point out to some passing daughter of youthful mirth, the humble bed where lies this frail sister of mortality; and will she, in the unbounded gaiety of her heart, exult in her own unblemished fame, and triumph over the silent ashes of the dead? Oh no! has she a heart of sensibility, she will stop, and thus address the unhappy victim of folly—</p>

<p>"Thou had'st thy faults, but sure thy sufferings have expiated them: thy errors brought thee to an early grave; but thou wert a fellow-creature—thou hast been unhappy—then be those errors forgotten."</p>

<p>Then, as she stoops to pluck the noxious weed from off the sod, a tear will fall, and consecrate the spot to Charity.</p>

<p>For ever honoured be the sacred drop of humanity; the angel of mercy shall record its source, and the soul from whence it sprang shall be immortal.</p>

<p>My dear Madam, contract not your brow into a frown of disapprobation. I mean not to extenuate the faults of those unhappy women who fall victims to guilt and folly; but surely, when we reflect how many errors we are ourselves subject to, how many secret faults lie hid in the recesses of our hearts, which we should blush to have brought into open day (and yet those faults require the lenity and pity of a benevolent judge, or awful would be our prospect of futurity) I say, my dear Madam, when we consider this, we surely may pity the faults of others.</p>

<p>Believe me, many an unfortunate female, who has once strayed into the thorny paths of vice, would gladly return to virtue, was any generous friend to endeavour to raise and re-assure her; but alas! it cannot be, you say; the world would deride and scoff. Then let me tell you, Madam, 'tis a very unfeeling world, and does not deserve half the blessings which a bountiful Providence showers upon it.</p>

<p>Oh, thou benevolent giver of all good! how shall we erring mortals dare to look up to thy mercy in the great day of retribution, if we now uncharitably refuse to overlook the errors, or alleviate the miseries, of our fellow-creatures!</p> </div>
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      <pubDate>Mon, 18 Jan 2010 02:38:03 +0000</pubDate>
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      <title><![CDATA["I Must Of Course Have Something Of My Own Before Many More Years Have Passed Over My Head": Sally Rice Leaves the Farm, 1838 [Letters]]]></title>
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                                    <div class="element-text">&quot;I Must Of Course Have Something Of My Own Before Many More Years Have Passed Over My Head&quot;: Sally Rice Leaves the Farm, 1838 [Letters]</div>
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                                    <div class="element-text"><p>From the rocky soil of Vermont's hill towns, many young men and women in the 19th century went looking for new opportunities. Often they made a series of moves between farm, factory, and city. Their leave-taking pitted the responsibilities of maintaining family farms against the new attractions of financial and social independence. Sally Rice, born in 1821 in Dover, Vermont, was typical. In 1838 she found work as a domestic servant in New York, not far over the border from her family's hardscrabble farm, securing for herself much valued wages and independence. Several years later she worked as a weaver in one of the many cotton mills that lined the Blackstone Valley of central Massachusetts and Connecticut. Her letters home to her mother and father in Vermont carefully weighed issues of family and independence, farm and factory life.</p></div>
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                                    <div class="element-text">Nell W. Kull, "I Can Never Be Happy There Among So Many Mountains-The Letters of Sally Rice," <em>Vermont History</em> 38 (Winter, 1970), 51–55. </div>
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                                    <div class="element-text"><p>[Union Village, 1839]</p>

<p>Dear Father and Mother:</p>

<p>I am well. I found good crossing the mountain. Got to Arlington about 8 in the evening. Staid over night and the next morning started for home. Arrived at Cambridge about one stoped at Comstocks hotel. I found a man there that was going directly to Union Village. With him I rode here and I was never so glad to see any place as I was to see my old home and friends. I found them all well except Mr. Salisbury. He was very sick and is now with the inflammation of the lings. It is doubtful whether he ever gets well. His sister is here taking care of him. I found Nancy here and another girl which was not much help. Nancy went away the next day but one and last week the other girl went so I alone at present. We expect Maria Gayton will come this week. Elem Knight and I got up Monday morning at one oclock to wash. He helpt me some and we got done before light and I should be willing to get up every morning at one...I can have a home here as long as I will stay and am steady. They are very anxious that I should live with them as long as I work out anywhere. . . I have one of the best homes and good society which is a good deal better than I can have there [at home]. Look at the company I should be with, a profane Sabbath breaking set. . . I can never be happy there in among so many mountains. . .  I feel as though I have worn out shoes and strength enough riding and walking over the mountains. I think it would be more consistent to save my strength to raise my boys. I shall need all I have got and as for marrying and setting in that wilderness, I wont. If a person ever expects to take comfort it is while they are young. I feel so...I have got so that by next summer if I could stay I could begin to lay up something. . . I am most 19 years old. I must of course have something of my own before many more years have passed over my head. And where is that something coming from if I go home and earn nothing. What can we get off that rocky farm only 2 or 3 cows. It would be another thing if you kept 9 or 10 cows and could raise corn to sell. . . It surely would be cheper for you to hire a girl one that would be contented to stay in the desert than for me to come home and live in trouble all the time. . . You may think me unkind but how can you blame me for wanting to stay here. I have but one life to live and I want to enjoy myself as well as I can while I live. . . Do come away dont lay your bones in that place I beg you. . . I want you should write me an answer. My love to all who inquire after. S. R.</p>

<hr /> 

<p>Masonville, Sunday, Feb 23, 1845</p>

<p>Dear Father:</p>

<p>I now take my pen in hand to let you know where I am and how I came here and how my health is. I have been waiting perhaps longer than I ought to without letting you know where I am and yet I had a reason for so doing. Well knowing that you were dolefully prejudiced against a cotton factory, and being no less prejudiced myself, I thought it best to wait and see how I prospered and also whether I was going to stay or not. I well knew that if I could not make more in the mill than I can doing housework I should not stay. Now I will tell you how I happened to come. The Saturday after New Years I came to Masonville in Thompson, Connecticut, with James Alger to visit his sister who weaves in the mill. We came Saturday and returned to Millbury on Monday. While here I was asked to come back and learn to weave. I did not fall in with the idea at all because I well knew that I should not like it as well as housework and Knowing that you would now approve of my working in the mill. But when I consider that I had got myself to take care of, I knew I ought to do that way I can make the most and save the most. I concluded to come and try, promising Mrs. Waters that if I did not like it I would return the first of April.</p>

<p>I have wove 4 weeks and have wove 6.89 yds. We have one dollar and 10 cents for a hundred yards. I wove with Olive Alger one week to learn and I took 2 looms 2 weeks and now I have 3 looms. I get along as well as anyone could expect. I think that before the year is out I shall be able to tend 4 looms and then I can make more. 0. and P. Alger make three dollars a week besides their board. We pay 1.25 for our board. We three girls board with a Widow Whitemore. She is a first rate homespun woman. I like it quite as well as I expected but not as well as housework. To be sure it is a noisy place and we are confined more than I like to be. I do not wear out my clothes and shoes as I do when I housework. If I can make 2 dollars per week besides my board and save my clothes and shoes I think it will be better than to do housework for nine shillings. I mean for a year or two. I should not want to spend my days in a mill unless they are short because I like a farm too well for that. My health is good now. I wrote a letter to Levi and Nancy the week before I came her with a strict command not to tell any mortal that I was coming because if I did not stay I wanted nothing said about it. And I say now that if it does not agree with my health I shall give it up at once. I have been blessed with good health always ever since I began to work out. I have not been confined to my bed but one day since I was sick with mumps the time Grandmother Rice died. I was very sick one day when I was at Mrs. Waters.</p>
<hr />
<p>Dear Father, in my last letter I told you I had morally reformed. Yes I trust I have and bless God that he unsealed my eyes to see where I was standing, and where I have been since I became a backslider. The name haunts me. It all seems like a dream. Pray for me, Father, that if I ever enjoyed Religion I may enjoy it again and do as much good as I have hurt in the cause and the great God assisting me I will try to pray for myself. I feel I am perfectly willing to give up all into the hands of God and will try to lead a better life than I have done.</p>

<p>I want you to write as soon as you get this. Address your letter to Masonville, Thompson, Conn. Give my love to Mother & to all our folks. Tell Brother to write. I have not written to Hiram yet. I want to know where Ephraim is & what he is doing and what you are all about and howyou all do Father.</p>

<p>Good Bye, Sarah Rice </p></div>
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      <pubDate>Sun, 17 Jan 2010 04:12:41 +0000</pubDate>
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      <title><![CDATA[In Motion: The African-American Migration Project]]></title>
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                    <div class="element-text-empty">[no text]</div>
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        <div id="website-review-item-type-metadata-website-url" class="element">
        <h3>Website URL</h3>
                                    <div class="element-text">http://www.inmotionaame.org/home.cfm</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-creator" class="element">
        <h3>Website Creator</h3>
                                    <div class="element-text">The New York Public Library&#039;s Schomburg Center for Research in Black Culture</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-date-of-review" class="element">
        <h3>Date of Review</h3>
                                    <div class="element-text">September 2009</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-review-text" class="element">
        <h3>Website Review Text</h3>
                                    <div class="element-text"><p><a class="external" href="http://www.inmotionaame.org/home.cfm"><em>In Motion: The African-American Migration Project</em></a> portrays the history of 13 defining migrations that formed and transformed African Americans from the 16th century to the present. These themes include such central topics as <a class="external" href="http://www.inmotionaame.org/migrations/landing.cfm;jsessionid=f830624231262980393202?migration=1&bhcp=1">"The Transatlantic Slave Trade"</a> and <a class="external" href="http://www.inmotionaame.org/migrations/landing.cfm?migration=4">"Colonization and Emigration"</a> but also include migrations internal to the United States (<a class="external" href="http://www.inmotionaame.org/migrations/landing.cfm?migration=7&bhcp=1">"The Northern Migration"</a> and <a class="external" href="http://www.inmotionaame.org/migrations/landing.cfm?migration=8">"The Great Migration"</a>) and more recent (and often overlooked) movements, such as <a class="external" href="http://www.inmotionaame.org/migrations/landing.cfm?migration=11">"Return South Migration"</a> and <a class="external" href="http://www.inmotionaame.org/migrations/landing.cfm?migration=12">"Haitian Immigration: 20th Century."</a> The selection of topics itself, presents some interesting revisions to conventional notions of both the narrative of African American history and the constitution of today's African American population. While only a relatively narrow portion of the database addresses the history of children and childhood, the unique source materials available here and the excellent supporting documentation collected at the site still make it an attractive option for course adaptation.</p>
<p>Produced by The New York Public Library's <a class="external" href="http://www.nypl.org/locations/schomburg">Schomburg Center for Research in Black Culture</a>, the database comprises more than 16,500 pages of texts, 8,300 illustrations, and over 60 maps. Substantial contextual information and teaching resources are available for each migration. These include a narrative, about 100 illustrations, from 20 to 40 research resources (essays, books, articles, and manuscripts), maps, and well thought-out lesson plans for teachers. Most of the latter are aimed at the high school level, but could be adapted to other levels. A bibliography and list of related web sites is also supplied for each migration, and a <a class="external" href="http://www.inmotionaame.org/glossary/index.cfm?id=undefined">Glossary</a>, located on the <a class="external" href="http://www.inmotionaame.org/education/">Educational Materials</a> page, contains encyclopedic explanations of various key terms in African American history. The site is visually attractive and generally well organized.</p> 
<p>Finding material relating specifically to children at this site, however, is not straight forward. The <a class="external" href="http://www.inmotionaame.org/source_materials.cfm">Source Materials "search"</a> function did not work any of the times this reviewer attempted to use it. Searching for "children" using the <a class="external" href="http://www.inmotionaame.org/search.cfm">search</a> function from the site's <a class="external" href="http://www.inmotionaame.org/home.cfm">home page</a> produces a list of those subsections of the site in which the term appears. From there, users can locate "Migration References," <a class="external" href="http://www.inmotionaame.org/search.cfm?q=children&type=image&searchType=new&searchScope=any&prevQ=">"Images"</a> (there are nearly 700 images), <a class="external" href="http://www.inmotionaame.org/search.cfm?q=children&type=text&searchType=new&searchScope=any&prevQ=">"Texts"</a> (over 200, including both primary and secondary sources), <a class="external" href="http://www.inmotionaame.org/search.cfm?q=children&type=edmat&searchType=new&searchScope=any&prevQ=">"Educational Materials,"</a> or <a class="external" href="http://www.inmotionaame.org/search.cfm?q=children&type=glossary&searchType=new&searchScope=any&prevQ=">"Glossary Terms"</a> involving children, (although with regard to the Texts in particular, it is not always evident where the material addressing children's history is located.) Teachers could also direct students directly to those sections treating family life in particular: <a class="external" href="http://www.inmotionaame.org/migrations/topic.cfm?migration=11&topic=7">"Family Matters"</a> (Return South Migration), <a class="external" href="http://www.inmotionaame.org/migrations/topic.cfm?migration=12&topic=8">"Family Life and the Second Generation"</a> (Haitian Immigration), <a class="external" href="http://www.inmotionaame.org/migrations/topic.cfm?migration=13&topic=6">"Family Life: Continuity and Change"</a> (African Immigration).</p> 
<p>Once located, viewers can access materials ranging from tables documenting the proportion of children among enslaved Africans who crossed the Atlantic, to post-Civil war era letters written by former slaves searching for children who had been taken from them, to advertisements for <a class="external" href="http://www.inmotionaame.org/gallery/large.cfm?migration=&topic=&id=575150&type=image&metadata=&page= ">"The Crisis,"</a> a periodical edited by W.E. DuBois addressing African-American lives in the early 20th century. As these sources suggest, although the site purports to move the discussion of African-American history beyond an exclusive concentration on the history of slavery, the bulk of the documentation available here does deal with the legacy of the slave trade.</p>
<p>While it is a little challenging to locate material on children at the site, the primary sources and supporting materials sometimes allow students and teachers to see how children themselves changed the course of African American history. Children, for instance, created an important bond between different branches of African American families, northern-born children moved south to be cared for by, and later to care for, their grandparents. Instructors might use the materials available at this site to create exercises dealing with the different migrations treated here. For instance, students could locate and analyze material dealing with children's experiences in two of the different migrations: If they played transformative roles for kin networks during the Great Migration northward and in its aftermath, what was children's comparative impact during Africans' initial migration to America? What factors might explain the differences?</p>
</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-image-file-name" class="element">
        <h3>Image File Name</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-reviewer" class="element">
        <h3>Website Reviewer</h3>
                                    <div class="element-text">Nora Jaffary</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-reviewer-institution" class="element">
        <h3>Website Reviewer Institution</h3>
                                    <div class="element-text">Concordia University</div>
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        <h3>Pullquote</h3>
                                    <div class="element-text"><em>In Motion: The African-American Migration Project</em> portrays the history of 13 defining migrations that formed and transformed African Americans from the 16th century to the present. </div>
                    </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/426/fullsize"><img src="/files/display/426/square_thumbnail" class="thumb" alt="In Motion: The African-American Migration Project" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Thu, 14 Jan 2010 02:39:03 +0000</pubDate>
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    <item>
      <title><![CDATA[Children in Urban America]]></title>
      <link>https://cyh.rrchnm.org/items/show/380</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">Children in Urban America</div>
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        <h3>Creator</h3>
                                    <div class="element-text">Kelly Schrum</div>
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    <h2>Additional Item Metadata</h2>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Website Image</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Analyzing Sources</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Publisher</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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                    <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>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
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    <h2>Website Review Item Type Metadata</h2>
        <div id="website-review-item-type-metadata-website-url" class="element">
        <h3>Website URL</h3>
                                    <div class="element-text">http://xserver1.its.mu.edu</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-creator" class="element">
        <h3>Website Creator</h3>
                                    <div class="element-text">James Marten, Marquette University</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-date-of-review" class="element">
        <h3>Date of Review</h3>
                                    <div class="element-text">November 2009</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-review-text" class="element">
        <h3>Website Review Text</h3>
                                    <div class="element-text"><p> <a class="external" href=" http://xserver1.its.mu.edu"><em>Children in Urban America</em></a> (CUAP), focuses on children and childhood primarily in the greater Milwaukee area from 1850 to 2000. The site is organized around five sections. Four are "central experiences in children's lives": <a class="external" href="http://www.marquette.edu/cuap/work.shtml">Work</a>, <a class="external" href="http://www.marquette.edu/cuap/play.shtml">Play and Leisure</a>, <a class="external" href="http://www.marquette.edu/cuap/schooling.shtml">Schooling</a>, and <a class="external" href="http://www.marquette.edu/cuap/health.shtml">Health and Welfare</a>. A final section, entitled <a class="external" href="http://www.marquette.edu/cuap/eyes.shtml">"Through Children's Eyes"</a>, offers stories, oral histories, and memoirs of children who grew up in Milwaukee.</p> 

<p>Each section offers a brief introduction, a gallery of images, and a series of "Special Topics" combining a background essay and relevant primary sources. Topics range from the Socialist Party, religion, and newsboys to polio and "Milwaukee's Most Famous Teenager." They bring together relevant primary sources, frame the topic, and offer suggested keywords and search terms for locating additional resources.</p> 

<p>An <a class="external" href="http://www.marquette.edu/cuap/intro.shtml">introduction</a> to the site as a whole provides an overview of the <a class="external" href="http://www.marquette.edu/cuap/intro.shtml">goals</a> of the project, <a class="external" href="http://www.marquette.edu/cuap/milwpast.shtml">background</a> on Milwaukee, and a <a class="external" href="http://www.marquette.edu/cuap/kidspast.shtml">brief overview</a> of the history of children in early America.</p> 

<p>The archive offers more than 4,000 resources, including newspaper stories, photographs, quantitative data, oral histories, personal narratives, and summaries of various topics and time periods. At first glance, it is not apparent that the site offers such a wealth of resources and the <a class="external" href="http://www.marquette.edu/cgi-bin/cuap/db.cgi?db=default&uid=default&view_search=1">search page</a>, is the key for accessing many of these. The search is accessible by clicking on the purple kite in the top, right corner labeled <a class="external" href="http://www.marquette.edu/cgi-bin/cuap/db.cgi?db=default&uid=default&view_search=1">"Search CUAP"</a> or the <a class="external" href="http://www.marquette.edu/cgi-bin/cuap/db.cgi?db=default&uid=default&view_search=1">"Search CUAP"</a> link in the left navigation bar.</p> 

<p>Once you reach the <a class="external" href="http://www.marquette.edu/cgi-bin/cuap/db.cgi?db=default&uid=default&view_search=1">search page</a>, you can easily search for a word or phrase or can select one of the predefined "keywords," such as addiction, adoption, dance, or protest. You can narrow the search by selecting more than one keyword, limiting the search results to one of the five sections of the site (i.e., "Health and Welfare"), selecting one of 10 neighborhoods, or choosing a decade. A search on "curriculum" returns close to 200 results, but "curriculum" and "sexuality" narrows it to six.</p>

<p>Another useful feature is a <a class="external" href="http://www.marquette.edu/cuap/educ.shtml">list</a> of research topics and tips. Questions are grouped into middle school, high school, and college and cover a host of subjects, from games to newspaper coverage to the impact of technology on the lives of children.</p> 

<p>The rich sources available here are relevant to teaching a range of topics, from child labor to commercial leisure, from race relations in a northern city to life as a student during the cold war. The section called <a class="external" href="http://www.mu.edu/cgi-bin/cuap/db.cgi?uid=default&ID=1986&view=Search&mh=1">"Boys at Work: The Newsboys of Milwaukee"</a> offers a glimpse into the lives of "newsboys" in the early 20th century that resembles but differs from the commonly told stories of newsies in New York City. A search on <a class="external" href="http://www.mu.edu/cgi-bin/cuap/db.cgi?db=default&uid=default&view=1&db=default&uid=default&Content=prom&ww=on&bool=and&sb=&CatAbbrev=---&Neighborhood=---&Decade=---&mh=20">"prom"</a> returns 28 matches, from a 1921 class history to a 1940 letter describing a high school prom to a news account of an African American prom queen in1972, allowing for an interesting look at the meaning and definition of proms throughout the 20th century.</p>

<p>CUAP offers a compelling look at children in one geographic region during an important time in the history of childhood. It also provides a model for the many kinds of sources available for the study of children and youth and for the many topics to be examined.</p>

</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-image-file-name" class="element">
        <h3>Image File Name</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-reviewer" class="element">
        <h3>Website Reviewer</h3>
                                    <div class="element-text">Kelly Schrum</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-reviewer-institution" class="element">
        <h3>Website Reviewer Institution</h3>
                                    <div class="element-text">George Mason University</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-pullquote" class="element">
        <h3>Pullquote</h3>
                                    <div class="element-text">Children in Urban America (CUAP), focuses on children and childhood primarily in the greater Milwaukee area from 1850 to 2000. </div>
                    </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/371/fullsize"><img src="/files/display/371/square_thumbnail" class="thumb" alt="Children in Urban America" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Wed, 25 Nov 2009 21:08:54 +0000</pubDate>
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    <item>
      <title><![CDATA[19th-century American Children and What They Read]]></title>
      <link>https://cyh.rrchnm.org/items/show/379</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">19th-century American Children and What They Read</div>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Creator</h3>
                                    <div class="element-text">Kelly Schrum</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>Website Review Item Type Metadata</h2>
        <div id="website-review-item-type-metadata-website-url" class="element">
        <h3>Website URL</h3>
                                    <div class="element-text">http://www.merrycoz.org/kids.htm</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-creator" class="element">
        <h3>Website Creator</h3>
                                    <div class="element-text">Patricia Pflieger, West Chester University, Pennsylvania</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-date-of-review" class="element">
        <h3>Date of Review</h3>
                                    <div class="element-text">November 2009</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-review-text" class="element">
        <h3>Website Review Text</h3>
                                    <div class="element-text"><p><em><a class="external" href=" http://www.merrycoz.org/kids.htm">19th-century American Children and What They Read</em></a> is a website born of a passion for exactly that—material written for children, and occasionally by children, in the 19th century. Site creator Patricia Pflieger, an English professor at West Chester University, is interested in popular books and magazines that are not well known today.</p> 

<p>Topics range from morality tales to slavery to the assassination of Abraham Lincoln. A poem entitled <a class="external" href="http://www.merrycoz.org/museum/SKATING.HTM"> "Skating—Woman's Rights"</a> asks why a woman should not skate when "She can walk, and run, and ride." Fear of revealed ankles does not persuade the author that women should not partake of the newest fad.</p>

<p>For this project, Pflieger has purchased, transcribed, and made public a significant number of primary sources, as well as bibliographies and scholarly works. The section called <a class="external" href="http://www.merrycoz.org/CHILDREN.HTM">"Children"</a> provides an eclectic sampling of materials, from letters, adoption notices, and articles about raising children to writings by children, including scrapbooks, exercise books, letters, and a diary. There is no clear rationale for the inclusion of items beyond availability.</p>

<p><a class="external" href="http://www.merrycoz.org/MAGS.HTM">"Magazines"</a> offers more than 200 transcribed articles, jokes, letters, and illustrations from 12 publications, as well as a "small gallery" of magazine covers. <a class="external" href="http://www.merrycoz.org/BOOKS.HTM">"Some of their books"</a> provides complete transcriptions for 27 books for children as well as articles and reviews of the books and of children's reading by 19th-century adults. In addition, the site makes available <a class="external" href="http://www.merrycoz.org/kids.htm#papers">seven essays</a> by Pflieger and <a class="external" href="http://www.merrycoz.org/bib/BIB.HTM">comprehensive bibliographies</a> on <a class="external" href="http://www.merrycoz.org/bib/SOCIAL.HTM">social history</a>, <a class="external" href="http://www.merrycoz.org/bib/CHLDHOOD.HTM">children and child rearing</a>, <a class="external" href="http://www.merrycoz.org/bib/SGG.HTM">Samuel G. Goodrich</a>, and children's author <a class="external" href="http://www.merrycoz.org/bib/ABBOTT.HTM">Jacob Abbot</a>, among others. Pflieger annotates many of the materials, providing historical context (sometimes very brief) and bibliographic information (usually). Text is almost always transcribed and Pflieger acknowledges possible omissions and errors. Unfortunately, originals of the materials are generally not available.</p>

<p>Despite the eclectic nature of the offerings, Pflieger has created a wonderful resource for teachers, students, and researchers interested in children, publishing, and literacy in the 19th century. Navigating the website requires patience, but it is worth the journey. First created in 1999, the website has grown without a cohesive structure or search engine. All materials are included on the three comprehensive lists: <a class="external" href="http://www.merrycoz.org/LIST.HTM">title</a>, <a class="external" href="http://www.merrycoz.org/subject.htm">subject</a>, or <a class="external" href="http://www.merrycoz.org/timeline.htm">date</a>. Clicking on an item from the index sometimes leads you to the top of a browse page where you must search for a link to the item. Other times, you move directly to the location on the browse page that links to the item. Occasionally you move directly to the item itself.</p>

<p>This website provides important primary sources and ideas for studying the history of children, a topic that young people often find fascinating. This rich, if slightly quirky website, allows for deeper examination of the reading materials that shaped children's lives and the voices of children as they read, wrote, and grew.</p>
</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-image-file-name" class="element">
        <h3>Image File Name</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-reviewer" class="element">
        <h3>Website Reviewer</h3>
                                    <div class="element-text">Kelly Schrum</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-website-reviewer-institution" class="element">
        <h3>Website Reviewer Institution</h3>
                                    <div class="element-text">George Mason University</div>
                    </div><!-- end element -->
            <div id="website-review-item-type-metadata-pullquote" class="element">
        <h3>Pullquote</h3>
                                    <div class="element-text">19th-century American Children and What They Read is a website born of a passion for exactly that—material written for children, and occasionally by children, in the 19th century.</div>
                    </div><!-- end element -->
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      <pubDate>Wed, 25 Nov 2009 20:25:41 +0000</pubDate>
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