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#material culture
latinalivinghistory · 6 months
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I have a lot of opinions on this but I would love to know what other people think.
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studywurfavwasian · 9 months
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went to a starbies to work on my essay with a. few friends (don’t mind how bad it is — it’s my “shit draft!”), and then did some more work on the go.
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cadere-art · 5 months
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Today's Nano-lame-o (day 10) art is: pots.
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shakespearenews · 22 days
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The ephemera among the vast holdings of the Harvard Theater Collection reside there because of individual stewardship, as personal projects were subsumed into institutional collections. A playhouse patron lovingly pasted her tickets into an album over a lifetime, scribbling a note about how mournfully Mr. Garrick addressed Yorick’s skull at Drury Lane, or about how dazzling Ethel Barrymore appeared in a new play one night on the Great White Way. An audience member attending Charles Dickens’s semidramatic staged reading of Oliver Twist read along in his souvenir booklet, underlining and annotating passages as if to preserve Dickens’s voice in its pages. These objects not only had a use value; they were used, handled, operated. They transcended their momentary purpose to become mementos, imbued with the sights and sounds that they accompanied and invested with the warmth of human experience.
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mimicofmodes · 1 year
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Primarily authored by the pens of men, the rhetoric of frivolous feminine consumption has obscured the powerful material literacy possessed by women, and the ways in which it shaped their interactions with the material world. The multi-sensory materiality of browsing, and the presence of making within the shop, directly influenced and informed the making practices of consumers.
(Introduction to Material Lives: Women Makers and Consumer Culture in the 18th Century, by Serena Dyer)
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happywebdesign · 9 months
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https://vessel-magazine.no/
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silkdamask-blog · 4 months
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Fr excellent exhibit “Material Culture: Domestic Cloth-Making in 18thc New Eng” @oldberwickhistorical ‘Double Knitted Over Mittens, Unk.maker, Canada, c1900, Wool’
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Courtesy #PeterCook & #NancyCook #guest #curators who generously gave a tour to my @uofnh #museumstudies class
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clove-pinks · 1 year
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"Midshipman Elias": a historical reenactor portraying a Royal Navy midshipman c. 1765. The coat and hat were made by Matthew Brenkle, a historian with the USS Constitution museum ship. More pictures and a description of the process of recreating the garments for the reenactment event at "Another Pair Not Fellows"; Adventures in Research and Reinterpreting the American Revolution.
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Roman mosaic from the Lyon Lugdunum museum
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protoslacker · 1 year
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“The Spanish brought reams of chain with them to shackle Native Americans as captives and porters,” said Cobb. “This is evidence of some of the first examples of European enslavement of people in what is now the US.” That’s probably the fate that awaited the hundreds of porters de Soto demanded from Chikasha Mingo, a fate the Chickasaw thwarted by decisively driving the conquistadors off their lands. And in doing so, the Chickasaw won themselves about 150 years of relative peace and autonomy, free from European colonizers.
Kiona Smith at Ars Technica. After defeating Hernando de Soto, the Chickasaw took his stuff and remade it
The site offers rare evidence of interactions between de Soto and Indigenous people
As an aside, Charles Cobb is an archaeologist with the Florida Museum of Natural Histtory, so I presume is more familiar with measures than I. Bu I had never heard chain being measured in "reams." Looking around a bit I came across an interesting post in Taking Measure a blog by the National Institute of Standards and Technology on Spanish customary measures, The Vara: A Standard of Length With a Not-So-Standard History.
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Dear early archaeologists,
The East exists.
Don’t complain or ignore it. It just does. No one is sorry.
Please do not subjugate it to Western ideals and philosophies. The empires of Asia were some of the most developed and impressive that the world has ever seen. Their political and material culture, especially ceramics and vessels, were internationally renowned and very influential over what you are currently studying.
Please use them as reference in your interpretations of your culture but ESPECIALLY theirs.
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piizunn · 10 months
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enn rooz | mihkokwaniy | rose (2023)
13 cm by 11 cm
a free form medallion i beaded for my graduation outfit! referencing Métis floral beadwork to honour my culture
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newhistorybooks · 1 year
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"A dazzlingly original book, which traces the long history of Haudenosaunee ways of dress to show how clothing has been intertwined with politics, economics, and gender, from the distant past to the present day."
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instagram
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shakespearenews · 1 year
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You’ll note that some of these implements are ornate—“picks” feels like a lackluster descriptor. Fancy toothpicks were a mark of sophistication in Shakespearean-era Britain, so much so that the Bard of Avon mentioned them in several of his plays, including Much Ado About Nothing, King John All’s Well That Ends Well, and Winter’s Tale. They remained a big deal in life and literature well into the 1800s, making cameos in the likes of Sense and Sensibility (here’s a whole podcast episode about toothpicks in the Regency era; thanks to Stannie Holt for the tip) and Mark Twain’s Life on the Mississippi.
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mimicofmodes · 11 months
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No paper archive of Letitia Powell's life survives. We can only speculate about where her letters and accounts might be; perhaps they are stashed in a descendant's attic, or maybe they were burnt into nothingness long ago. No words from her pen remain in the historical record. Her sixty years of life has been reduced to a series of birth, marriage and death announcements in newspapers and parish registers, a passing mention in a privately published family pedigree and the genealogical accounts of her [great-]grandson, Robert Baden-Powell (1857-1941), the founder of the Boy Scout Movement. Like Lewis, it is only through the success and fame of her male descendants that Powell's name has perpetuated in the historical record at all: as mother, grandmother and great-grandmother. Her identity beyond her maternal function is absent. Her dolls, however, proffer an opportunity to rescue her from this historical oblivion. Like many eighteenth-century women, her material remnants are clearer, stronger and more forthright than any of the written words which sparsely tell her tale.
From chapter five of Material Lives: Women Makers and Consumer Culture in the 18th Century, by Serena Dyer
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