6 20 164 https://150years.coateslibrary.com/files/original/591c53518f1a6a166283b8fdba4da953.jpg 8fa253f608dfabcb7cecbdb42664dc9b https://150years.coateslibrary.com/files/original/84c047fbcb1d8f64caac75028d97ea02.PNG 566bea103174aba85f659ed0119ca2ad Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985: Jazz Band Subject The topic of the resource 1985: Jazz Band Description An account of the resource Photos of the university Jazz band practicing. The band performed concerts both on and off campus for students and locals alike Creator An entity primarily responsible for making the resource Trinity University Source A related resource from which the described resource is derived TU Mirage Publisher An entity responsible for making the resource available Trinity University Online Database Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource PNG Language A language of the resource English Type The nature or genre of the resource Photo 1980s 1985 Fine Arts Jazz Mirage Music Skyline https://150years.coateslibrary.com/files/original/f6d2a297a8bf0617130bcec1deb1e19b.PNG 081875471c58e48b252c33af818ec25f https://150years.coateslibrary.com/files/original/2b96e4acbf50aca1b1657a12b0d9cd94.PNG d4ec049ec29d3c0cd3c98abf5ab3d766 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985: Philharmonia Subject The topic of the resource 1985: Philharmonia Description An account of the resource Trinity University's Philharmonia was an orchestra organization that performed four concerts each year for students. The orchestral group gained local notoriety and participated in the local MusicFest. Creator An entity primarily responsible for making the resource Trinity University Source A related resource from which the described resource is derived TU Mirage Publisher An entity responsible for making the resource available Trinity University Online Database Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource PNG Language A language of the resource English Type The nature or genre of the resource Photo 1980s 1985 Fine Arts Mirage Music Orchestra Philharmonia Skyline https://150years.coateslibrary.com/files/original/66c0cc8417970091bb18df212b891f8c.PNG 4d23459fa0756eab15ab620526a6d080 https://150years.coateslibrary.com/files/original/a7336e4a6d6b586011c5d96b9f00cac9.PNG ef14ca19909ab61c0b1dbe68010e68f4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1995: Art Department Subject The topic of the resource 1995: Art Department Description An account of the resource Students in the art department created art in a multitude of media to suit their creative needs and expressions. Students gained hands-on training with distinguished artists, such as Professor Robert Tiemann, and participated in exhibits featuring art from senior students and their professors. Creator An entity primarily responsible for making the resource Trinity University Source A related resource from which the described resource is derived TU Mirage Publisher An entity responsible for making the resource available Trinity University Online Database Date A point or period of time associated with an event in the lifecycle of the resource 1995 Format The file format, physical medium, or dimensions of the resource PNG Language A language of the resource English 1990s 1995 Art Fine Arts Mirage Skyline https://150years.coateslibrary.com/files/original/1906a4f619ad2f06464546a0b122ca15.PNG adffe8decd5e29e52b3f71fbb0df9e72 https://150years.coateslibrary.com/files/original/4e7be3f66889100aed1725f82f88e23f.PNG 003b44166ad959a83ae11e5ab5be4fe0 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2009: TUCHÉ Subject The topic of the resource 2009: TUCHÉ Description An account of the resource Trinity University Chamber Ensemble (TUCHÉ) was a student organization that connected musically-talented students together into ensembles that would perform and create pieces. The smaller group setting, as small as three students, allowed for the individuality of each student to flourish. Creator An entity primarily responsible for making the resource Trinity University Source A related resource from which the described resource is derived TU Mirage Publisher An entity responsible for making the resource available Trinity University Online Database Date A point or period of time associated with an event in the lifecycle of the resource 2009 Format The file format, physical medium, or dimensions of the resource PNG Language A language of the resource English 2000s 2009 Ensembles Fine Arts Mirage Music Skyline TUCHE https://150years.coateslibrary.com/files/original/3bb1a55b74281ee5982397d9c3d3440e.jpg a2e8b43255b0e1ea673415748e50cfd1 https://150years.coateslibrary.com/files/original/0757a4117abd8ac4342709fdb726abb4.jpg f09c7e394c05bc5dcb342fdf6dd8d792 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1942: Chemistry Students in a Laboratory Subject The topic of the resource 1942: Chemistry Students in a Laboratory Description An account of the resource Students in a chemistry lab experimenting with Cotton Seed Mill Products and fuels. Creator An entity primarily responsible for making the resource Trinity University Source A related resource from which the described resource is derived Trinity University Archives Publisher An entity responsible for making the resource available Trinity University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1942 Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English 1940s 1942 Chemistry Cotton Seed Mill Fuels Lab Students https://150years.coateslibrary.com/files/original/a68ffe039851212d4170fb84ac41f932.jpg f1fa01c4014853ad69af9383c64724ef https://150years.coateslibrary.com/files/original/a108195413412e6799a6795c32317fdd.mp3 e9271d57302573ac884eee7729c7c60c https://150years.coateslibrary.com/files/original/fe0e6371bff3eaa61c03c76ab147850f.pdf cb59c88a24e7a6ad43cf19fb4ab10552 PDF Text Text 7/9/2019 Interview with Nate Cassie – Ruiz-Healy Art Interview with Nate Cassie By RHA Intern Posted June 19, 2019 In Blog Nate Cassie has always had an exploratory approach to materials, working in a variety of mediums including drawing, painting, sculpture, video and digital media. Cassie states that the drive behind his thematic practice centers around what he terms the “space in between.” Cassie seeks to explore the gaps in structure, form, and systems both formally and conceptually. In this new series, Cassie has returned to ceramics, making functional pieces intended for communal use. Throughout the run of his dual show with Constance Lowe Minding the Gaps, Cassie intends to host dinners using ceramics and furniture that he has crafted. I wanted to know more about this interactive element, and how the functionality of his new work fits into the “space in between” and his traditionally conceptually focused work. During the installation of the show, I sat with Nate Cassie and asked him about this new body of work and how it continues his previous explorations. Minding the Gaps opens at Ruiz-Healy on June 5th, and will be on view until July 27th. You talk about the “space in between” frequently when asked about your work. I was wondering if you could talk more about what this “in between” is for you and how you explore this space both formally and conceptually. So for me, the space in between can be lots of things. It can simply be negative space within a piece, but more conceptually it has to do with the idea of connectivity. For example, if you and I have a connection, there’s nothing physical connecting us necessarily. However, there can be some conceptual, emotional, or spiritual connection that exists in the space between us. This happens in a lot of the ceramic pieces because they are about food or drinking and those are communal activities. So that brings people together and that idea of community has been an important element in my work for many years. How does this approach change between your 2D and 3D works? Is there much of a difference? With this new work, the ceramic work, there is a difference since it is actually functional work. It is meant to be both visual but also functional, you are able to use it. With the 2D work, I find imagery that is referencing the idea of connectivity and place like the tree drawings or prints those are very specific trees to a specific place, time, or people I was involved with. Like the Bryant Park tree came from a January day sitting by a park with my wife Ethel and our friend Katy Siegel and just kind of enjoying this moment and then looking up and seeing these beautiful London plane trees that are of course totally bare because it’s winter time. An intaglio, by the same name, was executed later from this experience. The pattern of their branches interested me, so that visual of the tree marks that particular place, but also that particular moment in time. https://ruizhealyart.com/2019/06/19/interview-with-nate-cassie-copy/ Bottles, Set of Two, 2015, Cast Porcelain with Enamel, 11 x 4ʺ 1/3 �7/9/2019 Interview with Nate Cassie – Ruiz-Healy Art That is really interesting to think about: the in-between relationally with people but also formally. This leads into what I was going to ask next. The communal element in this work, have you made interactive art like this before? Or is this new to you? I have. I have done projects where I have involved artists making art with me. I did this whole birdhouse/beehive series where I was asking artists for drawings and I was trading art with them for that. I’ve done art where I have involved the general public. I did a couple of pieces for Luminaria that were sort of similar in their communal nature. I built a sculptural replica of Chuck Ramirez’s dinner table to then invite people to gather at. It’s not always what I am doing, but it is something that I keep coming back around to in my work. So for this specific body of work, what made you add this communal element? Was this concept there from the beginning? Or is this something you thought of incorporating after making the work? I got interested in ceramics because I had this idea of making 400 cups for the 2018 Artpace gala that Ethel (artist Ethel Shipton) and I hosted to have a toast to Linda Pace. So, I started with that and then it kind of went from there. I also like to cook so I was interested in how dishes are used for specific foods, particularly within certain Japanese cooking styles there are very specific notions about how food, plates, and dishes go together. So that is kind of where it came out of. However, I don’t want to just make copies of Japanese ceramics. I’m not a potter, I am a conceptual artist who is currently South Texas Dinnerware Set – 77 pieces, making ceramic pieces that are functional. There 2019, Porcelain and Stoneware with Natural are people who spend their whole lives doing that Ash and Oxide Glazes one thing, and I don’t want to compare myself to them because they are doing a very different thing from what I am doing. There is a particular Japanese artist that I was pretty inspired by. This guy Rosanjin who was an early 20th-century food guy, but also was trained as a calligrapher and painter. He started this gourmet supper club in Japan and he was collecting old Japanese pieces to serve food on. However, in 1923, there was an earthquake that basically leveled Tokyo and he lost all of his ceramics. So, because he wanted to keep doing this, he had to figure out how to redo it and he decided he didn’t like any of the things he could buy so he just started to make it. Initially, he started to work with other potters, but then he started his own production facility and made hundreds of things but to me, he is a really interesting character so he was kind of an inspiration for some of this stuff too. How does the idea of the functional change the nature of these pieces for you when you are making them? Does that element impact that concept for you? It impacts the form more than anything, right. I think that is one of the interesting things about ceramics is that if they are going to be functional, it can’t cut your lip. It has to feel right in your hand. The formal or physical aspect of art has always interested me. Whether it is a painting needing a certain physicality or a print. Even the prints are very physical because you are cutting into this metal plate. I have always been very drawn to work that has a certain physicality to it. What I find really interesting about this work specifically is it is heavily conceptual but it’s also very functional. I feel like those are two things that you wouldn’t naturally think of going together. https://ruizhealyart.com/2019/06/19/interview-with-nate-cassie-copy/ 2/3 �7/9/2019 Interview with Nate Cassie – Ruiz-Healy Art Right. I think that is true, but there are also artists who work in that vein. One artist in specific comes to mind, Roy McMakin, who makes furniture and more recently architecture, but it is still art on some level. So yes that is an interesting vein to me and it is partly due to that connectivity. Again, back to the viewer or the user not just in the way of commerce or visual appreciation but also physicality. And usage and interaction. Yes, exactly. I have one last question. How does the concept of domesticity function within these pieces?

 That’s a great question because Connie Lowe and I were talking about that when we first started talking about specific pieces because both of our work has a certain domestic quality to it. From my side of things, furniture and ceramics both used to speak to a really specific place. In other words, if you were making a table in South Texas in the 19th century it looked really different probably from a table someone is making in Philadelphia at the same time. That’s less true now because you can go to IKEA anywhere and buy a table and it looks the same in Sweden as it does in Live Oak. It’s the same with ceramics. If you were making ceramics in the 19th century in South Texas you were probably digging up clay from the river, and that was the one particular type of clay you were going to use because it was on your farm or property. That’s less true now, but furniture and ceramics still can speak to a particular time and place. Just knowing these cups that somebody, me, physically with my hands made all those little pieces brings this sense of physical presence. They bear the mark of making and I’ve tried to leave that mark, both in the furniture pieces and the ceramic pieces. You see how they are physically made. As a friend of ours used to say, they are not overproduced. They are sanded but unfinished and there isn’t a seal so they feel kind of alive in that way. I was actually wondering how these series fit into the “space in between” but that question kind of answered that for me: the table and the ceramics have this handmade quality it does hit that time and place. As you were saying this specificity was done historically, but now you are doing it through your ceramics which fits into your previous work. I’m glad it made sense!   Recorded: May 30, 2019 Interviewed and Written by: Kristina Reinis Minding the Gaps will be on view June 5 – July 27, 2019 https://ruizhealyart.com/2019/06/19/interview-with-nate-cassie-copy/ 3/3 � https://150years.coateslibrary.com/files/original/58c6d1f8ec18d79c5b515511f423bf76.png 6d50e2b09e4af1842f490cf20fd25b1f https://150years.coateslibrary.com/files/original/08d935b4bf64db8a6d337ad9a491a08b.pdf f7c8a1a16ac4c61b37581af518096fe8 PDF Text Text Trinity University Digital Commons @ Trinity The Expositor: A Journal of Undergraduate Research in the Humanities English Department 2019 "What Shall We Call Thee Then?": Defining Femininity Outside the Male Heteronormative World in John Donne's "Sappho to Philaenis" Kristina Reinis Trinity University, kreinis@trinity.edu Follow this and additional works at: https://digitalcommons.trinity.edu/eng_expositor Repository Citation Reinis, K. (2019). "What shall we call thee then?": Defining femininity outside the male heteronormative world in John Donne's "Sappho to Philaenis". The Expositor: A Journal of Undergraduate Research in the Humanities, 14, 54-66. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in The Expositor: A Journal of Undergraduate Research in the Humanities by an authorized administrator of Digital Commons @ Trinity. For more information, please contact jcostanz@trinity.edu. �The Expositor “What Shall We Call Thee Then?”: Defining Femininity Outside the Male Heteronormative World in John Donne’s “Sappho to Philaenis” Kristina Reinis D uring the English Renaissance, men determined the identity and social standing of women. Manuscripts from this period that discuss gender relations and roles make this dependency clear, and, in particular, many of the essays that establish proper female conduct define respectable female behavior through a woman’s relationship to a man. For example, Robert Dod and John Cleaver state in their marital conduct book A godly form of household government, “ ... so the woman deserveth no commendation that, (as it were) contrarying her husband when he is merry, showeth herself sad, or in sadness uttereth her mirth. For as men should obey the laws of their cities, so women the manners of their husbands.”1 Dod and Cleaver make clear that the behavior, emotions, and actions of a woman are defined by a man (in this case, her husband), and, as a result, the identity of a woman is expected to be defined and fulfilled by the man. The dependency of femininity on masculinity is further shown in Henry Smith’s A preparative to marriage, where he states that “the philosophers could not tell how to define a wife, but called her the contrary to a husband, as though nothing were so cross and contrary to a man as a wife.”2 While Smith admits this is not scripture, he claims that this statement holds nonetheless: femininity is what masculinity is not. These two declarations on women’s behavior and identity suggest the larger understanding of gender at the time: in the Renaissance, the categorization of women depended on men. However, when Queen Elizabeth I was on the throne and ruling without a king, male anxiety began to rise, and the validity of masculine authority came to be questioned. Describing the rising masculine anxiety in England in this period, Mark Breitenberg argues that the discourse at the time regarding gender roles slowly threatened the idea of the “natural” superiority of men.3 In the late sixteenth century, this environment helped set the tone for John Donne’s elegies and, in particular, his “Sappho to Philaenis.” In most of his love elegies, Donne challenges the stability of gender identity. Diane Benet observes that in much of that work, Donne seems to provide social commentary on the rising anxiety surrounding gender roles by focusing on “sexual transgressions,” especially those that challenge male authority, as in “Jealousy,” “Change,” or “Perfume.”4 In his elegy “Sappho to Philaenis,” Donne challenges this stability further by producing one of the first lesbian love poems in the English language.5 Barbara Correll argues, similarly to Benet, that this subject is not out of character for Donne, insofar as the crisis of signification and masculine gender identity structures many of his heteroerotic poems.6 In this elegy, Donne presents the romantic relationship between two women, Sappho and Philaenis, and their ideal world that excludes men. Due to its subversive subject matter, the elegy was censored, highly contested, and therefore, until recently, overlooked by scholars, who have struggled to place it in the canon of a poet whose work is typically characterized by a strong and dominating masculine voice.7 To begin to correct this critical neglect, Stanley Fish’s analysis of “On his Mistress going to bed” can prove useful, allowing us to contextualize “Sappho to Philaenis” within Donne’s body of work. In “On his Mistress,” as Fish observes, “Masculine authority can be asserted only in relation to a firmly defined opposite. ... In order for him to be a man she must be unmistakable and essentially a woman.”8 Here, Fish points out two main elements present in John Donne’s elegies. First, he observes Donne’s recognition that men and women define each other through a comparative binary. Second, he notices the pervading fear that this gender identity could become unstable: without it, one’s masculine or feminine identity falls apart. Through “Sappho to Philaenis,” Donne expands on this anxiety by pushing on rigid gender categorization and by breaking the comparative binary. He does so by removing the man from the equation and centering his elegy on a homoerotic relationship between two women, leaving femininity to define itself. In “Sappho to Philaenis,” Donne considers desire, language, and representation apart from a typical male-focused and heterosexual perspective. Donne places both Sappho and Philaenis outside the masculine-defined heteronorma- 55 �56 The Expositor Reinis tive world, and, as a result, the crisis of both language and representation introduced in the beginning of the elegy escalates. As they move further outside the heteronormative world, the identities of both Sappho and Philaenis slowly break down until their individual images are deconstructed, and this breakdown of representation and language in the lesbian love elegy points to the limits and failure of a male-defined heteronormative world to identify women outside of men. Through the subversion of traditional gender roles, Donne destabilizes the security of gender signification and reveals the performative and constructive nature of gender itself. The final breakdown of representation reveals the struggle for women to exist outside of a heteronormative male-centric world, ultimately bringing into question the essentialist nature of the gender binary and of heterosexuality. In the first twelve lines, Sappho contextualizes the elegy with the crisis of desire and the subsequent failure of language. Sappho begins the elegy by asking, “Where is that holy fire, which verse is said / To have? Is that enchanting force decayed? ... Thee, her best work, to her work cannot draw” (1-2, 4).9 In these lines, Sappho, an honored and esteemed Greek love poet, laments the loss of her poetic voice and her ability to use language.10 Both her status and authority as a poet emphasize the gravity and impact of this loss, and Sappho quickly identifies her desire for Philaenis as the source of this breakdown. She states, “Have my tears quenched my old poetic fire; / Why quenched they not as well, that of desire?” (5-6). In this moment, Sappho pinpoints Philaenis as the source of this loss of language.11 She states that her intense need for Philaenis— as represented through her tears—“quenched” her poetic ability. In these first six lines, Sappho centers the elegy around her failure of language. Through this introduction, Donne contextualizes the elegy around a crisis of language and desire, which leads to the further breakdown of her speech. This separation of language from desire evolves into the breakdown of representation. When speaking of her image of Philaenis, Sappho states, “Only thine image, in my heart, doth sit, / But that is wax, and fires environ it. / My fires have driven, thine have drawn it hence” (9-11). Immediately after detailing the collapse of language, the breakdown of representation does not fall far behind. Frantically, Sappho attempts to capture the beautiful image of her lost love. In these three lines, Sappho’s intense desire transforms into a raging fire. She states that just as fire changes wax, her desire melts and dismantles the remaining image she possessed of Philaenis. Sappho laments this melting image when she cries, “And I am robbed of picture, heart, and sense” (12). Her desire not only breaks down her power over language, but this “fire” also creates an unstable and intangible representation of Philaenis. This focus on the crisis of desire in the beginning of the elegy introduces Sappho’s struggle with language and signification that continues for the rest of the elegy. As Correll argues, “‘Sappho to Philaenis’ is Donne’s crisis poem.”12 By introducing this struggle of signification, these first twelve lines help to provide a framework of failed representation through which the rest of “Sappho to Philaenis” can be understood. This failure of language and representation does not simply derive from desiring Philaenis: it also comes from Sappho’s inability to “place” her desire and Philaenis, as both reside outside a male-centric heteronormative world. Shortly after Sappho introduces her struggle with speech and representation, she poses a question to Philaenis that hits at the core of her crisis: “For, if we justly call each silly man / A little world, what shall we call thee then?” (19-20). Sappho confronts the belief that the ordinary man can encompass the world and serve as a representation of humankind. Noting this confrontation, H. L. Meakin observes that Sappho, by pointing to “man” as a false universal, reveals “woman’s ‘present absence’ in the ubiquitous noun [i.e., man] which supposedly refers to human ‘being.’” As a result, “Donne reveals a radical awareness of the gender politics which operate in language.”13 Therefore, Donne’s Sappho reveals two things when she asks Philaenis, “What shall we call thee then?” First, she reveals that Philaenis does not belong in the heteronormative masculine world, and second, that there is no language to represent Philaenis and this female experience outside heteronormative categorization. In other words, Sappho asks how, if men serve as the representation of humankind, does one define a woman who exists outside of the bounds of heteronormative masculinity. This question works to contextualize Sappho’s previous failure of language and her struggle to represent Philaenis in the first twelve lines. How can Philaenis be understood, identified, or represented when she resides outside the heteronormative world, and how can Sappho place her desire for her? Lines 19-20 reveal that Sappho’s collapse of language and representation do not simply stem from intense desire. Sappho cannot identify or represent Philaenis because she does not belong in a typical heteronormative category, and therefore heterosexual male love poetry (and language) cannot describe or identify her. Sappho continues to distinguish Philaenis and her desire by discarding the conventions of male heteronormative Petrarchan poetry. As a result, the identity of Philaenis becomes more abstract and isolated, as language continues to prove to be insufficient to identify both her and Sappho’s desire for her.14 Addressing Philaenis, Sappho states, Thou are not soft, and clear, and straight, and fair, As down, as stars, cedars, and lilies are But thy right hand, and cheek, and eye, only Are like thy other hand, and cheek, and eye. (21-24) 57 �58 Reinis In these lines, Sappho refers to the modes of comparison and the masculine love tropes often used in Petrarchan poetry. Throwing out these traditions, she declares that they are unable to fully capture Philaenis’ beauty. This is not Sappho’s only rejection of Petrarchan tropes in the elegy. In lines 15-18, Sappho undermines another trope: portraying a woman as a god-like figure. When Sappho states, “As gods, when gods to thee I do compare, / Are graced thereby,” she insinuates that even the gods cannot fully represent the beauty of Philaenis’ image, as they are the ones who are honored by her comparison (16-17). Once again, language fails fully to represent the beauty of her beloved. However, the failures in both these moments are not simply the result of Philaenis’ unimaginable beauty. Instead, this absence is a result of Philaenis’ place outside the male heterosexual world. By referencing Petrarchan conventions—a male-centric heterosexual mode of love poetry—Sappho juxtaposes homosexual desire with heterosexual desire. By stating that the tropes of masculine heterosexual desire are insufficient, Sappho further separates her desire and Philaenis from the heteronormative world. This separation prompts an important question: what is left outside of this world? In lines 23-24, Sappho states that the only proper comparison that can be made for Philaenis is Philaenis herself. In other words, Sappho cannot find sufficient language to represent Philaenis, who is thus left to define herself. In this moment, her image begins to collapse in on itself, since there is no difference and no signification. Her identity becomes even more arbitrary than it was when she was first introduced, and, further, the need for Philaenis to rely on her own image for identification re-emphasizes the lack of language and modes of representation outside the male-centric society. As Sappho pushes Philaenis further outside categorization by dismissing the language of masculine Petrarchan love poetry, Philaenis’ identity becomes vaguer and more unrecognizable. Philaenis exists outside of the heteronormative male world, but Sappho also separates herself from it. In lines 25-26, she states, “Such was my Phao awhile, but shall be never, / As thou wast, art, and, oh, mayst thou be ever” (25-26). In these lines, Donne references Ovid’s tale of Sappho and Phaon, found in the fifteenth epistle in his Heroides.15 In that story, Sappho throws herself off a cliff and commits suicide after her male lover Phaon rejects her.16 In line 25 of Donne’s elegy, Sappho rejects the myth that she killed herself for a man, and in so doing she also casts out the myth of her heterosexual desire. In this moment, as Stella Revard observes, Sappho makes the shift from a male heterosexual-reminiscent speaker to a firmly female homosexual speaker.17 In line 26, Sappho makes it clear that her love for Philaenis is superior to her love for Phaon, stating that Phaon will never be what Philaenis is for her. She thus dispenses with her existence in the heteronormative world and makes clear that her desire cannot be defined in the framework of heterosexuality. The Expositor To reinforce their shared position outside the male heteronormative world, Sappho villainizes men, portraying them as a threat to both Philaenis and herself. When attempting to bring Philaenis back to her, she states that the “soft boy” and “[h]is chin, a thorny, hairy uneveness / Doth threaten, and some daily change possess” (31, 33-34). This villainization, here positioning the male lover as a threat to Philaenis, continues as Sappho characterizes a man’s relation to a woman in terms of agriculture, ownership, and theft. She says, “Thy body is a natural paradise, / In whose self, unmanured, all pleasure lies” (35-36). Sappho suggests Philaenis already possesses perfection similar to a beautiful and untouched land, and immediately after creating this image of paradise, she presents men as threatening it.18 She asks Philaenis, why “[a]dmit the tillage of a harsh rough man?” (38). Her use of agricultural terms such as “unmanured”— meaning unfertilized—and “tillage” figures women’s bodies as land that men seize and sexually “till”: dominate, compromise, and possess through pregnancy.19 Sappho further connects possession and heterosexual union when she warns, “Men leave behind them that which their sin shows, / And are as thieves traced, which rob when it snows” (39-40). By comparing men to thieves, she not presents their actions as not only dangerous but also criminal. In this passage, Sappho indicates that men and the male heteronormative world serve as a threat not only to Philaenis but also to women in general. In addition to portraying men as a threat, Sappho also discounts any need for them in her world, thus triggering the dissolution of Sappho and Philaenis into one another. After presenting men as the enemy, Sappho states, “But of our dalliance no more signs there are, / Than fishes leave in streams, or birds in air” (41-42). Sappho celebrates love between women, claiming that they can find pleasure without degradation and can love without possession.20 However, Sappho’s characterization of this utopia highlights the issue that has been escalating since the beginning of the elegy: how can women be identified outside the heteronormative male world? In lines 41-42, Sappho admits that the removal of men introduces an absence of signification, an inability to identify both of them. Their love cannot participate in the language of domination that characterizes masculine love poetry.21 In their egalitarian relationship, the gender hierarchy that normally creates difference and identity in heterosexual relationships ceases to exist. Without men, there are no “signs” of what both Sappho and Philaenis are. This statement initiates the final collapse of representation and language found in the convolution of both Philaenis’ and Sappho’s identities towards the conclusion of the elegy. Due to the absence of language and representation outside of a male heteronormative world, both Philaenis’ and Sappho’s identities begin to collapse into each other, and the result is an arbitrary representation of themselves. In lines 1-44, Sappho continually fails to capture the beauty of Philaenis. Her 59 �60 Reinis comparisons of Philaenis to the gods, to nature, to Phaon, and to men in general all fail to represent or characterize Philaenis fully. Language proves to be insufficient, just as she lamented in the beginning of the elegy. In a final attempt at description, Sappho resorts to using her own body as a method of representation for Philaenis. She states, And oh, no more; the likeness being such, Why should they not alike in all parts touch? Likeness begets such strange self flattery, That touching myself, all seems done to thee. (47-52) In an attempt to convince Philaenis to be with her, Sappho tries to craft a sense of visual unity between the pair by equating her own body with Philaenis’. Her stress on likeness and symmetry further perpetuates the egalitarian lesbian utopia that Sappho has been building throughout the elegy. However, since Sappho uses her body to create a tangible image of Philaenis, their identities begin to falter, resulting in the fusion of their identities. By stating that the act of touching herself translates into touching Philaenis, the two women’s separate identities form into one, as it “all seems done to thee” (52). While the mirror may seem to provide a desirable union, both women lose their individuality and end up with unidentifiable, indistinguishable images. Sappho understands that this union is another failed representation when she laments, “Me, in my glass, I call thee; but alas, / When I would kiss, tears dim mine eyes, and glass” (55-56). With the already unstable image of Philaenis, Sappho’s own image collapses too. As Sappho laments the dissolution of Philaenis, she also laments the loss of her own identity, which results from her having tried to place Philaenis through comparison. Finally, the image she has been trying to create throughout the elegy has disappeared along with herself. Sappho mourns the loss her own identity through this method of comparison, crying out, “O cure this loving madness, and restore / Me to me; thee, my half, my all, my more” (57-58). In these two lines, Sappho recognizes that she lost her identity in attempt to represent Philaenis, and she begs to be made whole again. Ultimately, the elegy concludes with a deconstructed representation of both women, as they transform into one faulty image. This final and arbitrary representation of both Sappho and Philaenis results from the inability of language to represent these two women fully outside the male heterosexual world. James Holstun argues that “[w]ithout the mediating domination of man, feminine identity liquifies; a woman’s relation to herself and her relation to another woman are equally insignificant.”22 As Holstun (together with Donne’s Sappho) observes, the traditional understanding of femininity collapses without men. The lesbian eroticism present in the elegy renders the gender binary useless, as the comparative roles of masculinity and The Expositor femininity do not apply to the lovers’ relationship. Since the elegy discards the framework of the gender binary, the language and representation used to understand gender, women, and femininity is insufficient. Therefore, as Sappho pushes Philaenis and herself further outside the confines of the heterosexual world, language fails them, and their identities become increasingly unidentifiable and vague until they finally collapse into one another. By going outside the bounds of the gender binary, they push the limits of language and representation, causing their identities to fall apart. Holstun argues that this collapse of identity and the failure of lesbian love explain and perpetuate the silence around lesbianism in the Renaissance.23 He claims that while Donne presents a rather sympathetic view of lesbianism, the poet masters lesbian eroticism by subordinating it to a patriarchal understanding of language and the world. Holstun argues that this subordination occurs through Sappho’s failure to create a love poem with a language not mediated by men, and this failure amounts to the censorship of the female voice, a way of neutralizing the threat of women to the patriarchy—it represents the overall victory of patriarchal ideals. Yet other readings are possible. Indeed, Elizabeth Harvey’s discussion of Donne’s appropriation of the fifteenth epistle from Heroides, taken alongside Judith Butler’s Gender Trouble, helps to explain how the deconstruction and failure of language, representation, and identity in the poem act to destabilize the construction of gender and patriarchal authority rather than affirm it. Many scholars, including both Holstun and Harvey, have treated the subject matter and form of Donne’s “Sappho to Philaenis” as a direct response to Ovid’s “Sappho to Phaon.” As noted above, Ovid’s Sappho commits suicide by throwing herself off a cliff when her male lover Phaon rejects her.24 In Ovid’s story, Sappho details the failure of her poetic ability and vehemently dismisses her lesbian past, thus transforming herself into a heterosexual woman.25 Unlike Ovid, Donne portrays a lesbian woman who seeks to establish her own agency and her relationship with another woman away from male influence.26 Donne’s Sappho strives to create a utopian female eroticism and a new language to describe that experience. While the appropriation of female voices has served historically as a way to censor and silence women, the way in which Donne positions Sappho results in something different. Throughout the elegy, Donne has subtracted male influence, not only by centering the elegy on a lesbian Sappho but also by dismissing male Petrarchan ideals and by positing men as a threat to the lovers’ utopian union. Paula Blank argues that this dismissal of male influence is not related to sexuality and gender at all. She claims that Donne does not question lesbian desire in this elegy; rather he challenges homo-erotics, the method (popular among Donne’s contemporaries) of creating sexual identities through comparison in order to avoid loss or change.27 However, Donne’s 61 �62 Reinis decision to portray Sappho as a lesbian woman, which contrasts with Ovid’s portrayal, proves otherwise. Even if Donne is not directly responding to Ovid, but rather attempting in some way to access the Greek poet herself, one idea still holds true: by making a point of Sappho’s sexuality, Donne places gender and sexuality at the forefront of the elegy. Donne’s use of a lesbian female voice makes his subtraction of the male influence not simply a critique of Petrarchism and his contemporaries, as Blank claims. Rather, it prompts questions about gender signification and essentialist notions about sexuality. Harvey expands on this point, arguing that Donne’s ventriloquism of the female voice “continually subverts the ontological security of a text, its discrete historical boundaries, and its status as self-contained property, the phenomenon of transvestite phonocentrism.”28 While Holstun claims that Donne silences the lesbian voice, Harvey argues that this “ventriloquistic cross-dressing” destabilizes gender signification and allows for a marginalized voice to come forward. In “Sappho to Philaenis,” Donne transgresses the laws of gender by taking on the female voice. Harvey argues that this sexual transgression separates the author from the voice, destabilizing not only authorship generally but male authorship in particular. This borrowing of the lesbian female voice undermines male authorial power over the text, which ultimately works to dismantle phallogocentrism itself.29 This instability of authorial identity caused by assuming the lesbian female voice augments the challenge to the essentialist notion of gender that Sappho introduces in the elegy. As shown above, Sappho disregards the rules of signification as they relate to gender. She repeatedly questions the conventions of the male-defined world as she rejects Phaon, male love tropes, and men in general. Diane Benet confirms this challenge when she states that man’s superfluous status in the paradise Sappho constructs seems to be questioning conventionalized roles of gender.30 In questioning the fixed roles of gender, both Donne’s and Sappho’s identities are deconstructive. The loss of Donne’s masculine authorial identity (when he transgresses the laws of gender) mirrors the way in which Sappho and Philaenis lose their identities when they commit their sexual transgression by rejecting the male-defined heteronormative world. Harvey’s observation about Donne’s use of the female voice undermines Holston’s conclusion about the victory of patriarchal ideals in “Sappho to Philaenis.” Donne’s use of the female voice does not silence Sappho, as Ovid had done. Instead, Donne uses the lesbian voice to subvert and destabilize the security of gender signification, which allows for new identities and questions to arise by breaking the normal categorization gender roles prescribe. Therefore, the failure of language and representation in Donne’s love elegy need not indicate the censorship of the female voice, as Holstun argues. Rather, this “ventriloquistic cross-dressing” permits a critique of the restrictive The Expositor nature of gender essentialism and highlights the need for a new language to describe those who fall outside traditional categories. This understanding of Donne’s ventriloquism as well as Sappho’s own subversive identity can be further understood in light of Judith Butler’s Gender Trouble, which explores the performative nature of gender, arguing that gender identity is sustained through the performative suggestions that constitute its reality.31 The expectations for gender identity are determined by society and pressed upon people, and only through reiterative performance does essentialist gender identity take shape. As part of this study, Butler explores the effect of subverting such performances through drag. “In imitating gender,” she writes, “drag implicitly reveals the imitative structure of gender itself—as well as its contingency.”32 Butler observes that when men mimic the cultural ideal of femininity, they reveal the constructed and performative nature of gender itself. In other words, through subversion, they unveil gender’s construction. In the same way, Donne’s ventriloquism of Sappho reveals gender’s constructed nature. By using the female voice, Donne destabilizes the security of gender signification and male authorial power, as Harvey suggests. This idea also helps to explain the inner workings of the elegy itself. Sappho breaks the social performance meant to show femininity in women, and by doing so, she disrupts the world around her. Sappho’s act of breaking the performative expectations for her gender thus matches what Butler calls the proliferation of “gender configurations outside the restricting frames of masculinist domination and compulsory heterosexuality.”33 As a result, the language and representation defined by those conventions of gender no longer apply. For this reason, when both Sappho and Philaenis break their performative expectations, they also lose the language previously used to identify them. This subversion of the traditional gender binary initiates the deconstruction of their defined identities. Since they exist outside categorization, the language and representation of those categories no longer apply, and their identity begins to unravel. Therefore, the breakdown of feminine identity in “Sappho to Philaenis” does not reveal the triumph of patriarchal ideals, as Holstun argues. Rather, the breakdown of language and representation reveals the limits of the performative gender identity that the patriarchy requires of both men and women. Ultimately, in “Sappho to Philaenis,” both Sappho and Donne highlight the performative nature of gender to reveal the constructed nature of gender expectations and the need for new language and representation to emerge. Ultimately, this failure of representation signifies that women cannot exist outside the male-centric heteronormative world. This failure is reminiscent of the Lacanian idea that “the woman does not exist” and that women are “notalls,” as they hold no universality.34 In response to this notion, French feminist Luce Irigaray claims that “the female all will come,” thus promising the 63 �64 The Expositor Reinis emancipation of women from men.35 In the same way, “Sappho to Philaenis” suggests emancipation—or at least performs an attempt of it. In the elegy, Donne both embraces and confronts male anxiety by creating a world in which gender roles are subverted and men are unnecessary. While this world ultimately collapses in a crisis of language and representation, Donne showcases the opportunity for the “female-all” to one day come, just as Irigaray suggests. Irigaray concludes her essay by commenting on the crisis of female language and representation: “If we (women) don’t invent a language, if we don’t find our body’s language, its gestures will be too few to accompany our story.”36 “Sappho to Philaenis” begins and ends with a crisis of representation. Sappho laments her inability to identify Philaenis as both language and images fail her, and she then pinpoints the source of this failure in the inability of the male heteronormative world to represent their experience. As a result, she tries to use her own body—to create her “own body’s language,” as Irigaray puts it—in order to represent their own experience and being separate from men. However, her body is not enough. Sappho does not have the “gestures” or “language” to tell her story. The crisis of language and representation escalates, and Sappho and Philaenis only define each other by themselves, producing a collapsed image of both women. Their inability to define themselves separately from men shows the need to create linguistic gestures of the body that resist existing categorization. By exploring the issue of female language and representation outside the realm of men, Donne questions the power of categorization and challenges the ways in which masculinity, femininity, and heterosexuality are defined, understood, and normalized. Kristina Reinis is a junior majoring in English and Art and Art History. She prepared this essay as part of her Mellon Summer Undergraduate Research Fellowship in the Humanities in Summer 2018, working under the direction of Professor Willis Salomon. nᴏᴛᴇs 1 2 3 4 Robert Dod and John Cleaver, A godly form of household government, in Renaissance Woman: A Sourcebook: Constructions of Femininity in England, ed. Kate Aughterson (London: Routledge, 1995), 81. Henry Smith, A preparative to marriage, in Renaissance Woman, ed. Aughterson, 83. For further examples, see Juan Luis Vives, The instruction of a Christian woman, and William Gouge, Of domestical duties, in Renaissance Woman, ed. Aughterson, 69-74 and 88-95, respectively. Mark Breitenberg, Anxious Masculinity in Early Modern England (Cambridge: Cambridge University Press, 1996), 2. Diana Trevino Benet, “Sexual Transgression in Donne’s Elegies,” Modern Philology 92.1 (1994): 27. 5 6 7 8 9 10 11 12 13 14 While there was an awareness of gay men in the Renaissance, women lacked the freedom to establish a subculture in which lesbian identity could form. This inability to create this identity explains the lack of literary accounts of lesbianism. James, Holstun “‘Will you Rent our Ancient Love Asunder?’: Lesbian Elegy in Donne, Marvell, and Milton,” ELH 54.4 (1987): 835, notes that since literature is a fraternal order, “we tend to find more accounts of men loving women or other men than of women loving each other.” Barbara Correll, “Symbolic Economies and Zero-Sum Erotics: Donne’s ‘Sappho to Philaenis,’” ELH 62.3 (1995): 489. Many of John Donne’s elegies were censored in the late Tudor and early Stuart periods. “The Anagram,” “To his Mistress going to bed,” “The Bracelet,” “Love’s Progress,” “His Parting from her,” and “Sappho to Philaenis” were censored in part or in whole due to sexually explicit language. Ted-Larry Pebworth, “The Early Censorship of John Donne’s Elegies and ‘Sappho to Philaenis’ in Manuscript and Print,” Text 13 (2000): 193-201, explores how each instance of censorship deals strove to alter Donne’s work to make it conform to the norms of Renaissance England. In the case of “Sappho to Philaenis,” which was published with the full volume of Donne’s work in 1633, a section was censored (lines 51-54), thus transforming the poem from a lesbian love elegy into (as Pebworth says) an elegy about “idealized friendship between two women” (200). The elegy continued to be censored or dismissed well into the twentieth century, as many scholars—most famously Helen Gardner—believed that the subject matter, style, and voice were too out of character to belong in Donne’s canon. It was not until scholarship until the 1980s that “Sappho to Philaenis” began to receive proper attention. Recent critics have embraced the elegy and have argued that it provides further insight to Donne’s view of sexuality and gender roles. See Stella Revard, “The Sapphic Voice in Donne’s “Sappho to Philaenis,” in Renaissance Discourses of Desire, eds. Claude J. Summers and Ted-Larry Pebsworth (Columbia: University of Missouri Press, 1993), esp. 63-64. Stanley Fish, “Masculine Persuasive Force: Donne and Verbal Power,” in Soliciting Interpretation: Literary Theory and Seventeenth-Century English Poetry, ed. Elizabeth Harvey and Katharine Maus (Chicago: University of Chicago Press, 1990), 233. All quotations from Donne (cited parenthetically by line numbers) are from The Complete English Poems, ed. A. J. Smith (London: Penguin Classics, 1977). Sappho was a prolific Grecian female poet who lived from 630 BCE to 580 BCE. Her lyric poetry consisted of passionate love poems addressed to young women. She was revered by ancient commentators as equal to Homer, and Plato referred to her as the “Tenth Muse.” However, we only have fragments of her work, as the open lesbian desire depicted in her writings led them to be burned by the bishop of Constantinople in about 380 CE. See Shelley A. Thrasher, “Sappho,” in Dictionary of World Biography: The Ancient World (1998), 1-2. The only information on Philaenis comes from epigrams in the Greek Anthology, where she is found at the center of a debate of disputed authorship. Her name was connected with what Elizabeth D. Harvey, Ventriloquized Voices: Feminist Theory and English Renaissance Texts (London: Routledge, 1995), 125-126, calls an “erotic guidebook that furnished its readers with explicit information about diverse sexual practices and positions.” Harvey argues that Donne’s selection of her as the love object comes from the facts that both women wrote erotic works, that both were thought to be immoral and licentious, and that the sexuality of both prompted questioning about authorship. Correll, “Symbolic Economies,” 93. H. L. Meakin, John Donne’s Articulations of the Feminine (Oxford: Clarendon, 1998), 12. As Donald Guss, John Donne, Petrarchist: Italianate Conceits and Love Theory in The Songs and Sonnets (Detroit: Wayne State University Press, 1966), 18, puts it, Petrarchan poetry 65 �66 Reinis 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 is characterized by “fantastic arguments, emotional extravagance, and peregrine comparisons.” In the sixteenth century, this mode of poetry became popular among male poets throughout Europe. Petrarchan poetry usually consists of a male-centered narrative in which the main character chooses love as his way of life. There are many tropes and themes that make up this tradition, such as the initiation of love, complaining against a woman’s stubborn will, grieving the end of a love, an elegy of a woman’s death, or the renunciation of love. See further Guss, Donne, Petrarchist, 49-50. Harvey, Ventriloquized Voices, 118 Scholars have understood Donne’s use of the Sapphic voice as borrowed from Ovid’s fifteenth epistle “Sappho to Phaon” in the Heroides, a collection of letters centered around women who write to lovers who had abandoned them (Harvey, Ventriloquized Voices, 119). In his epistle, Ovid presents Sappho as a straight, desperate, and suicidal woman who yearns for the attention a young man named Phaon, who continually rejects her until she feels pushed to take her own life. In her suffering, Ovid’s Sappho loses her ability to write and speak, and she laments the loss of the poetic skill and power she once possessed (Harvey, Ventriloquized Voices, 121). In addition, Ovid’s Sappho resists her lesbian past by chastising her previous female attraction in favor of her now heterosexual attraction. See Janel Mueller, “Lesbian Erotics: The Utopian Trope of Donne’s ‘Sapho to Philaenis,’” in Homosexuality in Renaissance and Enlightenment England: Literary Representations in Historical Context, ed. Claude J. Summers (New York: Haworth Press, 1992), 106. Revard, “Sapphic Voice,” 68. Benet, “Sexual Transgression,” 23. Harvey, Ventriloquized Voices, 131. Ibid. Holstun, “Lesbian Elegy,” 840 (see above, n. 5, for full citation). Ibid., 843. Ibid., 846-847. Harvey, Ventriloquized Voices, 118. See too Revard, “Sapphic Voice,” 67. Many scholars have understood Ovid’s use of the Sapphic voice as a way to subordinate Sappho’s own voice to his own. Harvey and Mueller argue that by taking away her poetic voice, lesbian identity, and ultimately her life in his epistle, Ovid creates a distorted vision of Sappho and feminine desire. Harvey, Ventriloquized Voices, 124, argues that his characterization ultimately turns Sappho into a parody of the female voice, ultimately offering Sappho’s own poetic voice for comic scrutiny. Mueller, “Lesbian Erotics,” 104. Paula Blank, “Comparing Sappho to Philaenis: John Donne’s ‘Homopoetics,’” PMLA 110.3 (1995): 364 Harvey, Ventriloquized Voices, 133. Ibid. Benet, “Sexual Transgression,” 25. Judith Butler, Gender Trouble (London: Routledge, 1990), 285. Ibid, 187. Ibid., 193. Luce Irigaray,“When Our Lips Speak Together,” tr. Carolyn Burke, Signs 6.1 (1980): 75 n. 12. Ibid., 75. Ibid., 76. The Farcical Suicide: Stoicism and the Satyricon Carl Teegerstrom S toicism was one of the most popular philosophies in the Roman Empire, with practitioners ranging from the freedman Epictetus to the Emperor Marcus Aurelius. Reflecting this popularity, the courtier-author Petronius (d. c. 66) alludes to and satirizes stoicism, and particularly the stoic philosopher Seneca the Younger (d. 65), in his novel the Satyricon.1 Hunting for such allusions, for example, Sarah Ruden suggests that the freedman Maecenatianus from Trimalchio’s dinner could be a reference to the aesthete Maecenas discussed in one of Seneca’s letters.2 Petronius’ irony makes it difficult to determine his opinions with any certainty, but his depiction of suicide, a practice acceptable and at times revered under stoicism, suggests his skepticism regarding the nobility of this philosophical system. Indeed, the Satyricon critiques stoicism by using exaggeration and bathetic circumstances to reveal the performativity of suicide and stoicism more generally. In stoic philosophy, suicide was (as Ruden puts it) “a religious act, one signifying the ultimate transcendence of the human will over circumstance,” and, for a stoic, a greater crime than taking one’s life would be “acting as if life mattered.”3 In his sixty-fifth letter, for example, Seneca wrote of the body as nothing more than “a chain set around [his] liberty,” restricting his “free spirit,” and he maintained that his “flesh will never force [him] to suffer fear or adopt a pretense unworthy of a good man.” Instead, he would “break off association with it” (65.21-22).4 Some writers praised these suicides. Pliny the Younger wrote of Arria stabbing herself to convince her husband Caecina Paetus to do the same after a failed rebellion against the Emperor Claudius. According to Pliny, after stabbing herself, she reassured her husband, “It does not hurt, � Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Kate Nuelle Interviewee The person(s) being interviewed Kristina Reinis Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 19:21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Kristina Reinis Subject The topic of the resource Oral History Interview: Kristina Reinis Description An account of the resource In this oral history interview, Kristina Reinis, a senior Art and English double major, discusses her interdisciplinary research on John Donne through the Mellon Summer Undergraduate Fellowship, her internships with Ruiz-Healy and Blue Star Contemporary, her experience being a writer and anchor for TigerTV, co-founding the Mock Trial Club, and her participation in The Mini, a student-lead art exhibition. Creator An entity primarily responsible for making the resource Kate Nuelle Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource July, 1, 2019 Format The file format, physical medium, or dimensions of the resource MP3 Language A language of the resource English Type The nature or genre of the resource Oral History Interview 2010s 2019 Art Arts Letters and Enterprises (ALE) English Galleries Internships John Donne Kate Nuelle Kristina Reinis Mellon Summer Undergraduate Research Fellowship Oral History Professional Development Ruiz-Healy Art Skyline https://150years.coateslibrary.com/files/original/ffa728ea07aba427fa86fa9b06ef63da.jpg e8179e4e8d49a2216508e382cf916d9d https://150years.coateslibrary.com/files/original/eb8271af2e439f590a7d325fb9265b9e.mp3 59df6f6e1824e9ca4c7615cfafb55007 https://150years.coateslibrary.com/files/original/5454099b48809b9854eef14fbb77f25a.pdf 3c962c8f724462088f8e7a0cb0792936 PDF Text Text Hunter Mayhew Professor Morais 11/25/18 Data Collection #4 Dominant Racial Ideology as an Impediment to the Identity of Black Female Athletes While interviewing Elise, a black Track and Field athlete who competes for Trinity, one of the emergent themes of our conversation pertained to how her status as a black female athlete has restricted her identity. Specifically, Elise feels that she will fall victim to racial-stereotyping and judgement if she does not look a certain way or behave in a certain fashion. Research demonstrates that her sentiments are grounded in reality, indicating that dominant racial ideologies substantially constrain the identity of black female athletes. In circumstances where racially-defined codes of conduct are violated, both Elise’s experiences and contemporary research show that black female athletes may be described as possessing traits such as “animalistic behavior.” Importantly, in order to remedy this problem, it is necessary to recognize that this dilema does not belong to a specific set of individuals, but is instead a byproduct of society-wide sociological processes that are superimposed into the forum of sports. Both within her sport experience and outside of it, Elise has frequently been referred to as, “pretty intimidating.” She believes this is based on both her prominent musculature and skin color. With respect to dominant racial ideologies, Elise feels that she is forced, “to control how much muscle she builds” to avoid being labeled, “masculine or animalistic.” Even her brother has helped advise her on how much muscle may be considered “too much.” Unfortunately, during my time as a Track and Field athlete in high school, I feel as if I was a part of a white-centric culture that implicitly perpetuated these perceptions of black female athletes. I was raised in a small Coloradoan mountain town with a demographic that was majority white. When we competed at Track and Field events in more racially diverse locations, these unfamiliar settings made my �teammates and I generally feel out of place and uncomfortable. Due to our lack of tangible experiences in these types of environments, all of us were more prone to evaluate and judge the people we saw based on predominant racial stereotypes. Based on this, my teammates and I were guilty of referring to black female athletes as possessing a natural edge over their white competitors due to their race and masculine attributes. The dynamic between dominant race ideology and Elise’s sport experience extends beyond her physical appearance and also impacts the range of behaviors that are considered acceptable for her to express. Specifically, during her time in high school and college athletics, Elise has felt that, “she can’t get [her] attitude super high… because [it makes her] fit the ‘black girl’ stereotype mold.” Furthermore, in circumstances where her behavior is perceived to align with these stereotypes, Elise believes that she is more likely to be looked at as uncivilized or animalistic. Ultimately, she is worried that if her behaviors are perceived in a stereotypical fashion, others will ostracize her and, “label [her] as one of the ‘other girls.’” Contemporary research corroborates Elise’s experiences and provides further insight into the relationship between dominant racial ideologies and the permitted identity of black female athletes. For example, Schultz investigated the 2002 U.S. Open tennis tournament where people referred to Serena Williams’ attire as a “catsuit.” According to her analysis, the use of this nomenclature is a reflection of how dominant racial ideologies significantly contributed to spectators and other athletes imposing an animalistic and masculine persona upon Serena due to her musculature and race. A radio sportscaster by the name of Sid Rosenberg provided a blatant example of this when he indicated that hypermasculine players such as Serena Williams, “had a better shot at [appearing in] ​National Geographic​” than in ​Playboy ​magazines (Schultz, 2005). This comment also highlight the fact that there exists a paradox for many female athletes; they are expected to both be successful in their sport (which very well may entail building musculature) while also satisfying white-centric definitions of beauty. �Krane et. al. investigated this paradox and found that it imparts a great deal of stress on athletes. Specifically, they found that many female athletes have damaged self-esteems because developing muscle mass to enhance their sport performance, “detracted from femininity and contradicted the cultural ideal body” (Krane et. al., pg. 320, 2004). For black female athletes, adverse effects on self esteem and self-perceived body image are likely to be even more severe because they could potentially be referred to as animalistic, an imposed characteristic that is extraordinarily demeaning. Extending beyond how the physical attributes of black female athletes impact their sport experience, Withycombe also recognized that stereotypical behaviors of African American women can substantially influence how people perceive them in sports settings. After interviewing an array of black female athletes, Withycombe found that because these athletes are stereotypically perceived as being loud, aggressive, and obnoxious, people are inclined to think of them as emotional creatures that act purely on impulse and not logical thought. This promotes the sentiment that, “they must be ‘trained’ to be successful on and off the court,” where use of the word “trained” implies an underlying animalistic nature (Withycombe, pg. 490, 2011). Coakley also investigated the relationship between the stereotypical behaviors of black females and how they are perceived as athletes. As a result of the outcomes described by Withycombe, Coakley found that black female athletes must strive to present themselves in amiable and kindly ways as to avoid being labeled animalistic or becoming ostracized. Considering this contemporary research in tandem with Elise’s experiences, it becomes obvious that sport is indeed a microcosm of society. Dominant racial ideologies were originally developed by white European settlers in the United States who sought justification for exploiting people who had different skin colors than they did. Throughout our history, the association of non-white skin colors with primitive, worthless, and animalistic characteristics has been used to dehumanize various groups. This has led to the abhorrent oppression of groups such as the Native �and African Americans. Although the blunt nature of dominant race ideology has been diluted over time, it is obviously still present in society. Furthermore, Elise’s experiences and the aforementioned research exemplify how sport is a socially constructed institution that is considerably influenced by the dominant race ideology which is ingrained in the fabric of society. With this in mind, it becomes clear that the path towards addressing and resolving the negative experiences black female endure in their sports involves confronting the divisive nature of dominant racial ideologies that exist not only in sport but also in society at large. �Works Cited 1) Coakley, J. (2015). ​Sport in Society Issues and Controversies ​(11th ed.). New York, NY: McGraw-Hill Education. 2) Krane, V., Choi, P. Y., Baird, S. M., Aimar, C. M., & Kauer, K. J. (2004). Living the Paradox: Female Athletes Negotiate Femininity and Muscularity. ​Sex Roles,50​(5/6), 315-329. 3) Schultz, J. (2005). Reading the Catsuit. ​Journal of Sport and Social Issues,29​(3), 338-357. doi:10.1177/0193723505276230 4) Withycombe, J. L. (2011). Intersecting Selves: African American Female Athletes’ Experiences of Sport. Sociology of Sport Journal,28​, 478-493. �In Field Notes and Meaningful Quotes ● Track & Field along Volleyball have been large parts of Elise’s life, but Track & Field became the primary focus in college. ○ This related to her getting kicked off (to an extent) the Volleyball team here at Trinity not due to racial tensions, but the fact that she didn’t get any play time. She felt this was because, “this was the first time in [her] life… that she wasn’t the star athlete.” ● Growing up in Africa, race relations, “weren’t really a thing because everyone looked the same.” She didn’t feel as if race started to intersect with her sport experience until she came to college. ● When she was younger, her parents taught her that “race doesn’t have everything to do with like injustices done to you.” ● Trinity, “has been the biggest white population [Elise] has been surrounded by.” Although this is true, she doesn’t feel as the majority white demographic has been the sole source of her negative experiences in sport. ● Elise sympathized with Serena Williams in the sense that when injustices are placed upon Serna, she knows she can’t “cross a certain line” when it comes to associating those injustices with race -> This is based on the fact that Tenis is controlled mainly by white people and involving race in the conversation could jeopardize Serna’s career/status ● Elise was chastised by her coach when she and her fellow black Track & Field athletes took a picture together, and was told that, “this is not the time or place for that.” ● Elise feels as if people assume that, “black men and women are amazing athletes,” and she feels as if this is an unjust statement. Furthermore, this sentiment is a source of extra pressure that makes her feel as if she needs to perform well. “When I’m not good, I see the look on their face, and it’s like I don’t know what you were expecting.” She said that this makes her feel “terrible.” ● One of the most powerful words we used to describe how some black athletes can be perceived if they exceed the limits imposed by dominant racial ideology is “animalistic” ○ Elise has been told by others that she, “looks pretty intimidating.” Furthermore, she believes that this is based on her musculature in tandem with her race. She feels as if she, “has to control how much muscle she builds” to avoid be labeled, “masculine or animalistic.” ○ Elise also indicated that, “she can’t get [her] attitude super high… because you fit the ‘black girl’ stereotype mold… [and she] can’t cross this line, because [she] would be labelled as one of the ‘other girls.’” Additionally, she feels as if this behavior is perceived by others as animalistic. � https://150years.coateslibrary.com/files/original/5e7a232aff6851e2a0c1d70a8525213b.pdf 9a054a84442cff767ba45b0d7d9fe40f PDF Text Text SPMT 3308 – Sport Management (Spring 2018) Project Topics As a reminder, during these projects you will represent Trinity University, the Sport Management Minor, me, and most importantly, yourselves. I wanted to make sure that you had projects that actually mattered. This means that, for your work to potentially be applied to these organizations, it must be excellent; Not ok, not good, but excellent. The representatives from these organizations feel similarly. I believe you can achieve that level with these projects, and I’m excited for you to show these folks your talents, skills, and abilities! � Since its inception in 1922, the Valero Texas Open (VTO) has become a major central Texas sporting event. With a combined purse of $6.2 million, the VTO is the thirdoldest golf tournament on the PGA tour. Moreover, the VTO has raised over $127 million in funds for charity. To be frank, the VTO is a BIG DEAL in San Antonio. Two groups will partner with the VTO this semester, and they will need to rely on one another in order to succeed. There will be a social media team and a strategy team. The SOCIAL MEDIA TEAM will be responsible for canvassing the actual VTO and producing social media content throughout the tournament – from Thursday April 19 until Sunday April 22. Overall, members of this team are responsible for: • • • • At least 10-page How-To Guidebook. (graphics, bulleted, written in a business style, etc. but with APA citations) o This will include best practices in social media, specifically sport. o This should be a professional looking deliverable you would give to someone doing a similar project (due before the VTO). o This review must include at least 20 sources. Twelve of those sources must be from academic journals or academic books. Being at the VTO every day while producing social media content o There are no requirements for social media content because the review of the best practices and the meeting with your point of contact (POC) should provide these specifications Provide data of social media to Strategy Team ASAP after VTO At least 10-page follow-up deliverable in which the team reflects on its performance compared to its review of best practices. o The follow-up will also include a section in which the group reflects on what it did well and what it could have improved throughout the entire semester, but specifically in regards to the process of producing social media content. o This should include reflections on social media platforms, why certain platforms or posts worked well or not well. Did timing matter? Did hashtags matter? Did certain types of content receive more attention? Did your strategy/expectations match the actual scenario? These are some of the types of questions you should answer in the follow-up. o The audience of this reflection is your POC and Dr. Morais. Contact: kelly@valerotexasopen.com (Kelly McHale) � The VTO STRATEGY TEAM will essentially be the support for the social media team. Members will create the strategy for the social media team with help from the POC. They will also run analytics on the social media team’s content in order to interpret results of their efforts. Overall, this team will be responsible for: • • • Developing and communicating the social media strategy to the social media team At least 15-page deliverable that outlines and describes that strategy o Strategy must be justified through sources § Academic journals § Professional journals § Interviews (must interview at least 6 individuals, not including POC) o Actual page numbers will depend on the discussion(s) you have with your POC. o This will be provided to the social media team by March 25 so they can reference it before, during, and after the VTO. o Graphics, bulleted, written in a business style, etc. but with APA citations. At least 10 page deliverable interpreting the results of the social media data provided by the social media team o Graphics, bulleted, written in a business style, etc. but with APA citations. o Interpret the results for your POC § What does the data tell us? § What can we learn to do better? § What can we learn to have a greater impact? § Etc. Contact: kelly@valerotexasopen.com (Kelly McHale) � San Antonio FC is the new kid on the block, and is fast establishing itself as an important component of the San Antonio sport community. But, being new also means understanding how to represent oneself in the fabric of the community within which it resides. San Antonio FC has identified two questions it wants answered in order to help it succeed in San Antonio. Each question will be assigned to one group. The TICKET PLAN TEAM will answer the question: “What type of ticket plan would college students purchase?” In order to answer this question, students are required to complete: • • • At least 15-page literature review/report/synthesis on types of ticket plans/promotions, benefits, and designs (due March 24) o Sources (at least 15) must include § Academic journals (at least 7) § Professional journals (at least 4) § Interviews (at least 4 individuals, not including POC) At least 150 surveys and 10 interviews assessing the ticket plan question o No more than 40 surveys from one college/university in San Antonio area At least 20-page report interpreting interviews, integrating those findings into new concrete actions that San Antonio FC should assimilate into operations o Graphics, bulleted, written in a business style, etc. but with APA citations. o To be clear, this should provide a recommendation to San Antonio FC with justifications from your own primary and secondary research Contact: jharvey@attcenter.com (Joey Harvey) � The INDIVIDUAL NIGHT TEAM will answer the question: “What would draw college students to specific games? Group nights, theme nights, specials, etc.?” In order to answer this question, students are required to complete: • • • At least 15-page literature review/report/synthesis on types of promotions and their effectiveness in sport, specifically soccer if possible (due March 24) o Sources (at least 15) must include § Academic journals (at least 7) § Professional journals (at least 4) § Interviews (at least 4 individuals, not including POC) At least 150 surveys and 10 interviews assessing the individual night question o No more than 40 surveys from one college/university in San Antonio area At least 20-page report interpreting interviews, integrating those findings into new concrete actions that San Antonio FC should assimilate into operations o Graphics, bulleted, written in a business style, etc. but with APA citations. o To be clear, this should provide a recommendation to San Antonio FC with justifications from your own primary and secondary research Contact: jharvey@attcenter.com (Joey Harvey) � In an industry that is all about finding a competitive edge, Drillstack is an app that can help coaches save time, and help athletes stand out. Drillstack offers a time-saving, performance-driven athlete testing system for the off-season that lets coaches easily input, rank, share, and compare athlete results in real-time, without stacks of paper. Drillstack can save coaches hours of post-test data entry and allow them to focus on coaching. It also provides athletes with their own profile page that can be shared with potential recruiters, friends, and parents. Two teams will partner with Drillstack. The MARKET RESEARCH TEAM will canvass the San Antonio area in order to solicit feedback from sport and performance coaches. The team will be required to complete: • • • At least 10-page SWOT Analysis of Drillstack o Must use interviews with at least 2 Drillstack employees o Must use interviews with at least 3 coaches o Use academic articles and books (at least 5) o Use SBRnet (at least 2 instances) o This will help you identify what types of questions to ask, and who to contact Graphics, bulleted, written in a business style, etc. but with APA citations. At least 150 surveys and 15 interviews in order to o Gather information from sport and performance coaches in order to assess how Drillstack can help o Gather feedback from coaches about Drillstack itself o Identify opportunities for Drillstack to improve At least 20 page report interpreting interviews, and integrating those findings into new concrete actions that Drillstack should assimilate into operations o Graphics, bulleted, written in a business style, etc. but with APA citations. o To be clear, this should provide recommendations to Drillstack with justifications from your own primary and secondary research Contact: tyler@drillstack.com(Tyler Caldwell) � The MOCK-COMBINE TEAM will help put on an event in cooperation with the Trinity Women’s Soccer team. On the morning of April 15th, Trinity Women’ Soccer will hold an ID clinic for potential recruits. Between the start of this project and that time, you will coordinate with Drillstack and Trinity Women’s Soccer in order to put on a mockcombine for those attending the clinic. You will work with a Drillstack contact in order to observe and practice testing techniques at least once during the semester, and you will coordinate with women’s soccer coaches in order to plan a “combine” appropriate for their needs. To be clear, this group will run the actual combine as well. Keep in mind, you are working with multiple stakeholders in this project, and, as stakeholder theory asserts, if you make them all happy, your event will be a success. Overall, this group will be responsible for: • • • At least 15 page event/combine management/best practices guidebook o At least 12 sources from academic journals or academic books o At least 3 interviews with people who run these types of events o Graphics, bulleted, written in a business style, etc. but with APA citations. o This guidebook is made for Drillstack interns or athletic staff who might put on a similar event Running the combine o From the medical staff to reserving fields, to having snacks on hand for athletes upon completion, you will be responsible for the entire combine event during the camp. o The guidebook is assigned to help the group plan the event. o You will have to reach out to individuals who put on athletic events (the 3 assigned interviews) in order to understand how to successfully manage an event. At least 10 page reflection of your planning and execution of the event. o Go through each step of your process and discuss what went well and what could have been improved. o Include a short section on the strengths and areas of improvement for the Drillstack app o Graphics, bulleted, written in a business style, etc. but with APA citations if necessary o The audience for this is your POC Contact: tyler@drillstack.com(Tyler Caldwell) � https://150years.coateslibrary.com/files/original/7b58d99366d43050053d38510bd0e79e.pdf 98a6671aa0345d42b4e6a81718f9a551 PDF Text Text SPMT 3308 – Sport Management (Spring 2019) Project Topics Look over the descriptions and requirements of each project. AS SOON AS POSSIBLE, but at the latest by Sunday (1/27) before midnight, please fill out the Google Form I sent you. Rank your desire to do each project; 1 = most, 6 = least. Please understand that everyone’s top choices may not be satisfied. Additionally, present your case for your top three choices. Use narrative and bullet points, but this won’t be graded. This should include information regarding interests as well as qualifications. As a reminder, during these projects you will represent Trinity University, the Sport Management Minor, me, and most importantly, yourselves. I wanted to make sure that you had projects that actually mattered. This means that, for your work to potentially be applied to these organizations, it must be excellent; Not ok, not good, but excellent. The representatives from these organizations feel similarly. I believe you can achieve that level with these projects, and I’m excited for you to show these folks your talents, skills, and abilities! Know that by being in this class you have agreed to these terms. I have sent these project responsibilities to the POCs. If the assignments need to be altered somewhat in order to achieve the goals they have presented through these projects, we can and will make that happen. So, do not feel that you need to stick to the EXACT criteria I have laid out here. You will definitely put in the same amount of work and effort. The final product, however, may be a bit different. So keep that in mind and communicate with me and your POC about any possible changes. I do not want you to feel as if you are being pulled in two different directions. Finally, during your final exam period, you will present your project, your process, your outcomes, and your reflection of the entire project. I will give you more details regarding that as the semester progresses. As always, ask me any questions you have. � Since its inception in 1922, the Valero Texas Open (VTO) has become a major central Texas sporting event. With a combined purse of $6.2 million, the VTO is the third-oldest golf tournament on the PGA tour. Moreover, the VTO has raised over $127 million in funds for charity. To be frank, the VTO is a BIG DEAL in San Antonio. Two groups will partner with the VTO this semester, and they will need to rely on one another in order to succeed. There will be a social media team and a strategy team. The SOCIAL MEDIA TEAM will be responsible for canvassing the actual VTO and producing social media content throughout the tournament – from Thursday April 4 until Sunday April 7. Overall, members of this team are responsible for: • • • Social media best practices report (at least 10 pages) o Includes at least 12 trustworthy sources o Images encouraged o Includes interviews with at least 4 practitioners (2 from sport orgs), not including POC Developing a plan for engaging Social Media Content for Tournament Week o Includes researching other PGA TOUR events to see what competitors are doing o Researching other sporting events & teams o Trends for the San Antonio market o Your own input o At least 10 pages Being at the VTO every day while producing social media content (Credentials, Parking Passes & Food Provided) o Tournament Week: April 4-7, 2019 o There are no requirements for social media content right now because the review of the best practices and the meeting with your point of contact (POC) should provide these specifications o A schedule will be set leading into tournament. POC will work with students to develop a schedule Contact: kelly@valerotexasopen.com (Kelly McHale) � The VTO INFLUENCER TEAM will be responsible for organizing and developing an Influencer Marketing plan for the Valero Texas Open. With influencer marketing on the rise, the goal is to attract “non-golf” fans to attend the Valero Texas Open through the influencer’s social media platforms, more specifically, Instagram & Instagram Stories. The team members of this group are responsible for: • • • • • • Write a report detailing best practices of influencer marketing and IG marketing (at least 12 pages) o includes interviews with at least 4 practitioners (2 from sport organizations), not including POC o includes at least 10 trustworthy sources cited in APA format Develop a communication plan (at least 6 pages) leading into tournament using benchmarking techniques Find Local Influencers and recruit their services (work with Kelly on any exchanges to be made) Developing a plan for onsite Influencer activation (at least 6 pages) o Identifying Top locations to visit at the tournament o Best Food Options o Best PGA TOUR Pros for Follow o Your own ideas o Must include rationale (with data) for each tenet of the plan Available during Tournament week to greet and assist Influencers (2-3 group members per day) Tournament Week: April 4-7, 2019 Contact: kelly@valerotexasopen.com (Kelly McHale) � San Antonio FC is the newest kid on the block, and is fast establishing itself as an important component of the San Antonio sport community. But, being new also means understanding how to represent oneself in the fabric of the community within which it resides. San Antonio FC has identified two questions it wants answered in order to help it succeed in San Antonio. Each question will be assigned to one group. The SPONSORSHIP/PARTNERSHIP TEAM will answer the question: “What is the effect of sponsorships and corporate sponsorships on SAFC fans?” In order to answer this question, this group is required to complete: • • • At least 15-page literature review/report/synthesis on sport sponsorship and corporate partners o Sources (at least 15) must include § Academic journals (at least 7) § Professional journals (at least 4) § Interviews (at least 4 individuals, not including POC) At least 100 surveys and 10 interviews of SAFC fans assessing the sponsorship/partnership question o No more than 40 surveys from one group/organization o Questions could/should include § After attending an SAFC game, which brands stick out as the most prevalent sponsors? § Does being a sponsor of a particular team (SAFC or otherwise) affect your decision to support that brand? § How likely are you to support a brand based on their sponsorship of the team? § You will need many more questions for a complete answer to the question At least 20-page report interpreting interviews, integrating those findings into new concrete actions that San Antonio FC could assimilate into operations o Graphics, bulleted, written in a business style, etc. but with APA citations. o To be clear, this should provide a recommendation to San Antonio FC with justifications from your own primary and secondary research Contact: jharvey@attcenter.com (Joey Harvey) � The TEAM APP team will answer the question: “What value do fans find in a team app?” In order to answer this question, this group is required to complete: • • • At least 15-page literature review/report/synthesis on apps associated with professional sport teams o Sources (at least 15) must include § Academic journals (at least 7) § Professional journals (at least 4) § Interviews (at least 4 individuals, not including POC) At least 100 surveys and 10 interviews of SAFC fans assessing the sponsorship/partnership question o No more than 40 surveys from one group/organization o Questions could/should include § What are the most important aspects of a team app? § What are the most popular features of an app? (Fans open the app to do xxxx or because of xxxx?) § What are some of the most common features of team apps, and what are some of the most unique features that stick out from certain teams’ apps? At least 20-page report interpreting interviews, integrating those findings into new concrete actions that San Antonio FC could assimilate into operations o Graphics, bulleted, written in a business style, etc. but with APA citations. o To be clear, this should provide a recommendation to San Antonio FC with justifications from your own primary and secondary research Contact: jharvey@attcenter.com (Joey Harvey) � With its San Antonio roots dating back to 1939, the mission of the Boys & Girls Club is to inspire youth, especially those who need us most, to achieve their full potential in a safe, positive and engaging environment that promotes education, health and character development. The clubs provide professionally designed youth development programs. Membership is open to all children in San Antonio for nominal annual membership dues of $50, yet no child is turned away due to an inability to pay. The majority of the clubs membership is comprised of minority children (94%), from single parent / grand parent families (more than 50%) and qualifies for free or reduced-price lunch (76%). This organizations provides another way to participate in sport yet with a much different impact. The CURRICULUM DEVELOPMENT TEAM will ultimately create a coaching curriculum for Boys and Girls Club volunteers in charge of coaching children. This group will then host an instructional clinic for those volunteers. Group members will be responsible for: • • • At least 12-page literature review/report/synthesis on best practices in coaching for different sports with children similar to those at Boys and Girls Clubs. o Sources (at least 15) must include § Academic journals (at least 7) § Professional journals (at least 4) § Interviews (at least 4 individuals, not including POC) At least 12-page coaching curriculum based on the group’s research o Includes step-by-step approach to coaching § Overall goals of the curriculum § Objectives of first few weeks of season, second few weeks, etc. § Specific drills and practices to be used to achieve those objectives § You own input (based on talks with POC and practitioners) § Rationale for each tenet of the curriculum Running the coaching clinic at the Boys & Girls club with some logistical help from the POC Contact: esanchez@begreatsa.org (Emmanuel Sanchez) � The GRANT WRITING TEAM will work with the Youth Sports Director in order to identify opportunities and ultimately draft a grant proposal aimed at funding new sport leagues, offsetting operating costs of existing programs, purchasing new sport equipment, uniforms, etc., or improving existing sport venues. This group will be responsible for: • • At least 15-page literature review/report/synthesis on funding opportunities for the Boys and Girls Club. Must talk with POC to mold this assignment so that it fits their requirements. o At least 7 opportunities o Sources (at least 15) must include § Academic journals (at least 4) § Professional journals (at least 3) § Interviews (at least 2 individuals, not including POC) o Includes rationale as to why each opportunity would be a good fit Draft of a grant proposal based on the criteria of the opportunity targeted and the POC o Will likely be a 10-20 page grant that will require significant research and detailed writing with specific criteria in mind Contact (for now): esanchez@begreatsa.org (Emmanuel Sanchez) � Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview KaDarius Lee Interviewee The person(s) being interviewed Dominic Morais Location The location of the interview Coates Library, Room 409 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 25:06 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Dr. Dominic Morais Subject The topic of the resource Oral History Interview: Dr. Dominic Morais Description An account of the resource In this interview Sports Management Professor Dominic Morais discusses his take on experiential learning and the effects it has on all involved. Dr. Morais discusses the implementation of DISC profiles into his class lectures and how that helps students identify who are they are and how they fit in with team members. A brief description of semester projects conducted in his class are also mentioned and how they add to student success. He also discusses his time as a student at Vanderbilt University, the University of Texas, and the advantage Trinity holds over schools similar to them. Creator An entity primarily responsible for making the resource KaDarius Lee Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource June 26, 2019 Format The file format, physical medium, or dimensions of the resource MP3 Language A language of the resource English Type The nature or genre of the resource Oral History Interview 2000s 2019 Experiential learning Hands-on Learning learning by doing Oral Hisory Interview Professional Development Skyline social learning Sports Management https://150years.coateslibrary.com/files/original/6b6c65ebc72aae7e50437c9abbd41065.jpg df9cda74c9a7e2900b54a41ca190df89 https://150years.coateslibrary.com/files/original/6feb475548f488af26c7a5110744e29b.jpg 4cb639f106c96fddb93ce051ad199f09 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989: Geology Field Trip Subject The topic of the resource 1989: Geology Field Trip Description An account of the resource Geology students take a field trip with their professors to Big Bend National Park. The experience helps give them the necessary skills to conduct fieldwork and allows them to come into contact with the rocks that they study. Creator An entity primarily responsible for making the resource Trinity University Source A related resource from which the described resource is derived Trinity University Archives Publisher An entity responsible for making the resource available Trinity University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1989 Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English 1980s 1989 Field Trips Field Work Geology Lancers Natural Science Skyline STEM https://150years.coateslibrary.com/files/original/b32a17f6158ff3dde4dc6cf8de1c030c.jpg d49f61180fe331c9de8d04fac60b580e https://150years.coateslibrary.com/files/original/45f1d8fe40029a48ca3e4ffe90dcb96b.jpg 441999616922e46b8f8caef1a88a33ce https://150years.coateslibrary.com/files/original/f5bb7f73125730fb649af00930310533.jpg 41aa32b2fa496ab24c74f6943e7b03b7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Brochure Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1991: Summer Undergraduate Research Experience (SURE) Subject The topic of the resource 1991: Summer Undergraduate Research Experience (SURE) Description An account of the resource Sponsored by the National Science Foundation and Trinity University, The Summer Undergraduate Research Experience was a program for talented chemistry students to participate in a 10-week research experience. During this period, students conducted research with faculty on a topic of the faculty's choosing. The program ended with a presentation by the student at the annual Symposium. The SURE program aimed to provide professional development for those interested in Chemistry research. Creator An entity primarily responsible for making the resource Trinity University Source A related resource from which the described resource is derived Trinity University Archives Publisher An entity responsible for making the resource available Trinity University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1991 Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English 1990s 1991 Chemistry Skyline STEM SURE https://150years.coateslibrary.com/files/original/ab74a3c49467c9265d8d82141be4808d.png c5ac34dfbcdbfceba2adcf8f586be450 https://150years.coateslibrary.com/files/original/bf7e700e87ea7c3ee4cfa8dd8f61d5dc.mp3 1f808bba18b7f40a8768d43ad54e1f43 https://150years.coateslibrary.com/files/original/9bcda9a55d5f1651a89184affb0ed45e.jpg d66b7644df09d2791aa59344c59e4a9e https://150years.coateslibrary.com/files/original/f3e5539a334bf04e0ebe06138a425380.pdf d1f169fab2d393d3a4de38135162a158 PDF Text Text �� Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Kate Nuelle and Peyton Tvrdy Interviewee The person(s) being interviewed Dr. Jacob Tingle Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Jacob Tingle Subject The topic of the resource Oral History Interview: Jacob Tingle Description An account of the resource In this oral history interview, Dr. Jacob Tingle, a Trinity alumnus and the Director of Experiential Learning at Trinity, discusses how Trinity is incorporating experiential learning into its curricula, the importance of reflection in the learning process, the value of experiential learning in career development, integrating experiential learning into his classes, and the effects of his time as a referee for Trinity's intramural program. Creator An entity primarily responsible for making the resource Kate Nuelle, Peyton Tvrdy Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource June 20, 2019 Language A language of the resource English Type The nature or genre of the resource Oral History Interview 2010s 2019 Alumnus Athletics Career development Director of Experiential Learning Intramurals Reflection Skyline Sports Sports Management https://150years.coateslibrary.com/files/original/da930974f22360a255ef9876bf49bd3e.jpg b1f08793be8ff326d7f62d02ecbf6448 https://150years.coateslibrary.com/files/original/e79d88f951ba67e951cee1d0fd236749.mp3 1b3095fe6333708b49c7b50c275d1ea0 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview KaDarius Lee Interviewee The person(s) being interviewed Diana Young Location The location of the interview School of Business Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 21:28 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Diana Young Subject The topic of the resource Oral History Interview: Diana Young Description An account of the resource In this Interview, Assistant Business Analytics and Technology Professor, Diana Young, talks about the benefits of experiential learning. She mentions how there is a spectrum of techniques that can be used to instill this but how not all of them are perfect. She also mentions how there is a great deal of unknown when experiential learning techniques are used, but students are expected to use the basic skills and knowledge that they possess in order to move forward. Dr. Young also talks about how there is a greater emphasis on experiential learning as opposed to other schools she has taught at such as University of Incarnate Word and University of Texas at San Antonio. Creator An entity primarily responsible for making the resource KaDarius Lee Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource July 3, 2019 Format The file format, physical medium, or dimensions of the resource MP3 Language A language of the resource English Type The nature or genre of the resource Oral History 2000s 2019 applied learning Business Analytics and Technology Engaged learning Experiential learning Hands on learning Oral History School of Business Skyline Study Abroad Study Away https://150years.coateslibrary.com/files/original/3c5bedddea07189f56d6c8ef2738011e.png 02c8866648919e53414c45a4410fa6e9 https://150years.coateslibrary.com/files/original/926337f087545ba349a5cc165075b570.mp3 578f07893132d44accaf176aa0028cee Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview KaDarius Lee; Jonathan Chapman Interviewee The person(s) being interviewed Don Van Eynde Location The location of the interview School of Business Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 37:43 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Don Van Eynde Subject The topic of the resource Oral History Interview: Don Van Eynde Description An account of the resource This interview with former Trinity professor, Don Van Eynde, will make your day. The passion he and enthusiasm he has for experiential learning is truly inspirational. Not only does he provide valuable insight into the benefits and effectiveness of experiential learning at Trinity, but he also provides very detailed stories about his time teaching students in Alaska as well in the classroom. Creator An entity primarily responsible for making the resource KaDarius Lee; Jonathan Chapman Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource June 28, 2019 Format The file format, physical medium, or dimensions of the resource MP3 Language A language of the resource English Type The nature or genre of the resource Oral History Interview 2010s 2019 Experiential learning Oral History Professional Development School of Business Skyline Study Abroad Study Away https://150years.coateslibrary.com/files/original/c1e205c4b79608b97e44374a2cb9e01b.jpg d46f088f3acb0d1f54889b50de3f66ff https://150years.coateslibrary.com/files/original/5d99aadd76be7ad5c4bc61e4086feab8.mp3 c59375a7a4f58afd285a10cc10b6b61c Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview KaDarius Lee Interviewee The person(s) being interviewed Brian Guerrero Location The location of the interview Coates Library Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 14:19 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Brian Guerrero Subject The topic of the resource Oral History Interview: Brian Guerrero Description An account of the resource In this interview, senior Engineering Science Major, Brian Guerrero talks about his experiences as an undergrad at Trinity. He talks about the benefits of experiential learning and how it helped him choose a career path. Creator An entity primarily responsible for making the resource KaDarius Lee Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource June 27, 2019 Format The file format, physical medium, or dimensions of the resource MP3 Language A language of the resource English Type The nature or genre of the resource Oral History Interview 2010s 2019 Engaged learning Experiential learning Oral History Interview Professional Development Service Learning Skyline STEM https://150years.coateslibrary.com/files/original/abc336b4589f4bea1f611c1cd509800e.jpg 3d8f1b9fff8aa2c0ce97029c5b674f93 https://150years.coateslibrary.com/files/original/285f96fb65414aea4c936df438c69c1a.mp3 984d467f67ebec9e4610bc25d0e9b3de Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview KaDarius Lee Interviewee The person(s) being interviewed Jerheme Urban Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 17:40 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Jerheme Urban Subject The topic of the resource Oral History Interview: Jerheme Urban Description An account of the resource Jerheme Urban serves a unique role at Trinity University. Aside from being the head football coach, which also makes him an employer, he is also a Trinity University alumni. In this interview Coach Urban talks about the role experiential learning plays in his office space as well as the benefits of experiential learning at Trinity. He also talks about his time at Trinity and how that led to his current position. He also mentions how the presence of experiential learning has shaped the dynamic of the players on the team. Creator An entity primarily responsible for making the resource KaDarius Lee Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource June 27, 2019 Format The file format, physical medium, or dimensions of the resource MP3 Language A language of the resource English 2010s 2019 Athletics Experiential learning Football Hands on learning learning by doing Oral History Professional Development https://150years.coateslibrary.com/files/original/7db28963f68f3f5d5ee419ab7a2e8ffd.jpg a8e91da3c343d6a050574ec94bd9e072 https://150years.coateslibrary.com/files/original/8c17f5d25b2f0ed940d74168de77e5a9.mp3 7490e50b4491f4b87e6c3316affa0444 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview KaDarius Lee/ Jonathan Chapman Interviewee The person(s) being interviewed Mike Owens Location The location of the interview Coates Library Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 28:43 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Mike Owens Subject The topic of the resource Oral History Interview: Mike Owens Description An account of the resource This interview with Mike Owens, VP of Logistics Sourcing at Dell, provides insight on how experiential learning is used in his office. He talks about recent hires at Dell who have all some experience with experiential learning. He goes on to elaborate how there's no cookie cutter approach to experiential learning and how Trinity students are proof of that. Creator An entity primarily responsible for making the resource KaDarius Lee and Jonathan Chapman Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource June 28, 2019 Format The file format, physical medium, or dimensions of the resource MP3 Language A language of the resource English Type The nature or genre of the resource Oral History Interview 2010s 2019 Business School Employers Experiential learning Oral Hisory Interview Professional Development Service Learning Study Away https://150years.coateslibrary.com/files/original/6103939579e63db2e3648a7e91ec936d.jpg d1963841696ea6a32133cc7d1b343b73 https://150years.coateslibrary.com/files/original/160a0db0ad8f2abfdfbcac312c962d88.mp3 0ccdb033db64d711e8a3b8addad0ae7e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Interview with Tahlar Rowe https://150years.coateslibrary.com/files/original/36138d87949f6f53f8b7abdc33ffa6bb.jpg a40d8363f5bc2c808dbfc73bfc40f3dd https://150years.coateslibrary.com/files/original/0d641410143eba47df2f9bd88fb769d5.jpg c3a2c610c73a226ba1616b406214fc65 https://150years.coateslibrary.com/files/original/7b47aa13bbd1d9bde4d3da72160129df.jpg ce4d40d447f3920918a88bf61f69de8b https://150years.coateslibrary.com/files/original/9032c467e75be52c69ad23f7a385eb52.jpg 8d702cfd87cf9271e6aca2a995bd6955 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Kate Nuelle Interviewee The person(s) being interviewed Tahlar Rowe Location The location of the interview Room 410, Coates University Library Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Tahlar Rowe Subject The topic of the resource Oral History Interview: Tahlar Rowe Description An account of the resource In this oral history interview, alumna Tahlar Rowe discusses being an intern for the Magik Theater, being President of Trinity's Black Student Union, and learning through service as a member of HOPE Hall. Creator An entity primarily responsible for making the resource Kate Nuelle Date A point or period of time associated with an event in the lifecycle of the resource July, 9, 2019 Format The file format, physical medium, or dimensions of the resource MP3 Language A language of the resource English 2010s 2019 Black Student Union Haven for Hope HOPE Hall Magik Theatre Residential Life Assistant Service Learning Skyline Tahlar Rowe Volunteering https://150years.coateslibrary.com/files/original/510d63c910f7480c30ba214b6edf68c8.pdf dd776ac1b21df28c57afc661549ac6cb PDF Text Text Emi Mondragon Dr. Young BAT 3394 6/17/19 Hiroshima Museum Prior to visiting the museum, my knowledge about the bomb on Hiroshima came from what I learned about history, a documentary I watched, and personal experience from my grandmother. During world history classes, I learned that the U.S. dropped the bomb on Hiroshima to prevent a large amount of American casualties that would occur from invading the Japan mainland to end World War II. In addition, I learned about the events surrounding the event such as Pearl Harbor from the American perspective and when Japan’s emperor Hirohito surrendered. I learned that the U.S.’s goal was not to let the Japanese to continuously suffer since they lost the war, but rather that the U.S. would help rebuild the Japanese economy and allowing them to get back on their feet after the war. From a documentary about the aftermath of the Hiroshima bomb, I was able to understand what happened directly underneath the bomb along with nearby areas. People were instantly vaporized and others were injured badly enough that they died from their wounds. First, the bomb hit and created a shockwave outward that could send glass into people’s bodies or knock buildings onto people. After the shockwave came an intense wave of heat and dark cloud that pushed outward, burned people’s bodies, and fused objects together. Directly following this occurrence, some people described it as appearing like “hell.” People were desperately running around on fire or trapped under objects. Children clung to their mothers who tried what they could to protect them. Since many were scorched from the intense heat, they were in search of water, but a black rain fell from the sky, which came from bomb’s cloud. However, if people drank the rain they, died because it contained radiation and other harmful substances. The aftermath of the bomb was equally awful; people who were deformed, burned, or blind after the bomb wandered like zombies to where they seeked to find their lost families or to get medical assistance. There were many who lost their lives to these injuries. Others who entered to assist the wounded or those who were not badly wounded began to become infected with radiation poisoning. This brought them down with a mysterious illness and many died suffering at the hands of the poisoning. Survivors had a hard time moving past this event, since many lost their lives and Japan suffered a terrible defeat. At the end of the documentary, it mentioned that people who survived long after the bomb were having a strange sense of nostalgia seeing the city rebuilt, and remnants of the past disappear. As for my personal experience, my grandma was in elementary school when the bomb was dropped on Hiroshima. She lived in Ube, in Yamaguchi prefecture, at the time but was still able to view the bomb from her location.From what my mom told me, she described it as a “pretty mushroom,” but she probably didn’t understand the event like the adults did. Furthermore, she felt that she understood that the U.S. dropped the bomb to end the war, so she did not harbor any resentment or hatred toward Americans. In addition, when my mom came to America as a foreign exchange student in high school, she felt that the �Americans portrayed the bomb as warranted justice for Japan trying to conquer the world. She felt conflicted about this interpretation, since she was Japanese, and felt that her country was the victim. She usually avoided this topic and her teacher allowed her to skip classes involving this topic. My family’s experiences with the Hiroshima bomb gave me a bit more of an understanding of the bomb and events surrounding it, which made up my interpretation of the event before the museum. During the visit to Hiroshima, I learned many personal stories about people who lived through the Hiroshima bomb or what happened to them afterward. I read about people who died almost instantly or soon after the bomb dropped. I learned about all the pain and agony that their wounds made them feel. In addition, I learned that people who survived the bomb long after it was dropped were often not themselves or eventually died as a result of the long-term effects of the bomb. There were many illustrations depicting events that people saw, which helped me understand what happened and how it affected people. Furthermore, I saw the message that the museum was trying to portray to the visitors about the event. They displayed the countries that signed and ratified the banning of nuclear weapons and hoped that one day there would be no more use of nuclear weapons, knowing the consequences of Hiroshima. From the visit, I felt that I was sad about everything that had happened and a bit nostalgic. All the stories of people losing their ability to live life like they used to was depressing to read about. Like my grandmother, I feel that I cannot harbor hatred toward the U.S. for dropping the bombs, for the reason that it ended the war. There is no telling what would have happened and who would have died if the bombs had not been dropped. Regardless, the bombs were horrific and many people suffered. I felt that countries going to war creates numerous occasions of inhumane acts or awful deaths. There is no real justification for humans inflicting great suffering on one another, but people may find comfort knowing there is a reason for awful acts such as these. Once I considered that my grandmother had to live through this, I began thinking about this more when we were sharing our thoughts about the museum. I wished I had more time to think on my own, since it wasn’t a feeling I could share with the group. I felt the disconnect between my mother and my grandmother. My mother never felt super close to her mother, so always I felt that there was a bit of a barrier between my grandmother and I. Since I did not know Japanese, I had no way to communicate properly and my mother told me about my grandmother’s experiences. I never heard her tell me about her life directly. I was a bit sad I could not ever ask her how she felt or what happened to her during the time the bomb was dropped, since she died a few years ago. Originally, one of the reasons I came to Japan was to reconnect with my roots because I felt a vague sense of this disconnection throughout my life. As I sat listening to the survivor’s story, I wondered what my grandmother would say if she had been up on the stage talking. Her story wouldn’t have been as descriptive or as relevant, but I still would have liked to hear it. I finally began to realize how big the disconnection with my grandmother, and I felt a sense of failure, like I had failed to reconnect with my mom’s family before I began this trip. Once I snapped myself out of this phase a bit, I felt I should make more efforts to get closer to my Japanese side in the future, so I can properly connect with my cousins, rather than constantly have my mom as an intermediary contact. Overall, I felt the museum made me realize more about myself while informing me about the events associated with the Hiroshima bomb. � Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Prior to visiting the museum, my knowledge about the bomb on Hiroshima came from what I learned about history, a documentary I watched, and personal experience from my grandmother. During world history classes, I learned that the U.S. dropped the bomb on Hiroshima to prevent a large amount of American casualties that would occur from invading the Japan mainland to end World War II. In addition, I learned about the events surrounding the event such as Pearl Harbor from the American perspective and when Japan’s emperor Hirohito surrendered. I learned that the U.S.’s goal was not to let the Japanese to continuously suffer since they lost the war, but rather that the U.S. would help rebuild the Japanese economy and allowing them to get back on their feet after the war. From a documentary about the aftermath of the Hiroshima bomb, I was able to understand what happened directly underneath the bomb along with nearby areas. People were instantly vaporized and others were injured badly enough that they died from their wounds. First, the bomb hit and created a shockwave outward that could send glass into people’s bodies or knock buildings onto people. After the shockwave came an intense wave of heat and dark cloud that pushed outward, burned people’s bodies, and fused objects together. Directly following this occurrence, some people described it as appearing like “hell.” People were desperately running around on fire or trapped under objects. Children clung to their mothers who tried what they could to protect them. Since many were scorched from the intense heat, they were in search of water, but a black rain fell from the sky, which came from bomb’s cloud. However, if people drank the rain they, died because it contained radiation and other harmful substances. The aftermath of the bomb was equally awful; people who were deformed, burned, or blind after the bomb wandered like zombies to where they seeked to find their lost families or to get medical assistance. There were many who lost their lives to these injuries. Others who entered to assist the wounded or those who were not badly wounded began to become infected with radiation poisoning. This brought them down with a mysterious illness and many died suffering at the hands of the poisoning. Survivors had a hard time moving past this event, since many lost their lives and Japan suffered a terrible defeat. At the end of the documentary, it mentioned that people who survived long after the bomb were having a strange sense of nostalgia seeing the city rebuilt, and remnants of the past disappear. As for my personal experience, my grandma was in elementary school when the bomb was dropped on Hiroshima. She lived in Ube, in Yamaguchi prefecture, at the time but was still able to view the bomb from her location.From what my mom told me, she described it as a “pretty mushroom,” but she probably didn’t understand the event like the adults did. Furthermore, she felt that she understood that the U.S. dropped the bomb to end the war, so she did not harbor any resentment or hatred toward Americans. In addition, when my mom came to America as a foreign exchange student in high school, she felt that the Americans portrayed the bomb as warranted justice for Japan trying to conquer the world. She felt conflicted about this interpretation, since she was Japanese, and felt that her country was the victim. She usually avoided this topic and her teacher allowed her to skip classes involving this topic. My family’s experiences with the Hiroshima bomb gave me a bit more of an understanding of the bomb and events surrounding it, which made up my interpretation of the event before the museum. During the visit to Hiroshima, I learned many personal stories about people who lived through the Hiroshima bomb or what happened to them afterward. I read about people who died almost instantly or soon after the bomb dropped. I learned about all the pain and agony that their wounds made them feel. In addition, I learned that people who survived the bomb long after it was dropped were often not themselves or eventually died as a result of the long-term effects of the bomb. There were many illustrations depicting events that people saw, which helped me understand what happened and how it affected people. Furthermore, I saw the message that the museum was trying to portray to the visitors about the event. They displayed the countries that signed and ratified the banning of nuclear weapons and hoped that one day there would be no more use of nuclear weapons, knowing the consequences of Hiroshima. From the visit, I felt that I was sad about everything that had happened and a bit nostalgic. All the stories of people losing their ability to live life like they used to was depressing to read about. Like my grandmother, I feel that I cannot harbor hatred toward the U.S. for dropping the bombs, for the reason that it ended the war. There is no telling what would have happened and who would have died if the bombs had not been dropped. Regardless, the bombs were horrific and many people suffered. I felt that countries going to war creates numerous occasions of inhumane acts or awful deaths. There is no real justification for humans inflicting great suffering on one another, but people may find comfort knowing there is a reason for awful acts such as these. Once I considered that my grandmother had to live through this, I began thinking about this more when we were sharing our thoughts about the museum. I wished I had more time to think on my own, since it wasn’t a feeling I could share with the group. I felt the disconnect between my mother and my grandmother. My mother never felt super close to her mother, so always I felt that there was a bit of a barrier between my grandmother and I. Since I did not know Japanese, I had no way to communicate properly and my mother told me about my grandmother’s experiences. I never heard her tell me about her life directly. I was a bit sad I could not ever ask her how she felt or what happened to her during the time the bomb was dropped, since she died a few years ago. Originally, one of the reasons I came to Japan was to reconnect with my roots because I felt a vague sense of this disconnection throughout my life. As I sat listening to the survivor’s story, I wondered what my grandmother would say if she had been up on the stage talking. Her story wouldn’t have been as descriptive or as relevant, but I still would have liked to hear it. I finally began to realize how big the disconnection with my grandmother, and I felt a sense of failure, like I had failed to reconnect with my mom’s family before I began this trip. Once I snapped myself out of this phase a bit, I felt I should make more efforts to get closer to my Japanese side in the future, so I can properly connect with my cousins, rather than constantly have my mom as an intermediary contact. Overall, I felt the museum made me realize more about myself while informing me about the events associated with the Hiroshima bomb. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2019: Emi Mondragon Journal Article Subject The topic of the resource Emi Mondragon Journal Article Description An account of the resource In this journal article Emi Mondragon talks about her experience as a Japanese American. She describes her perspectives on Hiroshima prior to visiting the Peace Memorial Museum in Japan and how she realized there was a disconnect between her and her Japanese family. Because of the trip she realized that she needed to put more effort into getting to know her Japanese family instead of having her mother act as intermediary contact. Creator An entity primarily responsible for making the resource Emi Mondragon Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource June 17, 2019 2000s 2019 Experiential learning Skyline Study Away https://150years.coateslibrary.com/files/original/6f9179faaa821bcc03d08c784d4e3470.jpg 02f10e26c4e327e2a92fffa6d18cea80 https://150years.coateslibrary.com/files/original/3e09ad3c2e25bede91aaed8e6f604bfe.mp3 14ed10c9ba0efc3f6b8ad27d9fbbbefa Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Kate Nuelle Interviewee The person(s) being interviewed Brad Little Location The location of the interview Room 410, Coates University Library, Trinity University Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Interview: Brad Little Subject The topic of the resource Oral History Interview: Brad Little Description An account of the resource Brad Little describes teaching his peers in history classes, publishing and recording through his communication classes, going into the field in geology and oceanography classes, volunteering. He also discusses the importance of experiential learning in hiring decisions, and employee's success at Capgemini. Creator An entity primarily responsible for making the resource Kate Nuelle Publisher An entity responsible for making the resource available Mellon Initiative Date A point or period of time associated with an event in the lifecycle of the resource June 25, 2019 Language A language of the resource English Alumni Brad Little Business Capgemini Education Employers Geology Logistics Oceanography Professional Development STEM https://150years.coateslibrary.com/files/original/8d0a7b2587f194f18d27c21dd0440036.jpg cda6fefd1a5134534206713ee1e34398 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985: Computer Science Laboratory Subject The topic of the resource 1985: Computer Science Laboratory Description An account of the resource A student coding on an IBM 5150 personal computer under the guidance of her professor. Creator An entity primarily responsible for making the resource Trinity University Source A related resource from which the described resource is derived Trinity University Archives Publisher An entity responsible for making the resource available Trinity University Archives Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English 1980s 1985 Computer Science Skyline STEM https://150years.coateslibrary.com/files/original/816721f8535feb68e3d6489fd639de85.jpg 5e1a0f7ebbbe07758e58673f0c841090 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985: Trinity Television Production Subject The topic of the resource 1985: Trinity Television Production Description An account of the resource Students and their professor adjust sound equipment at a mixing board. TigerTV gives students the opportunity to learn and practice skills needed to pursue a career in media. Creator An entity primarily responsible for making the resource Trinity University Source A related resource from which the described resource is derived Trinity University Archives Publisher An entity responsible for making the resource available Trinity University Archives Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English 1980s 1985 Journalism Media and Communications Skyline TigerTV