Showing 1 - 5 of 5 Items
The History of Bowdoin College: With Biographical Sketches of Its Graduates from 1806 to 1879, Inclusive
Date: 1882-01-01
Creator: Nehemiah Cleaveland, Alpheus S. Packard
Access: Open access
- The History of Bowdoin College: With Biographical Sketches of Its Graduates from 1806 to 1879, Inclusive (1882), by Nehemiah Cleaveland and Alpheus S. Packard, provides encyclopedic biographical sketches of Bowdoin presidents and graduates for most of the nineteenth century, along with engraved portraits for many of them.
Who We Are: Incarcerated Students and the New Prison Literature, 1995-2010
Date: 2013-05-01
Creator: Reilly Hannah N Lorastein
Access: Open access
- This project focuses on American prison writings from the late 1990s to the 2000s. Much has been written about American prison intellectuals such as Malcolm X, George Jackson, Eldridge Cleaver, and Angela Davis, who wrote as active participants in black and brown freedom movements in the United States. However the new prison literature that has emerged over the past two decades through higher education programs within prisons has received little to no attention. This study provides a more nuanced view of the steadily growing silent population in the United States through close readings of Openline, an inter-disciplinary journal featuring poetry, essays, fiction, and visual art created by incarcerated students enrolled in the College Program at San Quentin State Prison. By engaging the first person perspective of the incarcerated subject, this project will reveal how incarcerated individuals describe themselves, how they maintain and create intimate relationships from behind bars, and their critiques of the criminal justice system. From these readings, the project outlines conventions of “the incarcerated experience” as a subject position, with an eye toward further research analyzing the intersection of one's “incarcerated status” with one’s race, class, gender, and sexuality.
The Legacy of James Bowdoin III
Date: 1994-01-01
Access: Open access
- The Legacy of James Bowdoin III (1994) was published to accompany a major year-long series of exhibitions and programs at the Bowdoin College Museum of Art commemorating the bicentennial of the founding of Bowdoin College. It includes essays by Kenneth E. Carpenter, Linda J. Docherty, Arthur M. Hussey, Clifton C. Olds, Richard H. Saunders, Susan E. Wegner.
Religion at Bowdoin College: A History
Date: 1981-01-01
Creator: Ernst Christian Helmreich
Access: Open access
- Religion at Bowdoin College: A History (1981), by Ernst Christian Helmreich, considers how people at Bowdoin have perceived religion, how they have felt religion should or should not be realized at the College, and how those views changed over the years.
A "Peculiarly American" Enthusiasm: George Bellows, Traditional Masculinity, and The Big Dory
Date: 2014-01-01
Creator: James W. Denison, IV
Access: Open access
- A “Peculiarly American” Enthusiasm: George Bellows, Traditional Masculinity, and The Big Dory investigates the portrayal of masculinity in the oeuvre of the much-lauded yet enigmatic American painter George Bellows (1882-1925). Rather than relying on Bellows’ urban works for source material, a significant portion of this investigation is conducted via a case study of Bellows’ 1913 panel The Big Dory, a scene of fishermen pushing a boat into the North Atlantic off Monhegan Island, Maine that the artist painted during a sojourn on the island in the months after his involvement in the landmark Armory Show in New York. The paper situates The Big Dory within the greater context of the history of the depiction of Maine through the lens of the heroic fisherman. Bellows achieved a heroic effect by forcing the viewer to focus on the labor of the fishermen via their positioning in the near middleground and by echoing the hues and forms of the men elsewhere in the painting, giving the work a sense of visual unity. I argue that these strategies highlight Bellows’ interest in tradition rather than modernism. Armed with this knowledge, Bellows’ other works come more sharply into focus. I reveal that the traditional heterosexual mode of white male identity Bellows represented in The Big Dory was not simply echoed in Bellows’ personal comportment, but in fact pervaded his oeuvre; such masculinity was a reaction by patriarchal American society against the perceived growth of other influences in the early twentieth century. The portrayal of such masculinity is then established as the key underlying feature of the sense of “Americanism” which has traditionally dominated reception of Bellows’ art.