Interpretation Note
This photograph presents industrial labor as a family economy structured by dependency and necessity. At first glance, the scene appears almost ordinary, with workers leaving for a break and a child running. However, Hine's caption turns it into clear evidence of generational exploitation. His narrative draws attention to the economic pressures that bound entire families, even very young children (likely under 12), to mill work. Details in the caption about withheld wages, uncertain ages, and shifts that began before dawn show how mills and families together shaped a child's working life. Terry Cook suggests that archives grow out of the social pressures and assumptions of their time, shaping what gets saved and how people make sense of it. With that in mind, Hine's photograph feels like a product of its own system that turns the ordinary routines of mill work into proof of the social and economic conditions he wanted to expose. The photograph also hints at how child labor was viewed then, since Velma's job is shown as normal work rather than as a loss of childhood or schooling. Altogether, it shows how records created within a certain worldview can end up supporting the accepted ideas about labor in early 20th-century industrial settings.]]> https://hdl.loc.gov/loc.pnp/res.097.hine]]> https://www.loc.gov/pictures/item/2018677734/]]> LOT 7479, v. 6, no. 3821 [P&P]]]> You can add items in Omeka. Items act as individual units. You can add multiple fields for any given item. These include description, creator, date, article type and more. Further support can be received at: https://omeka.org/classic/docs/

The Seven Liberal Arts are classical arts that were considered necessary for any student in the classical and medieval periods. These arts were divided into two parts; quadrivium and trivium.

Quadrivium included arithmetic, geometry, astronomy, and music.

Trivium included logic, rhetoric, and grammar.

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Interpretation Note
Collins' photograph offers a counter-narrative to the polished images of wartime labor circulated by the Office of War Information. Instead of depicting heroic productivity, this photograph shows fatigue, ordinariness, and the effort to maintain community and spiritual continuity amid punishing hours. The women's quiet postures echo Kate Eichhorn's point that some of the most revealing traces of women's history appear in the ordinary moments and materials that official narratives tend to ignore. In that sense, the photograph functions much like the feminist archives Eichhorn describes, because it shifts attention to lives usually kept at the margins and shows that even everyday acts can speak volumes about the pressures women faced. Ultimately, Collins' photograph reminds us that women's work in defense plants was a patriotic duty, but it was also a grueling cycle that reshaped home life, religious practice, and whatever small pockets of rest remained.]]> No known restrictions. For information, see the U.S. Farm Security Administration and Office of War Information Black and White Photographs resource page at http://www.loc.gov/rr/print/res/071_fsab.html]]> https://www.loc.gov/pictures/item/2017850960/]]> https://www.loc.gov/pictures/collection/fsa/item/2017850956/]]> https://nancystarksmith.com/underscore/]]> 2016/17 St. Olaf Course Catalogue]]> Los Angeles Times article containing the text of the speech Marlon Brando provided Sacheen Littlefeather to be read upon his refusal of the Academy Award. The speech was not read during the ceremony due to time limitations, but Littlefeather read it to the press after the ceremony and its contents was published in several major newspapers. In the statement, Brando writes that while he does not wish to insult the Academy or its members, he would like to "focus attention" on the mistreatment of Indigenous Americans by the United States and their negative representation by Hollywood. While there have been attempts to redress the situation, Brando states that they are "too faltering and too few so I as a member in this profession do not feel that I can as a citizen of the United States accept an award here tonight." He concludes the statement by thanking the audience for their "kindness and courtesy" to Littlefeather, assuming that she would be well-receieved at the Oscars ceremony.]]> This is an item featuring The School of Athens. The picture can be accessed at Wikimedia Commons

Attribution: "'The School of Athens' by Raffaello Sanzio da Urbino.jpg" by Paul_012 is licensed under Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0).

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Interpretation Note
This poster is a clear example of how state institutions actively shaped public memory of women's wartime roles by promoting certain stories about women's wartime labor while leaving out others. As Kenneth Foote argued, collective memory is built through selective emphasis, since societies often highlight specific events or meanings and downplay the aspects that do not fit the message they want to project. In this case, the Office of War Information presents women's work as a unified patriotic effort that is essential to national victory. The poster's clear slogan and orderly list of occupations support a motivating narrative. What falls outside that frame, such as the exhaustion, unequal pay, racial segregation, childcare struggles, or the abrupt layoffs women faced after the war, simply does not appear. Foote reminds us that this kind of selective emphasis is common in the formation of cultural memory, where representations produced by institutions determine which versions of the past circulate widely and which are allowed to fade. In choosing to emphasize patriotism, duty, and contribution over the difficulties and inequalities that shaped women's actual working lives, the poster helped define how an entire era would later be remembered.]]> https://www.loc.gov/rr/print/res/071_fsab.html]]> https://www.loc.gov/pictures/item/95504675/]]>