Browse Exhibits (131 total)

This exhibit explores the tension between humanity and technology in the Victorian world, and the ways in which it intersected with race and class.

In terms of Victorian literature, few authors are more synonymous with the era's literature than Thomas Hardy.  Though most well-known for his poetry, Hardy was also quite an accomplished short story writer as well.  In ENGL 335: Studies in Victorian Literature, four of his short stories were studied: "An Imaginative Woman," "The Withered Arm," "Alicia's Diary," and "On the Western Circuit."

All four stories primarily focus on the stories of women, and these women are all experiencing upheaval in their romantic relationships, particularly if and where marriage is concerned.  As evidenced in all four of these stories, Hardy was a particular fan of the love triangle, as some form of this trope is present in each of the short stories discussed.  Ella Marchmill is already married to a rather dull man, but she is absolutely infatuated by the work and the soul of her fellow tenant Robert Trewe, though she has never actually met him.  Rhoda Brook's vengeance and initial hard feelings take a physical and emotional toll on her lover's new wife, Gertrude.  Alicia's sister Caroline falls in love suddenly and deeply, but her beau has eyes only for Alicia when he finally meets the family.  And Anna falls for a man she meets at the fair, but needs her friend Edith to maintain correspondence with him because she is illiterate, leading to a very complicated, convoluted mess indeed.  And of course, it can be assumed that nothing goes well for any of these women or their respective beaus.  Betrayal, emotional affairs, sadness, and death are par for the course when it comes to these Hardy short stories.

This exhibit analyzes items that pertain to the characters and plots of these four stories, as well as how they and the stories contribute to an overall grim, if not cynical, outlook on relationships and marriage that was endemic to the work of Thomas Hardy.

I chose to tackle this project to address a specific divide within the LGBTQ+ community; there are many who feel that this establishment is inherently disrespectful to memories of the Stonewall Riots, and to the queer community during the 1950s and 1960s at large, due to its continued functionality as an active bar open to all individuals. Stonewall has continued to be a “Friday night spot,” a hub of drag shows, a place where gay people and straight people alike can throw back tequila shots and argue over Whitney Houston’s legacy. This is seen by many as going against the sanctity of the space’s history, and causes anger in some elder members of the queer community when the topic is discussed. I went into my first observation at Stonewall with these thoughts at the back of my mind, but more or less with my mind made up. Following my experience here, my determination is only more solidified. Over the coming semester, I intend to argue that the continued use of the Stonewall Inn as a social space remains true to the heart of the establishment, and not only respects, but actualizes, the wishes of the individuals who rioted in June of 1969. Those brave souls who paved the way for the modern LGBTQ+ community to exist openly, myself included, fought for a safe, open space wherein they could peacefully coexist with the cultural norms. Fifty years later, that is the first impression Stonewall continuously gives, and the legacy it proudly maintains.

Media as an Illusion

The Museum is located on 77 8^thAvenue, New York, NY. It is at the corner of the block looking out towards the busy two-way traffic. It is just a few blocks away from the Google hardware store. The building of the museum appears pretty ordinary, nothing spectacular about it. Other than the one or two banners that hang in the front of the museum that state “Museum of Illusions” one may hardly notice the museum if they do not read the banners. The entrance to the museum consist of brochures that are neatly organized in a brochure holder on the side of the steps. The museum being located at the corner of such a busy area seemed pretty deranged. Prior to my arrival I expected the museum to be a huge space, taking up the entirety of the block it was on.

The immediate surrounding area inside the museum are white walls with a turquoise and black paint that draws out images and words. The lighting is extremely bright which makes it perfect for taking great photographs. Almost each wall is decorated with some sort of designated station. I took note of the selfie area that was filled with people taking pictures. There were drawings on the floor and walls that lined up where the photographer and person being photographed should stand in order to create the best photographs. To my convenience, behind the selfie area right behind where the photographer stood consisted of a closet for guest to keep their coats in. The museum consists of only two floors with little staff other than the individuals working at the front desk. Perhaps a custodian walking around ensuring the museum is kept tidy, but there is no staff that is stationed to explain the illusion of certain exhibits. All these optical illusions do of course draw my attention. Such as the mirage of a pig in the in a bowl that appears to be a physical object but is not. I go to touch the pig and realize there is nothing in the bowl at all. Pretty cool I thought! Another configuration I found fascinating was a curved stick planted on a table which you spin that is supposed to go straight through a cut out shape of a straight line. I thought to myself how is this curved stick supposed to fit if they are clearly not the same shape. To my surprise when I swung the table around it went straight through the cut out shape. To my understanding of the illusion was the stance in which you are observing the stick makes it look like it is impossible to fit. However, if you perceive it from a specific angle it actually does make sense that the stick indeed would fit through the straight cut out surface.

This is an exhibition that covers the history, culture and politics of the multitudinous media forms that were produced by Victorian writers, artists, advertisers and all other kinds of creators. It was produced by students in Dr. Maeve Adams ENGL 335: Victorian Literature and Culture Course at Manhattan College in Spring 2019.