Call#: Van Pelt Library ML3470 .D69 2005
Call#: Fine Arts Library Fine Arts NA2800 T48 2002
Call#: Van Pelt Library TK7881.4 .S733 2003
Call#: Van Pelt Library TK7881.4 .S733 2003
Call#: Annenberg Library Reserve Ann Res TK7881.4 .S733 2003
Call#: Annenberg Library Reserve Ann Res TK7881.4 .S733 2003
Call#: Van Pelt Library Reference Stacks REF DA677 .P33 2001
Call#: Van Pelt Library Reference Stacks REF DA679 .L78 1986
Call#: Van Pelt Library Reference Stacks REF DA550 .V53 1988
Call#: Van Pelt Library Reference Stacks REF HT123 .E5 1998
Call#: Van Pelt Library Reference Stacks REF E740.7 .E53 1996
Call#: Van Pelt Library Reference Stacks REF E169.1 .E626 2001
Call#: Van Pelt Library Reference Stacks REF HN57 .E58 1993
Call#: Van Pelt Library Reference Stacks REF HV8551 .E44 2002
This book is a great source if you want to know who has recieved the death chair. It dates back to the 1900's. It also tells you why, when and how the person recieved the death penalty.
This website to shows its view points on the death penalty by using graphic pictures. This website is also very informational, it tells whose recieved the death penalty and what form was used on them.
This website explains the death penalty, how it works, what crimes you have to commit to get the electric chair, etc.

This page describes how the death penalty started and where it began. It also tells how its changed since the 1900's.
Coverage of scholarly articles about the History of the U.S. and Canada. Includes articles relating to American foreign relations, Americans abroad and American interventions in Europe.
Call#: Van Pelt Library Reference Stacks REF F158.68.W5 P5
Included here are research papers by Archives Director Mark Frazier Lloyd, by students in the Department of History's Senior Honors Program in American History, and Summer Research Fellows at the University Archives.
Call#: Van Pelt Library Reference Desk REF F158.3 .P5664 1982
Call#: Van Pelt Library Reference Desk REF F158.3 .S4
Call#: Van Pelt Library Reference Desk REF F158.3 .J15
Brief, often one-paragraph entries, some with bibliographic references.
View selected historic maps and aerial photographs, mixed with current data from Google in a Google Maps viewer. The "crown jewel" is a full-city mosaic of the 1942 Philadelphia Land Use Maps.
Title: Logging, Lumbering, & Forestry Museums: A Review
Author(s): Douglas F. Davis
Source: Forest History, Vol. 17, No. 4 (Jan., 1974), pp. 28-31
Publisher(s): Forest History Society and American Society for Environmental History
Stable URL: http://www.jstor.org/stable/4004139
"Historical Collections for the National Digital Library." A project of the Library of Congress.
History of the United States and Canada from prehistory to the present.
Holdings: 1964 to present. Updated three times a year.
Call#: Van Pelt Library F157.D4 T9
Call#: Fine Arts Library Fine Arts HT393.N5 A49
Call#: Van Pelt Library Reference Stacks REF BX7321.3 .E53 2004
Albert Music Hall. Traditional musical gatherings of the NJ Pinelands. An evening of live country, bluegrass, and pinelands music each Saturday night at 7:30 PM. Year round
Call#: Van Pelt Library BX7316 .S76 2002
This site tells the story of the Washington Metro, a 103-mile rapid transit system serving Washington, D.C., and the surrounding areas of Maryland and Virginia. Planning for Metro began in the 1950s, construction began in 1969, and the first segment opened for operation in 1976. Metro is one of the largest public-works projects ever built, and it is the second-busiest rail transit system in the United States. Metro is the creation of thousands of planners, engineers, architects, and builders, and hundreds of thousands of neighbors and riders. Whatever your role, we hope you will share your own experiences as part of the ECHO Science and Technology Memory Bank. This site was researched and written by Zachary M. Schrag, author of The Great Society Subway: A History of the Washington Metro (The Johns Hopkins University Press, 2006). | ||
Denton, William. "FRBR and the History of Cataloging."
Chapter 4 in Understanding FRBR: What It Is and How It Will Affect Our Retrieval, edited by Taylor, Arlene G.
An explanation of where FRBR (Functional Requirements for Bibliographic Records) comes from, given by a look at the work of librarians such as Panizzi, Cutter, Ranganathan, and Lubzetsky, and an examination of four themes in the history of library cataloging: the use of axioms to explain the purpose of catalogs, the importance of user needs, the idea of the "work," and standardization and internationalization.
The chapter begins with Ted Hinton and Bob Alcorn’s efforts’ to catch Bonnie and Clyde. He and a number of other policemen had tracked the couple to Gibsland, Louisiana, the hometown of their then partner in crime, Henry Methvin. Hinton and the others following the group had began to think of a way they could trap the sneaky crooks, “the hunters of Bonnie and Clyde had discovered early of their quarries’ most vulnerable trait: the strong psychological dependence on their families” (195). After the lawmen learned of Methvin, they tracked his family to Gibsland and preceded to arrange an Ambush that would finally put an end to the pair’s spree. Methvin had been separated from Bonnie and Clyde, and Hinton and Alcorn suspected that they would try and rendevue with him at his fathers house in Gibsland. The officers, 4 from Texas and 3 from Louisiana, hid in bushes along the side of a road just south of Gibsland. After two days of tiresome waiting, they finally captured Irvin Methvin, Henry’s father and used his car as decoy for Bonnie and Clyde. However, the arrest of Irivin Methvin was entirely illegal, along with their seizure of his vehicle for the ambush. The officers were almost ready to quit on the ambush when Bonnie and Clyde came rolling down the road. The rest reads just like the movie, with the two being riddled by bullets while they sat in the car, with no time to fire a single shot.
Treherne’s book recounts the actual death of Bonnie and Clyde as described by the officers hunting them and gives truth to the final scene of the Penn’s film. The book, however, is from the policemen’s vantage point and creates an entirely different imagery of the final shootout. Methvin and his father had no intention or previous knowledge of a setup like C.W. Moss and his father did in the movie. The blood soaked shootout in the film, however, seems faithful to its original story, and the scene that set critics aflame was possibly the most loyal to the real account.
Downing, Taylor. Olympia. London: BFI Publishing, 1992.
The chapter “Aftermath” in Taylor Downing’s examination of Olympia describes the reception of the film and its post-release history. Initially the film received generally positive reviews, but as Germany became more threatening, Riefenstahl and the film became less popular, resulting in a boycott of the film in the United States. For the rest of her life, Riefenstahl would have trouble clearing her reputation for her involvement with the Nazi party. The film stands as a major artistic achievement, however, and the author notes its influence on films about future Olympics, although competition with television coverage of the games made a cinematic masterpiece such as Olympia more difficult. Downing argues that Olympia beautifully captured the spirit of the Olympics, and Riefenstahl’s use of retakes in the film aid its artistic vision if they decrease its level of journalism.
The chapter concludes by grappling with the film’s propaganda question. Downing notes that the Berlin Olympics themselves were designed as propaganda to promote Germany as a friendly, peace-loving nation, and hence the Nazi party invested in Riefenstahl’s production to display their propaganda to the world. The author affirms Riefenstahl’s artistic independence during the production, however, and concludes the film is not intentionally propagandistic. Nevertheless, he maintains the film is still political since it was set up for political reasons and documents a political event, but he argues this fact does not and should not detract from its artistic merit.
Large, David Clay. Nazi Games: The Olympics of 1936. New York: W. W. Norton & Company, 2007.
The chapter “Olympia” in David Clay Large’s book on the 1936 Olympics provides a succinct history of the film. It notably refutes some of the claims made by Riefenstahl regarding her independence from the Nazi party in the making of the film. While Riefenstahl claims the film was commissioned by the International Olympic Committee and funded by a firm called Tobis Films, the author contends it was commissioned by the Nazi Ministry of Propaganda and financed by the party. Furthermore, while Riefenstahl claims that Joseph Goebbels, the Minister of Propaganda, was at odds with her, Large asserts that he tolerated her despite his preference for a different director to make the film, although he acknowledges that Goebbels did cause some problems for Riefenstahl such as when he audited her company. The chapter then discusses some of the technical innovations of the film and some of the difficulties the crew encountered during filming, and finally finishes by describing the mixed critical reception Riefenstahl received internationally.
The chapter also devotes some time to discussing the film’s propaganda value. Large argues the film, even the German version, was not explicitly partisan in any particular way. The film gives no sense that the Germany was the winning team, and it includes some of the nation’s defeats as well, although the Ministry of Propaganda did mandate fair reporting of the games. On the other hand, while the author notes that the black Jesse Owens was portrayed very favorably, other black athletes did not receive as much screen time as they probably deserved. Furthermore, many of the most dramatic moments are of German athletes, and some events featured disproportionately more footage of Germany and her allies Japan and Italy. Additionally, the German version contained more shots of Hitler and swastikas and placed a greater emphasis on the games as a national battle. And finally, the film’s glorification of physical perfection and the communitarian togetherness depicted in the Olympic Village are reminiscent of Nazi values. The author concludes by suggesting the film’s late release lessened its political potential as propaganda to foreigners, however, since by then Germany was well into its path of aggression, undermining any sense of international good will the film could evoke.
Call#: Van Pelt Library DG467 .D84 1994
Call#: Van Pelt Library cat on bib 4043492
Duggan, Christopher. A Concise History of Italy. Cambridge: Cambridge University Press, 1994.
The Republic, a chapter in A Concise History of Italy, serves to understand the time period in which Divorzio all’Italiana was filmed. In the 1960s, Italy was caught between an economic miracle and the rise of social protests. However, this miracle was not achieved without severe costs – the South was “left almost untouched,” and the gap between the two halves of the peninsula widened (264). Duggan states that part of the problem for why the South benefited so little from the attempts at industrialization was due to the “corrupt character of much of the Southern society” (269). Economic modernization is many times accompanied with social unrest. The Church helped the government by denouncing modern culture, and waging a propaganda war against the left. The Church’s influence in politics was soon to end. John XXIII’s death in 1963 “marked the start of a profound reappraisal of the Church’s character and role in society […] and the Vatican looked to distance itself from party politics”(266). Finally, revolts in the late 1960s “were the judgment of a generation on the Republic and specifically on the failure of politicians to meet the needs and expectations of a society that had undergone such rapid changes in the preceding decade” (269). According to Duggan, these represented a critique of the whole of Italian society and its values.
Understanding Italy in the 1960s is crucial for understanding the backdrop of in which Pietro Germi’s Divorzio all’Italiana was filmed. Characteristics of the poor, agricultural and corrupt South are observed in the movie. The Cefalu family is a rich, traditional Sicilian family, and when the main character, Baron Fefè Cefalu, first introduces himself, he makes the distinction between his family’s social class and the proletariat quite obvious. Fefè also points out who is who in Agramonte: he alludes to the fact that his father was corrupt and squandered money, and he introduces Don Ciccilo Matara, the head of the mafia, as well as the priest and some members of the Gentleman’s club. Furthermore, the audience notices at once how the Sicilian society circles around the church. Throughout the movies, we listen to snippets of sermons in which not only are the leftist parties denounced, but Fellini's La Dolce Vita is criticized as well. Lastly, Germi was among the first directors to voice the desires and struggles of the public through film. By making a comedy centered on the fact that divorce is not yet allowed in Italy, Germi truly offered a critique of traditional Italian society in Divorzio all’Italiana.
Hinton, David B. The Films of Leni Riefenstahl. Filmmakers Series, No. 74. Lanham: Scarecrow Press, 2000.
David B. Hinton provides a succinct history and analysis of Olympia in his chapter of the same title in his collection of works on Riefenstahl’s films. He holds it to be the first truly successful film about the Olympics, having been a massive undertaking that captured the spirit and beauty of the games in ways that previous newsreel footage could not. He praises the prologue of the film, set in the Greece, which connects the games to their ancient roots and implies the unchanging nature of beauty. He spends some time detailing the meticulous preparations Riefenstahl made for shooting the film such as devising innovative camera techniques that influenced how sports would be shot from then on. He goes on to describe Riefenstahl’s perfectionist quality, as she controlled every aspect of production to the minutest detail. The end result of her toils was that the film did not just record the games but rather illustrated the essence of each event, such as the physical strain of the marathon and the beauty of the divers.
The chapter discusses some of the accusations of propaganda leveled against the film but discredits most of them. Hinton notes that Riefenstahl’s use of retakes made the film less of a historical documentary but more of an artistic vision, which could potentially aid any propaganda aims. Still, he rejects the presence of Hitler in the film as evidence of propaganda because his appearance is brief and unspectacular. Furthermore, Riefenstahl’s choice to give the black Jesse Owens significant credit for his athletic accomplishments instead of downplaying them undercuts any support for racist Nazi ideology. The Germans are not portrayed as a “master race,” but rather internationalism is honored, as the Olympic flag is the dominant symbol, not the swastika. Some critics have contended that the glorification of competitiveness and strength reflects fascist ideals, but Hinton argues that this is an inherent quality of the Olympics themselves and not the film.
Mandell, Richard D. The Nazi Olympics. New York: The Macmillan Company, 1971.
Richard D. Mandell’s work on the 1936 Olympics provides a notably positive overview of Olympia in his chapter “The Olympics Preserved.” The chapter begins with background information about Riefenstahl, her career, and her close relationship with Hitler. Mandell then turns to the film itself and notes its technical achievements in areas such as editing and its use of zoom lenses and slow motion, which ultimately contributed to a dramatic cinematic experience that was unprecedented in sports film. Mandell likens Riefenstahl in the editing process of the film to composing a masterpiece more than a documentary film. He then spends some time analyzing particular scenes to reveal their drama and beauty, but notes that the second part of the film, “Festival of Beauty,” is less successful than the first because it is more disjointed and varied. The chapter ends with a discussion of Riefenstahl’s disgrace after World War II for her associations with the Nazi party, a fate the author considers lamentable given her artistic genius.
Mandell’s appraisal of Olympia is mostly positive, and he considers the film to be largely non-political and lacking in propagandistic content. He points out the prominence of black and Asian athletes in the film as evidence of the film’s disassociation with racist Nazi beliefs. He acknowledges that the mass exercise scene is reminiscent of the grand and awe-inspiring shots of Triumph of the Will, but contends that it is nonpolitical and only meant to convey beauty. Mandell does admit, however, that the film does capture the Nazis’ promotion of nationalism through the games’ intense communal competitiveness.
Overy outlines the main factors essential to understanding the outbreak and
subsequent character of the Second World War. He presents the political, social, economic,
military, and imperial contexts of each of the major powers that would enter World War Two
and analyzes them for the domestic and international spheres. He divides the book into chapters
on: the crisis in international politics especially within diplomacy and international
relations, the economic and imperial rivalries between the nation-states, armament policies,
the conflict over Poland, the outbreak of the war, and a final assessment on the role
that Adolf Hitler played in causing the start of World War Two. Overy does not present a
particular argument or controversial analysis of the factors that set the stage for the Second
World War but rather seeks to provide a comprehensive overview of the world in the 1930s
that can serve as a guide to more in-depth study of the war itself.
Overy's review of America in the pre-World War Two period is helpful in understanding "The
Philadelphia Story" in its historical context. The film was made in 1940 when World War Two
had already been going on in Europe and Japan for a year but before the United States
entered the conflict. The points that Overy highlights that best contribute to an understanding
of the film are America's public opinion and foreign policy in these years. He explains that
the United States had a staunchly isolationist attitude towards foreign relations in this
period. America was a strong and significant player on the world stage however because of its
industrial power which translated into economic might. The topic of financial security and
how it is linked to fear of change is one that is also pervasive throughout "The
Philadelphia Story". The Lords' and Havens' are established families of the American cultural
elite that have flourished for generations in their familiar hometown, Philadelphia. They
enjoy the comforts of an economically secure lifestyle; but they and their entire class
are wary of changes to the social conventions in their community. Overy's explanation
of the American public in the 1930s and 1940s helps extend the attitude exhibited
by the Lord's to the U.S. population. Just like Dexter hates to see Tracy change in a marriage
to George, the United States did not want to see its lifestyle changed by involvement
in a war; they did not want to experience it in real life and they certainly did not
want to see representations of these kinds of major changes on screen when they went to the
movies.
Call#: Van Pelt Library F3431 .K53 2000
In looking at social structures at the time, one finds that the oligarchical system of government in Lima parallels the emergence of a class of wealthy rubber barons that Herzog portrays in Fitzcarraldo. The rubber boom, while separated from the rest of the economy falls into a period of growth in Peru, making the growth in the Amazon similar to that of the rest of the county. By knowing the rest of the political and economic climate of turn of the century Peru, one can understand why so many foreigners had come to be in Peru at the time. One can also better understand why the fictional Fitzcarraldo stayed in Peru after the failure of his railroad. Lastly the perpetuation of the myth of an Amazonian El Dorado likely influenced Herzog in his decision to film there, particularly in his earlier film Aguirre.
Palmer, A. (2000). 20th century treatment of mental illness. Mental Health World, 2, Retrieved April 8, 2008, from http://www.mentalhealthworld.org/29ap.html
This article by Ann Palmer investigates the history of the treatment of mental illness. It begins by looking at the view of mental illness in the 19th century. In those times, the insane were viewed as incurable and subhuman, condemned to life in jail cells or almshouses. As time went on, however, professionals dealing with the mentally ill were expected to treat them with respect and compassion. This led to the rise of the asylum system, whose main goal was to isolate “lunatics” in hopes that this would be therapeutic and enable them to return to the “normal” community. These asylums employed such techniques as wrist and ankle restraints, and stupor-inducing drugs, to force the mentally ill into docility. After the conditions of asylums were made known, responsibility for the mentally ill moved to the state. It was hoped that this would ensure better conditions for the inmates. Even so, these new state mental hospitals were far from ideal. Misguided treatments included untested drugs, electroconvulsive therapy, induced seizures, and, perhaps more horrifying of all, lobotomies.
In the 50s and 60s, and most notably with President Kennedy's Community Mental Health Centers Act, there began a movement towards shifting the treatment of the mentally ill from an asylum system to a community-based mental health system. Though this tended to ignore the more severely and chronically ill patients, it did enable many patients to live independently within a community, and was a vast improvement to the mental hospitals of before. Films such as Cuckoo's Nest also served to persuade the public against the use of electroconvulsive shock therapy, and led to the focus of the medical community on antipsychotic drugs instead.
This article is significant to the film because it describes the difficulties in mental health care that the movie illuminates. One of the most powerful aspects of the film is its portrayal of a psychiatric ward. Though on the surface the ward is clean, well-kept, and tightly run, there is an undercurrent of repression and cruelty. Cuckoo's Nest serves just as well as an eye-opener as it does a critique of mental hospital conditions. The film takes place in the 60s, after the archaic asylum system was demolished, but before the community-based system firmly took hold. We can see evidence of this transition phase in the film. The laughable “group therapy” sessions, and Nurse Ratched's tireless insistence that the inmates behave in a manner compliant with the entire ward's desires are signs of the effort to move toward community mental health care. This system is even parodied in the film. When McMurphy attempts to change the TV schedule for a day in order to watch the World Series, Nurse Ratched demands a majority vote. She claims that schedule changes are to be made only if they are accepted by the whole community, even though only one more vote would enable McMurphy to win. This mocks the idea that there is even such a thing as a communally beneficial system.
There are signs, too, of the older, more barbaric mental health care facilities. When a few of the inmates cause an uproar during one of the group meetings, they are all sentenced to a round of electroconvulsive therapy. The procedure is shown with dramatic realism, and presents it as a form of brutality. In the powerful ending, McMurphy is shown after having undergone a lobotomy: a blank, mindless drone devoid of any of the human nature and individuality he came in with.
A blast from the past (including good old electric erasers ;)
Now updated to include preservation and circulation artifacts, and other misc. library 'technology'


