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Illustrated narrative

Freer Gallery of Art and Arthur M. Sackler Gallery

Illustrated Narrative

Freer Gallery of Art and Arthur M. Sackler Gallery

[Posed narrative.] No. 173 : stereoscopic photonegative

Archives Center, National Museum of American History
Company catalog card included.

Currently stored in box 2.1.2 [70].

Biblical Narrative Painting

Smithsonian American Art Museum

Capturing a Narrative

Smithsonian Magazine

What was the most interesting case you came across in the proceedings of the Old Bailey?
I like the one about the guy who went out to a bar and came home and his wife started needling him and needling him and needling him and then she hit him over the head with a frying pan and then took off all her clothes and leaped out of a window. That caught my attention. I read two or three of these forgery cases, and they were really interesting. I found out that forgery was a capital crime because there were no safeguards for the monetary system back then. People just passed around notes, so that if you borrowed money you gave whoever you borrowed it from a note, and that person would sell your note to somebody else, and it would get passed around. And if somebody dishonest did it, it was hard to catch them. So if the authorities did catch forgers, they treated them very harshly.

What was most interesting to you about the Old Bailey?
How much like novels of the time it was. I felt like I was reading Charles Dickens or Robert Louis Stevenson or Daniel Defoe. It's astonishing how captivating the narrative is. I got such a kick out of reading the cases, it was like reading stories.

Did those novelists have personal experience with the Old Bailey?
Daniel Defoe was one of the most famous journalists at the time, and Moll Flanders was patterned after a famous case. Henry Fielding was actually a judge in the Old Bailey—he was the judge in the Elizabeth Canning case, which was mentioned in the story. I also found out that Charles Dickens was a court reporter at the Old Bailey.

You said that traditionalists think technology "adds distance to scholarship, not necessarily a good thing." How do you feel about it?
I'm not really a traditionalist. I think it's a good thing.

Have you ever done old-fashioned historical research, where you leaf through the pages of musty books?
I have indeed, I did it in graduate school. I can remember going through the diplomatic dispatches from the State Department and just leafing through these one by one and reading them. It was okay, but I think it would have been much easier to sit and do it online, to dial up the words and phrases and everything I wanted.

Are you more interested in this kind of gritty plebian history than in "history book" history?
The way I approach history is—well, I call it the "holy shit" factor. If I see something and I think to myself, "Holy shit, this is really interesting!" then I figure somebody else will think it's interesting. And that's pretty much the only criterion I have. The history of dentistry, for example—the father of modern dentistry is a Frenchman, and he began to systematically study teeth and dentistry in the 18th century. Before that the dentist was just this guy with really powerful fingers who would pull diseased teeth out of your head. And this guy introduced toothbrushes and the idea that if you took care of your teeth you could make them last longer. It was apparently no accident that the Mona Lisa had this very prim smile—it was because she didn't want to show her teeth.

Now that I think of it, you don't see many old portraits with the teeth showing.
No, you don't.

Are there other databases you would like to see online like this?
Yeah, I'd love to see photographic and artistic databases. The Bettman Archive, this collection of old photographs, has been stowed away in this old cave in Pennsylvania. I'd love to see that digitized. The Department of Labor commissioned dozens and dozens of paintings by out-of-work artists in the WPA in the 1930s. They keep most of them up in their attic, and some of them are just superb—some of the artists are famous today.

What do you think of the idea that cutting-edge modern technology can bring this history alive?
It's not the first thing that you'd think of, but it's a tremendous resource. I would never in my life have dipped into the proceedings of the Old Bailey, and I think you can probably count the number of scholars who have in the dozens. But now anybody can go in there and look at it. It's spectacular—you can go there and get totally lost.

Lorton Reformatory: Slide Show Narration

Anacostia Community Museum Archives
Title created by ACMA staff based on transcription from physical asset and contents of recording.

The exhibition, Lorton Reformatory: Beyond Time, explored the artistic expression, poetry, and performance created by Lorton Reformatory inmates. The exhibit was held at the Anacostia Neighborhood Museum from October 1970 to November 1970.

Narrator provides a history of Lorton Reformatory and describes the architectural look and feel of Lorton. descibes the buildings - dormatory, dining hall, barbershop, chapel, art studio He talks about the buildings built and maintained by the inmates talks about the artwork acreated by the inmates, and the duties inmates performs for the district and federal government. Skills inmates learn at Lorton. Drama group, band musicians

Narration. Part of Lorton Reformatory: Beyond Time Exhibition Records. AV003328-2: consistent beeps throughout recording. Undated.

[Office scene, from narrative sequence. Active no. 7897 : stereo interpositive.]

Archives Center, National Museum of American History
Currently stored in box 3.2.22 [226].

Man talking on telephone and laughing.

[Domestic interior, from narrative sequence. Active no. 7899 : stereo interpositive.]

Archives Center, National Museum of American History
Currently stored in box 3.2.22 [226].

Woman talking on telephone, as man listens.

Lawrence Fane brief narrative

Archives of American Art
1 artists' statement : typescript ; 28 x 22 cm. Brief artist's statement written by Lawrence Fane. The exact date of creation is unknown. Approximate dates determined from events mentioned in the narrative.
The narrative was at some point attached to a proposal, based on the last sentence.

Slave Narrative

National Museum of African Art
Work on paper featuring a grey-brown bullet-shaped form accented with smaller linear patterns of similar coloration. The central motif is set against a background of two registers, one grey-white and the other black, that are animated with an all-over pattern of black ideographic inscriptions.

All the homespun days [sound recording] : a narrative poem with documentary recording / written and read by Norman Studer

Ralph Rinzler Folklife Archives and Collections
Program notes by Norman Studer with transcripts (6 p. : ill.) inserted in container.

Narratives by William Somers about Cheyenne origin, religion and history, undated

National Anthropological Archives
Narratives handwritten in English and signed by William Abe Somers about Cheyenne origin, religion, and history. Includes statement by Somers, "I have lived over 45 years with the Cheyennes...."

Narrative of Coyote, a Southern Cheyenne man, collected by Truman Michelson, 1931 Summer

National Anthropological Archives
Narrative of Coyote, a 72 year old Southern Cheyenne man, handwritten in English by Truman Michelson and Mack Haag, also a Southern Cheyenne. The text includes a recounting of the history of the Cheyenne and stories from Coyote's life. Topics include skirmishes with U.S. soldiers, the construction of tipis, hunting, relations between men and women, and his observations of a Sioux Sun Dance at a Brule camp. Although the Bureau of American Ethnology catalog card indicates that this text was collected at the Northern Cheyenne Reservation in Montana, it is likely incorrect. The notes are dated June, during which time Michelson was in Oklahoma working with the Southern Cheyenne (Explorations and field work of the Smithsonian Institution, 1932).

Cubism

Archives of American Art
Lecture : 8 p. : typescript ; 28 x 22 cm. A typescript of Greenberg's sound track narration for the "Cubism" portion of the film series Museum Without Walls, Universal Studios.

Southern Cheyenne personal narratives and legends collected by Truman Michelson, 1931-1932

National Anthropological Archives
Southern Cheyenne personal narratives and stories in English collected by Truman Michelson in Oklahoma. The stories were handwritten by Mack Haag and another person. Contents include: "Medicine Woman. 55 years old. Cheyenne" (written by Mack Haag.), 37 pages; "The Unknow[n] Greyhound" (writer unidentified.), 7 pages; "Plum Man" (writer unidentified), 2 pages; The Stuff[ed] Bear" 3 pages; "The Spider and the Rat" (writer unidentified), 5 pages; "Tipi Decorator. White Buffalo [daugther of Black Kettle]. 43 years old. Cheyenne" (writer unidentified), 17 pages; "The Beaded back tipi" (writer unidentified), 8 pages; "Lame Bull. True Story" (writer unidentified), 4 pages; "The Buffalo Robe" (writer unidentified), 4 pages; and "Slow Bull. (Cheyenne age 60). 1931" (written by Mack Haag), 9 pages.

The Art of Video Games: "Narrative" Exhibition Video

Smithsonian American Art Museum
This video is part of The Art of Video Games exhibition at the Smithsonian American Art Museum. For more information, visit http://www.americanart.si.edu/taovg

Introduction (Narrated by Simon Steel) (in AUDIO ONLY)

Smithsonian Astrophysical Observatory
The Universe is huge. Almost everything that we know about distant objects in the Universe comes from studying the light that is emitted or reflected by them. On Earth, geologists can study rocks by collecting them. Astronauts traveled to the Moon in 1969 and collected moon rocks, but the stars and galaxies are so far away that the primary way we can learn about them is from their light.

Community Narratives: Citizens Recording History

Smithsonian Education
This session shows you how to identify a great interview subject, how to prepare for the interview, and what to do during the interview to make sure you capture great material. Join this session to experience the importance of looking for narratives and cultural histories close to home. Presented by: James Deutsch, Curator and Editor, Smithsonian Center for Folklife and Cultural Heritage Alex Griswold, Executive Producer, Science Media Group, Smithsonian Astrophysical Observatory Joshua Bell, Curator of Globalization, National Museum of Natural History Original Airdate: July 13, 2011 You can stay connected with the Smithsonian's upcoming online events and view a full collection of past sessions on a variety of topics.: http://www.smithsonianeducation.org/educators/events/online_events.html With support from Microsoft Partners in Learning.

Copy of Betty Parsons' personal narrative

Archives of American Art
Essay : 7 p. : typescript ; 28 x 22 cm.

Dotty Attie draft textual narrative for artwork

Archives of American Art
Note : 1 p. : typescript ; 28 x 22 cm Text begins: Despite his words, her face remained impassive...
Narrative text by Attie for inclusion in her art.

Dotty Attie draft textual narrative for artwork

Archives of American Art
Note : 2 p. : handwritten ; 28 x 22 cm Numbered text blocks in which a character named "James" tells a story about his great-grandparents.
Narrative text by Attie for inclusion in her art.

Science in our lives [sound recording] / narrated by Ritchie Calder

Ralph Rinzler Folklife Archives and Collections
Program notes ([4] p.) inserted in container.
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