3
25
5221
-
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3749c9b3690c6db515bb40ecf808441a
Dublin Core
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Title
A name given to the resource
Aliens, Androids, & Unicorns: The Hal Salive Science Fiction and Fantasy Collection. Online exhibition
Abstract
A summary of the resource.
In 1952, Harold Terrence Salive (1939-2012) read one of Groff Conklin’s <em>Science Fiction</em> (SF) anthologies and he was hooked. Two years later, aged 15, he started ‘hoarding’ copies of <em>Astounding Stories</em>, which first appeared in January 1930. A stint in the army (1957) and study at the University of Michigan at Ann Arbor, where in 1972 he graduated with a PhD in experimental psychology, solidified his passion for collecting. Salive’s collecting got serious in 1967. He began attending SF Fairs; he corresponded with various SF book dealers; received numerous catalogues from which he could buy books and magazines; and he joined fan groups such as the National Fantasy Fan Federation (N3F), and Science Fiction Newsletter. In 1972 Salive moved to Auckland, New Zealand, where he worked as a lecturer (non-medical) in Psychiatry at Auckland Medical School. He was also a consultant for Digital Equipment Corporation (DEC) and started developing graphic programmes for Commodore 64 personal computers under his own company, Kiwisoft Programs Ltd. In 1977 he had married his second wife, Rachel. Salive continued to attend SF Fairs, and extended collecting interests to include gaming, writing SF stories, and teaching courses on the history of SF. In 2005, he moved to Waikanae, built purpose-made bookshelves to house his collection of 2500 items, and started to catalogue them. The Salive Collection consists of both SF and Fantasy. Van Vogt was a favourite, as was Samuel Delany. He collected early issues of <em>Astounding Stories</em>, and the continuance <em>Analog Science Fiction and Fact.</em> Fantasy authors who feature include C.J Cherryh, Jack L. Chalker, Poul Anderson, and Piers Anthony. There is no Tolkien, and only one Ray Bradbury title. In March 2013 Rachel Salive donated the Hal Salive Science Fiction and Fantasy Collection to Special Collections, University of Otago. It is a lasting legacy to a fine collector.
Contributor
An entity responsible for making contributions to the resource
Special Collections - University of Otago
Date Created
Date of creation of the resource.
2nd March, 2015
Dublin Core
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Creator
An entity primarily responsible for making the resource
Hal Salive
Date
A point or period of time associated with an event in the lifecycle of the resource
[c.1990]
Identifier
An unambiguous reference to the resource within a given context
Hal Salive Science Fiction and Fantasy Collection, University of Otago Library Special Collections
Type
The nature or genre of the resource
Collages
Publisher
An entity responsible for making the resource available
Unpublished
Abstract
A summary of the resource.
Initial research into Hal Salive’s collecting habits revealed a pre-occupation for any pre-1949 issues of <em>Astounding Stories</em> and the usual run of standard SF and Fantasy writers. However, the discovery of Vincent di Fate’s<em> Infinite Worlds: The Fantastic Visions of Science Fiction</em> (1997) and his own compilations of cover art by various artists such as <strong>Chesley K. Bonestell</strong> and <strong>Hannes Bok</strong> in his collection point to another collecting focus: the artist. This discovery justifies the direction taken within part of this exhibition: a selected coverage of artists from A-Z.
Title
A name given to the resource
‘Chesley K. Bonestell’ compilation
Fantasy
Hal Salive
Science Fiction
-
https://ourheritage.ac.nz/files/original/45ed2960f4f9cf8835b37eca9643959c.jpg
1113cf3528b2b105edd652c174166a27
Dublin Core
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Title
A name given to the resource
Black + White + Grey. The Lives + Works of Eric Gill + Robert Gibbings. Online exhibition
Date Created
Date of creation of the resource.
29 May 2015
Abstract
A summary of the resource.
In 1946, artist Robert Gibbings (1889-1958) visited his friend John Harris, who was then University Librarian at the University of Otago. Gibbings gave Harris five printed vellum sheets: three of Chaucer’s <em>The Canterbury Tales</em> (1929-31) and two of John Keats’s <em>Lamia</em> (1928). Both these titles were printed at The Golden Cockerel Press, which Gibbings owned from 1924 to 1933. One of the ‘Canterbury’ sheets contained an important addition: illustrations executed by Eric Gill (1882-1940), sculptor, stone cutter, engraver, and typographer. This vellum sheet is a small representative of the work that Gibbings and Gill did together, including the collaboration that resulted in <em>The Canterbury Tales</em>, and <em>The Four Gospels</em> (1931), which has been called ‘the typographical masterpiece of the 20th century’ (John Dreyfus). Both Gibbings and Gill were sons of clergymen; Gibbings visited New Zealand; Gill’s father was born in the South Seas in 1848; both wrote extensively on a wide range of topics; both were members of the Society of Wood Engravers (founded in 1920); both were talented artists; and both were prolific wood-engravers. And importantly for this exhibition, both made and designed books, although at first they were both typographically naïve. Their bookish collaboration lasted from 1925 to 1931. Both men have had a lasting influence in the artistic world. Gibbings created some outstanding limited edition books through his The Golden Cockerel Press. He also left some marvellously lyrical travelogues on places such as Tahiti and Ireland. Gill’s legacy is perhaps more evident. His sculptures are found in institutions throughout the world; his line illustrations are frequently reproduced; and importantly, there are his typefaces such as Perpetua and Gill Sans (the typeface used for this exhibition); the latter often used by modern-day book-makers and designers today. This exhibition is based on holdings within Special Collections. It is an overview, offering a glimpse into the lives and work of these two gifted artists.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
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Title
A name given to the resource
‘Clear Waters’ (1920) reproduced from Martin Andrews, The Life and Work of Robert Gibbings
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
2003
Identifier
An unambiguous reference to the resource within a given context
Central NE1147.6 G53 AJ71. Reproduced by permission of the Robert Gibbings Estate and the Heather Chalcroft Literary Agency
Type
The nature or genre of the resource
Engraving
Publisher
An entity responsible for making the resource available
Bicester, UK: Primrose Hill Press
Abstract
A summary of the resource.
Martin Andrews best describes Gibbings’s use of the ‘vanishing line technique’ in this early wood engraving: ‘Gibbings’s use of [the technique] reached full maturity with his first significant engraving of a figure, <em>Clear Waters</em> of 1920. Here the delicate outline of the body is never defined by a line other than the boundary of one area of highlight with that of shadow; the eye naturally completes the shape by implication and all unnecessary detail is eliminated – it is a lyrical image.’ Gibbings used the technique in much of his early work around the time when he started to become a serious contender in the art world.
Engravings
Eric Gill
Robert Gibbings
-
https://ourheritage.ac.nz/files/original/504738014526fca490466303d4f887de.jpg
c247d9580d65e1f4a7317e1d50488f68
Dublin Core
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Title
A name given to the resource
1869: The Year that Was
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date
A point or period of time associated with an event in the lifecycle of the resource
September 2019
Contributor
An entity responsible for making contributions to the resource
Curated by Romilly Smith and Dr Donald Kerr, University of Otago Special Collections, Hocken Library
Abstract
A summary of the resource.
On 3 June <strong>1869</strong>, the University of Otago Ordinance <strong>1869</strong> became law. This meant that the newly established University became a corporate body with power to grant degrees. This was a significant first for New Zealand. Two years later, with a building secured, and three professors appointed, classes began. The first class was on 10 July 1871, with 81 students enrolled. The University of Otago’s rich history continues today. Its establishment and legacy form part of this exhibition <em><strong>1869</strong>: The Year That Was</em>.<br /><br />Of course, other events occurred in<strong> 1869</strong>, forming a then unwritten but much wider history. While the University Council were debating the administrational matters necessary to make the newly formed educational institution work, events were occurring on a local and international level. Each had their own particular impact. Some of the events of <strong>1869</strong> that feature in the exhibition include the formation of the Otago Institute; the first Fine Arts Exhibition in New Zealand; the first ‘Royal’ visit to New Zealand; the introduction of the New Zealand Cross; the births of Rasputin, Emma Goldman, and Gandhi; the opening of the Suez Canal; and the formation of Dmitry Ivanovich Mendeleev’s periodic table. Tolstoy’s <em>War and Peace</em> was published in 1869, as was Louisa May Alcott’s <em>Little Women</em>.<br /> Please enjoy <em><strong>1869</strong>, The Year That Was.</em>
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Title
A name given to the resource
‘Coat of Arms’ serviette
Creator
An entity primarily responsible for making the resource
University of Otago
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Identifier
An unambiguous reference to the resource within a given context
Ephemera Collection, Hocken Library
Type
The nature or genre of the resource
Ephemera
Publisher
An entity responsible for making the resource available
___
Abstract
A summary of the resource.
A serviette commemorating the foundation of the University of Otago in 1869.
University of Otago
-
https://ourheritage.ac.nz/files/original/0505219ce888fbcdfc132976e0c87256.jpg
7227fe049b5f555ae9826c4359c4bbc1
Dublin Core
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Title
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All the Year Round: Exploring the Nineteenth-Century Periodical. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
6th June, 2018
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Dunedin Public Library
Abstract
A summary of the resource.
Nineteenth-century periodicals were the television of their day. They offered riveting serials, lifestyle recommendations, vivid illustrations by leading artists, and the inevitable advertising. They were shared among readers, who discussed their contents avidly and sometimes read them aloud to local audiences. <br /><em>All the Year Round: Exploring the Nineteenth-Century Periodical</em> tells the story of the rise of the British periodical. The exhibition charts the rapid expansion of periodical publication from the early years of the nineteenth century, when writers like Lord Byron and John Keats were reviewed and reviled, to the last decades of Queen Victoria’s reign, when ‘decadent’ journals caused controversy, the <em>Boy’s Own</em> and <em>Girl’s Own Paper</em> catered to an expanding young readership, and Sherlock Holmes’s appearance in <em>The Strand</em> inspired a devoted following across all classes. <br /><em>All the Year Round</em> takes its title from Charles Dickens’s weekly journal, which reached tens of thousands of readers and featured many of his now classic novels. The exhibition’s strongest presence comes from the satirical London journal <em>Punch</em>, whose columns and cartoons mocked prominent politicians and celebrities and shaped middle-class attitudes. Colonial spinoffs, like <em>Otago Punch</em>, soon spread across the British Empire. While the exhibition primarily features holdings from the University of Otago’s Special Collections and the Hocken Library, it also includes works kindly lent from the Dunedin Public Library and the Olga and Marcus Fitchett Collection. Please enjoy. <br />This exhibition was co-curated by Dr Tom McLean and Dr Grace Moore, both of the English Department, University of Otago
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Title
A name given to the resource
‘Cockney School of Poetry. No. IV’, in Blackwood’s Edinburgh Magazine, Vol. III, no. XVII
Creator
An entity primarily responsible for making the resource
Z. [John Gibson Lockhart]
Date
A point or period of time associated with an event in the lifecycle of the resource
August, 1818
Identifier
An unambiguous reference to the resource within a given context
Storage Journal AP4 B53
Type
The nature or genre of the resource
Periodicals
Publisher
An entity responsible for making the resource available
Edinburgh: William Blackwood
Abstract
A summary of the resource.
Today, John Keats is a bright star in the poetic constellation. However, in his lifetime he was considered part of the ‘Cockney School’, a group of writers associated with the weekly paper the<em> Examiner </em>and its editor Leigh Hunt. John Gibson Lockhart produced a series of articles for <em>Blackwood’s Edinburgh Magazine</em> mocking the Cockney School, and his arrogant critique of Keats was particularly vicious. Noting Keats’s previous employment, Lockhart wrote, “It is a better and wiser thing to be a starved apothecary than a starved poet; so back to the shop Mr John’. Another journal, the <em>Quarterly Review</em>, also attacked Keats, leading poet Percy Shelley to claim (falsely) in his 1821 elegy <em>Adonais</em> that harsh reviews had doomed his friend.
Victorian Periodical
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147d4c396a3296dd16e1c902a96fc9bc
Dublin Core
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Title
A name given to the resource
A Letterpress Legacy: The Dartmouth College Book Arts Workshop. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date Created
Date of creation of the resource.
8 August, 2016
Contributor
An entity responsible for making contributions to the resource
Dartmouth Book Arts Workshop; Special Collections, University of Otago
Abstract
A summary of the resource.
In 1936, Ray Nash (1905-1982), an American graphic-arts historian and calligraphy expert, established a hand press in the Baker Library, Dartmouth College, Hanover, New Hampshire. The Graphic Arts Workshop, as it was called then, with the imprint of The Baker Library Press, ran for some 25 years. Teaching, instruction and discussion were all part of the print programme. In 1989, three Nash students - Mark Lansburgh, Roderick D. Stinehour, and Edward Connery Lathem - re-established the Workshop. This initiative was aided by the kindness of the Kenneth and Harle Montgomery Endowment that not only provided funding to re-establish the workshop in the Baker Library but also the support for a Fellow in the Book Arts. Today the Workshop provides students with access to a letterpress studio and a bookbinding studio. There they can mix inks, create posters and cards, and learn how to set type and bind a book. In the spirit of Nash and his students, the Workshop is open to all Dartmouth students and the Dartmouth community after they complete an orientation session.
In 2015, Dartmouth College celebrated the Workshop’s 25th Anniversary with an exhibition entitled: ‘The Secret Revealed. The Books Arts Workshop at 25 Years’. This exhibition showcased a selection of print and book arts materials produced by students and staff at Dartmouth over the years. To celebrate the University of Otago’s association with Dartmouth College through the Matariki Network*, this exhibition highlights a small selection of materials borrowed from Dartmouth’s Books Arts Workshop and Rauner Special Collections Library. Please enjoy.
*The Matariki Network of Universities (MNU) is an international group of seven universities that focuses on strong links between research and undergraduate teaching. Alongside the University of Otago, the other six are Durham University; Queen’s University; University of Tübingen; University of Western Australia; Uppsala University; and Dartmouth College.
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Title
A name given to the resource
‘Dave the Potter’ broadside
Creator
An entity primarily responsible for making the resource
Printed by Jennifer Evans
Date
A point or period of time associated with an event in the lifecycle of the resource
c. 2013
Identifier
An unambiguous reference to the resource within a given context
Dartmouth Book Arts Workshop
Type
The nature or genre of the resource
Broadsides
Publisher
An entity responsible for making the resource available
___
Abstract
A summary of the resource.
The African and African American Studies (AAAS) Programme at Dartmouth College originated in 1969, making it one of the oldest programs of its kind in the United States. AAAS 82 is a specific course focussing on the work of David Drake, a South Carolinian slave who made some of the largest ceramic storage vessels of this region, signing them and etching sayings and poems onto them as well. Students are encouraged to respond creatively to the content of the course. Jennifer Evans, an international student from Wales, produced her ‘Dave the Potter’ broadside, subtitling it ‘Slavery between Pots and Poems’. During her time at Dartmouth Evans also enrolled in first-year writing, Russian language, and psychology.
Dartmouth College Book Arts
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
1132
Height
952
Bit Depth
8
Channels
3
IPTC String
date_created:15.05.2012
IPTC Array
a:1:{s:12:"date_created";s:10:"15.05.2012";}
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Title
A name given to the resource
Charting the Land on the Ocean: Pacific Exploration, 1520-1876. Online exhibition
Description
An account of the resource
On 28 November 1520, Magellan sailed through the straits that would bear his name into the great expansive waters he dubbed ‘Mar Pacifico’. His venture opened up the exploration of the southern seas, a vast tract of water with numerous islands dotted about, most uncharted. Politically and commercially-driven expeditions then began that put shape to continents and the (re-) discovery of these islands. Notable first explorers included Mendaña de Neira, Sir Francis Drake, Abel Tasman, William Dampier, Samuel Wallis and Philip Carteret; the latter two discovering Tahiti and Pitcairn respectively.
Scientific expeditions began with Bougainville and Cook, each aided by the improvements in navigational equipment, and with institutional backing that employed a full contingent of artists, draughtsmen and botanists to help record and collect.
Cook travelled hundreds of miles throughout the Pacific in the course of his three voyages. By the time of his death in 1779, the map of the Pacific was practically as it is now. It is no wonder that La Pérouse (1785) once said: ‘Cook had left me nothing but to admire.’
Other voyages of exploration then followed, including those commanded by Malaspina (1789), d’Entrecasteaux (1791), Kotzebue (1815-18; 1825-26), Freycinet (1817-20), Dumont d’Urville, and the later United States Exploring Expedition.
The exhibition ‘Charting the Land on the Ocean: Pacific Exploration, 1520-1876’ features books and maps found in the Hocken Collections, the Science Library and Special Collections, University of Otago. Although the exhibition is by necessity selective, three goals are paramount: to highlight through their publications the brave endeavours of these explorers; to reveal the steady charting of the Pacific; and to remind everyone that these resources do exist, and can be viewed, touched, read, and enjoyed.
Contributor
An entity responsible for making contributions to the resource
Various collectors
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Title
A name given to the resource
‘Death of Cook’, in Gentleman’s Magazine, 1 January 1780
Abstract
A summary of the resource.
This is the first notification in the English press of Captain Cook’s death in Hawaii, 14 February 1779. He travelled hundreds of miles throughout the Pacific in the course of his three voyages. By the time of his death, the map of the Pacific was practically as it is now. It is no wonder that La Pérouse (1785) once said: ‘Cook had left me nothing but to admire.’
Creator
An entity primarily responsible for making the resource
___
Publisher
An entity responsible for making the resource available
Gentleman’s Magazine
Date
A point or period of time associated with an event in the lifecycle of the resource
1 January 1780
Identifier
An unambiguous reference to the resource within a given context
de Beer Eb 1731 G
Pacific
-
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bc12bc49c07cfa12f0c78a4aa8ab3f9d
Dublin Core
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Title
A name given to the resource
The World of Joseph W. Mellor (1869-1938): Chemist, Ceramicist & Cartoonist. Online exhibition.
Date Created
Date of creation of the resource.
9th January 2015
Description
An account of the resource
Joseph William Mellor (1869-1938) was an Otago graduate who became a ceramicist, a cartoonist, and, more importantly, a famous chemist. Indeed, his single-handed effort to complete his 16 volume definitive work <em>A Comprehensive Treatise on Inorganic and Theoretical Chemistry</em> (1922-1937), which amounted to over 15,000 pages and 16 million words, has never been equalled. From very humble beginnings and self-initiated study, Mellor obtained a place at the University of Otago, and then won a scholarship to study for a research degree at Owens College, Manchester. He then moved to Stoke-on-Trent, where he became principal of the Technical College (now part of Staffordshire University). During the First World War, Mellor's research was directed towards refractories, high-temperature ceramics relevant to the steel industry and thus the war effort. It was for this work that he was offered a peerage, which he turned down. In 1927 he was elected to the Royal Society for work related to ceramics, the only other being Josiah Wedgwood in the eighteenth century. Mellor retained a boyish sense of humour all his life, and he was dubbed by colleagues the 'Peter Pan of Ceramics'. He was also a skilled cartoonist and his <em>Uncle Joe’s Nonsense</em> (1934) contains a collection of humorous stories illustrated with clever pen sketches. Just before Mellor died in May 1938, he received a C.B.E. <br /><br /><em>The World of Joseph W. Mellor (1869-1938) Chemist, Ceramicist & Cartoonist</em> is an exhibition that highlights Mellor’s life, work and legacy. It begins with his early years in Kaikorai Valley and first work at Sargood's Boot Factory, and his study at the University of Otago. It then deals with his marriage to Emma Cranwell Bakes, his many publications and relationships with his publishers, his contemporaries and friends such as Bernard Moore, Frank Wedgwood, and Louis Solon, and his involvement in various ceramic societies world-wide. And then there is his legacy, which constitutes today annual memorial lectures associated with the Ceramic Society in England and the Wellington Branch of the New Zealand Institute of Chemistry, a Mellor Professorship at the University of Otago, and a Mellor street and park in the suburb of Kaikorai Valley, Dunedin. His personal archives, ceramics and books are found at Special Collections, University of Otago, the Otago Museum, and the Heritage Collection, Dunedin Public Library.
Contributor
An entity responsible for making contributions to the resource
Various collectors
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Creator
An entity primarily responsible for making the resource
[Evening Sentinel?]
Date
A point or period of time associated with an event in the lifecycle of the resource
[1938]
Identifier
An unambiguous reference to the resource within a given context
Mellor Papers, Box 10, folder 1
Type
The nature or genre of the resource
Newspapers
Publisher
An entity responsible for making the resource available
[Stoke-on-Trent: <em>Evening Sentinel</em>]
Abstract
A summary of the resource.
The obituary for Dr Joseph William Mellor that appeared in the <em>Evening Sentinel</em>, Staffordshire, 1938.
Title
A name given to the resource
‘Death of Dr. J.W. Mellor’
cartoons
ceramics
inorganic chemistry
Joseph Mellor
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Title
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500 Years On: Martin Luther and the Protestant Reformation. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date Created
Date of creation of the resource.
15th March 2017
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Hewitson Library, Knox College; various
Abstract
A summary of the resource.
Martin Luther (1483-1546) was a friar and Professor of Theology at the University of Wittenberg, Germany. While undertaking scriptural studies, Luther arrived at an essential tenet: the Bible alone was the source to salvation and true Christianity. Luther rejected the authority of the Pope, and thought that people should go to the church and pray, directly to God or Jesus, and not to anyone who claimed special powers or holiness. On 31st October 1517, All Saints’ Day eve, an occasion that attracted many pilgrims to the city, Luther is said to have nailed 95 theses to the church door. These disputations, in Latin, were a provocative attack on indulgences, which he saw as a money-making scheme by the Church. Initially posted to generate scholarly debate, the theses marked a beginning on the Reformation timeline. Importantly, it was not only the theses that sparked the revolution; the time was ripe for action. <br />Luther was a preacher with a prolific publication output. He utilised the relatively new technology of printing to disseminate his works, many slender tracts (<em>flugschrift</em>) and sermons written in German, to a wider audience. Supporters helped, including Philip Melanchthon and Frederick the Wise, Elector of Saxony. And of course there were his opponents such as Johannes Cochlaeus, who wrote the first biography on him, and Emperor Charles V. The Papal authorities saw Luther as a ‘notorious heretic’, and he was excommunicated at the Diet of Worms in 1521. <br />This exhibition, <em>500 Years On. Martin Luther and the Protestant Reformation</em>, is a celebratory one that not only acknowledges Luther’s provocative action back in October 1517, but also the result, the spread of Reform that followed across Europe. The major players in this drama include Huldrych Zwingli, John Calvin, John Knox, and Henry VIII, who was instrumental in starting the English Reformation. There was also the inevitable back-lash, those involved in the ‘Catholic’ Counter Reformation. On-going Catholic and Protestant differences resulted in the wholesale persecution of various sects, the English Civil War, and internal religious and social strife throughout many European countries. Luther’s legacy continues to impact the world today. <br />Thanks to the Department of Theology and Religion, especially Professor Murray Rae, the Rev Dr Peter Matheson, and Dr Brett Knowles
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Title
A name given to the resource
‘Der Schalksnarr’ [The Fool], 1540. Facsimile from Flugblatter der Reformation und des Bauernfrieges
Creator
An entity primarily responsible for making the resource
Heinrich Vogtherr the Younger
Date
A point or period of time associated with an event in the lifecycle of the resource
1975
Identifier
An unambiguous reference to the resource within a given context
Private Collection
Type
The nature or genre of the resource
Broadsheets
Publisher
An entity responsible for making the resource available
Leipzig: Insel-Verlag Anton Kippenberg
Abstract
A summary of the resource.
Very little is known about the life of Heinrich Vogtherr the Younger (1513-1568), except for the fact that his father was an artist who studied under Hans Burgkmair; he was once associated with the artist Bruegel; and he entered the Augsburg painters’ guild in 1541. Images of jesters and fools were common subjects and here is Vogtherr’s most striking – and colourful – depiction of a fool, ‘cocking a snoot’ at the authorities.
Martin Luther
Protestant Reformation
-
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22128b04413a56cb188444a7009dbfac
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
500 Years On: Martin Luther and the Protestant Reformation. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date Created
Date of creation of the resource.
15th March 2017
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Hewitson Library, Knox College; various
Abstract
A summary of the resource.
Martin Luther (1483-1546) was a friar and Professor of Theology at the University of Wittenberg, Germany. While undertaking scriptural studies, Luther arrived at an essential tenet: the Bible alone was the source to salvation and true Christianity. Luther rejected the authority of the Pope, and thought that people should go to the church and pray, directly to God or Jesus, and not to anyone who claimed special powers or holiness. On 31st October 1517, All Saints’ Day eve, an occasion that attracted many pilgrims to the city, Luther is said to have nailed 95 theses to the church door. These disputations, in Latin, were a provocative attack on indulgences, which he saw as a money-making scheme by the Church. Initially posted to generate scholarly debate, the theses marked a beginning on the Reformation timeline. Importantly, it was not only the theses that sparked the revolution; the time was ripe for action. <br />Luther was a preacher with a prolific publication output. He utilised the relatively new technology of printing to disseminate his works, many slender tracts (<em>flugschrift</em>) and sermons written in German, to a wider audience. Supporters helped, including Philip Melanchthon and Frederick the Wise, Elector of Saxony. And of course there were his opponents such as Johannes Cochlaeus, who wrote the first biography on him, and Emperor Charles V. The Papal authorities saw Luther as a ‘notorious heretic’, and he was excommunicated at the Diet of Worms in 1521. <br />This exhibition, <em>500 Years On. Martin Luther and the Protestant Reformation</em>, is a celebratory one that not only acknowledges Luther’s provocative action back in October 1517, but also the result, the spread of Reform that followed across Europe. The major players in this drama include Huldrych Zwingli, John Calvin, John Knox, and Henry VIII, who was instrumental in starting the English Reformation. There was also the inevitable back-lash, those involved in the ‘Catholic’ Counter Reformation. On-going Catholic and Protestant differences resulted in the wholesale persecution of various sects, the English Civil War, and internal religious and social strife throughout many European countries. Luther’s legacy continues to impact the world today. <br />Thanks to the Department of Theology and Religion, especially Professor Murray Rae, the Rev Dr Peter Matheson, and Dr Brett Knowles
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Title
A name given to the resource
‘Der Teufel mit der Sackpfeife’ [The Devil playing the Bagpipe], [Nuremberg], 1535. Facsimile from Flugblatter der Reformation und des Bauernfrieges
Creator
An entity primarily responsible for making the resource
Erhard Schön
Date
A point or period of time associated with an event in the lifecycle of the resource
1975
Identifier
An unambiguous reference to the resource within a given context
Private Collection
Type
The nature or genre of the resource
Broadsheets
Publisher
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Leipzig: Insel-Verlag Anton Kippenberg
Abstract
A summary of the resource.
The Nuremberg artist Erhard Schön (1491–1542) was a pupil of Albrecht Dürer. When he adopted Lutheranism in the 1520s, he began designing woodcuts for anti-Catholic books and broadsheets. This is one of his most well-known satirical efforts, the devil playing the monk – with bagpipes (wind) featuring. Like cartoons today, this rather grotesque image was designed to amuse and enrage.
Martin Luther
Protestant Reformation
-
https://ourheritage.ac.nz/files/original/10116889c0b9e2ad4de6ad08c43b0ba3.jpg
977acf332c71e9abb2870fe04e71384f
Dublin Core
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Title
A name given to the resource
By Land & By Sea: Scientific Expedition Reports in Special Collections from 1826 to the 1960s. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date Created
Date of creation of the resource.
17th November, 2015
Abstract
A summary of the resource.
Rich with photographs, colourful plates, scientific descriptions, anthropological and geographical observations, and general insights into expeditionary life, the Scientific Expedition Reports, housed in the University of Otago’s Special Collections, are a veritable mine of information. From the Arctic to the Antarctic, from Uganda to Patagonia, the earliest of the reports dates from D’Urville’s expedition in the <em>Astrolabe</em> from 1826 to 1829, published in 1832; the latest are from the University of Canterbury Snares Islands expeditions beginning in the 1960s. Men and women from New Zealand, Australia, Norway, France, Sweden, America, the United Kingdom, Canada, Denmark, China, Egypt and many more countries besides, have travelled the world by land and by sea in the name of science and exploration and have documented the results in these scientific reports. Many of the scientific observations made and specimens taken are still being researched today and despite the treacherous conditions and ever present risks, most members of these expeditionary parties returned alive. The Scientific Expedition Reports in Special Collections are a testament to and a record of humankind’s insatiable desire for knowledge.
Contributor
An entity responsible for making contributions to the resource
Various
Dublin Core
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Title
A name given to the resource
‘Distribution of southern right whales on the Auckland Islands calving grounds’ from New Zealand Journal of Marine and Freshwater Research, Vol. 46, no. 3
Creator
An entity primarily responsible for making the resource
W. Rayment, et al.
Date
A point or period of time associated with an event in the lifecycle of the resource
September, 2012
Identifier
An unambiguous reference to the resource within a given context
Onlline
Type
The nature or genre of the resource
Journal article
Publisher
An entity responsible for making the resource available
New Zealand Journal of Marine and Freshwater Research
Abstract
A summary of the resource.
The southern right whale (<em>Eubalaena australis</em>) population around New Zealand was almost annihilated during the commercial whaling boom of the 18th and 19th centuries. Numbers are slowly increasing and there are now about 2000 in New Zealand waters. In the winter of 2011, the Marine Science Department of the University of Otago visited the Auckland Islands, aboard RV <em>Polaris II</em>, to conduct ‘the first systematic line-transect survey of potential right whale calving habitat’ (Rayment, et al., 2012). This article is the culmination of the research conducted.
Scientific Expeditions
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https://ourheritage.ac.nz/files/original/0a64f2a3916a649d32bd9b8374b8ddff.jpg
3d22a2856e527cd427d17dc8c9cd621d
Dublin Core
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Title
A name given to the resource
By Land & By Sea: Scientific Expedition Reports in Special Collections from 1826 to the 1960s. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date Created
Date of creation of the resource.
17th November, 2015
Abstract
A summary of the resource.
Rich with photographs, colourful plates, scientific descriptions, anthropological and geographical observations, and general insights into expeditionary life, the Scientific Expedition Reports, housed in the University of Otago’s Special Collections, are a veritable mine of information. From the Arctic to the Antarctic, from Uganda to Patagonia, the earliest of the reports dates from D’Urville’s expedition in the <em>Astrolabe</em> from 1826 to 1829, published in 1832; the latest are from the University of Canterbury Snares Islands expeditions beginning in the 1960s. Men and women from New Zealand, Australia, Norway, France, Sweden, America, the United Kingdom, Canada, Denmark, China, Egypt and many more countries besides, have travelled the world by land and by sea in the name of science and exploration and have documented the results in these scientific reports. Many of the scientific observations made and specimens taken are still being researched today and despite the treacherous conditions and ever present risks, most members of these expeditionary parties returned alive. The Scientific Expedition Reports in Special Collections are a testament to and a record of humankind’s insatiable desire for knowledge.
Contributor
An entity responsible for making contributions to the resource
Various
Dublin Core
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Title
A name given to the resource
‘Elephant Seals of Campbell Island’ from Cape Expedition, Scientific Results of the New Zealand Sub-Antarctic Expedition, 1941-45. No. 6
Creator
An entity primarily responsible for making the resource
J.H. Sorenson
Date
A point or period of time associated with an event in the lifecycle of the resource
1950
Identifier
An unambiguous reference to the resource within a given context
Expedition Reports Q115 C36 1941
Type
The nature or genre of the resource
Pamphlets
Publisher
An entity responsible for making the resource available
Wellington: DSIR
Abstract
A summary of the resource.
As well as ‘keeping an eye out’ for German warships, the expedition teams on Campbell and Auckland Islands provided daily weather reports while collecting scientific data on the environment and wildlife. Naturalist Jack Sorensen recorded information on the elephant seals of Campbell Islands. His paper was published by the Cape Expedition Reports Committee in 1950. Numbers of elephant seals had been greatly depleted in the islands of the Southern Pacific Ocean during the height of the sealing industry in the 19th century. However in the early 1940s Sorensen found that the population on Campbell Island had recovered somewhat – ‘So plentiful are the animals now…that the shores are never entirely deserted’.
Scientific Expeditions
-
https://ourheritage.ac.nz/files/original/4300e85bc4c211153db9602aee9a58e0.jpg
13f96e53e0bb74b4d8e7b21f20057a5f
Dublin Core
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Title
A name given to the resource
1869: The Year that Was
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date
A point or period of time associated with an event in the lifecycle of the resource
September 2019
Contributor
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Curated by Romilly Smith and Dr Donald Kerr, University of Otago Special Collections, Hocken Library
Abstract
A summary of the resource.
On 3 June <strong>1869</strong>, the University of Otago Ordinance <strong>1869</strong> became law. This meant that the newly established University became a corporate body with power to grant degrees. This was a significant first for New Zealand. Two years later, with a building secured, and three professors appointed, classes began. The first class was on 10 July 1871, with 81 students enrolled. The University of Otago’s rich history continues today. Its establishment and legacy form part of this exhibition <em><strong>1869</strong>: The Year That Was</em>.<br /><br />Of course, other events occurred in<strong> 1869</strong>, forming a then unwritten but much wider history. While the University Council were debating the administrational matters necessary to make the newly formed educational institution work, events were occurring on a local and international level. Each had their own particular impact. Some of the events of <strong>1869</strong> that feature in the exhibition include the formation of the Otago Institute; the first Fine Arts Exhibition in New Zealand; the first ‘Royal’ visit to New Zealand; the introduction of the New Zealand Cross; the births of Rasputin, Emma Goldman, and Gandhi; the opening of the Suez Canal; and the formation of Dmitry Ivanovich Mendeleev’s periodic table. Tolstoy’s <em>War and Peace</em> was published in 1869, as was Louisa May Alcott’s <em>Little Women</em>.<br /> Please enjoy <em><strong>1869</strong>, The Year That Was.</em>
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Title
A name given to the resource
‘Entrance archway to the University of Otago’
Creator
An entity primarily responsible for making the resource
Edmund Anscombe
Date
A point or period of time associated with an event in the lifecycle of the resource
1912
Identifier
An unambiguous reference to the resource within a given context
Hocken Pictorial Collection
Type
The nature or genre of the resource
Paintings
Publisher
An entity responsible for making the resource available
Unpublished
Abstract
A summary of the resource.
In 1911, Edmund Anscombe (1874–1948) was appointed university architect, a post he held until 1929. He was an active, busy architect. Some of his local works included extensions to Maxwell Bury’s work, Allen Hall (1914), the Domestic Science building (1918), the Physics building (1922), Marama Hall (1923), the Dental school (1924), and the Medical school (1927). In 1929, he moved to Wellington and continued working, most notably for the 1940 New Zealand Centennial Exhibition. Anscombe had a major impact on architectural design in New Zealand. While in Dunedin, he worked on the clocktower complex, specifically the Archway Building. This watercolour image is attributed to his early years, in 1912.
University of Otago
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https://ourheritage.ac.nz/files/original/c93fca5e2bcfd20b47339c84102a47e2.jpg
ced34f07865e04d81ac36f91ace61e54
Dublin Core
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Title
A name given to the resource
All the Year Round: Exploring the Nineteenth-Century Periodical. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
6th June, 2018
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Dunedin Public Library
Abstract
A summary of the resource.
Nineteenth-century periodicals were the television of their day. They offered riveting serials, lifestyle recommendations, vivid illustrations by leading artists, and the inevitable advertising. They were shared among readers, who discussed their contents avidly and sometimes read them aloud to local audiences. <br /><em>All the Year Round: Exploring the Nineteenth-Century Periodical</em> tells the story of the rise of the British periodical. The exhibition charts the rapid expansion of periodical publication from the early years of the nineteenth century, when writers like Lord Byron and John Keats were reviewed and reviled, to the last decades of Queen Victoria’s reign, when ‘decadent’ journals caused controversy, the <em>Boy’s Own</em> and <em>Girl’s Own Paper</em> catered to an expanding young readership, and Sherlock Holmes’s appearance in <em>The Strand</em> inspired a devoted following across all classes. <br /><em>All the Year Round</em> takes its title from Charles Dickens’s weekly journal, which reached tens of thousands of readers and featured many of his now classic novels. The exhibition’s strongest presence comes from the satirical London journal <em>Punch</em>, whose columns and cartoons mocked prominent politicians and celebrities and shaped middle-class attitudes. Colonial spinoffs, like <em>Otago Punch</em>, soon spread across the British Empire. While the exhibition primarily features holdings from the University of Otago’s Special Collections and the Hocken Library, it also includes works kindly lent from the Dunedin Public Library and the Olga and Marcus Fitchett Collection. Please enjoy. <br />This exhibition was co-curated by Dr Tom McLean and Dr Grace Moore, both of the English Department, University of Otago
Dublin Core
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Title
A name given to the resource
‘Expedition Sketches – No.1’ in Dunedin Punch
Creator
An entity primarily responsible for making the resource
The Punch Office
Date
A point or period of time associated with an event in the lifecycle of the resource
26 August 1865
Identifier
An unambiguous reference to the resource within a given context
Hocken Periodicals Pun
Type
The nature or genre of the resource
Periodical
Publisher
An entity responsible for making the resource available
Dunedin: The Punch Office
Abstract
A summary of the resource.
The great success of <em>Punch, or the London Charivari</em> led to many imitations. The best-known in the Southern hemisphere was the <em>Melbourne Punch</em> (1855-1928), which, like its London counterpart, also circulated in New Zealand. Regional versions appeared in Auckland (1868-1869), New Plymouth (1860), Canterbury (1865-1866), Wellington (1868), and Dunedin (1865-1867). There was also a <em>New Zealand Punch</em> (1898-1900). The magazine covered a mixture of local and national issues, particularly politics. Featured here is a parody of the journalist, politician, and explorer Vincent Pyke’s West Coast Expedition to discover a route from Lake Wanaka to the West Coast. Pyke is pictured astride a moa, since he was known for his theories relating to its extinction (he was to publish a pamphlet on the topic in 1890).
Victorian Periodical
-
https://ourheritage.ac.nz/files/original/87db93c944869ffa07767ef3ff631ca1.jpg
f4f4e46eefd13c0d75868003945925e0
Dublin Core
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Title
A name given to the resource
Aliens, Androids, & Unicorns: The Hal Salive Science Fiction and Fantasy Collection. Online exhibition
Abstract
A summary of the resource.
In 1952, Harold Terrence Salive (1939-2012) read one of Groff Conklin’s <em>Science Fiction</em> (SF) anthologies and he was hooked. Two years later, aged 15, he started ‘hoarding’ copies of <em>Astounding Stories</em>, which first appeared in January 1930. A stint in the army (1957) and study at the University of Michigan at Ann Arbor, where in 1972 he graduated with a PhD in experimental psychology, solidified his passion for collecting. Salive’s collecting got serious in 1967. He began attending SF Fairs; he corresponded with various SF book dealers; received numerous catalogues from which he could buy books and magazines; and he joined fan groups such as the National Fantasy Fan Federation (N3F), and Science Fiction Newsletter. In 1972 Salive moved to Auckland, New Zealand, where he worked as a lecturer (non-medical) in Psychiatry at Auckland Medical School. He was also a consultant for Digital Equipment Corporation (DEC) and started developing graphic programmes for Commodore 64 personal computers under his own company, Kiwisoft Programs Ltd. In 1977 he had married his second wife, Rachel. Salive continued to attend SF Fairs, and extended collecting interests to include gaming, writing SF stories, and teaching courses on the history of SF. In 2005, he moved to Waikanae, built purpose-made bookshelves to house his collection of 2500 items, and started to catalogue them. The Salive Collection consists of both SF and Fantasy. Van Vogt was a favourite, as was Samuel Delany. He collected early issues of <em>Astounding Stories</em>, and the continuance <em>Analog Science Fiction and Fact.</em> Fantasy authors who feature include C.J Cherryh, Jack L. Chalker, Poul Anderson, and Piers Anthony. There is no Tolkien, and only one Ray Bradbury title. In March 2013 Rachel Salive donated the Hal Salive Science Fiction and Fantasy Collection to Special Collections, University of Otago. It is a lasting legacy to a fine collector.
Contributor
An entity responsible for making contributions to the resource
Special Collections - University of Otago
Date Created
Date of creation of the resource.
2nd March, 2015
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Creator
An entity primarily responsible for making the resource
Hal Salive
Date
A point or period of time associated with an event in the lifecycle of the resource
January 2005
Identifier
An unambiguous reference to the resource within a given context
Hal Salive Science Fiction and Fantasy Collection, University of Otago Library Special Collections
Type
The nature or genre of the resource
Photocopies
Publisher
An entity responsible for making the resource available
Unpublished
Abstract
A summary of the resource.
Another extension to Salive’s collecting SF and Fantasy books was teaching. Over the years, he developed courses and offered them to groups such as the University of the Third Age (U3A). The five week ‘Exploring Science Fiction’ course was no doubt a distillation of all he knew about SF and Fantasy, and it ranged in content from the usual definitions and pre-1900 writers such as Sir Thomas More (<em>Utopia</em>) and Jules Verne (<em>Voyage to the Centre of the Earth</em>), to hard SF writers such as Asimov, Heinlein and Clarke, and movie and television phenomenon such as <em>Star Trek</em> and Sakaguchi’s <em>The Spirits Within</em> (2001). He also included rules for writing SF stories and the technologies and realities surrounding the worlds of SF and Fantasy.
Title
A name given to the resource
‘Exploring Science Fiction Course Outline’
Fantasy
Hal Salive
Science Fiction
-
https://ourheritage.ac.nz/files/original/d99daa344d4e6bf3ae5bb359b75e073d.jpg
5772191e1ebb3bdfac0c6ecbae182f4b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
All the Year Round: Exploring the Nineteenth-Century Periodical. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
6th June, 2018
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Dunedin Public Library
Abstract
A summary of the resource.
Nineteenth-century periodicals were the television of their day. They offered riveting serials, lifestyle recommendations, vivid illustrations by leading artists, and the inevitable advertising. They were shared among readers, who discussed their contents avidly and sometimes read them aloud to local audiences. <br /><em>All the Year Round: Exploring the Nineteenth-Century Periodical</em> tells the story of the rise of the British periodical. The exhibition charts the rapid expansion of periodical publication from the early years of the nineteenth century, when writers like Lord Byron and John Keats were reviewed and reviled, to the last decades of Queen Victoria’s reign, when ‘decadent’ journals caused controversy, the <em>Boy’s Own</em> and <em>Girl’s Own Paper</em> catered to an expanding young readership, and Sherlock Holmes’s appearance in <em>The Strand</em> inspired a devoted following across all classes. <br /><em>All the Year Round</em> takes its title from Charles Dickens’s weekly journal, which reached tens of thousands of readers and featured many of his now classic novels. The exhibition’s strongest presence comes from the satirical London journal <em>Punch</em>, whose columns and cartoons mocked prominent politicians and celebrities and shaped middle-class attitudes. Colonial spinoffs, like <em>Otago Punch</em>, soon spread across the British Empire. While the exhibition primarily features holdings from the University of Otago’s Special Collections and the Hocken Library, it also includes works kindly lent from the Dunedin Public Library and the Olga and Marcus Fitchett Collection. Please enjoy. <br />This exhibition was co-curated by Dr Tom McLean and Dr Grace Moore, both of the English Department, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
‘Far From the Madding Crowd’ in The Cornhill Magazine
Creator
An entity primarily responsible for making the resource
Thomas Hardy
Date
A point or period of time associated with an event in the lifecycle of the resource
April 1874
Identifier
An unambiguous reference to the resource within a given context
Storage Journal AP 4 C67 V.29
Type
The nature or genre of the resource
Periodical
Publisher
An entity responsible for making the resource available
London: Smith, Elder & Co
Abstract
A summary of the resource.
<p class="Normal1">In 1874, when Thomas Hardy’s <em>Far from the Madding Crowd</em> was published in the<em> Cornhill Magazine</em>, readers were shocked at some of the work’s sexually explicit scenes. Although the <em>Cornhill </em>received complaints, Hardy’s work continued to be in demand. The twelve illustrations accompanying the tale were by Helen Paterson Allingham, a watercolourist whose work also appeared in the<em> Graphic</em>. The scene depicted here shows the farmer William Boldwood on the verge of proposing to the novel’s complex heroine, Bathsheba Everdene.</p>
Victorian Periodical
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
Width
4480
Height
3417
Bit Depth
8
Channels
3
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Title
A name given to the resource
Botany: Our Heritage, Our Future. A Celebration of Teaching and Research at the University of Otago. Online Exhibition
Description
An account of the resource
Botany is a 21st century subject built on a rich heritage contributed to and developed by many. Although botany was taught at the University of Otago from the outset, it was in 1924 that the Botany Department was established, with the appointment of Dr J. E. Holloway. From his one ‘all-purpose’ room Holloway instructed others in the subject that involves the scientific study of plant life. After Holloway’s retirement in 1944, a number of dedicated staff kept the department functioning until 1946 when Geoff Baylis arrived as Head of the Department (HoD). He became the first Professor of Botany in 1952. Baylis was replaced by Professor Peter Bannister in 1979, who was HoD until 2003, when Associate Professor Paul Guy took over. Professor Bastow Wilson replaced Guy as HoD in 2008. Professor Jim Simpson became HoD in 2010, and Professor Katharine Dickinson in 2011.
Since 1924, students have been exposed to all aspects of the life of plants, algae, fungi, and other closely related organisms. Today’s student engages in a subject that is now multidisciplinary, covering the gene to the ecosystem, and from the mountains to the sea. Of course the Department’s achievements are due to all staff: the technicians, the administrators, and the academics, and each have contributed greatly to the excellence in teaching and research that has been afforded to students, and more broadly to the general public, over many years. The Department is also very appreciative of the significant contributions made by its Emeritus and Honorary Professors, and other research associates.
This exhibition celebrates the 90th anniversary of the formation of the Botany Department at the University of Otago, which remains the only university Department of Botany in New Zealand. The Department is very proud of its heritage, and in looking ahead, considers Botany to be essential to society’s needs more than ever. Indeed, knowledge about plants is fundamental to our survival.
Contributor
An entity responsible for making contributions to the resource
Various Collectors
Dublin Core
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Abstract
A summary of the resource.
Field notes of the Reverend Dr John Ernest Holloway FRS (1881-1945).
Creator
An entity primarily responsible for making the resource
J. E. Holloway
Publisher
An entity responsible for making the resource available
Unpublished
Date
A point or period of time associated with an event in the lifecycle of the resource
1904
Identifier
An unambiguous reference to the resource within a given context
Private Collection
Title
A name given to the resource
‘Field Notes – Botany’
Botany
Botany online exhibition
-
https://ourheritage.ac.nz/files/original/b42af167a81fb79694abf594f114ef44.jpg
b4a35f930c26d896b447f759b9dc1e9c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
All the Year Round: Exploring the Nineteenth-Century Periodical. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
6th June, 2018
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Dunedin Public Library
Abstract
A summary of the resource.
Nineteenth-century periodicals were the television of their day. They offered riveting serials, lifestyle recommendations, vivid illustrations by leading artists, and the inevitable advertising. They were shared among readers, who discussed their contents avidly and sometimes read them aloud to local audiences. <br /><em>All the Year Round: Exploring the Nineteenth-Century Periodical</em> tells the story of the rise of the British periodical. The exhibition charts the rapid expansion of periodical publication from the early years of the nineteenth century, when writers like Lord Byron and John Keats were reviewed and reviled, to the last decades of Queen Victoria’s reign, when ‘decadent’ journals caused controversy, the <em>Boy’s Own</em> and <em>Girl’s Own Paper</em> catered to an expanding young readership, and Sherlock Holmes’s appearance in <em>The Strand</em> inspired a devoted following across all classes. <br /><em>All the Year Round</em> takes its title from Charles Dickens’s weekly journal, which reached tens of thousands of readers and featured many of his now classic novels. The exhibition’s strongest presence comes from the satirical London journal <em>Punch</em>, whose columns and cartoons mocked prominent politicians and celebrities and shaped middle-class attitudes. Colonial spinoffs, like <em>Otago Punch</em>, soon spread across the British Empire. While the exhibition primarily features holdings from the University of Otago’s Special Collections and the Hocken Library, it also includes works kindly lent from the Dunedin Public Library and the Olga and Marcus Fitchett Collection. Please enjoy. <br />This exhibition was co-curated by Dr Tom McLean and Dr Grace Moore, both of the English Department, University of Otago
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
‘Framley Parsonage’ in The Cornhill Magazine
Creator
An entity primarily responsible for making the resource
Anthony Trollope
Date
A point or period of time associated with an event in the lifecycle of the resource
June 1860
Identifier
An unambiguous reference to the resource within a given context
Storage Journal AP 4 C67 V.29
Type
The nature or genre of the resource
Periodical
Publisher
An entity responsible for making the resource available
London: Smith, Elder & Co
Abstract
A summary of the resource.
In 1859, Anthony Trollope wrote to Thackeray, the founding editor of the<em> Cornhill Magazine</em>, offering his services as a staff writer for the new periodical and suggesting that he might write five short stories. Trollope offered five short stories, but three days later George Smith, the<em> Cornhill’s</em> publisher, wrote back, offering him £1000 in exchange for a three-volume serialized novel. The first part of <em>Framley Parsonage</em> appeared just after Christmas 1859 (officially, the issue was January 1860). With illustrations by John Everett Millais, Trollope’s story of love, gambling, and theft was both eye-catching and compelling. The new magazine sold 120,000 copies in its first week, although figures later settled down to between 80 and 85,000 each week.
Victorian Periodical
-
https://ourheritage.ac.nz/files/original/84255c2d0020893df73927850c6022dc.jpg
70bc9d485511a948740f5c2f5b74e6f7
Dublin Core
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Title
A name given to the resource
All the Year Round: Exploring the Nineteenth-Century Periodical. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
6th June, 2018
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Dunedin Public Library
Abstract
A summary of the resource.
Nineteenth-century periodicals were the television of their day. They offered riveting serials, lifestyle recommendations, vivid illustrations by leading artists, and the inevitable advertising. They were shared among readers, who discussed their contents avidly and sometimes read them aloud to local audiences. <br /><em>All the Year Round: Exploring the Nineteenth-Century Periodical</em> tells the story of the rise of the British periodical. The exhibition charts the rapid expansion of periodical publication from the early years of the nineteenth century, when writers like Lord Byron and John Keats were reviewed and reviled, to the last decades of Queen Victoria’s reign, when ‘decadent’ journals caused controversy, the <em>Boy’s Own</em> and <em>Girl’s Own Paper</em> catered to an expanding young readership, and Sherlock Holmes’s appearance in <em>The Strand</em> inspired a devoted following across all classes. <br /><em>All the Year Round</em> takes its title from Charles Dickens’s weekly journal, which reached tens of thousands of readers and featured many of his now classic novels. The exhibition’s strongest presence comes from the satirical London journal <em>Punch</em>, whose columns and cartoons mocked prominent politicians and celebrities and shaped middle-class attitudes. Colonial spinoffs, like <em>Otago Punch</em>, soon spread across the British Empire. While the exhibition primarily features holdings from the University of Otago’s Special Collections and the Hocken Library, it also includes works kindly lent from the Dunedin Public Library and the Olga and Marcus Fitchett Collection. Please enjoy. <br />This exhibition was co-curated by Dr Tom McLean and Dr Grace Moore, both of the English Department, University of Otago
Dublin Core
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Title
A name given to the resource
‘From Powder Monkey to Admiral’ in The Boy’s Own Paper, Vol. I, no. 9
Creator
An entity primarily responsible for making the resource
W. H. G. Kingston
Date
A point or period of time associated with an event in the lifecycle of the resource
15 March 1879
Identifier
An unambiguous reference to the resource within a given context
Olga and Marcus Fitchett Collection
Type
The nature or genre of the resource
Periodical
Publisher
An entity responsible for making the resource available
London: Boy’s Own Office
Abstract
A summary of the resource.
<p class="Normal1">This early issue of the <em>Boy’s Own Paper</em> (1879-1967) offers insights into the range of diverting material that its publisher, the Religious Tract Society, thought suitable for boy readers. In addition to its weekly serial (in this case by the prolific adventure-writer W.H.G. Kingston), the <em>BOP</em> featured puzzles and games, accounts of sporting achievements, and other articles designed to be morally and spiritually improving. The magazine circulated across the British Empire and became known for its patriotic values.</p>
Victorian Periodical
-
https://ourheritage.ac.nz/files/original/39e93af21d8a055aea88270340055ab6.jpg
7da2bbcba0330e16560b1ac591376e6c
Dublin Core
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Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
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Title
A name given to the resource
‘Goblin Market’ and Other Poems. Second edition
Creator
An entity primarily responsible for making the resource
Christina Rossetti
Date
A point or period of time associated with an event in the lifecycle of the resource
1865
Identifier
An unambiguous reference to the resource within a given context
Special Collections PR5237 G6 1865
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Macmillan and Co.
Abstract
A summary of the resource.
Here is the title page and frontispiece illustration for Rossetti’s second edition <em>Goblin Market</em>, published in 1865. The double-page spread was illustrated by her brother, Dante Gabriel Rossetti.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/e092d5f2c6fe6a5701e324a8d5e92971.jpg
24e607de60531c6f0fbfcad272026939
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Moving to the Left: The Art and Development of the Frontispiece. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections
Date
A point or period of time associated with an event in the lifecycle of the resource
December, 2017
Abstract
A summary of the resource.
What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that this exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. <br /><br />Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s. <br /><br />A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions. The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns, among others. Notable works on display include James Howell’s <em>Londinopolis</em>; <em>An Historicall Discourse</em> (1657); John Evelyn’s <em>Sculptura</em> (1662); Robert Nelson’s <em>A Companion for the Festivals and Fasts of the Church of England</em> (1732); Robert Burton’s <em>The Anatomy of Melancholy</em> (1682); Edward Chamberlayne’s <em>Angliae Notitia: or the Present State of England</em> (1684); and John Milton’s <em>Paradise Lost</em> (1688). Moderns include Lewis Carroll’s <em>The Hunting of the Snark</em> (1903); Selma Lagerlöf’s <em>The Wonderful Adventures of Nils</em> (1950); and Mickey Spillane’s <em>I’ll Die Tomorrow</em> (2009). <br /><br />According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. As you make your way through the exhibition, please consider some of these aspects in the art of the frontispiece.
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago
Dublin Core
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Title
A name given to the resource
‘Goblin Market’ and Selected Poems
Creator
An entity primarily responsible for making the resource
Christina Rossetti
Date
A point or period of time associated with an event in the lifecycle of the resource
2011
Identifier
An unambiguous reference to the resource within a given context
Special Collections; Every effort has been made to trace copyright ownership and to obtain permission for reproduction. If you believe you are the copyright owner of an item on this site, and we have not requested your permission, please contact us at special.collections@otago.ac.nz
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
London: Folio Society
Abstract
A summary of the resource.
Books are often repackaged for a new reading audience. Jillian Tamaki has provided her own modern illustrative interpretation of Christina Rossetti’s <em>‘Goblin Market’ and Selected Poems</em>, providing eleven images throughout the volume. This much lighter illustration was chosen for the frontispiece. Sisters Laura and Lizzie are present, but there is no sign of any evil goblins. This new Folio Society edition was donated to Special Collections by Emeritus Professor Colin Gibson.
Engravings
Frontispieces
-
https://ourheritage.ac.nz/files/original/893c916900ad82c185dd333f59fd9267.jpg
6f77e034f715fb68793afdf2ba58b782
Dublin Core
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Title
A name given to the resource
Parlez-vous français? Celebrating France and the French. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date Created
Date of creation of the resource.
7th September, 2017
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Central Library, University of Otago; Private Collections
Abstract
A summary of the resource.
‘Tout homme a deux pays, le sien et puis la France’ (‘Every man has two countries - his own and France.’) – Charlemagne, in Henri de Bornier’s La Fille de Roland (1875) <br /><br />The Republic of France extends from the Mediterranean (Marseilles) to the English Channel (St Brieux) and North Sea (Calais); from the Rhine (near Besançon) to the Atlantic Ocean (Bordeaux). It also takes in areas such as French Guiana and Guadeloupe. ‘France’ today is formed by 18 regions; some 643,801 square kilometres. The country is broken down to 102 <em>départements</em> (like Bourgogne-Franche-Comté, Normandy, and Brittany) that are divided into <em>communes</em>, which in 2013, numbered 36,681 (Paris, the country’s capital city, is a <em>commune </em>as well as a <em>département</em>). In 2017, the population of France and its overseas regions was almost 67 million. Diversity reigns within this wide urban and rural spread: social and religious cultures, language, historical development, politics. Indeed, General Charles de Gaulle once said: ‘How can you govern a country which has 246 varieties of cheese?’ <br /><br />‘Parlez-vous français? Celebrating France & the French’ reflects the country’s variety: French printing; the reign of Louis XIV; works by dramatists Corneille and Dumas; an original Voltaire letter; maps of Paris; food and fashion; science; travel; novels by Rabelais, Hugo, and Camus; and poetry by Baudelaire and Apollinaire. In addition, a suite of engravings of New Zealand birds drawn by French artists. Except for a few items from private collections, all of the materials on display are from Special Collections. Profitez-en!
Dublin Core
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Title
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‘Guillaume Apollinaire in army uniform, 1916’, from portfolio 2 and 4 in Oeuvres Complètes
Creator
An entity primarily responsible for making the resource
___
Date
A point or period of time associated with an event in the lifecycle of the resource
1965
Identifier
An unambiguous reference to the resource within a given context
Special Collections PQ2601 P6 1965
Publisher
An entity responsible for making the resource available
Paris: André Balland et Jacques Lecat
Abstract
A summary of the resource.
Guillaume Apollinaire in his WWI army uniform.
Type
The nature or genre of the resource
Photographs
France
French
-
https://ourheritage.ac.nz/files/original/2f20785d9858ff7ad8987ead2e842dc0.jpg
168402211a2dd776a921139cdaf8c651
Dublin Core
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Title
A name given to the resource
For the Love of Books: Collectors and Collections. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago Library
Date
A point or period of time associated with an event in the lifecycle of the resource
7th March 2019
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Curated by Donald Kerr and Romilly Smith
Dublin Core
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Title
A name given to the resource
‘Hand-drawn Images for Modern Inorganic Chemistry. New Edition.’
Creator
An entity primarily responsible for making the resource
Joseph Mellor
Date
A point or period of time associated with an event in the lifecycle of the resource
Undated
Identifier
An unambiguous reference to the resource within a given context
Mellor Papers Box 4, Folder 1
Type
The nature or genre of the resource
Manuscripts
Publisher
An entity responsible for making the resource available
Unpublished
Abstract
A summary of the resource.
Mellor had a long and prolific publishing career, from 1902 until shortly before his death. His books went through many editions, and were part of collections held in libraries around the world. Mellor’s lifetime publishing achievement though was his <em>Comprehensive Treatise on Inorganic and Theoretical Chemistry</em>, which he wrote in 16 volumes over 20 years. In total, the set contained about 16-million words. Apart from writing, Mellor also taught at North Staffordshire Technical College, was a foundational member of the British Ceramic Society, undertook his own research mainly in ceramics technology, and set exams for students in various institutions around the world. Here are some of Mellor’s notes for a new edition of <em>Modern Inorganic Chemistry</em>, first published in 1912.
Collectors and collecting
Special Collections
-
https://ourheritage.ac.nz/files/original/afd5c7a1d1bd206e49b5584d2465c1a3.jpg
d006e4bc74bef3b4a82780957a804b92
Dublin Core
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Title
A name given to the resource
Aliens, Androids, & Unicorns: The Hal Salive Science Fiction and Fantasy Collection. Online exhibition
Abstract
A summary of the resource.
In 1952, Harold Terrence Salive (1939-2012) read one of Groff Conklin’s <em>Science Fiction</em> (SF) anthologies and he was hooked. Two years later, aged 15, he started ‘hoarding’ copies of <em>Astounding Stories</em>, which first appeared in January 1930. A stint in the army (1957) and study at the University of Michigan at Ann Arbor, where in 1972 he graduated with a PhD in experimental psychology, solidified his passion for collecting. Salive’s collecting got serious in 1967. He began attending SF Fairs; he corresponded with various SF book dealers; received numerous catalogues from which he could buy books and magazines; and he joined fan groups such as the National Fantasy Fan Federation (N3F), and Science Fiction Newsletter. In 1972 Salive moved to Auckland, New Zealand, where he worked as a lecturer (non-medical) in Psychiatry at Auckland Medical School. He was also a consultant for Digital Equipment Corporation (DEC) and started developing graphic programmes for Commodore 64 personal computers under his own company, Kiwisoft Programs Ltd. In 1977 he had married his second wife, Rachel. Salive continued to attend SF Fairs, and extended collecting interests to include gaming, writing SF stories, and teaching courses on the history of SF. In 2005, he moved to Waikanae, built purpose-made bookshelves to house his collection of 2500 items, and started to catalogue them. The Salive Collection consists of both SF and Fantasy. Van Vogt was a favourite, as was Samuel Delany. He collected early issues of <em>Astounding Stories</em>, and the continuance <em>Analog Science Fiction and Fact.</em> Fantasy authors who feature include C.J Cherryh, Jack L. Chalker, Poul Anderson, and Piers Anthony. There is no Tolkien, and only one Ray Bradbury title. In March 2013 Rachel Salive donated the Hal Salive Science Fiction and Fantasy Collection to Special Collections, University of Otago. It is a lasting legacy to a fine collector.
Contributor
An entity responsible for making contributions to the resource
Special Collections - University of Otago
Date Created
Date of creation of the resource.
2nd March, 2015
Dublin Core
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Creator
An entity primarily responsible for making the resource
Hal Salive
Date
A point or period of time associated with an event in the lifecycle of the resource
[c.1990]
Identifier
An unambiguous reference to the resource within a given context
Hal Salive Science Fiction and Fantasy Collection, University of Otago Library Special Collections
Type
The nature or genre of the resource
Collages
Publisher
An entity responsible for making the resource available
Unpublished
Abstract
A summary of the resource.
A collage with artwork by SF artists <strong>Hannes Bok</strong>, <strong>Frank R. Paul</strong> and <strong>Earle K. Bergey</strong>.
Title
A name given to the resource
‘Hannes Bok’ compilation
Fantasy
Hal Salive
Science Fiction
-
https://ourheritage.ac.nz/files/original/cda9d81c4fa8bdf33a8b5c380053068f.jpg
eda110b7132256b71d4573a33be4c123
Dublin Core
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Title
A name given to the resource
500 Years On: Martin Luther and the Protestant Reformation. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date Created
Date of creation of the resource.
15th March 2017
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Hewitson Library, Knox College; various
Abstract
A summary of the resource.
Martin Luther (1483-1546) was a friar and Professor of Theology at the University of Wittenberg, Germany. While undertaking scriptural studies, Luther arrived at an essential tenet: the Bible alone was the source to salvation and true Christianity. Luther rejected the authority of the Pope, and thought that people should go to the church and pray, directly to God or Jesus, and not to anyone who claimed special powers or holiness. On 31st October 1517, All Saints’ Day eve, an occasion that attracted many pilgrims to the city, Luther is said to have nailed 95 theses to the church door. These disputations, in Latin, were a provocative attack on indulgences, which he saw as a money-making scheme by the Church. Initially posted to generate scholarly debate, the theses marked a beginning on the Reformation timeline. Importantly, it was not only the theses that sparked the revolution; the time was ripe for action. <br />Luther was a preacher with a prolific publication output. He utilised the relatively new technology of printing to disseminate his works, many slender tracts (<em>flugschrift</em>) and sermons written in German, to a wider audience. Supporters helped, including Philip Melanchthon and Frederick the Wise, Elector of Saxony. And of course there were his opponents such as Johannes Cochlaeus, who wrote the first biography on him, and Emperor Charles V. The Papal authorities saw Luther as a ‘notorious heretic’, and he was excommunicated at the Diet of Worms in 1521. <br />This exhibition, <em>500 Years On. Martin Luther and the Protestant Reformation</em>, is a celebratory one that not only acknowledges Luther’s provocative action back in October 1517, but also the result, the spread of Reform that followed across Europe. The major players in this drama include Huldrych Zwingli, John Calvin, John Knox, and Henry VIII, who was instrumental in starting the English Reformation. There was also the inevitable back-lash, those involved in the ‘Catholic’ Counter Reformation. On-going Catholic and Protestant differences resulted in the wholesale persecution of various sects, the English Civil War, and internal religious and social strife throughout many European countries. Luther’s legacy continues to impact the world today. <br />Thanks to the Department of Theology and Religion, especially Professor Murray Rae, the Rev Dr Peter Matheson, and Dr Brett Knowles
Dublin Core
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Title
A name given to the resource
‘Huldrych Zwingli’, from Herōologia Anglica
Creator
An entity primarily responsible for making the resource
[James Stewart]
Date
A point or period of time associated with an event in the lifecycle of the resource
1620
Identifier
An unambiguous reference to the resource within a given context
de Beer Eb 1620 P
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Arnhem: Printed by Jan Jansson …for Henry Holland, London]
Abstract
A summary of the resource.
Image of Huldrych Zwingli, leader of the Reformation in Switzerland.
Martin Luther
Protestant Reformation
-
https://ourheritage.ac.nz/files/original/e37a9734eef67eb117c56738869590e1.jpg
92d21513c3dcac44adf9ce6bbf6d4f93
Dublin Core
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Title
A name given to the resource
500 Years On: Martin Luther and the Protestant Reformation. Online exhibition
Creator
An entity primarily responsible for making the resource
Special Collections, University of Otago
Date Created
Date of creation of the resource.
15th March 2017
Contributor
An entity responsible for making contributions to the resource
Special Collections, University of Otago; Hewitson Library, Knox College; various
Abstract
A summary of the resource.
Martin Luther (1483-1546) was a friar and Professor of Theology at the University of Wittenberg, Germany. While undertaking scriptural studies, Luther arrived at an essential tenet: the Bible alone was the source to salvation and true Christianity. Luther rejected the authority of the Pope, and thought that people should go to the church and pray, directly to God or Jesus, and not to anyone who claimed special powers or holiness. On 31st October 1517, All Saints’ Day eve, an occasion that attracted many pilgrims to the city, Luther is said to have nailed 95 theses to the church door. These disputations, in Latin, were a provocative attack on indulgences, which he saw as a money-making scheme by the Church. Initially posted to generate scholarly debate, the theses marked a beginning on the Reformation timeline. Importantly, it was not only the theses that sparked the revolution; the time was ripe for action. <br />Luther was a preacher with a prolific publication output. He utilised the relatively new technology of printing to disseminate his works, many slender tracts (<em>flugschrift</em>) and sermons written in German, to a wider audience. Supporters helped, including Philip Melanchthon and Frederick the Wise, Elector of Saxony. And of course there were his opponents such as Johannes Cochlaeus, who wrote the first biography on him, and Emperor Charles V. The Papal authorities saw Luther as a ‘notorious heretic’, and he was excommunicated at the Diet of Worms in 1521. <br />This exhibition, <em>500 Years On. Martin Luther and the Protestant Reformation</em>, is a celebratory one that not only acknowledges Luther’s provocative action back in October 1517, but also the result, the spread of Reform that followed across Europe. The major players in this drama include Huldrych Zwingli, John Calvin, John Knox, and Henry VIII, who was instrumental in starting the English Reformation. There was also the inevitable back-lash, those involved in the ‘Catholic’ Counter Reformation. On-going Catholic and Protestant differences resulted in the wholesale persecution of various sects, the English Civil War, and internal religious and social strife throughout many European countries. Luther’s legacy continues to impact the world today. <br />Thanks to the Department of Theology and Religion, especially Professor Murray Rae, the Rev Dr Peter Matheson, and Dr Brett Knowles
Dublin Core
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Title
A name given to the resource
‘Jan Hus’ from [Herōologia Anglica]
Creator
An entity primarily responsible for making the resource
[James Stewart]
Date
A point or period of time associated with an event in the lifecycle of the resource
1620
Identifier
An unambiguous reference to the resource within a given context
de Beer Eb 1620 P
Type
The nature or genre of the resource
Books
Publisher
An entity responsible for making the resource available
[Arnhem: Printed by Jan Jansson at the expenses of Crispin van de Passe and Jan Jansson for Henry Holland, London]
Abstract
A summary of the resource.
Religious reformer Jan Hus (c. 1370-1415) was born in Bohemia (Czech Republic) and studied in Prague. He was ordained as a priest in 1402 and became preacher at the Bethlehem Chapel. Hus admitted that he initially took up the priesthood to achieve a certain standard of living and reputation; however, he began to denounce the church’s practices of ‘fleecing the faithful’ (Fudge, 2010). Hus closely followed, and was influenced by, the polemical writings of John Wycliffe. He refused to submit to papal authority. In 1412, he exiled himself, during which time he wrote 15 books and continued to oppose Church and Pope. In 1415, at the Council of Constance in Germany, Hus was charged with heresy, and on 6th July, was stripped naked and his hair cut. After which, his soul was condemned to Hell and he was burned at the stake.
Martin Luther
Protestant Reformation