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                <text>One the first page of “Social Progress” an article that reads in the cosmopolitan it has these two men that are fishing. The picture of these fishermen have pessimistic on one and optimistic on the other. What I found to be really interesting about this figure is the tie it had to Greek theater and the plot of the text itself. The tie it had to Greek theater was the iconic faces of the comedy and tragic masks that were used in Greek theater to represent these two essentials in theater. And I believe that this adds to the meaning and elbow grease Cosmo’s publications showed at those times. However, it made more sense because they summarized the text with this picture of these two fisher men (One representing pessimistic and the other optimism occurrences in society).   </text>
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                <text>Robert T Ely</text>
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                <text>Ely, Robert. "The Cosmopolitan." Volume 31. 1 May 1901. Web. 15 Dec. 2015</text>
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                <text>12/14/15</text>
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                <text>Carlos Moradel</text>
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                <text>During the 1890s, New York City residents were rapidly spreading their way north on the island. As immigrants were coming in, the original inhabitants of the city started to move up the island. Through the use of technology though, residents were able to live throughout the city while still being able to move easily from one location to another. With better engineering and an understanding of steel, engineers were able to create elevated train systems that helped moved people throughout the city. Just like the modern subways in NYC, the elevated trains allowed people to move in masses via train without disrupting the foot and cart traffic below. This change helped the city to accept the growing number of residents without causing major congestions with transportation. </text>
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                <text>"Steam Powered Train circa 1890." Flickr. Yahoo!, 1890. Web. 14 Dec. 2015.</text>
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                <text>Scott Nye</text>
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                <text>a image of a women holding two infants</text>
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                <text>This source by George Iles from the March issue of The Century, George looks at the large gifts of the philanthropists and other business men of the time. The article opens by acknowledging that massive fortunes have been amassed by American businessmen at the end of the century. However it goes on to almost defend it by saying that it is the result of exploiting the nation's previously untapped natural resources and centralizing tendencies in business that naturally lead to the situation. Then it goes on to say that power necessitates responsibility and that wealth is power so that a responsibility is now placed on these businessmen. George asserts that the reason for the gifts of businessmen is out of a sense of generosity and justice, resulting from the realization that the whole community is in part responsible for their wealth. Finally the heart of the article goes on to describe various gifts and their results on the community, almost all of them educational in nature, before giving its own suggestions on philanthropy. </text>
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                <text>Iles, George. "The Art of Large Giving." &lt;i&gt;Century&lt;/i&gt; Mar. 1897: 767-79. &lt;i&gt;Making of America&lt;/i&gt;. Web. 14 Dec. 2015.</text>
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                <text>Dalton Spatz</text>
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                  <text>1890s</text>
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                <text>This lithograph “A Happy New Year” was created between 1900 and 1920 and published by the Hebrew Publishing Company. It depicts on one side Russian Jews looking over the Atlantic ocean at Americans in the United States. You can tell by the descriptive coat of arms above each group. The American coat of arms is also holding a banner writing “Shelter me in the shadow of your wings.” This shows that the Russian Jews were looking to the United States for shelter as the immigrated away from their homeland.  The Russian Jews are all wearing traditional clothing. Also all of the women have their head covered while the men all have facial hair. The American group is dressed all in contemporary clothing and they all look very modern for the early 1900’s. This is a very good comparison between to different lifestyle, one being the modern American and the other being the traditional Jew. The American group is what Jake in Yekl sought after and wanted to become. While the Russian Jewish side is what Gitl and the rest of his family were. With accurately shows what the differences were between the two different cultures. </text>
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                <text>"Next Year in America I" A Century of Immigration, 1820-1924. Library of Congress, n.d. Web. 10 Dec. 2015.http://www.loc.gov/exhibits/haventohome/haven-century.html#obj5</text>
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                <text>The Gilded Age, and the years leading up to it, introduced a new kind of wealth, one that was controlled by a select elite. These "Captains of Industry" were coined as Robber Barons by their critics and consisted of JP Morgan, Andrew Carnegie, Andrew Mellon, and John D. Rockefeller. Rockefeller is more relevant to this post, mainly because of the historical context of Martin Dressler. Rockefeller was a "Captain" of the oil industry, where he made his Standard Oil into a multi-million dollar enterprise, something Martin would strive for in his hotel business but could not even dream of attaining. Rockefeller would retire from Standard Oil towards the end of the 1890s due to his mental health deprecating. Nevertheless, Rockefeller would be responsible for controlling one of the most successful monopolies of all time and creating the University of Chicago where he donated millions to up until 1932. His impact, both in business, education, and even philanthropy, would set a new stage of capitalism where the distribution of wealth seems to reach a split in the road; the rich being richer and the poor being poorer. In fact, by 1900, it is said that one-tenth of the country owned nine-tenths of the wealth in the country, ultimately leading to the 1% that is coined today as holding an insurmountable amount of wealth. Each "Captain of Industry" would hold some responsibility in the reshaping of the United States economically, helping New York City to grow even further while also leaving their impact in the US through buildings and institutions like JPMorgan Chase Bank and Carnegie Hall.</text>
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                <text>"Ida Minerva Tarbell." Web for Ida Tarbell. N.p., n.d. Web. 13 Dec. 2015.</text>
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                <text>This article is written by the famous photographer and journalist Jacob Riis who fought to improve the conditions of the slums in New York City. He believes that the slums are not the result of the people who reside in them. The result is of some people "falling behind" and then for those who were born into such conditions it became hereditary. They became "victims not masters of the environment." Riis believes that some fault belongs to those who are not in the slums because of their inaction to fight the issue. Riis goes on to describe the "fight" against the slums beginning in 1879 and following it up to 1899. </text>
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                <text>Riis, Jacob A. "The Battle with the Slum." &lt;i&gt;Atlantic Monthly&lt;/i&gt; May 1899: 626-34. &lt;i&gt;Making of America&lt;/i&gt;. Web. 13 Dec. 2015.</text>
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                <text>	This image was really interesting to me in the way it portrays robber baron’s compared to their workers. The Gilded age was a time of extreme division in wealth and poverty. Workers were very unhappy about wages and conditions. In this image you can see only 4 men sitting on top of bags of money while many men hold the raft above water. Robber baron was a referring to a business man in the 19th century who engaged in unethical and monopolistic practices. Robber barons gained immense political influence and gained enormous wealth. While this was the lifestyle for them, their workers suffered barely making enough money to stay afloat. The image shows how clothing workers averaged $9 dollars a week, iron workers averaged $7 dollars a week, lumbar workers $6 a week. Since businesses had little regulation, by lai it was possible for a few amount of men to dominate industries. Men like Cornelius Vanderbilt. Cyrus Field, Jay Gould, Russell Stage are all portrayed by this image. Events such as the Homestead Strike and the Pullman Strike showed the publics resentment toward the wealthy.  </text>
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                <text>Erin Donlon </text>
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                <text>This article from C. D. Shanley published in The Atlantic Monthly recounts the details of Coney Island in 1878. The article refers to Coney Island as being one of the "least aristocratic features of the great suburb (Long Island)." At this time there were few places where the laboring class could go for a vacation as most recreational activities were reserved for the rich, either outright or by the shear cost of such activities. The article goes on to explain the name and environment of the location before launching into and account of a typical day there. The article being written for those who had money to purchase the publication ends by denouncing Coney Island for a "fashionable New York family." </text>
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                <text>On the day of the grand opening of the Brooklyn Bridge, The Daily Graphic released this edition of the magazine. In the picture, the bridge rises high into the sky. It is so large that the city behind it looks flat. On the bridge stand two women, who symbolize Brooklyn and Manhattan. They are shaking hands as they meet for the first time because the Brooklyn Bridge was the first solid foundation that connected the two islands. Above them reads the sign “Finis Coronat Opus.” This Latin terms means, “The end crowns the work,” or a work of art cannot be fully appreciated until it is complete. Again, the bridge is refereed to as a work of art. The bridge is also depicted in a heavenly manner, with the skies opening up and two angels on either side of the banner. Martin’s hotels in Martin Dressler are made with the inspiration of the Brooklyn Bridge. Martin intended for them to be out of this world the same way the Brooklyn Bridge. People would marvel at the hotels the same way they would marvel at the bridge.</text>
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                <text>Irma and Paul Milstein Division of United States History, Local History and Genealogy, The New York Public Library. "A union of hearts and a union of hands." The New York Public Library Digital Collections. 1873 - 1889. http://digitalcollections.nypl.org/items/b0efaae4-86cd-d4b2-e040-e00a18064fa5</text>
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                <text>The Brooklyn Bridge</text>
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                <text>This picture located in digital collection of the New York Public Library depicts the Brooklyn Bridge on the day of it’s grand opening. The bridge officially opened in May 1883 with an elaborate opening ceremony. The ceremony was completed with a grand firework display along the shoreline. The image depicts a city and bridge illuminated by brightly colored fireworks. The red and orange colors of the fireworks highlight the bridge and river below. By surrounding the bridge in this way, the bridge is seen as something incredibly important. This is also evident in the writing under the picture, which says, “Great Suspension Bridge” and “Grand Display of Fireworks and Illuminations.” In Martin Dressler, the Brooklyn Bridge acts as a symbol for Martin. Martin and the bridge each made incredible innovations and progress in their field. </text>
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                <text>Currier &amp; Ives</text>
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                <text>The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library. "The grand display of fireworks and illuminations at the opening of the great suspension bridge between New York and Brooklyn on the evening of May 24th, 1883. View from New York, looking towards Brooklyn." The New York Public Library Digital Collections. 1883. http://digitalcollections.nypl.org/items/510d47d9-7aa4-a3d9-e040-e00a18064a99</text>
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                <text>May 1883</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="859">
                <text>Jessa Laspesa</text>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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                <text>This poem was written by Charles G. D. Roberts and published in the June 1899 issue of The Atlantic Monthly. The poem is about the Brooklyn Bridge and it shows some of the same themes that we have seen in other works. The author is clearly enthralled with the bridge and relates its beauty to nature. If we look at lines three, seven, and eight in succession, &#13;
        "Nature accepts you for her own,&#13;
&#13;
        And takes you, from the hand of man,&#13;
&#13;
        For some new handiwork of God."&#13;
we get the image that the bridge is so wonderfully constructed, so perfect that it appears that God himself had constructed it. The bridge had a special place in the hearts and minds of New Yorkers of this time and we can see this same awe for the bridge in Martin Dressler. Martin mentions the bridge numerous times throughout the story relating the bridge to power and majesty. At one point he asks a rhetorical question to himself in reference to Claire Moore's belief that shear size was humorous, "He himself found nothing humorous about sheer size, which on the contrary produced a sensation of power, of majesty - had anyone ever laughed at the Brooklyn Bridge?". Later in the story after seeing an advertisement made by Harwinton for his Grand Cosmo, Martin again asks himself a question "Was it possible that even Harwinton felt the power of the bridge?" The reason that the bridge represented power and majesty to Martin was that at the time it was one of the single greatest engineering achievements in history, and the fascination with science and technology at this time only added to the love for the bridge.</text>
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                <text>Charles G. D. Roberts</text>
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            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="841">
                <text>Roberts, Charles G. D. "Brooklyn Bridge." &lt;i&gt;Atlantic Monthly&lt;/i&gt; June 1899: 839-40. &lt;i&gt;Making of America&lt;/i&gt;. Web. 11 Dec. 2015.</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="842">
                <text>The Atlantic Monthly</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="843">
                <text>Dalton Spatz</text>
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        <name>Brooklyn Bridge</name>
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        <name>Martin Dressler</name>
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            <element elementId="50">
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                  <text>1890s</text>
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              <name>Subject</name>
              <description>The topic of the resource</description>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <description>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/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Prostitution Densities in Manhattan</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="825">
                <text>The map specifically shows the areas of Manhattan during the 1870-1879 that had the most houses of prostitution. It is interesting that during this time there were such detailed records of blocks in where the most prostitutes were. This map was found in the article “Is Selling Sex Good Business? Prostitution in Nineteenth Century New York City”. It caught my attention because there is no area that is mostly population with houses. Rather, the houses of prostitution are located all over Manhattan and very spread out. </text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="826">
                <text>Timothy Gilfoyle</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="827">
                <text>Gilfoyle, Timothy J. City of Eros: New York City, prostitution, and the commercialization of sex, 1790-1920. WW Norton &amp; Company, 1994.</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="828">
                <text>Digital Commons http://digitalcommons.iwu.edu/cgi/viewcontent.cgi?article=1027&amp;context=uer</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="829">
                <text>Antonella Rozas</text>
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                <text>1870-1879</text>
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        <name>Maggie</name>
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              <description>The topic of the resource</description>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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      <name>Hyperlink</name>
      <description>A link, or reference, to another resource on the Internet.</description>
      <elementContainer>
        <element elementId="28">
          <name>URL</name>
          <description/>
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              <text>http://linksource.ebsco.com/FullText.aspx?linkout=http%3a%2f%2fgateway.proquest.com%2fopenurl%3furl_ver%3dZ39.88-2004%26res_dat%3dxri%3apqm%26rft_val_fmt%3dinfo%3aofi%2ffmt%3akev%3amtx%3aarticle%26genre%3darticle%26issn%3d00368733%26atitle%3dThe%2520Astoria%2520Hotel%2c%2520New%2520York%2520City%26title%3dScientific%2520American%26volume%3d77%26issue%3d18</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Construction Of The Astoria Hotel, New York City.</text>
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            <description>An account of the resource</description>
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                <text>This article in the Scientific American periodical written in 1897 gives a lot of details about the architectural layout of the Waldorf and also explains what George Boldt, the manager of the Waldorf Astoria, was envisioning while building it. He integrated old world décor from the European renaissances, but also the newest technologies such as telephones and electric lights. Boldt made the Waldorf the ultimate luxury hotel where residents would have everything available at their convenience. He incorporated theatres, ballrooms, restaurants, roof gardens and spas creating an extravagant, but profitable establishment. This source is very insightful in providing George Boldt’s perspective in designing the Waldorf Astoria. Martin’s ideas and hotels were so similar to Boldt’s description that it is obvious that Millhauser used Boldt as an inspiration for Martin Dressler’s character. </text>
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                <text>Scientific American 77</text>
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              <elementText elementTextId="818">
                <text>"Construction Of The Astoria Hotel, New York City." Scientific American 77.(1897): &#13;
281. Readers' Guide Retrospective: 1890-1982 (H.W. Wilson). Web. 10 Dec. 2015.&#13;
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                <text>12/11/15</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="821">
                <text>Theresa Patti</text>
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          <element elementId="50">
            <name>Title</name>
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                <text>St. Cloud Hotel, New York. Westminster Hotel, New York. &#13;
Cosmopolitan Hotel, New York. Hotel Brunswick, New York</text>
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                <text>This primary source is from Asher and Adams Atlas set and gives an overview of four of the newest and most luxurious hotels in New York City in 1875 and demonstrates how progression of the period was clearly represented in hotels. For example, the St. Cloud Hotel provides the latest technology with an elevator, steam heat, hot and cold water but also attractive amenities such as a barber shop and Billard room. The Cosmopolitan Hotel contained a telegraph office, railroad ticket office, barber shop and news office to provide ultimate convenience for customers. The primary locations of all of these hotels also served as an attractive selling point. For example, the Westminster Hotel was in walking distance to Gramercy Park, Broadway and the Academy of Music. This source provides a perspective of what was considered new and attractive to travelers in this time period. Travelers were looking to have as many amenities at their fingertips as they could, and they wanted to be surrounded by all of the comforts necessary to feel like they could escape from the city within their hotel. This is a common theme in Martin Dressler’s character as he is an expert of combining the new and the old, the exotic and familiar.</text>
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                <text>Asher &amp; Adams. "St. Cloud Hotel, New York. Westminster Hotel, New York. Cosmopolitan Hotel, New York. Hotel Brunswick, New York. (1875)." (1875): LUNA Commons. Web. 14 Nov. 2015.&#13;
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              <elementText elementTextId="811">
                <text>LUNA Commons&#13;
&#13;
http://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~35837~1201323 </text>
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            <elementTextContainer>
              <elementText elementTextId="813">
                <text>Theresa Patti</text>
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                  <text>1890s</text>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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                <text>"Are Friends Clear of Materialism?"</text>
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                <text>Materialism and the Gilded Age</text>
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                <text>Mary A. Nichols provides her account on what is changing in the Gilded Age through the Friend's Intelligencer. She points out that the religious values people hold during the 1890s are weakening due to the increased materialism of churches and religion in general, but comes back to the fact that this need for people to display their religious values with material objects will be better for religion in the long run. She talks about how religious worship is more complicated during her time, with the material and ornate objects surrounding the church, but feels that people need these things to actually feel a connection with Christ. The article provides a unique insight into the GIlded Age and offers a different perspective from what we examined in class.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="803">
                <text>Nichols, Mary A. "Are Friends Clear of Materialism?" Friends' Intelligencer (1853-1910) Sep 24 1898: 680. ProQuest.Web. 30 Nov. 2015.</text>
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                <text>Friends' Intelligencer</text>
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                <text>Jonathan Lim</text>
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        <name>Martin Dressler</name>
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                  <text>1890s</text>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>A Growler Gang in Session [the Montgomery Guards at West 37th Street Dock]</text>
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            <name>Subject</name>
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                <text>A Gang Gathering to Drink Beer</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>A group of gang members hanging out and drinking beer at the docks is depicted.  They are dressed in dirty clothes and a dog is with them.  This was typical behavior for a gang in Maggie’s neighborhood.</text>
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            <name>Creator</name>
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              <elementText elementTextId="756">
                <text>Jacob Riis</text>
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              <elementText elementTextId="757">
                <text>Riis, Jacob. &lt;em&gt;How the Other Half Lives&lt;/em&gt;. 1890. New York: Dover Publications, Inc., 1971. 179. Print.</text>
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              <elementText elementTextId="758">
                <text>Dover Publications, Inc.</text>
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            <name>Date</name>
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                <text>December 9, 2015</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="760">
                <text>Gary Guy</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>1880s-1890</text>
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        <name>1890s</name>
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      <tag tagId="65">
        <name>alcohol</name>
      </tag>
      <tag tagId="109">
        <name>beer</name>
      </tag>
      <tag tagId="110">
        <name>gangs</name>
      </tag>
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        <name>How the Other Half Lives</name>
      </tag>
      <tag tagId="106">
        <name>Jacob Riis</name>
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                  <text>1890s</text>
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              <name>Subject</name>
              <description>The topic of the resource</description>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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      <name>Still Image</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Rushing the Growler [Beer Can]</text>
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            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
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              <elementText elementTextId="745">
                <text>Boy Carrying a Beer Can</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="746">
                <text>The image portrays a young boy carrying his beer can on the way to a saloon or beer dive to retrieve beer for an adult.  He is dressed in dirty clothes.  The image could have been Maggie’s brother, Jimmie, as he retrieves beer for the elderly neighbor woman.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="747">
                <text>Jacob Riis</text>
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              <elementText elementTextId="748">
                <text>Riis, Jacob. &lt;em&gt;How the Other Half Lives&lt;/em&gt;. 1890. New York: Dover Publications, Inc., 1971. 173. Print.</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="749">
                <text>Dover Publications, Inc.</text>
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            </elementTextContainer>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="751">
                <text>Gary Guy</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>1880s-1890</text>
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        <name>1890s</name>
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      <tag tagId="65">
        <name>alcohol</name>
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      <tag tagId="109">
        <name>beer</name>
      </tag>
      <tag tagId="105">
        <name>How the Other Half Lives</name>
      </tag>
      <tag tagId="106">
        <name>Jacob Riis</name>
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              <description>A name given to the resource</description>
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                  <text>1890s</text>
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              <description>The topic of the resource</description>
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                  <text>Sources and resources pertaining to the 1890s and literary works concerning this period.</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
    </itemType>
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      <elementSet elementSetId="1">
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>In a Dive</text>
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          <element elementId="49">
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                <text>Beer Dive</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The image depicts a black man and several white women sitting in a beer dive.  One woman is slumped, sleeping at a table.  The patrons’ clothing is tattered or in disrepair and the room appears plain and unadorned.  Maggie’s neighborhood contained many such establishments.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Jacob Riis</text>
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                <text>Riis, Jacob. &lt;em&gt;How the Other Half Lives&lt;/em&gt;. 1890. New York: Dover Publications, Inc., 1971. 167. Print.</text>
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          <element elementId="37">
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            <elementTextContainer>
              <elementText elementTextId="742">
                <text>Gary Guy</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
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                <text>1880s-1890</text>
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        <name>1890s</name>
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        <name>alcohol</name>
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        <name>beer dive</name>
      </tag>
      <tag tagId="105">
        <name>How the Other Half Lives</name>
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        <name>Jacob Riis</name>
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                  <text>1890s</text>
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              <description>The topic of the resource</description>
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      <elementSet elementSetId="1">
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            <description>A name given to the resource</description>
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                <text>A Down-Town Morgue</text>
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          <element elementId="49">
            <name>Subject</name>
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                <text>The image is a saloon or beer dive because alcohol bottles are displayed behind the bar.  Black and white men patronize the facility.  Their clothing is tattered, in disrepair, and dirty.  The expressions on the patrons’ faces are serious or staring forward.  Lighting is limited to one light and the ceiling is low so this saloon/dive is in a basement of a building.  Riis’ title of the photograph refers to his view of the deathly and harmful effects of alcohol and such institutions.  Maggie would have been in contact with such an atmosphere.</text>
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                <text>Riis, Jacob. &lt;em&gt;How the Other Half Lives&lt;/em&gt;. 1890. New York: Dover Publications, Inc., 1971. 164. Print.</text>
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          <element elementId="37">
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            <elementTextContainer>
              <elementText elementTextId="733">
                <text>Gary Guy</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>1880s-1890</text>
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        <name>1890s</name>
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        <name>alcohol</name>
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        <name>beer dive</name>
      </tag>
      <tag tagId="105">
        <name>How the Other Half Lives</name>
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      <tag tagId="106">
        <name>Jacob Riis</name>
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      <tag tagId="108">
        <name>saloon</name>
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    </tagContainer>
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