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ART/WORK: Labor, Identity, and Society
Get PDFArtists, perhaps to emphasize their own dedication to the intellectual and manual skills required for making art, have long been drawn to the theme of labor, both in their depictions of workers and scenes of making. In the late seventeenth century, Dutch paintings frequently portrayed earnest and diligent artisans performing trades at shops or on the streets. Later, rapid economic, social and political changes throughout Europe in the mid-nineteenth century led to a more radical approach to realist representations of labor. This exhibition ART/WORK: Labor, Identity, and Society considers these art-historical precedents to explore the issues of labor in art. More specifically, the student curators investigate the dynamic interplay between labor, gender, and race in the process of industrialization and social transition across various cultures in the late nineteenth and twentieth centuries. ART/WORK highlights thirteen works of art from Gettysburg College’s Fine Art Collection and Special Collections. Posters, prints, and photographs in this exhibition are not simply documents of people and tasks performed within their own particular histories and societies, but are presented as works of art by a diverse group of accomplished makers. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1038/thumbnail.jp
Signs of the Times: The Knoxville Exchange
No full textBetween 1965 and 1969, the historically Black Knoxville College and the predominantly white Gettysburg College engaged in a student exchange program, the stated purpose of which was “to obtain a deeper understanding of individuals of another race and background through a spontaneous and beneficial meeting.” The program exemplified many tendencies of its time, starting with the idealistic desire of Black and white students alike to reach across the racial divide. But the Knoxville Exchange (as it was called at Gettysburg) struggled to remain meaningful, and then to survive, in an America increasingly given to racist violence and white terrorism, with Black activism pivoting from an ethics of non-violence to a politics of militancy. This presentation will give an account of the exchange program—its beginnings, its ending, and the historical context in which it so tenuously existed
Letter from the Editors
Get PDFWe are proud to present this year’s twenty-first edition of The Gettysburg Historical Journal. Having spent the last two years working with each other and our authors over Zoom, the chance to meet in person with student editors and faculty advisors has given us an experience that the current editorial board has not had in the past. Despite the difficulties we continue to face since the beginning of the Covid-19 pandemic—mental exhaustion, uncertainty towards the future—we have been lucky enough to receive submissions from many Gettysburg College students, as well as a substantial number from undergraduate students outside of our area. Through the works we have accepted this year, we gain knowledge of history through difference perspectives and learn how these narratives reveal new information about our past
The Spartacus Rebellion, More Than a Slave Revolt
Get PDFThe Spartacus Revolt is commonly known for its titular leader, whose deeds have been romanticized in movies and other media. While Hollywood has led many to believe Spartacus was a revolutionary leader working to end slavery in the Roman Empire, this is not an accurate characterization. However, that does not mean that the Spartacus Revolt was nothing more than a historical footnote, although not for its leader. In fact, the revolt should be seen as a revolt of a middle class of veterans in the Roman Empire who wanted greater social standing than the end of the Social War had afforded them, rather than a revolt merely by slaves