HARRISON BERGERON
What's In A Name?
By Kara C., Gadsden, AL / http://teenink.com/opinion/entertainment_celebrities/article/74312/WhatsIn-A-Name/
Recently I read an article on Yahoo! which stated that Fall Out Boy heartthrob Pete Wentz and pop/rock
princess Ashlee Simpson-Wentz named their son Bronx Mowgli. I'm not sure whether my initial reaction
was more pity for the kid or wonder at why the couple chose to name him after the hood in New York
(he's from Illinois, she's from Texas), and the boy in Rudyard Kipling's "The Jungle Book".
Why do people name their kids the way they do? Sometimes the child is given a family name, or they
are named after a person or place that is significant to the parents. Oftentimes a child's name is chosen
because the parents simply like the way a name sounds.
Names don't seem to mean as much now as they did in the past. In the Bible, a person's name reflected
his personality or some other characterisitc of him. Today we know less and less about the meaning and
origin of names. Does this mean that names are losing their significance?
Over the years I have collected miscellaneous note cards, bookmarks, etc., with the meaning of my
name printed on them, which according to varied sources is "loved one", "cherished one", or "pure
one". But my parents chose to name me Kara not because of any of those things, but because my dad
had said that if they ever had a daughter, he wanted her name to be Kara. So that's my name.
There are several names that I would take into consideration for the children I hope to have someday. A
couple of them remind me of other people, but most of the names I just like. Should I research the
meaning behind the names? Maybe, but that might be difficult and unreliable, especially since I like sort
of trendy names. Even though the meaning and origin of a name might be unknown, will I think twice
before naming a kid something really trendy? Most definitely. I'll just remember Bronx Mowgli Wentz.
EVERYDAY USE http://xroads.virginia.edu/~ug97/quilt/atrads.html
AFRICAN AMERICAN QUILTING TRADITIONS
Loom house used by slaves on Melrose
Plantation
Wahlman, p. 38
Interior of a loom house on Melrose Plantation
The textile traditions of African peoples are less thoroughly documented than other aspects of folk art
such as music, dance, or speech. However what is known can be traced back to the prominent
influences of four civilizations of Central and West Africa: the Mande-speaking peoples (in the modern
countries of Guinea, Mali, Senegal, and Burkino Faso); the Yoruba and Fon peoples (in the Republic of
Benin and Nigeria); the Ejagham peoples (in Nigeria and Cameroons); and the Kongo peoples (in Zaire
and Angola). Wahlman, p. 21 As slaves, and also their textiles, were traded heavily throughout the
Caribbean, Central America, and the Southern United States, the traditions of each distinct region
became intermixed. Thus by the time that early African American quilting became a tradition in and of
itself, it was already a combination of textile traditions. The segments that follow are an overview of the
general themes and patterns of quilting that have been influenced by African aesthetic, religious, and
cultural traditions.
AFRICAN WEAVE
Wahlman, p. 26
Originally in Africa most of the textiles, like that displayed here, were made by men. Yet when slaves
were brought to the United States their work was divided according to Western patriarchal standards
and women took over the tradition. However, this strong tradition of weaving left a visible mark on
African American quilting. As seen here, the use of strips, reminiscent of the strips of reed and fabric
used in men's traditional weave, are used in fabric quilting.
LARGE SHAPES & STRONG COLORS
In Africa, the need to be able to recognize
people from far distances was crucial for
waring tribes and traveling hunting parties.
This textile tradition of using large shapes and
bright color was thus carried on, as exhibited in
the quilt to the left.
Wahlman, p. 33
ASYMMETRY
Traditional African weave was not regulated by specific pattern. The creator
of the weave was free to change and alternate the pattern. The goal of the
work was to create a large fabric of separate weaves sown together rather
than one repeating pattern.
Wahlman, p. 41
IMPROVISATION
Wahlman, p. 51
Wahlman, p. 42
The ability to recreate and change old patterns was especially important to many African tribes. A
break in a pattern symbolized a rebirth in the ancestral power of the creator or wearer. And a break in
a pattern also helped keep evil spirits away. Evil is believed to travel in straight lines and a break in a
pattern or line confuses the spirits and slows them down. This tradition is highly recognizable in
African American improvisation of European American patterns. The quilts above and below are
examples of African traditions of bright colors, asymmetry, weave patterns, and large shapes, being
improvised of typical European American patterns. The above quilt on the right is a version of the
"Diamond Strip," the second a version of the "Log Cabin." Below is a version of the "Wedding Ring"
pattern.
Wahlman, p. 56
MULTIPLE PATTERNING
Wahlman, p. 59
Often in African textiles, the number of patterns or changes in pattern of a specific
cloth directly correlated to the owner's status. This tradition was thus especially
important for royalty and priests -- it conveyed prestige, power, status, and wealth.
The traditions of improvisation and multiple patterning also protect the quilter from
anyone copying their quilts. These traditions allow for a strong sense of ownership
and creativity.
APPLIQUE and RECORD KEEPING
The quilt on the right is titled Black family Album (1854). Representative of her black family's traditions,
heritage, and lineage, its creator used the technique of applique to literally paste her family album onto
a lasting fabric. This technique is very common in African tribes as well as continuing on to early
American traditions. It is a lasting way to record family events such as birth, marriage, geographical
location, and spiritual dedication. On the left is a quilt made in 1938 that display's the same type of
cultural information about the creator's family and plantation life.
Wahlman, p. 69
Wahlman, p. 66
RELIGIOUS SYMBOLS
Wahlman, p.
Very prominent in African textile tradition in the use of the
diamond pattern. The diamond is symbolic of the cycles of
life. Each point represents a stage in life: birth, life, death,
and rebirth. The circle shape is similarly representative of
this cycle. Also used in African textiles is protective script,
either in native language or symbol, or more recently in
English. The words and symbols stitched in to the patterns
are sacred and protective in that they convey the
knowledge, power, and intelligence of the quilt creator and
wearer. During slavery years, members of the Underground
Railroad would use quilts to send messages. Log Cabin quilts
made with black cloth were hung to mark a safe house of
refuge. Some quilts marked escape routes out of a
plantation or county, others marked the stars that would
act as a night-time map through the country to freedom.
PROTECTIVE CHARMS
Wahlman, p. 107
Charms are used in many African and African American religious societies. They
are created by a priest or conjure woman for the specific needs of its user.
Charms can heal or ward off evil spirits. The quilt above, with its applique men,
could be used similarly to the African American Vodun dolls -- safe guarding the
user from evil spirits of a specific threat.
EVERYDAY USE http://articles.latimes.com/1992-04-10/news/vw-329_1_american-quilt
Smithsonian Wraps Itself in Controversy : Americana: The museum is authorizing the sale of foreignmade reproductions of classic American quilt designs.
April 10, 1992|JURA KONCIUS | THE WASHINGTON POST
WASHINGTON — "It is like sending an icon to be mass produced," says Virginia Gunn, a quilt historian.
"The Smithsonian should be above those things."
"This was a one-of-a-kind piece," says Hazel Carter, a quilting expert. "If it weren't the Smithsonian, we
wouldn't be so upset. They are supposed to be guarding our American treasures."
The Great Quilt Debate is on. The Smithsonian Institution, like many other museums, earns badly
needed revenue by licensing the right to reproduce some of its collections, whether furniture or jewelry.
But when the first handmade copies of the Smithsonian's historic 19th-Century quilts appeared in the
1992 Spiegel catalogue, many American quilters were horrified.
Are antique quilts icons of women's history that should be kept on a pedestal? Or can they be copied
and sold like blankets, to be snapped up by the thousands to warm the beds of Middle America? Should
they be made in China? Why didn't the Smithsonian buy American?
The controversy spread like a prairie fire at Quilt Till You Wilt slumber parties, at Working Women's
Basting Bees, at Pieced Pineapple classes, at the kind of gatherings that have stitched this country
together for more than 200 years.
"We're not perfect, and we're reminded of it periodically," said Roger G. Kennedy, the museum's
director.
"We are sick," said Lisa-Margaret Stevenson, director of the Smithsonian's product development and
licensing office. "The last thing the Smithsonian wants to do is alienate a constituency. That was not our
intention."
For members of Maryland's Four Counties Quilt Guild, holding their monthly meeting at the New Market
Middle School recently, the big surprise came at show and tell. A member brought in a $269 copy of a
rare quilt bearing the design of the Great Seal of the United States. The original was made in 1830 by
Susan Strong of Frederick County, Md., and is at the Smithsonian. But this Great Seal quilt was handstitched in a factory in China, one of the controversial adaptations from the national museum.
The 40 quilters gathered in the school library, all passionate practitioners of this American folk art,
examined every inch of the import. This was no old-fashioned quilting bee, but there was a lot of
buzzing before the verdict was handed down.
"We were greatly insulted by this quilt," declared Diann Paarmann, a Sykesville, Md., quilter who
attended the meeting. "I have nothing against the Chinese people," Paarmann said. "This is not about
them or us. It is about something very dear to my heart that is part of America's past."
The National Quilting Assn. has contacted members of Congress to ask for their support. The
organization also asked the lawmakers to display quilts in their offices all month. Seventy offices have
complied. The issue of the Chinese-made heirloom reproductions has made an impression in at least
one of them.
"There is great irony and insensitivity in the Smithsonian's decision to have Chinese workers reproduce
classic American quilts that will be sold here," said Sen. Albert Gore Jr. (D-Tenn.), who displays a 1930s
Tennessee quilt in his office.
"Quilting is not a lost art: It is alive and well in our own country, in the hands of our own craftspeople.
Tennessee represents but one state where quilting represents a strong and proud tradition sustained by
talented people who pass their skill from generation to generation."
More than 500 quilters have contacted the Smithsonian since late December.
In addition to the Great Seal quilt, reproductions of the Bride's quilt, made by a Carroll County, Md.,
bride in 1851, and the Bible quilt, a symbol-laden 1886 work by Harriet Powers, a freed slave from
Georgia, were pictured in the Spiegel catalogue. Pillow shams and small hooked rugs to match are
offered as well.
The fourth reproduction, a copy of an 1850 design called Sunburst, was introduced in the winter 1992
Chambers mail-order catalogue in twin, double, queen and king sizes. It is also available in Robert
Redford's Sundance catalogue, which does not mention that the quilt is imported.
Reproductions of other quilts will probably follow. Lands' End is considering an exclusive Smithsonian
design for its catalogue.
Although quilt aficionados wrote letters and mobilized forces, hundreds of consumers were delighted to
find they could afford handmade copies of historic quilts for $200 to $400, about the price of a machinemade designer comforter.
Spiegel has sold so many of the Smithsonian quilts that it has tripled its order from American Pacific
Enterprises, the New York-based importer and licensee. Said Robert Longendyke, a Spiegel spokesman,
"They strike me as the kind of item that will be passed along, that can become a family heirloom."
The Smithsonian, meanwhile, is trying to explain itself. "We felt and still believe that we are highlighting
the art and craft of American quilting," said Stevenson, whose office generated $610,000 last year from
royalties from 60 licensees.
According to Stevenson, museum officials gathered several weeks ago to discuss damage control. A twopage letter was composed to be sent under Kennedy's imprimatur to anyone who contacted them about
the quilt issue.
"We also treasure our collections and wish to share them more broadly--not everyone can get to
Washington and not all objects are on display," says Kennedy's letter.
"When we authorize such products," the letter continues, "our goal is to heighten awareness of our
collections and to educate about a particular culture, technique or art form. We seek to reach the
largest possible audience. Often, modern tools or materials--or alternate labor sources--are employed in
order to achieve the desired quantities and price."
The Smithsonian has taken steps to address some of the quilters' specific concerns. To reflect the
imported origin, the Smithsonian instructed American Pacific to begin printing in indelible ink "Copyright
1992 Smithsonian Institution" on the back of each quilt. To further curb confusion, it decided that the
reproductions would not be sold at its museum shops or through its own mail-order catalogues,
according to Stevenson.
American Pacific officials also were concerned about the quilters' reaction. The 8-year-old firm imports
more than half a million handmade quilts, pillow shams and rugs from China each year.
How much would a comparable quilt cost if made in America? At the Smithsonian National Museum of
American History shop, American-made quilts sell for $1,150. At Colonial Williamsburg, American-made
quilts are $750. In some rural areas, handmade quilts can be found for lower prices, but they would not
be available in quantity.
POSSIBILITY OF EVIL
Copyright 2013 Los Angeles Times
http://www.nytimes.com/2010/10/10/fashion/10Studied.html?_r=0&pagewanted=print
October 8, 2010
Is Gossip Good for You? (ARE YOU A GOSSIP?)
By PAMELA PAUL
THE GIST Gossiping can be beneficial.
THE SOURCE “Is Gossip Good for You? Links Between Gossiping Behavior and Subjective Well-Being” — Jennifer
Cole and Hannah Scrivener, presented Sept. 7 at a British Psychological Society conference.
“IF you can’t say something good about someone, sit right here by me,” Alice Roosevelt Longworth, a
self-proclaimed “hedonist,” used to say. But it seems the greater pleasure comes from more temperate
gossip.
New research finds that gossiping can be good for you — as long as you have something nice to say.
In a presentation in September, Jennifer Cole, a social psychologist, and Hannah Scrivener reported
results from two related studies, both of which demonstrate that it’s in one’s self-interest to say “Soand-so’s second husband is adorable” rather than “She married that lout?”
In the first study, intended to measure a person’s short-term emotional reaction to gossiping, 140 men
and women, primarily undergraduates, were asked to talk about a fictional person either positively or
negatively.
The second study, which looked into the long-term effects of gossiping on well-being, had 160
participants, mostly female undergrads, fill out questionnaires about their tendency to gossip, their selfesteem and their perceived social support.
According to Dr. Cole, after speaking kindly of others, positive emotions were raised 3 percent, negative
emotions were reduced 6 percent, and self-esteem rose 5 percent. These are not huge numbers, as Dr.
Cole is the first to admit. But it’s nonetheless one of the few times researchers have attributed anything
beneficial to the silly art of gossip.
And there was one decidedly positive result: whether kind or cruel, gossip was associated with a greater
sense of social support for the perpetuator.
But does tittle-tattle really help attract more friends? “It could be that people who gossip a lot think
they have social support, but they don’t actually,” Dr. Cole said, noting that previous research shows
people tend to dislike and mistrust gossips.
“We’re all gossipers,” said Judith Martin, a k a Miss Manners. “We bond that way, and people who talk
about other people are interesting.” But, she added, “People who spread malicious gossip are
despicable.” Miss Manners would appreciate then, that the consequences of bad-mouthing others were
pronounced — not just on the targets, something established by plenty of earlier research — but on the
gossipers themselves.
After criticizing other people, gossipers’ positive emotions were reduced by 16 percent and negative
emotions increased 34 percent. It may be a function of empathy; we feel badly for the objects of our
derision. Or it could be selfishness; we realize people won’t like us for nattering on meanly about others.
But what of Mrs. Longworth, the celebrated Washington socialite?
“She was a law unto herself,” said Ms. Martin, who knew Mrs. Longworth during her later years. “A lot
of people did sit next to her!”