Carey MacDonald is an undergraduate Anthropology major and writing intern. This is the final post in Carey’s blog series Through the Lens of an Anthropologist, in which she analyzes artifacts found in the collections of Archives and Special Collections.

The School of Home Economics, which served as the foundation for the future School of Human Development and Family Studies at the University of Connecticut, educated university students, particularly women, in the skills of sewing, cooking, and generalized homemaking. The Clothing, Textiles, and Related Art major (CTRA) within the School of Home Economics specialized in clothing, dress, and costume design and construction. A small collection of Home Economics dresses found in the Archives contains several dresses from 1968, two of which are of particular interest because of their especially professional design.

The first is an orange and white shift dress made of thick corduroy. Its loosely sewn label provides us with the following information, “Designer Sportswear from Lord and Taylor, California Summer, 1968. Orange and white summer shift.” This would suggest that the dress was not made by a student but was produced by the department store, Lord and Taylor. Yet this is particularly confounding because Curator for Multimedia Collections Kristin Eshelman believes that the dress looks handmade. It is hard to determine whether this dress was only used in the classroom for students to model their work after or if it was actually produced in the classroom by a student.

This dress does provide some concrete evidence for its context: handwritten on the label is “E Hotte.” According to The University of Connecticut Bulletin 1968-69 General Catalog, Mrs. Eleanor Hotte was an associate professor for the Clothing, Textiles, and Related Art major within the School of Home Economics. She taught a semester-long, two-credit course in Costume Design which, according to the course catalog, provided students with the “opportunity to develop originality in the design of costumes and to appreciate line, color, and texture in relation to the human figure.” Interestingly, going back just one year to the catalog for the academic year of 1967-68, Eleanor Hotte was Eleanor Boettke. She taught a course called Research Problems with Mr. Hotte for at least that year, and it seems that by a year later she was married and had taken his name. This dress was therefore used in some fashion in one of Mrs. Hotte’s classes, most likely for Costume Design or another class called Dress Design.

Another 1968 dress found in the collection is of a more fanciful stock; its label states, “Woman’s evening gown w/ palazzo pants is of turquoise polyester w/rhinestone trim at neck & midriff.” This flashy gown with widely flared palazzo pants was given as a gift, as the label also shows, “Gift: Mrs. Mary Majnich.” It is possible that a student gave this dress to Mrs. Majnich or that Mrs. Majnich gave this dress to university students. Since its label is of the same style as the shift dress’s label, it is probable that both dresses had the same, original context; they were either given to the university for students to use in class or were created by students at the university.

Ultimately, when it was in existence, the School of Home Economics was clearly seriously invested in training students to be skilled in clothing design and homemaking. Our recent cultural shift away from valuing home economics as a field of study is represented in the transformation of the School of Home Economics into the wider-in-scope School of Human Development and Family Studies here at the University of Connecticut.

Carey MacDonald, writing intern

Carey MacDonald is an undergraduate Anthropology major and writing intern. In her blog series Through the Lens of an Anthropologist, Carey analyzes artifacts found in the collections of Archives and Special Collections.

The Beat poets characterized themselves as non-conformists who dismissed the growing materialism of 1950s American society in order to lead a freer, more spontaneous lifestyle. The poetry of Jack Kerouac reflects the Beat ethos, and it is within the collection of spoken word records that we find several LP albums on which Kerouac recites his own poetry to the tune of music.

Poetry for the Beat Generation is the result of the 1959 collaboration of Jack Kerouac and composer Steve Allen under New York’s Hanover-Signature Record Corporation. According to the LP’s jacket, this recording session lasted only an hour, as decided by both Kerouac and Allen who felt that this first, improvised recording sufficed – and it certainly did. Their unusual collaboration illustrates through words and music the curious life of the nonconforming individual. In “October In The Railroad Earth” Kerouac warbles about the many different people he sees in the diverse city of San Francisco. This poem is like Kerouac’s own sociological study: he juxtaposes the rushing commuters with newspapers in hand with the roaming “lost bums” and “Negroes” of the “Railroad Earth.” Kerouac furthers this theme of dualism when he remarks about things as ordinary as the movement of day to night and from sunny, blue sky to deep blue sky with stars.

Despite this thematic duality however, it is apparent that Kerouac does not mean to draw distinctions between the groups of people he observes. Instead he familiarizes himself with all sorts of people, breaks down the social divisions separating them, and lives among them: “Nobody knew – or far from cared – who I was all my life, 3,500 miles from birth, all opened up and at last belonged to me in great America.”

While “October In The Railroad Earth” is comprised of his momentary observations of the world, Kerouac’s recitation makes these observations inherently complex and compelling. The unique combination of his deep Lowell, MA accent with his precise word placement, expressive diction, and comical use of onomatopoeia makes this particularly vivid poem grab the attention of and resonate with the listener. Kerouac also tends to end his phrases with an upward inflection instead of dropping the last word to give pause to his thoughts. This is indicative of the almost never-ending stream of consciousness that runs through his mind, just like what each of us experiences every day.

Steve Allen’s improvised jazz piano accompaniment further enhances the potency of Kerouac’s recitations in that it reinforces the tone of the poem. In the case of “October In The Railroad Earth,” Allen’s rifts become fast and exciting when Kerouac discusses the busy commuters and then mellow out when day becomes night and when Kerouac comments on California’s “end of land sadness.”

“The Sounds of The Universe Coming In My Window” also reflects on an individual’s everyday sensory experiences, such as listening to the humming of aphids and hummingbirds or marveling at the trees outside. Allen’s piano and Kerouac’s alliteration and echo amplify the “sounds of the universe” described in this poem.

The somber piano accompaniment on “I Had A Slouch Hat Too One Time” establishes the wistful tone of Kerouac’s poem in which he laments that perhaps he does not belong with the Ivy League men of New York City who wear slouch hats and Brooks Brothers slacks and ties. Instead, on top of a now whimsical piano melody, he tells a (most likely) fictional tale about consuming drugs in the bathroom of a store in Buffalo, NY and then proceeding to steal a man’s wallet and begin a shoplifting spree. This poem clearly reflects the non-conforming values of the Beats and calls into question the value of the posh lifestyle of the men described in the poem.

Jack Kerouac and Steve Allen’s Poetry for the Beat Generation effortlessly reveals the dissenting ideals of the Beats, and across the span of American history we see a similar pattern of social disdain for the status quo.

Carey MacDonald, writing intern