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Tutor profile: Annalise W.

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Annalise W.
Reference Librarian and Art HIstorian
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Questions

Subject: Library and Information Science

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Question:

What are some best practices to keep in mind for a reference interview?

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Annalise W.
Answer:

It's always helpful to start by asking what the patron has already looked at. If they've spent time looking at online resources and databases, it may be helpful to spend more time connecting them to print resources they may have overlooked. Another important part of the reference interview is establishing what the patron's end goal is. Are they working on a class paper? Is it informational research to discover the history of a family heirloom? This may inform your approach and give a better sense of what the patron's needs are.

Subject: Literature

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Question:

Names often have symbolic meanings that can inform us about the character or serve as a method for the author to communicate something to the reader. In Daphne du Maurier's Rebecca, the narrator is never named. Why do you think the author chose to leave this main character unnamed?

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Annalise W.
Answer:

By not giving a name to the narrator, the author is able to further emphasize the looming character that isn't even physically present: Rebecca. The narrator is constantly feeling the presence of Rebecca, deeply embedded in the very nature of Manderley. Without a name, the narrator can only exist in relation to Rebecca, as the one who has taken her place. Her very existence is defined more by Rebecca than by her own identity.

Subject: Art History

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Question:

Artists are often influenced by their travels around the world and exposure to other cultures and histories. Picasso, for example, traveled to Naples and Pompeii in the early twentieth century. What are some examples of Picasso's works that show a connection to art he may have been exposed to in Italy?

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Annalise W.
Answer:

Wall paintings from the Villa of Mysteries in Pompeii seem to have had a clear influence on Picasso's works. One figure in particular in the Bacchante in Scene VII of the wall paintings in Pompeii has swept-back hairstyle and highlighted nose and facial features. A portrait in 1923 of Picasso's mother, Olga, echos many of these elements. It depicts a soft face with highlights, a very straight nose, and similar hairstyle. Her garments fall loosely around her, mirroring classical drapery. Another example is from the House of the Colored Capitals in Pompeii featuring a dancing Maenad. This figure has arms outstretched to either side and head tilted back, gazing above. Her drapery appears to swirl around her legs with one foot partly in the air. Looking at Picasso's two bathers running on the beach, 1922, one can see a very similar ecstatic expression in the figure on the left. The woman's arms are thrown wide open, head tilted back to the sky, emphasizing a sense of motion, with the back foot in the air. These are just two examples of possible influences the art of Pompeii may have had on Picasso after his travels there in 1917.

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