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Keywords: school funding

Historical Items

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Item 74503

Recommendation to fund school for indigent black children, New Orleans, 1862

Contributed by: Maine Historical Society Date: 1862-11-08 Location: New Orleans Media: Ink on paper

  view a full transcription

Item 79297

Student Activities Card, Farmington State Normal School, 1942

Contributed by: Mantor Library at UMF Date: 1942 Location: Farmington Media: Ink on paper

Item 69125

Christian Association Schedule, Farmington State Normal School, 1901

Contributed by: Mantor Library at UMF Date: 1901 Location: Farmington Media: Photographic print

Online Exhibits

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Exhibit

George W. Hinckley and Needy Boys and Girls

George W. Hinckley wanted to help needy boys. The farm, school and home he ran for nearly sixty nears near Fairfield stressed home, religion, education, discipline, industry, and recreation.

Exhibit

Horace W. Shaylor: Portland Penman

Horace W. Shaylor, a native of Ohio, settled in Portland and turned his focus to handwriting, developing several unique books of handwriting instruction. He also was a talented artist.

Exhibit

Practical Nursing in Waterville

The Maine School of Practical Nursing opened a facility in Waterville in 1957 and continued teaching practical nursing there until about 1980 when changes in the profession and in the state's educational structure led to its demise.

Site Pages

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Site Page

Historic Hallowell - Hallowell Schools

"… a meeting house at “the Fort,” a movement for the funding of the school was organized. On August 31, 1791, the act for the incorporation and…"

Site Page

Farmington: Franklin County's Shiretown - The Abbott School

"But in spite of the lack of funds, the Abbott School continued to educate young men from all over the globe."

Site Page

Strong, a Mussul Unsquit village - Village Schools

"Project funding was secured with a $125,000 bond issue, plus gifts of $30,000, in addition to the Randall-Thomas bequest."

My Maine Stories

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Story

Sister Therese Bouthot:Life of service as a Good Shepherd sister
by Biddeford Cultural & Heritage Center

From humble beginnings to playing a leadership role in the service of others

Story

Jenifer Van Deusen - SEED's Head Gardener
by MLTI Stories of Impact Project

Jenifer on SEED and how it helped prepare Maine for the MLTI.

Story

Vietnam Memoirs
by David Chessey

MY PERSONAL EXPERIENCES AND MY OBSERVATION OF NATIONWIDE OPINIONS CONCERNING THE “VIET NAM" WAR

Lesson Plans

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Lesson Plan

Longfellow Studies: Celebrity's Picture - Using Henry Wadsworth Longfellow's Portraits to Observe Historic Changes

Grade Level: 3-5, 6-8, 9-12 Content Area: Social Studies, Visual & Performing Arts
"In the four quarters of the globe, who reads an American book?" Englishman Sydney Smith's 1820 sneer irked Americans, especially writers such as Irving, Cooper, Hawthorne, and Maine's John Neal, until Henry Wadsworth Longfellow's resounding popularity successfully rebuffed the question. The Bowdoin educated Portland native became the America's first superstar poet, paradoxically loved especially in Britain, even memorialized at Westminster Abbey. He achieved international celebrity with about forty books or translations to his credit between 1830 and 1884, and, like superstars today, his public craved pictures of him. His publishers consequently commissioned Longfellow's portrait more often than his family, and he sat for dozens of original paintings, drawings, and photos during his lifetime, as well as sculptures. Engravers and lithographers printed replicas of the originals as book frontispiece, as illustrations for magazine or newspaper articles, and as post cards or "cabinet" cards handed out to admirers, often autographed. After the poet's death, illustrators continued commercial production of his image for new editions of his writings and coloring books or games such as "Authors," and sculptors commemorated him with busts in Longfellow Schools or full-length figures in town squares. On the simple basis of quantity, the number of reproductions of the Maine native's image arguably marks him as the country's best-known nineteenth century writer. TEACHERS can use this presentation to discuss these themes in art, history, English, or humanities classes, or to lead into the following LESSON PLANS. The plans aim for any 9-12 high school studio art class, but they can also be used in any humanities course, such as literature or history. They can be adapted readily for grades 3-8 as well by modifying instructional language, evaluation rubrics, and targeted Maine Learning Results and by selecting materials for appropriate age level.

Lesson Plan

Longfellow Studies: Longfellow's "The Village Blacksmith" and "Whitman's Song of Myself" - Alternative Constructions of the American Worker

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
Most if not all of us have or will need to work in the American marketplace for at least six decades of our lives. There's a saying that I remember a superintendent telling a group of graduating high-school seniors: remember, when you are on your deathbed, you will not be saying that you wish you had spent more time "at the office." But Americans do spend a lot more time working each year than nearly any other people on the planet. By the end of our careers, many of us will have spent more time with our co-workers than with our families. Already in the 21st century, much has been written about the "Wal-Martization" of the American workplace, about how, despite rocketing profits, corporations such as Wal-Mart overwork and underpay their employees, how workers' wages have remained stagnant since the 1970s, while the costs of college education and health insurance have risen out of reach for many citizens. It's become a cliché to say that the gap between the "haves" and the "have nots" is widening to an alarming degree. In his book Wealth and Democracy, Kevin Phillips says we are dangerously close to becoming a plutocracy in which one dollar equals one vote. Such clashes between employers and employees, and between our rhetoric of equality of opportunity and the reality of our working lives, are not new in America. With the onset of the industrial revolution in the first half of the nineteenth century, many workers were displaced from their traditional means of employment, as the country shifted from a farm-based, agrarian economy toward an urban, manufacturing-centered one. In cities such as New York, groups of "workingmen" (early manifestations of unions) protested, sometimes violently, unsatisfactory labor conditions. Labor unions remain a controversial political presence in America today. Longfellow and Whitman both wrote with sympathy about the American worker, although their respective portraits are strikingly different, and worth juxtaposing. Longfellow's poem "The Village Blacksmith" is one of his most famous and beloved visions: in this poem, one blacksmith epitomizes characteristics and values which many of Longfellow's readers, then and now, revere as "American" traits. Whitman's canto (a section of a long poem) 15 from "Song of Myself," however, presents many different "identities" of the American worker, representing the entire social spectrum, from the crew of a fish smack to the president (I must add that Whitman's entire "Song of Myself" is actually 52 cantos in length). I do not pretend to offer these single texts as all-encompassing of the respective poets' ideas about workers, but these poems offer a starting place for comparison and contrast. We know that Longfellow was the most popular American poet of the nineteenth century, just as we know that Whitman came to be one of the most controversial. Read more widely in the work of both poets and decide for yourselves which poet speaks to you more meaningfully and why.

Lesson Plan

Longfellow Studies: The American Wilderness? How 19th Century American Artists Viewed the Separation Of Civilization and Nature

Grade Level: 9-12 Content Area: Social Studies, Visual & Performing Arts
When European settlers began coming to the wilderness of North America, they did not have a vision that included changing their lifestyle. The plan was to set up self-contained communities where their version of European life could be lived. In the introduction to The Crucible, Arthur Miller even goes as far as saying that the Puritans believed the American forest to be the last stronghold of Satan on this Earth. When Roger Chillingworth shows up in The Scarlet Letter's second chapter, he is welcomed away from life with "the heathen folk" and into "a land where iniquity is searched out, and punished in the sight of rulers and people." In fact, as history's proven, they believed that the continent could be changed to accommodate their interests. Whether their plans were enacted in the name of God, the King, or commerce and economics, the changes always included – and still do to this day - the taming of the geographic, human, and animal environments that were here beforehand. It seems that this has always been an issue that polarizes people. Some believe that the landscape should be left intact as much as possible while others believe that the world will inevitably move on in the name of progress for the benefit of mankind. In F. Scott Fitzgerald's The Great Gatsby – a book which many feel is one of the best portrayals of our American reality - the narrator, Nick Carraway, looks upon this progress with cynicism when he ends his narrative by pondering the transformation of "the fresh green breast of a new world" that the initial settlers found on the shores of the continent into a modern society that unsettlingly reminds him of something out of a "night scene by El Greco." Philosophically, the notions of progress, civilization, and scientific advancement are not only entirely subjective, but also rest upon the belief that things are not acceptable as they are. Europeans came here hoping for a better life, and it doesn't seem like we've stopped looking. Again, to quote Fitzgerald, it's the elusive green light and the "orgiastic future" that we've always hoped to find. Our problem has always been our stoic belief system. We cannot seem to find peace in the world either as we've found it or as someone else may have envisioned it. As an example, in Miller's The Crucible, his Judge Danforth says that: "You're either for this court or against this court." He will not allow for alternative perspectives. George W. Bush, in 2002, said that: "You're either for us or against us. There is no middle ground in the war on terror." The frontier -- be it a wilderness of physical, religious, or political nature -- has always frightened Americans. As it's portrayed in the following bits of literature and artwork, the frontier is a doomed place waiting for white, cultured, Europeans to "fix" it. Anything outside of their society is not just different, but unacceptable. The lesson plan included will introduce a few examples of 19th century portrayal of the American forest as a wilderness that people feel needs to be hesitantly looked upon. Fortunately, though, the forest seems to turn no one away. Nature likes all of its creatures, whether or not the favor is returned. While I am not providing actual activities and daily plans, the following information can serve as a rather detailed explanation of things which can combine in any fashion you'd like as a group of lessons.