Habeas Viscus focuses attention on the centrality of race to notions of the human. Alexander G. Weheliye develops a theory of "racializing assemblages," taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye's argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western man. Weheliye posits black feminist theories of modern humanity as useful correctives to the "bare life and biopolitics discourse" exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.
Founded around 1700 by a group of German Lutherans known as Pietists, the Halle Orphanage became the institutional headquarters of a universal seminar that still stands largely intact today. It was the base of an educational, charitable, and scientific community and consisted of an elite school for the sons of noblemen; schools for the sons of artisans, soldiers, and preachers; a hospital; an apothecary; a bookshop; a botanical garden; and a cabinet of curiosity containing architectural models, naturalia, and scientific instruments. Yet, its reputation as a Pietist enclave inhabited largely by young people has prevented the organization from being taken seriously as a kind of scientific academy—even though, Kelly Joan Whitmer shows, this is precisely what it was.
The Halle Orphanage as Scientific Community calls into question a long-standing tendency to view German Pietists as anti-science and anti-Enlightenment, arguing that these tendencies have drawn attention away from what was actually going on inside the orphanage. Whitmer shows how the orphanage’s identity as a scientific community hinged on its promotion of philosophical eclecticism as a tool for assimilating perspectives and observations and working to perfect one’s abilities to observe methodically. Because of the link between eclecticism and observation, Whitmer reveals, those teaching and training in Halle’s Orphanage contributed to the transformation of scientific observation and its related activities in this period.
In 1976, a small group of psychologists urged that more research be done on aspects of health and health care outside the domain of mental health. Today, health psychology is one of the fastest growing divisions of the American Psychological Association; journals and textbooks in increasing numbers are another signal of rapid growth in this field.
Situated at the intersection of scholarship and practice, Heritage Keywords positions cultural heritage as a transformative tool for social change. This volume unlocks the persuasive power of cultural heritage—as it shapes experiences of change and crafts present and future possibilities from historic conditions—by offering new ways forward for cultivating positive change and social justice in contemporary social debates and struggles. It draws inspiration from deliberative democratic practice, with its focus on rhetoric and redescription, to complement participatory turns in recent heritage work.
Through attention to the rhetorical edge of cultural heritage, contributors to this volume offer innovative reworkings of critical heritage categories. Each of the fifteen chapters examines a key term from the field of heritage practice—authenticity, civil society, cultural diversity, cultural property, democratization, difficult heritage, discourse, equity, intangible heritage, memory, natural heritage, place, risk, rights, and sustainability—to showcase the creative potential of cultural heritage as it becomes mobilized within a wide array of social, political, economic, and moral contexts.
This highly readable collection will be of interest to students, scholars, and professionals in heritage studies, cultural resource management, public archaeology, historic preservation, and related cultural policy fields.
Contributors include Jeffrey Adams, Sigrid Van der Auwera, Melissa F. Baird, Alexander Bauer, Malcolm A. Cooper, Anna Karlström, Paul J. Lane, Alicia Ebbitt McGill, Gabriel Moshenska, Regis Pecos, Robert Preucel, Trinidad Rico, Cecelia Rodéhn, Joshua Samuels, Kathryn Lafrenz Samuels, and Klaus Zehbe.
Sam Wineburg Temple University Press, 2001 Library of Congress D16.2.W56 2001 | Dewey Decimal 907
Since ancient times, the pundits have lamented young people's lack of historical knowledge and warned that ignorance of the past surely condemns humanity to repeating its mistakes. In the contemporary United States, this dire outlook drives a contentious debate about what key events, nations, and people are essential for history students. Sam Wineburg says that we are asking the wrong questions. This book demolishes the conventional notion that there is one true history and one best way to teach it.
Although most of us think of history -- and learn it -- as a conglomeration of facts, dates, and key figures, for professional historians it is a way of knowing, a method for developing and understanding about the relationships of peoples and events in the past. A cognitive psychologist, Wineburg has been engaged in studying what is intrinsic to historical thinking, how it might be taught, and why most students still adhere to the "one damned thing after another" concept of history.
Whether he is comparing how students and historians interpret documentary evidence or analyzing children's drawings, Wineburg's essays offer "rough maps of how ordinary people think about the past and use it to understand the present." Arguing that we all absorb lessons about history in many settings -- in kitchen table conversations, at the movies, or on the world-wide web, for instance -- these essays acknowledge the role of collective memory in filtering what we learn in school and shaping our historical thinking.
A History in Sum
Steve Nadis Harvard University Press, 2013 Library of Congress QA13.5.M43H376 2013 | Dewey Decimal 510.7117444
In the twentieth century, American mathematicians began to make critical advances in a field previously dominated by Europeans. Harvard's mathematics department was at the center of these developments. A History in Sum is an inviting account of the pioneers who trailblazed a distinctly American tradition of mathematics--in algebraic geometry, complex analysis, and other esoteric subdisciplines that are rarely written about outside of journal articles or advanced textbooks. The heady mathematical concepts that emerged, and the men and women who shaped them, are described here in lively, accessible prose.
The story begins in 1825, when a precocious sixteen-year-old freshman, Benjamin Peirce, arrived at the College. He would become the first American to produce original mathematics--an ambition frowned upon in an era when professors largely limited themselves to teaching. Peirce's successors transformed the math department into a world-class research center, attracting to the faculty such luminaries as George David Birkhoff. Influential figures soon flocked to Harvard, some overcoming great challenges to pursue their elected calling. A History in Sum elucidates the contributions of these extraordinary minds and makes clear why the history of the Harvard mathematics department is an essential part of the history of mathematics in America and beyond.
From the late nineteenth century until World War II, competing spheres of professional identity and practice redrew the field of history, establishing fundamental differences between the roles of university historians, archivists, staff at historical societies, history teachers, and others.
In History’s Babel, Robert B. Townsend takes us from the beginning of this professional shift—when the work of history included not just original research, but also teaching and the gathering of historical materials—to a state of microprofessionalization that continues to define the field today. Drawing on extensive research among the records of the American Historical Association and a multitude of other sources, Townsend traces the slow fragmentation of the field from 1880 to the divisions of the 1940s manifest today in the diverse professions of academia, teaching, and public history. By revealing how the founders of the contemporary historical enterprise envisioned the future of the discipline, he offers insight into our own historical moment and the way the discipline has adapted and changed over time. Townsend’s work will be of interest not only to historians but to all who care about how the professions of history emerged, how they might go forward, and the public role they still can play.
Holocaust memorials and museums face a difficult task as their staffs strive to commemorate and document horror. On the one hand, the events museums represent are beyond most people’s experiences. At the same time they are often portrayed by theologians, artists, and philosophers in ways that are already known by the public. Museum administrators and curators have the challenging role of finding a creative way to present Holocaust exhibits to avoid clichéd or dehumanizing portrayals of victims and their suffering.
In Holocaust Memory Reframed, Jennifer Hansen-Glucklich examines representations in three museums: Israel’s Yad Vashem in Jerusalem, Germany’s Jewish Museum in Berlin, and the United States Holocaust Memorial Museum in Washington, D.C. She describes a variety of visually striking media, including architecture, photography exhibits, artifact displays, and video installations in order to explain the aesthetic techniques that the museums employ. As she interprets the exhibits, Hansen-Glucklich clarifies how museums communicate Holocaust narratives within the historical and cultural contexts specific to Germany, Israel, and the United States. In Yad Vashem, architect Moshe Safdie developed a narrative suited for Israel, rooted in a redemptive, Zionist story of homecoming to a place of mythic geography and renewal, in contrast to death and suffering in exile. In the Jewish Museum in Berlin, Daniel Libeskind’s architecture, broken lines, and voids emphasize absence. Here exhibits communicate a conflicted ideology, torn between the loss of a Jewish past and the country’s current multicultural ethos. The United States Holocaust Memorial Museum presents yet another lens, conveying through its exhibits a sense of sacrifice that is part of the civil values of American democracy, and trying to overcome geographic and temporal distance. One well-know example, the pile of thousands of shoes plundered from concentration camp victims encourages the visitor to bridge the gap between viewer and victim.
Hansen-Glucklich explores how each museum’s concept of the sacred shapes the design and choreography of visitors’ experiences within museum spaces. These spaces are sites of pilgrimage that can in turn lead to rites of passage.
Hop on Pop showcases the work of a new generation of scholars—from fields such as media studies, literature, cinema, and cultural studies—whose writing has been informed by their ongoing involvement with popular culture and who draw insight from their lived experiences as critics, fans, and consumers. Proceeding from their deep political commitment to a new kind of populist grassroots politics, these writers challenge old modes of studying the everyday. As they rework traditional scholarly language, they search for new ways to write about our complex and compelling engagements with the politics and pleasures of popular culture and sketch a new and lively vocabulary for the field of cultural studies. The essays cover a wide and colorful array of subjects including pro wrestling, the computer games Myst and Doom, soap operas, baseball card collecting, the Tour de France, karaoke, lesbian desire in the Wizard of Oz, Internet fandom for the series Babylon 5, and the stress-management industry. Broader themes examined include the origins of popular culture, the aesthetics and politics of performance, and the social and cultural processes by which objects and practices are deemed tasteful or tasteless. The commitment that binds the contributors is to an emergent perspective in cultural studies, one that engages with popular culture as the culture that "sticks to the skin," that becomes so much a part of us that it becomes increasingly difficult to examine it from a distance. By refusing to deny or rationalize their own often contradictory identifications with popular culture, the contributors ensure that the volume as a whole reflects the immediacy and vibrancy of its objects of study. Hop on Pop will appeal to those engaged in the study of popular culture, American studies, cultural studies, cinema and visual studies, as well as to the general educated reader.
Contributors. John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O’Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi
Hope, Heart, and the Humanities tells the story of how Venture, a free, interdisciplinary college humanities course inspired by the national Clemente Course, has helped open doors to improve the lives of people with low incomes who face barriers to attending college. For over a decade, this course has given hundreds of adults, some of them immigrants or refugees, the knowledge, confidence, and power to rechart their lives.
Readers will go inside Venture classrooms to see what occurs when adults enter serious discussions about literature, critical writing, art history, American history, and philosophy. Apparent also are the difficulties nontraditional students, who range in age from 18 to 60, often encounter in a college classroom and the hard choices they and their teachers make. What readers may remember most are the stories and words from people whose views of the world broaden and whose directions in life changed.
What terms do we use to describe and evaluate art, and how do we judge if art is good, and if it is for the social good? In How Art Can Be Thought Allan deSouza investigates such questions and the popular terminology through which art is discussed, valued, and taught. Adapting art viewing to contemporary demands within a rapidly changing world, deSouza outlines how art functions as politicized culture within a global industry. In addition to offering new pedagogical strategies for MFA programs and the training of artists, he provides an extensive analytical glossary of some of the most common terms used to discuss art while focusing on their current and changing usage. He also shows how these terms may be crafted to new artistic and social practices, particularly in what it means to decolonize the places of display and learning. DeSouza's work will be invaluable to the casual gallery visitor and the arts professional alike, to all those who regularly look at, think about, and make art—especially art students and faculty, artists, art critics, and curators.
How Myths about Language Affect Education: What Every Teacher Should Know clarifies some of the most common misconceptions about language, particularly those that affect teachers and the decisions they make when they teach English language learners. The chapters in this book address myths about language in general, about first and second language acquisition, about language and society, and about language and thinking. Each chapter concludes with activities for teachers that give examples, exercises, or simple questions that relate directly to teachers' everyday dealings with ELLs and language.
How Myths about Language Affect Education is not intended to be a complete introduction to linguistics; it does not contain information on phonetics or complex syntactic explanations, and technical jargon is kept to a minimum. The aim of this book is not to settle language issues but rather to highlight popular misconceptions and the ways that they influence debates regarding language and affect language policies in and out of the classroom.