1
30
61
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Bussa Rebellion Banner
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bussa-rebellion-banner
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Virginia Geographic Alliance West Indies Teacher Institute
Description
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A week-long experiential professional development experience for teachers taking place during June 2018 in Barbados
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Andrew Mink of the National Humanities Center
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Emily Longenecker, 34, High School Teacher, Virginia
Description
An account of the resource
I visited Barbados on a teacher professional development trip in 2018. My assigned research topic for the trip was Bussa’s 1816 slave rebellion. Within three days in April of that year, the rebellion had spread to most of the southern half of the island.
Slavery in Barbados was addressed in a limited way by tour guides and historians on the island. There were not accounts from the slaves to detail their life experience. During this trip, I viewed the rebellion as evidence that slaves were not satisfied with the conditions of their lives and wanted their freedom. In a roundabout on one of the highways in the country, there stands a statue of Bussa- hands raised, fists clenched, chains broken. However, there is no diary entry from Bussa, just accounts from the British of the importance of putting down the rebellion. We can only make assumptions about Bussa’s objectives, but we are missing his words.
In an account written in a private letter on Tuesday, April 16th, the slaves were described as carrying “an extraordinary emblematic flag.” British sketches of the flag, now housed in the National Archives in London, are the only record of the goals of the slaves. They were striving for the freedoms that had been denied to them. They wanted to marry and have access to the privileges of the planters. But they did not want to overthrow the British Crown. They wanted to be British citizens.
This flag is the voice of Bussa and his followers. Slaves were often kept illiterate in order to limit their access to the tools and ideas to agitate for freedom. In this way, their voices are lost. Without those voices, it is possible for historians and individuals to imagine what slaves would have thought or said. But those imaginations do not allow for the complexity of human thought and experience. We are missing these people and we will never truly know their lives. It is unique to have evidence of what Bussa really thought. It contributes to the recognition and understanding of the humanity of Bussa and his followers.
Title
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"An extraordinary emblematic flag"
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an-extraordinary-emblematic-flag
Barbados
Bussa's Rebellion (1816)
History
Memory
Slavery
Teachers & Teaching
-
http://humanitiesmoments.org/files/original/15/317/Eatonville_Plaque.jpg
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Graduate Student Summer Residents 2019
Description
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The National Humanities Center's graduate student summer residency program, <a href="https://nationalhumanitiescenter.org/nhc-welcomes-graduate-student-summer-residents/">“Objects and Places in an Inquiry-Based Classroom: Teaching, Learning, and Research in the Humanities”</a> took place July 15–26, 2019. Representing 28 universities in 18 states, these participants worked with leading scholars and educators from across the United States as they learned how to add value to their research by focusing on teaching and learning.
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Their Eyes Were Watching God by Zora Neale Hurston
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Valerie Rose Kelco, UNC-Greensboro, Literature
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February 2014
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Eatonville Walking Tour Plaques
Description
An account of the resource
This plaque, and several others, are sprinkled throughout Eatonville, Florida to guide a walking tour of America's first legally established self-governing all-African American municipality. Eatonville was established in 1887. The town gained popularity from its depiction in Zora Neale Hurston's novel, <em>Their Eyes Were Watching God</em> (1937), and her autobiography, <em>Dust Tracks on a Road</em> (1942). <br /><br />Sadly, 100 acres of Historic Eatonville has been lost due to expansion of the Greater Orlando area and Interstate 4. However, The Historic District of Eatonville was added to the National Register of Historic Places on February 3, 1998. The Association to Preserve the Eatonville Community has been working to make Eatonville an internationally recognized tourism destination, to enhance the resources of the town, and to educate the public of its cultural significance and the community's heritage. <br /><br />I came to Eatonville because of my research and love for Zora Neale Hurston. Inspired by scholars such as Alice Walker, who worked to find and mark Hurston's final resting place, I too am aspired to keep Hurston's legacy from disappearing. The dilapidated plaques that are supposed to guide and educate the public about the importance of Eatonville are impossible to read. <br /><br />The sight of these plaques awakened a call-to-action inside of me. Since this moment, I have been working to digitally preserve Zora Neale Huston's Eatonville through geospatial technology and augmented and virtual reality technology. This technology has the capability to tell these stories in ways that are immersive and accessible. By digitally preserving these stories, future curious minds will be able to explore and share the experience.
Title
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"The Town that Freedom Built": Preserving Zora Neale Hurston's Eatonville
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zora-neale-hurston-eatonville
Dust Tracks on a Road
Eatonville, Florida
Geographic Information Systems (GIS)
Historical Markers
History
Hurston, Zora Neale
Memory
Public Spaces
Their Eyes Were Watching God
-
http://humanitiesmoments.org/files/original/433/syn-ecc_NotreDame1-296x300.png
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Statues
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statues
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From one of my graduate students at Penn State (Morgane Haesen, whose "Moment" you published)
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Willa Z. Silverman, 62, Malvin E. and Lea P. Bank Professor of French and Jewish Studies, Penn State University
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Spring 2021
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<em>Night and Fog </em>(1955)
Description
An account of the resource
“Nothing distinguished the gas chamber from an ordinary blockhouse,” writes Jean Cayrol in the screenplay for Alain Resnais’ iconic filmic meditation on the Shoah, Night and Fog (1956). “Inside, a fake shower room welcomed newcomers. The doors were closed. The newcomers were observed. The only sign – but you must know this (il faut le savoir) – is the ceiling worked over by fingernails. Even the concrete was torn.” At this point in the film, like an insistent investigative eye, the camera pans to the ceiling of the gas chamber, revealing the telltale scratch marks. The image of fingernails clawing into concrete in a desperate attempt for survival recurs in another work about Holocaust memory that we read this semester, Georges Perec’s W, or the Memory of Childhood (1975). Recalling an exhibit he had visited with his aunt shortly after the war – the same one, in fact, that led producers to ask Alain Resnais to create the film that would become Night and Fog -- the child survivor narrator writes: “I remember photos showing the walls of the ovens, lacerated by the fingernails of those who had been gassed.”
Il faut le savoir. The phrase has haunted me throughout the semester. You must know this. Because it happened. Because many would deny that it did, depriving the victims of dignity and history of truth. Fingernail scratches in the crematoria walls of Auschwitz, asks the neo-Nazi website The Stormer? “Jewish mythology says ‘yes.’ Science says ‘no.’” You must know this, because soon there will be no more survivors, and those still alive often find it too painful, or shameful, to share their testimony, or else they have learned to suppress it so as not to trouble others. “No one wanted my memories,” writes Birkenau survivor Marceline Loridan-Ivens in But You Did Not Come Back. You must know this, because 2/3 of young Americans, according to a 2020 national poll, lack a rudimentary understanding of the Holocaust. “Where did the Holocaust happen?” educator Rhonda Fink-Whitman asks a Penn State student in her 2012 documentary, 94 Maidens. “I have no idea.” You must know this, as Cayrol writes in Night and Fog, because “war is sleeping, but with one eye always open.” As I write, genocide continues to be perpetuated against the Muslim Rohingya people by the military in Myanmar. “Who among us keeps watch from this strange watchtower to warn of the arrival of our new executioners?”
But to know – and this is a second meaning of il faut le savoir -- one must be ‘in the know,’ know where to look, how to be on the lookout, how to decode the signs. You have to be tipped off to find the “Memorial to the Martyrs of the Deportation” (1962) tucked in a small square behind the behemoth of Notre-Dame Cathedral, just as you must be ‘in the know’ to be disturbed by the memorial’s identification of those deported from France as willing “martyrs” to a cause rather than victims of state persecution by both the Nazis and the Vichy regime. The French State headed by Marshal Philippe Pétain is nowhere mentioned in this memorial monument, yet it deported over 75.000 Jews from France to their deaths, along with, in smaller numbers, Roma, the disabled, Jehovah’s witnesses, gay men and lesbians, and other ‘undesirables.’ Stroll around to the main façade of Notre-Dame to contemplate the two female allegorical figures framing it; only if you’re ‘in the know’ about the anti-Semitic underpinnings of European Christianity through the mid-20th century will you understand that one figure represents the Church triumphant, while the other, with downward cast, blindfolded gaze and broken Torah tablets at her feet, symbolizes the Synagogue. As only one photograph of this event remains, you need to be on the lookout for the tiny plaque at the foot of a bustling Parisian office building marking the site of the former Vélodrome d’hiver, an indoor bicycle track where over 11,000 Jews, including over 4,000 children, were packed for several sweltering days in July 1942 before being herded to their deaths. “A peaceful landscape,” writes Cayrol, “An ordinary field with flights of crows, harvests, grass fires. An ordinary road where cars and peasants and lovers pass. An ordinary village for vacationers – with a marketplace and a steeple – Can lead all too easily to a concentration camp.” Il faut le savoir.
“Every hour of every day,” writes Hélène Berr, a young upper-class French Jewish woman who survived a year in deportation before being beaten to death in Bergen-Belsen, “there is another painful realization that other folk do not know, do not even imagine, the suffering of other men, the evil that some of them inflict. And I am still trying to make the painful effort to tell the story. Because it is a duty, it is maybe the only one I can fulfill. There are men wo know and who close their eyes, and I’ll never manage to convince people of that kind, because they are hard and selfish, and I have no authority. But people who do not know and who might have sufficient heart to understand – on those people I must have an effect.” Let us – we who in Primo Levi’s words “live safe in [our] warm houses,” armed with all we have learned this semester, make the “painful effort to the tell the story” to all those who will listen, “those with sufficient heart to understand.” Because the world must know. Yes, il faut le savoir.
Title
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“Il faut le savoir:” Reflecting on France’s Holocaust History and Memory
Creator
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Jean Cayrol, Alain Resnais
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il-faut-le-savoir
Documentary Films
Emotional Experience
Film and Movies
Historical Memory
History
History Education
Holocaust
Memorials
Memory
Teachers & Teaching
War
-
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Archives
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archives
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Virginia Geographic Alliance West Indies Teacher Institute
Description
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A week-long experiential professional development experience for teachers taking place during June 2018 in Barbados
Text
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Andy Mink
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Lisa Roop Belcher
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June 21, 2018
Description
An account of the resource
The title of my moment comes from a quote on page 55 of Watson and Potter's book, Low-Cost Housing in Barbados: Evolution or Social Revolution?
My humanities moment occurred in the Bajan archives while being able to view the original document that freed the enslaved people of the island. I simply sat down in the corner of the room and cried. I felt moved to share this discovery with my son. Although we are privileged to be removed from this kind of historical trauma, it was an important experience to consider its effects on the lives of real people. Knowing how hard it is to come into such documents in our country, understanding the importance of this document and being thankful that my child understands to a degree how significant this experience will forever be for me both humbled and overwhelmed me.
Due to geographic constraints, the option to flee beyond the island’s borders even after emancipation was practically impossible. It even seemed as if their freedom was merely symbolic due to the chattel system which allowed the once-enslaved persons to build small homes on the land of their former imprisoners for labor. The idea of freedom was born on that day. However, much like in so many parts of the world where there is still a struggle between the races and the haves/have nots, personal freedom was still not existent for these people. They still had to be very cognizant of all of their actions to ensure food and shelter for their families. Fear of having to move their home or simply not having a place to move their home helped perpetuate the system of a white dominated society for many more years past the initial emancipation.
Title
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“Personal freedom was therefore not existent.”
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Low-Cost Housing in Barbados: Evolution or Social Revolution?
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personal-freedom-was-therefore-not-existent
Barbados
Emancipation Act of 1834 (Barbados)
History
Low-Cost Housing in Barbados: Evolution or Social Revolution?
Potter, Robert
Slavery
Watson, Mark
-
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4d99b79f33877ae380fe878e7aef7de4
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Chinese street
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chinese-street
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Graduate Student Residents 2021
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graduate-student-residents-2021
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Jinghong Zhang, 26, history Ph.D. student
Date
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May 2021
Source
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<em>A Touch of Green </em>(television series and novella by Pai Hsien-Yung)
Description
An account of the resource
While doing research in Nanjing, the capital city of Jiangsu province in China, I made a visit to a local neighborhood called Dafang Lane. There's no famous tourist spot here, but I was drawn to it by a Taiwanese TV series that I watched years ago -- <em>A Touch of Green</em>. <br /><br /><em>A Touch of Green</em> is a 2015 TV series that is based on a novella of the same name by Pai Hsien-Yung, a phenomenal Chinese writer. The story unfolds the life of three Republic of China Air Force pilots and their wives from the Chinese Civil War period (1945-1949) to the White Terror period (1949 to 1987) in Taiwan. The story is not an ode to China's revolutionary past, but rather to the tumultuous and miserable lives of ordinary Chinese people who left their homeland and migrated to a new island after the KMT lost the Civil War in 1949. It is not centered on the bravery of the pilots or the strength of their wives. Instead, the drama portrays their anxiety and weariness over the war, their helplessness when confronting fate and history, and their grief over their loved ones' deaths. It touched me because it transcends macro-historical frameworks and narrates the bond, love, pain, and survival hardship of an ordinary group of people. <br /><br />In the original novella, Dafang Lane is the military dependents’ village where the wives of the pilots resided. The old buildings still exist today, and there is a brief introduction on the wall explaining that they were constructed in the 1930s and are now protected historical sites in Nanjing. I walked around Dafang Lane, as if I was walking down the memory lane of modern Chinese history. The dripping sound of life echoed here, as I imagined how the wives of the pilots anxiously awaited their husbands' safe landing or their deaths. For me, the Dafang Lane is not just a place; it's also a humanities moment that intertwines the TV drama, the novella, and the untold history of a group of pilots and their families.
Title
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<em>A Touch of Green</em>
Identifier
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touch-of-green
A Touch of Green
China
Families
Historic Sites
Historical Memory
History
Nanjing, China
Television Series
War
-
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The burning of the Stamp Act in 1765
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Educators
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This collection features contributions by teachers, education administrators and others involved in teaching at levels K-16.
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educators-humanities-moments
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<iframe width="640" height="360" src="https://player.vimeo.com/video/269216296" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
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<em>Feeling</em> the American Revolution
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Steve Oreskovic, Charlotte-Mecklenburg School District
Description
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History teacher Steve Oreskovic discusses how he gets his students to empathize with the feelings of injustice among colonists in the run up to the American Revolution, helping them gain a richer context for learning about history.
Through the practice of experiential learning—a simulation of a tax on school supplies—Oreskovic created an opportunity for his students to imagine the lived realities of American colonists. In doing so, he drew parallels with the Stamp Act imposed by the English government in 1765. The experiential activity “really gets them into the why,” he explains. By reflecting on the internal feeling of injustice, his students gained a richer understanding of the past that transcends the mere knowing of dates, names, and places.
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feeling-american-revolution
Active Learning
American Revolution
Charlotte, North Carolina
History
Stamp Act of 1765
Teachers & Teaching
United States History
-
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“Hamilton, an American Musical”
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National Humanities Center Board Members
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This collection includes contributions from the distinguished board of trustees of the National Humanities Center
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<iframe width="640" height="480" src="https://player.vimeo.com/video/262261026" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
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<em>Hamilton</em> and the Performance of Poetry
Description
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<p>Thomas Scherer describes two related encounters which speak to the power of hearing poetry performed aloud. The first is an explanatory talk and poetry reading by the great literary scholar M. H. Abrams at the National Humanities Center; the second is hearing Lin-Manuel Miranda discuss his award-winning rap musical, <em>Hamilton</em>.</p>
<p>Across generations, cultural divides, venues, and artistic voices, the power of lyric poetry to capture and convey powerful feeling is undeniable. And when poetry is performed and embodied, “brought to life” if you will, its capacity to create change is palpable.</p>
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M. H. Abrams, Lin-Manuel Miranda
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Thomas Scherer, Consultant, Spencer Capital Holdings
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thomas-scherer-abrams-hamilton-poetry
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Lin-Manuel Miranda's musical <em>Hamilton</em>; M.H. Abrams' <em>The Mirror and the Lamp</em>
Abrams, M.H.
Chernow, Ron
Drama
Hamilton, Alexander
Hamilton: An American Musical
Hip-Hop
History
Literature
Miranda, Lin-Manuel
Music
New York, New York
Performing Arts
Poetry
Politics
Popular Culture
Storytelling
The Mirror and the Lamp
United States History
-
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06d41afdf5c8ff91c94a89d3a5227c44
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Rare Books
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Pixabay
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rare-books
Dublin Core
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Educators
Description
An account of the resource
This collection features contributions by teachers, education administrators and others involved in teaching at levels K-16.
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educators-humanities-moments
Text
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From the FCPS Inquiry Curriculum Development Project I am doing this summer
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Natalie Hanson, 36, History Teacher
Date
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July 2021
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<em>People of the Book</em>
Description
An account of the resource
I read <em>People of the Book</em> by Geraldine Brooks a few days ago and I haven't been able to stop thinking about it. This book combined many of my loves: reading, historical fiction, and stories of survival and humanity.<br /><br />As a history teacher, with two young kids, I don't get much time to read for pleasure during the year. And this past year of the pandemic was the hardest of my career and I had even less time for reading. I have been so happy to slow down and relax this summer and to escape into the world of this book that was so captivating. <br /><br />This book had been sitting on my nightstand for months and once I picked it up, I couldn't put it down. It was such a powerful novel about imagined and embellished stories about a real live artifact, the Sarajevo Haggadah. The stories that the author created felt so real and I grew so attached to the people who helped protect this book. I learned so much about history and religion that I didn't know before. I also learned so much about the human condition. <br /><br />This is why I love my job. You can always learn more. I was so inspired by this book to keep reading others and keep learning more. I can't wait to travel and eventually see the real Haggadah. I want to share its story and hope others will get the opportunity to read this book!
Title
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<em>People of the Book </em>Reminds Me Why I Love the Humanities
Creator
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Geraldine Brooks
Identifier
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people-book-reminds-love-humanities
Books & Reading
Brooks, Geraldine
Fiction
History
Learning
-
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49980ece2ffb47bea85a4c760184bf1c
Dublin Core
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Upton Sinclair's The Jungle
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Kluge Scholars
Description
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Humanities Moments contributions from scholars at the John W. Kluge Center at the Library of Congress
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kluge-scholars
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<iframe width="640" height="360" src="https://player.vimeo.com/video/252934171" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
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<em>The Jungle</em>: Personalizing the Historical Struggle of Workers
Subject
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Sinclair famously quipped that he “aimed for the public’s heart” but accidentally “hit it in the stomach.” His novel hit Shedd in both places. <em>The Jungle</em> personalized the hopes and struggles of those living in the era that she would eventually study as a modern U.S. historian. Sinclair’s story prompted her to seek answers to questions: How did this novel prompt policy change? How did it capture the struggles of historical actors and immigrants in the early 20th century? What other novels did Sinclair write? What institutional structures need reform in order to be more just?
Description
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<span><span>An early encounter with muckraking American novelist Upton Sinclair’s </span><em>The Jungle </em><span>exposed Kristen Shedd to issues surrounding human rights and animal rights in the early 20</span><span>th</span><span> century. For Shedd, the 1906 novel exposed the intersections of fiction, policy, history, and social justice. Sinclair’s story prompted her to seek answers to questions: How did this novel prompt policy change? How did it capture the struggles of historical actors and immigrants in the early 20th century? What other novels did Sinclair write? What institutional structures need reform in order to be more just?</span></span>
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Kristen Shedd, Fullerton College & The John W. Kluge Center at the Library of Congress
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shedd-jungle-personalizing-history
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<em>The Jungle</em> by Upton Sinclair
Animal Rights
Books & Reading
Boston (1928 novel)
Emigration & Immigration
History
Human Rights
Kluge Scholars
Literature
Muckraking (Journalism)
Policy
Professors
Sacco-Vanzetti Trial
Sinclair, Upton
Social Justice
The Jungle
-
http://humanitiesmoments.org/files/original/9/106/9-11.jpeg
51c531242641e2719757ac6e71bd44b2
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Title
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September 11, 2001
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Teacher Advisory Council
Description
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This collection includes contributions from the National Humanities Center's Teacher Advisory Council. The council is a 14-member board that supports the Education Programs of the National Humanities Center for a one-year term of service.
Text
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Title
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9/11 Shaped My Career
Description
An account of the resource
I was a brand new college freshman getting ready to attend my Political Science class that started at 8:45am on September 11, 2001. I heard the news on the radio when I first woke up and I thought it wasn't real. I turned on the TV and still couldn't believe it was real. I didn't know what else to do except go to class and so I did. My professor came in the room sobbing and she told us all to go home and be with our families. We all walked out of the lecture hall, scattering across the green, going our different directions. I began walking to my car but my mind was focused on one thing, I wanted to go volunteer for military service. My dad had served during Vietnam and I felt like it was my duty. So I called my dad and told him my plan and he said to me (in probably the first adult conversation we would have), "You don't need to serve in the military because I served for you. If you really want to make a difference in this world, start thinking about how you can give back to your community through your career or volunteer service." At that point, I was a communications major and I had aspirations of being a sport journalist. I stuck it out for another year in the major, but what my dad had said to me on that day kept coming back around. At the end of my freshman year, I switched my major to history with a secondary education emphasis. I loved history, that I knew, did I love teaching? I did not know, but I knew this would be a chance to service my community and country.
I continued as an education major and eventually graduated in 2007 with my degree. By the time I graduated, I knew that loved teaching. I discovered during my different experiences in the classroom in college that this was my calling. 9/11 taught me that service is important, but it also taught me that knowledge is power and knowing about the world outside of my little bubble is extremely important. I try to do this with my students in my classes everyday. I want them to be educated citizens who can see the many sides of an issue and are curious about the world they live in.
Subject
The topic of the resource
I continued as an education major and eventually graduated in 2007 with my degree. By the time I graduated, I knew that loved teaching. I discovered during my different experiences in the classroom in college that this was my calling. 9/11 taught me that service is important, but it also taught me that knowledge is power and knowing about the world outside of my little bubble is extremely important. I try to do this with my students in my classes everyday. I want them to be educated citizens who can see the many sides of an issue and are curious about the world they live in.
Date
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9/11/2001
Contributor
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<a href="http://nationalhumanitiescenter.org/education-programs/teacher-advisory-council-2017-2018/">Carly Hill</a>, 34, teacher
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9-11-shaped-my-career
Citizenship
College Students
History
New York, New York
September 11 Terrorist Attacks, 2001
Teachers & Teaching
Vocation
World Trade Center
-
http://humanitiesmoments.org/files/original/297/Golda_Meir.jpg
31b11fc9ef1d46000bacf225e8ca89f3
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Golda Meir in 1949
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<iframe width="640" height="360" src="https://player.vimeo.com/video/343052738" frameborder="0" allow="autoplay; fullscreen" allowfullscreen="allowfullscreen"></iframe>
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Heidi Camp
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A Lifelong Love of Biographies
Description
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<p>Author, educational advocate, and entrepreneur David Bruce Smith recounts how his passion for reading biographies as a child instilled in him an enduring love of history and allowed him to overcome scholastic pressures he faced to deviate from his intellectual path. This exercise also connected him more strongly to a shared literary tradition within his family and granted him a level of insight and wisdom he has carried throughout his life.</p>
<p><em>Curator's note</em>: The Grateful American™ Foundation is dedicated to restoring enthusiasm in American history for kids and adults. Smith holds a bachelor’s degree in American Literature from George Washington University, and a master’s in Journalism from New York University. During the past 20 years he has been a real estate executive and the editor-in-chief/publisher of <i>Crystal City Magazine</i>. He is the author of 11 books, including his most recent title, <i>American Hero: John Marshall, Chief Justice of the United States</i>. The Grateful American Book Series for <i>children</i>, featuring historic couples that were partnerships, debuts in the fall with <i>Abigail and John</i>—a joint biography of the Adams's.</p>
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david-bruce-smith-biographies
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David Bruce Smith, Founding Father of the Grateful American™ Foundation
Biography
Books & Reading
History
-
http://humanitiesmoments.org/files/original/10/60/mount-rushmore-900.jpg
65230277a5b6d2507d59a03c583934bb
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Mount Rushmore
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National Humanities Center Board Members
Description
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This collection includes contributions from the distinguished board of trustees of the National Humanities Center
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<iframe width="640" height="360" src="https://player.vimeo.com/video/259932522" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
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Title
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A Lifelong Passion and Appreciation for History
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Ben Vinson III, Provost and Executive Vice President of Case Western Reserve University
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ben-vinson-lifelong-passion-appreciation-history
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Vinson describes how a knowledge of local history—in this case, Mount Rushmore—transformed his understanding of the world around him. His mother, an elementary school teacher, would read her son stories of the monument’s construction, instilling a lifelong passion for history. Vinson goes on to explain how history provides a “much greater context to the things happening in our daily lives.”
Description
An account of the resource
Ben Vinson III reflects on how an appreciation for history can enrich our understanding of what he calls the “depth to our days.” Specifically, he recalls how the story of Mount Rushmore’s construction kindled his boyhood imagination growing up in South Dakota. His mother, an elementary school teacher, would read her son stories of the monument’s construction, instilling a lifelong passion for history. Vinson goes on to explain how history provides a “much greater context to the things happening in our daily lives.”
Source
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A story about the construction of Mount Rushmore
Books & Reading
History
Keystone, South Dakota
Mothers & Sons
Mount Rushmore National Memorial
National Monuments
Professors
Teachers & Teaching
United States History
-
http://humanitiesmoments.org/files/original/18/448/auditorium-86197_640.jpg
59c17220b29aeb484529816381abe4f7
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Title
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Theater
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Pixabay
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theater
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Graduate Student Residents 2021
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graduate-student-residents-2021
Text
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E.N.K. Robbins, 26, Ph.D. Candidate
Date
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Summer 2018
Source
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<em>Translations</em>
Description
An account of the resource
In the summer of 2018, I took a trip to England where I had the opportunity to truly explore the city of London for the first time. One night during my stay, I visited the National Theatre where I saw the play <em>Translations</em> by Brian Friel. <br /><br />Set in a small Irish town in the 1830s, the show follows the story of a rural headmaster and his sons. One son helps his father educate members of their rural community while the other joins British Royal Engineers to anglicize maps of Ireland. During this time, British officials sought to replace traditional Gaelic names with British equivalents, asserting the Empire's control over Ireland's past and their future. The show touches on the importance of language and culture by shifting back and forth between the perspectives of the British Engineers and the Irish community, allowing the audience to see the story from both sides. The different characters were unable to communicate with those who did not speak their native language, leading to intensified tension and frustration. <br /><br />As I watched the actors portray this story, I found that everything about the play- the book, the acting, the direction- forced the audience to reckon with the detrimental realities of the past and empathize with the Irish communities and the British officials that the fictional characters were based upon. As a member of the audience, I felt the frustration of the Irish community members; I felt their pain as they watched the names of their roads, lakes, and buildings being replaced; I felt satisfaction as the community joined together to resist the infiltration of British authorities and protest colonialism. The play also emphasized the perspective of the British soldiers sent to the town to serve their empire and the feeling of obligation and duty that accompanied their actions. <br /><br />To me, one of the most important aspects of the humanities is being able to invite an audience, a reader, a listener to experience a perspective that is different from their own and potentially alter the way they view the world. The play I watched that night in 2018 exemplifies this purpose as it presented an important story, based on true events from the past, in a way that encouraged audience members to suspend their biases and think about life through a different point of view. As a budding historian, <em>Translations</em> encouraged me to find and highlight historic moments in a similar way within my own work.
Title
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A Play and New Perspectives
Creator
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Brian Friel
Identifier
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play-new-perspectives
Empathy
England
Friel, Brian
History
Ireland
Theater
-
http://humanitiesmoments.org/files/original/18/456/sword_in_chicago.jpg
8751541ff0056b79f4f6507baf64ca1a
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Sword in Chicago
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sword-chicago
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Graduate Student Residents 2021
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graduate-student-residents-2021
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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For internal use only, for tracking and metrics.
National Humanities Center
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Contributor
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Thomas Morin, 32, Historian
Date
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2012
Source
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A visit to the Metropolitan Museum of Art
Description
An account of the resource
It was not my first time in The City, but it was my first time visiting the Met. The Metropolitan Museum of Art's reputation stretched out wide before it for a young man from the West Coast. I had long been interested in art, and I knew that the Met had one of the best collections in the world. I had missed a previous opportunity to go a few years back, and I wasn't going to do so again. My sister, a friend, and I took a train up to Fifth Avenue, and soon were outside the museum's broad, colonnaded entrance.
My interest in the medieval period had only recently begun at that point. When I saw in the catalogue that the museum had an extensive collection of European arms and armor, I couldn't resist. We walked through the classical Egyptian section, admiring the tiny-carved Lapis lazuli figures. We paused for pictures amid the ruins of the Temple of Dendur, which stood in the middle of a small reflecting pool. Beyond that, we finally entered the arms and armor section.
Amid all the impressive examples of late medieval and early-modern craftsmanship, one piece in particular stood out to me. It was a large sword with a broad, angular blade (see attached picture of the same sword in the Art Institute of Chicago, where it was on loan in early 2020). The surface, while pitted slightly, was remarkably unmarred and smooth other than an inscription near the hilt written in Arabic. The sword as a whole had a simple elegance. Though the crossguard had little horn-like curls at the ends, it was otherwise unadorned. It had the appearance of a practical tool, precise and deliberate. It looked heavy but somehow also quick.
I was intrigued. I began asking all sorts of questions about the sword: Where had it come from? Who made it? Why was there an Arabic inscription on what was clearly a western European sword? Searching for those answers gave me my first taste of the interconnected Mediterranean world which would later become my obsession. The sword is thought to have been made in Italy, either in Brescia or Milan. From there, it was taken to the isle of Cyprus, at the time ruled by the Lusignan Kings, successors to the long-lost Crusader States. Then, sometime around 1419, it was presented as part of a diplomatic gift from Cyprus (along with many other weapons) to Sultan Shaykh al-Mahmudi, whose name is contained in the inscription. The sword, and many others like it, are one of many pieces of physical evidence for the extensive networks of connection which joined the various corners of the Mediterranean together in the medieval and early-modern world.
Though I have never handled the original (or its twin, rediscovered in Texas in 2014 by Sotheby's), I have had the opportunity to handle a modern reproduction which was made based on detailed measurements and mimics the sword almost exactly. It is a marvel of engineering. The sword's geometry and design makes it wonderfully balanced, so that, though it weighs almost 4 lbs (which is very heavy for a sword of this type), it feels light enough to wield in one hand. The tremendous skill which would have gone into the design and fabrication of that weapon made me question my received wisdom about the superiority of the modern world, and eventually to question the very meaning of "modern" at all.
The questions that this sword inspired have had long-lasting effects on the course of my continuing academic study and interest in the middle ages, and it is still an inspiration to me today.
Title
A name given to the resource
A Sword From Italy by Way of Alexandria
Identifier
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sword-from-italy
Armed Forces
Cultural Exchange
Cultural History
History
Italy
Material Culture
Medieval History
Metropolitan Museum of Art
-
http://humanitiesmoments.org/files/original/4/526/antietam.jpg
eae33268c1e6bcb1bd3a93ff20841c35
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Antietam
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Jeff Vande Sande
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antietam
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Title
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Educators
Description
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This collection features contributions by teachers, education administrators and others involved in teaching at levels K-16.
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educators-humanities-moments
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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Professional Development
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Contributor
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Jeff Vande Sande, 32, High School History Teacher
Date
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1998
Source
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Antietam National Battlefield
Description
An account of the resource
When I was ten years old my family took a day trip to visit the Antietam National Battlefield in Sharpsburg, Maryland. This family activity was the idea of my father, a Civil War enthusiast with a lifelong passion for history. As a ten-year-old, I was excited to just go somewhere different and see something new, but I lacked a genuine appreciation for the significance of the battlefield and the importance of this place to American history. Towards the back of line, at the beginning of the tour, I walked with my dad and by chance happened to kick up a small section of dirt in which I noticed a small dark grey object amidst the footpath. It was an actual Civil War bullet from the battle that I stumbled upon by pure luck and good fortune. I was pumped, but my dad was thrilled beyond belief, if not a little jealous. Sharing in his excitement, this was a moment when history truly came alive for me. I was immediately hooked. Here I was at a real Civil War battlefield, with a real Civil War bullet, and participating in a real historical discovery with my dad! Even at a young age I was interested in history, and enjoyed reading, but this Humanities Moment intensified that connection and inspired a lifelong passion for history and learning. I left Antietam with a new understanding of how the importance of past, place, and shared experience can truly be a powerful force to bring people together, and I still have the bullet too.
Title
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A Trip to Antietam National Battlefield
Creator
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U.S. National Park Service
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trip-antietam-national-battlefield
Antietam National Battlefield
Discovery
History
Learning
Museum
-
http://humanitiesmoments.org/files/original/10/Abigail_Adams.jpg
9db84a050fc9f8cba749e68cea41871f
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Title
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Portrait of Abigail Adams
Text
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Text
How would you describe this moment?
(Abigail Adams, writing to her husband John - March 31, 1776)
"I long to hear that you have declared an independancy—and by the way in the new Code of Laws which I suppose it will be necessary for you to make I desire you would Remember the Ladies, and be more generous and favourable to them than your ancestors. Do not put such unlimited power into the hands of the Husbands. Remember all Men would be tyrants if they could. If perticuliar care and attention is not paid to the Laidies we are determined to foment a Rebelion, and will not hold ourselves bound by any Laws in which we have no voice, or Representation.
That your Sex are Naturally Tyrannical is a Truth so thoroughly established as to admit of no dispute, but such of you as wish to be happy willingly give up the harsh title of Master for the more tender and endearing one of Friend. Why then, not put it out of the power of the vicious and the Lawless to use us with cruelty and indignity with impunity. "
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Title
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Abigail Adams Stands Up for “Ladies”
Description
An account of the resource
In a time when wives were treated like property, Abigail Adams insisted that her husband “Remember the Ladies” when writing the laws of the country and warning him, that “If particular care and attention is not paid to the ladies, we are determined to foment a rebellion, and will not hold ourselves bound by any laws in which we have no voice or representation.” Full text of some of her letters can be found at http://americainclass.org/wp-content/uploads/2014/12/AAdams-StudentVersion.pdf
Creator
An entity primarily responsible for making the resource
Adams, Abigail
Subject
The topic of the resource
Whenever I get discouraged about the struggle for equal rights for women, I remember all the women (and men) who’ve been fighting for those rights in the U.S. throughout our country’s history. Reading the letters written between Abigail Adams and her husband John, I’m reminded just how far we’ve come.
Identifier
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abigail-adams-stands-up-for-the-ladies
Adams, Abigail
Adams, John
Equal Rights
History
Letter Writing
Patriarchy
United States History
Women's Rights
-
http://humanitiesmoments.org/files/original/229/Gandhi_Statue.jpg
ddab9dc986830e1b6909fee5e4613c30
Dublin Core
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Title
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Statue of Mohandas Gandhi
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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TAC
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Rick Parker, Middle School Social Studies Teacher
Date
A point or period of time associated with an event in the lifecycle of the resource
September 2018
Source
A related resource from which the described resource is derived
Statue of Mohandas Gandhi
Description
An account of the resource
In front of the Martin Luther King Center in Atlanta you’ll find this statue of Mohandas Gandhi. For years I have used a photograph of this statue to introduce our Indian Independence unit to my 7th graders with the prompt “Why is this statue of Gandhi in front of the King Center?” My students are already familiar with the American civil rights movement, and this inquiry was always a great hook to learn about Gandhi’s system of nonviolent civil disobedience, which Dr. King utilized so effectively.
Recently a substitute teacher asked a question that made me re-evaluate this prompt and the lesson I’d been teaching. During a casual conversation at lunch she asked me, “Why is Gandhi’s statue in front of the King Center?” I started to talk about satyagraha and how King found inspiration from Gandhi’s methods of protesting injustice, when she stopped me. “No, why is a statue of a racist in front of Dr. King’s museum?”
I was taken aback. It’s true, Gandhi’s racism toward people of African descent is well documented. He wrote about the black people of South Africa using derogatory terms like “Kaffir” and lamented the indignity of being imprisoned with native Africans. He spoke out against forcing Indians to share the same communities with Africans and condemned the denigration of Indian genes through marriage with black people.
Without realizing it, I had been teaching a sanitized version of Gandhi’s legacy. This moment opened a whole box of questions. For example:
- Surely, Dr. King knew about Gandhi’s views. Yet, he chose to ignore these for the sake of what he could accomplish by using Gandhi as a role model. What does that say about Dr. King? Was he selectively ignoring the racism or was his character so strong that he could look past this?
- Who “owns” history? Historians who seek to paint the clearest, most accurate record of the past? Or people who use those lessons for their own purposes?
- Was my pride in engaging students with history in a way that was easy for them to digest misplaced? Have I been doing them a disservice all these years?
So, I’m embracing a new approach. History is messy and needs to be taught that way. Exposing students to all sides of a story gives them a better chance to explore the nuances and form their own opinions. It can also give them a deeper appreciation for figures like Dr. King.
Title
A name given to the resource
An epiphany over a statue of Gandhi
Identifier
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epiphany-over-gandhi
Atlanta, Georgia
Civil Disobedience
Gandhi, Mohandas
History
History Education
King, Martin Luther
Martin Luther King Jr. Center for Nonviolent Social Change
Memory
Racism
Statues
Teachers & Teaching
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Title
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from Ken Burns' "America"
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Ken Burns
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This collection includes contributions by the renown filmmaker Ken Burns.
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ken-burns-humanities-moments
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<iframe width="640" height="360" src="https://player.vimeo.com/video/263519382" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
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Answering the Question “Who Are We?”
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In this short video, documentary filmmaker Ken Burns recalls having Robert Penn Warren read a passage from his novel <em>All the King’s Men</em> during the production of the Huey Long portion of his documentary series “Ken Burns’ America.” He notes that it is voices like Warren’s that have helped animate his work, bringing to life his own journey and that which he has tried to share through his films.<br /><br />For Burns, this particular passage from <i>All the King’s Men</i>—about dirt, creation, and man’s place and purpose on Earth—is a “wonderfully existential statement” that excavates the “emotional archaeology” of humanity. Warren’s writing serves as a compass that can help navigate what Burns calls “the specific gravity of our own self-destructive impulses.” In spite of the diverse range of his film topics, they are all united by a simple question: as Americans, who are we?
Date
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1986
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Ken Burns, documentary filmmaker
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ken-burns-who-are-we
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<em>All the King's Men</em> by Robert Penn Warren
All the King's Men
Books & Reading
Documentary Films
Filmmakers
History
Literature
Long, Huey
United States History
Walpole, New Hampshire
Warren, Robert Penn
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Beowulf manuscript
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beowulf-manuscript
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Graduate Student Residents 2020
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graduate-student-summer-residents-2020
Text
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National Humanities Center's Graduate Teaching Residency, December 2020
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Emily McLemore, Ph.D. Candidate in English, University of Notre Dame
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Fall 2013
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Dated to the late tenth or early eleventh century, Beowulf is the longest epic poem written Old English. The narrative tells the story of the warrior Beowulf in 3,182 alliterative lines and recounts his battles with Grendel, Grendel's mother, and the dragon who ultimately brings about his demise. It survives in a single manuscript known as the Nowell Codex, part of the bound volume Cotton MS Vitellius A XV, which is housed at the British Library in London. The volume suffered substantial damage from a fire in the 1700s, so it is very fragile in addition to being very precious as one of the four major manuscripts containing Anglo-Saxon poetry.
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Looking back, I can pinpoint many moments that poignantly mark my path toward medieval studies, but reading <em>Beowulf</em> was the moment that rendered all the moments before it visible. I have loved literature all my life, a statement that is perhaps unsurprising from someone who has dedicated herself to studying and teaching literature. My entrance into academia, however, was not a conventional one. I was a non-traditional undergraduate, returning to college in my late twenties to complete my degree in English and Secondary Education. While at Western State Colorado University, I fell in love with the intellectual labor of literary analysis, with the conversations about literature happening in the classroom, with the mentorship I received from my professors and also provided as a teaching assistant. I began to realize that my desire to be both a teacher and a life-long student of literature could be fulfilled by pursuing an academic career but remained undecided about an area of concentration. <br /><br />When I read <em>Beowulf</em> in my fourth semester, my experience was the epitome of an epiphany. I have never been so captivated by a text; I was absolutely immersed in it. Every memory that I would now include on a timeline tracing my trajectory into academia and, specifically, my specialization in medieval literature was illuminated while reading that poem. It became a part of me. It is a part of me. <br /><br />Most often, I work on Middle English texts. The thesis I wrote as a Master of Arts student at Oregon State University focused on two of Chaucer’s <em>Canterbury Tales</em>. The dissertation I’m currently writing as a doctoral candidate at the University of Notre Dame examines late Medieval English texts. But <em>Beowulf</em> is never far from my mind and always close to my heart. When I finally had the great fortune to see the only surviving manuscript containing the text that changed my life, I spent a long while admiring the rather unassuming artifact. While other visitors wandered past it for its plainness, I paid homage to the object that brought me to a place I never imagined I would be.
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Beowulf Brought Me to Medieval Studies
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beowulf-brought-me-to-medieval-studies
Beowulf
English Literature
History
Medieval Literature
Self-Realization
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Chicano Park
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chicano-park
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Graduate Student Residents 2020
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graduate-student-summer-residents-2020
Text
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During the National Humanities Center VGSSR2020
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Sean Ettinger, 28, PhD Candidate in History at the University of Illinois at Urbana-Champaign
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2017
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My visit to Chicano Park in San Diego, California
Description
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I had been in San Diego for less than a week and was still unsure of bus routes. Having successfully navigated the trolley-to-bus transfer from La Mesa to the Gaslight District downtown, I figured I was close enough to walk. If it were a different day I would welcome any unexpected detours as a result of getting on the wrong bus, but today I was headed somewhere specific.
It was July, Saturday, and sunny. I walked southwest from downtown heading toward Barrio Logan. A historically working class Mexican and Mexican American neighborhood in the city, Barrio Logan is home to Chicano Park. Chicano Park is located under the Coronado Bridge and contains over 70 outdoor murals that decorate the pillars that support the bridge.
Chicano Park came into existence in April 1970 when neighborhood activists occupied the then vacant space under the bridge. The bridge was built around three years earlier, displacing thousands of residents in the process. Though the vacant space under the bridge was originally set to be the site of a highway patrol station, community activists instead demanded that the site be turned into a public park. After months of struggle, the city ceded to the community activists’ demands and designated the site a park. Soon thereafter local residents began calling the space Chicano Park. The name Chicano Park reflected not only how Barrio Logan was a predominantly Mexican and Mexican American neighborhood, but also how those involved with the takeover supported El Movimiento, the civil rights movement in the U.S. that focused on those of Mexican descent. Activists who participated in El Movimiento regularly identified themselves as Chicanas and Chicanos.
Since the 1970s artists like Victor Ochoa, Yolanda Lopez, and Salvador Torres have painted murals dedicated to Mexican and Mexican American culture and history on the bridge’s bare pillars. Popular murals painted in the 1970s include Historical Mural, Quetzalcóatl, and Birth of La Raza. Much like the name of the park, artists found inspiration in El Movimiento’s goals of eradicating ethnoracial discrimination and used the bridge’s pillars to present positive renderings of those of Mexican descent. Also starting in the 1970s, a festival, or Chicano Park Day, is held each April commemorating the day community residents occupied the land under the bridge, reinforcing the park’s continued importance to the local community.
After around a half hour of walking toward the park, colorful pillars broke into view. I entered the park and saw people walking among the pillars taking photos of the murals and reading the walls. People sat on steps of the green, red, and white painted kiosko situated near the center of the park. As I walked around taking my own photos a man in his mid-20s approached me and we began to talk. Learning that I was not a local, he began running through aspects of the park’s history. While I would later tell him that I was writing about Chicano Park in my dissertation, I initially kept this information to myself. I was more interested in hearing about how he spoke of the park. As he talked he braided the park’s history and importance to the community with the park’s significance in his own life. We stayed in the park and talked for hours while he guided me from pillar to pillar discussing the murals.
My “Humanities Moment” is therefore the confluence of walking to the park, seeing the pillars for the first time, and listening to a man – now a friend – talk about the importance of Chicano Park in his life and to the community. Chicano Park is representative of Mexican and Mexican American activism, culture, and history in the U.S. and reveals the power of community to determine the shape of its immediate surroundings. As my friend also demonstrated, Chicano Park is deeply personal and holds layers of meaning for community residents and those who visit the park.
Title
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Chicano Park
Identifier
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chicano-park
Activism
Artists
Communication
Community
Cultural History
History
Public Spaces
San Diego, California
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Paris café
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mimili271
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Pixabay, https://pixabay.com/en/paris-cafe-road-france-2971589/
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National Humanities Center Fellows
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Any contributions from current or past fellows at the National Humanities Center
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This collection includes contributions from current or past fellows at the National Humanities Center
Sound
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Hi, I’m Peter Galison, I’m a professor at Harvard University and a Fellow at the National Humanities Center this semester. I’m interested in a combination—odd as it sounds—of filmmaking, physics, and the history of science.
<p>A moment that really was hugely affecting for me in the humanities was seeing an old film, that was filmed in the summer of 1960, called <em>Chronicle of a Summer</em>. It was a French film made by a collaboration between a sociologist/philosopher, Edgar Morin, and a great filmmaker, might be called an anthropological filmmaker, Jean Rouch.</p>
<p>They combined to make this film in a moment just when it was possible to have portable sound-taking. They went onto the street and they asked people everything from, “Are you happy?” or “What are you doing?” In the course of what people say, you see a France that goes back even before the war, of horse-drawn carriages, but also cars. You meet a woman who had survived Auschwitz-Birkenau, lost her father there, and was now trying to navigate this post-war world. But 1960 is also the cusp of this opening up to another world of France. In a sense you see the beginnings of the unrest, the uneasiness with the received order of things, that culminates in May ’68 and the explosion of the student and worker revolt of that period.</p>
<p>For me, this film had a huge effect because it seemed to me to capture, in a moment in specificity, some really deep understanding of this transition point between the old order and the new order. It showed me that film could do something, a documentary film of a certain type—a certain exploratory, innovative type—could push beyond what text alone could do. I think, for me, the idea which I keep trying to figure out, is how do visual sources—especially the filmmaking that I’m doing and writing—combine to produce something whole that each part can’t quite do on its own.</p>
<p>With each bit of understanding, as people push what can be done with text, or text plus still images, or with film in innovative ways, I find it enriching and exciting and it opens up new possibilities for how I think about the kinds of problems that I want to work on. For me, the humanities at its best can do that, can take something specific and open up a world from it.</p>
Player
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<iframe width="100%" height="166" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/809871604&color=%2355d7d2&auto_play=false&hide_related=false&show_comments=false&show_user=true&show_reposts=false&show_teaser=false"></iframe>
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Chronicling a Summer in Cinéma Vérité
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For Peter Galison, an influential moment was seeing a film made in 1961 by an anthropologist and a sociologist, featuring a series of estival interviews with people on the sidewalks of France. With its innovations in sound technology, <em>Chronicle of a Summer</em> opened Galison’s eyes to the possibilities of documentary film. The film illuminated the interplay between image and text, revealing how the humanities can “open up a world.”
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<a href="https://nationalhumanitiescenter.org/meet-the-fellows/peter-galison/">Peter Galison</a>, Joseph Pellegrino University Professor in History of Science and Physics at Harvard University
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peter-galison-chronicling-a-summer-in-cinema-verite
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<em>Chronicle of a Summer (Chronique d'un été)</em>
Anthropology
Chronicle of a Summer (Chronique d'un été)
Cinema Vérité
Cultural History
Documentary Films
Film
History
Morin, Edgar
Professors
Rouch, Jean
Sociology
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Yasukuni
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yasukuni
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Contested Territory: America’s Role in Southeast Asia, 1945–75
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A National Endowment for the Humanities Summer Institute for Teachers
Description
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Taking place from July 16-27, 2018, <a href="A%20National Endowment for the Humanities Summer Institute for Teachers">this National Endowment for the Humanities Summer Institute</a> explored modern Vietnam in order to situate the American War in broader spatial settings and longer historical contexts.
Identifier
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contested-territory
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The National Humanities Center
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Breann Johnston, Middle School Teacher
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July 26th, 2018
Description
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Human connection is the most important part of life to me. I really value great relationships and look forward to connecting with new people every chance I get. Obviously, I am not going to have the same views on every single topic as anyone else. I think we make the biggest growth as human beings when we connect with people who have very different perspectives than our own, and we are willing to see things through their eyes. It does not mean that will always lead us to the same conclusion or change our own perspective in any way.
I use the phrase, “life is all about perspective” all the time, but how much the concept of contested territory is related to perspective did not really hit me until Morgan Pitelka was presenting his seminar, “Memory and Commemoration.” He discussed the Yūshūkan War/ Military Museum in Tokyo, Japan and explained that the Japanese people say the museum is a place of memorial for the lost soldiers, while others see it as a place to glorify Japan’s violent military past. There were other strong examples of contested perspectives throughout my time here in North Carolina, but that moment brought it all together for me.
Title
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Contested Perspective
Identifier
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contested-perspective
Connection
History
Museums
Teachers & Teaching
-
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Village road in Vietnam
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Contested Territory: America’s Role in Southeast Asia, 1945–75
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The topic of the resource
A National Endowment for the Humanities Summer Institute for Teachers
Description
An account of the resource
Taking place from July 16-27, 2018, <a href="A%20National Endowment for the Humanities Summer Institute for Teachers">this National Endowment for the Humanities Summer Institute</a> explored modern Vietnam in order to situate the American War in broader spatial settings and longer historical contexts.
Identifier
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contested-territory
Text
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The National Humanities Center
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Kevin Shuford
Date
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Wednesday, July 18th, 2018
Description
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Until this summer institute, I had never heard of the Vietnamese folk poetry known as ca dao. To be honest, I had never even thought of Vietnamese people having a poetic tradition at all. I, like so many other Americans, had relegated Vietnam to an inert location on a map or a tidy historical category. I could barely conceive of a Vietnam beyond the context of American military intervention. Even as we learned about the legacies of European colonialism in the initial seminars, I still saw Vietnam as an almost passive landscape trodden over by successive waves of foreign invaders. In effect, I had made Vietnam a victim in its own story. That changed for me when I heard professor and poet John Balaban talk about his experience collecting and publishing for the first time the oral poetry of Vietnamese farmers. Balaban spoke of an ancient people, full of history, full of passion, and full of pride, inundated by the monsoons that swept away the architectural vestiges of power that we in the “West” have come to rely on so heavily for our historical identity. What was left was a long, beautiful tradition of oral history preserved in the daily life of simple farmers. As Balaban eloquently writes in <em>Ca Dao Vietnam: Vietnamese Folk Poetry</em>, poetry flourished “in villages where the lone singer can hear his or her voice against the drone of crickets, the slap of water, or the rustling of banana leaves in the wind (p. 2). This line jolted me out of my facile characterization of Vietnam and its people. Long before the French cast their colonizing net over the people of Vietnam, long before the Americans stumbled into their disastrous war, long before there even was a place called Vietnam, a lone singer could hear her voice “against the drone of crickets, the slap of water, or the rustling of banana leaves in the wind.” The theme of our institute was “Contested Territory: America’s Role in Southeast Asia.” At first glance, I assumed that we would be discussing America’s involvement in the so-called Vietnam War of the twentieth century; after two weeks of intense study, I have realized that I fundamentally misread the title of this institute. To study contested territory is not to examine how America and the Viet Cong fought bitterly over this hill or that, but rather to place America in the context of an ancient regional story that is crowded with diversity and life. “America’s Role in Southeast Asia” says nothing of dominance or destiny – it was my enculturation as an American that read into it such a teleological narrative. Contested territory, like so much else, starts, and perhaps ends, in the mind.
Title
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Discovering Contested Territory Through Vietnamese Folk Poetry
Source
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<em>Ca Dao Vietnam: Vietnamese Folk Poetry</em> by John Balaban
Identifier
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discovering-contested-territory-through-vietnamese-folk-poetry
Colonialism
History
Oral Tradition
Poetry
Vietnam
Vietnam War (1961-1975)
-
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34f241863c9fda67272b4ce86e046856
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Presidential Meeting
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presidential-meeting
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Title
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Contested Territory: America’s Role in Southeast Asia, 1945–75
Subject
The topic of the resource
A National Endowment for the Humanities Summer Institute for Teachers
Description
An account of the resource
Taking place from July 16-27, 2018, <a href="A%20National Endowment for the Humanities Summer Institute for Teachers">this National Endowment for the Humanities Summer Institute</a> explored modern Vietnam in order to situate the American War in broader spatial settings and longer historical contexts.
Identifier
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contested-territory
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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NEH Seminar on Contested Territory at the National Humanities Center
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Bryan Boucher, 39, Teacher
Date
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July 24, 2018
Description
An account of the resource
On May 8th, 1957, South Vietnamese President Ngo Dinh Diem was greeted by President Dwight Eisenhower (along with Secretary of State John Foster Dulles) at Washington National Airport at the beginning of an official state visit for President Diem. This seemingly ordinary photo is noteworthy because it captures the complexity of the Cold War and the contested territory of Southeast Asia, and embracing that chaotic feeling is a main reason why I love the humanities.
There is much to teach about in this photo. Why would Eisenhower personally greet Diem at the airport, something he only did on one other occasion (and is almost never done by sitting U.S. presidents for heads of state)? Why is the year 1957 important? What does the United States think of Vietnam at this time? How is this photo potentially problematic? There are contrasts on many levels when dissecting this photo, and it can launch exploration in so many directions.
The photo encapsulates a conversation that I had with Vietnam historian Pierre Asselin after a talk he presented to our NEH summer seminar at the National Humanities Center. While we were discussing the challenges of teaching the Cold War to students, Professor Asselin noted, “if you study the Cold War correctly, you should be more confused as you go along, and that’s a great feeling!” This last line resonated with me, and reiterated my belief that it is important for students to understand different perspectives, sometimes without finding an answer to the question that was posed, but understanding the complexity and nuance of that question. This process is where real learning takes place, and it is important to teach students to embrace this chaos (and even to seek it out) in their own learning. Challenging our initial impressions of a source and digging deeper speaks to the lifelong value of the humanities.
Title
A name given to the resource
Embracing the Complexity and Chaos of the Humanities Through a Photo
Identifier
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embracing-the-complexity-and-chaos-of-the-humanities-through-a-photo
Diplomacy
History
Photography
Presidents of the United States
Teachers & Teaching
Vietnam
-
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Civil rights leaders marching in Washington, D.C.
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Educators
Description
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This collection features contributions by teachers, education administrators and others involved in teaching at levels K-16.
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educators-humanities-moments
Moving Image
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<iframe width="640" height="360" allowfullscreen="allowfullscreen" frameborder="0" src="https://player.vimeo.com/video/269216056"></iframe>
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Eyes on the Prize
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Kamille Bostick, Vice President, Education Programs, Levine Museum of the New South
Description
An account of the resource
Kamille Bostick shares the moment when she first saw the PBS documentary <em>Eyes on the Prize</em> and discusses how the revelations of that film history have contributed to her career and her long interest in history, especially the lives and accomplishments of African Americans.<br /><br />Seeing herself reflected in pictures and stories of African American history inspired Bostick to learn more about the lives and stories of those who came before her. In tandem, an <em>Ebony</em> magazine series and the film prompted two realizations for Bostick: first, the extent to which history matters; second, given how much African Americans have enriched U.S. culture, she “couldn’t not know more” about the history of those she saw depicted. In her own work, Bostick strives to honor and remember the songs, creations, and stories of African Americans throughout the nation’s history.
Identifier
An unambiguous reference to the resource within a given context
eyes-on-the-prize
African American History
Civil Rights Movement (United States)
Documentary Films
Ebony Magazine
Eyes on the Prize
Hampton, Henry
History
Journalism
Magazines
Museums
PBS (Public Broadcasting Service)
Storytelling
-
http://humanitiesmoments.org/files/original/7/95/Willie_Millan.jpg
ae46611b14bc3874b157ce9018cd181d
Dublin Core
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William Millan
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#Humanitiesinclass
Description
An account of the resource
This collection includes contributions from members of the National Humanities Center's education project Humanities in Class. The project aims to develop a deeper portfolio of curricular materials and help set standards for humanities education that highlight differences among humanities disciplines.
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A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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Title
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Finding “the Truth” in Music
Description
An account of the resource
In June 2017, I found myself in a cramped, sweltering apartment in New York’s East Village. I was there with three high-school students to interview William Millan, founder of the seminal 1970s Latin band, Saoco. The students were working on a documentary film about the history of musical communities in New York City. After playing several Saoco albums for us, William described how his interest in the roots of Latin music led him on an intellectual journey to understand the cultural history of the Caribbean, Europe, and Africa. Then he said something profound:
“I wasn’t a very good history and geography student when I was in school… it wasn’t until I really got into the music that I realized it’s not that I don’t like history and geography—I really love history and geography. It was the information they were giving me in school that I couldn’t relate to because it had nothing to do with what I was living. If you go into the music, and you check out the artists’ lives, that’s going to give you a truer picture of history; and in their body of work you’re going to see what the truth is.”
In 20 years of teaching, I have never heard a better articulation of music’s power to engage students in the study of history and culture.
Reflecting on the interview with William, I realized that he was describing the very learning experience my students were having as they created their documentary. By investigating the relationship between individuals and the music that shaped their lives, the students were in fact developing deeper understandings about the history of neighborhoods, their city, and American society—and seeing connections across time and place. Like William, their interest in music led them to think like historians. That day reaffirmed my commitment to interdisciplinary learning and, specifically, to using music and art wherever possible to help students make meaningful connections in my classroom.
Subject
The topic of the resource
Reflecting on the interview with William, I realized that he was describing the very learning experience my students were having as they created their documentary. By investigating the relationship between individuals and the music that shaped their lives, the students were in fact developing deeper understandings about the history of neighborhoods, their city, and American society—and seeing connections across time and place. Like William, their interest in music led them to think like historians. That day reaffirmed my commitment to interdisciplinary learning and, specifically, to using music and art wherever possible to help students make meaningful connections in my classroom.
Source
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Interview with William Millan, musician and founder of the band, Saoco
Date
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June 2017
Contributor
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<a href="http://nationalhumanitiescenter.org/humanities-in-class-guide-thinking-learning-in-humanities/">Ben Wides</a>, age 46, social studies teacher, East Side Community High School, New York City
Identifier
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finding-truth-in-music
Art
Cultural History
Documentary Films
Geography
History
Interdisciplinarity
Latin Music
Millan, William
Music
New York, New York
Saoco
Teachers & Teaching
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http://humanitiesmoments.org/files/original/12/188/Fishing_Net.jpg
1bc832ba17bd730bab79fe7cc0489100
Dublin Core
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Title
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Fishing Net
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Pixabay
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fishing-net
Dublin Core
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Title
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Virginia Geographic Alliance West Indies Teacher Institute
Description
An account of the resource
A week-long experiential professional development experience for teachers taking place during June 2018 in Barbados
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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Andy Mink
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Frances Coffey, High School Teacher
Date
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6-19-18
Description
An account of the resource
This mid-20th century oil painting, titled “Fishermen Mending Nets” by the artist Charles Poyer, depicts an elderly man repairing fishing nets by hand with tools located in a basket. The young boy watches with intrigue and appears ready to learn. This customary activity is occurring by the beach, imparting a sense of calm and peace to the painting.
As a social studies teacher traveling in Barbados, I was struck by the complicated relationship Barbadians have with their history. One of our tour guides stated that Bardadians “don’t value our built environment and history as much as they should.” School children, she explained, are required to take few history classes. Plantation tour guides also noted the difficulty in discussing race relations and the challenge of presenting the horrors of slavery with the island’s current image as a sunny, carefree tourist destination. In fact, this painting can be viewed as a microcosm for the representation of race on the island. Many emancipated slaves turned to fishing to escape working on sugar cane plantations. Yet the artist Charles Poyer decided not to depict a black man sharing fishing skills with a black boy, but rather a white man and white boy. This painting raises interesting questions about the transmission of knowledge and race on an island dominated by people of African ancestry.
Despite reluctance and challenges in presenting a nuanced narrative of the island’s history, Barbadians still have pride in their country’s culture. Fishing in Barbados is viewed as a sign of self-sufficiency and an integral part of their identity. The man in the painting is not only imparting a specific skill set to the boy, but also sharing values like the importance of thrift and hard work. Today fishing towns like Oistins deck their street with neon images of fish and locals urge tourists to try the national dish of flying fish and cou cou. Their pride in this dish shows their reverence for the island’s African ancestry, as cou cou was a common meal for slaves. Other important places like Independence Arch in Bridgetown feature the flying fish on its pillars. Thus, fish continue to be embedded in the art and cultural landscape of the island, and remains integral to the country’s identity.
Title
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Fish and Place in Barbados
Identifier
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fish-and-place-in-barbados
Source
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The oil painting <em>Fishermen Mending Nets</em> by Charles Poyer
Barbados
Culture
Fishing
History
Paintings
Poyer, Charles
Race
Slavery
Teachers & Teaching
-
http://humanitiesmoments.org/files/original/12/185/IMG_1306.JPG
a314bf7aadbb4c6de48a46932e69d634
Dublin Core
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Barbados Statue
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barbados-statue
Dublin Core
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Title
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Virginia Geographic Alliance West Indies Teacher Institute
Description
An account of the resource
A week-long experiential professional development experience for teachers taking place during June 2018 in Barbados
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Referrer
For internal use only, for tracking and metrics.
Andy Mink
Dublin Core
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Kristen Fallon, 25, English Teacher
Date
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June 2018
Description
An account of the resource
Before travelling to the George Washington House in Bridgetown, Barbados, I thought what most Americans think about George Washington: he was a strong, moral, and noble leader who is the epitome of what it means to be a patriot and an American. While visiting his former home in Barbados, where he lived for two months in 1751, I realized how important the movement--both voluntary and involuntary--of people to this island shapes the nation’s and region’s history with one of the darkest conceptions of all time.
At the George Washington House, many exhibits and tour excerpts discussed how Washington, nineteen years old at the time, moved to Barbados partly to find a more comfortable living environment for his ailing brother. However, Washington was also looking for a way to rise above his modest status in society. Washington had ambitions of belonging to the social elite and used his time in Barbados to network and learn ways in which he could improve his status socially and financially. While the tour was informative and did well to address Washington’s successes and personal character (the quality of which is often praised in history books and popular culture), the tour and museum both failed to address the issue of slavery and its role during Washington’s time in the island.
Agriculture was a money-making machine in the eighteenth century, and Washington inherited and maintained arable land in both Barbados and Virginia. The result of this was an increase in social and financial standing, the dream he had been working to fulfill. But he did not accomplish this on his own. Washington’s financial growth, his beautiful plantation house, and his rise as a member of the social elite are all directly linked to the enslaved persons who labored over his fields. And Washington was not alone in this, neither in the Colonies or island nations like Barbados. Hundreds of plantations owners across the new world relied on enslaved labor to produce. As a result, millions of enslaved Africans were bought and sold to be overworked, tortured, and killed.
While I was at the George Washington house, I saw a small display about the use of enslaved labor on the plantation. The display’s artifacts consisted mostly of informational readings, but it also had a set of mannequin’s representing an enslaved man and child as well as a display case of chains, shackles, and tools for punishment. By the time I reached this small corner of the exhibit, I had been observing and exploring the property for nearly two hours. This was the first reference I saw that discussed the use of enslaved people on the plantation. Based on other historical records, we know that the plantation economy of the Colonies and Barbados were dependent on slave labor, so I couldn't help but wonder why there was no mention or recognition that this household’s status and legacy is based almost entirely on one of the darkest institutions humanity has ever created.
Title
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George Washington and the Movement of Enslaved Persons to Barbados
Identifier
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george-washington-and-the-movement-of-enslaved-persons-to-barbados
Barbados
Colonialism
History
Slavery
Teachers & Teaching
Washington, George
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http://humanitiesmoments.org/files/original/11/125/anderson-imagined-communities.jpg
aa7fd44e023e808289c79067deed4651
Dublin Core
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Title
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Benedict Anderson's Imagined Communities
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Kluge Scholars
Description
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Humanities Moments contributions from scholars at the John W. Kluge Center at the Library of Congress
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kluge-scholars
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Player
html for embedded player to stream media content
<iframe width="640" height="360" src="https://player.vimeo.com/video/252415903" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
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Title
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History, (Re)imagined
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This encounter with Anderson’s scholarship inspired Knirim to reevaluate the meaning of truth, “proof,” and imagination in the study of history. In the absence of time machines, imagination—combined with rigorous scholarship, of course—can enable us to travel to certain moments in the past. Or at least come closer to the past than we were before.
Description
An account of the resource
Benedict Anderson’s <em>Imagined Communities: Reflections on the Origin and Spread of Nationalism</em> compelled Alexander Knirim, then a young historian, to re-think the role of imagination in history. Knirim recounts how his original misunderstanding, that we can reconstruct historic truth, was challenged by Anderson’s book and evolved into an appreciation of Anderson’s exegesis.
Contributor
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Alexander Knirim, Bayreuth University & The John W. Kluge Center at the Library of Congress
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knirim-history-reimagined
Source
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<em>Imagined Communities: Reflections on the Origin and Spread of Nationalism</em> by Benedict Anderson
Anderson, Benedict
Books & Reading
Historians
History
Imagined Communities: Reflections on the Origin and Spread of Nationalism
Professors
-
http://humanitiesmoments.org/files/original/18/474/HM_American_Flag_Image.jpg
5197ae354345ee72bf4310699aefcdcd
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American Neighborhood
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american-neighborhood
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Graduate Student Residents 2021
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graduate-student-residents-2021
Text
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NHC
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Carey Kelley, 44, Ph.D. candidate, University of Missouri
Description
An account of the resource
My wanderlust took me to many places around the world where I experienced humanities moments at nearly every turn, but my hometown is where my relationship with the humanities was born.
My childhood in a small town in New Hampshire was steeped in history. Impressive 19th century buildings and covered bridges painted the backdrop of my formative years and the hours of my days were measured by the ringing of Revere bells.
Sarah Josepha Hale also hailed from the same town. Hale wrote, published, and advocated for women’s education, but is most commonly known for her nursery rhyme “Mary Had a Little Lamb.” Our lives were separated by over a century, but our childhood homes were only separated by a driveway and as a result she often came to my mind.
Hale’s life sparked my curiosity about what role women played in American history and how they influenced their world despite the restrictions society placed on them. The constant reminder that women do make history helped foster my interest in the humanities.
Title
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Homegrown
Identifier
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homegrown
American history
History
New Hampshire
Songs
Women's Rights