1
30
4
-
http://humanitiesmoments.org/files/original/32/James_Joyce_by_Alex_Ehrenzweig_1915_cropped.jpg
f5c8dad3849ab940541c88666ca67a8c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
James Joyce, 1915
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/262228106" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
“I saw, in Stephen Dedalus, myself.”
Subject
The topic of the resource
Beyond personally identifying with one of Joyce’s most well-known character, William Ferris points out how “Joyce keeps renewing his presence in our lives.” The continued circulation and appreciation of literature helps us draw parallels between our experiences and concerns and those of others, across time, national boundaries, and other differences.
Description
An account of the resource
<p>In this excerpt from a conversation with William Ferris, former Chairman of the National Endowment of the Humanities, he shares how he came to see himself in Stephen Dedalus, the protagonist of James Joyce’s <em>A Portrait of the Artist as a Young Man</em>, who declares that he will fly from the nets of “nationality, language, and religion.”</p>
<p>He notes that at the time he encountered the character he and Stephen were about the same age and describes how he identified his own struggles as a young Southerner with those Dedalus experiences as a young Irishman. He goes on to discuss how the figure of Dedalus has become iconic and is used repeatedly to help discuss the struggles of young artistic spirits.<br /><br />Beyond personally identifying with one of Joyce’s most well-known character, William Ferris points out how “Joyce keeps renewing his presence in our lives.” The continued circulation and appreciation of literature helps us draw parallels between our experiences and concerns and those of others, across time, national boundaries, and other differences.</p>
Creator
An entity primarily responsible for making the resource
James Joyce
Contributor
An entity responsible for making contributions to the resource
William Ferris, former Chairman, National Endowment for the Humanities
Identifier
An unambiguous reference to the resource within a given context
william-ferris-stephen-dedalus
Source
A related resource from which the described resource is derived
<em>A Portrait of the Artist as a Young Man</em> by James Joyce
A Portrait of the Artist as a Young Man
Ireland
Irish Literature
Joyce, James
Literature
Southern United States
Welty, Eudora
-
http://humanitiesmoments.org/files/original/4/48/Mason_Dixon_Line.jpeg
477f359df204ae617e808dd90e27b9ef
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mason-Dixon Line
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Educators
Description
An account of the resource
This collection features contributions by teachers, education administrators and others involved in teaching at levels K-16.
Identifier
An unambiguous reference to the resource within a given context
educators-humanities-moments
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/269213139" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
What Does It Mean to Be Southern?
Contributor
An entity responsible for making contributions to the resource
Julie Mullis, Wilkes Community College
Description
An account of the resource
Community college teacher Julie Mullis describes how a classroom experience with students from diverse backgrounds and perspectives created a memorable and “multi-colored” sense of place and belonging. The conversations and debates that took place in a Humanities 122 class illuminated a profound truth for Mullis and her students: “we all had this common strand of humanity to us, no matter where we came from or how we grew up.” By considering a single topic—Southern culture—from a variety of perspectives, the classroom opened up a space for its diverse learners to celebrate both similarities and differences.
Identifier
An unambiguous reference to the resource within a given context
what-does-it-mean-to-be-southern
Community Colleges
Cultural Exchange
Professors
Southern United States
Teachers & Teaching
-
http://humanitiesmoments.org/files/original/10/173/Bryan_in_1900.jpg
53efcfe7d5ed75d46800dcd1417fe2ad
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
William Jennings Bryan campaign poster, 1900
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
National Humanities Center Board Members
Description
An account of the resource
This collection includes contributions from the distinguished board of trustees of the National Humanities Center
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/263377621" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Southern History, Turned Upside Down
Description
An account of the resource
J. Porter Durham, Jr. grew up in the segregated South during a time when public Ku Klux Klan sightings were not uncommon. In this video, Durham describes how a history class at Duke University taught by Lawrence Goodwyn upended his worldview. Professor Goodwyn’s book, <em>The Populist Moment: A Short History of the Agrarian Revolt in America</em>, transfigured Durham’s understanding of his local and familial history. For the first time, he was “forced to think anew.”
Contributor
An entity responsible for making contributions to the resource
J. Porter Durham, Jr., General Counsel and Chief Operating Officer, Global Endowment Management, LP
Identifier
An unambiguous reference to the resource within a given context
durham-southern-history-upside-down
Books & Reading
Business Leaders
Duke University
Durham, North Carolina
Goodwyn, Lawrence
Segregation
Southern United States
The Populist Moment: A Short History of the Agrarian Revolt in America
United States History
-
http://humanitiesmoments.org/files/original/18/505/florida-landscape-3753092_640.jpg
db3bb2e74794e16a8d80a1c437518399
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Florida Landscape
Source
A related resource from which the described resource is derived
Pixabay
Identifier
An unambiguous reference to the resource within a given context
florida-landscape
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Graduate Student Residents 2021
Identifier
An unambiguous reference to the resource within a given context
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.
Referrer
For internal use only, for tracking and metrics.
NCH Summer Graduate Student Residency
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Contributor
An entity responsible for making contributions to the resource
Rebecca Earles, 27, graduate student (Rice University)
Date
A point or period of time associated with an event in the lifecycle of the resource
2005-2010
Source
A related resource from which the described resource is derived
<em>Bite Me!</em>
Description
An account of the resource
People frequently talk about being haunted. Usually by spirits, both by the friendly Casper types and the decidedly less friendly Poltergeist types. Sometimes people are haunted by bad decisions. This is a spectrum too. Some must repeatedly face the time we developed a temporary and acute stutter during an eighth-grade presentation. While others face a scarier specter born of a truly terrible decision, like buying a monitor lizard as a pet. Perhaps one of the most pervasive and long-lasting hauntings of all is that of our hometowns. We swear that we’ll leave it forever. Pack our bags and only talk about home to family and in the occasional childhood anecdote while we live somewhere exciting and exotic. This attitude was especially pandemic to my hometown of Orlando, FL.<br /><br />You see, Florida is often presented as an exciting place for people to visit. And they do, by the millions. Everyone eventually comes to Florida, at least for a while. To quote Jerry Seinfeld: “My parents didn’t want to move to Florida, but they turned sixty and that’s the law.” <br /><br />To offer a few examples of this phenomenon: The spiritualists founded the town of Cassadaga, FL (which still has a major spiritualist camp). Jack Kerouac bought a house in Orlando to quietly read and write. Laura Ingles Wilder briefly came to the state for her health. Ernest Hemingway, on the other hand, famously came to stay. He went so far as to buy a house and began a long line of six-toed cats. The cousins of Tsar Nicholas II of Russia (grandchildren of Alexander II) came to South Florida after the Revolution. One even became the three-time mayor of Palm Beach. Florida is a holiday and a safe house. It is where people come to escape—they escape the grind of daily life, illness, political prosecution, revolutions, icy winters, writer’s block, and sometimes even the law. <br /><br />In these imaginings, Florida then is understood as a land where people bring "culture." The locals are people who supposedly accept "culture." This view is pervasive, and many (including me in my teenage years) believed this. It was for this reason that my friends and I dreamed of leaving Orlando and go somewhere where things happened. It all changed one afternoon, thanks to a rather unexpected humanities moment. <br /><br />How I got the book in the first place is part of its random charm. In 2005 or 2006, Tom Levine—a local fisherman, author, and “character”—showed up in my parents’ two-person CPA business in Orlando, FL. Levine periodically sells his books business-to-business or in farmers’ markets in Central Florida, using his charisma and humor in equal measure. My parents declined to turn their office into a small-scale bookstore but did buy a couple of his books—including Bite Me! I, a twelve-year-old girl who didn't fish, was clearly not the intended audience. And yet, I quickly came to love this book. <br /><br />Tom Levine’s <em>Bite Me!</em> is an admittedly unusual choice for an inspirational book. It’s a slender collection of essays about Levine’s travels. Described in one paper as “Part Hiaasen, part Hemingway,” Levine writes to celebrate nature, critique the overdevelopment of “paradise,” and of course to support his fishing expeditions. On the surface, his book <em>Bite Me!</em> is a humorous take on his journeys around the world. But what truly struck my interest was his deep and open love for the natural world of Florida. Levine articulates a clear argument for preserving our natural splendor. Not for tourists to ogle on vacation, but because the swamps, coastal wetlands, and pinewoods of Florida were innately valuable and worth saving—just as much as any mountain, scenic alpine lake, or rocky beach. It changed my relationship with my surroundings, I started thinking of Florida as a place within the world rather than a suburb outside of it. <br /><br />This new appreciation, in turn, led me to investigate my state’s history, environment, and literature. I started reading in earnest the works of Zora Neale Hurston, Marjorie Kinnan Rawlings, Carl Hiaasen, Marjorie Stoneman Douglas, and others. I realized that there was a cacophony of voices in the state who all have painted a full picture of Florida as a strange and special place that doesn’t need others to determine its worth. That the land and its many peoples are historied and important, and that Florida's troubled past and diverse actors deserved consideration. The land they lived on transformed from a boring backdrop to a central part of the Flordia story. <br /><br />This radical new point of view ultimately brought me to a MA and Ph.D. on Florida’s colonial past. You can say that Florida has become, to my great surprise, my life’s work. <br /><br />When I moved away for graduate school, I thought I may feel triumphant in realizing my childhood goal of leaving. Instead, I have found myself longing for the woods and beaches I used to traverse. Every time I return to this unexpected book, I feel like I’m with Levine searching the waterways and coastlines of the world to rediscover Florida and an elusive bite. From where I sit today, the ghost of my hometown still sits at my side. It floats around in my thoughts and writing and appears to have settled in for good.
Title
A name given to the resource
<em>Bite Me!</em>- A Florida Humanities Moment
Creator
An entity primarily responsible for making the resource
Tom Levine
Identifier
An unambiguous reference to the resource within a given context
bite-me-florida-humanities-moment
Colonialism
Culture
Florida
Levine, Tom
Memory
Southern United States
Storytelling