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http://humanitiesmoments.org/files/original/10/Abigail_Adams.jpg
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Portrait of Abigail Adams
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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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Abigail Adams Stands Up for “Ladies”
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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
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Adams, Abigail
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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.
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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/15/322/Suffragist_Parade_Image.jpg
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Women's Suffrage Parade
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https://commons.wikimedia.org/wiki/File:Suffragists_Parade_Down_Fifth_Avenue,_1917.JPG
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women's-suffrage-parade
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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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GSSR #gradsinthewoods19
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Katie Schinabeck
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2016
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A first person interpreter at Mystic Seaport in Connecticut
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The year 2020 marks the 100th anniversary of women gaining the right to vote in the United States. I don’t think I truly grasped the reality that (white) American women have only had the right to vote for a century until I met a woman living in the year 1876.
I’ll explain. I met Louisa at Mystic Seaport- an outdoor museum in Connecticut. I first met her when I was watching a cooking demonstration in a historic house. Louisa came by and chatted with the cooking demonstrator. Before she left, she invited everyone to join her at the Seamen’s Friends building at 2:00. When she flitted away, the demonstrator said to us conspiratorially, “Louisa is such a nice woman. But be careful, I hear she advocates for women’s suffrage.”
It was a perfect hook. I dutifully arrived at the appropriate building at 2:00. After Louisa’s performance, the rest of the audience left and Louisa and I were alone.
“So, Louisa, I heard you have an interest in women’s suffrage,” I prompted.
“I don’t know where you heard that,” she answered, looking around.
She was good. She pulled me in.
We started up a conversation. She told me about how unfair it was that she couldn’t vote even though she owned property and paid taxes on that property. She also talked about how difficult it was to voice her opinion, much less actively engage in the suffrage movement, in her small town. We talked about women’s suffrage, her life in Mystic, and her past experiences.
My humanities moment came as we finally left the building. By this point I had started to suspend disbelief, and I wanted to leave Louisa with a sense of hope for her future. So I turned to her and told her not to give up on the dream of women’s suffrage. And then I realized that I was being ridiculous. Not because I was acting like I was actually having a conversation with a woman from 1876 (well partly because of that) but because there was a high chance that she would never actually see the right to vote in her lifetime. And that was my humanities moment. The moment when something I knew became something that I knew- white women have had the right to vote for 100 years in the country. Many people of color only gained the right to vote (in all practical ways) in living memory.
This new understanding led to a shift in how I engage in civic life. But before that moment, I was regrettably one of those millenials that didn’t vote because I didn’t think my vote mattered or that I was knowledgeable enough to vote. But since that conversation, I started voting in all levels of elections partly because of the past. I vote now because of how many women fought for me to have this right.
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Votes for Women at Mystic Seaport
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votes-for-women-at-mystic-seaport
Black History
Museums
Women's History
Women's Rights
-
http://humanitiesmoments.org/files/original/9/350/Feminist_Pin_Image_HM.jpg
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Feminist pin
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Pixabay
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feminist-pin
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Teacher Advisory Council
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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.
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Andy Mink
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<em>The Creation of Feminist Consciousness</em> by Gerda Lerner
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My Humanities Moment occurred during my Junior year in college, when I attended an evening session with Gerda Lerner, the author of <em>The Creation of Feminist Consciousness</em> and one of the founders of the academic field called women’s history. <br /><br />I read only short sections of the book assigned in my women’s studies class. (The course itself was a revelation to me, and a requirement because I didn’t score a 5 on my high school AP History exam. Being forced to take history courses in college was the bright side of this failure, because it was in those classes that I learned that history is more than the dates of battles, treaties, and founding documents -- all activities of men. I realized that women were doing cool (and important) things while all that other business was going on.) <br /><br />I remember almost nothing about the event except a single line by the speaker, which I can only approximate here. Dr. Lerner said that the tragedy of women’s history is the sheer waste of intellectual capital for millenia. She asked us to consider what our culture might have lost -- what all the world’s cultures have lost -- due to women’s subjugation and their lack of access to education. How many books were never written? How many works of art never made? How many ideas in philosophy and politics and religion and science were never engendered because of one gender’s systematic oppression? <br /><br />I remember sobbing in my chair. I remember the choking anger I felt at this injustice. I also remember the feeling I finally had an answer to a question my father had once posed. <br /><br />Now, you have to understand a bit about me to understand this moment, my coming to feminist consciousness. I was the only girl in a family of three boys. I was the daughter of a man who could have given the Great Santini a run for his money. Our household was run with military precision, my father being a retired Army officer, Vietnam veteran, helicopter pilot, and Ranger instructor, and my mother a traditional, mild-mannered wife. Our house was patriarchal, to be sure, and I did my best to measure up to a standard that placed male bodies and minds above all else. (My father, in fact, once told me that I was the “best son he ever had,” a true compliment coming from him.) <br /><br />I understand now that my father was a product of his time, born in 1931 and raised in Tennessee, but as a young girl I received mixed messages about my place. He appreciated my intellect and we often spent evenings together watching Masterpiece Theater or some other PBS documentary that would be “wasted” on my brothers. During one of these evenings, my father asked me, “Why do you suppose there are no women composers?” <br /><br />I cannot remember the exact tone of his question; he could very well have been taunting me, reinforcing the idea that women were inferior because, look, there’s the proof. There are no women composers. They must be bad at composing. Taunting me was one of my father’s unfortunate habits. But I like to think my father’s tone also included some confusion and curiosity. Here he was with this brainy daughter -- who was, in his words, “smarter than all three boys put together” -- but where could she really succeed if there were no women composers? <br /><br />I certainly don’t recall my answer to my father’s question, but I do remember the roiling of my brain and the shame I felt at not having a good explanation for why there were no women composers, few women authors, no women presidents, and certainly no female helicopter pilots. I remember the queasy sense of defeat that whatever my intellect, I couldn’t amount to much -- or at least not to the level of men. And I wanted to be a good man -- the best son -- for my terrifying, mercurial father. <br /><br />Gerda Lerner’s words gave me the answer I needed. There were no women composers because, according to Lerner, patriarchy had “skewed the intellectual development of women as a group, since their major intellectual endeavor had to be to counteract the pervasive patriarchal assumptions of their inferiority and incompleteness as human beings.” <br /><br />That’s exactly what I had been doing in my family for 20-something years, trying to counteract the idea that I was inferior. <br /><br />I never got to explain all this to my father, partly because I was too afraid, partly because I hadn’t worked it all out in a bell ringer, iron-clad speech that would once and for all convince him of women’s equality, and partly because he died soon after I graduated. But Gerda Lerner’s words have never left me, and they’ve helped me understand how the humanities -- the intellectual endeavors of both women and men -- can and do nurture the mind and the soul.
Title
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Coming Into My Feminist Consciousness
Date
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1993-1994
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coming-into-my-feminist-consciousness
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C. N. Bernstein
College Students
Fathers & Daughters
Feminism
Feminist Authors
Lerner, Gerda
Self-Realization
The History of Feminist Consciousness
Women's and Gender Studies
Women's History
Women's Rights
-
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Symposium Ad
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symposium-ad
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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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NHC Graduate Student Summer Residency
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Sarah Scriven, 26, PhD Student in Women's Studies
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2015
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ShondaLand Symposium
Description
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I decided to go into academia at a panel about Scandal. It was 2015 and I was a college senior.
Like millions of other fans, one weekly joy was Shonda Rhimes’ Thursday night primetime takeover: Grey's Anatomy, Scandal, and How to Get Away with Murder. The thrill of these Thursdays was not only the juicy and ridiculous plots, but the chance to see dynamic stories of Black women on television. Between my friends, my mom, grandma, and Black Twitter as a whole -- we all had something to say. Yall remember the episode when Olivia is kidnapped, locked in a basement of sorts, but her hair remains frizz and kink-free?
The Shondaland symposium, hosted on my campus, brought together Black women scholars from an array of academic disciplines ( History, Women’s Studies, Law, Cultural Studies, Gender and Sexuality Studies, Black Diaspora Studies, and Media Studies) to discuss this beloved tv takeover. As speakers framed the moment, I learned how historic this cultural production was. There hadn’t been a Black woman lead on primetime TV in more than forty years. That day I entered a great cipher (as Gwendolyn Pough would call it)… brilliant Black feminists came together in the intellectual and honest riffing of ideas. The discussions were, of course, genius. No stone went unturned. These scholars took up everything from what it meant to envision a Black woman with the power to run the State, how Rhimes’ complex characters transcend archetypes of Black womanhood, to Black women's still unprotected status under the law. The panelists engaged in the more pressing issues too: Fitz or Jake?, favorite sex scenes, hand-bags, petticoats, and iconic Poppa Pope speeches. Between giggles, I feverishly jotted down notes.
In the humanities, we take up questions pertinent to the dynamism of personhood and complexity politics. Yet, Black women are often left out of the mix. By senior year of college, I had come to know that I loved the humanities. This moment was the moment I learned that the humanities could love me back.
Title
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All Thanks to Olivia Pope
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all-thanks-to-olivia-pope
African American Studies
Black Women Scholars
Feminism
Rhimes, Shonda
Scandal
Television Series
Women's Rights
-
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8e4652a70ac7054074da5ac283d6e3d8
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Magazine excerpt
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magazine-excerpt
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Graduate Student Residents 2020
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graduate-student-summer-residents-2020
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NHC Winter Residency for Graduate Students
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Kylie Broderick (27), PhD student
Description
An account of the resource
In 1922, Julia Dimashqiya, founder and editor of the Beirut-based women’s magazine "The New Woman" ("Al- Mar’a Al-Jadida"), inaugurated her first issue by dedicating it to "the daughters of my country.” From our vantage point, this statement seems to be an innocent and even bland admission of belonging. But looking beneath the surface reveals a world of contending debates about who belongs to this national mother, who might not, and why. In 1922, neither Lebanon nor Syria were yet countries—having transitioned from being Ottoman provinces to European mandates, these territories were undefined by fixed national borders. As such, enfolded in this invocation are a number of overlapping claims: to a nation, to a nonsectarian familial bond, to a future that is being built by a gendered collective. "The New Woman" was far from the only periodical working to define a community in this pre-national social soup; between the 1910s and 1930s, women-oriented periodicals in Greater Syria exploded in popularity. Women who founded, edited, and contributed to these magazines were attempting to both construct the ideal “modern woman” and also understand how their overarching society—beginning to be envisioned as a nation—would function through the lens of a collectively-defined women’s role.
Nearly one hundred years later, down in the digital ossuary of Middle Eastern archives, I opened the magazine and felt a kinship to her. Like Julia Dimashqiya, I feel engaged in a deep tradition of scholarship, agitation, and creative belonging. Like her, I understand that any project building something new requires a collective, a plurality, in order to last. Where she worked to build a nation in the face of unbearable oppression by colonial overlords, I hope to be engaged in a sphere of humanities that radically reshapes what it means to empathize, learn from, and interact with the past beyond the boundaries of time and space. Living one hundred years apart, we are connected to different facets of the same project to educate and elevate the consciously-constructed collective. After all, many of the problems she and other women intellectuals faced then remain familiar to us now: bridging the gap of social difference, challenging inequalities, and bringing together the many.
The first time I opened "The New Woman" was my Humanities Moment. Far from being a discrete point in time, I see it as part of an ongoing process built by a series of inquiries and curiosities that led me to the magazine. I did not have a single epiphany that switched on my lightbulb—instead, a decade of accidental discoveries in the literary realm, patient mentors in the academy, and interpersonal encounters in the world in time apprehended me, forming the unconscious bedrock of my commitment to the humanities. Holding the magazine for the first time merely lit the spark of a fire that had long been building—I knew I had to work with Julia Dimashqiya and other intellectuals like her, in spite of the century that separated us, to tell the story of women building a new nation. To me, this is what the humanities offers us: within the academy and beyond, it gives us the tools to understand one another and critically engage to form bonds. We work to define, challenge, and redefine our collectives and the borders between us. In this way, we learn how to connect the past to the present in ways that encourage us to envision the possibilities of our futures.
Title
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"To the Daughters of My Country": Humanitarian Connection across Time and Borders
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to-the-daughters-of-my-country
Magazines
Political Activism
Women
Women's History
Women's Rights
-
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
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homegrown
American history
History
New Hampshire
Songs
Women's Rights