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http://humanitiesmoments.org/files/original/15/310/Birkby_with_camera.jpg
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Title
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Feminist architect Phyllis Birkby
Source
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Wikipedia
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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/.
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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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the 2019 GSSR
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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/809871625&color=%2365d4da&auto_play=false&hide_related=false&show_comments=false&show_user=true&show_reposts=false&show_teaser=false"></iframe>
Transcription
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My name is Katelyn Campbell, and I'm a PhD student in American Studies at the University of North Carolina at Chapel Hill. And for my humanities moment, I wanted to start by framing my work. So I study intentional communities, most specifically these very specific radical feminist communities in the 1970s called Womyn's Lands. <br /><br />And my reason for studying those really stems back to a book that I read when I was a little kid. And that book is <em>Roxaboxen</em>. I first started reading <em>Roxaboxen</em> when I was about four years old. The book is about a group of kids in the Depression era who find a bunch of boxes, sticks, and rocks in the desert and use it to create their own imaginary town. And this town has all kinds of rules and processes for dealing with conflict. <br /><br />And as a little kid I had a really active imagination, so I took <em>Roxaboxen</em> really seriously. My cousins and I, which where I grew up in West Virginia, we tended to have more of a kinship system than a nuclear family. My cousins and I imagined our own Roxaboxen, which we built from our own sticks, boxes and rocks and we played pretend at this game for three years. And sort of over the last couple months, it's become really important to me to reflect on my time in Roxaboxen because in my view, that space was the first place I was ever in where power seemed fluid and where we had the space to imagine and create different worlds based on sort of what our fantasy would look like. <br /><br />And this is particularly prescient for me after spending a month in the archives because when I was up in the archives at Smith College doing research for dissertation project, I stumbled across a bunch of drawings from a workshop led by the feminist architect Phyllis Birkby and a random flat file folder that I sort of wasn't expecting to be full of these documents. But inside of the box there were all of these fantasy drawings that women who had participated in Birkby's workshop, women in the built environment had drawn. And these drawings depict exactly sort of what the name would suggest. What these women's ideals worlds would look like. <br /><br />And for me, I am sitting in the archive looking at these, reading Phyllis Birkby taking taking these seriously as works of feminist architecture rather than just simple fantasies or doodles to be tossed away. I remembered my experience in Roxaboxen and the value that that had for me in terms of figuring out what type of world that I wanted to create. And even though Roxaboxen doesn't really exist anymore, nor do the imaginaries that my cousins and I came up with, I think each of us would say that we've been changed by them. <br /><br />And I've selected this as my humanities moment because I think what I loved about working in the humanities and particularly in American Studies is it's a space where we're allowed and encouraged to take our imagination and in the archive ephemera seriously as different ways of knowing and understanding the world. As a sex educator and certainly as a scholar, one of the questions that I'm always asking is, what would it mean to create a world that's free from coercion and violence? And I recognize that our physical circumstances might prevent us from immediately doing that. But I think that space of the imaginary is a place where we can start to play out some of these ideas for what this world might look like. And perhaps realize that that world isn't that far away. So thank you, that's my humanities moment.
Dublin Core
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Katelyn Campbell, 24, PhD Student in American Studies at UNC Chapel Hill
Date
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During the 2019 NHC GSSR.
Source
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<em>Roxaboxen</em>, a book by Alice McLerran
Title
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Giving Value and Thought to the Imaginary
Identifier
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value-thought-imaginary
Architecture
Archives
Birkby, Phyllis
Books & Reading
Chapel Hill, North Carolina
Feminism
Intentional Communities
McLerran, Alice
Roxaboxen
Smith College
Womyn's Lands