NATIONAL ENDOWMENT FOR THE HUMANITIES • VOLUME 3 NUMBER 2 • APRIL 1982 Humanities Art, the essential historian BY JOHN CANADAY

I would like to know, sometime, why some people are spontaneously attracted to art—the visual arts especially— while others who have been conditioned by apparently the same circumstances are left either cold or puzzled by some­ thing that has interested me as far back as 1 can remember, fascinated me since adolescence, and enriched my adult life beyond measure—with no explanation that I can reach as to why it happened. In our close-knit family of eight, books were plentiful (my father's shelf included Dante, Samuel Johnson, and George Meredith) and our Kimball upright piano was subjected to constant abuse. But until 1 began bringing pictures into the house there were almost none, except for family photo­ graphs, on the walls. The only ones I can remember were a chromo of a German mountain scene with peasants (which 1 recognize in retrospect as having been in the manner of Ferdinand Waldmixller), a reproduction of an early Taos painting showing an Indian dipping water from a stream, and a tinted mezzotint of Gainsborough's Duchess of Devonshire, none of which explains why as a teen-ager I developed a passion for Holbein drawings without ever having been inside an art museum or having seen, so far as I can remember, any art books. I have no idea why, how, or exactly when this first love was generated, but I do know that art from that time until now has been an increasingly potent form of communication with the past and an enlarge­ ment of the world around me. During the fifty years that have elapsed since I first collided with art history under Professor Edmund Cassius Taylor at Yale, I have come to understand that the history of art is the essential history of the world, and that therein, more than on an aesthetic basis, lies the immortality of a great work of art while minor ones die and drop away all around it. Within the last few years I discover that my ideas as to the importance of painting as one of the humanities have carried with them consequent dissatisfactions as to how art history and criticism (including much of my own) are usually approached today. I know that art as the essential historian of its contemporary world through the ages, has been rather consistently a liar, distorting by idealization what it has not falsified by omission. But these are white lies, as I hope to get around to explaining in a moment. If you want history in terms of the sequence of events that make up the armature upon which history books are organized—the charting of wars, treaties, revolutions and politics, the rise and fall of dynasties and social institutions— then art, in spite of a few excep­ Photographie Giraudon In Peter Paul Rubens' Henry IV Receiving the Portrait of Maria de'Medici, fupiter tions, seldom offers anything but a mixture of semi-truths, total absurdities, and ]uno look on affectionately while Minerva, goddess of wisdom, advises the French king to tactful evasions and partisan exaggerations. As an extreme example including contract the proposed marriage with the Italian princess, and playful cupids make away with his all of these, take Rubens' glorification of the marriage of Maria de'Medici and helmet and shield. The baroque ideals of grandeur are pushed to their limits—or further— in Henry IV, a marriage made neither in heaven nor, as Rubens would have it at this episode from a series of paintings celebrating a crassly political union. the behest of his unpleasant patroness, on Olympus. Or take the Napoleonic painters, a group that happens to give me special pleasure. When it comes to tactful evasions and partisan exaggerations, no artists, ever, have bested these Frenchmen. In their passionately distorted accounts, Bonaparte's peculiarities are ignored, and his defeat and exile become glorious as the prerequisite martyrdom to sanctification. By the of view reduces the French adulation of Napoleon to something like blind evidence of contemporary painters, here was a noble spirit brought low not by hysteria. There is no way to calculate the degree to which Napoleonic painting any imperfections of its own but by tragic circumstances manipulated by the accounts for the survival of the Napoleonic legend, but it is difficult to look at forces of evil. Subliminal Biblical references barely stop short of the these pictures without recognizing them as inexhaustible sources for the Crucifixion. legend's perpetuation. They carry still the fervent, almost religious conviction And yet there can be truth to history, truth of a special importance, in with which they were conceived. distortions of this kind. Rubens' Marriage of Maria de'Medici and Henry IV — the The Napoleonic episode is only a small bit in the vast matrix of the history whole series of gigantic paintings—has always struck me as being inflated to of the world, but its reflection in art exemplifies in its own way what I mean by the point of parodying the ideal of baroque grandeur whose formulas it the "essential history" that art can reveal. This is the history of the ideal goals exemplifies, but the Napoleonic artists vivify as no straightforward, factually that civilizations have set for themselves, whether or not those goals were accurate historian could do, one aspect of a story that from any objective point achieved, whether or not the means toward achievement were admirable, and w hether or not the goals themselves were valid by we) have become so preoccupied with aesthetic our standards. Gothic France was hardly the spir­ analyses in debate with one another that art as a itual realm that is materialized in the Gothic social manifestation, unless it is that semi-art form cathedral; Chartres, the apotheosis of medieval called "protest art," is isolated from the deepest In this issue.... intellectualism and spirituality, is a historical lie, if forces that inspire it. you wish, in that it says nothing of medieval pov­ In the second paragraph of these comments I erty, cruelty, intolerance and corruption. But it is a mentioned art as "a potent form of communication 1 Art, the Essential Historian white lie at worst; if it is a part-truth, historically, with the past" in a personal context. There is inex­ by John Canaday the part it deals with testifies to our potential for haustible pleasure in communication with artists 3 A Conversation with the sublime. who may have worked a hundred years ago (Degas, William J. Bennett by Ruth Dean Down the historical chart from Egypt until for instance) or five hundred (Mantegna is always today, the arts distill for us comparable essences of approachable in spite of his stern manner) or thou­ 5 El Greco of Toledo civilizations. This is a truism, of course, but art sands. This is a pleasure I have tried in my profes­ 7 The Exhibition as Text historians seem to avoid it more and more, for fear sional life to relay to pupils and readers, but I am by Neil Harris of expounding the obvious or confusing moral with not at all sure as to how successfully this can be aesthetic values—perhaps from fear of falling into done except in cases where a latent capacity, like a 9 Continuing the Renaissance at I Tatti errors like the neo-classic vision of ancient Greece neglected natural talent, can be aroused. Right 11 State of the States: Studying Art as a world of perfect order and harmony (the Par­ now, with fingers crossed, I would place my bets on for Humanities' Sake thenon's white lie) and the romantic vision of the the exposition of "essential history" as the most Middle Ages where the cathedrals were built by rewarding interpretation to make art mean some­ 13 Grant Application Deadlines hordes of the devout dragging stones while chant­ thing to the largest number of people. 14 Emily Vermeule and the ing to the glory of God. As for art critics, they (or Greek Legacy to the West

16 The Jefferson Lecture in the Humanities Rediscovering Greek Games at Nemea

17 History's Unwritten Record 19 Dustjackets: MediaLog 21 The Art of the Fellowship Proposal 23 1982 NEH Fellowship Awards 26 Robert A. Rosenstone on REDS 28 About the authors... Editor's Notes

Humanities

Jean Antoine Gros's Napo­ A bimonthly review published by the leon Visiting the Pest- National Endowment for the Humanities house at Jaffa, painted in Chairm an: William J. Bennett 1804, commemorates an Editor: Judith Chayes Neiman incident when Napoleon, Managing Editor: Linda Blanken during his Near Eastern Editorial Board: James Blessing, Harold campaign of 1798-99, Cannon, Donald Gibson, Carole Huxley, visited a hospital in Jaffa Myron Marty, Judith Chayes Neiman, where members of his troops Stephen Rabin, Armen Tashdinian. were dying of the plague. Production Manager: Robert Stock Relocating the incident in a Librarian: Jeanette Coletti more romantic setting (a Designed by Maria joscphy Schoolman mosque), Gros shows the General touching plague

The opinions and conclusions expressed in H u m a n i­ sores as if to cure them ties are those of the authors and do not necessarily miraculously, while the reflect Endowment policy. Material appearing in H u ­ afflicted men look on wor- m a n ities may be freely reproduced although the edi­ tor would appreciate notice and copies for the En­ shipfully. Inspirit, the dowment's reference. Use of funds for printing this painting is less closely publication has been approved by the Office of Man­ related to the factual inci­ agement and Budget. Send address changes and re­ quests for subscriptions to the Superintendent of dent than to Rembrandt's Documents, U.S. Government Printing Office, Wash­ famous etching, Christ ington, D.C. 20402. Subscription price, $9 per 6 is­ Healing the Sick (the so- sues. (USPS 521-090) Other communications should be addressed to: Editor, Humanities, National En­ called "Hundred Guilder dowment for the Humanities, Mail Stop 204, Wash­ Print"), with Napoleon ington, D.C. 20506. Telephone: 202/724-1840. ISSN cast as Christ at the center 0 0 1 8 -7 5 2 6 of a number of incidents that Rembrandt drew from M atthew 19. 2 Ed. note: William J. Bennett calls his new position the Humanities, "quality will be the major concern." • The merging of the Division of Special Pro­ as NEH chairman "a terrific job." And in recent Among the new chairman's first projects are: grams and the Division of Public Programs for both remarks to the employees of the Endowment, • A program of summer seminars for secondary administrative and budgetary reasons. which he characterized as a "good agency with a school teachers modeled after the Endowment's The thirty-eight-year-old chairman, a scholar of good staff," Bennett outlined his goals. Summer Seminars for College Teachers program. American political philosophy and Constitutional "Since this is an agency meant to inspire critical Plans are underway to offer ten to fifteen such law, comes to the Endowment from his position as inquiry and imagination in others, it should possess seminars during the summer of 1983. president of the National Humanities Center in these qualities itself. Intelligence, candor and good • Chairman's awards of up to $75,000 for out­ Research Triangle Park, North Carolina, which he will should mark our w ork," Bennett said. "It standing projects proposed by state humanities helped establish with the late Charles Frankel. He should be plainly and unabashedly idealistic. It committees. was educated at Gonzaga Catholic High School in should be marked by industry as well as straight­ • Invitations for proposals related to the Washington, D.C.; Williams College; the Univer­ forward and simple prose." approaching 200th anniversary of the U.S. Consti­ sity of Texas, where he earned a doctorate in philo­ Noting that he is "the first chairman with the tution. sophy; and Harvard Law School, where he received responsibility and the inclination to defend a • Revisions in the Challenge Grants Program so his J.D. smaller budget," Bennett maintained that a smaller that awards are made not only on the basis of The following highlights from a recent interview budget provides the opportunity to raise the financial need and the ability to raise private funds reflect William Bennett's conception of the human­ Endowment's standards of evaluation. He emphas­ to supplement federal funds, but also on the basis ities and his view that NEH has "a modest role, a ized that when he makes decisions on applications of the contribution that the institution might make limited role, but one that can make a difference." recommended to him by the National Council on to the humanities. A Conversation with William ]. Bennett

Q. The National Humanities Center sought to location for human beings. But whether it's real in cloud-cuckoo land of modern philosophy" which is bring scholars into more contact with the public, the sense that anything vital, interesting, or signif­ leading to "cultural suicide." "to put good ideas into circulation," as one of its icant is going on depends upon the kind and quality A. It was Pascal who said that philosophers think brochures states. Do you see the NEH State of people and effort present. I've been in class­ they're doing a great service when they sit down Humanities Committees as a way to accomplish rooms, seminars and discussions which were every and describe a human nature that never was, a this kind of public outreach? bit as real as the push and pull of Congressional society that never could be and tell us to model our A. To some extent, but too often scholars have debate, or the offense and defense of a football lives on that. So I think some of the directions in been stampeded into addressing issues of public game. I've also been in classrooms, discussions and modern philosophy are sterile, barren, in just this policy because someone felt, mistakenly, that it seminars that were so moribund, so dull, so unin­ way. Alisdair MacIntyre has made this case better was expected of them. I think this is a disservice to teresting that one really did wonder if they were that I can, in his book, After Virtue. scholars and a disservice to the humanities. My part of the real world or whatever world it was, one own research has addressed such matters of public wanted to get out of it as quickly as possible. Q. Would you characterize "values education" as policy as the Bakke case, placing it within the con­ part of the new ethics? text of Constitutional history. I've also done work Q. So you think that Charles Frankel was the A. That's a different kettle of fish. "Values educa­ in the philosophy of education, and the "new" exception and not the rule in terms of how influen­ tion," has not, for the most part, been promulgated ethics. But I have no interest in cosmologizing my tial a philosopher can be in public discourse? by philosophers. It's been a trend that's been preferences. What worries me is that the humani­ A. Nobody gets the authority to speak intelli­ pushed mainly by people who call themselves "edu­ ties will write a check that we can't cash. Yeats said, gently about public issues simply by earning a cationists" and its locus has been in some schools of "We have no gift to set the statesman right." What degree in philosophy. I've listened to a number of education, which have foisted it on the elementary does the average medievalist know about energy discussions and debates involving philosophers and and secondary schools. problems? I think it demeans the scholar and scho­ sometimes they're helpful, and oftentimes they're larship if the unstated part of the invitation to not. Unfortunately, there's no necessary connec­ Q. Are such trends responsible, in part, for the speak implies "unless you can tell us something tion between training in a particular discipline and illiteracy the Rockefeller Commission underscored immediately applicable to public policy, you are of the ability to make sense. That's an individual mat­ in its report last year, The Humanities in Am erican Life? no value." ter. You see people who have all sorts of degrees A. I don't know that such programs contribute to who don't make any sense at all. There are other illiteracy, but I certainly know that if one takes time Q. But Charles Frankel was a brilliant example of a people who make sense without those degrees. out of the school curriculum to engage in facile and scholar who was influential in public policy. How­ Philosophers, I suppose, ought to be trained to pointless exercises in values clarification, one is ever, even he once said that "over the long run, the have an independence of mind, to have good critical sacrificing time that could be used to teach people great argument for putting a philosopher in a facility and to be philosophers rather than ideo­ how to write. government position is merely that he might carry logues. The philosopher looks at the evidence and some messages back from the world to academe." the arguments before making judgments. Of Q. You have been a consultant to more than fifty A. To me, Charles Frankel represented a fine course, that is an ideal view of the philosopher in secondary schools. What will be the role of the example of the philosopher in the public classroom. our own time. I think we can see that many philo­ NEH in humanities education at the elementary There's been much discussion over the years with­ sophers, just like other people, have been cor­ and secondary level? in and outside this agency concerning the role of rupted by ideological leanings, and that they'd sac­ A. We ought to recognize schools that are doing a the humanities and its connection with public rifice their independence of mind for a party line. good job. We should sponsor summer seminars in affairs. My own view is that very few people can That's too bad. I don't think Socrates would the humanities and invite school teachers to come. make the connection and talk about public issues approve. But philosophers are human too and sub­ Why not address their minds? Most people who effectively. Charles Frankel was one of them. ject to the same kind of corruption as other people. read books as adults picked up the habit as children. As for carrying messages back to academe, I The invitation to the humanities ought to be made would only hope that we not inevitably regard Q. Speaking of corruption, you wrote an article in early. schools and other educational institutions as some­ the December 1980 issue of Commentary, in which how not part of the real world. I think, as a matter you stated: "One of the most serious ethical prob­ Q. How do you feel about humanities programs of fact, that whether a classroom is a real place is lems of our time has become the fad of the new aimed at the out-of-school public? contingent upon what goes on in that classroom. ethics and its defenders," which you have variously A. Fine, if they're worth the time. I'm partial to It's real, obviously in the sense that it's a physical described in other articles as "that never-never- books and lively classroom lectures. As commend­ 3 able as some television shows are, you can't write very critical and skeptical turn of mind, who need indices of our success. At first we started with a in the margins on the side of the TV. How do you to be persuaded, who don't just see the title of a production model: How many books will be written compare the value of a $1 million television show proposal and fall over. I would want to be sure we at the Center? But we found out that one of the with the same amount of money spent on books, have some people of healthy skepticism. After all, really good things we were doing at the Center was fellowships, or other humanities programs? That the burden of proof should be on the proposals. Do preventing certain books from being written. is not to say that television or movies can't be used they make the case that this justifies putting our Through the exchange and discussion that took productively in the humanities. The NEH should hands into the pockets of the taxpayers? place at luncheons and seminars, people would find certainly fund worthy television shows and their theses so damaged they gave them up. And so museum exhibitions. But every program in every Q. What about histories of radical movements or they wouldn't write the book. This is progress. division must be justified against the alternatives. fundamentalist religious movements or conserva­ Preventing bad books from being written can be a We have to set priorities. The Council must, citi­ tive movements that contribute to the history of real service to the cause of civilization because, as zens must. When the budget goes from $130 mil­ this century or the last century, yet which may be everybody knows, there's so much being written, lion to $96 million, we have to determine how to political? and it's not all good. use the funds in the most intelligent manner. A. Let's just assure ourselves that they proceed But it depends on what you're talking about. from knowledge, not mere opinion. I think we need NEH has a Fellowships Program. If the fellows Q. There are some who question whether govern­ a little more rigor in what we understand to be the write books and enough of the books are good and m ent should be funding the humanities at all in this humanities. They are not everything; they are not acknowledged to be good by other'scholars and period of budget restraint. What will you say to all disciplines; they are not a set of political brom­ sometimes by the general public, then I think that's them? ides or formulas. At the same time, we can't lock a pretty good measuring rod. When you put on a A. I will say that the legislation seems to be sensi­ the humanities up and say that we will entertain no television show and lots of people watch it, think ble enough, that the humanities are part of our proposals which might have political ramifications. it's great and want to see it again, want to bring it national resources, that something can be done, If we had a young John Locke out there who into their schools and show it to the students, and admittedly modest, by the government, and that wanted to write the Fifth and Sixth Treatises on the students learn from it, that's a pretty good test. this agency should support the essential and the Government, talking about the really sound and If you send in consultants to an educational institu­ exemplary in the humanities. rational basis for a political society, I hope John tion to improve the teaching and you report that One has to back up and ask why should that be Locke, if he tried to apply, would be received favor­ two or three years later there are new courses or government's business at all? There are critics— ably here at the National Endowment. Now what new methods that really have caught on and and 1 think there are sound criticisms of govern­ he writes might have profound political implica­ they're succeeding in educating students, and the ment's involvement here and there. But provided tions; but I don't think we can say, "No applications place has a vitality it didn't have before—that's it's a modest role, a role that sees itself as pointing from people whose work might have political hard to measure in an exact and quantifiable way. to the kinds of work which contribute to the life of implications." I do think, however, that we should But it still can be very real. I don't buy the notion the mind in this country—then I think it's worth not give grants to individuals who are really that if you can't quantify it, you can't m easure it. I doing. engaged in a political polemic or an ideological think you can discern activity in intellectual life just The rationale for that was put very well by James incantation posing in the guise of the humanities. as easily as you can in biological life. Sometimes it's Madison who knew that a free people must be a the same in both cases: a matter of brain waves. learned people. He talks about liberty and learning Q. What other kinds of awards would you caution leaning on each other. According to Madison, against? Q . What do you think the ideal role is for the learned institutions ought to be the favorite objects A. Bad grants can fall into a lot of categories as can government in relation to the humanities? of a free people. I think that's right. If one tries to good grants. Bad grants can be by subject matter: A. A modest role. I think government must look to figure out what the country is or what the govern­ the grant really is not in the humanities; or the the exemplary in the humanities and reward that. I ment is, one pretty soon gets into the realm of humanities are dragged in kicking and screaming, think it should look to the essential. The legislation ideas. What's distinctive about the United States? as an afterthought; or, occasionally buzz words like which governs us is very sound. That is, we are An economic system? But there are really others "humanistic" are put in to catch the attention of here to help strengthen teaching in the humanities; like it. A political system? There are others like it, this agency and to receive funding. Sometimes, you we are here to help encourage research w h ic h will too. The real venture that this country represents have these "orphan" grants. "Well, we can't get contribute to the life of the mind; we are here to lies under those systems. It is a venture in the money from anywhere else"—but the thing isn't help interested citizens gain an understanding of realm of ideas, certain beliefs about the possibilities really in the humanities. A bad grant, of course, can what the humanities comprise; and we are here to of human beings and then, from them, a certain set be a grant that's given to people who can't pull it contribute to essential humanities resources. It of political and economic institutions that embody off, who don't know the first thing about whatever may be a modest role, a limited role, but one that those ideas. These ideas have been copied by they're organizing, or to an individual who doesn't can make a difference. I think it was Justice Bran- others, too. They require nurture, reaffirmation, have a snowball's chance of writing a book that he deis who said that all government teaches by defense particularly in today's world. It is not a or she proposes to write. example. That's true. It teaches for good or for ill. world which in most places is well disposed towards So too does the NEH teach by example. Many have the ideas which have formed this country. And the Q . And what do you think is a good grant? said that more significant than anything else the ideas set forth by the Founding Fathers owe more A. Let me give you a simple example of what I NEH does is the fact that it gives its "seal of approv­ to subjects that we call the humanities than to any thought was a good grant. I understand that librar­ al." NEH says this kind of work is good enough so other set of disciplines. ies in Vermont were sponsoring sessions in which that we can support it. And in giving its "seal of citizens came to the library. Beforehand they were approval," we are telling other citizens, "this is Q. Do you see any dangers in government funding given a book to read in the humanities— M adam e what we regard as important, as significant, as of the humanities? Bovary or Huckleberry Finn. Then they had a discus­ worthwhile, as exemplary." A. There are always risks—pressures that can be sion about the book with someone from a univer­ put on an agency—politics, pressure groups, spe­ sity who taught the book, and who knew the book Q. You stated earlier that you were worried that cial interests and the like. But NEH must respond inside and out. They were given the book—pretty "the humanities may be writing a check that we first and foremost to arguments about quality, inexpensive, two or three bucks, and this process can't cash." What is a reasonable expectation for arguments about merit. One worries about the risk was duplicated in a number of libraries around the the humanities? of politicization of an agency like this. How can that state of Vermont. And citizens kept coming back A. We need a proper sense of what the humanities risk be prevented? Peer and panel reviews can help for these sessions. They got a lot out of it; they can do. Love, death, friendship, courage, meaning, but I don't know of any structural solution. The continued the discussions among themselves after­ history, honor, justice—these are the concerns of best defense against that kind of corruption is the wards, and at the end of the series they had four or the humanities as we've known them through the integrity of the people who are involved in the five new books, but now marked up with notes in ages—and to learn about them is plenty good enterprise. the margins. Very simple idea, very straightfor­ enough, thank you. ward idea. It seems to me a very good way to serve The humanities cannot save our souls; they do Q. How do you guarantee that? one of those legislative purposes which is to con­ not give us a party line. But as Matthew Arnold A. When we have grants which may have a politi­ tribute to the public understanding of the humani­ said, they can serve the very practical purposes of cal character or tinge, we have to be very sure that ties. "elevating the spirit and enlarging the mind." And our panel review is impartial. W ho was it who said that's a very great deal. that "every anthropologist loves his tribe"? Q. There's been some effort made to evaluate I would like to see some people on our panels— grants. How successful has that been? and this is not a comment on who we have now, A. With the business that we're in, it's hard to find — Ruth Dean because I haven't really dug into that yet—who are a means of measurement that is exact. At the Ms. Dean was formerly the cultural correspondent for the very well educated nonspecialists, who are of a National Humanities Center, I found a number of Washington Star. 4 EL GRECO OF TOLEDO

Eerie, chalky gray buildings dominate the horizon above an ancient Spanish city. Overhead, a dark blue sky is streaked with wild clouds that mask the sun behind. The hidden light source casts an unreal, pale color on the clouds and makes them appear as if they are about to collide and explode. The combinations of sky and architecture produces a cityscape charged with an unnatural, electrifying spiritual energy. Generations of art critics concluded that the painter who created his View of Toledo was one whose artistic soul was so entangled in the deca­ dence and religious mysticism of his surroundings that he himself became a mystic isolated from the world about him, his works the embodiment of the essence of the Spanish soul. The works of Domenikos Theotokopoulos, "El Greco," the Greek painter from Crete who estab­ lished his studio in Toledo in the late sixteenth century after studying in Italy, have been the sub­ ject of debate ever since. The Metropolitan Museum of A rt View of Toledo is one of seventy masterpieces by El Greco in the first major loan show of his paintings seen in America. The His distorted landscapes, his choice of colors, and NEH-supported exhibition will open at the National Gallery of Art in Washington, D.C., on July 3. the elongation of the human body in his paintings established him as a controversial artist even in his showing at the M useo del Prado in Madrid, it will works were in thorough disrepute among admirers own time—so controversial, in fact, that the king be seen in three American cities, including Toledo, of the Classical school of painting. Thus, Palomino of Spain rejected his work. Ohio, in the coming months. summed up El Greco's works by stating: "What he But aided by some contemporary research, we The exhibit postulates a new explanation of El did well, none did better. And what he did poorly, must look again at that View of Toledo. The "hidden Greco's art based on the cultural context in which it none did worse." light source" is called moonlight. And what is that flourished—the city of Toledo which was the cen­ Outside of Spain few knew of his paintings until odd looking series of triangles supporting what ter of the Spanish Church, the moving force of the the Napoleonic occupation of Spain from 1808 to looks like a pipeline across the lower third of the Counter Reformation. It was the ability to inter­ 1812 brought quantities of Spanish works to landscape? What is such a mechanical contraption pret this dominant religious mood of Spanish France. In this era Romantic writers and artists, in doing in the midst of mysticism? Catholicism that established El Greco as an artist. a selective search of the past for evidence to but­ Scholars who have recently reexamined El Gre­ El Greco was born in 1540 on the island of Crete, tress their belief in the primacy of emotion over co's works and his surroundings have come to new where he is believed to have become a painter reason, discovered Spanish religious painting. conclusions which aver that the artist was not a employing the traditional Byzantine style. He later Theophile Gautier was the key figure in promoting mystic; instead, they conclude, he was immersed in went to Venice, apparently to develop his talent in a reappraisal of El Greco's art. Another influential the sixteenth-century community in which he the style of Titian, and in 1570 moved to Rome. In admirer, Edouard Manet, studied El Greco's paint­ chose to live and work and was a part of the local 1577 he journeyed to Spain for reasons which are ings in Spain and used one work as a model for a elite in a Toledo that was not decadent but still unclear but no doubt had to do with furthering his painting in 1864. vibrant and prosperous. career. An acquaintance helped him get a commis­ During the last thirty years of the nineteenth Jonathan Brown, professor of art history at New sion to paint three altar pieces for the convent century, avant-garde artists and critics succeeded York University's Institute of Fine Arts, has dis­ church of Santo Domingo el Antiguo in Toledo, in arousing an ever-growing admiration and enthu­ pelled the aura of mysticism about the View of Toledo, and perhaps for another work which he did in the siasm for El Greco. But the turning point, accord­ for example, without denigrating El Greco's genius. Cathedral of Toledo. However, he was rebuffed at ing to Brown, was a publication in 1886 by Manuel He has concluded that the painting was an emble­ court in 1583 when a painting failed to please King B. Cossio of an enthusiastic, informed appraisal of matic view of the city calculated to suggest its Philip II. Thereafter, he settled in Toledo where he the artist in a popular encyclopedia. This was fol­ proud history and continuing civic achievem ents— continued to paint until his death in 1614. lowed by Cossio's pioneering study of El Greco's a dignified ancestor of the Chamber of Commerce "All the while he was living in Toledo," Brown life and work published in 1890. He offered a new brochure or picture post card. Each element was notes, "he was creating stupendous masterpieces interpretation which turned the painter's work included to emphasize the city's antiquity and the of painting in a style that truly deserves to be called into the quintessential expression of the Spanish rich variety of its culture. At the top were the original. It was precisely this quality of genuine, spirit. cathedral and palace, symbols of Toledo's time- almost unprecedented artistic originality that first "During the first third of the twentieth cen­ honored role as the dwelling place of the highest plagued and then obsessed viewers of his art over tury," Brown said, "El Greco appears to have religious and secular authorities in the land. The the next three centuries." become all things to all men. Rarely in the history mechanical device in the picture is the Artificio de Appreciation and interpretation of El Greco's of taste has an artist undergone such a stunning Juanelo, an ingenious pumping system that carried works have indeed undergone dramatic changes reversal of fortune. After centuries of neglect, he water uphill to the royal fortress. It was included to and reversals. became almost overnight a universally appealing show the wonder of "modern" Toledo and to dem­ To his contemporaries, Brown says, El Greco figure. Into the existing vacuum of appreciation onstrate the city's continued vitality. was an enigma. Comments usually took the form rushed all manner of theory to account for what Such reexaminations of El Greco are the central of grudging admiration. By the early eighteenth appeared to be an artist without forerunner or theme of an exhibition, partially supported by the century, when Antonio Palomino published his follower. The result was a bewildering variety of NEH, of seventy of the artist's works. Currently definitive study of Spanish painters, El Greco's interpretations which took years to consolidate. 5 "The most misguided interpretations belong to show that he operated within the typical profes­ sion of inanimate nature. "His art looks into the what might be called the functional school of sional framework of the time, and that he was mind, not over the landscape, for inspiration, just thought, invented by men of science. Unable or familiar with the contemporary artistic thought as the Mannerist theorists prescribed," says Brown. unwilling to grapple with the complexities of El and traditions. The ultimate effect of his various spatial devices "is Greco's art, they sought refuge in simplistic theor­ "Recently," Brown adds, "the conception of El a compositional pattern that hovers ambiguously ies that attributed his unusual style to what might Greco as an intellectual artist has been confirmed between the second and third dimension." This be called mechanical defects. The most outlandish by the sensational discovery of extended com­ subtle effect together with his unnatural treat­ of these theories, of course, is the one proposed in ments on art from the pen of El Greco himself." ment of light, made an important contribution to 1913 by a Spanish ophthalmologist, Dr. German These writings, in the form of margin notes to the otherworldliness of his art. Beritens, who apparently believed El Greco to be Vitruvius's Ten Books on Architecture, w ere discovered The general view of historians has been that El the one and only painter ever to practice a nonreal- recently by Fernando Marias in the National G reco lived in a Toledo that w ent into decline after istic style and therefore proposed that the distor­ Library in Madrid and testify to El G reco's belief in the court left for Madrid in 1561. This conclusion tions of El Greco's art were caused by an optical the prevailing ideas of Italian sixteenth-century art was based on records of petitions from the city to defect, astigmatism. Equally absurd was the idea practice and theory. the court asking for aid. Other historical records, proposed many years later by Dr. Gregorio They have led to an understanding that the sub­ however, indicate that the city's population did not Maranon that the gaunt and haggard figure types jective, antinaturalistic character of El Greco's decline for some years afterward; additional con­ sometimes employed by El Greco in his later years painting was not the result of spiritual visions or temporary accounts refer to the city's generally had their origin in the totally imaginary practice of emotional reactions to his subject matter, but an prosperous appearance, according to Richard L. using inmates of Toledo's insane asylum as attempt to create an art dedicated to the expression Kagan, professor of history at The Johns Hopkins models." of abstract ideas about beauty—art that would University. More serious attempts were made to hold El exhibit his virtuosity and prove his status as an "The intellectual stagnation generally associated Greco up to the mirror of modern art. For example, intellectual artist. "For instance," Brown writes, with decadence and decline cannot be found in El twentieth-century critics saw him both as a "proto- "El Greco's use of elongated figure proportions, Greco's Toledo," Kagan states. "The city held on to Cubist" and as a "proto-Expressionist." Thus, his one of the most familiar features of his art, was a small but relatively wealthy group of churchmen, art was interpreted without reference to its con­ motivated by the belief that such figures were merchants and nobles who were prepared to extend temporary cultural surroundings. inherently more beautiful than normal sized patronage to poets and painters alike. This patron­ Despite a considerable body of knowledge about figures." age, in fact, is the principal reason why Toledo, the painter, Brown said, interpreters of the data El Greco's treatm ent of human figures was based despite its impending economic difficulties, was have tended to accept myths about El Greco as in the theory of the Italian Mannerist school. His able not only to support a whole colony of artists, truths. For example, nowhere is there any evidence interest in manipulating the human body also scholars, and intellectuals, but also to remain one to suggest that the artist was in contact with the appears in his fondness for foreshortenings. of the vital centers of Spanish cultural life." Spanish mystics. Studies of El Greco's clientele Another feature of El Greco's art was an exclu- His research shows, Kagan said, that Toledo was a city governed by a learned elite with artistic Domenikos Theotokopoulos, interests, sophisticated literary tastes, and a strong called El Greco, (1541- sense of civic pride. In many ways, this elite 1614) painted this canvas resembled that which governed Florence at the of Saint Martin and the height of the Renaissance. It was a city in the main­ Beggar in 1597/1599. stream of the counter-Reformation. "Those who have proposed that El Greco found in Toledo an 'oriental' city steeped in mysticism have misinterpreted Toledan spirituality," Kagan writes. "It is, of course, true that in the Middle Ages there were important manifestations of both Jewish and Moorish culture in Toledo, but by th e end of the sixteenth century the city was neither mysterious nor mystical. Its character was rather, as Toledans themselves claimed in 1605, that of a second Rome, a new Rome. Toledo was a city dom­ inated by churchmen who emphasized the neces­ sity for strict observance of the central doctrines of the church. And it was with members of this group that El Greco found many of the contacts that were crucial to his success in Toledo.... "In Toledo, therefore, El Greco represented a break from tradition. He regarded painting as one of the liberal arts, equal in status to mathematics, music, and poetry. The fact that he wrote treatises on art and architecture . . . demonstrates that he viewed himself as a learned painter, a practitioner of a noble art." Brown concludes that El Greco, almost alone among the practitioners of artificial art, found the means to reconcile the seemingly irreconcilable goals of Mannerist aesthetics and Counter Refor- mation theology. "This brilliant achievement," he states "could only have occurred in a place w here men possessed of great wealth, high learning, and sophisticated taste had yet to find a painter capable of expressing their artistic, intellectual, and religious aspirations. El Greco's career in Toledo may have required him to be more of a professional painter than the gentle- man-artist he would have wished to be, but at least there he found a rarefied society of kindred spirits K who sustained his ambitions to achieve the grace o k. that gives sign and splendor to the beauty of the _QJ ro mind." — William O . Craig U Mr. Craig is a member of the Endowment staff. oC "El Greco of Toledo"/Roger Mandle/Toledo Museum of Art, OH/528,343/1980/5125,000 OR; 5400,000 FM/1981- -C 83/M useums and Historical Organizations Museum-goers learn about the seminal nature of Cezanne's work at the NEH-funded Cezanne exhi­ bit at New York City's Museum of Modern Art. Lines winding around the block were a familiar sight in every city that played host to the "King Tut" show. The Treasures of Tutankhamun, the official NEH title for this record-breaking exhibition, made millions of Americans more aware of archaeologi­ cal techniques as well as the splendors of an ancient civilization.

The N ational Gallery o f Art

BY NEIL HARRIS

The expanding role of museums, particularly mu­ ed any specific subject m atter as a popular pastime. older day. Like museums of history and art. seums of art and history, has become a cultural As museums have broadened their cultural role, Such usurpation of museum uses reflects not commonplace. In this country, thousands of muse­ other institutions, like libraries, have begun to cul­ only the increasing sense of the book as object, but ums are less than tw enty-five years old. Their bur­ tivate some of their features. Books and periodi­ the higher value placed upon exhibition encounters geoning annual attendance figures, the glamorous cals, particularly of nineteenth-century origin, are with "authentic" originals. Even as schools con­ international cullings of art objects and artifacts endangered species; their physical survival depends tinue to wrestle with the problem of teaching the (aided by federally supported indemnification gua­ on sequestration or expensive conservation meth­ ancient art of reading, many Americans have rantees), the numerous smaller, more specialized ods. Micro-text copies prolong the lives of fragile become more comfortable with and more sensitive shows, many with catalogs as impressive as any originals. In some libraries the card catalogs them­ to the special character—temporal and spatial—-of produced by the "blockbusters," the creation of a selves are threatened with disintegration, and are the museum exhibition. separate (currently threatened) national agency to being replaced with new recall systems. Libraries In regularly organized and popularly attended encourage museum operations, all testify to the are exploiting the exhibition value of their older forms, the art exhibition is relatively young. Eliza­ ascent of organized display. M ore subtle still, per­ volumes and manuscripts, even as normal daily beth Gilmore Holt, tracing the rise of art exhibi­ haps, has been the evolution of the exhibition form care turns into curatorial responsibility. As certain tions and art criticism, starts her survey in the late itself as a source of value and information, a textual kinds of printed materials become scarcer and more eighteenth century during the Age of Revolution, type demanding attention from scholars whose valuable—trade catalogs, advertising ephemera, when nationalistic competition and transformed fields of interest are neither history nor visual arts. dime novels, and comic books—the library hosts patronage patterns combined to encourage this The experience of exhibition-going has transcend­ magical encounters with the ordinary stuff of an new and unique system of presentation. Salons and 7 Boston Museum of Fine Arts, whose first section was completed in 7 8 76, is typical of the imposing, even forbidding, museum architecture of the Victorian era.

academies received the attention of writers like see and be seen where effective publicity has still developing the rituals appropriate to its Stendhal, Thackeray, Heine, and Baudelaire, while created a major event. enjoyment. others explored the novel pretensions of gallery- But although skepticism about the impact of Despite Malraux's notion that a "Museum with­ going. Samuel Butler's sardonic presentation of exhibitions must persist, there are increasing out Walls" would transform the revelation of art Mendelssohn's self-imposed purgatory in the numbers of spectators who visit exhibitions not as that "real" museums offered, sanctified space dis­ Uffizi—"I wonder how many chalks Mendelssohn passive victims of existing arrangements but as playing objects retains a privileged position. Just as gave himself for having sat two hours on that selective and even aggressive observers. Some the book has withstood many threats to its monop­ chair. 1 wonder how often he looked at his watch to return again and again, varying their pace and con­ olies, so the planned presentation of art possesses see if his two hours were up... how often he won­ centrating their attention upon individual pieces or special appeal, built around the union of beauty, dered whether any of the visitors were recognizing sections. Museum visiting cannot be easily de­ authenticity, and informed intention. The organ­ him and admiring him for sitting such a long time scribed by any generalization. Like books, exhibits ized world of an art exhibit, with its effort to justify in the same chair..."—was matched by the interest are read at many levels and velocities. To a genera­ categories and control juxtapositions is valued (and of Zola, Hawthorne, James, and Wharton. Haw­ tion accustomed to photographic reproduction, evaluated) as an exercise of taste, intelligence, and thorne, slowly and painfully led to pleasure in the color television sets, and the bazaars of shopping judgment. But the organizing eye, as w e ll as the European masters, insisted at the Manchester Art centers, the exhibition is now understood as a self- work of art, is subjected to greater scrutiny. What Exhibition that painting galleries were "the great­ interested and sometimes arbitrary organization of had once been whispered at curatorial meetings or est absurdities that ever were contrived," and objects, their placement offering clues to the larger scholarly conferences is now bruited about by believed his fellow spectators to be only "skimming argument. The sequence of rooms and galleries, newspaper reporters and magazine critics. As the surface, as 1 did, and none of them so feeding on their size and lighting, the quantity and quality of exhibitions multiply it is easier to make compari­ what was beautiful as to digest it, and make it part labels and explanations, the omissions and the sons and offer contrasts. Shows which travel to of themselves." The sight of a great many paintings exaggerations are all more widely noticed. Some of several museums and are subjected to very differ­ all together was "like having innumerable books this may result from broader private collecting, an ent installations offer pointed reminders of the open before you at once, and being able to read only expanded art criticism, or the flight of the printed choices which display requires. Exhibition does a sentence or two in each...." His comments recall word; some may be spawned by suspicion of estab­ remain a more authoritarian form than books, Andre Malraux's contrast between European and lishments, scholarly, curatorial, and administra­ whose messages are more easily retrieved and Asian art practices. Pitting works of art against tive. And some by the sophistication which repeti­ argued with. But this authority has begun to each other, Malraux wrote in The Voices of Silence, is tion permits, an unexpected sense of familiarity weaken, just as the very architecture of the an intellectual act which makes relaxed contempla­ with the demands exhibitions make on the eyes, museum building has lost the imposing uniformity tion impossible. "To the Asiatic's thinking an art the ears, and the feet, as well as the attention span. which it possessed decades ago, in favor of some­ collection...is as preposterous as would be a concert As a mass experience, reading from printed mate­ times radical experiments with space and material. in which one listened to a programme of ill- rials has benefited from hundreds of years of devel­ Increasingly informal, approachable, and respon­ assorted pieces following in unbroken succession." oped conventions; exhibition going, far newer, is sive, the environment of the art museum has Indeed for much of the nineteenth century large become correspondingly more influential as a numbers of people found the great museum a frame for popular interpretation. And the exhibi­ bewildering and intimidating setting. The wedding tion as text has therefore become of greater conse­ party in Zola's L'Assommoir caught the contrast in quence to humanists. "Can the imagination con­ the high hopes with which they entered the ceive any thing more interesting?" Charles Willson Louvre, and the confusion and fatigue with which Peale asked in 1800, advocating his darling project they left. of a science museum. To this "magnificent pile," to It is hard, of course, to be certain about what this "magazine of knowledge," the "learned and happens to people at even the most popular of ingenious would flock" to gain and distribute their contemporary exhibitions. Strolling about with hard-won knowledge. Peale's hopes were dashed hundreds or thousands of others, glancing for a by commercial competition but almost two hundred few seconds at dozens of images or objects, over­ years later his compound of enlightenment and hearing snatches of conversation or relying, uncer­ entertainment seems prophetic. And as applicable tainly, on the authority of a magic wand and a taped to art and history as to science. Flourishing but voice, many museum visitors still justify Haw­ fragile, the art exhibition cannot be simply the thorne's suspicions. It is often easier to summarize responsibility of an arts endowment or of individ­ a film, a novel, or a concert, than to describe sensa­ This quilt from an NEH-funded interpretive exhibit at the ual museums. It is also a commitment of the NEH, a tions or offer conclusions about an exhibition. The Baltimore Museum of Art is one of many used to commemorate recognition that this mode of presentation helps glass of fashion continues to reflect back a need to social and political events of the mid-1900s. establish our identity and validate our past. Continuing the Renaissance at Villa I Tatti

Photo Archives, Villa I Tatti

Few scholars in this era of ever-increasing speciali­ "It can be almost any facet of the Renaissance," tecture. Creighton Gilbert of Yale University's art zation can fully appreciate the Renaissance ideal of says Harvard literature professor Walter Kaiser. history department notes that I Tatti also helps uomo universale—the "complete man" like Leonardo "The key is that all the fellows are working in the fellows secure access to the many libraries, archives da Vinci, who was at once artist, philosopher, same historical period" bounded approximately by and art collections in Florence, among the largest scientist and writer. the birth of Petrarch in 1304 and the death of and most important in Italy. Relations with the But each year a dozen or more young scholars Titian in 1576. Kaiser is deputy chairman of an town were cemented when I Tatti helped rescue are granted a chance to share that Renaissance advisory committee that meets each January to Florentine paintings threatened by a flood in 1966. vision amid the silver-green olive groves and black- choose the next year's fellows from among four to Although some fellows find the I Tatti library pointed cypresses just outside Florence, the first five dozen well-qualified candidates. world enough for their research, others, like Per­ city to feel the awakening of the modern mind. I Tatti generally seeks scholars "in the earlier reiah, an associate professor at the University of The setting is the Villa I Tatti, for more than fifty rather than in the later stages of their careers," Kentucky, venture frequently outside Florence to years the home of art critic and humanist Bernard notes Craig Hugh Smyth, the center's director. complete their studies. Perreiah was probing the Berenson, who moved from America to live in the Smyth, who formerly directed New York Univer­ intellectual links between the late medieval philo­ land of Leonardo, Michelangelo and the Medicis. sity's Institute of Fine Arts, adds that one of the sopher Paul of Venice and subsequent Renaissance At his death in 1959, Berenson left the unpreten­ center's chief goals is to stimulate scholars "with philosophers. He traveled throughout Italy to col­ tious villa to his alma mater, Harvard University, promise." lect hundreds of pieces by the Venetian. "I Tatti which converted it two years later into a font of Perhaps surprisingly, the center doesn't cater was like a base of operations," says Perreiah, who Renaissance learning. mainly to Harvard graduates, but instead attempts journeyed out of town about once a week, but was Now officially called the Harvard University to bring together gifted academics from around the guided chiefly by a bibliography of material at I Center for Italian Renaissance Studies, it is still world, notes Maureen Mazzoui, an associate pro­ Tatti. known to Florentines and visitors alike as I Tatti, a fessor of economic history at the University of For all those who remain in I Tatti itself or in peculiar name that may have its origins in the name Wisconsin, another 1980-81 NEH fellow. Maz- Florence, the highlight of each day is the pranzo, or of the family Zati, who owned the villa in the six­ zoui's colleagues at I Tatti that year came from large midday communal meal. Generally twenty to teenth century. such diverse institutions as the University of twenty-five fellows, visiting scholars or luminaries Whatever its origins, I Tatti's reputation in the Milan, the University of Virginia, West Germany's gather at one large table to break bread and share academic community is clear. It is, says Vassar Col­ University of Erlangen-Nurnberg and the Hungar­ intellectual experiences just as Renaissance men lege history professor Benjamin Kohl, "the fore­ ian Academy of Sciences. The selection committee did centuries ago. "Here an economist talks to an most center for advanced study of the Renaissance strives to bring in at least one fellow each year from art historian and to a philosopher," notes Kaiser, in the world" and one of fourteen NEH-assisted behind the "Iron Curtain," Kaiser says. "It's per­ who adds this cross-fertilization of ideas also takes centers for advanced study that enable academics haps the one time in their careers that they can place to a lesser extent during afternoon tea or at to pursue independent research in the company of make scholarly contact with the West." impromptu "meetings in the library or walks scholars from different disciplines. Since 1976, All the fellows share the unique resources of I through the garden." NEH has supported three to five postdoctoral fel­ Tatti, once a squarish, three-story Tuscan farm Initially, Kaiser says, "there was a real question lows each year to study for twelve months at I Tatti house expanded by Berenson to include two wings of whether this all would work, or whether I Tatti together with nine or ten other scholars—assisted and a courtyard flanked by mathematically formal would simply be a mausoleum. It's become a real through Fulbright fellowships or other means. Italian gardens. Today it houses only Smyth, some institution of scholarship and intellectual Unlike other NEH-supported centers—for exam­ domestic help and an occasional distinguished scho­ exchange." The "mainstay" of I Tatti, Perreiah ple, the Institute for Advanced Study or the lar who might visit for a week or two. The fellows, agrees, "is the discourse, the discussions you get National Humanities Center—I Tatti is devoted who live "off campus" in the City of Flowers or in into—they just come at you from all angles." He strictly to the study of a specific period of history— separate villas divided into apartments, pursue adds that "good conversation like that can be more the Renaissance in all its aspects. In keeping with individual research projects. Wisconsin's Mazzoui, than just recreation, it can be an inducement to Berenson's own interests, the center initially was for instance, used the 90,000-volume library to do better work." dominated by art historians. "In Florence," recalls research for a study of the Italian woolen industry It appears also to be an inducement to hard work. philosophy professor Alan Perreiah, an NEH fel­ from 1300 to 1600. During his year in Florence, Perreiah nearly fin­ low during 1980-81, "you mention I Tatti and peo­ Bejeweled with an exquisite collection of early ished the first complete census of Paul of Venice's ple automatically say, 'Oh, you're an art histo­ fourteenth- and fifteenth-century Italian paint­ manuscripts—about 250 texts. In addition to find­ rian.' " But I Tatti has expanded in recent years to ings, I Tatti also houses a large periodical collection ing new manuscripts, he carefully inspected the include scholars from such different disciplines as and a separate music library built after Berenson's texts to establish their dates of authorship, re­ musicology, economic history, literature, philo­ death. As an added attraction to art historians, the search necessary to produce an accurate chronol­ sophy, archaeology, paleography, iconography and villa safeguards an unmatched archive of more ogy of Paul's writings. "And this is indispensable in conservation. than 200,000 photographs of Italian art and archi­ tracing the development of his thought," says Per- 9 reiah, who also gathered sufficient archival mate­ rials to completely revise his earlier biography of the philosopher and completed two articles and five "studies" now being prepared as articles. Victoria Kirkham of the University of Pennsyl­ vania, a 1977-78 Fellow, also reported I Tatti "an ideal environment." Her work on Boccaccio's number symbolism took her to a broad chronologi­ cal range of Latin and Romance literature in search of numerological texts, including treatises on Pythagorean number symbolism, Patristic com­ mentaries on numbers in the Bible, homilies and sermons by later medieval theologians and preach­ ers, encyclopedic allegorical fiction, and popular The library at Villa I vernacular romances. Tatti in Florence, Italy. Kirkham also investigated iconography in the Among the pleasures of I other art forms (architecture, painting, manuscript Tatti are the treasures of illumination, music) of Boccaccio's time, wrote an Renaissance art which outline for her book and completed two chapters adorn the walls. Shown and the introduction as well as several articles. here is Dominico Venizia- I Tatti's doors are open not only to current fel­ no's world-renowned lows but also to several senior research associates Madonna and Child. A and the many academicians visiting Florence for view of the Villa corridor brief periods. "Any bona fide scholar is welcome to shows a glimpse of San work there," says Kaiser who adds that I Tatti Sebastian by Clima. Fel­ arranges many guest lectures each year to keep the lows read and study in one intellectual melting pot well-stirred. Former fel­ of Villa I Tatti's conference lows at I Tatti also are welcome to return at any rooms which is furnished in time and use the library "day and night, seven days the style of the Italian a week" Smyth says. "Thus, at any one time, I Tatti Renaissance. is an institute composed not just of one year's fel­ lows, visiting scholars and research associates, but of members going back over twenty years, many of whom return regularly to continue their work." The company frequently is distinguished. Former fellows hold such prominent and varied posts as president of the American Musicological Society, president of the Region of Umbria, curator of Ital­ ian painting at the National Gallery in Washington, chairman of the board of the National Gallery in London, editor of Medieval Studies at the Pontifical Institute in T oronto and curator of rare books at the Newberry Library in Chicago. They have full professorships or the equivalent at many prestigious universities including Oxford, Padua, McGill, London, Warsaw, Munich, M.I.T., Princeton, California at Berkeley, Berlin, Carnegie- Mellon, Columbia, Harvard, Yale, Trinity and Tokyo. I Tatti fellows also have written many seminal books and articles, including David Herlihy's Les Toscans et leurs fam ilies, a work of demography hailed by many specialists; Eric Cochrane's widely read Florence in the Forgotten Centuries: 1527-1800; Howard Brown's M usic in the Renaissance, a work for the gen­ eral public; Christopher Lloyd's The Catalogue of Ear­ lier Italian Paintings in the Ashmolean Museum; and Jer- rold Seigel's Rhetoric and Philosophy in Renaissance Italy described by Perreiah as a ground-breaking book that helped guide his own research. Mindful of its status as the world's premier cen­ ter for Renaissance study, the directors of I Tatti convene scholarly conferences every other year to explore in depth some facet of Renaissance life, for example, the relationship between Florence (once called the "Athens of Italy") and Venice (next to Milan, the richest and most powerful state in Renaissance Italy). As Smyth puts it, "In a period when relations among men and nations are under great strain, I Tatti demonstrates the possibilities of understand­ ing between different nationalities but with com­ mon concerns about human history and creativity." —Francis J. O'Donnell Mr. O'Donnell is a regular contributer to Humanities.

"Fellowships at Centers for Advanced Study"/ Craig Sm yth/Villa I Tatti-Center for Italian Renaissance Studies, Florence, Italy/ $45,000/197 6-7 7/$45,000/1977-78/513 5,000/197 8-81/ 557,000/1981-82/5171,000/1982-8 5/Division of Fellowships and Seminars. 10 Photo Archives, Villa I Tatti This illustration from Visionary Drawings of Architecture and Plan­ ning is Ron Herron's C it­ ies: Moving, "...the W alking City is an expres­ sion in architectural terms, albeit ironic ones, of the Archigram vision of society. The social structure of cities is not static; mobil­ ity, flexibility, and change are the dominant character­ istics of modern urban life. O ur cities are, in fact, moving—the average house­ hold moves once every three years. If they lived in Ron Herron's Cities: Moving, they wouldn't even have to pack."

STATE OF THE STATES: Studying Art for Humanities' Sake

When the state humanities councils were organ­ ing to the Tiago Northwest International Arts Fes­ rum College's original dramas, "Too Free For Me" ized in the early 1970s, a constant challenge was to tival on Norwegian Independence Day last year. and "Charity for All," re-enacting nineteenth- explain the differences between their mission and The humanities funding brought Playford Thor- century events related to slavery and Southern that of the already-established state arts councils. son, a historian, to the festival, to discuss the his­ race relations. Historical insights were the central The contrast has become more tangible and also torical development of Norwegian culture. Marion focus of the program at the insistence of the Foun­ more vividly necessary after a decade of experience Nelson, an art historian from the University of dation. Five historians participated directly in the in funding local projects. Minnesota, discussed Norwegian art forms. performance, commenting throughout as would a John Barcroft, former director of the NEH Div­ In a more far-reaching experiment, the Ohio Greek chorus. At the conclusion, they joined the ision of Public Programs, was an early participant Arts Council and the Ohio Program in the Human­ cast in leading discussions with the audience, in the continuing dialogue on the interrelation­ ities have established a joint program in folk art and which served as "jury" for the trial depicted in the ships and sharp contrasts between the arts and the culture. All projects must lead to increased public drama. humanities. "Only one 'face' of the arts—that understanding and appreciation of folk traditions Explains executive director Robert Vaughan, involved with studying man's image of himself—is and their cultural and educational significance. All "Their impact is based solidly on their conception related to the humanities," he explained. "This face must involve professionals from both the arts and as a humanities program first, rather than as of the arts, a discipline of the humanities, is but one the humanities. Recent projects include a month- drama. This conception distinguishes them from small part of the much larger whole of humanities long exhibition and symposium on the quilting tra­ other drama/lecture projects where performance is scholarship." dition in Ohio, held at the College of Wooster; a the primary consideration." The humanities, as explained by Congress, series of storytelling performances in the Appal­ State councils have also supported many projects include the study of literature and the history, crit­ achian communities near Cincinnati and an inter­ focusing on a particular art form from the perspec­ icism, and theory of the arts. Arts agencies fund pretive photographic and cultural exhibit on the tive of the humanities. A project funded by the the performance, creation, and display of the arts. folk traditions of black residents of Cincinnati's Iowa Humanities Board integrated commentary by Humanities agencies fund the study of the arts and W est End. a philosopher of art into performances by the Des their broad cultural context from the perspectives Many projects funded solely by state humanities Moines Ballet. In five programs around the state, of history, philosophy, and other humanities councils have also admirably developed public "The Contemporary Choreographer: Response In disciplines. understanding of the analytical, critical approach the Arts to Aesthetic and Moral Values in Modern The arts provide an experiential way of approach­ to the arts, enhancing public appreciation of the Society," Curtis Carter of Marquette University ing and understanding the world, while the human­ role of the arts in society. addressed the audience during the performance ities stress an analytical method, one which steps Controversy over the sculpture "Hoe-Down" which was interwoven with choreographed move­ back from that world and analyzes it thoughtfully, which stands in front of the Federal Building in ments for the dancers. He also prepared extensive objectively, and in relationship to a wide range of Huron, South Dakota, prompted the South Dakota program notes, including selections from the writ­ human behavior and institutions. State University art department to develop a public ings of a variety of theorists on dance, and devel- Anita Silvers, a philosopher of art at San Fran­ program which was funded by the South Dakota loped a pre-performance symposium with scholars cisco State University and member of the National Committee on the Humanities. A philosopher in English literature, philosophy, and history. Council on the Humanities, has noted that "there is identified underlying ideas and values that gener­ Curtis notes that "Scholars from Plato to the a difference between the ways in which philos­ ated the controversy, and discussed how opposi­ present have written about dance, and there is a ophers, on the one hand, and artists, on the other, tion to the sculpture related to Midwestern aes­ growing interest among humanities scholars today present conceptual problems. The philosopher pro­ thetic values. An art historian discussed public art in this art form ." As a philosopher, C arter has been duces analysis or speculation. The artist constructs projects throughout history and how they reflect attracted to the usefulness of his discipline in an instance which embodies or exhibits the applica­ and preserve a society's cultural values. Richard understanding dance. "Philosophy allows me to put tion of the problematic concept." Eide, head of the University's art department, in abstract terms the things I see and provides This contrast between the experience and the argued that "economic values cannot always be categories of thought for understanding dance in analysis of the arts has been demonstrated in proj­ placed above artistic values," agreeing with Brook­ relation to other human endeavors. The humani­ ects jointly supported by arts agencies, which fund ings artists that the removal demanded by some ties can provide a vocabulary and a set of concepts performances, and sister humanities councils, citizens would have been "a violation of artistic for speaking about dance." which support discussions, commentaries, lectures, expression." The cultural and historical context of music was and printed materials which expand upon and ana­ Public conflicts from the past have also been explored in "From Miner's Tent to Opera House: lyze the experience of the performance. illuminated through the use of historical dramas Spokane's Musical and Cultural Past and Present," In North Dakota, the arts council and the North funded by state councils. The Virginia Foundation funded by the Washington Commission for the Dakota Humanities Council each contributed fund­ for the Humanities and Public Policy funded Fer- Humanities. A series of lectures, panels, discus­ 11 sions, and radio programs, conducted by the East­ philosophy, literature, and art history. Public pro­ in society and the contribution that poetry makes ern Washington State Historical Society in cooper­ grams included exhibits, guided walking tours, an to public discussions. The poetry and other writing ation with the Spokane Symphony Society re­ illustrated catalog, and a continuously running of Stanley Kunitz, noted for his involvement in viewed the musical history of Spokane from tents, siide-tape presentation on the cultural and artistic social and political life, provided the focus of the boardwalks, and the first opera house to the infu­ influences on the Art Deco style of ornament. Vic­ symposium. At the festival, Kunitz observed: sion of European culture to the avant-garde in the tor Steinbrueck, professor of architecture emeri­ "Since his work is practically worthless as a com­ twentieth century. tus from the University of Washington, praised the modity, the poet is uniquely equipped to embody Other projects have considered more contem­ project's expansion of "general awareness of that and defend the worth and power and responsibility porary musical forms in their cultural contexts. In period of architecture and art decoration as an of individuals in a world of institutions." Kentucky, workshops on the history of jazz and its expression of the life style and character of the At Virginia Polytechnic Institute and State Uni­ relationship to race in society were funded by the time." versity, "Art Within Art: Artists Frame Their Kentucky Humanities Council to accompany a ser­ A project funded by the Association for the World," brought together scholars in literature, ies of concerts in Lexington city parks funded by Humanities in Idaho and conducted by the Depart­ drama, and art to explore the concept of the frame, the local park board. The Center for the Study of ment of History at Idaho State University, exam­ "the boundary between fiction and life common to Southern Culture at the University of Mississippi ined through discussions and slide-tape presenta­ all forms of art." A. Walton Litz, chairman of the held a symposium on "Folk Music and Modern tions the public and private historic architecture of department of English at Princeton University, Sound" to consider the ways in which American Pocatello, Idaho. The project emphasized the summarized the special contribution of the human­ music reflects the country's traditions and charac­ importance of public awareness of the town's past, ities to understanding all of the arts, when he called ter. The symposium was funded by the Mississippi and the relationship between awareness of the the conference "an ideal catalyst for interdiscipli­ Committee for the Humanities, while funding for built environment and the overall community nary discussion. This was exactly the sort of con­ performances was provided by the state arts spirit. ference that does further the work and reputation commission. Enhanced understanding of local heritage and of the humanities." — Julie Van Camp A critical and analytical perspective on the visual values has also been encouraged through programs Ms. Van Camp is an Endowment staff member. arts has been encouraged through many projects, dealing with local literary figures. With a grant with lectures, panel discussions and interpretive from the Alaska Humanities Forum, the University materials complementing various exhibitions. Typ- of Alaska sponsored a week-long Alaska Writer's ical of these was "Directions in Watercolor," a col­ conference in Fairbanks to consider the relation­ loquium and discussion with a philosopher and art ship of writer to land and community and the historian on the work of three watercolor artists reflection in contemporary Alaskan literature of on display at the Ohio University Lancaster Cam­ the geography and isolation of the state. The pro­ pus Gallery. The colloquium was funded by the gram was aired in five one-hour radio programs. Ohio Humanities Program. In Virginia, the state council supported a film The visual art of architectural design has stimu­ about the life and work of Anne Spencer, a black lated many unusual projects. The New York Coun­ poet from Lynchburg, to help all Virginians learn cil funded a project at the Drawing Center in New about the history, society, politics, and character of York City on "Visionary Drawings: Planning and the state in which she worked. The council also Architecture." An exhibit showed one hundred highlighted the work of another Virginian, John drawings of visions for a better future world by Dos Passos, with an exhibit of paintings and draw­ architects, planners, and engineers from Le Cor­ ings at the family hom e in W estmoreland, Virginia. busier and Mies van der Rohe to Frank Lloyd A week-long festival "The Poet in Society," Wright and Buckminster Fuller. A series of lectures funded by the Virginia Foundation, examined the accompanying the exhibit featured such scholars as role of the poet in today's culture and the values Leo Marx and Lewis Mumford, to provide com­ and concerns shared by poets as well as the general mentary on the social and political implications of public. the work of architects, from the visionary to the During the week of discussions and films, a panel ordinary. of poets assembled in the jury box of the Albemarle In Seattle "Art Deco and the Architecture of the County Courthouse to testify from the witness 20s and 30s" was examined by scholars of history, stand on behalf of poetry and poets, their function Huron Daily Plainsman “Directions in Watercolor," a show funded by the Ohio Program in the Humanities, featured the work of ]ack Meanwell, whose Figures, an oil on paper, was drawn in 1980. Hoe-Down, which stands in front of the federal building in Huron, South Dakota, became the subject of controversy as well as the subject of a South Dakota State Humanities program which attempted to relate the sculpture to Midwestern aesthetic values. 12 Deadline in For projects Please note: Area code for all telephone numbers is 202. boldface beginning after

DIVISION OF EDUCATION PROGRAMS — Richard Ekman, Director 724-0351

Elementary and Secondary Education— Francis Roberts 724-0373 O cto b er 15, 1982 April 1983

Higher Education/Individual Institutions Consultant—Janice Litwin 724-1978 Ju n e 1, 1982 November 1, 1982 Pilot— Cleveland Donald 724-0393 October 1,1982 April 1983 Implementation— Lyn Maxwell White 724-0393 Ju n e 1, 1982 January 1983

Higher Education/Regional-National— Blanche Premo 724-0311 Ju ly 1, 1982 January 1983

DIVISION OF PUBLIC PROGRAMS — Stephen Rabin, Acting Director 724-0231 Nearest Humanities projects in: Libraries— Thomas Phelps 724-0760 Ju n e 15, 1982 January 1, 1983 Media— Mara Mayor 724-0318 Ju n e 1, 1982 January 1, 1983 Grant Museums and Historical Organizations— Cheryl McClenney 724-0327 June 8,1982 January 1, 1983 Application DIVISION OF STATE PROGRAMS — Donald Gibson, Acting Director 724-0286 Each state group establishes its own grant guidelines and application deadlines; therefore, interested applicants should contact the office in their state. A list of those state programs may be obtained from the Division of State Programs. Deadlines

DIVISION OF FELLOWSHIPS AND SEMINARS— lames Blessing, Director 724-0238

FELLOWSHIP PROGRAMS— Maben Herring 724-0333

Fellowships for Independent Study and Research— David Coder 724-0333 Ju n e 1, 1982 January 1, 1983

Fellowships for College Teachers—Karen Fuglie 724-0333 Ju n e 1, 1982 January 1, 1983

Summer Stipends for 1982— Mollie Davis 724-0333 O cto b er 1, 1982 Summer 1983

Fellowships for Journalists—Julian F. MacDonald 724-0376 To be announced

SEMINAR PROGRAMS

Summer Seminars for College Teachers— Dorothy Wartenberg 724-0376 Participants: 1983 Seminars April 1,1983 Summer 1983 Directors: 1983 Seminars July 1,1982 Summer 1983

Centers for Advanced Study— Morton Sosna 724-0376 February 1,1983 Fall 1984

DIVISION OF RESEARCH PROGRAMS — Harold Cannon, Director 724-0226

Intercultural Research— Harold Cannon 724-0226 February 15, 1983 July 1,1983

General Research Program—John Williams 724-0276 Basic Research February 1, 1983 January 1,1984 State, Local and Regional Studies February 1, 1983 January 1,1984 Archaeological Projects— Katherine Abramovitz 724-0276 O cto b er 15, 1982 April 1, 1983

Research Conferences— David Wise 724-0276 Septem ber 15, 1982 April 1,1983

Research Materials Program—George Farr 724-0276 Research Tools and Reference Works O cto b er 1, 1982 July 1,1983 Editions— Helen Aguera 724-1672 O cto b er 1, 1982 July 1,1983 Publications— Margot Backas 724-1672 M ay 1,1982 October 1,1982 Translations—Susan Mango 724-1672 Ju ly 1, 1982 April 1, 1983

Research Resources— Margaret Child 724-0341 Ju n e 1, 1982 April 1,1983

DIVISION OF SPECIAL PROGRAMS— Caro/e Huxley, Director 724-0261

Program Development— Lynn Smith 724-0398 Ju ly 15, 1982 February 1, 1983

Science, Technology and Human Values— Eric Juengst 724-0354 General Projects M ay 1,1982 December 1,1982 Individual Incentive Awards February 1, 1983 Sustained Development Awards February 1, 1983

YOUTH PROGRAMS— Marion C. Blakey 724-0396

Youthgrants— Applicant’s Preliminary Narrative O cto b er 15, 1982 May 1, 1983 Formal Application November 15,1982 May 1,1983 NEH Youth Projects Major Projects Grants— Applicant’s Preliminary Proposal D ecem ber 1, 1982 July 1, 1983 Formal Application January 15, 1983 July 1, 1983 Planning and Pilot Grants A p ril 15, 1983 October 1, 1983

OFFICE OF PLANNING AND POLICY ASSESSMENT— Armen Tashdinian, Director 724-0344

Planning and Assessment Studies—Stanley Turesky 724-0369 February 1, 1983 July 1, 1983

OFFICE OF CHALLENGE GRANTS— Thomas Kingston, Program Officer 724-0267 September 1, 1982 13 M useum of Archaeologists as a group happily join St. ship." Paul in his triumphant cry, "O grave where is thy "This book is probably written at the wrong time victory? O death where is thy sting?" For they, like by the wrong person," wrote Emily Verm eule in the St. Paul, are thinking of resurrection; but unlike introduction to her Greece and the Bronze Age, a book his, theirs is the resurrection of dead civilizations, that since its publication in 1964 has remained the and it is not faith but evidence that moves them. standard handbook on the Mycenaean period and It is, in fact, by death and destruction that the one most often seen in the day-packs of college archaeologists have their work, as it were, set out students and travelers in Greece alike. "...Such a for them. Tombs provide for them the richest w ork," said the New York Review of Books in August, source of the raw material for their study of 1979, "normally formed the climax to a scholar's ancient cultures, including not only the bones that career before retirement: Professor Vermeule pub­ hint at former flesh and teeth that tell of diet but lished it in her thirties..." also manifold grave goods that embody arts and So the time has turned out to be not so very technical skills as well as religious beliefs concern­ wrong even though there have been many new ing the needs and desires of the dear departed in Mycenaean finds and publications since the book the tomb. came out. And that is largely due to the "wrong It was reasonable, therefore, that Emily Ver- person's" perceptive judgments and interpretations meule, the eleventh Jefferson Lecturer in the which match in timelessness the objects which she Humanities, should make her archaeological debut presents as characteristic of the Mycenaean view with the publication of an article on a Mycenaean of life. tomb under the temple of Ares in the Athenian An impeccable academic record as a student at Agora. Between that article and her most recent Bryn Mawr (A.B., Ph.D.), Radcliffe (M.A.), Ameri­ book, Aspects of Death in Early Greek Art and Poetry (The can School of Classical Studies at Athens, and St. Sather Classical Lectures, Vol. 46, University of Anne's, O xford, laid the foundation for teaching California Press), her interest and researches have positions at Bryn Mawr, Boston University, Welles­ ranged widely over all aspects of life as well as ley, and currently Harvard, as the Samuel E. Ze- death in the Greek world, but her special province murray, Jr. and Doris Zemurray Stone-Radcliffe has been the Mycenaean period (1500-1100 B.C.). Professor. That period, so-called from the first traces of it Her way with words has brought her not only found by Schliemann in M ycenae, is now known to nominations to distinguished lectureships (Sather represent an early flowering of Greek culture at Berkeley, Semple at Cincinnati, Harrower at before three hundred years of the Dark Age made Aberdeen) and professional awards (the American necessary a rebirth of Hellenism as it had long been Philological Association's Goodwin Award of known from Greek literature and history. Merit, several honorary degress) but also invita­ What kind of person does it take to bring to life a tions to contribute to publications like the A tlantic long dead and buried people whose only written M onthly and the National Geographic. records are little more than lists and inventories, Some early efforts at poetry appeared in the New written in a primitive and often ambiguous syllab­ Y orker and Poetry Magazine but soon recreation of the ary? Obviously, academic training is useful in the past—both in translation of Greek poetry and the collecting and weighing of evidence. And a way interpretation of Mycenaean art—seems to have with words will certainly help to make real and absorbed much of her poetic energy. vivid lives that must be pieced together from frag­ A poem written while she was still in college by ments of the gathered evidence. the then Emily Dickinson Townsend (and proud of But because creating a whole from the bits and the connection with her poetic namesake) shows pieces of a buried civilization is like the work of the the keenness of perception and delight in exploring archaeological pot-mender who must fill out with the objects of sensation that have come to charac­ plaster those parts of a vase from which the shards terize the poet-archaeologist of later years:

EMILY V AND THE GI TO TH BY MA

are missing, the most important requirement for a Exercise in Bacon's Garden Mycenologist is poetic imagination. And the one Strawberry leaves American who most quintessentially combines dying will give such training, eloquence and creativity is Emily a most cordial Dickinson Townsend Vermeule. excellent smell; These qualities have also made her a superb a walk teacher. As Peter Green says, writing about the where your Sather Lectures in the New York Review of Books, "T o feet will crush wild students fed for too long on windy bureaucratic thyme and the wa­ trash or emotive but inarticulate slang, her spar­ ter mint kling prose must have come as a revelation. Nor is leaf, they elegance of style achieved at the expense of intel­ perfume the air: lectual strength. Her extensive (and often very fragrance delight­ funny) notes show her equally at home in an ful shall rise - (Sir extraordinarily wide range of topics; the wit and Francis expounds, poetic insight have a solid underpinning of scholar- finger in 14 rts, Boston. Gift by Contribution and the Benjamin Pierce Cheney Donation. air and the thought became clear that each of us judged life-size accord­ sweet in his ing to her own size. mind of a garden A more serious difference of opinion betw een us properly has often been over the usefulness of things planned at last.) depicted in Mycenaean painting as indications of Pineapple-tree, reality— real customs, real dress, real chariots, and lemon and bay so on—in short, whether and to what extent and flag, Mycenaean art is representational. Emily Ver­ myrtle, meule, like most archaeologists, wishes to wring rosemary first; from the inarticulate evidence of pots and paint­ almond in March ings as much information as possible and tends to and sweet think of the Mycenaean artists as conscientious briar, white reflectors of the passing scene. My many hundreds thorn and musk-rose: of hours spent working with fresco fragments gave melon and quince me the illusion of fellow-feeling with those artists and plum, and a strong conviction that their concern was far apri­ more often with decorative effect and pattern than cot, grape, fall pop­ it was with accuracy of representation. "But what," py - the grass should Emily would say, "would have been the reaction of be kept the artists' employers to a horse inadequately har­ shorn - (Sir nessed or a battle fought with no shields?" 1 expect Francis prefers that they may have deplored the ignorance of the fountains to artists and that the artists put them off with some pools, for the frogs spur-of-the-moment myths about magical horses spoil things; he pulling without harness and invulnerable warriors. thinks of the turrets But smug with artistic integrity, they knew in bellied to themselves that a lot of leather straps would hold small birds.) detract from essential horseness and that shields, though excellent cover-ups in real battle, would (Counterpoint (Bryn Mawr-Haverford Literary Mag­ also conceal and obscure the action in a picture. In azine), Spring 1949, pp. 18-19.) this particular disagreement who is more right is Compare her description of a Mycenaean dagger: both unlikely ever to be certain and ultimately of "the gold wildcat stippled black, the ducks of silver, little importance since it is such tension between or gold with silver wings, bleeding contrasted elec- points of view that keeps speculative scholarship trum drops, the dark stiff river punctuated by snub on an even keel. silver fish, the sprays of silver papyrus-lotus with When Spiros Marinatos began to dig in Thera gold tips" ("The Art of The Shaft Graves at Myce­ (Santorini) where volcanic pumice from the island's nae," Lectures in Memory of Louise Taft Semple (3rd ser­ second millennium B.C. explosion preserved intact ies), The University of Cincinnati, 1975, p. 21). Or so much early Mycenaean material, he invited of a wooden box: "it is blood-action frozen, power­ Emily Vermeule to join him there. After Thera ful emblem themes, the meat-eater certain to catch there was the Harvard University-Museum of Fine the grass-eater, the clawed gallop of speed against Arts Cyprus Expedition, of which she has been the the graceful crumple of exhaustion, everything director since 1971. She manages the people and brought up to the surface without air in a pressing problems involved in the direction of an excavation riot of decorative plant life which conveys less of a by assuming both a technical and a wryly human real setting than a sense of being trapped in a point of view, as in her description of the clay forest" (Ibid., p. 25). chests (larnakes) used as coffins: "M ost have holes

Photograph by Hirmer from Greece in the Bronze Age, U. o f Chicago Press RMEULE EEK LEGACY WEST - LANG Cornelius and Emily Vermeule survey a dig at The Mount of Darkness in northwest Cyprus in 1972. Emily Townsend Vermeule, the eleventh jefferson Lecturer in the Humanities. A fourth-century Etruscan sarcophagus shows a married couple united in death. An inlaid dagger from the Mycenaean Shaft Graves.

A veteran of various excavations in Mediterra­ bored through the bottom in long rows, and holes nean lands, Emily Vermeule gained her first dig­ through the corners just above the legs—to help ging experience in the Athenian Agora and then the heat penetrate the thick clay during firing, and went for three seasons to Gordion in Turkey. also to provide free sanitary drainage for the W hen in the early sixties she was excavating in corpse" ("Painted Mycenaean Larnakes," Journal of Kephallenia and Messenia with the great Greek Hellenic Studies 85, 1965, p. 126). archaeologist Spiro Marinatos, she was a frequent On the various problems that beset scholars of and welcome visitor to the Pylian Palace of Nestor the early Greek period Emily Vermeule has had the where 1 was cleaning and joining the fragmentary courage to speak out before the Millennium, that frescoes. We both found it stimulating to outguess is, when the evidence is all in. She wrestles, for each other on the meaning and placement in some example, with the problem of connecting up the general design of small brightly colored and myste­ Mycenaean world of the second millennium B.C. riously marked fragments. While I was arranging with the classical Greek culture that seems to pieces of a procession of women so that the artist spring full-armed from three hundred years of Piet de Jong could make a restored drawing, we Dark Age. That a strong link was the oral tradi­ disagreed about the women's size, and it gradually tions kept alive by bards seems evident, or, in her 15 words: "then come the Dark Ages, with everyone dying or moving but the poets who obstinately The purpose of the Jefferson Lecture, which wander their mountains and chat with their muses was established by the NEH in 1972, is to focus and sing with animated improvisations to changing national attention on the humanities and to pro­ audiences" ("Kadmos and the Dragon," Studies Pre­ vide recognition and a unique forum for outstand­ sented to George M. A. Hnnfmnnn, 1971, p. 186). The ing scholars and thinkers. The Lecture is the So also she discerns with sensivity the principles highest honor the federal government confers for of art which distinguish the work of nomadic peo­ Jefferson intellectual achievement in the humanities. ples of the north from that of settled and "civilized" Previous Jefferson Lecturers were Lionel Tril­ Mediterranean men: "Here the decorative exag­ Lecture ling, Erik Erikson, Robert Penn Warren, Paul geration of 'nomadic' art is paramount: the clutter Freund, John Hope Franklin, Saul Bellow, C. of the dense background, the surprising leaps of Emily Townsend Vermeule will deliver the elev­ Vann Woodward, Edward Shils, Barbara Tuch- the hunter, the dancing collapse of the victim, the enth Jefferson Lecture in the Humanities on May man and Gerald Holton. The lectureship carries emphasis on leg, horn, neck, mouth, and eye, the 5 in Washington, D.C. The distinguished classi­ an award and a stipend of $10,000 which the concentration on the surface and not on the story" cist and archaeologist will speak on the topic Endowment provides. Private contributions cover ("The Art of the Shaft Graves at Mycenae," Op. "Greeks and Barbarians: the Classical Experience those expenses which may not be supported by Cit., p. 24). That it took the consum m ate skill of in the Larger World." appropriated funds. southern craftsmen to execute these nomadic fea­ tures so superbly must have given some satisfac­ tion to a people thus overrun—that the captive took the captor somewhat captive at least aes­ thetically. Emily Vermeule's range of interests includes not only the art and mythology, pottery and history, religion and epigraphy of the Mycenaean period, but also much of later Greek art. Attempting to understand the meaning and pur­ pose of various kinds of decoration and shapes of the useful objects created by people long dead and known to us only through relatively imperishable Rediscovering appurtenances of daily life and ritual requires both Greek Games human sympathy and educated imagination. Emily Vermeule has said that "poets, critics, historians, at Nemea archaeologists, artists spend their working lives as necromancers, raising the dead in order to enter into their imagination and experience." That she This summer an ancient, three-million pound but they have not found the hippodrome at moves easily among all five categories is a rare version of Rubik's cube will be tackled by classical Nemea where those races must have run. Nor achievement indeed. scholar Stephen G. Miller of the University of have they found a palestra or gymnasium. In studying about death, its customs and rituals, California, Berkeley, and his wife, Stella Grobel "We know where those buildings aren't," says one inevitably confronts a civilization's attitudes Miller of the classics department at Stanford. Miller. "Now we want to know where they are." about life. One of Professor Vermeule's chapter Scattered about the site at Nemea, Greece, where Two years ago, Miller found an open-air enclo­ titles in Aspects of Death in Early Greek Art and Poetry is Miller has directed excavations over the past nine sure. Hundreds of drinking vessels and the "Immortals are mortal, mortals immortal." She years, are some 950 blocks of limestone, each an remains of many thousands of sacrifices, some sees this affirmation of life as "part of the Greek almost identical section from thirty-three fallen bones so well preserved that the archaeologists legacy to the West, and almost a definition of Doric columns that formed the exterior of the could see where they had been cut, assured them humanism ." Temple of Zeus. that what they had found was the shrine to a If they can be put back together in the right hero. order, Miller will have directed the first large "We thought it might be the shrine to reconstruction of an ancient Greek building in Opheltes," Miller says. Opheltes is a mythological thirty years. If the ancient roof is reconstructed, infant killed by a serpent whose funeral celebra­ our idea of what classical Greek architecture tion was the occasion for the first Nemean games. looked like might change. But the discovery of a series of tablets bearing The twenty-nine-acre site, eighty miles south­ "love curses" has made the hero's identity a west of Athens, was the location of religious fes­ question. tivals and Panhellenic games held every other If all goes well this sum m er, Miller and his year between circa 400 B.C. and A.D. 370, when colleagues will be able to solve some of these an earthquake partially destroyed the temple. mysteries and raise two columns of the temple, To give an idea of what the living Nemea was freeing the area they now occupy for further like, Miller says one should try "to imagine a state excavation. fairgrounds where in the off-season the grounds Architectural and engineering studies neces­ are deserted. But once, every two years, they sary for the reconstruction have already been teem with tens of thousands of athletes and their completed. "These processes have already told us trainers, priests, pilgrims, sports fans, and people about ancient construction techniques and archi­ selling souvenirs and the ancient equivalent of tectural refinements," Miller says. beer and hot dogs." Miller's long-range plan is to put up at least The stadium itself, almost completely exca­ nine columns. "A noth er possibility, if we put up vated, has been a source of much new informa­ all the columns, is adding a roof," he says. "We tion about the ancient Greek games that are of know from an examination of debris what the great value to scholars. Four years ago, the roof m ust have looked like. But all our large Millers found a spectacular tunnel leading into Greek ruins are without roofs. Without this lim­ the stadium. Buried for two thousand years, it itation, the columns appear to spring up toward was still intact and is now believed to be the earli­ the sky. Seeing one with a roof may disturb our est vaulted tunnel built in the Western world. modern sense of the power of Greek archi­ Other puzzles than the scattered stones of the tecture." Temple of Zeus await the Millers and an interna­ — Don Koue tional team of scholars, architects, engineers, and Mr. Koue is a science writer in the Public Information Office soil experts who will be working at the site this at the University of California, Berkeley. summer.

They know, for example, that chariot races "Excavation of Nemea"/Stephen C. M iller/U . of Califoria. Berke- Death, depicted as Hypnos, is gentle with the bleeding body of a were always part of Panhellenic athletic festivals, ley/$215,200 F M /1981 -8 4 /Archaeological Projects fallen warrior on a red-figure vase from the sixth century B.C. 16 igna soi Lnmrs o ission m Com Landmarks istoric H Virginia Mark Lennihan Record Unwritten History's t Mays t Cmmission m Com ity C ary's M St. ttsia smlns of samplings Statistical ere ahntns home Washington's George s ne eivd Suis of Studies believed. once as accomplishments early his svnenhcnuy Eng­ seventeenth-century a aiaue o Wila and illiam W of bearing caricatures plate delftware lish records: written of lack a by aeil utr as enable also culture material h st a S. ays City, Mary's St. at site from the recovered glass delicate left gaps in fill to historians rbn a nineteenth-century a cribing ee o a extraordinary as not were that shown have county e Mxcn hi; a chair; Mexican New r; on alr des­ Taylor Lonn ary; M aryland. M

parts of the country. the of parts of to knowledge confined chiefly once sophisticated history— his­ and regional oral and local and detailed a archaeology tory, historical the history, to ative dimension new portant im an testi­ added written has as well as oral from artifacts, into from evidence of kinds new has incorporate however, to libraries. historians, and other of learned generation universities among in present The word primarily the several of past dwelt the keepers have for historians generations of word, province the ritten for w the traditionally is history Because New England— is now possible for many other other many for possible now is England— New quantit­ to Thanks his­ the of communities. erican particularly Am of tory history, erican Am development of study This events. historical about mony numbers, from derived evidence scholarship— their oois tesre o witn ouet: manu­ documents: written of treasuries colonies' than older or as old as are that ents settlem contain comparable records, historians of other colonial colonial other of historians records, mod­ comparable 1960s, conventional and influential 1950s most such the in the nine­ upon again developed the and in was century It historians, teenth England records, books. New that and church records ons records, serm public printed diaries, Puritan the scripts, lack they But England. New of those optr ae aig t osbe o osrc a construct to by possible it processed making are inventories, aggregate. the probate computer, in of only data Thousands significant yield can sources. other to of turned absence have the regions In research. historical local of els whose 250th birthday the nation celebrates this this celebrates nation the ashington, W birthday George 250th indi­ young whose of literate previous of story extend writings The the viduals. can on based “portraits" how knowledge of example aggregate good a such provide Virginia, Middlesex County, colonial investigate to data similar using free. and region: bound the white, of and black residents women, the and that of men society most Chesapeake incorporates early of portrait detailed which records using are ission Comm City Mary's year, is familiar to every school child. The details of of details The child. school every to isfamiliar year, a rule. Seventy-three percent of the Middlesex Middlesex the of seventeenth in the traced percent they lives whose children but Seventy-three exception, an rule. not was a experience ashington's W of House Virginia ount M the of at ember militia of am and of o colonel aster enty-tw m tw lieutenant a eleven, twenty, aat of at Vernon something orphaned was he that prodigy: suggest biography his "ancient and chief seat of governm ent" of the the of ent" governm of seat chief and "ancient inheritance was modest or, as in W ashington's ashington's W their in as hether or, w age, modest grand. case, was early an inheritance at adult assume to responsibilities sexes tended both of society of people level one per­ every in and Young 36 least parents. majority; at both their lost lost cent attained they centuries before parent eighteenth early and that statistical suggests ans' Rutm however, The records, court of sampling twenty-six. at Burgess turned to archaeology. They have found not only only not have found have scholars like, They To looked archaeology. discovered. to place turned been the ever what has learn colony, the City, Maryland Mary's St. por­ graphic seventeenth-century No of region. trayal Chesapeake the in research cal, social and economic community. economic and social cal, ­ farm and es hom buildings, public of remains the comparable to the wealth of w ritten records of of records ritten w of data England. wealth New artifactual early the of to wealth a comparable recovered archaeolo­ have decades, two gists last the during Virgi­ in River where es nia, Jam the along life plantation early steads, but also patterns of spatial relationships aas politi­ relationships functions spatial ent's of settlem the illustrate patterns that also but steads, Augustine and have cast new light on the"starving on light new cast St. have and early of life the Augustine document to attempting work at Virginia, Maryland, Florida and New Mexico all Mexico New and Florida Maryland, Virginia, In Maryland, historians working with the St. St. the with working historians Maryland, In Darrell and Anita Rutm an, historians who are are who historians an, Rutm Anita and Darrell Historical archaeology complements quantitative quantitative complements archaeology Historical Similar projects have illuminated the history of of history the illuminated have projects Similar In Florida, meanwhile, other archaeologists are are archaeologists other meanwhile, Florida, In 17 time" familiarly associated with the early years of son came from. By correlating this information general reader, and a scholarly urban biography are many colonies. The Spanish settlers at St. Augus­ with written sources, we might be able to elicit in the planning or writing stage. tine did not starve, according to Florida State Uni­ the name of his teacher. The location of the door These projects depart from the traditional model versity archaeologist Kathleen Deagan. The writ­ might tell us something about his trade practi­ of historical research in ways other than the sour­ ces, who he sold doors to, and how far they were ten record is full of their laments about hunger, but ces they use. No historian works alone, but tradi­ transported from the shop. Again, by correlat­ archaeological evidence suggests that what they tionally the supporting cast of archivists, biblio­ ing this evidence with written sources, we might lacked was not food, but fam iliar food. The favorite graphers, and librarians who make historical be able to tell how much he was paid for making research possible are tucked away in the footnotes foodstuffs of Spain were poorly adapted to the the door. In other words, while the written doc­ coastal Florida environment. Settlers had to make ument gives us only his name, the material doc­ and acknowledgments of an individual scholar's do with indigenous products and with less pre­ um ent illuminates his life. work. Quantitative history, historical archaeology, ferred foods from Europe. The revised record will and oral history are by their very nature collabora­ Phoenix historians face a similar dilemma: an say that the settlers ate well, although without tive, requiring in both conception and execution insufficiency of written records. This burgeoning enthusiasm. the efforts of several specialists and support per­ Sunbelt metropolis—founded in 1870, a town of New Mexico formed the other prong of Spain's sonnel. Moreover, although university-based scho­ 60,000 on the eve of World War II—became in North American frontier, but its early cultural life lars have played roles in all of these endeavors, 1980, the nation's eleventh largest city, with a pop­ is as shadowy as that of St. Augustine if one looks many of these projects are based in institutions ulation of 764,000. Yet when the Phoenix History only to written records. Thus the International other than universities: in the research arms of Project was organized in 1975, there was not a Folk Arts Museum in Santa Fe turned to material state or municipal agencies, as in the Maryland and single history of the city in print, nor an archive culture as a means of mapping continuity and Florida projects described here; in community containing the materials from which one could be change in New Mexico's Hispano-Indian culture. organizations and local historical societies, as in written. In these circumstances, the organizers of Historian Lonn Taylor, director of the museum's Phoenix; in a museum, as in Santa Fe. Thus, not the project turned primarily to oral history. New Mexico Furniture Project, explains why. only have these undertakings provided new means "The community was the repository," explained of understanding American history but also new G. Wesley Johnson, a University of California his­ There is a considerable amount of written evi­ bases of sustaining this important branch of torian and Phoenix native who headed the project. dence concerning the royal governors of New humanities research. To tap this repository, Johnson and Robert Tren- Mexico during the first half of the eighteenth —John Williams century, and from it we can get a fairly clear nert of Arizona State recruited a disciplined team Mr. Williams is a member of the Endowment staff. picture of the way in which they performed of some thirty volunteer and ten part-time staff their jobs. There is much less written evidence interviewers, who interviewed some 500 persons. about the people they governed. We know from The resulting archives of transcripts covers the "Patterns of Spatial Organization and Use in a Chesapeake Com­ a documentary source that a Pecos Indian named familiar themes of urban social and political history m unity, 1 6 3 4 - J 730"/Henry M. M iller/ St. Mary's City Com- Miguel was making doors and windows for his as well as topics, such as the development of air mission/$74,000 OR; $100,000 FM /1981-84/"The Gover­ Spanish neighbors in 1745.... If we could locate conditioning technology, that were of special sig­ nor's Land Archaeological Project"/Alaine C. Outlaw/Virginia one of his products, we could tell what kind of nificance to Phoenix's growth. Interviewees in­ Historic Landmarks Commission, Richmond/$119,676/1979-81/ raw materials were available to him, and what cluded minority and working-class informants $55,277/ 1981-83/"An Archaeological Investigation of 16th- kinds of tools he used. By looking at the con­ along with Phoenix luminaries such as Senator struction techniques and proportions of the century Spanish Florida"/Kathleen Deagan/ Florida State U.; Tal­ door, we might be able to tell whether Spanish Barry Goldwater and Justice Sandra Day O'Con­ lahassee/550, 661 /, 19 79-81 /"A Survey of New Mexico Furni­ or Indian techniques of carpentry predominated nor. Products of the research to date have included ture, 1600-1940"/Lonn Taylor/ Museum of International Folk at Pecos at that time. By looking at its decora­ scholarly activities, exhibits, newspaper features, Art, Santa Fe, N M / $71,350/1980-82/"Phoenix History Pro- tion, we might even be able to tell who taught conferences and workshops. Monographs on local ject'VG. Wesley Johnson/ Arizona State U., Phoenix/549,406/ him to make doors, and possibly where that per­ institutions, an illustrated history intended for the 1978-79/Basic Research

A graveyard dating to the early 1700s is part of the site being excavated by the Virginia Historic Landmarks Commission. Later graves pierced several of the earlier shafts. 18 DUSTJACKETS MediaLog

Ed. Note: Videotapes, films and cassettes also implications and challenges brought the definition of health? How can we in Great Britain and the United States, have dustjackets, which is why this feature of about by the ongoing revolution in be sure that medical services are "Taylorism," the labor movement, and Humanities, usually devoted to NEH- medicine and biology. It raises a distributed fairly? the contradiction between the econo­ supported books, is reprinting a section of the new number of vital questions regarding mic imperatives of efficiency and M ediaLog. This guide to television, film and how medical technology affects the Production Organization: KCTS-Seattle the growing demand for spontaneity radio programs supported by the Endowment w ill nature of our acting and of our Project Director: and leisure. enable many more audiences to use these thinking about human nature. Sandra Clement Walker programs— schools, colleges, community groups Executive Producer: John Coney and a wide variety of organizations whose 1 Executive in Charge of Production: The Trouble That Truth Makes members comprise the adult, out-of-school public. Ron Rubin The humanities disciplines reproduced here are Boy or Girl: Should the Choice Be Freedom of thought is an ancient Philosophy, Religion and Ethics and a portion of Ours? examines the dilemma we face Series Producers: Graham Chedd, liberty, but one with an almost unbroken the Literature section. The other five sections of as the result of a procedure devised to Steven Katten, Richard 0. Moore record for being in trouble. Should the catalog are devoted to United States History, check serious genetic abnormality in a Series Host: Dr. Willard Gaylin, M.D., experimentation on human beings be Archaeology and Anthropology, Folk Traditions fetus. It is now possible to know the President of the Hastings Center, permitted? Should theories that insult and Local History, and History, Theory and sex of a baby w ell in advance of birth. Institute of Society, Ethics and racial minorities be protected? Have Criticism of the Arts. M ediaLog was pub­ New experimental procedures are Life Sciences elite groups— scholars, lawyers, lished by the Film Fund under contract to N E H . moving toward the possibility of sex doctors— used their specially-mandated To obtain a free copy, please write to the Public choice at the tim e of conception. Yet, Format: Videocassette (6 60-minute rights well? The problematic aspects Affairs Office, M S 35 J, NEH, Washington, should this choice be ours? programs) of freedom of thought are illustrated D. C. 20506. through examples of recent and past Distributor: Non-theatrical Distribution controversies: the 1974 protest at Philosophy, Religion and Ethics Genetic Screening: The Ultimate (US and Canada): PBSVideo, 475 Yale University over physicist William Preventive Medicine considers ethical L'Enfant Plaza, S.W. Washington, DC Shockley's theories of comparative Dying questions emerging as a result of the 20024; International Distribution: racial intelligence; an incident in San 1975 ability to predict prenatally the health NOVACOM, 1345 Avenue of the Antonio where women who came to a of a child. It is now possible to predict Americas, New York, NY 10105 birth control clinic were given placebos Documentary just how normal some children will be Fees: Contact Distributor instead of contraceptives and other before they are born. This could even medical experiments; the 1950 The film presents portraits of several mean that someday the abnormal need publication of Immanuel Velikovsky's terminally ill cancer patients who speak never be born again. Who is to decide In Pursuit of Liberty Worlds in Collision; and Russian for themselves with unusual frank­ what is normal and what is not normal? 1977 agronomist Lysenko's theories of ness about death and dying. Their environmental adaptation. observations, coupled with interviews Documentary Series with their families and friends, give Human Experiments: The Price of insight into their fears about death: the Knowledge discusses the ethical Through an examination of four The First Freedom The American free connection between how they lived questions emerging from human fundamental civil and personal press has been extolled as the bulwark and how they will die, and the relation­ experimentation used in the medical liberties— work, freedom of thought, of all our other liberties, but it has also ship of death to life. search for knowledge. Are experiments privacy and freedom of the been criticized for sensationalizing, with human subjects ever justified? press— assumed by all Americans, over-simplifying, and presenting one­ Production Organization: What about the costs to society and In Pursuit of Liberty, with Charles sided views of public issues. Frankel's WGBH-TV, Boston the risks to human subjects? Frankel, seeks new perspectives from discussion of censorship leads from Executive Producer: Michael Ambrosino which to view the evolution of liberties, Milton's 1644 pamphlet "Areopagitica," Producer/Director: Michael Roemer the dangers which threaten them, and the first decisive critique of censorship Behavior Control questions the impli­ the ways each one may conflict with in Anglo-American history, to the 1971 Format: 16 mm. (97:00) cations and ethical considerations other, equally important, freedoms. Pentagon Papers case. At Jefferson's emerging from behavior control. It can Virginia home, Monticello, Frankel Distributor: NOVACOM, Burlington mean helping someone attain a 1 outlines the role Jefferson played in House, 1345 Avenue of the Americas, personal goal, or it can mean imposing The Private Life. An examination of establishing the freedom of the press New York, NY standards of behavior from outside. the American right of privacy, the film to attack government, and goes on to Fees: Contact Distributor How can we distinguish the benign travels to Naples, Pompeii, medieval discuss the influence of Justice Oliver forms from the harmful? Who says France and the streets of New York to Wendell Holmes, press centralization, Awards: Blue Ribbon, New York Film "yes" and "no" to the uses of behavior examine man's right to privacy. An the Fairness Doctrine in broadcasting, Festival, 1977; Gabriel Award, 1976; control? "unsocial" liberty, privacy is challenged and a reporter's right to protect his Christopher Award, 1977; Media by our crowded society, by the sources. Award, American Cancer Society, 1977; necessity for law and order and by the Gold Medal, Virgin Island International Death and Dying raises ethical new morality of openness that often Production Organization: Film Festival, 1976; Chris Award, questions emerging from new life pro­ treats privacy as unhealthy and WNET-13, New York Columbus Film Festival, 1977; CINE longing technology. Are the rights of anti-social. Frankel traces Greek and Writer/Editor/Host: Dr. Charles Golden Eagle, 1976 dying people different from those of the Roman views of privacy in Naples and Frankel, Columbia University living? Should a patient be told that he Pompeii, the conflict between privacy Executive Producer: Don Dixon or she is dying? When does a physician's and security in medieval France, Coordinating Producer/Director: Hard Choices responsibility to preserve life end? monastic privacy, and the privacy of Jack Sameth 1980 the modern metropolis. Director of Research: John Chambers

Documentary Series Doctor, I W ant... explores the Format: Videocassette (4 60-minute problems arising from a growing The Curse of Adam. Traditionally, work programs) The series examines some of the awareness that medical care is not an is where liberty has stopped, but today important ethical questions and issues unlimited resource. The film encour­ many feel that work should be a source Distributor: WNET/13 Media Services, raised as a result of the remarkable ages an examination of attitudes and of fulfillment to the individual. Frankel 356 W. 58th Street, New York, achievements in medical technology expectations of those seeking and examines the different impact of the NY 10019 and explores the human value those providing medical care. W hat is Industrial Revolution on workers' lives Fees: Rental $60 One Episode, $95 19 Complete Series; Sale $385 One an analysis by leading literary figures Awards: American Film Festival Blue later years. In 1909 Mark Twain, aged Episode, $1,235 Complete Series and critics of the modem literature of Ribbon; CINE Golden Eagle; American 74, returns from Bermuda to spend the war and apocalypse in fiction, poetry Library Association "Selection for Christmas holidays in Connecticut with and drama, as well as the role of Young Adults" his daughter Jean. On Christmas eve Shadows of the Nuclear Age the literary artist in relation to war. Jean is fatally stricken. Her death leads 1980 Twain to review his own life as if it were Swords and Plowshares— The Shinto: Nature, Gods and a story he were writing. Key events in Documentary Radio Series Economy of the Arms Race examines Man in Japan his past are dramatized— the young the human and economic values implicit 1978 Sam joins and then deserts the Confed­ Shadows of the Nuclear Age raises in the arms race. The discussion fo­ erate Army, becomes a newspaper questions about the impact of the cuses on the effects of sustained high Documentary reporter, and then learns to pilot a nuclear age on American social, ethical, levels of military spending on economic Mississippi riverboat. and economic values. Through inter­ values and the relationship of a growing The film traces the roots of Shinto, views with leading scholars, scientists, military sector to the formation of Japan's native religion, into Japanese A "Discussion Leader's Guide" and policy-makers, the series philosophical and ethical perceptions. prehistory. Through Shinto the is available. focuses on the ways that the nuclear Japanese people have perceived their age has influenced our perspectives on Ethics and Options for a Threatened relationship with nature, expressed Producer: Marsha Jeffer national security, our notions of Planet discusses what values, ethics, their cultural aspirations, and been Director: LaryYust democracy and citizenship, our percep­ and law are relevant in the nuclear age. inspired to create works of great beauty Writers: Gill Dennis and Larry Yust tions of humanity as reflected in It examines the applicability of various and artistry. Among the Shinto shrines Photographer: Howard Wexler literature, language-, and the media, and post-war ethics— Just War, Christian and rituals featured in this film are the Cast: Dan O'Herlihy, Lynn Seibel, what we percieve to be our options for Realism, Realpolitic, and Radical holy island of Okinoshima, the imperial Kay Howell the future. Pacifism— at a time when increased shrines at Ise, and the historical shrines world competition raises the pos­ of Nachi, Izumo, Kasuga, Omiwa and Format: 16 mm., Videocassette Seven Minutes to Midnight explores sibility of war. Munakata. (58:00) the threat to human values and humanity itself as a result of recent Where Do We Go From Here? The Production Organization: Distributor: Pyramid Films, Box 1048, breakthroughs in the technology of Great Nuclear Debate discusses the The Japan Society Santa Monica, CA 90406 nuclear weapons and the proliferation feasibility from the perspective of Producer/Directors: Peter Grail, Fees: Sale $750 (16 mm.); Sale $395 of nuclear materials. humanist values of various proposals David Westphal (Videocassette); Rental $75 and plans to end the arms race, Hiroshima: The Decision to Use the including those proposed by govern­ Format: 16 mm., Videocassette Awards: CINE Golden Eagle, 1980; Bomb discusses the Truman Admin­ ment arms control advocates, by (48:00) American Film Festival, Honorable istration's decision to drop the bomb, those who believe peace is only Mention, 1980 the relative weight of bureaucratic mo­ achieved through military strength, and Distributor: Japan Society Films, mentum, military necessity, cold war by those who believe in disarmament. 333 E. 47th Street, New York, NY 10017 politics, and public reactions to the Fees: Rental $50; Sale (16 mm.) $550; The O/Aural Tradition: Beowulf bomb and its aftermath. Production Organization: SANE Sale (Videocassette) $385 (Parts I and II) Education Fund 1978 The Story of the H-Bomb examines Executive Producer: Steve Shick the development of the early arms Producer: David Freudberg The Humanities in Literature Radio Drama race, with particular attention to crucial Director: Dr. Robert K. Musil decisions and turning points, such as Life on the Mississippi by Mark Twain The medieval epic poem, Beowulf, is the Baruch Plan and the decision to Format: Reel-to-reel, Cassette 1980 dramatically presented through build the H-Bomb. (13 30-minute programs) readings in the original Old English and Drama modern translation by Burton Raffel. The Years of Testing traces the his­ Distributor: The SANE tory of nuclear testing and captures the Education Fund, Life on the Mississippi is a drama­ Producer/Director: Charles B. Potter debate over fallout, shelters, nuclear 1411 Walnut Street, tization of Mark Twain's epic chronicle Writer: Robert P. Creed testing, and their effects in the 1950's. Philadelphia, PA 19102 of a young man's coming of age on Music: Mary Remnant Clearances: Commercial and America's greatest river. The novel Sound: David Rapkin The Missile Crisis recaptures the Non-commercial broadcast grew out of Twain's own experiences important moments and mood of the Fees: Contact Distributor when, as a young man, he fulfilled his Format: Reel to reel (2 59-minute Kennedy years, the Cuban missile boyhood ambition to become a river programs) crisis, and the move toward arms pilot. After a difficult apprenticeship control and a test ban. The Shakers during which he braved the hazards of Distributor: Charles B. Potter, 838 1974 the deceptive ever-changing river and a W est End Avenue 6-D, New York, NY The Road Not Taken: Protest and potentially disastrous brush with an 10025 the Bomb examines the historical Documentary egomaniacal pilot, he earned his Fees: Contact Distributor materials and current interviews in license, and with it, a new maturity. some of the public efforts to end the The Shakers are America's longest Awards: CPB Award for Best Public arms race and the projection of and most successful experiment in Production Organization: Nebraska Radio Local Programs, 1978 alternative values and attitudes. Christian communal living. The and ETV Great Amwell Co. American Shaker community was Executive Producer: William Perry Nuclear Hollywood analyzes the established in 1774. By 1850 there were Producer/Director: Peter H. Hunt The Odyssey of Homer different ways that nuclear war has 6,000 brothers and sisters living Series Producer: Marshall Jamison 1981 been presented in film from the cold together in nineteen communities Cast: Robert Lansing, David Knell, war to the present, as well as the stretching from Maine to Kentucky. Jam es Keane, Donald Madden, John Dramatic Radio Series aesthetic difficulties of depicting the Their meeting houses resounded with Pankow, Jack Lawrence, Marcy Walker. images of war, atrocity, and nuclear devotional songs and ecstatic dancing, Kurt Vonnegut, Jr., host. Homer's great epic tells the story of destruction. and their communal farms and Odysseus of Ithaca, who struggled for workshops poured out products and Format: 16 mm., Videocassette, twenty years after the Trojan War to Nuclear Anxiety: Coping with the inventions that made their name 2" Quad (2:00:00) return to his home. His wife, Penelope, Eve of Destruction explores the way in synonymous with quality and ingenuity. waits for his return, warding off which American culture is affected by Today there are only twelve Shakers Distributor: Nebraska Educational aggressive suitors while his son, the necessity of avoiding confrontation left, living in two villages in New Television Network, 1800 North 33rd Telemachus, searches for him. Ultimate­ with death and nuclear destruction, England. The film traces the growth Street, Lincoln, NE 68501 ly Odysseus returns home, ousts the and questions whether and how the and decline of this remarkable religious Fees: Contact Distributor suitors and is reunited with his family. dangers of nuclear war can be faced. sect through the memories and songs Each program dramatizes a portion of the surviving Shakers Awards: Cine Golden Eagle, 1981; of the work and contains a doc­ Memos and Megatons— How themselves. Eddie Award, American Cinema Editors umentary segment analyzing a particu­ We Talk About the Bomb. Leading (ACE), 1981 lar aspect of Greek life. linguists, critics, poets, writers, Producers: Tom Davenport, journalists and historians talk about the Frank De Cola Episode 1 ways in which the language of modern Director: Tom Davenport Mark Twain: Beneath the Laughter The Suitors of Penelope Richard war, nuclear deterrence, and bureau­ Advisor: Dr. Daniel Patterson 1979 Posner of the University of Chicago cratic decision-making contributes to the discusses Homeric government. problem of accurately perceiving the Format: 16 mm. (30:00) Drama dangers of modern war and its Episode 2 human consequence. Distributor: Tom Davenport Films, Mark Twain: Beneath the Laughter The Voyage of Telemachus Charles Rt. 1, Box 124, Delaplane, VA 22025 explores the nature of "the dark side of Bye, visiting professor of classical The Literature of Apocalypse presents Fees: Rental $40; Sale $400 Twain" and the deep cynicism of his studies at the University of Athens, ex- 20 The Art of the Fellowship Proposal

Each year the NEH receives thousands of individ­ the individual has the knowledge and ability to 2. The importance of the proposal to the specific ual fellowship applications from good scholars for carry out the project and a commitment to excel­ field and the humanities in general good projects. A few hundred are recomm ended by lence in scholarship. In making this determination, The best evidence of the importance of the proj­ review panels for funding, but only a few score the panel considers more than just the curriculum ect is given in the applicant's project description, elicit a unanimous recommendation of "Absolutely vitae and record of previous publications. Refer­ though certainly letters of reference provide Yes!" As budgetary constraints on the Endowment ence letters provide critical information as well, necessary corroboration. An applicant cannnot increase, the importance of a strong panel endorse­ and the project description itself, in its conception assume that panelists will appreciate the impor­ ment to the success of an application also increases. and presentation, is an important indicator of the tance of a project or have a predisposition toward Writing a fellowship proposal that receives quality of the individual's thought. the subject matter. It is incumbent upon the appli­ enthusiastic endorsement from panelists is both an The phrase "the promise of quality" in this criter­ cant to make the case for the importance of the art and a science. The science is in carefully follow­ ion indicates that panelists are concerned not study to be undertaken. ing the guidelines for the format of the application simply with past accomplishments of the applicant. Because applications are competitive and re­ and in presenting a proposal that clearly reflects All three programs make grants to scholars early in viewed in groups, panelists look for those projects knowledge of the subject being studied and the their careers, as well as to senior scholars. Panelists likely to make the greatest contribution to the methodology appropriate to it. T h e art is more try to judge the quality of applicants' work by humanities. The contribution an applicant expects difficult to describe and is the subject of this article. standards appropriate to their career stages. There to make may be through teaching, through the The art of writing a successful proposal is not a are no quotas set for awards to junior or senior production of materials that will serve other scho­ matter of knowing arcane secrets of grantsman- scholars, nor is there any prejudice against either lars, or through development of new perspectives ship, a presumed hidden agenda at NEH, or that group. Among the Independent fellowships on the discipline that will encourage further dis­ influential someone in the Fellowships Division. awarded last November (listed on pages 23-25 of cussion and understanding of the subject among all Nor is it achieved by mimicking proposals that this issue of Humanities), 48 percent went to junior interested audiences. received NEH grants in the past. (Examples given scholars. (Forty-nine percent of the applications A project that will serve only the applicant (such in this article are intended to demonstrate levels of were from junior scholars.) as remedial work by the applicant to "catch up" in a quality, not to serve as models.) One of these junior scholars is studying the field) will not be competitive with projects that The art of writing a successful proposal is largely origin of the economic decline in New England offer to add to the knowledge of students, col­ a matter of understanding how individual fellow­ from 1840 to 1925. The applicant was awarded a leagues, or a wider public. ship applications are selected for funding. doctorate in history in 1979 and is currently an A summer stipend was recently awarded for a There are three fellowship programs which assistant professor at a major university. Her project to write an archaeological commentary on award grants for individual study and research in record of publications includes two journal articles the Wasps of Aristophanes, applying vase paintings the humanities: Summer Stipends; Fellowships for and three conference presentations. and other monumental evidence to a study of the College Teachers; and Fellowships for Independent In evaluating her application, panelists took note play's terms, puns, metaphors, objects, actions and Study and Research. They are all highly competi­ of her status as a younger scholar. The sophisti­ the mise-en-scene of the Athenian law courts. tive because of their limited budgets and the large cated knowledge of the subject revealed in the In his proposal, the applicant argued the impor­ number of good proposals submitted each year. proposal itself and strong letters of reference were tance of the project by citing other scholars who The ratio of grants to applications varies among instrumental in convincing the panel that there have affirmed the value of applying archaeological the programs and from year to year, ranging from was "promise of quality" from this applicant. evidence to interpretation of Aristophanes' come­ a low of one-to-five in the College Teachers pro­ "Extremely impressive proposal," commented one dies. He then offered his own view of the signifi­ gram to a high of one-to-nine in Independent panelist. "Well-reasoned, clear and attractive." cance of providing a "material and historical con­ Study. When panelists evaluate the "quality of work" of text" for understanding literature in general and All three programs use ad hoc review panels— senior scholars, they may place greater emphasis the Wasps in particular. He suggested the study composed of scholars representing the disciplines on some aspects of the application. would serve classicists as well as a wider group of of the applications under consideration—to evalu­ One of the 1982-83 Independent Study awards readers and would provide a basis for more authen­ ate the proposals. Panel ratings serve as the basis to an established scholar (doctorate awarded in tic and effective productions of the play. for the National Council on the Humanities' fund­ 1968, college professor since 1966, currently an He persuaded the panel that a new understand­ ing recommendations to the NEH chairman, who associate dean at a major university) was for a ing and appreciation of Aristophanes was needed gives final approval on all Endowment grants. biography of Anne Sexton. Certainly the proposal and could be achieved through this project. One In making their assessments of an application, description was a principal element in panelists' panelist commented, "This kind of study is some­ panelists consider the evidence provided by the consideration of the quality of work of the appli­ thing we should see more of and that is an approach applicant—the description of the project, the let­ cant, as were the letters of reference. But panelists to a classical text which attempts to conceptualize a ters of reference, the curriculum vitae, and the also took careful note of the applicant's record of drama as it was originally conceived and produced bibliography of works relevant to the study. achievement—nine academic honors; three books as, among other benefits, a stimulus to the produc­ (Directions for proper completion of application and numerous articles of high quality; and poems tion of ancient comedy." Another noted that "it is materials cannot be recapitulated here; they are published in a variety of journals. the sort of work that combines 'scholarly' and given in the guidelines for each program and Without this level of accomplishment it is 'practical' use: it may well help directors and actors should be followed carefully.) unlikely a panelist would have concluded, "Seldom present more visually meaningful performances of In evaluating this evidence the panelists adhere have I found an applicant I could bet on with more the play" to the four selection criteria stated in the program certainty—an absolutely first-rate proposal and In addition to the importance of the subject mat­ guidelines. A review and discussion of these crite­ person to do it." Another remarked, "Publications ter, the proposal may argue for the value of its ria (which vary only slightly among the three indi­ are quite good, references are excellent, and the methodology, as in this excerpt from a 1982-83 vidual fellowships programs) will help reveal what candidate obviously has access and can do the Independent Study proposal: makes for an "artful," i.e., competitive, application. biography." Political history is currently out of fashion, It should be noted that the "work" whose quality 1. The quality or promise of quality of the appli­ largely because it tends to be biographical and is being judged under this criterion need not have narrative in orientation and, except for vote cant's work as a teacher, scholar, or interpreter of been conducted in an academic setting. Two of the counting, does not lend itself to social-scientific the humanities three programs entertain applications from scho­ techniques and analysis. Political history, how­ This criterion focuses more on the applicant than lars unaffiliated with colleges or universities; they ever, deserves attention, partly because it con­ on the project. The panel looks for evidence that also include unaffiliated scholars on their panels. tains the central question of history—how are 21 decisions actually made— and partly because pol­ project. The operative term here is "right." The stated: itical, old-fashioned elitist history needs redo­ right questions, right comparisons, and right As ambitious as the project is, I believe that it is ing. I propose to take a fresh look at the political scope—in addition to being appropriate to the not an unrealistic one, and my previous work history of Tudor England and study the political field—are those which capture the interest of the suggests that I can undertake it successfully. I environment in which individuals translated panel. And since a panel is made up of scholars in am already familiar with much of the literature, their culturally conditioned aspirations and the discipline, their interests will be similar to those both primary and secondary, on "sporting" top­ assumptions into the realities of political success of an applicant's colleagues. ics, and I have had some success in using this and failure. It is customary to approach politics Competitive proposals are those which go be­ material in a constructive way. from the perspective of those who succeeded because the documentation is skewed in that yond a naive or redundant treatment to explore the In addition to favorable reactions to the appli­ direction and successful ideas live on in terms of subject's real potential, to yield new perspectives cant's abilities and the potential value of the study, their historic consequences. Unfortunately, (including interdisciplinary views), or to break new panelists were convinced of the likelihood the successful people also tend to be well adjusted ground. research and a monograph would be completed. and to know how to make the system work for Among the applications for 1981-1992 Fellow­ "Proposer offers convincing argument and has evi­ them; as a result, they do not usually have much ships for College Teachers were two projects treat­ dently pursued work to point where it can be com­ to say about the functional and psychological ing ethical issues related to science. Both studies pleted," said one. Another said, "[He] has back­ strains under which they operate. It is the were intended to improve classroom instruction ground to indicate likelihood of completion." unsuccessful who flounder and cry out and and serve as the basis for new courses. Of these Finally, there are a few additional factors a panel thereby reveal in their lives and writings the two projects in essentially the same discipline and may consider in making decisions on a group of pressures and emotional strains under which all with the same purpose, only one was funded. The applications. Geographical and institutional diver­ the natural leaders of society must work. As Scott Fitzgerald said: 'It is from the failures of quality of the conception and definition of the pro­ sity are sought among fellowship awards, though life and not its successes that we learn the most.' ject made the difference. no quotas are set. Panelists often take this into The ultimate tour de force is to relate theory The successful proposal focused the study on consideration as a tiebreaker among highly rated to practice and to offer an explanation of Tudor ethical issues relating to medicine and explained proposals. (Among the 143 College Teacher fel­ politics in terms of a multitude of failure stories, clearly the value of the project to the institution lowships listed at the back of Humanities, 124 col­ thereby rewriting and reinterpreting the six­ and students it would benefit. It then discussed the leges and universities in 37 states are represented.) teenth-century political scene.... Irrationality in nature of and reasons for recent moral problems The individual fellowship programs give prefer­ politics, political failure and paranoia are, alas, associated with medicine and appropriate ways for ence to applicants who have not had major grants sufficiently relevant themes to need no special approaching these problems. The proposal con­ or postdoctoral fellowships in the last six years. pleading. That they are being studied within a cluded with the specific questions to be explored Panels are also sympathetic to able applicants in sixteenth-century context should not distract and the methodology that would be applied. situations or institutions that offer few research from their importance to the scholar, from their interest for the general reading public, or from The project received a strong recommendation opportunities. their impact upon our knowledge about man­ from panelists. Typical of their comments was, T h ere is also a je ne sais quoi, a "sparkle," an appeal kind. "This is an excellent proposal both in terms of care that distinguishes successful proposals from the Panelists were convinced. "It appears that the with which it is worked out and the probable signif­ nearly successful proposals. This special quality is realization of this project would shed new light on icance for teaching." synergistic, combining and transcending all the the political dynamic of a crucial period.... I think The unsuccessful application proposed a two- previously mentioned qualities, as the following his approach will serve as an important scholarly part study on l) "the history of the biological scien­ excerpt from a highly rated summer stipend pro­ model in terms of developing understanding of the ces and of philosophical issues peculiar to them" posal demonstrates: political process in any era.""The book would likely and 2) "contemporary work in the area of ethical An extensive study of Russian twentieth- reach not only specialists but intelligent readers issues in science and technology." The proposal century literature for children is long needed. It generally and make a significant and original con­ discussed the applicant's teaching responsibilities, would provide us with an observation point tribution to both. This is one among two or three academic background, and current approach to and from which the very formation of the 'Soviet proposals that I rank as the very best - the reflec­ problems with teaching ethical perspectives on mind' could be observed, because children's tion of a mature and brilliant scholar on a field in science, and offered as a plan of study only a brief literature in the U SSR reflects that process in its which he has long worked, that is at the same time paragraph noting resources and faculties to be complexity: from ideological indoctrination by an act of imagination - an asking of fresh questions consulted. the state to inoculation with critical attitudes and ways of independent thinking by dissenting of material long familiar that will influence all our Panelists expressed concern at the application's writers. thinking." lack of a clear focus for the study, of specific issues For this author the study of Russian children's Importance of the project is not a function of the to be tackled, of the approach to be taken." In com­ literature is a lifelong commitment. I was born discipline or scope of the project. There are no parison with the other proposal which takes biol­ and raised in a family of children's writers: my favored fields, time periods, or cultures. It is rather ogy as background for considering ethical issues, father was the author of more than sixty books what the applicant makes of the subject that this one is not as well developed," one panelist of prose and poetry for children and about two determines its importance—a point to be taken up remarked. dozen plays for the same audience. And my under the third criterion. Another called the proposal "too broad, too mother has published several books of poems vague." A third said, "not clear that this really takes for children as well. I had the privilege of know­ 3. The conception, definition, and organization of her enough beyond what she already does and ing almost every contemporary significant chil­ the proposal knows to constitute a 'project.' " dren's writer personally. For fifteen years I worked as a writer and, from 1962 through This and the preceding criterion are mutually As these examples illustrate, it is important that 1975, as an editor for the children's magazine supportive. The importance of a project is applicants state clearly what they intend to do, Kostyor in Leningrad. I published a few books of dependent on the way it is conceived, and its con­ what question they intend to ask, and why. It can­ my own and translated poetry for children. Nine ception cannot be judged without regard for its not be left to the panel to infer or the references to of my plays for children were staged and pub­ importance. imply what the plan of study will be. Panels must lished. At the same time, I was studying and Good conception, definition and organization of know how the grant period is going to be used. collecting materials related to the history of the project obviously result from the applicant's Russian children's literature, beginning with the command of the subject and thus fall within the 4. The likelihood that the applicant will see the 1920s, when the Russian literary avant-garde realm of the science of proposal writing. There is, project through to completion became involved in children's literature. At this point I am entering the conclusive however, also an art to conceiving, defining, and This criterion simply means that panelists will stage of my project; to complete my manuscript organizing the project. Put simply, the most suc­ consider whether or not what is proposed can be on the History of Modern Russian Literature for Chil­ cessful applications seem to be those in which and is likely to be achieved. dren I need to carry on some additional research applicants let their ideas and enthusiasm for the The criterion does not mean that the entire pro­ in earlier Soviet periodicals and rare books and subject "shine through." ject must be completed during the grant period, to double-check the materials that I copied in A potential applicant once contacted an NEH only that it should eventually be completed and Soviet libraries some years ago. The NEH sti­ program officer and said she had two projects for a that the portion slated for the period of the fellow­ pend would enable me to complete my work summer stipend in mind. After describing the pro­ ship can be handled in that time. during the summer of 1982 by working in the jects, she asked the staff member which she should A 1981-82 College Teachers fellowship was libraries of Harvard and Yale, and, primarily, in submit. The program officer counseled her to awarded for a study of gambling in eighteenth- and the Library of Congress. submit the one which interested her most. nineteenth-century England, focusing on how this "Absolutely yes!" was the funding recommenda­ Conception of the project involves asking the leisure activity reflects changes in social and tion from one member of the review panel. The right questions about the subject to be studied, private values resulting from industrialization. other members agreed. drawing the right comparisons with other works Following an intensive discussion of the signifi­ —John Lippincott and subjects, and setting the right scope for the cance and approach of his study, the applicant Mr. Lippincott is a member of the Endowment staff. 22 1982 NEH FELLOWSHIP AWARDS

MD Kingston NEH FELLOWSHIPS AT CENTERS FOR Richard E. Vinograd, Columbia U., NYC Sara L. Schastok, Amherst College, MA ADVANCED STUDY Archaeology Nancy J. Troy, John Hopkins U., Baltimore, Susan R. Silberberg-Peirce, Northern Arizona American Research Center in Egypt, Inc., U., Flagstaff NYC; Paul E. Walker & Anthropology FELLOWSHIPS FOR COLLEGE TEACHERS Mary D. Springer, Saint Mary's College of Alan P. Barr, Indiana U. Northwest, Gary California, Moraga SUMMER SEMINARS FOR COLLEGE FELLOWSHIPS FOR INDEPENDENT STUDY Eve M. Blau, Wesleyan U., Middletown, C T Janis A. Tomlinson, College of Charleston, SC TEACHERS AND RESEARCH R oger F.' C opeland, Oberlin College, OH Diane H. Touliatos-Banker, U. of Missouri, Exact Sciences in Antiquity and the Middle Ages, Christopher O. Davis-Roberts, U. of Michi­ Michael W. Cothren, Swarthmore College, PA Saint Louis Asger Aaboe, Yale U., New Haven, CT gan, Ann Arbor Leonard Goines, CUNY Boro of Manhattan Dennis M. Turner, Wayne State U., Detroit, Paganism & Christianity in the 4th Century AD, A lan William N. Fenton, Suny, Albany Community College, NYC Ml D. Cameron, Columbia U., NYC Seth M. Schindler, U. of Arizona, Tucson Alden R. Gordon, Trinity College, Hartford, Rochelle Weinstein, CUNY Boro of Manhat­ Economic History of Latin America, 1760-1960, John Ruth M. Stone, Indiana U., Bloomington CT tan Community College H. Coatsworth, U. of Chicago, IL Sabra J. Webber, U. of Texas, Austin Dennis E. Kennedy, Grand Valley State Col­ Social Structure and Political Culture in France and leges, Allendale, MI England, 1700-1850, Lynn H unt and T hom as W . FELLOWSHIPS FOR COLLEGE TEACHERS Ellen V. Kosmer, Worcester State College, M A Laq uer, U. of California, Berkeley Patricia Campe-Aguilar, Indian Valley Col­ Paul S. Machlin, Colby College, Waterville, History—Non-U.S. Freedom & the Rule of Law: The English Foundations, leges, Novato, CA ME 1 3 0 0 - 1 7 0 0 , Donald W. Sutherland, U. of Iowa, Beverly N. Chinas, California State U., Chico Roberta J. Olson, Wheaton College, Norton, Iowa City Rebecca T. Cureau, Southern U., Baton Rouge, MA FELLOWSHIPS FOR INDEPENDENT STUDY LA Peter W. Parshall, Reed College, Portand, OR AND RESEARCH SUMMER STIPENDS Jack Davis, U. of Illinois, Chicago Nancy B. Reich, Manhattanville College, Pur­ David Abraham, Princeton U., NJ M ichael C. Alexander, U. of Illinois, Chicago John E. Kaemmer, De Pauw U., Creencastle, chase, NY Abraham Ascher, CUNY Brooklyn College Circle IN Nahma Sandrow, CUNY Bronx C ommunity Contance B. Bouchard, U. of California, San Robin L. Anderson, Arkansas State U., State Charles M. Love, Western Wyoming Com­ College Diego University munity College, Rock Springs, WY Franz Schulze, Lake Forest College, IL Robert P. Brenner, U. of California, Los Lenard R. Berlanstein, U. of Virginia, Robert E. Roberts, Roosevelt U., Chicago, IL Kenneth W. Severens, College of Charleston, Angeles Charlottesville SC Bernard S. Cohn, U. of Chicago, IL Thomas E. Brennan, Loyola College, Balti­ NEH FELLOWSHIPS AT CENTERS FOR Catherine P. Smith, U. of Nevada-Reno Samuel K. Cohn, Jr., Brandeis U., Cambridge, more, MD ADVANCED STUDY Edward A. Snow, George Mason U., Fairfax, MA Michael T. Burns, Mount Holyoke College, Albright Institute of Archaeological Research, VA George S. Elison, Indiana U., Bloomington South Hadley, MA Jerusalem, Israel; Thomas W. Beale, Executive Chappell White, Kansas State U. of Agric. & B enjam in A. E lm an , Colby College, Waterville, Nicholas H. Clulee, F rostburg State College, Director Applied Sri., Manhattan ME MD American Center of Oriental Research, June E. Hahner, SUNY, Albany Allen R. Douglas, U. of Southern Mississippi, Amman, Jordan; David McCreery, Executive SUMMER SEMINARS FOR COLLEGE William B. Hauser, U. of Rochester, NY Hattiesburg Director TEACHERS John M. Hoberman, U. of Texas, Austin Sandria B. Freitag, Mary Baldwin College, American Film: Analysis of Symbolic Form, N ick K. Michael P. MacDonald, University of Madi­ Staunton, VA SUMMER SEMINARS FOR COLLEGE B row n e, U. of California, Los Angeles son, WI Henry A. Gemery, Colby College, Waterville, TEACHERS Monuments to the Family: Tomb Structure in Europe Philip B. Manville, Northwestern U., Evan­ ME Oral Literature, Richard Bauman, U. of Texas, and America, 1700-1900, Ruth A. Butler, U. of ston, IL Anthony T. Grafton, Princeton U., NJ Austin Massachusetts, Boston Carol L. Meyers, Duke U., Durham, NC Ann E. Hanson, Fordham U., New York, NY Theoretical & Analytical Studies of Early 20th-Century Edward W. Muir, Jr., Syracuse U., NY Donald A. Jordan, Ohio U., Athens SUMMER STIPENDS Non-Tonal Music, Allen Forte, Yale U., New Helen Nader, Indiana U., Bloomington Frank L. Kidner, San Francisco State U., CA John J. Dobbins, U. of Virginia, Charlottesville Haven, CT John W. O'Malley, Weston School of Theol­ W. Bruce Lincoln, Northern Illinois U., DeKalb James M. Freeman, San Jose State U., CA Equating the Complexity of Musical Cultures, M antle ogy, Cambridge, MA Lester K. Little, Smith College, Northampton, Grace G. Harris, U. of Rochester, NY L. H ood , U. of Maryland, Catonsville, Donald M. Reid, Georgia State U., Atlanta MA Thomas R. Hester, U. of Texas, San Antonio Baltimore Alan J. Reinerman, Boston College, MA Donald M. McKale, Clemson U., SC Richard Kurin, Southern Illinois U., Afro-American Musicians in the Nineteenth Century, Joel T. Rosenthal, SUNY at Stony Brook Main Margaret R. Miles, Harvard U., Cambridge, Carbondale Eileen J. Southern, Harvard U., Cambridge, Campus MA Judith S. Modell, Colby College, Waterville, MA Lacey B. Smith, Northwestern U., Evanston, Kathryn Norberg, U. of California, San Diego, ME Experiencing the Medieval Liturgy: the Divine Office at IL La Jolla Michael D. Olien, U. of Georgia, Athens Cluny ca. 1 0 7 5 , Ruth Steiner and D aniel J. Eugen Weber, U. of California, Los Angeles Louis A. Perez, Jr., U. of South Florida, Tampa Timothy G. Roufs, U. of Georgia, Duluth S h eerin , Catholic U. of America, Washington, Barbara S. Weinstein, Vanderbilt U., Nash­ John M. Phayer, Marquette U., Milwaukee, WI DC ville, TN John A. Phillips, U. of California, Riverside, Robin D. Yates, Harvard U., Cambridge, MA Riverdale, CA Arts—History SUMMER STIPENDS Pamela S. Richards, Rutgers U., New Bruns­ Betty L. Bernhard, Reed College, Portland, O R FELLOWSHIPS FOR COLLEGE TEACHERS wick, NJ & Criticism Jane A. Bernstein, Tufts U., Medford, MA Peter H. Amann, U. of Michigan, Dearborn John H.M. Salmon, Bryn Mawr College, PA Carol R. Bolon, U. of Chicago, IL Roy Austensen, Illinois State U., Normal Francisco A. Scarano, U. of Connecticut, FELLOWSHIPS FOR INDEPENDENT STUDY Linda C. Burman-Hall, U. of California, Santa Gerald M. Berg, Sweet Briar College, VA Storrs AND RESEARCH Cruz Stuart L. Campbell, Alfred U., NY Ann-Louise Shapiro, Boston College, MA Darrell M. Berg, St. Louis Conservatory of Thomas R. Cripps, Morgan State U., Balti­ Sandi E. Cooper, CUNY College of Staten Thomas T. Spear, William College, William- Music, M O more, MD Island, NYC stown, MA James L. Collier, NYC Heinrich R. Falk, California State U., Abraham S. Eisenstadt, CUNY Brooklyn Gary D. Stark, U. of Texas, Arlington Janet Cox-Rearick, CUNY Hunter College, Northridge College Walter E. Stephens, U. of Washington, Seattle NYC Richard J. Haefer, Arizona State U., Tempe Charles L. Geshekter, California State U., Barbara A. Tenenbaum, U. of South Carolina, Marie L. Gollner, U. of California, Los Angeles Jan W. Herlinger, Duke U., Durham, NC Chico Columbia Philip Gossett, U. of Chicago, IL Linda W. Jenkins, Northwestern U., Evanston, Eva N. Hodgson, Essex County College, James B. Wood, Williams College, William- K ristin e E. H aney, U. of Massachusetts, IL Newark, NJ stown, MA Amherst Alison M. Kettering, U. of California, Santa James H. Jackson, Jr., Point Loma College, San Richard S. Wortman, Princeton U., NJ H. Wiley Hitchcock, CUNY Brooklyn College, Cruz Diego, CA John C. Yoder, Whitworth College, Spokane, NYC Francis R. Kowsky, SUNY at Buffalo Thomas A. Kopecek, Central College, Pella, IA WA Joseph W. Kerman, U. of California, Berkeley Malena Kuss, North Texas State U., Denton Cheryl E. Martin, U. of Texas, El Paso Ira S. Mark, U. of Chicago, iL Steven Z. Levine, Bryn Mawr College, PA Peter Mellini, Sonoma State U., Rohnert Park, Lester P. Monts, U. of California, Santa Vernon H. Minor, U. of Colorado, Boulder CA Barbara William Morgan, U. of Louisville, KY James M. Rosenheim, Westminster ChoirCol- History-U.S. Debra Pincus, U. of British Columbia, Van­ Anne C. Paul, U. of Georgia, Athens lege, Princeton, NJ couver, Canada Quentin W. Quereau, Case Western Reserve Richard P. Tucker, Oakland U., Rochester, MI Stephen Polcari, U. of Illinois, Urbana U., Cleveland, OH Paul J. Vanderwood, San Diego State U., CA FELLOWSHIPS FOR INDEPENDENT STUDY Leland M. R oth , U. of Oregon, Eugene Paula R. Radisich, Whittier College, CA Sue S. Walker, Northeastern Illinois U., AND RESEARCH K en n eth E. S ilver, Columbia U., NYC Marie Rolf, U. of Rochester, NY Chicago Warren J. Belasco, U. of Maryland, Baltimore D o ris M. Srinivasan, George Mason U., Fair­ Robert Rosenblum, NYU Lung-chang Young, Hobart-William Smith Elizabeth S. Blackmar, Yale U., New Haven, fax, VA Wendy W. Roworth, U. of Rhode Island, Colleges, Geneva, NY CT 23 John P. Diggins, U. of California, Irvine Israel Burshatin, Haverford College, PA Estelle B. Freedman, Standford U., CA Robin A. Clouser, Ursinus College, College- L aw ren ce C. G oodw yn, Duke U., Durham, NC Language ville, PA Peter J. Iverson, U. of Wyoming, Laramie Interdisciplinary Veda A. Cobb-Stevens, U. of Lowell, MA Alphine W. Jefferson, Northern Illnois U., & Linguistics Jean M. Davison, U. of Vermont, Burlington Dekalb Christine H. Donaldson, Southern Connecti­ Carolyn W. Johnson, Arlington, VA FELLOWSHIPS FOR COLLEGE TEACHERS FELLOWSHIPS FOR INDEPENDENT STUDY cut State College, New Haven Naomi R. Lamoreaux, Brown U., Providence, Harald Baaken, U. of Lowell, MA AND RESEARCH Susan M. Elliott, Assumption College, Wor­ RI Penelope L. B ullock, Atlanta University, CA Barbara H. Partee, U. of Massachusetts, cester, MA Nelson N. Lichtenstein, Catholic U. of Amer­ Jesse D. Green, Chicago State U., IL Amherst Florence L. Elon, San Francisco State U., CA ica, Washington, DC Sandra S. Herbert, U. of Maryland, Baltimore David A. Pharies, U. of Florida, Gainesville Gerald A. Fetz, U. of Montana, Missoula David J. O'Brien, College of the Holy Cross, County William B. Fischer, Portland State U., OR Worcester, MA John S. Wright, Carleton College, Northfield, FELLOWSHIPS FOR COLLEGE TEACHERS Stewart G. Flory, Gustavus Adolphus College, Barbara Sicherman, Cambridge, MA MN Elizabeth M. Boyle, Caldwell College, NJ St. Peter, MN Thad W. Tate, College of William and Mary, Boyd H. Davis, U. of North Carolina, E. Inman Fox, Knox College, Galesburg, IL Williamsburg, Va. NEH FELLOWSHIPS AT CENTERS FOR Charlotte Howard M. Fraser, College of William and Juliet E.K. Walker, U. of Illinois, Urbana ADVANCED STUDY Mary T. Epes, CUNY York College, Jamaica Mary, Williamsburg, VA Richard P. Young, U. of Texas, Austin National Humanities Center, Research T rian- Nell D. Sullivan, De Anza College, Cupertino, Leonard G. Gougeon, U. of Scranton, PA gle Park, NC; Kent Mullikin CA Regina L. Harrison, Bates College, Lewiston, FELLOWSHIPS FOR COLLEGE TEACHERS Villa I Tatti—Center for Renaissance Studies, ME Gary D. Best, U. of Hawaii, Hilo Florence, Italy, Craig H. Smyth SUMMER SEMINARS FOR COLLEGE Carol T. Holly, Saint Olaf College, Northfield, Ronald E. Butchart, SUNY College at Cortland TEACHERS MN Joanna D. Cowden, California State U., Chico FELLOWSHIPS AND SEMINARS FOR THE The Linguistic, Philosophical and Political Thought of Lorna M. Irvine, George Mason U., Fairfax, Daniel W. Crofts, Trenton State College, NJ PROFESSIONS Noam Chomsky, Sol Saporta, U. of Washington, VA A. Roger Ekirch, Virginia Polytechnic Inst. & Ethics and Public Policy in Health Care, Jam es F. Seattle David E. James, Occidental College, Los State U., Blacksburg C hildress and Patricia A. King, U. of Virginia, Literature and Literacy, W. Ross Winterowd, U. of Angeles, CA J. Frederick Fausz, Saint Mary's College of Charlottesville Southern California, Los Angeles Rebecca R. Jelliffe, U. of Redlands, CA Maryland, St. Mary's City Fellowships for journalists — 1 9 8 2 -8 3 , G raham W. Dillon Johnston, Wake Forest U., Winston- Barbara J. Flint, Rensselaer Polytechnic Insti­ H ovey, U. of Michigan, Ann Arbor SUMMER STIPENDS Salem, NC tute, Troy, NY Fellowships for journalists — J 9 8 2 -8 3 , Lyle Nelson, Jon Amastae, U. of Texas, El Paso Mary Lydon, U. of Wisconsin, Milwaukee Bettye J. Gardner, Coppin State College, Balti­ Stanford U., CA Scott C. D eLancey, U. of Colorado, Boulder Judith L. McCombs, Center for Creative Stu­ more, MD Zygmunt Frajzyngier, U. of Colorado, Boulder dies, Detroit, Ml Hugh Hawkins, Amherst College, MA SUMMER SEMINARS FOR COLLEGE Winifred B. Horner, U. of Missouri, Columbia John P. McWillimas, Middlebury College, Alexa B. Henderson, Clark College, Atlanta, TEACHERS Osvaldo A. Jaeggli, U. of Southern California, Middlebury, VT CA Immigrant and Ethnic Literature, Jules Chametzky, Los Angeles Daniel C. Melnick, Cleveland State U., OH Alton Hornsby, Jr., Morehouse College, U. of Massachusetts, Amherst Elizabeth Judd, U. of Hawaii, Hilo Charlotte C. Morse, Virginia Commonwealth Atlanta, GA Culture & Society in the Gilded Age, A lan T ra ch te n ­ Mary S. Mander, Pennsylvania State U., Uni­ U., Richmond Margaret S. Marsh, Stockton State College, berg, Yale U., New Haven, CT versity Park Barbara D. Palmer, Chatham College, Pitts­ Pomona, NJ Susan P. Miller, U. of Wisconsin, Milwaukee burg, PA William A. Pencak, California State U., Chico SUMMER STIPENDS Samuel R. Ramsey, Columbia University, New Melvin K. Peters, Cleveland State U., OH William G. Rothstein, U. of Maryland, Balti­ Patrick K. Bidelman, Purdue U., West York, NY Walter S. Phelan, Rollins College, Winter Park, more County Lafayette, IN James M. Sproule, Indiana U. Southeast, New FL Ronald Schaffer, California State U., Albert S. Broussard, Southern Methodist U., Albany John H. Pratt, Columbia College, MO Northridge Dallas, TX William E. Wiethoff, Indiana U., Bloomington Rene Prieto, Middlebury College, VT Carlos A. Schwantes, Walla Walla College, Margaret M. Cote, Pennsylvania State U., Betty H. Winfield, Washington State U., Alan F. Sandy, Sonoma State U., Rohnert Park, College Place, WA Hazleton Pullman CA David E. Shi, Davidson College, NC Elaine F. Crane, Fordham U., Bronx, NY Peggy M. Simonds, Montgomery College, David W. Southern, Westminster College, Ful­ Deborah W. Downs-Miers, Custavus Adol­ Rockville, MD ton, MO phus College, St. Peter, MN Marilyn B. Skinner, Northern Illinois U., Howard Bruce Franklin, Rutgers U., Newark, Literature DeKalb, IL FELLOWSHIPS AND SEMINARS FOR THE NJ Doris Sommer, Amherst College, MA PROFESSIONS Norrece T. Jones, Jr., College of the Holy Robert H. Spaethling, U. of Massachusetts, The Role of Medicine: Historical Perspectives on the Cross, Worcester, MA FELLOWSHIPS FOR INDEPENDENT STUDY Boston Healing Task, Gerald L. Geison, Princeton U., NJ Karen A. Lystra, California State U., Fullerton AND RESEARCH Michael Sprinker, Oregon State U., Corvallis Diane Matza, Utica College of Syracuse U., NY Judson B. Allen, Marquette U., Milwaukee, WI A lice J. S tu a rt, Middlesex County College, Edi­ SUMMER SEMINARS FOR COLLEGE Seymour H. Mauskopf, Duke U., Durham, NC James O. Bailey, Jr., U. of Wisconsin, Madison son, NJ TEACHERS David McBride, Sangamon State U., Spring­ Nina Baym, U. of Illinois, Urbana Elizabeth Truax, Chapman College, Orange, The Cold War Years: America from Truman to Nixon, field, IL Madelon B. Bedell, Brooklyn, NY CA Robert A. Divine, U. of Texas, Austin Lois C. McDougald, Tennessee State U., Nash­ Michael D. Bell, Williams College, William- Philip M. Weinstein, Swarthmore College, PA The Radical Tradition in America, Eric Foner, ville, TN stown, MA Marianne Whelchel, Antioch U., Yellow Sprgs, Research Foundation of CUNY, NYC Muriel J. Mellown, North Carolina Central U., Joel D. Black, U. of North Carolina, Chapel Hill OH Sociology of Early Modern Anglo-American Coloniza­ Durham Carolyn Burke, U. of California, Santa Cruz Peter Wiggins, College of William and Mary, tion, 1607-1763 , Jack P. Greene, Johns Hopkins Louis D. Mitchell, U. of Scranton, PA James P. Carley, U. of Rochester, NY Williamsburg, VA U., Baltimore, MD E.R. Paul, Dickinson College, Carlisle, PA Frank A. Dominguez, U. of North Carolina, Douglas C. Wixson, U. of Missouri, Rolla The Rise of the Centralized Society: From Progressivism Barbara Ann Peterson, U. of Hawaii-Honolulu Chapel Hill Chester L. Wolford, Pennsylvania State U., to the N ew D eal, William H. Harbaugh, U. of Community College Joseph A. Fitzmyer, Catholic U. of America, Erie Virginia, Charlottesville Elean or S. R iem er, Institue for Research in Washington, DC History, NYC Wendy S. Flory, U. of Pennsylvania, FELLOWSHIPS AND SEMINARS FOR THE SUMMER STIPENDS Barbara B. Schnorrenberg, U. of Alabama, Philadelphia PROFESSIONS Harold S. Barron, Harvey Mudd College, T uscaloosa Michelle A. Freeman, Columbia U., NYC Literary Perspectives on the Clinical Encounter, Joanne Claremont, CA Janet M. Sharistanian, U. of Kansas, Lawrence R. Gonzales-Echevarria, Yale U., New Haven, Trautmann, Pennsylvania State U., Hershey Medical Center Josef J. Barton, Northwestern U., Evanston, IL Barbara R.F. Stowasser, Georgetown U., CT Orville V. Burton, U. of Illinois, Urbana Washington, DC Judith P. Hallett, Boston U., MA Robert M. Collins, U. of Missouri, Columbia Daniel P. Todes, U. of California, San Paul Z. Hernadi, U. of Iowa, Iowa City SUMMER SEMINARS FOR COLLEGE Donald F. Crosby, U. of Santa Clara, CA Francisco Robert Hollander, Princeton U., NJ TEACHERS Roger Daniels, U. of Cincinnati, OH George B. Ward, Bowling Green State U., OH Chih-tsing Hsia, Columbia U., NYC Avant-Garde Theater in Europe and in U.S., T hom as N ancy S. D ye, U. of Kentucky, Lexington Billie A. Inman, U. of Arizona, Tucson Bishop, NYU The "Moralistes": A Textual Approach, Jules Brody, Michael H. Ebner, Lake Forest College, IL John R. Kucich, U. of Michigan, Ann Arbor Harvard U., Cambridge, MA Lewis A. Erenberg, Loyola U., Chicago, IL Peter H. Lee, U. of Hawaii, Manoa Ellen F. Fitzpatrick, Watertown, MA Jurisprudence H erb ert S. Lindenberger, Stanford U., CA Society and the Literary Imagination, V ictor H. B ro m b ert, Princeton U., NJ Carol V.R. George, Hobart-William Smith Bernth O. Lindfors, U. of Texas, Austin Colleges, Geneva, NY John L. Logan, Pennsylvania State U., Univer­ Verga & Realism in 19th- & 20th-Century Italian Kermit L. Hall, U. of Florida, Gainesville FELLOWSHIPS FOR INDEPENDENT STUDY sity Park Literature, Giovanni Cecchetti, U. of California, Los Angeles David D. Lee, Western Kentucky U., Bowling AND RESEARCH Diane W. Middlebrook, Stanford U., CA Green Victorian and Modern Poetics, Carol T. Christ, U. Joseph Vining, U. of Michigan, Ann Arbor Edward P. Morris, Cornell U. Endowed Col­ Walter M. Licht, U. of Pennsylvania, leges, Ithaca, NY of California, Berkeley Philadelphia FELLOWSHIPS FOR COLLEGE TEACHERS S.G. Nugent, Princeton U., NJ Modern Fiction: Portraits in Black and White, Paul E. Mertz, U. of Wisconsin-Stevens Point David G. B arn u m , De Paul U., Chicago, IL Stephen Orgel, Johns Hopkins U., Baltimore, Michael G. Cooke, Yale U., New Haven, CT Stanley Nadel, SUNY College at Potsdam S tanley C. B ru bak er, Colgate U., Hamilton, MD Continuity and Change in the Works of Cervantes, George H. Roeder, Jr., School of Art Institute NY Mary L. Pratt, Stanford U., CA Ruth S. El Saffar, U. of Illinois, Chicago at Chicago, IL David L. Quint, Princton U., NJ The Russian Novel: Poetics, Tradition, European Con­ Gregory H. Singleton, Northeastern Illinois FELLOWSHIPS AND SEMINARS FOR THE John D. Rosenberg, Columbia U., NYC nections, Donald L. 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25 Robert A. Rosenstone on REDS

In producing REDS, the motion pic­ Rosenstone's first book, Crusade of ture about American radicals John the Left, is a history of the Ameri­ Reed and Louise Bryant and their cans who fought in the Spanish involvement in the Russian revolu­ Civil War, most of them in the tion, Warren Beatty "at times Abraham Lincoln Battalion of the shoved history aside." XVth International Brigade, formed So says Beatty's historical consul­ under the auspices of the Soviet-led tant on the film, Robert A. Rosen­ Comintern. In this book, Rosen­ stone, a professor of American his­ stone writes about the American tory at the California Institute of perception that radicals are treason­ Technology in Pasadena and the ous and that dissidence in the United author of a highly regarded bio­ States occurs "because of wishes of graphy of Reed, Romantic Revolutionary men in the Soviet Union" and not (Alfred A. Knopf, 1975). "in response to perceptions of real­ But Rosenstone also points out ity on this side of the Atlantic." that Beatty has shown the movie Does the popularity of REDS signal goers who have seen the film in the a change in public opinion of four months since its release a side radicals? of history that they probably never Rosenstone thinks not. "When saw in their high school—or even radicals are safely dead, we begin to college—history textbooks. Ameri­ think they're okay," he says. can history books tend to neglect "Eugene V. Debs makes it into the American radical movements, he history books now as kind of a gen­ believes. tle guy, which he was. TIME maga­ "Even our college courses don't zine gave Norman Thomas, who teach much about radicalism," says was the head of the socialist party in Rosenstone whose courses in cultu­ the thirties and considered pretty ral and intellectual history at Cal radical, an eightieth birthday party Tech include one on "Radicalism and ten or fifteen years ago. That's a Revolution." "We have a long tradi­ long way to come for Norman tion of radicalism in the United Thom as." States—going back to the Regula­ According to Rosenstone, REDS is tors in North Carolina in the 1760s. not an accurate barometer of public I happen to think it's a valuable tra­ opinion about radicalism because it dition in many ways. But whether is not really a radical film. it's valuable or not, it is part of our "It's a film about an American Romantic Revolutionary heritage. As a historian, I think we who gets caught up in this foreign from benefit from knowing all of our revolution and then asserts his own history." individualism as opposed to the Rosenstone has devoted most of revolutionary mentality of the lead­ his scholarly career to the social cri­ ing Bolshevik in the film (Grigory Photograph tiques undertaken by Western radi­ Zinoviev, portrayed by Jerzy he were prepared to compromise his says, not to criticize the motion pic­ cals, from those offered by John Kosinski). beliefs. Jack did not waver...." ture, but "for the historical record." Reed and his fellow Bohemians to "To me, the real center of John "He could have been popular Did he point out these historical the student protests of the sixties. Reed's life is not the Russian revolu­ still," Rosenstone says. "He was discrepancies to the filmmakers? He He is currently studying, with the tion and certainly not his love for offered a job on the Committee of did. What, then, is the role of the help of an NEH fellowship, another Louise, but his choice between suc­ Public Information; he was offered a historical consultant? kind of challenge to the social organ­ cess and popularity and his integrity job in the Government Censorship "I was a resource. I offered advice. ization of the West, that posed by as a writer," Rosenstone says. Office. He could have written for They would have questions like the American encounter with Japan. Reed had established his reputa­ the newspapers, but he would have 'How many delegates were at the He is researching the reactions to tion as a journalist by 1914, through had to write what they wanted, not Socialist Party convention in 1919?' Japan of the nineteenth-century his dazzling, firsthand accounts of what he wanted. At that point, he "I think I had a peripheral impact. Americans who were the first to the revolutionary battles led by chose a path that led to this sort of I'd like to think that there's as much live there. Francisco Villa and Emiliano Zapata martyrdom—because of his own politics in the film as there is While at first the link between in the Mexican Civil W ar and commitment and honesty. because I kept insisting that politics American radicals and American through his subsequent book, Insur­ "N one of that is really shown in were important in John Reed's life." reactions to an alien culture may gent M exico. But his opposition to the film. And in a certain way, [the Everybody involved in the film, seem tenuous, Rosenstone believes World War I presented a dilemma. omission] emasculates the historical Rosenstone says, had read Romantic in Paul Ricoeur's concept of "under­ He was unable to sell articles to John Reed." Revolutionary, which was published in standing the self by the detour of newspapers that Rosenstone calls An article which Rosenstone 1975. Cinematographer Vittorio understanding the Other." What did "hysterically patriotic." Seeing this wrote about the historical inaccura­ Storaro, who doesn't read English, Americans reject? What did they crisis as a turning point in Reed's cies in REDS appears in the most had gotten the Italian version. admire? These questions provide life, Rosenstone writes in the bio­ recent issue of The Journal of American Beatty called Rosenstone in 1972, insights concerning the strengths graphy, "A society which once had History, published by the Organiza­ having heard from a friend about and weaknesses of the society at promised everything now withheld tion of American Historians (OAH). the biography-in-progress, and thus home. the means of making a living, unless Rosenstone wrote the article, he began a series of conversations that 26

The

27 —Linda Blanken In his latest research, he con­ A colleague once wrote of Rosen­ The genesis of this study, he It It is important to remember that They returned "with a change of "They went with notions of Humanities. "Learning from ThoseHistorical 'Imitative' ChallengeJapanese:Rosenstone/California of the Other"/RobertPasadena/$22,000/1981-82/Fellowships Institute A. of Technology,Independent Study and Research for reaching deeper into what is fronts what he has thestudied "un-American" before— as a means of American. Ms. Blanken is the managing editor of up radicals and dissidents whosciously con­ or not look at Americathat perspective from of the other..." that "they knew something about teaching in Japan as a Fulbrightturer. StylizingLec­ himself a "cultural but "one that we Americansbe able to learnmight from." stone, "He perceives experiencethe American as diverse, as in constantlysearch of confirmationment and byjudg­ confrontationother, with and theas continually throwing specific lessons that Americanslearn from can the Japaneseelusive are thanmore the general impression the quality of life that sayswe Rosenstone.didn't," points out, was a year that he spent says. "They were Protestantsionaries, technical mis­ expertsthe Japanesehired by governmentthem toindustrialize help or improve agri­ Western superiority in technology, what it meant to be civilized." The critic," he says that he found in icans had a license to pursue, the Japanese Americans who foundadmiring themselves the culture ofprepared Japan werefor a differenttion. sort"Most of reac­ Americans went to cultural imperialists," Rosenstone cultural output, teachersand ofof science.English had apparently achieved— and done so con­ of course, but also in forms of but missionize." world view, a broader definition of Japan not only a fascinating society, happiness arose neither from individual lib­ Japanese had difficultyrush understandingand struggle for'the riches in America.' trary to American expectations. Japanese erty nor the acquisition of wealth.... the government.... They believed that Japan in the nineteenth century as Japan should not only modernize,

R os­ American Historical Review, was released. In "Learning from Those 'Imita­ Fans lured to Rosenstone's book When Reed begins to awaken to This a sentiment that we have To citizens of a land where the pursuit of happiness was supposed to be a fundamental have seemed so surprising. But what Amer­ goal, perhaps this characteristic should not many Americans pointed to "light­ national characteristics of the heartedness and joy as primary enstone writes that in the late 1890s Japanese." He continues: tive' Japanese" an article 1980in the June by Warren Beatty's film portrayal rent research on Americans faced portray the lovers in REDS. which has sold 70,000 copies since enstone has encountered in his cur­ with the culture of Japan. REDS will recognize Reed's exuberance,idealism and self-absorption.may Theybe somewhat shockedneed forby acceptancehis or attention, with revolutionizing theirbut culture, with spreading it. Thisery is one discov­ of the surprises that Ros­ and by his casual regard forin marriage. fidelity They will discoverReed is revered why as a master of lan­ from his stories, poems and articles, that begins the chapter about his antiwar movement thein 1914,creed of partrebellion of in But,the surprisingly1960s. enough,that theAmericans view hold toosingle-minded dear the pursuit of emergedwealth, in has the writingsgroup of ofanother Americans, concerned not Croton. According to Rosenstone's bio­ Reed had purchased a small cottage on were married in the fall of 1916 after guage in the generous quotations as in this description of prostitutes experience with the IWWPaterson, strike Newin Jersey: the"As dark soonsets as in, young girls begin to their feathers." pass that Corner—squat-figured,hard-faced, 'cheap' girls, like littledusty birds wrapped too tightly in the inequities in the American way the suffering of the Paterson,IWW strike he blamesin thedrive individualfor success, a drive directedthat a good deal of his ownEach man, life. Reed wrote,upon is "intentmerely making a forlittle himself,money without anythe... thoughtincongruity of of his theplan immutablewith rhythm of nature." economic order. It was part of the heir." Warren Beatty and Diane Keaton of life, shortly before he witnesses grown accustomed to speecheshearing ofin radicals,the thoseies orvisionar­ malcontents, usually in the little, but he wanted her to be the legal sway of Marxist-Leninistwho seekdoctrine, a change in the social- Robert A. Rosenstone, The 1981 real John NEH Reed Fellow.and Louise Bryant graphy of Reed, "The ceremony meant have do Ten Days That Shook the World The book sold 15,000 copies has drawn people not only to For those who would still object "We have this notion, somehow, incredible story of the man whose stores. Random Housein paperbackhas reprinted Rosenstone's bio­ tie-in to the movie that reads, "The life inspired the motion REDS."picture in three months. Penguinpublished hasa seventh just reprintReed's of REDS the box office, but also to the book graphy in a Vintage edition with a to the misrepresentation in the offilm, history it is worth noting that and they don't walk aroundbombs carrying in their pockets. that radicalism is all a foreignspiracy con­ and, you know, it's not." film about an Americanfor radical all its that,historical flaws, says,at 'Hey,least you know, weradicals and they're real people,they anddon't eat children for breakfast They Bound for Glory. "It's marvelous to have a genuine "The only previous feature film "I knew from the beginning that four years ago, never mentioned that he was a made in the United States was the about a historical American radical educational value. * though it is a vision that the scholar like a dust-bowl balladeer. communist. In fact, he just seemed one about Woodie Guthrie about does not wholly embrace, it too has Reed," Rosenstone comments. And Warren had his own vision of John to be interviewed. able to suggest some of the people producer discussed. Rosenstone was Greek chorus-like on the action, a a blackened screen to comment time, who appear in the film against Reed or important figures from the of “witnesses/' acquaintances of continued for seven years. The use was the first idea that scholar and Photograph by Zoe Dominic About the authors...

John Canaday was born Neil Harris is professor Mabel L. Lang is a Fel­ in Kansas, raised in of history at the Uni­ low of the American Texas and was gradu­ versity of Chicago. Edu­ Academy of Arts and ated from the Univer­ cated at Columbia, Cam ­ Sciences and the Paul sity of Texas with a bridge, and Harvard Shorey Professor of degree in French and Universities, he has pub­ Classics at Bryn Mawr English literature and lished books and articles College, where she has then proceeded to Yale concerned with the his­ taught since 1943. Edu­ for graduate study in tory of American cul­ cated at Cornell Univer­ the history of art. After ture, including The Artist sity and Bryn Mawr, she teaching at the Univer­ in A m erican Society and has been both a Gug­ sity of Virginia and Tulane, he went to the Phila­ Humbug: The Art of P.T. Barnum. From 1975 to 1977 genheim and Fulbright Fellow. Her work on exca­ delphia Museum of Art as head of the Division of Professor Harris served as director of the National vations at the Athenian Agora, at Gordion and Education. Six years later he joined the New Y ork Humanities Institute at the University of Chicago. Pylos has resulted in eight books and numerous Tim es w here he remained as art critic for seventeen He continues to serve as a member of the board of articles on Linear B and Mycenean epigraphy and years. A term as Distinguished Visiting Professor directors of the American Council of Learned Greek epigraphy, history, literature and archaeol­ in History of Art at the University of Texas was Societies, as a Trustee of the Henry duPont Winter­ ogy. Professor Lang is a colleague and former followed by an extended lecture tour of Latin thur Museum, and as a member of the National teacher of Emily Townsend Vermeule, the elev­ America under the auspice of the U.S. Department Museum Services Board, created by Congress in enth Jefferson Lecturer in the Humanities, about of State. His fifteen books include Mainstreams of 1977 to recognize and assist the operation of Amer­ whom she writes on page 16. M odern A rt, Whnt Is Art?, Keys to A rt (with his wife, ican museums. Page 7. Katherine Hoover Canaday), and seven mystery novels under the pseudonym Matthew Head. Mr. Canaday is currently at work on a general history of art scheduled for publication in 1983. Page 1. Editor's Notes There remains some confusion in people's minds cient sixteenth-century paintings become far more tion. A dagger, a wooden box, a ceremonial vase— about the distinct roles of the two Endowments, than a vision of one man's world; they are impor­ art objects taken from the shaft graves of even among those who should know better. tant to the understanding of the Counter Mycenae—recreate and define the ancients to "W hy," we are often asked, "does the NEH fund art Reformation. whom they belonged. Professor Vermeule's most exhibits? Isn't that what the Arts Endowment To Neil Harris (page 7) the art exhibition "as a recent book, Aspects of Death in Early Greek Art and does?" frame for popular interpretation" is a "model of Poetry, demonstrates that "her interest and An eloquent reply comes from John Canaday in presentation that helps establish our identity and researches have ranged widely over all aspects of his essay on page 1. Mr. Canaday believes that"the validates our past," a goal worthy of every histo­ life as well as death in the Greek world ...." essential history that art can reveal... is the history rian and part of NEH's stated mission. Thus, not only is "art for art's sake"—for its own of the ideal goals that civilizations have set for And Mabel Lang (page 14), one of the former intrinsic value and the idyllic pleasure we gain from themselves...," leaving no doubt that art history teachers of Emily Vermeule, celebrates the elev­ it—but art is also and especially for the humanities' and seminal exhibitions such as El Greco of Toledo enth Jefferson Lecturer as archaeologist, poet, and sake. As Mr. Canaday so elegantly points out, "[art (Page 5) belong in the humanities. W hen seen in art historian who uses art from the Grecian Bronze is] an increasingly potent form of communication the context of recent scholarship, El Greco's pres­ Age to describe and interpret Mycenaean civiliza­ with the past and an enlargement of the world...." —Judith Chayes Neiman