DOCSLIB.ORG

Download Between the Lines 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Between the Lines 2017 the LINES Vanderbilt University, 2016–17 RESEARCH and from the LEARNING UNIVERSITY LIBRARIAN Places and Spaces International exhibit unites students, faculty and staff in celebrating mapping technology Dear colleagues and friends, ast spring, the Vanderbilt Heard Libraries hosted Places & Spaces: Mapping Science, It is my pleasure to share with you Between the Lines, a publication of an international exhibition the Jean and Alexander Heard Libraries. In words, numbers and images, celebrating the use of data we offer a glimpse into the many ways our libraries support and enhance Lvisualizations to make sense of large MAPPING SCIENCE teaching, learning and research at Vanderbilt. Between the Lines will data streams in groundbreaking ways. introduce you to the remarkable things happening in the libraries and The campuswide exhibit proved to be perhaps even challenge your perception of the roles of libraries and intellectually enriching and socially unifying, according to campus leaders. librarians. We are grateful to the many donors and friends who made “The Places & Spaces: Mapping Science much of this work possible. exhibit brought together students, faculty and staff to celebrate technological The past academic year has been one of change for Vanderbilt’s Heard advances in data visualization that Libraries with new faces, new library services, new spaces and new facilitate our understanding of the world I programs. It has also been a year of continuity as we build collections, around us,” says Cynthia J. Cyrus, vice make resources accessible and provide contemplative and collaborative provost for learning and residential affairs. “From the disciplines of science and Ptolemy’s Cosmo- spaces for research and study. Though we may use new tools and medicine to history, art, education and graphia World Map, innovative approaches, the best part of what we do remains the human 1478, which was literature, the exhibit showcased how part of the exhibit, is interactions that take place every day among library staff, faculty, students educational technologies can facilitate an early look at the and members of the community. In short, the library is evolving while learning across a variety of disciplines.” relationship of planets and the weather. remaining true to its essence as a place of information and knowledge In partnership with the exhibit, John working in partnership with those who research, teach and learn. Sloop, associate provost for digital Director of the Wond’ry. “The illuminated the Wild Bunch by alumnus David Blum, a learning, and a group of 13 faculty, diagram display at the Wond’ry gave 1977 graduate and founder of the group. staff and students organized a program visitors a chance to explore science and The Wild Bunch Fund, established We are preparing for the coming year by assessing our collections, hiring of special events focused on data its impact on humanity in an interactive, in 1997 to honor the late Chancellor JOHN RUSSELL strategic positions and undertaking renovations. I hope you like what you Hotchkiss visualization in support of the education visual way that is rarely possible.” Alexander Heard and his wife, Jean Heard, see and that you will continue to follow the activities and news of the technologies pillar of the Academic The libraries also held a competition sponsored the Places & Spaces: Mapping Heard Libraries as an active member of our community. Strategic Plan. As part of the program, in which students used innovation to Science program. Over the years, the Wild the Wond’ry at the Innovation Pavilion present objects, ideas and data in a visual Bunch Fund has supported the acquisition Valerie Hotchkiss welcomed 49 students to four data or nontraditional way. Ben Shapiro, a of hundreds of books for the library as visualization workshops where they doctoral student at Vanderbilt Peabody well as lectures and special programs. University Librarian learned about creating illustrations, College for education and human “We were honored to host Places & Professor of English interactive data analysis, visualizing data development, and Blake Quigley, an Spaces and to welcome its curator to and how to use a GoPro camera. undergraduate majoring in computer our library,” University Librarian Valerie On the cover: Alphabet card, France, early “Places & Spaces was unique in science, earned first-place awards in the Hotchkiss says. “This is a great example of 19th century. George Clulow–United States blending art, technology and science and graduate and undergraduate categories. the way the libraries support research and Playing Card Company Gaming Collection, Vanderbilt University Special Collections. was an excellent example of the power They received their awards in April and, learning with both traditional resources Read more about Vanderbilt’s newest of trans-institutional collaborations,” says along with other competitors, discussed and cutting-edge tools.” collection on page 8. Robert Grajewski, Evans Family Executive their projects prior to being inducted into 1 The University of Nashville Collection: Teaching Librarians and students explore augmented reality the next generation of catalogers Library Fellow Christina Wang, a sophomore majoring in medicine, health Vanderbilt’s Special Collections staff often mentor new and society, worked with Vanderbilt librarians to build an augmented reality librarians and specialists in the area of rare books and environment using a 3-D camera, powerful simulation software and a data archives. This year, a partnership with the University of projector. The project used visualization applications to create a virtual Tennessee, Knoxville, extended internships to graduate landscape in a real sandbox. Users could shift the sand, which was then students in information science. Working with Vanderbilt augmented in real time to show how shifting topology can impact geographic, librarians and conservators, the students learned specialized geologic and hydrologic changes. The experience helped students learn to read cataloging practices to help process monographs from the a topographical map and to understand such concepts as watersheds, levees and University of Nashville Collection (1826–1909). The catchment areas. Wang debuted the sandbox to great acclaim at the opening of the Wondr’y at the Innovation Pavilion, Vanderbilt’s new cross-disciplinary University of Nashville eventually was renamed Peabody t Normal College (1889) and then George Peabody College innovation space. for Teachers (1911), which merged with Vanderbilt in JON ERICKSON 1979. Collectively, these books reveal thes education L-R: Brenda Thompson, librarian Sara Sterkenburg and Brooke Jackson practices of a 19th-century university. processing monographs from the University of Nashville Collection. Edward Emerson Barnard, [Solar Eclipse, 1889], Edward Emerson Barnard Papers, Vanderbilt Digital Salon exposes Vanderbilt to University Special Collections innovations in scholarship The 2017 Digital Salon series, co-hosted by Vanderbilt Heard Introducing students to Libraries and the Center for Digital Humanities, offered a primary sources: E.E. Barnard chance for the community to explore innovative digital tools Collection and the solar eclipse and projects across a range of disciplines. Speakers included During the August 2017 solar eclipse, Jonathan Gilligan (environmental studies), Rogers Hall the Heard Libraries hosted an (teaching and learning), and the library’s Ramona Romero exhibition on the work of American (classical studies), Philip Walker (biomedicine), and Valerie astronomer Edward Emerson Barnard Hotchkiss (women’s studies). Each event also includeds time (1857–1823). Best known for his for discussion and networking with colleagues. discovery of Amalthea, the fifth moon of Jupiter, Barnard got his start in Sound mind, sound body: Developing a JON ERICKSON Nashville as an errand boy for a local relationship with student-athletes Christina Wang at the opening of the Wond’ry photographer. With the support of Vanderbilt University, he became During the summer, first-year student-athletes toured the Prepare to Practice at Vanderbilt Law Library an astronomer and spent a lifetime libraries, met librarians and engaged in competitive exercises observing and photographing the sky. designed to teach information literacy. In the academic Prepare to Practice: Law Library, a program designed and The exhibition, which was curated year, the library formally partners with the Stratton Foster organized by librarians at the Alyne Queener Massey Law by four graduate astronomy students Academic Support Center to provide weekly services at Library, wrapped up its fourth year at Vanderbilt Law from Vanderbilt and the Fisk- McGugin Center, assisting student-athletes with library and School. Speakers from the local bar association, vendors, Vanderbilt Master’s-to-Ph.D. Bridge research skills. Librarians frequently work with the academic law firms and the faculty shared their expertise, making program, drew on collections housed counselors who, through their regular contact with the law students even more practice-ready. Presentations in Special Collections, as well as loans athletes, can promote the libraries’ role in student success. s focused on research tools used in practice with a wide from private collectors. range of approaches. Student attendance doubled from last year, which signifies a growing response to a now- institutionalized program. 2 3 OUTREACH and ENGAGEMENT Archives, museums and libraries: Cultural Heritage
Load more

Recommended publications
  • Literaturelk the DECADENTS
    Literaturelk Around the World THE DECADENTS France. At the end of the 19th century a group of French poets, including Rimbaud, Verlaine and Mallarmé, formed a movement and called themselveb 'Les Décadents'. They aspired to set literature and art free from the materialistic preoccupations of industrialised society.They saw art as the highest expression of the human spirit, stating that art and life are strictly linked. These poets rejected the traditional values of society choosing instead an immoral and irregular lifestyle, free of any conventions or rules. England. Oscar Wilde (1854-1900), the decadent, anti-conformist and dandy, who introduced himself to America with the famous phrase 'I have nothing to declare except my genius', is often linked to his French predecessors, however, he did not isolate V Gabriele D'Annunzio himself from the world, but instead craved popularity and fame. The epitome of the reading in his dandy is the protagonist of his novel The Picture of Dorían Gray (even if he is represented `Vittoriale degli italiani', the negatively). monumental citadel created by Italy. 'Decadentismo' is an Italian artistic movement influenced by the French and the Italian writer between 1921 and British Decadent Movement.Although differing in their approaches, like the other two 1938 in Gardone movements, it championed the irrational and the idiosyncratic against the advancing Riviera, on the tide of scientific rationalism and mass culture at the turn of the 20th century. Brescian Riverside of Lake Garda. Gabriele D'Annunzio (1863-1938) is generally considered the main representative of the Italian Decadentismo. He played a prominent role in Italian literature from 1889 to 1910 and after that in political life from 1914 to 1924.
    [Show full text]
  • Baker V. Carr in Context: 1946-1964
    BAKER V. CARR IN CONTEXT: 1946-1964 Stephen Ansolabehere and Samuel Issacharoff1 Introduction Occasionally in all walks of life, law included, there are breakthroughs that have the quality of truth revealed. Not only do such ideas have overwhelming force, but they alter the world in which they operate. In the wake of such breakthroughs, it is difficult to imagine what existed before. Such is the American conception of constitutional democracy before and after the “Reapportionment Revolution” of the 1960s. Although legislative redistricting today is not without its riddle of problems, it is difficult to imagine so bizarre an apportionment scheme as the way legislative power was rationed out in Tennessee, the setting for Baker v. Carr. Tennessee apportioned power through, in Justice Clark’s words, “a crazy quilt without rational basis.”2 Indeed, forty years after Baker, with “one person, one vote” a fundamental principle of our democracy, it may be hard to imagine what all the constitutional fuss was about. Yet the decision in Baker, which had striking immediate impact, marked a profound transformation in American democracy. The man who presided over this transformation, Chief Justice Earl Warren, called Baker “the most important case of [his] tenure on the Court.”3 Perhaps the simplest way to understand the problem is to imagine the role of the legislator faced with the command to reapportion legislative districts after each decennial Census. Shifts in population mean that new areas of a state are likely to emerge as the dominant forces of a legislature. But what if the power to stem the tide were as simple as refusing to reapportion? It happened at the national level when Congress, realizing that the swelling tide of immigrant and industrial workers had moved power to the Northeast and the Midwest, simply refused to reapportion after the 1920 Census.
    [Show full text]
  • WRAP THESIS Robbins 1996.Pdf
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36344 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Decadence and Sexual Politics in Three Fin-de-Siècle Writers: Oscar Wilde, Arthur Symons and Vernon Lee Catherine Ruth Robbins Submitted for the Degree of Doctor of Philosophy University of Warwick Department of English and Comparative Literature November, 1996 Contents Summary Introduction 1 Chapter One: Traditions of Nineteenth-Century Criticism 17 Chapter Two: Towards a Definition of Decadence 36 Chapter Three: 'Style, not sincerity': Wilde's Early Poems 69 Chapter Four: The Sphinx and The Ballad: Learning the Poetics of Restraint 105 Chapter Five: Arthur Symons — The Decadent Critic as Artist 137 Chapter Six: A Poetics of Decadence: Arthur Symons's bays and Nights and Silhouettes 165 Chapter Seven: 'Telling the Dancer from the Dance': Arthur Symon's London Nights 185 Chapter Eight: Vemon Lee: Decadent Woman? 211 Afterword: 'And upon this body we may press our lips' 240 Bibliography of Works Quoted and Consulted 244 List of Illustrations, bound between pages 136 and 137 Figure 1: 'The Sterner Sex', Punch, 26 November, 1891 Figure 2: 'Our Decadents', Punch, 7 July, 1894 Figure 3: 'Our Decadents', Punch, 27 October, 1894 Figure 4: Edward Bume-Jones, Pygmalion and the Image (1878), nos 1-3 Figure 5: Edward Bume-Jones, Pygmalion and the Image (1878), no.
    [Show full text]
  • 1 Introduction the Empire at the End of Decadence the Social, Scientific
    1 Introduction The Empire at the End of Decadence The social, scientific and industrial revolutions of the later nineteenth century brought with them a ferment of new artistic visions. An emphasis on scientific determinism and the depiction of reality led to the aesthetic movement known as Naturalism, which allowed the human condition to be presented in detached, objective terms, often with a minimum of moral judgment. This in turn was counterbalanced by more metaphorical modes of expression such as Symbolism, Decadence, and Aestheticism, which flourished in both literature and the visual arts, and tended to exalt subjective individual experience at the expense of straightforward depictions of nature and reality. Dismay at the fast pace of social and technological innovation led many adherents of these less realistic movements to reject faith in the new beginnings proclaimed by the voices of progress, and instead focus in an almost perverse way on the imagery of degeneration, artificiality, and ruin. By the 1890s, the provocative, anti-traditionalist attitudes of those writers and artists who had come to be called Decadents, combined with their often bizarre personal habits, had inspired the name for an age that was fascinated by the contemplation of both sumptuousness and demise: the fin de siècle. These artistic and social visions of degeneration and death derived from a variety of inspirations. The pessimistic philosophy of Arthur Schopenhauer (1788-1860), who had envisioned human existence as a miserable round of unsatisfied needs and desires that might only be alleviated by the contemplation of works of art or the annihilation of the self, contributed much to fin-de-siècle consciousness.1 Another significant influence may be found in the numerous writers and artists whose works served to link the themes and imagery of Romanticism 2 with those of Symbolism and the fin-de-siècle evocations of Decadence, such as William Blake, Edgar Allen Poe, Eugène Delacroix, the Pre-Raphaelite Brotherhood, Charles Baudelaire, and Gustave Flaubert.
    [Show full text]
  • Minutes for Tuesday, October 13, 2009 the Commons, Room 237
    Minutes for Tuesday, October 13, 2009 The Commons, Room 237 ATTENDANCE: Present King, Sue Stanard, Ray Soren, Carol Alley, Jean Koval, Kristin Steward, Dan Thompson, Molly Amos, Stan Krueger, Anna K Street, JJ Wenzell , Alison Armstrong, Terri Lang, Melanie Stuart, Kate Whitlow, Cathy Atack, Becky Latham, Vickie Suttles, Todd Wyatt, Michelle Bailey, Bill Martin, Ashley Trenary, Carlos Banks, Diane McKee, Brenda Villager, Nyla Absent Barnett, Lora McLeod, Laura Waddell, Rochelle Cage, Vickie Boglin, Harriett Moore, Kenny Walker, Bryon Collins, Greg Bransford, Chris Owens, Ann Marie Wall, Andrea Franklin, Keith Brassil, John Palmer, Dave Watson-Wienzetl, Myrna Heath, Eric Chapman, Angela Patterson, JoAnn Whaley, Elizabeth Jackson, Nancy Cribbs, Chris Pepper, Ronnie Whatley, Luci Johnson, Faye Dean, Mary Ann Pruitt, Don White, Lolita Johnson, Stacy DiGiovanna, Sheri Reed, Dylan Williams,Tara Kendrick, Stacy Dixon, Michele Reynolds-Barnes, Wilson, Cliff McClure, Cheryl Dubois, Daniel Deborah McCurry, Barry Fisher, Kristy Rhodes, Katherine Absent, sent regrets Pryor, Jessica Fisher, Joe Richter, Andy Fagan, Shawn Smeltzer, Mike Formont, Jamie Seezen, Karen Frierson, Sterling Steine, Cindy Gambill, Jodie Showman, Hillary McGrath, Jason Tucker, Phillip Hiltz, Shirley Smith, Donna Norfleet, Lydia Watts, Katie Holcroft, Nancy Smith, Susanne Pickert, Don Webb, Mary Houseman, Andrea Soxayachanh, Olivia Sheldon, Brenda Guests: Melissa Wocher, Jane Bruce, Cliff Joyner 8:30 a.m. Diane Banks, President, welcomed the members and called the meeting to order. MINUTES: The minutes of the August meeting were unanimously approved. COMMITTEE REPORTS Events: Andrea Wall updated the committee on the Red Cross Blood Drive to take place Nov 30th at both Sarratt Student Center 216/220 and Peabody MRL 241 from 11 AM – 3 PM.
    [Show full text]
  • 2009-10 Annual Report:Layout 1
    Contents Offices ABOUT THE ABOUT THIS FREEDOM FORUM ANNUAL REPORT FREEDOM FORUM 2009-10 ANNUAL REPORT FREEDOM FORUM HEADQUARTERS NEWSEUM • FIRST AMENDMENT CENTER • DIVERSITY INSTITUTE 555 Pennsylvania Ave., N.W. The Freedom Forum, based in This report focuses on the Washington, DC 20001 Washington, D.C., is a nonpartisan Freedom Forum and the entities Tel: 202/292-6100 foundation that champions the it helps support: the First Fax: 202/292-6245 First Amendment as a corner- Amendment Center, the Diversity E-mail: [email protected] stone of democracy. Institute and the Newseum. Freedom Forum Experts.....................................................2 NEWSEUM The Newseum is publishing a 555 Pennsylvania Ave., N.W. The Freedom Forum is the main separate annual report with Letter from the Chairman and CEO.....................................3 Washington, DC 20001 funder of the operations of the detailed information about its Tel: 202/292-6100 Newseum, an interactive galleries, operations and finances. Fax: 202/292-6245 museum of news in Washington, Newseum ..........................................................................4 D.C.; the First Amendment For more Newseum information, Toll-free: 888/NEWSEUM see the Newseum’s 2009-10 E-mail: [email protected] Center; and the Diversity Insti- First Amendment Center ..................................................10 tute. The First Amendment annual report, available online at FIRST AMENDMENT CENTER Center and the Diversity Institute http://www.freedomforum.org/ at Vanderbilt University
    [Show full text]
  • BROWN V. BOARD of EDUCATION: MAKING a MORE PERFECT UNION
    File: Seigenthaler.342.GALLEY(7) Created on: 5/9/2005 4:09 PM Last Printed: 7/5/2005 9:17 AM BROWN v. BOARD OF EDUCATION: MAKING A MORE PERFECT UNION John Seigenthaler* It is impossible for me to reflect on Brown v. Board of Educa- tion1 and its meaning these five decades later without revisiting in my mind’s eye the white Southern racist society of my youth and young adulthood. That was a time when my hometown, Nashville, Tennessee, was as racially segregated as any city in South Africa at the height of Apartheid; when every city in the South, large and small, was the same; when African-American residents of those communities were denied access to any place and every place they might need or wish to go. The legal myth of “separate but equal” had cunningly banned black citizens from every hospital, school, restaurant, trolley, bus, park, theater, hotel, and motel that catered to the white public. These tax-paying citizens were denied access to these places solely on the basis of their race by tradition, custom, local ordi- nance, state statute, federal policy, and by an edict of the United States Supreme Court fifty-eight years before Brown in Plessy v. Ferguson.2 In too many of these cities, black citizens were even denied access to the ballot box on election day. The posted signs of the times read, “White Only.” If you never saw those signs, it is difficult to imagine their visible presence in every city hall, county courthouse, and public building, including many federal buildings.
    [Show full text]
  • How Can Emotions Be Incorporated Meaningfully Into Design Practice?
    The following are general comments about the structure and content of an academic essay written for university – they are not prescriptive and intended as an educational guide only. How can emotions be incorporated meaningfully into design practice? Introduction My research question is "How can emotions be incorporated meaningfully into design practice?" Comment [u1]: Your design question needs to be in your introduction. This was refined from my original question at the presentation stage of "How does emotion play a role in Comment [u2]: Some background to the reason you chose this question. It may shaping aesthetics?" I chose to specify the relationship between emotions and design practice as this gave a be necessary to define your key terms at this stage. greater focus to the practical opportunities for meaningful agency in the emotional domain of design. As Comment [u3]: Any particular elements in your question that are important my initial question indicated, the scope of my research is largely centred in the concerns of aesthetics visual communication. Comment [u4]: The student is indicating the scope of the question. For advice on writing an introduction, go to: Emotions are a relatively unacknowledged aspect of design practice; both formal education and design http://www.uts.edu.au/currentstudents/su pport/helps/self-helpresources/academic- writing/essay-writing literature tend to align with modernist ideals of rationalism and scientific objectivity. Additionally, the Comment [u5]: This paragraph is domain of aesthetics tends to be considered mere "decoration" or "prettying up". This research intends largely about why your question is important - its relevance and significance.
    [Show full text]
  • {Dоwnlоаd/Rеаd PDF Bооk} Decadent
    DECADENT PDF, EPUB, EBOOK Shayla Black | 341 pages | 22 Jul 2011 | Penguin Putnam Inc | 9780425217214 | English | New York, United States Decadent PDF Book Finally, the third period, which can be seen as a postlude to Decadentism, is marked by the voices of Italo Svevo , Luigi Pirandello and the Crepusculars. Dictionary Entries near decadent decade-long decadence decadency decadent decadentism decades-long decadic See More Nearby Entries. Manchester University Press ND. Schools of poetry. Ortega y Gasset: an outline of his philosophy. Decadence, on the other hand, sees no path to higher truth in words and images. In Italian art and literature critic Mario Praz completed a broad study of morbid and erotic literature, translated and published in English as The Romantic Agony Translated by Bradford Cook. Did you know He has been lauded to his dedication to this cause throughout his career, but it has been suggested that, while he lived as a decadent and heralded their work, his own work was more frustrated, hopeless, and empty of the pleasure that had attracted him to the movement in the first place. Do You Know This Word? From the Decadent movement he learned the basic idea of a dandy , and his work is almost entirely focused on developing a philosophy in which the Dandy is the consummate human, surrounded by riches and elegance, theoretically above society, just as doomed to death and despair as they. Similar to Lenin's use of it, left communists, coming from the Communist International themselves started in fact with a theory of decadence in the first place, yet the communist left sees the theory of decadence at the heart of Marx's method as well, expressed in famous works such as The Communist Manifesto , Grundrisse , Das Kapital but most significantly in Preface to the Critique of Political Economy.
    [Show full text]
  • How Can Emotions Be Incorporated Meaningfully Into Design Practice?
    The following are general comments about the structure and content of an academic essay written for university – they are not prescriptive and intended as an educational guide only. How can emotions be incorporated meaningfully into design practice? Introduction My research question is "How can emotions be incorporated meaningfully into design practice?" Commented [u1]: Your design question needs to be in your introduction. This was refined from my original question at the presentation stage of "How does emotion play a role in Commented [u2]: Some background to the reason you chose this question. It may be necessary to define your key terms at this shaping aesthetics?" I chose to specify the relationship between emotions and design practice as this gave a stage. Commented [u3]: Any particular elements in your question that greater focus to the practical opportunities for meaningful agency in the emotional domain of design. As are important my initial question indicated, the scope of my research is largely centred in the concerns of aesthetics visual communication. Commented [u4]: The student is indicating the scope of the question. For advice on writing an introduction, go to: http://www.uts.edu.au/currentstudents/support/helps/self- Emotions are a relatively unacknowledged aspect of design practice; both formal education and design helpresources/academic-writing/essay-writing literature tend to align with modernist ideals of rationalism and scientific objectivity. Additionally, the Commented [u5]: This paragraph is largely about why your question is important - its relevance and significance. Here, the domain of aesthetics tends to be considered mere "decoration" or "prettying up". This research intends student is identifying it as a gap in the literature.
    [Show full text]
  • INTERDISCIPLINARY JOURNAL of DECADENCE STUDIES Issue 1 Spring 2018 Hierophants of Decadence: Bliss Carman and Arthur Symons Rita
    INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Issue 1 Spring 2018 Hierophants of Decadence: Bliss Carman and Arthur Symons Rita Dirks ISSN: 2515-0073 Date of Acceptance: 1 June 2018 Date of Publication: 21 June 2018 Citation: Rita Dirks, ‘Hierophants of Decadence: Bliss Carman and Arthur Symons’, Volupté: Interdisciplinary Journal of Decadence Studies, 1 (2018), 35-55. volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Hierophants of Decadence: Bliss Carman and Arthur Symons Rita Dirks Ambrose University Canada has never produced a major man of letters whose work gave a violent shock to the sensibilities of Puritans. There was some worry about Carman, who had certain qualities of the fin de siècle poet, but how mildly he expressed his queer longings! (E. K. Brown) Decadence came to Canada softly, almost imperceptibly, in the 1880s, when the Confederation poet Bliss Carman published his first poems and met the English chronicler and leading poet of Decadence, Arthur Symons. The event of Decadence has gone largely unnoticed in Canada; there is no equivalent to David Weir’s Decadent Culture in the United States: Art and Literature Against the American Grain (2008), as perhaps has been the fate of Decadence elsewhere. As a literary movement it has been, until a recent slew of publications on British Decadence, relegated to a transitional or threshold period. As Jason David Hall and Alex Murray write: ‘It is common practice to read [...] decadence as an interstitial moment in literary history, the initial “falling away” from high Victorian literary values and forms before the bona fide novelty of modernism asserted itself’.1 This article is, in part, an attempt to bring Canadian Decadence into focus out of its liminal state/space, and to establish Bliss Carman as the representative Canadian Decadent.
    [Show full text]
  • Freedom Riders Democracy in Action a Study Guide to Accompany the Film Freedom Riders Copyright © 2011 by WGBH Educational Foundation
    DEMOCRACY IN ACTION A STUDY GUIDE TO ACCOMPANY THE FILM FREEDOM RIDERS DEMOCRACY IN ACTION A STUDY GUIDE TO ACCOMPANY THE FILM FREEDOM RIDERS Copyright © 2011 by WGBH Educational Foundation. All rights reserved. Cover art credits: Courtesy of the Birmingham Civil Rights Institute. Back cover art credits: Bettmann/CORBIS. To download a PDF of this guide free of charge, please visit www.facinghistory.org/freedomriders or www.pbs.org/freedomriders. ISBN-13: 978-0-9819543-9-4 ISBN-10: 0-9819543-9-1 Facing History and Ourselves Headquarters 16 Hurd Road Brookline, MA 02445-6919 ABOUT FACING HISTORY AND OURSELVES Facing History and Ourselves is a nonprofit and the steps leading to the Holocaust—the educational organization whose mission is to most documented case of twentieth-century engage students of diverse backgrounds in an indifference, de-humanization, hatred, racism, examination of racism, prejudice, and antisemitism antisemitism, and mass murder. It goes on to in order to promote a more humane and explore difficult questions of judgment, memory, informed citizenry. As the name Facing History and legacy, and the necessity for responsible and Ourselves implies, the organization helps participation to prevent injustice. Facing History teachers and their students make the essential and Ourselves then returns to the theme of civic connections between history and the moral participation to examine stories of individuals, choices they confront in their own lives, and offers groups, and nations who have worked to build a framework and a vocabulary for analyzing the just and inclusive communities and whose stories meaning and responsibility of citizenship and the illuminate the courage, compassion, and political tools to recognize bigotry and indifference in their will that are needed to protect democracy today own worlds.
    [Show full text]