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Intertextual Abolitionists: Frederick Douglass, Lord Byron, and the Print, Politics, and Language of Slavery
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 6-2019 Intertextual abolitionists: Frederick Douglass, Lord Byron, and the print, politics, and language of slavery Jake Spangler DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Spangler, Jake, "Intertextual abolitionists: Frederick Douglass, Lord Byron, and the print, politics, and language of slavery" (2019). College of Liberal Arts & Social Sciences Theses and Dissertations. 273. https://via.library.depaul.edu/etd/273 This Thesis is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. Intertextual Abolitionists: Frederick Douglass, Lord Byron, and the Print, Politics, and Language of Slavery A Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts June 2019 BY Jake C. Spangler Department of English College of Liberal Arts and Social Sciences DePaul University Chicago, Illinois This project is lovingly dedicated to the memory of Jim Cowan Father, Friend, Teacher Table of Contents Dedication / i Table of Contents / ii Acknowledgements / iii Introduction / 1 I. “I Could Not Deem Myself a Slave” / 9 II. The Heroic Slave / 26 III. The “Files” of Frederick Douglass / 53 Bibliography / 76 Acknowledgements This project would not have been possible without the support of several scholars and readers. -
Newsletter Winter 2005
Max Kade Institute Friends Newsletter VOLUME 14 NUMBER 4 • WINTER 2005 UNIVERSITY OF WISCONSIN–MADISON, 901 UNIVERSITY BAY DR., MADISON, WI 53705 “How German Is American?” WHAT'S INSIDE: MKI presents new outreach Directors' Corner. poster and brochure Page 2 By Mark Louden MKI Co-Director Friends Profile: West Bend Art Museum Director Tom Many of our Friends will recall the posters on the German heritage in Lidtke. the United States designed some years ago by MKI founding director Page 3 Prof. Jürgen Eichhoff. Building on the popular appeal of such visual explorations of German-American culture, this year we undertook a new How Gertrude Bloede educational and outreach project titled “How German Is American?” This became an American poet. project has three components: a 36” by 48” poster, a 48-page compan- Page 5 ion brochure, and a Web page linked to the MKI Web site. The funding for this project was provided by the Pages from Consulate General of the Federal Re- the Past: public of Germany in Chicago. The A German- design and production for the poster American and brochure were handled by Nancy meets with Henry Long- Zucker of Madison, who has designed fellow. the covers for our MKI and CSUMC Page 6 monographs for the last several years. Collection Featured on the poster are twenty Feature: images that evoke various ways BookLet's Review: go to The Lost Ger- manthe Slave World's Girl . German-speaking immigrants to Fair! Page 8 the U.S. and their descendants have Page 10 contributed to and been influenced by other American cultures. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 KLÀNNISHNESS AND THE KU KLUX KLAN: THE RHETORIC AND ETHICS OF GENRE THEORY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brian Robert McGee, B.S., M.S. -
Download the List of History Films and Videos (PDF)
Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future. -
A Framework for Teaching American Slavery
K–5 FRAMEWORK TEACHING HARD HISTORY A FRAMEWORK FOR TEACHING AMERICAN SLAVERY ABOUT THE SOUTHERN POVERTY LAW CENTER The Southern Poverty Law Center, based in Montgomery, Alabama, is a nonpar- tisan 501(c)(3) civil rights organization founded in 1971 and dedicated to fighting hate and bigotry, and to seeking justice for the most vulnerable members of society. ABOUT TEACHING TOLERANCE A project of the Southern Poverty Law Center founded in 1991, Teaching Tolerance is dedicated to helping teachers and schools prepare children and youth to be active participants in a diverse democracy. The program publishes Teaching Tolerance magazine three times a year and provides free educational materials, lessons and tools for educators commit- ted to implementing anti-bias practices in their classrooms and schools. To see all of the resources available from Teaching Tolerance, visit tolerance.org. © 2019 SOUTHERN POVERTY LAW CENTER Teaching Hard History A K–5 FRAMEWORK FOR TEACHING AMERICAN SLAVERY 2 TEACHING TOLERANCE // TEACHING HARD HISTORY // A FRAMEWORK FOR TEACHING AMERICAN SLAVERY CONTENTS Introduction 4 About the Teaching Hard History Elementary Framework 6 Grades K-2 10 Grades 3-5 18 Acknowledgments 28 Introduction Teaching about slavery is hard. It’s especially hard in elementary school classrooms, where talking about the worst parts of our history seems at odds with the need to motivate young learners and nurture their self-confidence. Teaching about slavery, especially to children, challenges educators. Those we’ve spoken with—especially white teachers—shrink from telling about oppression, emphasizing tales of escape and resistance instead. They worry about making black students feel ashamed, Latinx and Asian students feel excluded and white students feel guilty. -
Paul Jennings's Account of the British Attack
Resource 7: Paul Jennings’s Account of the British Attack Paul Jenning’s Reminiscence He even gave her small amounts of rs . Madison ordered dinner to be ready at 3, as usual; I set the table money when he could, and spoke myself, and brought up the ale, cider, and wine, and placed them in the highly of her . She evidently did not know that he helped plan the failed coolers, as all the Cabinet and several military gentlemen and strangers 1848 slave escape aboard the Pearl . Mwere expected . While waiting, at just about 3, as Sukey, the house-servant, was lolling (See the life stories of Sukey and The out of a chamber window, James Smith, a free colored man who had accompanied Edmonson Sisters .) Mr . Madison to Bladensburg, gallopped up to the house, waving his hat, and cried Paul Jennings had learned to read E . C . Perry Photograph Co ., Paul Jennings, undated . out, ‘Clear out, clear out! General Armstrong has ordered a retreat!’ All then was Photograph . Estate of Sylvia Jennings Alexander . and write . In 1865, he published the confusion . Mrs . Madison ordered her carriage, and passing through the dining- first White House memoir, A Colored n 1799, Paul Jennings was born Man’s Reminiscences of James Madison. room, caught up what silver she could crowd into her old-fashioned reticule, and to slavery on the Madison plan- These passages deal with the alarming then jumped into the chariot with her servant girl Sukey, and Daniel Carroll, who tation, Montpelier . He moved hours just before the British attacked took charge of them; Jo . -
Uneasy Intimacies: Race, Family, and Property in Santiago De Cuba, 1803-1868 by Adriana Chira
Uneasy Intimacies: Race, Family, and Property in Santiago de Cuba, 1803-1868 by Adriana Chira A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology and History) in the University of Michigan 2016 Doctoral Committee: Associate Professor Jesse E. Hoffnung-Garskof, Co-Chair Professor Rebecca J. Scott, Co-Chair Associate Professor Paulina L. Alberto Professor Emerita Gillian Feeley-Harnik Professor Jean M. Hébrard, École des Hautes Études en Sciences Sociales Professor Martha Jones To Paul ii Acknowledgments One of the great joys and privileges of being a historian is that researching and writing take us through many worlds, past and present, to which we become bound—ethically, intellectually, emotionally. Unfortunately, the acknowledgments section can be just a modest snippet of yearlong experiences and life-long commitments. Archivists and historians in Cuba and Spain offered extremely generous support at a time of severe economic challenges. In Havana, at the National Archive, I was privileged to get to meet and learn from Julio Vargas, Niurbis Ferrer, Jorge Macle, Silvio Facenda, Lindia Vera, and Berta Yaque. In Santiago, my research would not have been possible without the kindness, work, and enthusiasm of Maty Almaguer, Ana Maria Limonta, Yanet Pera Numa, María Antonia Reinoso, and Alfredo Sánchez. The directors of the two Cuban archives, Martha Ferriol, Milagros Villalón, and Zelma Corona, always welcomed me warmly and allowed me to begin my research promptly. My work on Cuba could have never started without my doctoral committee’s support. Rebecca Scott’s tireless commitment to graduate education nourished me every step of the way even when my self-doubts felt crippling. -
Teaching Standards- Based Creativity in the Arts
Teaching Standards-based Creativity in the Arts Issued by Office of Academic Standards South Carolina Department of Education Jim Rex State Superintendent of Education 2007 1 Table of Contents CONTRIBUTORS ................................................................................. 3 WHY CREATIVITY? ............................................................................. 5 CULTIVATING CREATIVITY IN ARTS EDUCATION: MYTHS, MISCONCEPTIONS, AND PRACTICAL PROCEDURES………………………..7 DANCE: .......................................................................................... 100 GRADES PREK-K ............................................................................... 101 GRADES 1-2 .................................................................................... 111 GRADES 3-5 .................................................................................... 122 GRADES 6-8 .................................................................................... 139 GRADES 9-12 .................................................................................. 162 GRADES 9-12 ADVANCED .................................................................... 186 DANCE CREATIVITY RESOURCE LIST ........................................................ 208 MUSIC ............................................................................................ 213 MUSIC: GENERAL ............................................................................. 214 GRADES PREK-K .............................................................................. -
Julia Faisst, Phin Beiheft
PhiN Beiheft | Supplement 5/2012: 71 Julia Faisst (Siegen) Degrees of Exposure: Frederick Douglass, Daguerreotypes, and Representations of Freedom1 This essay investigates the picture-making processes in the writings of Frederick Douglass, one of the most articulate critics of photography in the second half of the nineteenth century. Through his fiction, speeches on photography, three autobiographies, and frontispieces, he fashioned himself as the most "representative" African American of his time, and effectively updated and expanded the image of the increasingly emancipated African American self. Tracing Douglass's project of self-fashioning – both of himself and his race – with the aid of images as well as words is the major aim of this essay. Through a close reading of the historical novella "The Heroic Slave," I examine how the face of a slave imprints itself on the photographic memory of a white man as it would on a silvered daguerreotype plate – transforming the latter into a committed abolitionist. The essay furthermore uncovers how the transformation of the novella's slave into a free man is described in terms of various photographic genres: first a "type," Augustus Washington (whose life story mirrors that of Douglass) changes into a subject worthy of portraiture. As he explored photographic genres in his writings, Douglass launched the genre of African American fiction. Moreover, through his pronounced interest in mixed media, he functioned as an immediate precursor to modernist authors who produced literature on the basis of photographic imagery. Overall, this essay reveals how Douglass performed his own progress within his photographically inflected writings, and turned both himself and his characters into free people. -
Publishing Blackness: Textual Constructions of Race Since 1850
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE publishing blackness publishing blackness Textual Constructions of Race Since 1850 George Hutchinson and John K. Young, editors The University of Michigan Press Ann Arbor Copyright © by the University of Michigan 2013 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2016 2015 2014 2013 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Publishing blackness : textual constructions of race since 1850 / George Hutchinson and John Young, editiors. pages cm — (Editorial theory and literary criticism) Includes bibliographical references and index. ISBN 978- 0- 472- 11863- 2 (hardback) — ISBN (invalid) 978- 0- 472- 02892- 4 (e- book) 1. American literature— African American authors— History and criticism— Theory, etc. 2. Criticism, Textual. 3. American literature— African American authors— Publishing— History. 4. Literature publishing— Political aspects— United States— History. 5. African Americans— Intellectual life. 6. African Americans in literature. I. Hutchinson, George, 1953– editor of compilation. II. Young, John K. (John Kevin), 1968– editor of compilation PS153.N5P83 2012 810.9'896073— dc23 2012042607 acknowledgments Publishing Blackness has passed through several potential versions before settling in its current form. -
Shirley Plantation As a Historic House Museum, 1894–2013
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 "To Preserve, Protect, and Pass On:" Shirley Plantation as a Historic House Museum, 1894–2013 Kerry Dahm Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3282 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Kerry A. Dahm 2013 All Rights Reserved “To Preserve, Protect, and Pass On:” Shirley Plantation as a Historic House Museum, 1894–2013 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. by Kerry Anne Dahm Bachelor of Arts, Virginia Commonwealth University, 2009 Director: Dr. John T. Kneebone Associate Professor, Virginia Commonwealth University Department of History Virginia Commonwealth University Richmond, Virginia December 2013 ii Acknowledgements My journey through graduate school and my ability to write and finish this thesis is due to the many people who have supported and encouraged me in the last two years. Each one of them has helped me pursue this once unthinkable goal of getting a graduate degree in History. I would like to thank… • Dr. Norrece T. Jones for helping me to develop critical thinking and historical research skills while I was an undergraduate student at VCU. • The staff at the Library of Virginia, particularly John Deal, Brent Tarter, Mari Julienne, and Gregg Kimball for listening to me talk about my thesis and offering advice as well as encouragement for pursuing my topic. -
MARGARET GARNER a New American Opera in Two Acts
Richard Danielpour MARGARET GARNER A New American Opera in Two Acts Libretto by Toni Morrison Based on a true story First performance: Detroit Opera House, May 7, 2005 Opera Carolina performances: April 20, 22 & 23, 2006 North Carolina Blumenthal Performing Arts Center Stefan Lano, conductor Cynthia Stokes, stage director The Opera Carolina Chorus The Charlotte Contemporary Ensemble The Charlotte Symphony Orchestra The Characters Cast Margaret Garner, mezzo slave on the Gaines plantation Denyce Graves Robert Garner, bass baritone her husband Eric Greene Edward Gaines, baritone owner of the plantation Michael Mayes Cilla, soprano Margaret’s mother Angela Renee Simpson Casey, tenor foreman on the Gaines plantation Mark Pannuccio Caroline, soprano Edward Gaines’ daughter Inna Dukach George, baritone her fiancée Jonathan Boyd Auctioneer, tenor Dale Bryant First Judge , tenor Dale Bryant Second Judge, baritone Daniel Boye Third Judge, baritone Jeff Monette Slaves on the Gaines plantation, Townspeople The opera takes place in Kentucky and Ohio Between 1856 and 1861 1 MARGARET GARNER Act I, scene i: SLAVE CHORUS Kentucky, April 1856. …NO, NO. NO, NO MORE! NO, NO, NO! The opera begins in total darkness, without any sense (basses) PLEASE GOD, NO MORE! of location or time period. Out of the blackness, a large group of slaves gradually becomes visible. They are huddled together on an elevated platform in the MARGARET center of the stage. UNDER MY HEAD... CHORUS: “No More!” SLAVE CHORUS THE SLAVES (Slave Chorus, Margaret, Cilla, and Robert) … NO, NO, NO MORE! NO, NO MORE. NO, NO MORE. NO, NO, NO! NO MORE, NOT MORE. (basses) DEAR GOD, NO MORE! PLEASE, GOD, NO MORE.