THE SEMIANNUAL NEWSLETTER OF THE ROBERT PENN WARREN CENTER FOR THE HUMANITIES VOL. 19, NO. 2 • SPRING 2011 • VANDERBILT UNIVERSITY

Christian Cinema as National Cinema By Anne Morey he project that brings me to the Robert Penn Warren Center for the Humanities is a history of Christian filmmaking in the . In Torder to offer a survey of the relationship between the American film industry and the uses of the religious text, I am examining films made by Hollywood and by filmmakers adja - cent to it who have achieved national theatrical releases for their products; in the process, I con - sider what difference it makes that manifesta - tions of religious belief converge with both economic behavior and with entertainment, and what consequences this convergence has for religion, Hollywood, and our understanding of the place of each in public life. Some parts of this story of the twinning of film and Christian - ity are well known, but there is no book-length survey that looks at the history of American H.B. Warner as Jesus Christ in Cecil B. DeMille’s The King of Kings (1927), courtesy of the Academy filmmaking through the lens of its relationship of Motion Picture Arts and Sciences. with Christianity as both a narrative and social force. The most fruitful examinations of Christ - son demonstrate in their examination of Vita - opposition to the American film industry was ian creativity in contemporary American public graph’s The Life of Moses (1910), the religious created by the industry’s ability to retail big-city life have hitherto focused on broadcasting, film simultaneously justified film attendance on values where they were not wanted; in other music recording, and publishing. This study the sabbath and created appreciation for the words, religion helped to naturalize the move - focuses on film because it has historically been a assimilationist desires of America’s Jews at the ment of film into small-town American life, as it unified industry with a small coterie of produc - moment that the success of the nickelodeon was ers confronting high economic barriers to entry generating a kind of urban backlash against film Inside and consequently desirous of addressing a attendance among the young. The 1915 Mutual national audience. The economics of film, in v. Ohio Supreme Court decision that determined Christian Cinema as National Cinema ...... 1-4 other words, mandate participation in a that film was an imitative art that deserved no The Future of the Humanities ...... 5 national discourse in ways that the niche mar - protections against prior restraint is bookended External Grants and Fellowships ...... 6 keting possible to publishing and broadcasting by two D. W. Griffith films that manipulate reli - does not. In short, my book argues that the his - gious rhetoric, (whose con - What We Are Writing ...... 7 tory of the American film industry may be told clusion invokes the figure of Christ) and Graduate Fellows Lecture Series ...... 8 in miniature through its relations with Ameri - Intolerance (which contains an extended sequence Harry C. Howard Jr. Lecture ...... 9 can Christianity. set at the time of Christ). Later, another religious Perhaps unexpectedly, Christianity also film, ’s The Miracle, incited the Sesquicentennial of the Civil War ...... 10 appears to be a recurring element at moments of suit that overturned the Mutual decision in Theory, Interdisciplinarity, and the Humanities ...... 11 institutional crisis within the American film 1952. Cecil B. DeMille’s King of Kings (1927), as Building Community in the 21st Century ...... 12 industry. As William Uricchio and Pear - Richard Maltby has observed, appeared when

Letters • Spring 2011 • 1 Letters • Spring 2011 • 2

had earlier in urban settings. heart, or the second Terminator film. social climate of the late and , a Perhaps above all, the narrative of the installa - A brief history of Hollywood’s relations with span of fifteen or so years that brings us the sur - tion of enforcement mechanisms by 1934 for the religious film—and, to some extent, with feit of riches constituted by the second Ten the Production Code (the film industry’s self- the religious filmmaker—makes more obvious Commandments (DeMille, 1956), the second censorship organization) can be read as one in the continuities and breaks in the film industry’s Ben-Hur, The Robe (Henry Koster, 1953), Quo which religion was the solution to an institu - own tradition of religious filmmaking. Religious Vadis? (Mervyn LeRoy, 1951), and other similar tional crisis in the film industry. The Production outsiders, as I have argued in another context, works. The fit between the film industry’s Code represented the failure of liberal Protestant have historically hoped for access to the bully changed economic structure and the usefulness attitudes toward the film industry and the tri - pulpit of Hollywood. The history of denomina - of the biblical narrative structure has been well umph of Catholic approaches to textual regula - tional filmmaking is more complex than can be explored by film scholars, who see a host of rea - tion, as both Maltby and Francis Couvares have explored here, but it embraced mainline Protes - sons for the vigorous return to religious film - noted. Religion’s utility to Hollywood continued tant denominations such as the Methodists, for making (see Pauly and Sobchack). Causes range into the , with the biblical spectacular example, who noticed declining membership in from the desire to find pre-sold narratives that forming a reliable product at a moment when the 1910s and 1920s particularly among young will take advantage of the differences between audiences had declined by half, as they did people. Methodists consequently parlayed a his - film and television (such as the between 1948 and 1958, making the economic tory of the illustrated, improving lecture into a process introduced in The Robe ), to a desire to penalties for misjudging public sentiment con - brief flirtation with feature filmmaking. Such continue to make films that will travel well to siderable. Religious filmmaking even combines attempts at religious filmmaking by religious the hinterlands even as the Production Code’s with technological innovation; for example, Cin - groups remained by and large outside the main - authority was clearly in decline (a return to the emaScope, the widescreen format that was stream and never spoke to Americans in large 1920s formula of sexual explicitness contained designed to lure adult audiences back into the - numbers. Despite the apparent weakness of within the Trojan horse of suitably pious subject aters in 1953 debuted in the religious block - such filmmaking, however, religious pressure matter), to a desire to use the Holy Land as the buster The Robe. groups were at intervals able to call Hollywood’s backdrop to Cold War allegories or to an explo - Religious filmmaking in America thus pos - attention to the usefulness of the mainstream ration of the new post-1948 political realities in sesses a lengthy tradition, one substantial religious narrative with films such as DeMille’s the Middle East. So dominant was the formula, enough to permit the development of a number The King of Kings, which was something of a in fact, that an unsigned editorial in The Christ - of different subgenres: the action/adventure reli - milestone in church/film industry cooperation. ian Century eventually observed that these films, gious picture such as Matthew Crouch’s Revela - It appears, somewhat unexpectedly, that with while often recommended from the pulpit, were tion-based The Omega Code (1999) and the installation of the Catholic-influenced Pro - serving the interests of the industry rather more Megiddo (2001); the Christian musical such as duction Code, big-budget religious spectaculars than they served the interests of believers, com - Godspell (David Greene, 1973) and Jesus Christ, such as Ben-Hur and The Ten Commandments menting that “father has not seen as much to Superstar (, 1973); the Jesus (DeMille, 1923), which had been a recurrent excite him elsewhere as he has at movies which biopic such as From the Manger to the Cross (Sid - feature of super-A picture production in Holly - the churches tell him to see” (“Bible” 1235). ney Olcott, 1912), King of Kings (, wood in the 1920s, disappeared. It is something The later 1950s and 1960s didn’t see an aban - 1961), The Greatest Story Ever Told (George of a cliché in histories of American religion to donment of religious filmmaking, but the fit Stevens, 1965), and Joshua (Jon Purdy, 2002); say that the Scopes trial (1925) caused evangeli - between the religious narrative and the film the Christian art film such as The Last Tempta - cal Protestants to withdraw from the public industry became less cozy as Hollywood tion of Christ (, 1988), which sphere for twenty years or more. Whether or adjusted to significant new institutional realities. might be classed with European art films that not that was the case, at more or less the same Indeed, the Paramount Decree of 1948 set up explore religious life and belief in unconven - moment the leadership of a variety of mainline the legal and economic structures that reduced tional ways, along the lines of Pier Paolo Protestant denominations was discredited barriers to entry into the film exhibition and Pasolini’s The Gospel According to St. Matthew because of its too close dealings with the Hays distributions markets, which in turn began to (1964), and Jean-Luc Godard’s Hail Mary Office, which oversaw film industry self-regula - undo the framework of the Production Code, (1985); and the religious horror film such as tion. Into the gap created by the absence of a permitting more foreign and more risqué films Rosemary’s Baby (, 1968) and Protestant presence capable of shaping film nar - access to America’s screens. The film industry The Exorcist (William Friedkin, 1973), to name ratives or film institutions stepped a newly ener - also gradually made its peace with television. only a few. While the religious spectacular of the gized and visible Catholicism. This vigorous One might argue that television became the type of Ben-Hur (Fred Niblo, 1925; William Catholicism not only provided a rationale for natural home of the religious film from the Wyler, 1959) has become relatively uncommon the Production Code, but also took narrative 1960s onward, with annual revivals of films since the 1960s, other forms have crowded in to shape in the guise of the numerous sympathetic such as Ben-Hur (typically programmed for take its place. Moreover, the religious film’s debt portraits of priests in films such as Boys Town Easter Week) and productions such as Franco to secular genres has led to a wide variety of nar - (1938) and (1938). Such Zeffirelli’s 1977 Jesus of Nazareth, a made-for- rative and archetypal styles, so that if The Sign of films present the priest as rescuer of a broken television mini-series. the Cross (Cecil B. DeMille, 1933), say, bears a society just as Father Daniel Lord, one of the One of the striking aspects of current reli - close affinity to King Kong (1933), ’s authors of the Production Code, might be con - gious filmmaking is an alteration in the sociol - The Passion of the Christ (2004) resembles an strued as the clerical savior of a broken film ogy of the filmmakers involved. No longer do assortment of non-Christian films that similarly industry. we have, as the ur-religious film director, the expose the heroic protagonist to unbearable Hollywood revived the big-budget religious gentlemanly if pathological DeMille, whose physical suffering, such as Mad Max, Brave - spectacular in the very changed economic and Episcopalianism was less important to him than Letters • Spring 2011 • 3

the successful deployment of a formula of sex, the religious film hoping to reach a national wood’s more pluralistic approaches to religion- sin, and redemption (or, as his niece Agnes audience can afford to be more narrowly infused narratives before the was itself a DeMille pithily termed it, “women rolling denominational in its address than hitherto. way of binding up the nation. Consider Boys around on bulls”). In the late 1990s, successful Writing in 2007, Frances FitzGerald estimated Town again, which is detached from the specific entrepreneurs from religious broadcasting began that 75 million Americans, roughly 25 percent doctrines of Catholic belief but attached to the to move into larger-budget filmmaking; of the population, could be described as evan - person of the sympathetic priest. While it is Crouch, whose father runs Trinity Broadcasting gelical Protestants, a term that covers an admit - obvious that Boys Town is the expression of the Network, is an important example here. Gib - tedly wide spectrum of belief and practice, from vision of a Catholic priest, Edward Flanagan, his son, needless to say, was in 2004 the consum - Mennonites to Charismatic Episcopalians (31). biggest backer is a Jewish pawnbroker, and the mate Hollywood insider who elected to deploy Nonetheless, this 25 percent may represent a film makes clear that the organization permits his earnings from previous films in the making relatively cohesive set of taste cultures and every boy to worship in his own fashion. of The Passion of the Christ. Often, the creators expectations where certain kinds of popular reli - There is another sense in which the of religious films today are committed evangeli - gious narratives, such as adaptations of the Nar - “national” label needs to be explored with refer - cal Christians; Gibson represents something of nia series, are concerned. The ence to Hollywood’s Christian an exception to this trend as a devout Catholic economics of this market are products. When film scholars of a rather radical stripe, inasmuch as he and his clearly well worth serving, as use the term in conjunction father, a former priest, evidently adhere to a Walden Media’s repeated with geographical or social des - brand of Catholicism that rejects most liturgical investment in the Narnia fran - ignations such as Britain or and social reforms within the Church since the chise has demonstrated. , they are signaling that Council of Trent (Noxon 52). Notably, his Pas - In an intensely American they wish to organize a discus - sion was nonetheless an extraordinary crossover slippage between commercial sion of that cinema so as to success with evangelical Protestant audiences. behavior and electoral behavior, explore long-term narrative, What appears to have changed in the past the very strength of the Christ - technological, or formal preoc - sixty years in the sociology of makers of Christ - ian market must be seen in the cupations or strategies, or the ian films, then, is that the filmmakers are now light of what I have elsewhere specific political economy of a Christians first and filmmakers second. Nor is termed “the plebiscite at the particular film-producing publicly proclaimed belief a bar to prominence box office.” I have argued of nation as it might bear on in industries that previously had little time for the 1920s and 1930s that out - what gets produced and how, committed Christians. In keeping with the siders wishing to colonize Hol - Anne Morey or the institutional structures changed demography of American Christians as lywood tended to figure such particular to the film industry explored by scholars such as D. Michael Lind - efforts precisely in terms of an election whose in question. The American film industry may be say, now when evangelicals acquire wealth and results were to be measured by ticket sales. The the world’s most studied, but it is not necessarily prestige, they no longer forsake the denomina - history of subcultures vis-à-vis mainstream pop - discussed as a national cinema in a limited sense tions they started in, in striking contrast to the ular culture in the United States has been, to because its reach, historically, has been global. It practices of successful citizens of a hundred some extent, one of the market place as polling was arguably the world’s only global cinema years or more ago, when achievement of social place, in which commercial clout translates to between the First World War and the 1960s, position urged its possessor to move on from, political power. In Crouch’s words, “I truly when a variety of Asian cinemas began to extend say, Assemblies of God to Presbyterianism as a believe that once the Christian community their range, at least economically, beyond their mark of social rise. The major consequence of understands that they have a vote by buying a national borders. However defined, any national this change may be a decline in ecumenism in ticket, they will become the country’s largest sin - cinema is nonetheless capable of scooping up a religious film narratives. Indeed, King of Kings gle market” (Peyser 45). It is, of course, precisely story from a different “national” tradition and was far more ecumenical in production and sen - this electoral rhetoric that suggests that Christ - indigenizing it. If one wants an example of this timent than is Gibson’s The Passion —rabbis, ian cinema might serve as a national cinema on productive cross-fertilization, one need look no among other religious leaders, were consulted, some level, partly because the assumption that further than the transcultural permutations of and the tone of the film was as inclusive as pos - the devout buy movie tickets for the right narra - ’s Seven (1954), which sible. The two Ben-Hurs are similarly philo- tive has always been a means of identifying sto - was westernized in two senses as The Magnifi - Semitic, again in contrast with the divisive ries acceptable nearly everywhere within the cent Seven (1960) and Bollywoodized as climate created by The Passion. Franklin Foer nation, and partly because religion itself has (1975), among the highest-grossing Indian reports of the 1979 Warner Bros. release Jesus been a means of disciplining the film industry in films, before returning, most recently in the (Peter Sykes and John Krish) that, even though ways that assisted its project of maintaining a American context, as A Bug’s Life (1998). it was manufactured by an evangelical for use in national audience. As Maltby observes, the Pro - The prospect of examining film narratives converting unbelievers to Christianity, it tends duction Code, which substituted Catholic tex - from the Bible in a national/transnational con - to be presented via lecturers to audiences in tual regulation for the Protestant preference for text has been, to say the least, daunting because ways that attempt to demonstrate the continu - economic regulation of the industry, also obvi - many national cinemas can obviously claim ities or similarities between Christianity and the ated audience research, effectively serving as a these narratives as part of their patrimony. But faiths practiced in the regions where converts are contract with moral preceptors in communities not all narratives, or perhaps better put, not all being sought. all over the country, promising that Hollywood’s renditions of these familiar narratives, will be Another way of characterizing the change in products would not, in the main, corrupt or recognized as operating within the national successful religious filmmaking is to suggest that debase. One might note further that Holly - vein. I have been fascinated for some time by Letters • Spring 2011 • 4

the survival into the 1960s of somewhat creaky the spectacular. The Christian screenwriting Works Cited nineteenth-century chestnuts as a dominant group Act One also confronts this problem. Balmer, Randall. Blessed Assurance: A History of feature of mainstream religious filmmaking, They oppose the spectacle-driven approach of Evangelicalism in America . Boston: Beacon P, which tends to be stylistically conservative at directors such as Crouch for something a little 1999. the same time that it requires stories that exceed less blood-and-thunder. Another way of the confines of the canon of Biblical tales. So, expressing their aims might be to suggest that “The Bible Against Itself.” The Christian Century for example, Ben-Hur, The Sign of the Cross, and they hope to create films that might evangelize 28 October 1959: 1235-36. Print. , which were published respectively in in subtle ways, without dramatizing canonical Couvares, Francis G. “Hollywood, Main 1880, 1895, and 1896, become the models for events such as the Crucifixion or the Apoca - Street, and the Church: Trying to Censor the what we might call the New Testament histori - lypse in order to terrify the unbeliever. Movies before the Production Code.” Movie cal novel, in which fictional characters interact This examination of Christian cinema as Censorship and American Culture. Ed. Francis with Christ or with figures who knew Christ. national cinema is poised between the per - G. Couvares. Washington: Smithsonian, This narrative strand is not narrowly durable association between God and Mam - 1996. 129-58. Print. national—consider the origins of each work’s mon in American culture on the one hand and author, again respectively: American (Lew Wal - the changes experienced in genre and social DeMille, Agnes. Interview in Hollywood: A lace), British (Wilson Barrett), and Polish mores on the other. Of the God and Mammon Celebration of the American Silent Film; The (). Moreover, adaptations nexus, Stephen Prothero observes that the Autocrats. Written and directed by David Gill of these works begin to circulate in both interpenetration of Christianity and popular and . Thames Television, Europe and the United States in the early twen - culture (which he dates to the Second Great 1980. tieth century, when the film industry was with - Awakening) has meant that “Americans have FitzGerald, Frances. “The Evangelical Sur - out doubt at its most international. What then been selling Jesus stuff since the early nine - prise.” New York Review of Books 26 April is particularly American about these narratives, teenth century” (146). The excitement of this 2007: 31-34. beyond the establishment and persistence of an project stems from acknowledging the continu - idiom that continued to be practiced in the ity of that relationship while also attempting to Foer, Franklin. “The Passion’s Precedent: The United States well into the 1950s with the pub - explain the significance of new developments. Most Watched Film Ever?” New York Times 8 lication and filming of Lloyd C. Douglas’s The The Warren Center’s theme of “Representation February 2004. Web. 4 November 2010. Robe (1942/1953)? and Social Change” is a very helpful backdrop Maltby, Richard. “The King of Kings and the A provisional answer would suggest that against which to explore the problems I con - Czar of All the Rushes: The Propriety of the these works came to represent what a New Tes - front in this project. It has been exceptionally Christ Story.” Screen 31.2 (Summer 1990): tament historical narrative should be, to the productive to talk to people outside the disci - 188-213. Print. exclusion of other kinds of storytelling. When plines that I normally inhabit (film studies, the American public was offered narratives such English, and American studies) to see what Noxon, Christopher. “Is the Pope Catholic . . . as The Miracle or The Last Temptation of Christ related structural issues emerge in anthropol - Enough?” New York Times Magazine 9 March that emerged out of a different tradition of ogy, history, and sociology. It has been particu - 2003: 50-53. Print. filmmaking, one less dependent upon linear larly useful to discuss what constitutes evidence Pauly, Thomas H. “The Way to Salvation: plot structure and the delineation of a character or which methods of analysis are most com - The Hollywood Blockbuster of the 1950s,” whose motivations were clearly articulated and pelling across disciplines. Above all, conversa - Prospects: An Annual Journal of American Cul - sympathetic, religious audiences found the tion with the other Warren Center Fellows tural Studies 5 (1980): 467-87. Print. products blasphemous. Behind the rejection of focuses my attention on the stakes of the pro - these films may be a preference for a different ject, meaning those questions that cluster Peyser, Marc. “God, Mammon, and ‘Bible - kind of storytelling as much as a loathing for around the issue of why scholars should care man.’” Newsweek 16 July 2001: 45-48. Print. the specific kind of content they offered their about the phenomenon of the religious film. Prothero, Stephen. American Jesus: How the viewers. In other words, these nineteenth-cen - Film still represents one of the most public are - Son of God Became a National Icon. New York: tury chestnuts proved durable because they nas for struggle in popular culture, but it is Farrar, Straus, and Giroux, 2003. Print. chimed with the story-telling traditions of the more than a bellwether for the ebb and flow of American cinema—one might even say, given the power of specific denominations in Ameri - Sobchack, Vivian. “‘Surge and Splendor’: A the large number of adaptations of these foun - can life. It is also a set of rhetorics and business Phenomenology of the Hollywood Historical dational texts, that they are partly constitutive strategies that must shape and address a large Epic.” Representations 29 (Winter 1990): 24- of that filmmaking tradition, at least where the and diverse public in order to have a presence 49. Print. problem of representing divinity is concerned. in the marketplace. Addressing a public in Uricchio, William, and Roberta E. Pearson. Walden Media’s contemporary success with the order to have a presence in the marketplace has Reframing Culture: The Case of the Vitagraph Narnia franchise may similarly mark the natu - also been, as Randall Balmer notes, religion’s Quality Films. Princeton: Princeton UP, 1993. ralization of a new set of religious texts with task in this country since the inception of the Print. crossover appeal to evangelical audiences, and nation. The mutual colonization of popular thus a new forum for the exploration of the culture and religion should be a productive site Professor Anne Morey is the 2010/2011 Warren functions of taste in this regard. Indeed, one of for investigating the consequences of religious Center Visiting Faculty Fellow from Texas A&M the questions I need to examine is the degree to storytelling for national life. University. which our understanding of the mainstream religious film is separable from spectacle and Letters • Spring 2011 • 5

Up in the Air?: The Future of the Humanities Edward H. Friedman

n early September of 2010, Mona Freder - of the equation, and so forth. Canons many other tasks that likely were not taught in ick, executive director of the Warren Cen - expanded and were revised, and new areas of graduate school. Universities are businesses, if Iter, and I met with the Center’s dissertation teaching and research were validated: ethnic not prototypical businesses, and there is little fellows to discuss Paul J. Silvia’s How To Write studies, gender studies, area studies, interdisci - point in fighting the inevitable in that regard. a Lot, which we had read over the summer. plinary studies, film, popular culture, etc. The Still, we need to preserve what needs to be pre - This was the opening session of the graduate boom in theory caused scholars and their stu - served, cost-effectiveness notwithstanding, for fellows program and one of the few times dur - dents to think differently, to reevaluate the the greater good of education and service to ing the academic year that the students would past, and to approach their work with a society. Training young minds is, in the par - not be meeting on their own. That afternoon decided self-consciousness. Structuralism, post - lance of one company’s ad agency, “priceless.” we talked about a number of issues. I asked the structuralism, cultural studies, and other phe - When I was a graduate student at Johns Hop - students to address their major concerns, and nomena have rewritten the script for the liberal kins University in the 1970s, I taught several they kindly complied. Naturally, they spoke of arts, for curricula, for departments, for pro - Spanish language classes, and I remember that the pressure to complete their doctoral theses grams, and for individual scholars and course some of my students, many of whom were pre- and their anxiety over the future. Some would designs. Titles of dissertations from previous med, informed me that what I was planning to be applying for teaching positions this year, years seem to be worlds apart from current do with my life (teaching literature) was infe - and seeking a job during an economic crisis topics under investigation and objects under rior, or less generous of spirit, to what they certainly would be anxiety-producing. There is scrutiny. Although there have always been hoped to contribute to humanity. (Provost an intrinsic vulnerability built into being a advocates of pure pragmatism, with emphasis Richard McCarty was studying at Hopkins at graduate student. One has to jump over many on practicality and materialism, the humanities the same time, but his field was biobehavioral hurdles and to deal with a range of challenges, have held their own, in some cases more con - sciences, considerably higher on the “list” than some professional and some personal. One vincingly than in others. Progress—and it Romance languages.) Those comments made constantly is being evaluated, judged, com - might be possible to cite globalization in this me think carefully about how I could endeavor pared, and contrasted. And one has to learn context—should promote the humanities, but to make a difference to the students whom I how to write on demand, how to play to there is a tendency to favor the present and the would teach over the years and to the readers diverse audiences, and how to self-present, future over the past. The humanities disci - who might come upon something that I had both in writing and “live.” This is, in essence, plines start at the beginning, as it were, and published. I still firmly believe in the well- the norm, the given. those that go far back, such as classical studies, rounded student, and one of the beauties of What took me aback in the session was the risk falling into disrepute in some circles for teaching at Vanderbilt University has been that students’ apprehension about the future of their supposed lack of relevance. Professors are the well-rounded student holds the default education in general. My impression was that not only the victims here, but also at times the position. Among the students who do brilliant they, in varying degrees of pessimism and opti - instigators, as when we allow students to avoid work in Spanish literature classes are language mism, were worried not only about obtaining courses that deal with the “old stuff,” and majors, but also majors in the humanities, the a position but about the future of tenure, thereby elide the interrelations that come from social sciences, and, yes, most resoundingly, about the fate of the humanities, and about the movements and transitions. This is a question the sciences. And, I might add, the pre-med careers that awaited them. The comments that is very much open to debate and to students seem to understand perfectly why it made me sad, for a number of reasons. First, opposing positions, yet it is a question that helps to have incorporated language and litera - these students are dedicated scholars and high encompasses the crucial points of where we are ture into their academic programs. achievers, and they deserve to reap the rewards and where we want to be. There is no doubt There are real challenges in store for the of their efforts. Second, the alarm far surpassed that we have to be prepared to redesign at both humanities, but I hope that we can think of what I had thought would be the primary the macro- and micro-levels, in order to ensure them as problems to be solved rather than as focus: the here-and-now of dissertation writ - that we are giving our students, our colleagues, cause for despair. Rethinking and retooling are ing. Third, my hope is that the fellows—and and our disciplines a maximum effort, and, probably in order. Those of us at the Warren all Vanderbilt graduate students—will enjoy hyperbole aside, to ensure the survival of the Center invite anyone in the Vanderbilt com - the process of completing their degrees, despite humanities. There is a struggle at hand, but it munity to discuss the state of the humani - the rigor of the enterprise, and that they will is worth pursuing by those who believe in ties—here and elsewhere—and we hope to face the future with positive (albeit reasonable) knowledge for its own sake, who find strength organize some sessions with participants from expectations. Fourth, they forced upon me a in a familiarity with the past, who equate the across the disciplines. It is important that we reality check, the results of which might not be study of the humanities with critical thinking reflect, continually, on how we educate stu - pleasant to confront. and tolerance, and who discover values beyond dents and how we encourage and calm those Over the past decades, the profession obvi - reality principles and dollar signs. who are about to begin their professional ously has changed. Some forty years ago, by It is significantly more difficult to be an careers. Needless to say, we want those careers my count, working conditions improved, administrator now than it was forty years ago. to be rich, fulfilling, and, to the extent possi - salaries became more competitive, opportuni - The scholar/teacher-turned administrator must ble, free of angst. ties became more equal, spouses became part also be a financial manager and must face Letters • Spring 2011 • 6

External Grants and Fellowships

We extend congratulations to our colleagues in the humanities and Ling Hon Lam social sciences in the College of Arts and Science for receiving the Newhouse Center for the Humanities at Wellesley College following external grants and fellowships for their scholarly research Fellowship as a result of applications submitted in the 2009 calendar year. From Exteriority to Theatricality: Exploring the Spatiality of We rely on departments to provide us with this information. Emotion in Early Modern

William Caferro Fairbank Center for Chinese Studies at Harvard University John Simon Guggenheim Memorial Foundation An Wang Postdoctoral Fellowship Fellowship From Exteriority to Theatricality: Exploring the Spatiality of Research on Effects of the Plague on the Medieval Economy Emotion in Early Modern China

David L. Carlton Chiang Ching-kuo Foundation Global Research Institute at the University of North Carolina, Scholar Grant Chapel Hill From Exteriority to Theatricality: Exploring the Spatiality of Research Fellowship Emotion in Early Modern China Strategies of Southern Development: The Case of North Carolina Jane G. Landers Julia P. Cohen National Endowment for the Humanities National Endowment for the Humanities Fellowship Scholarly Edition and Translations Award African Kingdoms, Black Republics, and Free Black Towns in The Sephardic Studies Reader, 1730-1950 Colonial Spanish America

Humberto Garcia Gilder Lehrman Institute of American History American Philosophical Society Research Fellowship Franklin Research Grant African Kingdoms, Black Republics and Free Black Towns in Romanticism Re-Oriented: Indo-Muslim Travelers and English Literary Iberian Atlantic Culture, 1760-1820 Larry May Clark Library/Center for Seventeenth- and Eighteenth-Century Studies Australian Research Council Short-Term Fellowship Discovery Grant Romanticism Re-Oriented: Indo-Muslim Travelers and English Literary Morality, “Jus Post Bellum,” and International Law Culture, 1760-1820 José Medina Thomas Gregor Ministry of Science and Innovation of National Endowment for the Humanities Research Grant Fellowship Identity, Memory, and Experience Mehinaku Art: Social Change and the Evolution of an Aesthetic Tradition Jonathan Rattner Leor Halevi Imagining America American Council of Learned Societies Critical Exchange Grant Charles A. Ryskamp Research Fellowship Imagining America Vanderbilt University/University of Iowa Forbidden Goods: Cross-Cultural Trade in Islamic Law Critical Exchange Grant

Rick Hilles Kathryn Schwarz The Brecht’s House Folger Shakespeare Library Writer’s Residency Short-Term Fellowship Counterfactual Women: Femininity and Teleology in Carlos Jauregi Early Modern National Endowment for the Humanities Fellowship Bronwen Wickkiser Going Native and Becoming Other in Latin American Literature and Film American School of Classical Studies at Athens NEH Fellowship New Approaches to Asklepios Vera M. Kutzinski National Endowment for the Humanities Scholarly Edition and Translations Award Alexander von Humboldt in English: New Translations of His Major Writings on North and South America Letters • Spring 2011 • 7

What We Are Writing

What books are our colleagues in the College Edward H. Friedman. The Little Woman. A Walter Blue, Nina of Arts and Science writing and editing? Liberal Translation of Leandro Fernández de Dulin-Mallory, Vir - LETTERS has asked Vanderbilt University’s Moratín’s El sí de las niñas. Juan de la Cuesta. ginie Greene, Stacy humanities and social sciences departments to Hahn, Lynn T. share their faculty members’ 2010 publications. Sam B. Girgus. Levinas and the Cinema of Ramey, and Eliza - Their answers show an active and diverse mix Redemption: Time, Ethics, and the Feminine. beth Willingham, of scholarly interests. Columbia University Press. co-editors. La Queste del Saint Graal: From Lewis V. Baldwin. Never to Leave Us Alone: Lenn E. Goodman. Creation and Evolution. the Illustrated The Prayer Life of Martin Luther King, Jr. Routledge. Lancelot Prose of Yale Fortress Press. 229. Brepols. Robin M. Jensen . Living Water: Images, Sym - Lewis V. Baldwin. The Voice of Conscience: bols, and Settings of Early Christian Baptism. Virginia M. Scott. Double Talk: Deconstruct - The Church in the Mind of Martin Luther Brill Publishers. ing Monolingualism in Classroom Language King, Jr. Oxford University Press. Learning. Prentice Hall. Shaul Kelner. Tours That Bind: Diaspora, Pil - Jerome Brillaûd . Sombres Lumières, essai sur le grimage and Israeli Birthright Tourism. New Dieter H. Sevin. Trotzdem Schreiben. Beitrage retour à l’antique et la tragédie grecque au XVI - York University Press. zur deutschsprachigen Literatur der Moderne. II e siècle. Presses de l’Université Laval, Les Col - Hildesheim. lections de la République des Lettres. Michael P. Kreyling. The South That Wasn’t There. Louisiana State University Press. Samira Sheikh. Forging a Region: Sultans, William Caferro. Contesting the Renaissance. Traders and Pilgrims in Gujarat, 1200-1500. Wiley-Blackwell. Jane G. Landers. Atlantic Creoles in the Age of Oxford University Press. Revolutions. Cambridge University Press. Katherine B. Crawford. The Sexual Culture of Scott F. Aikin and Robert B. Talisse , co-edi - the French Renaissance. Cambridge University Larry May. Genocide: tors. The Pragmatism Reader: From Peirce Press. A Normative Account. Through to the Present. Princeton University Cambridge University Press. Kate Daniels. A Press. Walk In Victoria’s Steven M. Cahn and Robert B. Talisse, co- Secret. Louisiana Nella Van Dyke and editors. Political Problems. Prentice Hall. State University Holly J. McGam - Press. mon, co -editors. Scott F. Aikin, Steven M. Cahn, and Robert Strategic Alliances: B. Talisse , co-editors. Thinking About Logic: Carolyn M. Dever Coalition Building and Classic Essays. Westview Press. and Lisa M. Niles, Social Movements. co-editors. The Cam - University of Minnesota Press. Herbert Kitschelt, Kirk A. Hawkins, Juan bridge Companion to Pablo Luna, Guillermo Rosas, and Elizabeth Anthony Trollope Paul B. Miller. Elusive Origins: The Enlighten - J. Zechmeister, coauthors . Latin American (Cambridge Companions to Literature). Cam - ment in the Modern Caribbean Historical Imag - Party Systems. Cambridge University Press. bridge University Press. ination. University of Virginia Press, New World Studies Series. Dennis C. Dickerson. African American Preachers and Politics: The Careys of Chicago. Daniel M. Patte, editor. The Cambridge Dic - University Press of Mississippi. tionary of Christianity. Cambridge University Press. Tom D. Dillehay. From Foraging to Farming in the Andes: New Perspectives on Food Produc - Nicole Duran, Teresa Okure, and Daniel M. tion and Social Organization. Cambridge Uni - Patte, co-editors. Mark: Texts @ Contexts. versity Press. Fortress Press. Letters • Spring 2011 • 8

2010/2011 Warren Center Graduate Student Fellows Lecture Series

ow in its fifth year, the Warren Cen - Christina Dickerson ter’s annual Graduate Student Fel - Department of History Nlows Program currently sponsors “A Death in the Woods: The Infamous Jumonville Affair of 1754” eight outstanding Vanderbilt graduate stu - dents in the humanities and qualitative social March 28 Sarah Tyson , Ethel Mae Wilson Fellow sciences in a yearlong fellowship program. Department of Philosophy These awards are designed to support innova - “Can Diotima Be Reclaimed? The Problem of Women in the History of Philosophy” tion and excellence in graduate student research and allow the students a service-free April 5 Stacy Clifford , George J. Graham, Jr., Fellow year of support to enable full-time work on Department of Political Science the dissertation. It is expected that students “Indispensable Idiocy: Social Contract Theory and Cognitive Disability” who receive this award will complete the dis - sertation during the fellowship term. Addi - April 8 Jason Parker , Joe and Mary Harper Fellow tionally, one graduate student from Queen’s Department of Spanish and Portuguese University in Belfast is selected to participate “’¿Qué dirá mañana esa Prensa canalla?’: Ramón del Valle-Inclán’s in the Graduate Student Fellows Program. Theatrical Critique of Mass Media” As part of their affiliation with the Robert Penn Warren Center for the Humanities, Fel - April 14 Elizabeth Covington , Elizabeth E. Fleming Fellow lows are integrated into the center’s interdisci - Department of English plinary scholarly community through “Memories Bought, Sold, and Stolen: The War Between Literature and participation in a weekly seminar, occasional Science for Control of the Past” seminars with visiting speakers, and special events. The capstone of the fellowship is the April 18 Jennifer Foley delivery of a public lecture during the spring Department of Anthropology term. The Graduate Student Fellows Lecture “Ancient Maya Identity and Imagined Community at La Sufricaya, Guatemala” Series is an intellectually invigorating time at the Warren Center and we encourage you to April 20 Elizabeth Zagatta plan to attend one or more of these talks by Department of Religion these outstanding young scholars. “The Potential and Peril of Pleasure in Christian Sexual Ethics” Below is the schedule for this year’s talks which will all take place at 4:10 p.m. in the April 25 Sarah Glynn , American Studies Fellow Warren Center’s conference room. Lecture Department of Sociology titles will be posted soon on the Warren Cen - “‘I am tattooed therefore I am’: Meaning Making in the Tattoo Encounter” ter’s website; the listing at right includes the titles of the Fellows’ dissertations. April 27 Clive Hunter, Queen’s University (Belfast) Department of French, “Troping Legba: Dany Laferrière and the Politics of Polyrhythm” Letters • Spring 2011 • 9

Historian David Blight to Present Harry C. Howard Jr. Lecture

avid Blight, Class of 1954 Professor setts Press, 2002); and Frederick Douglass’s the sesquicentennial of the U.S. Civil War. In of American History and Director of Civil War: Keeping Faith in Jubilee (LSU Press, his capacity as director of the Gilder Lehrman Dthe Gilder Lehrman Center for the 1989). Professor Blight is currently writing a Center at Yale, Blight organizes conferences, Study of Slavery, Resistance, and Abolition at book related to the Civil War sesquicentennial working groups, lectures, the administering of Yale University, will present this year’s Harry that is rooted in the work of Robert Penn the annual Frederick Douglass Book Prize, C. Howard Jr. Lecture at 4:10 p.m. on March Warren, comparing the 100th anniversary of and many public outreach programs regarding 24th, location to be announced. Professor America’s most pivotal event to its 150th. He the history of slavery and its abolition. In Blight’s talk is titled “Gods and Devils is also working on a new biography of Freder - 2009, Blight chaired the jury for nonfiction Aplenty: Robert Penn Warren’s Civil War.” ick Douglass that will be published by Simon for the National Book Award. Currently, Pro - A prolific writer, Professor Blight is most and Schuster by 2013. fessor Blight holds the Rogers Distinguished recently the author of A Slave No More: Two Professor Blight was elected as a member of Fellowship in 19th-Century American History Men Who Escaped to Freedom, Including Their the Society of American Historians in 2002. at the Huntington Library. Narratives of Emancipation (Harcourt, 2007). Since 2004, he has served as a member of the The Harry C. Howard Jr. Lecture Series In 2001, he published Race and Reunion: The Board of Trustees of the New York Historical was established in 1994 through the endow - Civil War in American Memory (Harvard Uni - Society and the Board for African American ment of Mr. and Mrs. Thomas E. Nash Jr., versity Press), which received eight book Programs at Monticello in Charlottesville, and Mr. and Mrs. George Renfro, all of awards, including the Bancroft Prize, the Virginia. He also serves on the Board of Advi - Asheville, North Carolina. The lecture honors Abraham Lincoln Prize, and the Frederick sors to the Abraham Lincoln Bicentennial Harry C. Howard Jr. (B.A., 1951) and allows Douglass Prize. Other publications include Commission and is involved in planning the Warren Center to bring an outstanding Beyond the Battlefield: Race, Memory, and the numerous conferences and events to com - scholar to Vanderbilt annually to deliver a lec - (University of Massachu - memorate both the Lincoln anniversary and ture on a significant topic in the humanities.

2010/2011 Warren Center Graduate Student Fellows. From left: Elizabeth R. Zagatta, Sarah J. Glynn, Elizabeth R. Covington, Sarah Tyson, Stacy A. Clifford, Christina M. Dickerson, Clive Hunter, Jennifer M. Foley, Jason T. Parker Letters • Spring 2011 • 10

Sesquicentennial of the U.S. Civil War: Spring 2011 Courses and Events

pril 12, 2011, will mark than a mile from the Schedule of Events the 150th anniversary Vanderbilt Commons— A of the start of the U.S. and the ex-slave pension Events marked with an asterisk (*) are part of Civil War. Across the country, movement, a poor peo - the Humanities 161 lecture series and will this national anniversary will be ple’s movement that occur at 4:10 p.m. in 101 Buttrick Hall. marked in various ways by a sought pension from the range of interest groups. Many U.S. government as Thursday, January 27 of the contentious topics that compensation for slavery. Stanley Harrold , Professor of History, South divided the American public in English 288-02—The Carolina State University 1861 continue to trouble our American Civil War. Abolitionism and the Coming of the Civil nation today, including the role Taught by Senior Lec - War* of race in our society, the debate turer Rory Dicker, this between states rights and federal course will examine lit - Wednesday, February 2 authority, the role of govern - erature about the Civil “Thinking Outside the Lunchbox,” Discus - ment in our daily lives, and talk War, including texts sion of Robert Penn Warren’s 1961 book The of by various groups such as Harriet Beecher Legacy of the Civil War , led by Professors across the United States. Stowe’s Uncle Tom’s Michael Kreyling and Richard Blackett, noon Vanderbilt University will provide a num - Cabin, John William DeForest’s Miss Ravenel’s at the downtown Nashville Public Library. ber of opportunities—through classes, public Conversion from Secession to Loyalty , and This event is sponsored by the Warren Center lectures, and discussion groups—for our stu - Stephen Crane’s The Red Badge of Courage. and the Tennessee Civil War National Her - dents and our community to reflect upon the itage Area Center for Historic Preservation, in significance of this sesquicentennial anniver - History of Art 295—Race, Gender, and Sexual - conjunction with Vanderbilt’s Office of Com - sary. These events will allow us to engage with ity in 19th Century American Art. Professor munity, Neighborhood, and Government this seminal historical period in the develop - Vivien Green Fryd of the History of Art Relations. Registrants for the luncheon are ment of the United States and will give our department will examine ways in which gen - encouraged to read the volume prior to campus and our community occasions to der and race are constructed in nineteenth- attending the lunch time conversation. More think critically about past and current con - century American visual art and culture. details can be found at the website: www.van - flicts in our society. Professor Fryd’s class will meet with visiting derbilt.edu/lunchbox/upcoming.html . speaker Charmaine A. Nelson, who is Associ - Courses Offered ate Professor of Art History at McGill Univer - Tuesday, February 8 sity. Professor Nelson is most recently the Joseph Glatthaar, Stephenson Distinguished American Studies 100W. Professor of English author of The Color of Stone: Sculpting Black Professor, University of North Carolina, Michael Kreyling will teach this introductory Female Subjects in Nineteenth-Century America Chapel Hill course on the theme of memory studies, (Minneapolis: University of Minnesota Press, Why the Confederacy Lost: the Experiences focusing on Robert Penn Warren’s The Legacy 2007) and Representing the Black Female Sub - of Robert E. Lee’s Army of Northern Vir - of the Civil War (1961) and Warren’s novel ject in Art (New York: Routledge, ginia* Wilderness . Kreyling will also use various his - 2010). tory texts, including works by C. Vann Wood - Thursday, February 17 ward, Bruce Catton, and Shelby Foote. Humanities 161—The American Civil War. Team-taught by Richard Blackett, Andrew George Rable, Professor and Charles G. Sum - American Studies 297—American Studies Jackson Professor of History, and Michael mersell Chair in Southern History, University Senior Project. Teresa Goddu, Associate Profes - Kreyling, Gertrude Conaway Professor of of Alabama sor of English and Director of American Stud - English, the course will trace the main The Civil War as a Political Crisis* ies, will focus this course on commemorations political, social, and economic events asso - and memorializations of the U.S. Civil War, ciated with the war. A number of experts Thursday, February 24 specifically in and around Nashville. The on the U.S. Civil War have been invited as Thavolia Glymph, Associate Professor of His - course will culminate with an American Stud - guest speakers; they will also be giving lec - tory, Duke University ies Road Trip to various Civil War memorial tures which will be open to the public. ‘Disappeared Without Any Account Being sites in the region. Had of Them’: Enslaved Women and the Armies of the Civil War* Commons Course: Black Women Freedom Fight - ers. Assistant Professor of History Brandi Brimmer will lead an examination of the life and labor of Callie House—an African Ameri - can laundress who lived much of her life less Letters • Spring 2011 • 11

The Object of Study: Theory, Interdisciplinarity, and

Thursday, March 3 the State of the Humanities Charmaine A. Nelson, Associate Professor of The Robert Penn Warren Center for the 3:30 SESSION TWO Art History, McGill University Humanities is hosting a conference on “The Introduction: Sugar Cane, Slave and Ships: The Tropical Object of Study: Theory, Interdisciplinarity, John Sloop, Senior Associate Dean, Picturesque and Pro-Slavery Discourse in and the State of the Humanities” on March 18 College of Arts and Sciences, and Professor Nineteenth-Century Jamaican Landscapes and 19, 2011. The conference sessions will of Communication Studies 4:10 p.m., Cohen Hall 203. History of Art feature speakers from different disciplines Visiting Speaker: 295 speaker. addressing their views of the current state of David Gies , Commonwealth Professor theory within their disciplines and in general. of Spanish, University of Virginia Thursday, March 17 Each session will also include Vanderbilt fac - The State of the Arte : Hispanism and Stephanie McMurry, Professor of History, ulty members as moderators and as respon - Literary Theory University of Pennsylvania dents. Visiting speakers for the conference are Antigone’s Claim: Gender and Treason in the David Gies (University of Virginia), David Respondent: American Civil War* Theo Goldberg (University of , William Luis, Chancellor’s Professor Irvine), and Valerie Traub (University of of Spanish Thursday, March 24 Michigan). 2010/2011 Harry Howard Jr. Lecture The conference sessions will take place in A reception will follow the sessions. David Blight, Class of 1954 Professor of the auditorium of the Bishop Joseph Johnson American History and Director of the Gilder Black Cultural Center. The conference sched - Lehrman Center for the Study of Slavery, ule follows. Saturday, March 19 Resistance, and Abolition at Yale University Gods and Devils Aplenty: Robert Penn War - 10:30 SESSION THREE ren’s Civil War Friday, March 18 Introduction: 4:10 p.m., location to be announced. See Let - Barbara Hahn, Distinguished ters article on page 9. 1:30 OPENING Professor of German Welcome: Visiting Speaker: Thursday, April 7 Carolyn M. Dever, Dean, College of Arts and David Theo Goldberg , Director, University Bobby Lovett, Professor of History, Tennessee Science and Professor of English and Women’s of California Humanities Research Institute; State University and Gender Studies Professor of Comparative Literature and Nashville and the Civil War, 1860–1866 and Introduction: Criminology, Law and Society, University the Economic, Social and Political Transfor - of California, Irvine mations* Edward H. Friedman, Chancellor’s Professor of Spanish, Professor of Comparative Litera - Living in a Critical Condition: Poor Theory andthe Post-humanities Thursday, April 21 ture, and Director, Warren Center Stephen Ash, Professor of History, University Respondent: of Tennessee, Knoxville 2:00 SESSION ONE Dana Nelson, Gertrude Conaway Vanderbilt William G. Brownlow, Saint or Sinner? A Introduction: Professor of English Fresh Look at One of Tennessee’s Most Con - Mark Schoenfield, Professor and Chair of troversial Civil War Figures* English 11:45–12:00 Break Visiting Speaker: 12:00–12:30 The Program in American Studies and the Valerie Traub , Professor of English and Speakers’ Roundtable: Warren Center plan to host a roundtable dis - Women’s Studies, University of Michigan Closing Comments and Questions cussion late in the spring term on issues The New Unhistoricism (and Early related to secessionist movements across mul - Modern Futures) tiple time spans and geographical and cultural Respondent: locations. More details on this roundtable will Ellen Armour, E. Rhodes and Leona B. be announced soon. Carpenter Chair in Feminist Theology and Director, Carpenter Program in Religion, Gender, and Sexuality; Interim Chair, Department of Religious Studies

3:15–3:30 Break First Class U.S. Postage PAID Robert Penn Warren Center for the Humanities Nashville, TN VU Station B #351534 Permit No. 1460 2301 Vanderbilt Place Nashville, Tennessee 37235-1534

Building Community in the 21st Century: Perspectives on Civility and Democracy October 8–9, 2010 s part of the 2010 Southern Festival of recently launched a fifty-state “Civility Tour.” On Saturday, October 9, the following speak - Books, the Warren Center joined As part of his tour, he participated in the first ers presented remarks as part of the series Atogether with Humanities Tennessee session on this topic at the Southern Festival “Building Community in the 21st Century: to host a series of sessions at the book festival of Books, “A Conversation on Civility and Perspectives on Civility and Democracy.” to bring greater public consciousness to the Democracy,” on Friday October 8 from noon Each session was moderated by a Vanderbilt nature of some of the divisions in our culture to 1:00 p.m. in the Tennessee Capitol Build - University representative. and to suggest ways that we might rethink ing’s House Chambers. John Seigenthaler, those divisions and transform the discord founder of Vanderbilt’s First Amendment caused by those divisions within the context of Center, and Carl Pierce, Executive Director of our nation’s, state’s, and community’s need for the Howard Baker Center at the University of a more civil democracy. Additional support Tennessee, Knoxville, also joined Chairman for the program was provided by Vanderbilt’s Leach on this first panel. Following his presen - Cal Turner Program for Moral Leadership in tation at the book festival in downtown the Professions. Nashville, Chairman Leach delivered a second The Chairman of the National Endow - address at Vanderbilt University later that ment for the Humanities, Jim Leach, has a afternoon on “Civility in a Fractured Society.” special interest in the issue of civility and has NEH Chairman Jim Leach Janet Flammang Matthew Hindman Political Science, Santa Clara University Media and Public Affairs, George Washington University “The Taste for Civilization: Food, Politics, and a Civil Society” “The Myth of Digital Democracy” Moderator: C. J. Sentell, Philosophy, Vanderbilt University Moderator: Joe Bandy, Teaching Center, Vanderbilt University

Hiroshi Motomura Patrick Johnson School of Law, UCLA African American Studies, Northwestern University “Americans in Waiting: The Lost Story of Immigration and “Sweet Tea: Black Gay Men of the South” Citizenship in the United States” Moderator: Dana Nelson, English, Vanderbilt University Moderator: Daniel B. Cornfield, Sociology, Vanderbilt University John Kasson David E. Campbell University of North Carolina Political Science, University of Notre Dame “Rudeness and Civility: Manners in the 19th-Century Urban America” Robert Putnam Moderator: Mona Frederick, Warren Center, Vanderbilt University Public Policy, Harvard University “American Grace: How Religion Divides Us and Unites Us” Diana Mutz Moderator: Vanessa Beasley, Communication Studies, Pennsylvania State University Vanderbilt University “Hearing the Other Side: Deliberative vs. Participatory Democracy” Moderator: Mark Hetherington, Political Science, Vanderbilt University