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Migratory trajectory and oral history of English-speakers in the city of Pau

This chapter explores the dynamic between truth and deceit in twenty-first-century transnational capitalism, emerging neo-fascist movements, and post-truth media landscapes marked by the Covid-19 pandemic and the anthropogenic bioinformational challenge. It establishes the centrality of the concept of truth in revolutionary critical pedagogy and underscores the importance of linking true words with true actions in the formation of critical praxis. Revolutionary praxis consists of the dialectical process of self and social formation, while critical educators are situated as protagonistic agents who work in and through history. Truth is therefore not about a timeless or objective state we name history. Action creates history, humans are historical beings, and truth is firmly situated within the dialectic of history. Using the work of Walter Benjamin, we show that aesthetic entertainment provided by fascist national leaders such as Donald Trump distracts the oppressed from the economic and social forms of oppression, supporting asymmetrical relations of power and privilege that repurposes the dominion of the ruling class. In response, we develop the concept of scallywag pedagogy: postdigital, ontological, epistemological, historical, and revolutionary praxis aimed at ambushing oppressive power relations and transforming the world in the interests of social justice through speaking a true word. ; https://digitalcommons.chapman.edu/education_books/1139/thumbnail.jpg

Phoebe Apperson Hearst měla velmi úspěšného vlastního syna Williama, který byl ale více jako jeho otec: tvrdý obchodník. Našla však jemnou, uměleckou duši v malíři Orrinu Peckovi (1860–1921), který byl údajně gay a který ji, ještě za života své vlastní matky, začal oslovovat „má druhá mámo.“ Na základě podrobného výzkumu jejich vzájemné korespondence v Peckově pozůstalosti se můžeme ptát, jak moc si byla progresivní, bohatá žena 19. století, jakou byla Phoebe Hearst, vědoma Peckovy sexuality a pokud ano, jestli s tím neměla problém, nebo šlo o nevyřčené tajemství mezi nimi? Jejich příběh představí historik umění Ladislav Zikmund-Lender. Phoebe Apperson Hearst had a very successful son of William, but he was more like his father: a tough businessman. However, she found a delicate, artistic soul in the painter Orrin Peck (1860–1921), who was allegedly gay and who, while still his own mother's life, began to address her as “my second mother.” Based on a detailed study of their correspondence in Peck's estate, we may ask how much a progressive, rich 19th-century woman like Phoebe Hearst was aware of Peck's sexuality, and if so, if she had no problem with it, or was it an unspoken secret between them? Their story will be presented by art historian Ladislav Zikmund-Lender.

Published in New Orleans in 1845 by a group of free men of color, Les Cenelles: Choix de poésies indigènes is now commonly recognized as the first collection of African American poetry. As a testament to and expression of the intellectual prowess of New Orleans's francophone free Black community, Les Cenelles deserves to be read as a formally integrated volume, a collection of poetry that was assembled with purpose and organized with a keen eye for the complexity and precariousness of the free Black experience in the 1840s. This essay reads Les Cenelles in conjunction with one specific aspect of this experience, namely, free Black efforts to gain access to formal education and institutions of learning. Examining Les Cenelles alongside debates surrounding the establishment of the Institution Catholique des Orphelins Indigents (Catholic Institution for Indigent Orphans), New Orleans's first school run by and for free people of color, this essay traces the emergence of a poetics of education, a theory of free Black community engagement that relied on the persuasive and instructive powers of poetry. In the absence of formal curricula or instruction manuals, I analyze Les Cenelles as a textbook of sorts, an exercise in writing and reading, designed to train both its contributors and its readers in the form, function, and tradition of French letters while simultaneously educating them about the very real threats the free Black community faced in New Orleans during the 1840s. By reading Les Cenelles as a collective, deliberate, and cohesive work rather than a collection of individual poems compiled at random, this essay reveals not only how the contributors and their editor created webs of meaning through intertextual reference and by communicating to each other through their poems, but also how they engaged in a collective effort to consolidate, protect, and invigorate the free Black community through education.

British Quakers, members of the Religious Society of Friends, have been described as the world’s first ‘transnational human rights movement’ because of their long involvement from the late-sixteenth century in European and trans-Atlantic international mediation and their foundational role in the anti-slavery movement. Despite this prominence, critical scholarship concerning Quakers as particular networked and highly travelled ‘global activists’ and their humanitarian and antecedent ‘human rights’ advocacy in the Australian and other antipodean colonies is a neglected sphere. This chapter examines the nine-year multi-colony tour of Quakers James Backhouse and George Washington Walker (1832–1841) in the furtherance of their particular moral empire across Australia, Mauritius, and South Africa. Broadening historical consideration of what constitutes transnational human rights activism and the INGO or international nongovernmental transnational activist, it considers the witnessing practices of Quakers as a significant precursor of modern transnational humanitarian activism, in an era when global governance was driven by empire and its close engagement with dispossessed and colonised peoples. Taking insights from sociology, the article argues that the Quakers’ relationship with the state, similar to that of contemporary INGOs, was as ‘institutional opponents,’ both fraught and symbiotic, and reveals the ambiguities of humanitarian sentiment and the troubled moral economy of compassion as entwined vectors of humanitarian governance and imperial power.

AbstractThe venerable science of pedology, initiated in the 19thcentury as the study of the natural factors of soil formation, is adapting to the demands of the Anthropocene, the geologic time during which planet Earth and its soils are transitioning from natural to human‐natural systems. With vast areas of soils intensively managed, the future of pedology lies with a renewed science that can be called anthropedology that builds on the pedology of the past but proceeds from “human as outsider” to “human as insider.” In other words, the human in pedology must shift from being a soil‐disturbing to soil‐forming agent. Pedology is well prepared to respond to the challenges of the Anthropocene, given the decades of research on human‐soil relations throughout human history and throughout the period of the Great Acceleration (Steffenet al., [76]). However, quantitative understanding of soil responses to the diversity of human forcings remains elementary and needs remedy.

The article concerns the fight of many indigenous communities all around the world struggling for recovery their lost cultural heritage, which represents an essential element of their cultural identity as well as a condition for the effective protection of their internationally recognized human rights.