• 2020-2024close
• Closed Access close
• Restricted close
• Open Source close
• Embargo close
• Publications close
• Other research products close
• Digital Humanities and Cultural Her... close
• North American Studies close

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.

A detailed review and discussion of Marcello Carmagnani's 2018 book on the Atlantic economy in the early modern age

The three-dimensional (3D) revolution promised to transform archaeological practice. Of the technologies that contribute to the proliferation of 3D data, photogrammetry facilitates the rapid and inexpensive digitization of complex subjects in both field and lab settings. It finds additional use as a tool for public outreach, where it engages audiences ranging from source communities to artifact collectors. But what has photogrammetry's function been in advancing archaeological analysis? Drawing on our previous work, we review recent applications to understand the role of photogrammetry for contemporary archaeologists. Although photogrammetry is widely used as a visual aid, its analytical potential remains underdeveloped. Considering various scales of inquiry—graduating from objects to landscapes—we address how the technology fits within and expands existing documentation and data visualization routines, while evaluating the opportunity it presents for addressing archaeological questions and problems in innovative ways. We advance an agenda advocating that archaeologists move from proof-of-concept papers toward greater integration of photogrammetry with research.

Before Igloolik est un projet d’archéologie et d’histoire orale dont le but est d’inventorier et de documenter les établissements Inuit près d’Iglulik (Igloulik) durant la période précédant l’établissement de villages modernes dans l’Arctique Canadien, au milieu du XXe siècle. L’aspect archéologique de la recherche visait à inventorier et à cartographier les structures archéologiques à Avvajja, un campement du début du XXe siècle situé à environ six kilomètres au nord-ouest d’Iglulik. La composante d’histoire orale consistait à faciliter l’engagement des Inuit avec ces vestiges culturels. Une série d’entretiens et de visites sur l’île d’Avvajja ont été organisés avec d’anciens résidents (Avvajjamuit). Afin de favoriser la transmission intergénérationnelle des connaissances, un évènement de retrouvailles incluant les anciens résidents et leur descendance a été coordonné par les auteurs. Les participants ont d’abord partagé un festin sur le site ; puis, ont visité les habitations de leurs ancêtres, où de nombreuses histoires furent échangées. Before Iglulik is an archaeological and oral-historical project undertaken to record and document Inuit settlements around Iglulik (Igloolik) during the period preceding the establishment of modern hamlets in the Canadian Arctic in the mid-20th century. The archaeological component of the research consisted of recording and mapping features at Avvajja, an early 20th-century campsite located approximately six kilometers northwest of Iglulik, while the oral history component involved the facilitation of Inuit engagement with these cultural remains. A series of interviews and site visits were held with former residents of Avvajja (Avvajjamiut). To promote cross-generational knowledge transmission, a reunion event at the site was coordinated by the authors for Avvajjamiut and their loved ones. Attendees shared a feast at the site and toured their ancestors’ dwellings, where many stories were shared. ᐃᒡᓗᓕᒃ ᐃᑦᑕᕐᓂᑕᙳᖅᑳᖅᑎᓐᓇᒍ ᐊᒻᒪ ᐅᓂᒃᑳᑦ−ᖃᖓᓂᑕᐃᑦ ᐱᓕᕆᐊᒃᓴᖅ ᑲᒪᔭᐅᓯᒪᔪᖅ ᓂᐱᓕᐅᕐᓗᓂ ᐊᒻᒪ ᑎᑎᕋᖅᑕᐅᓗᓂ ᐃᓄᐃᑦ ᓄᓇᓕᒋᔭᐅᔪᑦ ᐃᒡᓗᓕᒃ ᓴᓂᐊᓂ (ᐃᒡᓗᓕᒃ) ᑕᐃᒪᙵᐅᑎᓪᓗᒍ ᓴᖅᑭᖅᑳᖅᑎᓐᓇᒍ ᐅᓪᓗᒥ ᕼᐋᒻᖑᔪᑦ ᑲᓇᑕᐅᑉ ᐅᑭᐅᖅᑕᖅᑐᖓᓂ 1901-1999 ᐊᑯᓐᓂᖓᓂ. ᐃᑦᑕᕐᓂᑕᕐᕕᒃ ᐃᓚᖓ ᖃᐅᔨᓴᕐᓂᖅ ᐃᓚᒋᔭᖃᖅᑐᑦ ᓂᐱᓕᐅᕐᓂᖅ ᐊᒻᒪ ᓄᓇᙳᐊᓕᐅᕐᓂᖅ ᐃᑦᑕᕐᓂᑕᐃᑦ ᓴᓇᓯᒪᔪᑦ ᐊᕝᕙᔾᔭᒥ, 1901-1999−ᐊᑯᓪᓐᓂᖓ ᑕᒻᒫᕐᕕᒃ ᓇᔪᕐᕕᖓ ᐃᒻᒪᖄ ᐊᕐᕕᓂᓕᑦ ᑭᓚᒦᑕ ᐃᒡᓗᓕᐅᑉ ᓂᒡᒋᐊᓂ, ᐅᓂᒃᑳᑦ ᖃᖓᓂᑕᐃᑦ ᐃᓚᖓ ᐃᓚᒋᔭᖓ ᐃᑲᔪᕐᓂᖅ ᐃᓄᐃᑦ ᑲᑎᖃᑎᒌᓐᓂᖅ ᑖᒃᑯᓄᖓ ᐃᓕᖅᑯᓯᕆᔭᐅᔪᑦ ᐱᖁᑎᒥᓃᑦ. ᐊᔾᔨᒌᙱᑦᑐᑦ ᐊᐱᖅᓱᕐᓂᖅ ᐊᒻᒪ ᓇᔪᕐᕕᒻᒧᑦ ᐅᐸᒃᑕᐅᓯᒪᔪᑦ ᐱᖃᑎᒋᓪᓗᒋᑦ ᓄᓇᖃᖅᑲᖅᑕᖅᓯᒪᔪᑦ ᑕᐃᔅᓱᒪᓂ ᐊᕝᕙᔾᔭᒥ (ᐊᕝᕙᔾᔭᒥᐅᑦ). ᖁᕝᕙᒋᐊᖅᑯᓪᓗᒍ ᐊᔾᔨᒌᙱᑦᑐᑦ ᐃᓅᖃᑎᒌᒃᑐᓄᑦ ᖃᐅᔨᒪᓂᖅ ᐅᖃᖃᑎᒌᓐᓂᖅ, ᑲᑎᖃᑎᒌᒃᑲᓐᓂᕐᓂᖅ ᐱᓕᕆᐊᒃᓴᖅ ᓇᔪᕐᕕᒻᒥ ᑲᒪᒋᔭᐅᓯᒪᔪᑦ ᑎᑎᕋᖅᑎᑦ ᐊᕝᕙᔾᔭᒥᐅᑦ ᐊᒻᒪ ᓇᓪᓕᒋᔭᖏᑕ. ᑕᐃᒪᐅᓚᐅᖅᑐᑦ ᐃᓚᒋᔭᐅᔪᑦ ᑲᑐᔾᔨᖃᑎᒌᓚᐅᖅᑐᑦ ᓂᕆᖃᑎᒌᓐᓂᖅ ᓇᔪᕐᕕᒻᒥ ᐊᒻᒪ ᕿᒥᕐᕈᐊᖅᑐᑎᒃ ᓯᕗᓕᕗᑦ ᖃᒻᒪᕕᓃᑦ, ᑕᐃᑲᓂ ᐊᒥᓱᑦ ᐅᓂᒃᑳᖅᓯᒪᔪᑦ.