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tcornett

MOOC | Eric Foner - The Civil War and Reconstruction, 1865-1890 | Sections 1 through 9 ... - 1 views

www.youtube.com/playlist

Civil War Social Studies TEKS History Youtube MOOC Eric Foner Reconstruction

shared by tcornett on 05 Apr 16 - No Cached
  • tcornett on 05 Apr 16
     
    Youtube Playlist Learn about the political, social, and economic changes in the Union and the Confederacy and the Civil War's long-term economic and intellectual impact. In The Unfinished Revolution: Reconstruction and After, 1865-1890, Professor Eric Foner examines the pivotal but misunderstood era of Reconstruction that followed the Civil War, the first effort in American history to construct an interracial democracy. Beginning with a discussion of the dramatic change in historians' interpretations of the period in the last two generations, Foner goes on to discuss how Reconstruction turned on issues of continued relevance today. Among these are: who is an American citizen and what are citizens' rights; what is the relationship between political and economic freedom; which has the primary responsibility for protecting Americans' rights - the federal or state governments; and how should public authorities respond to episodes of terrorism? The course explores the rewriting of the laws and Constitution to incorporate the principle of equality regardless of race; the accomplishments and failings of Reconstruction governments in the South; the reasons for violent opposition in the South and for the northern retreat from Reconstruction; and the consolidation at the end of the 19th century of a new system of white supremacy. This course is part of the series, The Civil War and Reconstruction, which introduces students to the most pivotal era in American history. The Civil War transformed the nation by eliminating the threat of secession and destroying the institution of slavery. It raised questions that remain central to our understanding of ourselves as a people and a nation - the balance of power between local and national authority, the boundaries of citizenship, and the meanings of freedom and equality. The series will examine the causes of the war, the road to secession, the conduct of the Civil War, the coming of emancipation, and the struggle after the wa
Ed Webb

U.S. Military Wanted to Provoke War With Cuba - ABC News - 0 views

abcnews.go.com/...story

US USA military Cuba history conspiracy rightwing communism paranoia ColdWar

shared by Ed Webb on 14 Oct 12 - No Cached
David Hilton liked it
  • In the early 1960s, America's top military leaders reportedly drafted plans to kill innocent people and commit acts of terrorism in U.S. cities to create public support for a war against Cuba.
  • plans reportedly included the possible assassination of Cuban émigrés, sinking boats of Cuban refugees on the high seas, hijacking planes, blowing up a U.S. ship, and even orchestrating violent terrorism in U.S. cities
  • to trick the American public and the international community into supporting a war to oust Cuba's then new leader, communist Fidel Castro
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  • "The whole point of a democracy is to have leaders responding to the public will, and here this is the complete reverse, the military trying to trick the American people into a war that they want but that nobody else wants."
  • neither the American public, nor the Cuban public, wanted to see U.S. troops deployed to drive out Castro. Reflecting this, the U.S. plan called for establishing prolonged military — not democratic — control over the island nation after the invasion.
  • a time when there was distrust in the military leadership about their civilian leadership, with leaders in the Kennedy administration viewed as too liberal, insufficiently experienced and soft on communism. At the same time, however, there real were concerns in American society about their military overstepping its bounds
  • reports U.S. military leaders had encouraged their subordinates to vote conservative during the election
  • One idea was to create a war between Cuba and another Latin American country so that the United States could intervene. Another was to pay someone in the Castro government to attack U.S. forces at the Guantanamo naval base — an act, which Bamford notes, would have amounted to treason. And another was to fly low level U-2 flights over Cuba, with the intention of having one shot down as a pretext for a war.
  • Afraid of a congressional investigation, Lemnitzer had ordered all Joint Chiefs documents related to the Bay of Pigs destroyed, says Bamford. But somehow, these remained.
Kay Cunningham

Bureau of Land Management General Land Office Records - 1 views

www.glorecords.blm.gov

genealogy reference land government publications

shared by Kay Cunningham on 28 Feb 10 - Cached
  • Kay Cunningham on 28 Feb 10
     
    Includes land patents & surveys to Federal land conveyance records for the Public Land States & image access to more than three million Federal land title records for Eastern Public Land States, issued between 1820 and 1908. \n\n
Kay Cunningham

Home - BLM GLO Records - 2 views

www.glorecords.blm.gov/beta

government United States land history documents

shared by Kay Cunningham on 23 Nov 10 - No Cached
  • Kay Cunningham on 23 Nov 10
     
    'Welcome to the Bureau of Land Management(BLM), General Land Office (GLO) Records Automation web site. We provide live access to Federal land conveyance records for the Public Land States, including image access to more than five million Federal land title records issued between 1820 and the present. We also have images related to survey plats and field notes, dating back to 1810. Due to organization of documents in the GLO collection, this site does not currently contain every Federal title record issued for the Public Land States.'
Ed Webb

How we remember them: the 1914-18 war today | openDemocracy - 6 views

www.opendemocracy.net/...ber-them-the-1914-18-war-today

war memory Europe UK history WW1

shared by Ed Webb on 15 Nov 10 - No Cached
  • After the war, however, the problem of reintegrating into society both those who had served and those who had lost, and finding a narrative that could contain both, found one answer by an emphasis on the universality of heroism. A British society that has since the 1960s grown increasingly distant from the realities of military service - whilst remaining dedicated to it as a location for fantasy - has been unable to move on from this rhetorical standpoint
  • The war's portrayal has always been shaped by contemporary cultural mores, and commemorative documentaries demonstrate just how much the relationship between the creators and consumers of popular culture has changed over the last fifty years. For the fiftieth anniversary of 1914, the BBC commissioned the twenty-six part series The Great War, based around archive footage and featuring interviews with veterans. There was an authoritative narrative voice, but no presenters. For the eightieth anniversary, it collaborated with an American television company on a six-part series littered with academic talking-heads. For the ninetieth anniversary, it has had a range of TV presenter-celebrities - among them Michael Palin, Dan Snow, Natalie Cassidy and Eamonn Holmes - on a journey of discovery of their families' military connections. These invariably culminate next to graves and memorials in a display of the right kind of televisual emotion at the moment the formula demands and the audience has come to expect.   The focus of these programmes - family history as a means of understanding the past - is worthy of note in itself. It is indicative of the dramatic growth of family history as a leisure interest, perhaps in response to the sense of dislocation inherent in modernity
  • The search for family history is usually shaped by modern preconceptions, and as such it seldom results by itself in a deeper understanding of the past. The modern experience of finding someone who shares your surname on the Commonwealth War Graves Commission website, taking a day trip to France and finding his grave (perhaps with a cathartic tear or few) might increase a person's or family's sense of emotional connection to the war, and may bring other satisfactions. Insofar as it is led not by a direct connection with a loved one, however, but by what television has "taught" as right conduct, it can seldom encourage a more profound appreciation of what the war meant for those who fought it, why they kept fighting, or why they died.
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  • Projects such as The Great War Archive, which combine popular interest in the war with specialist expertise, and which recognise that an archive is different from a tribute or a memorial, suggest that it is possible to create high-quality content based on user submissions.
  • the exploitation of popular enthusiasm to encourage thought, rather than to enforce the "correct" opinion
  • It is certainly true that the 1914-18 war is popularly seen as the "bad war" and 1939-45 as the "good war." I think the one view is sustained in order to support the other. Although no expert, it seems to me that in reality the two world wars were marked more by their similarities than their differences (Europe-wide military/imperial rivalry causes collapse of inadequate alliance system > Germany invades everywhere > everywhere invades Germany). However, there is an extreme reluctance in Britain to admit that WW2 was anything other than a Manichean struggle between the elves and the orcs, so WW1 becomes a kind of dumping-ground for a lot of suppressed anxiety and guilt which might otherwise accrue to our role in WW2 - just as it might in any war. So we make a donkey out of Haig in order to sustain hagiographic views of Churchill. "Remembrance" of both wars continues to be a central feature of British public consciousness to an extraordinary, almost religious degree, and I think this has a nostalgic angle as well: if "we" squint a bit "we" can still tell ourselves that it was "our" last gasp as a global power. Personally I think it's all incredibly dodgy. "Remembrance," it seems to me, is always carried out in a spirit of tacit acceptance that the "remembered" war was a good thing. Like practically all of the media representation of the current war, Remembrance Day is a show of "sympathy" for the troops which is actually about preventing objective views of particular wars (and war in general) from finding purchase in the public consciousness. It works because it's a highly politicised ritual which is presented as being above politics and therefore above criticism. All these things are ways of manipulating the suffering of service personnel past and present as a means of emotionally blackmailing critics of government into silence. I reckon anyway.
Annabel Astbury

School history gets the TV treatment | Education | The Guardian - 10 views

www.guardian.co.uk/...school-history-gove-schama-tv

innovation sources education history

shared by Annabel Astbury on 16 Nov 10 - No Cached
  • His key episodes are based not around a grand organising narrative but a series of vignettes that make compelling stories.
  • If history is popular on TV, it can be made popular at school.
  • Teachers developed new methods, shifting away from chronology and narrative to topics and themes, where the emphasis was placed on "skills" of analysis over the regurgitation of facts.
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  • . History in schools, they argue
  • without providing any connecting narrative thread that explains their relationship with each other. The solution is a return to narrative history, to a big story that will organise and make sense of historical experience.
  • Nonetheless, it remains an announcement that tells us more about the contradictions of government thinking and its reductive view of the humanities and social sciences than it does about the state of history teaching in our schools.
  • I agree with Schama that the real public value of history-teaching in schools (as in universities) lies in its capacity to re-animate our civil society and produce an engaged and capable citizenry. I disagree that good story-telling will get you there
  • History provides us with a set of analytical skills that are indispensable for citizens who want to understand our present conditions
  • We want students who aren't just entertained, but who can think critically and effectively about the world they live in.
  • For the creative and innovative teacher it may have been something of a constraint, but most now agree it led to a ‘golden age’ of history teaching in primary schools in the 1990s and ensured every child covered a coherent history syllabus from 11-14 without repeating topics. It also spawned a generation of excellent and accessible teaching materials and encouraged heritage organisations to provide for a standard history curriculum
  • Regardless this return to grand narrative and national myth goes against the very progress we as academic historians have made. History is more to do with how we think and evaluate things, the tools we use to come to conclusions than about dates and conveniently accessible stories self legitimatising the status quo.
David Hilton

UK Parliament Debates (TheyWorkForYou.com) - 0 views

www.theyworkforyou.com/debates

uk britain wwii c20th parliament churchill thatcher england government sources primary sources

shared by David Hilton on 04 Jul 09 - Cached
  • David Hilton on 04 Jul 09
     
    This site has debates from the UK House of Commons (I don't think The Lords is included) that go back at least to World War II. The purpose of the site is to raise public awareness, however it is useful to the historian as a source.
Ed Webb

Modern art was CIA 'weapon' - World, News - The Independent - 6 views

www.independent.co.uk/...rt-was-cia-weapon-1578808.html

CIA ColdWar history art politics US USA UK

shared by Ed Webb on 23 Nov 10 - Cached
  • The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.
  • in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.
  • The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.
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  • Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled "Advancing American Art", with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: "I am just a dumb American who pays taxes for this kind of trash." The tour had to be cancelled.
  • This philistinism, combined with Joseph McCarthy's hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s.
  • If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.
  • Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another
  • As president of what he called "Mummy's museum", Rockefeller was one of the biggest backers of Abstract Expressionism (which he called "free enterprise painting"). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows. The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members' board of the museum's International Programme. John Hay Whitney, who had served in the agency's wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA's International Organisations Division, was executive secretary of the museum in 1949.
  • "It was very difficult to get Congress to go along with some of the things we wanted to do - send art abroad, send symphonies abroad, publish magazines abroad. That's one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret."
  • Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA. But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.
Kay Cunningham

Geology of National Parks - 2 views

3dparks.wr.usgs.gov

parks images 3D geology government publications

shared by Kay Cunningham on 28 Feb 10 - Cached
  • Kay Cunningham on 28 Feb 10
     
    Browse both 3D and standard photographic images of the United States National Parks. Selected field guides available. Subjects include igneous, sedimentary, and metamorphic rocks; weathering; glacier, coastal, and stream valley landforms; features of deserts and caverns; forests and plants; animals; native and prehistoric cultures; and man-made features.
Kay Cunningham

National Atlas home page - 4 views

nationalatlas.gov

maps government publications geography United States

shared by Kay Cunningham on 28 Feb 10 - Cached
David Hilton liked it
  • Kay Cunningham on 28 Feb 10
     
    Source of maps from 20+ Federal organizations, devoted to the heritage, culture, and resources of the United States. Customized maps available through the Map Maker tool.Provided by United States Department of the Interior.
Kay Cunningham

NIH - Image Bank - 2 views

media.nih.gov/...index.aspx

images health government publications

shared by Kay Cunningham on 28 Feb 10 - Cached
  • Kay Cunningham on 28 Feb 10
     
    images from the collections of the 27 institutes and centers that comprise the National Institutes of Health. Contents include general biomedical and science-related images, clinicians, computers, patient care-related images, microscopy images, and various exterior images.
Javier E

China Razed Thousands of Xinjiang Mosques in Assimilation Push, Report Says - WSJ - 0 views

www.wsj.com/...n-push-report-says-11601049531

china xinjiang Uighur religion repression

shared by Javier E on 26 Sep 20 - No Cached
  • New research shows Chinese authorities have razed or damaged two-thirds of the mosques in China’s remote northwestern region of Xinjiang, further illuminating the scope of a forced cultural-assimilation campaign targeting millions of Uighur Muslims.
  • the Australian Strategic Policy Institute said satellite imagery showed that roughly 8,500 mosques, close to a third of the region’s total, have been demolished since 2017. Another 7,500 have sustained damage
  • Important Islamic sacred sites, including shrines, cemeteries and pilgrimage routes, were also demolished, damaged or altered, the study found.
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  • “The Chinese government’s destruction of cultural heritage aims to erase, replace and rewrite what it means to be Uyghur,”
  • China’s Foreign Ministry on Friday repeated its claims that Xinjiang has around 24,000 mosques and that the number of them per capita among Muslims in Xinjiang is higher than in many Muslim countries. It said that China fully protects the human and religious rights of all ethnic minorities and described the ASPI report as “smear and rumor.” It denied the existence of detention camps in Xinjiang.
  • ASPI estimated that around half of important Islamic sacred sites—many of which are supposed to be protected under Chinese law—have been damaged or altered since 2017.
  • The report estimated there are fewer than 15,500 mosques left intact in Xinjiang, the lowest number since the 1980s, when Uighurs had just begun rebuilding mosques destroyed during Mao Zedong’s Cultural Revolution. Most of the land where mosques were razed remained vacant, it said.
  • The campaign is part of a longer-term trend to transform communities in the name of public safety. The strategy has gained pace under President Xi Jinping who has called for the “Sinicization” of religion
  • During a visit the following month, the Journal found that some facilities had indeed been closed, with former detainees sometimes sent away to work in factories. One facility had been converted into a prison after being previously described as a school.
  • Of the dozens of facilities ASPI identified as recently under construction, roughly half were higher-security facilities. The most-secure facilities had high walls, multiple layers of perimeter barriers, watchtowers and dozens of cell blocks with no apparent outside exercise yard for detainees
  • Authorities are likely singling out people who they have lost hope of re-educating and putting them into long periods of incarceration, said Mr. Leibold. It is “the only way to really explain their pretty remarkable expansion,”
  • One challenge in pressuring China’s government over its Xinjiang policies is the relative silence of Muslim-majority countries. ASPI made its work available in 10 different languages to try to raise awareness beyond the English-speaking world
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