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kels_giroux

Punch Cartoon Galleries from the archive of Punch magazine | Buy Downloads | Buy Prints... - 3 views

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    Punch Magazine Cartoon Gallery
Eric Beckman

The East India Company: How a trading corporation became an imperial ruler | History Extra - 3 views

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    Magazine article on the British East India Company
Mr Maher

Pilgrims and Progress: How Magazines Made Thanksgiving - 4 views

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    This academically rigorous article may be beyond even the highest functioning AP US History students. But all teachers will find this article aiming a question directly at their curriculum - Do you teach a myth as a cultural affirmation? The essay argues that "traveling home to turkey and all the trimmings was "invented", not in 17th century Massachusetts, but in 19th century Philadelphia in the pages of the nation's most widely circulated magazines and in respond to the changing American scene. Two hundred years after the Pilgrims' quit commemorations, Thanksgiving developed a uniform national profile, impelled by its promoters ideas about republican identity, ideas diffused by a publishing industry with increasingly national reach"
David Korfhage

Ling long Women's Magazine - 3 views

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    Reproductions of a women's magazine from 1930s Shanghai, with some translations of articles
Jason Heiser

old magazine articles - 0 views

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    magazine articles from the past
David Hilton

Ad*Access - 0 views

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    The Ad*Access Project, funded by the Duke Endowment "Library 2000" Fund, presents images and database information for over 7,000 advertisements printed in U.S. and Canadian newspapers and magazines between 1911 and 1955.
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    "The Ad*Access Project, funded by the Duke Endowment "Library 2000" Fund, presents images and database information for over 7,000 advertisements printed in U.S. and Canadian newspapers and magazines between 1911 and 1955."
David Hilton

BBC History Magazine - 0 views

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    This site has a good-quality podcast that I subscribe to through iTunes. A bit hard to use for teaching though as they don't label the topics of the podcasts, just the dates they were produced (>).(<)
Bob Maloy

The Real Story of Baseball's Integration That You Won't See in 42 - 3 views

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    A review of the movie 42 from the Atlantic Magazine that explores how Jackie Robinson was part of a larger social movement to achieve integration and social justice for African Americans
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    A review of the movie 42 from the Atlantic Magazine that explores how Jackie Robinson was part of a larger social movement to achieve integration and social justice for African Americans
tcornett

MOOC | Eric Foner - The Civil War and Reconstruction, 1850-1861 | Sections 1 through 10... - 0 views

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    Youtube Playlist The Civil War and Reconstruction - 1850 -1861 Discover how the issue of slavery came to dominate American politics, and how political leaders struggled and failed to resolve the growing crisis in the nation. A House Divided: The Road to Civil War, 1850-1861 is a course that begins by examining how generations of historians have explained the crisis of the Union. After discussing the institution of slavery and its central role in the southern and national economies, it turns to an account of the political and social history of the 1850s. It traces how the issue of the expansion of slavery came to dominate national politics, and how political leaders struggled, unsuccessfully, to resolve the growing crisis. We will examine the impact of key events such as Bleeding Kansas, the Dred Scott decision, the Lincoln-Douglas debates, and John Brown's raid on Harpers Ferry, and end with the dissolution of the Union in the winter of 1860-61. 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 war to breathe meaning into the promise of freedom for four million emancipated slaves. One theme throughout the series is what might be called the politics of history - how the world in which a historian lives affects his or her view of the past, and how historical interpretations reinforce or challenge the social order of the present. Eric Foner, DeWitt Clinton Professor o
Deven Black

WWII: American Home Front - Photo Gallery, 22 Pictures - LIFE - 1 views

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    Superb pictures from Life Magazine showing various aspects of life on the home front during WW II.
David Hilton

Collection: Vintage Advertising and Illustration - 0 views

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    A series of collections of advertising, posters and magazine covers from the mid-twentieth century. Some of them are a bit racy...
Kay Cunningham

Curtis Botanical - 0 views

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    Digital collection of images from tthe Curtis Botanical Magazine--one thousand forty-eight plates, plus pages of related text from the first 26 volumes.
Jason Heiser

Google Books - 0 views

shared by Jason Heiser on 25 Sep 09 - Cached
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    Life magazine on the web
Deven Black

New York: Portrait of a City - Photo Gallery - LIFE - 9 views

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    Photos of New York City from the Life Magazine collection
Ed Webb

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

  • 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.
Kendra Nielsen

Fold-Ins, Past and Present - Interactive Feature - NYTimes.com - 15 views

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    NYTimes archive of Al Jaffee's "fold-ins" for Mad magazine, from the 1960s to the present. An interesting form of media to explore!
Victoria Keech

MyAlltop - victeach71 - 1 views

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    Another way to aggregate feeds, manage online learning from news, blogs and magazines
David Korfhage

The 50th Anniversary of the Building of the Berlin Wall - SPIEGEL ONLINE - News - 4 views

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    A multimedia site from the German magazine Der Speigel, with pictures of the building of the Berlin Wall, as well as some then-and-now comparison pictures.
Javier E

A Teacher Made a Hitler Joke in the Classroom. It Tore the School Apart. - The New York... - 4 views

  • The concepts of “safe spaces” and “trigger warnings,” hotly debated on college campuses for years, are now reaching high schools too
  • the question of what high school students should be exposed to, and protected from, feels murkier in 2018. Today’s high school students are more precocious, more politically engaged, more tuned in to their gender identities and nascent sexuality. They are already flooded with uncensored, unedited information, 24 hours a day: What would a safe space even look like for a 16-year-old with an iPhone?
  • At exclusive private schools like Friends, the question is further complicated by the involvement of wealthy parents. As these schools have grown more expensive — Friends costs nearly $50,000 a year — administrators have found themselves trying to balance their own institutional values with the demands of parents who are in a sense high-paying customers. Teachers are increasingly caught between the two.
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  • The job of high school teachers is to impart knowledge and deliver measurable results, which requires finding a way to reach, and ideally even inspire, their students.
  • “How would you keep the attention of 15 teenagers and bond with them?” one Friends teacher texted me, insisting on anonymity because of a school policy that discourages teachers from speaking to the media without permission. “You MUST joke and be yourself and connect with them on their terms. It’s the only way to be good at this.”
  • Any teacher who spends three decades in the classroom, speaking extemporaneously for hours on end to a roomful of teenagers, is going to have awkward moments. Frisch might have had more of them, and they may have been a bit more awkward. But that was how he connected, and it was perhaps a way of connecting that is no longer possible. “Everybody knew this guy was off — weird behavior, quirky,” said one parent who, fearing retribution against her child, insisted on anonymity. “Maybe in the ’70s that would have been O.K., but not when you’re paying $45,000 a year in tuition.”
  • There aren’t enough seats in the historically more desirable uptown institutions — Spence, Dalton, Trinity — to meet demand; and for families who live in neighborhoods like the Village, TriBeCa or Battery Park, Friends is a much more convenient option. Friends now sees itself as a competitor to these schools, and in some respects, it has become indistinguishable from them.
  • Even before Frisch’s termination, there was a feeling among some in the Friends community — parents, teachers and especially alumni — that in its race to keep pace with a changing city, the school was losing touch with the Quaker ethos that had long distinguished it.
  • The school’s Quaker identity calls for it to be faithful to its progressive tradition, but in the new age of identity politics, it is not always easy to know what the right stance on a particular issue should be. Just a few months before the Frisch incident, some 20 parents had raised questions about the scheduled speaking engagement of a visiting scholar, Dave Zirin, a sportswriter for the Nation magazine and a Friends alumnus who had been critical of Israel in his writings. In 2012, there were heated objections to a musical performance in the meetinghouse by Gilad Atzmon, an Israel-born saxophonist and self-described “proud, self-hating Jew” who has written that Palestinians were “brutally ethnically cleansed” and suggested that if Israel starts a nuclear war with Iran, “some may be bold enough to argue that Hitler might have been right after all.” The Harvard Law School professor emeritus and noted gadfly Alan Dershowitz publicly criticized Friends — and Lauder personally — for refusing to cancel the appearance.
  • Lauder did not consider the “Heil Hitler” episode a close call. “Personally, I was appalled,” he told me. “I couldn’t imagine, even as a joke — and I grew up watching ‘Hogan’s Heroes’ — that in a class that had nothing to do with history or World War II or Nazism or teaching German language that an incident like that could happen.” I asked Lauder why he felt he needed to go so far as to fire Frisch. “One of our pledges is to make all of our students feel safe,” he replied. “And that is something that I take very, very seriously.”
  • That no one has accused Frisch of being an anti-Semite was beside the point: His invocation of the Nazi salute in a classroom full of high school students, regardless of his intentions, was enough to end his career. On today’s campus, words and symbols can be seen as a form of violence; to many people, engaging in a public debate about the nuances of their power is to tolerate their use.
  • Frisch, who first learned about the claims after his termination, denied ever having told a student to kill himself and said that he had no memory of the inappropriate touching that had been described.
  • we spoke at length about the “Heil Hitler.” Frisch said he was embarrassed, both by the fact that he had made the gesture in the first place and by his subsequent failure to recognize the seriousness of such a lapse in judgment. But he was also surprised by the school’s reaction to it. “I trusted while I was at Friends that because of my long-term commitment to the school, that as I need to change to meet the changing dynamics of the classroom, the school would help me learn and provide the support I needed to make those changes,” he told me.
  • The dynamics of the classroom are changing. These changes are partly specific to the hothouse environment of the campus in 2018. But they also connect to something much bigger. High schools have become genuinely unsafe: The “Heil Hitler” salute happened on the very same day as the Parkland massacre. And beyond the confines of the campus, a crude, violent bigotry that had long seemed part of the distant past has suddenly resurfaced, with neo-Nazis literally marching in the streets. The question now is what do we want our response to this new world to be
  • During the 12 days that he spent in limbo between his suspension and termination, Frisch, in the spirit of the Quaker commitment to reconciliation, drafted a letter of apology to his students that he was never allowed to send. Among other things, he planned to say that he was worried about the rise of anti-Semitism and that he was still learning lessons from his mistake. “You think about things like Charlottesville,” he told me. “Now, we don’t make jokes like this.”
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