This interview with Matthew Guterl, Professor of Africana Studies and American Studies, Chair of American Studies at Brown University, comprises part of The 1701 Project.
Banned books selected for removal from schools and libraries do to their social content as part of the Banned Books week digital presentation from Christina Van Amerogen's LIT2000 Class
This document summarizes a presentation about using historical fiction in a children's literature course to enhance understanding of history. It discusses examining preservice teachers' attitudes and knowledge of historical fiction and exploring research-based strategies to bring history to life in classrooms. Literature study groups were formed to read and contextualize historical fiction novels collaboratively. Surveys found that exposure to historical fiction improved knowledge of time periods and interest in incorporating such works in future teaching.
The document is a transcript of a talk given by an author to librarians about what writers want from libraries. Some key points:
1) The author discusses how physical libraries helped with research for their books by finding unexpected sources browsing closed stacks.
2) They argue physical books are still important for absorbing notes and ideas during the writing process in a way digital formats cannot replicate.
3) The author urges librarians not to move to a fully digital/closed stack system and to keep the browsing experience of physical books available.
This document contains diary reflections from Grace Farrington about a conference on literature, science, and medicine. Over four days, she discusses ideas presented at various sessions on topics like interdisciplinarity, representations of disease in literature, and the relationship between fiction and scientific concepts. She reflects on how engaging with different perspectives can challenge preconceptions while also sparking new insights.
This document provides a pathfinder to help young adults find engaging books to read. It begins by exploring what constitutes young adult literature and discusses various genres. It then offers several resources for finding award-winning and well-reviewed books, including the YALSA website and book review sites. For readers unsure of what to read next, it recommends the reader advisory database What Do I Read Next which can search and recommend similar books based on a reader's interests. The pathfinder aims to equip young readers with tools and information to discover their next enjoyable read.
The document discusses two novels, The Sense of an Ending by Julian Barnes and Midnight's Children by Salman Rushdie. Both novels feature unreliable narrators who acknowledge the imperfections of memory and how it can distort their recollections of the past. The narrators of each story, Tony in The Sense of an Ending and Saleem Sinai in Midnight's Children, try to piece together and narrate their personal histories but realize their memories contain errors and lapses. Though the novels differ in genre and cultural context, they both consciously use unreliable narration where the narrators are aware of the fallible nature of their own memories and narratives.
Defining and Valuing Children's LiteratureJohan Koren
There are differing views on what constitutes children's literature. Some define it as literature written for children, while others say it is literature that children read regardless of the intended audience. C.S. Lewis argued that the best children's stories can be enjoyed by both children and adults. Defining children's literature is difficult as views differ on whether a distinction should be made between children's and adult literature. Children's literature is valuable as it can spark children's imaginations and be their first exposure to beautifully written language.
Banned books selected for removal from schools and libraries do to their social content as part of the Banned Books week digital presentation from Christina Van Amerogen's LIT2000 Class
This document summarizes a presentation about using historical fiction in a children's literature course to enhance understanding of history. It discusses examining preservice teachers' attitudes and knowledge of historical fiction and exploring research-based strategies to bring history to life in classrooms. Literature study groups were formed to read and contextualize historical fiction novels collaboratively. Surveys found that exposure to historical fiction improved knowledge of time periods and interest in incorporating such works in future teaching.
The document is a transcript of a talk given by an author to librarians about what writers want from libraries. Some key points:
1) The author discusses how physical libraries helped with research for their books by finding unexpected sources browsing closed stacks.
2) They argue physical books are still important for absorbing notes and ideas during the writing process in a way digital formats cannot replicate.
3) The author urges librarians not to move to a fully digital/closed stack system and to keep the browsing experience of physical books available.
This document contains diary reflections from Grace Farrington about a conference on literature, science, and medicine. Over four days, she discusses ideas presented at various sessions on topics like interdisciplinarity, representations of disease in literature, and the relationship between fiction and scientific concepts. She reflects on how engaging with different perspectives can challenge preconceptions while also sparking new insights.
This document provides a pathfinder to help young adults find engaging books to read. It begins by exploring what constitutes young adult literature and discusses various genres. It then offers several resources for finding award-winning and well-reviewed books, including the YALSA website and book review sites. For readers unsure of what to read next, it recommends the reader advisory database What Do I Read Next which can search and recommend similar books based on a reader's interests. The pathfinder aims to equip young readers with tools and information to discover their next enjoyable read.
The document discusses two novels, The Sense of an Ending by Julian Barnes and Midnight's Children by Salman Rushdie. Both novels feature unreliable narrators who acknowledge the imperfections of memory and how it can distort their recollections of the past. The narrators of each story, Tony in The Sense of an Ending and Saleem Sinai in Midnight's Children, try to piece together and narrate their personal histories but realize their memories contain errors and lapses. Though the novels differ in genre and cultural context, they both consciously use unreliable narration where the narrators are aware of the fallible nature of their own memories and narratives.
Defining and Valuing Children's LiteratureJohan Koren
There are differing views on what constitutes children's literature. Some define it as literature written for children, while others say it is literature that children read regardless of the intended audience. C.S. Lewis argued that the best children's stories can be enjoyed by both children and adults. Defining children's literature is difficult as views differ on whether a distinction should be made between children's and adult literature. Children's literature is valuable as it can spark children's imaginations and be their first exposure to beautifully written language.
This document summarizes key points from Chris Meade's "if:book new media futures":
1. While book lovers see the world as book-lined, most reading actually occurs in non-traditional settings like bed, on the toilet, or on the bus.
2. Books have been displaced from prominent display in living rooms and are now more commonly found in bedrooms.
3. E-readers prove that the experience of reading happens primarily in our minds, with physical books serving as souvenirs rather than the primary medium of reading.
4. The document examines what truly matters in reading such as authorship, expression, engagement, and the relationship between readers and writers.
Popular literature that young adults are readingVishal Gaurav
Young adult literature consists of books written for people between ages 13-18, whether specifically published for that age group or written for adults but popular among teens. It covers a wide variety of topics rather than just abstract ideas, and includes many genres such as comedy, drama, romance, and satire. Reading young adult literature can influence teens' attitudes, values, and behavior by allowing them to emotionally respond to situations in stories and learn lessons about causes and consequences, though they may be less likely to rationally consider outcomes. Psychological research shows that literary narratives can transport readers and affect their real-world judgments through the experiences of characters.
Getting It Down and Out: Strategies for Museum WritingWest Muse
Stressed about writing? Does the thought of having to produce text send you into a panic? Relax! Our panel of experts makes the process of getting it down and out much easier. Bring your most vexing writing problems to this session, and we will help you find solutions. Writing well is key to any successful career, but for the museum professional, communicating clearly is essential for fulfilling your institution’s mission of informing the public.
Moderator: Susan Spero, Professor of Museum Studies, John F. Kennedy University
Presenters:
Katherine Whitney, Principle, Katherine Whitney & Associates
Lauren Valone, Program Coordinator, Western Museums Association
Chris Keledjian, Exhibitions Editor, Getty Museum
View the corresponding notes to this presentation here: http://www.westmuse.org/getting-it-down-and-out-strategies-museum-writing
This thesis analyzes the popularity and success of the first four Harry Potter books by J.K. Rowling. It examines their publication history, marketing strategies, and how they draw from different literary genres like the school story, epic/romance, and modern fantasy. The thesis argues that Rowling's unique blending of these genres through her use of morality and values contributes to the books' complexity and widespread appeal to both children and adults. It aims to understand why the Harry Potter series has become such a global phenomenon.
The document discusses definitions and characteristics of young adult (YA) literature. It provides 3 definitions: 1) Books written for teenagers dealing with issues they face, 2) Anything teens read of their own free will, and 3) Any book marketed as YA by a publisher. It also notes that YA literature typically features a teenage protagonist and explores themes of identity, relationships, and independence through a variety of genres. The document advocates analyzing literature through different "prisms" or lenses to discover its full spectrum of content and meaning.
Fan fiction has changed the literary world by creating a community where authors and readers can interact directly and instantly. It allows fans to engage with stories without judgment from outsiders. The presentation discusses how fan fiction emerged as a form of social storytelling online, with websites like Archive of Our Own and FanFiction.net facilitating the sharing of stories. It also notes that fan fiction writers are often minorities and LGBTQ+ individuals who use the genre for representation and expression.
Today's Young Adult Literature: Bridges to the ClassicsLaura Nicosia
This is a short introductory presentation made to K-12 Language Arts and English teachers during a workshop presentation June 2009 at Montclair State University. My presentation dealt with using popular YA literature as a bridge to canonical, classic literatures.
Informational and Biographical Literature: 2003 versionJohan Koren
1) Informational literature refers to nonfiction books that present factual material in an objective, report-like manner using expository text structures. These books are also known as nonfiction or reference books.
2) Awards like the Sibert Medal and Orbis Pictus honor excellence in writing high-quality informational books for children. Winning books adhere to strict criteria regarding accuracy, organization, design, and style.
3) Biographies present factual accounts of people's lives but can vary in degree of authenticity, from strictly factual accounts to fictionalized versions. Good biographies bring history to life while maintaining factual integrity.
Week 1 and week 2 what is young adult literaturebersihmin
This document discusses young adult literature, including its definition, purposes, and various genres. Young adult literature is written for readers aged 11 to 18 and focuses on their experiences, identity development, and world exploration. It can help young adults understand themselves and their place in society. The genres covered include realistic fiction, fantasy, science fiction, historical fiction, mystery, humor, poetry, and nonfiction. Character development and themes of self-discovery are particularly important aspects of young adult literature.
Creative non-fiction is a genre that uses storytelling techniques to deliver factual information in an engaging way. It requires the research skills of journalism combined with the narrative skills of fiction writing. By making information vivid and emotional, creative non-fiction aims to give readers a deeper understanding than just presenting verifiable facts. Examples show how it uses vivid language, emotions, and the reader's imagination to stimulate thought and arrive at larger truths beyond mere facts. Creative non-fiction has applications in history, travel writing, profiles, memoirs, journalism, and even business where storytelling can be persuasive.
The document introduces children's literature and defines it as reading materials chosen by adults as suitable for young readers. It notes characteristics like being simplistic, straightforward, and repetitive with happy endings. It explores different fiction and non-fiction genres used in children's literature. It discusses how readers experience literature through a transactional process where the text stimulates thoughts and ideas based on their experiences. It also discusses how transitions occur as reading skills develop and interests change genres. Finally, it outlines personal and academic benefits of literature for children like understanding human nature, encouraging open-minded thinking, and increasing language skills.
Young adult literature refers to books written for teenagers that usually have a teenage protagonist dealing with issues relevant to that age group. It is characterized by having fast-paced plots, direct dialogue, and sparse language. While YA literature encompasses a variety of genres and topics, it is generally optimistic or hopeful in tone. Evaluating diversity in YA literature requires considering elements of both uniqueness and universality.
2015 mala workshop lgbtq young adult literatureMolly Wetta
This document discusses the importance of including LGBTQ+ materials in public libraries. It begins by defining key terms related to sex, gender, and sexuality. It then explains that 1.2-5.6% of adults identify as LGBTQ+, and that many youths recognize their identity in their teens. Studies show LGBTQ+ youth often feel unsafe at school. The document argues that libraries provide a safe space for questioning teens and access to LGBTQ+ literature and resources is crucial for identity development, mental health, fostering acceptance, and ensuring this population is included rather than excluded. It provides statistics on LGBTQ+ representation in YA literature and recommends titles, genres, and resources for readers' advisory.
This document provides information about a book discussion group aimed at engaging African American, Latino, and American Indian youth. It discusses the selected books, which feature diverse characters and challenge traditional fantasy norms. The book club will take place at a library and recruit students through school visits, summer programs, and other outreach. The six books chosen provide entry points for new readers and increasingly complex plots, covering themes of cultural diversity and representation in literature.
This summary provides the key details from the document in 3 sentences:
The document describes the author's experience painting a picture of a mythical creature that led to researching the Lenape people. Through this research, the author had conversations with Lenape individuals who believed that environmentalists are "recruited by the Earth" through spiritual contact. Recalling a childhood experience in nature, the author comes to understand this concept of being influenced by nature spirits, though it is difficult to describe such mystical experiences to others.
Young adult literature refers to books written for teenage audiences that usually feature teenage protagonists dealing with common issues of adolescence such as belonging, relationships, and future plans. While traditionally focused on readers ages 12 to 18, the definition has expanded to include some books for readers as young as 10 and occasionally up to age 35. Characteristics of YA literature include fast pacing, direct dialogue, sparse language, and optimism.
The document provides guidance on selecting books for an elementary school reading program. It emphasizes developing both reading skills and reading enjoyment. A good selection should include fiction, biographies, informational books, and reference materials. Fiction books should have appealing themes, plots, characters, and illustrations appropriate for children. Biographies should accurately portray real heroes' lives, faults, and deeds. Informational books need accurate, easy to understand facts. Reference books must be usable. The overall goal is providing materials that interest and inform students while developing reading abilities.
Informational and Biographical Literature . . . and Mice!Johan Koren
This document provides an overview of informational and biographical literature for children, beginning with definitions and discussions of informational texts, nonfiction, and biography. It then examines key award criteria for informational books, such as the Sibert Medal and Orbis Pictus Award, and provides examples of award-winning titles. The document also discusses different approaches to writing biography for children and the importance of accuracy versus fictionalization.
Language and Power ReaderVictor Villanueva, Robert EddyP.docxsmile790243
Language and Power Reader
Victor Villanueva, Robert Eddy
Published by University Press of Colorado
Villanueva, V. & Eddy, R..
Language and Power Reader: Representations of Race in a Post-Racist Era.
Boulder: University Press of Colorado, 2013.
Project MUSE., https://muse.jhu.edu/.
For additional information about this book
Access provided by University of Washington @ Seattle (30 Jan 2017 18:49 GMT)
https://muse.jhu.edu/book/35046
https://muse.jhu.edu
https://muse.jhu.edu/book/35046
DOI: 10.7330/9780874219258.c018
18
r e P r e S e n t i n g A n d n e g o t i A t i n g
d i f f e r e n c e S i n t h e c o n t A c t Z o n e
Min-Zhan Lu
Questions for Pre-Reading
1. In the opening paragraph Min-Zhan Lu writes that “conflict and strug-
gle” are necessary for “any attempt to achieve multiculturalism in the
United States of today.” What do you make of the essay beginning with
this claim?
2. What do you think about Lu’s examples of “cultural tourism”? What
examples of cultural tourism come to mind from your experiences or
those of people you know?
3. How will you respond to Lu’s statement that “the freedom of the privi-
leged is oftentimes grounded in the oppression of an other”? Notice
that she didn’t write “another” but “an other.” What could she mean by
that?
4. Lu maintains that life in the contact zone “invites us to cause waves, to
ask how and why rather than just nodding politely to statements with
which we agree or disagree.” How and why do you agree and/or dis-
agree with her about how best to respond to contact zones?
Questions for Relating to Other Selections
1. Explore the writer’s claim that most people are “eager to identify with
democratic ideals such as justice, equality, and freedom for all.” Is Lu
correct that we can “mobilize . . . the moral power of American demo-
cratic ideals . . . to pressure ourselves to overcome our fear of entering
a contact zone”? How can we mobilize this moral power that repre-
sents the best that is in us all? Does Peter Lamborn Wilson, in “Against
Multiculturalism,” share any version of Lu’s trust in an idealistic demo-
cratic core to most Americans that can be mobilized for constructive
cross-cultural or cross-racial contact zone work?
2. What would a dialogue between Lu and Wilson be like, do you sup-
pose, if each were asked to review the other’s selection in this book?
232 M I N - Z H A N L U
Specifically, imagine how they would talk about and relate Lu’s “cul-
tural tourism” focus to Wilson’s rejection of multiculturalism as “hege-
monic particularism.”
Min-Zhan Lu
Min-Zhan Lu is Professor and University Scholar at the University of
Louisville. Her scholarship has focused on basic writing, the politics of
global Englishes, and multilingualism. She has written powerfully of her
birth and rearing in China, and of the three powerful women who helped
nurture, teach, and challenge her, in Shanghai Quartet: The Crossings of
Four Women of China (2001). S ...
Essays On The Holocaust. Admitting the Holocaust: Collected Essays by Lawrenc...Erin Anderson
The Holocaust - GCSE History - Marked by Teachers.com. Discussing the Holocaust. - GCSE History - Marked by Teachers.com. The holocaust - GCSE History - Marked by Teachers.com. What Can We Learn From The Holocaust? - GCSE History - Marked by .... Who was responsible for the Holocaust? - GCSE History - Marked by .... Persuasive Writing on the Holocaust - GCSE Religious Studies .... Explain the Holocaust Era In As Much Detail As Possible. - GCSE History .... My Holocaust Story - GCSE English - Marked by Teachers.com. The holocaust. - University Historical and Philosophical studies .... Why did the Holocaust Happen? - GCSE History - Marked by Teachers.com. Agency and the Holocaust: Essays in Honor of Deborah Dwork (English .... English Holocaust Review - GCSE English - Marked by Teachers.com. Admitting the Holocaust: Collected Essays by Lawrence L. Langer .... The Jewish Holocaust. - University Historical and Philosophical studies .... The Holocaust - A Literary Inspiration? - GRIN. The Holocaust - a Literary Inspiration? - GRIN. Roads to Extinction : Essays on the Holocaust by Philip Friedman (1980 .... How did the Holocaust happen, and who is responsible? - A-Level History .... What did Americans know as the Holocaust unfolded? Quite a lot, it .... What Were the Origins of the Holocaust? - The New York Times. Revealing history | ASU Now: Access, Excellence, Impact. Extended essay topics on the holocaust definition. Help cant do my essay Jewish Genocide During the Holocaust. Holocaust essay | bartleby. Writing about the holocaust, writing a narrative.
To Kill A Mockingbird Essay Questions. To Kill a Mockingbird by Harper Lee: E...Eva Bartlett
To Kill A Mockingbird Essay Questions And Answers. To Kill A Mockingbird Essay | English (Advanced) - Year 11 HSC | Thinkswap. to kill a mockingbird essay topic | Storytelling | Essays. To Kill A Mockingbird Essay – Telegraph. Essay questions for to kill a mockingbird - tryskalra.web.fc2.com. To Kill a Mockingbird Essay Question by Mark Cochran | TpT. To Kill a Mockingbird Analysis Essay by Samantha Fletcher | TpT.
This document summarizes key points from Chris Meade's "if:book new media futures":
1. While book lovers see the world as book-lined, most reading actually occurs in non-traditional settings like bed, on the toilet, or on the bus.
2. Books have been displaced from prominent display in living rooms and are now more commonly found in bedrooms.
3. E-readers prove that the experience of reading happens primarily in our minds, with physical books serving as souvenirs rather than the primary medium of reading.
4. The document examines what truly matters in reading such as authorship, expression, engagement, and the relationship between readers and writers.
Popular literature that young adults are readingVishal Gaurav
Young adult literature consists of books written for people between ages 13-18, whether specifically published for that age group or written for adults but popular among teens. It covers a wide variety of topics rather than just abstract ideas, and includes many genres such as comedy, drama, romance, and satire. Reading young adult literature can influence teens' attitudes, values, and behavior by allowing them to emotionally respond to situations in stories and learn lessons about causes and consequences, though they may be less likely to rationally consider outcomes. Psychological research shows that literary narratives can transport readers and affect their real-world judgments through the experiences of characters.
Getting It Down and Out: Strategies for Museum WritingWest Muse
Stressed about writing? Does the thought of having to produce text send you into a panic? Relax! Our panel of experts makes the process of getting it down and out much easier. Bring your most vexing writing problems to this session, and we will help you find solutions. Writing well is key to any successful career, but for the museum professional, communicating clearly is essential for fulfilling your institution’s mission of informing the public.
Moderator: Susan Spero, Professor of Museum Studies, John F. Kennedy University
Presenters:
Katherine Whitney, Principle, Katherine Whitney & Associates
Lauren Valone, Program Coordinator, Western Museums Association
Chris Keledjian, Exhibitions Editor, Getty Museum
View the corresponding notes to this presentation here: http://www.westmuse.org/getting-it-down-and-out-strategies-museum-writing
This thesis analyzes the popularity and success of the first four Harry Potter books by J.K. Rowling. It examines their publication history, marketing strategies, and how they draw from different literary genres like the school story, epic/romance, and modern fantasy. The thesis argues that Rowling's unique blending of these genres through her use of morality and values contributes to the books' complexity and widespread appeal to both children and adults. It aims to understand why the Harry Potter series has become such a global phenomenon.
The document discusses definitions and characteristics of young adult (YA) literature. It provides 3 definitions: 1) Books written for teenagers dealing with issues they face, 2) Anything teens read of their own free will, and 3) Any book marketed as YA by a publisher. It also notes that YA literature typically features a teenage protagonist and explores themes of identity, relationships, and independence through a variety of genres. The document advocates analyzing literature through different "prisms" or lenses to discover its full spectrum of content and meaning.
Fan fiction has changed the literary world by creating a community where authors and readers can interact directly and instantly. It allows fans to engage with stories without judgment from outsiders. The presentation discusses how fan fiction emerged as a form of social storytelling online, with websites like Archive of Our Own and FanFiction.net facilitating the sharing of stories. It also notes that fan fiction writers are often minorities and LGBTQ+ individuals who use the genre for representation and expression.
Today's Young Adult Literature: Bridges to the ClassicsLaura Nicosia
This is a short introductory presentation made to K-12 Language Arts and English teachers during a workshop presentation June 2009 at Montclair State University. My presentation dealt with using popular YA literature as a bridge to canonical, classic literatures.
Informational and Biographical Literature: 2003 versionJohan Koren
1) Informational literature refers to nonfiction books that present factual material in an objective, report-like manner using expository text structures. These books are also known as nonfiction or reference books.
2) Awards like the Sibert Medal and Orbis Pictus honor excellence in writing high-quality informational books for children. Winning books adhere to strict criteria regarding accuracy, organization, design, and style.
3) Biographies present factual accounts of people's lives but can vary in degree of authenticity, from strictly factual accounts to fictionalized versions. Good biographies bring history to life while maintaining factual integrity.
Week 1 and week 2 what is young adult literaturebersihmin
This document discusses young adult literature, including its definition, purposes, and various genres. Young adult literature is written for readers aged 11 to 18 and focuses on their experiences, identity development, and world exploration. It can help young adults understand themselves and their place in society. The genres covered include realistic fiction, fantasy, science fiction, historical fiction, mystery, humor, poetry, and nonfiction. Character development and themes of self-discovery are particularly important aspects of young adult literature.
Creative non-fiction is a genre that uses storytelling techniques to deliver factual information in an engaging way. It requires the research skills of journalism combined with the narrative skills of fiction writing. By making information vivid and emotional, creative non-fiction aims to give readers a deeper understanding than just presenting verifiable facts. Examples show how it uses vivid language, emotions, and the reader's imagination to stimulate thought and arrive at larger truths beyond mere facts. Creative non-fiction has applications in history, travel writing, profiles, memoirs, journalism, and even business where storytelling can be persuasive.
The document introduces children's literature and defines it as reading materials chosen by adults as suitable for young readers. It notes characteristics like being simplistic, straightforward, and repetitive with happy endings. It explores different fiction and non-fiction genres used in children's literature. It discusses how readers experience literature through a transactional process where the text stimulates thoughts and ideas based on their experiences. It also discusses how transitions occur as reading skills develop and interests change genres. Finally, it outlines personal and academic benefits of literature for children like understanding human nature, encouraging open-minded thinking, and increasing language skills.
Young adult literature refers to books written for teenagers that usually have a teenage protagonist dealing with issues relevant to that age group. It is characterized by having fast-paced plots, direct dialogue, and sparse language. While YA literature encompasses a variety of genres and topics, it is generally optimistic or hopeful in tone. Evaluating diversity in YA literature requires considering elements of both uniqueness and universality.
2015 mala workshop lgbtq young adult literatureMolly Wetta
This document discusses the importance of including LGBTQ+ materials in public libraries. It begins by defining key terms related to sex, gender, and sexuality. It then explains that 1.2-5.6% of adults identify as LGBTQ+, and that many youths recognize their identity in their teens. Studies show LGBTQ+ youth often feel unsafe at school. The document argues that libraries provide a safe space for questioning teens and access to LGBTQ+ literature and resources is crucial for identity development, mental health, fostering acceptance, and ensuring this population is included rather than excluded. It provides statistics on LGBTQ+ representation in YA literature and recommends titles, genres, and resources for readers' advisory.
This document provides information about a book discussion group aimed at engaging African American, Latino, and American Indian youth. It discusses the selected books, which feature diverse characters and challenge traditional fantasy norms. The book club will take place at a library and recruit students through school visits, summer programs, and other outreach. The six books chosen provide entry points for new readers and increasingly complex plots, covering themes of cultural diversity and representation in literature.
This summary provides the key details from the document in 3 sentences:
The document describes the author's experience painting a picture of a mythical creature that led to researching the Lenape people. Through this research, the author had conversations with Lenape individuals who believed that environmentalists are "recruited by the Earth" through spiritual contact. Recalling a childhood experience in nature, the author comes to understand this concept of being influenced by nature spirits, though it is difficult to describe such mystical experiences to others.
Young adult literature refers to books written for teenage audiences that usually feature teenage protagonists dealing with common issues of adolescence such as belonging, relationships, and future plans. While traditionally focused on readers ages 12 to 18, the definition has expanded to include some books for readers as young as 10 and occasionally up to age 35. Characteristics of YA literature include fast pacing, direct dialogue, sparse language, and optimism.
The document provides guidance on selecting books for an elementary school reading program. It emphasizes developing both reading skills and reading enjoyment. A good selection should include fiction, biographies, informational books, and reference materials. Fiction books should have appealing themes, plots, characters, and illustrations appropriate for children. Biographies should accurately portray real heroes' lives, faults, and deeds. Informational books need accurate, easy to understand facts. Reference books must be usable. The overall goal is providing materials that interest and inform students while developing reading abilities.
Informational and Biographical Literature . . . and Mice!Johan Koren
This document provides an overview of informational and biographical literature for children, beginning with definitions and discussions of informational texts, nonfiction, and biography. It then examines key award criteria for informational books, such as the Sibert Medal and Orbis Pictus Award, and provides examples of award-winning titles. The document also discusses different approaches to writing biography for children and the importance of accuracy versus fictionalization.
Language and Power ReaderVictor Villanueva, Robert EddyP.docxsmile790243
Language and Power Reader
Victor Villanueva, Robert Eddy
Published by University Press of Colorado
Villanueva, V. & Eddy, R..
Language and Power Reader: Representations of Race in a Post-Racist Era.
Boulder: University Press of Colorado, 2013.
Project MUSE., https://muse.jhu.edu/.
For additional information about this book
Access provided by University of Washington @ Seattle (30 Jan 2017 18:49 GMT)
https://muse.jhu.edu/book/35046
https://muse.jhu.edu
https://muse.jhu.edu/book/35046
DOI: 10.7330/9780874219258.c018
18
r e P r e S e n t i n g A n d n e g o t i A t i n g
d i f f e r e n c e S i n t h e c o n t A c t Z o n e
Min-Zhan Lu
Questions for Pre-Reading
1. In the opening paragraph Min-Zhan Lu writes that “conflict and strug-
gle” are necessary for “any attempt to achieve multiculturalism in the
United States of today.” What do you make of the essay beginning with
this claim?
2. What do you think about Lu’s examples of “cultural tourism”? What
examples of cultural tourism come to mind from your experiences or
those of people you know?
3. How will you respond to Lu’s statement that “the freedom of the privi-
leged is oftentimes grounded in the oppression of an other”? Notice
that she didn’t write “another” but “an other.” What could she mean by
that?
4. Lu maintains that life in the contact zone “invites us to cause waves, to
ask how and why rather than just nodding politely to statements with
which we agree or disagree.” How and why do you agree and/or dis-
agree with her about how best to respond to contact zones?
Questions for Relating to Other Selections
1. Explore the writer’s claim that most people are “eager to identify with
democratic ideals such as justice, equality, and freedom for all.” Is Lu
correct that we can “mobilize . . . the moral power of American demo-
cratic ideals . . . to pressure ourselves to overcome our fear of entering
a contact zone”? How can we mobilize this moral power that repre-
sents the best that is in us all? Does Peter Lamborn Wilson, in “Against
Multiculturalism,” share any version of Lu’s trust in an idealistic demo-
cratic core to most Americans that can be mobilized for constructive
cross-cultural or cross-racial contact zone work?
2. What would a dialogue between Lu and Wilson be like, do you sup-
pose, if each were asked to review the other’s selection in this book?
232 M I N - Z H A N L U
Specifically, imagine how they would talk about and relate Lu’s “cul-
tural tourism” focus to Wilson’s rejection of multiculturalism as “hege-
monic particularism.”
Min-Zhan Lu
Min-Zhan Lu is Professor and University Scholar at the University of
Louisville. Her scholarship has focused on basic writing, the politics of
global Englishes, and multilingualism. She has written powerfully of her
birth and rearing in China, and of the three powerful women who helped
nurture, teach, and challenge her, in Shanghai Quartet: The Crossings of
Four Women of China (2001). S ...
Essays On The Holocaust. Admitting the Holocaust: Collected Essays by Lawrenc...Erin Anderson
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Fugitive Spaces: Matthew Guterl on radical practices of history and citizenship
1. INTERVIEW
FUGITIVE SPACES
Matthew Guterl on radical practices of history and citizenship
Interview by Henry Jacob Transcribed by Meera ShoaibJuly 17, 2020
How would you describe yourself in two sentences?
I am a historian of race and nation with a particular
interest in transnational cultural history. I am also a li-
felong affiliate of Black studies programs and American
studies programs and History departments.
I have come to approach history from the transna-
tional perspective as a college student. When did
you adopt and how have you adapted your own un-
derstanding of history over the years? I had the great
fortune to find myself in a fairly innovative and avant-
garde history programme in a small state college in
South Jersey. Black, Native, and racial history were core
constituents of its curriculum; that normalized things
for me. It created a set of expectations that the profes-
sional study of history was always about race, diffe-
rence, and power.
I also had the fortune as a citizen of New Jersey to move
through its university system and end up at Rutgers,
which was then and still is a wellspring of Black history.
Even more, I arrived when David Levering Lewis started
teaching graduate students again. I worked with him
and Deborah Gray White. That continued routinizing
a history of race and power for me. After all, this was
the 1990s at Rutgers; the question of social construc-
tions of race, class, and gender was already settled law
on campus. That also created a set of possibilities, or
certainties, for me as a budding scholar.
You noted that attending Stockton and Rutgers felt
like a “fortune.” You also alluded to the strength of
your undergraduate classes as well as the brilliance
of your mentors in graduate school. What classes
throughout your schooling have stuck with you
his morning I have the pleasure to sit down with Matthew
Guterl, Professor of Africana Studies and American Studies
and Chair of American Studies at Brown University. In this
engaging conversation,Professor Guterl and I will discuss space,race,
and the task of the historian today.
T
1YALE HISTORICAL REVIEW
1701 Project
2. most? I would say two in particular at Rutgers. Those
experiences were vivid then, and they remain so now.
Deborah taught the first and David the second.
Deborah had what I have since come to see as a very
lovely teaching style. But it was hard to realize that as
a student: she tore papers to pieces. When you were
done with them — even when you’d think you'd written
something beautiful and brilliant — she dismantled it
brick by brick. That being said, you still got an A in the
class, and in your annual reviews she still said the most
amazing things about you as a student. I continue to
think of hers as a model practice. As a pedagogue, I am
as critical as the situation needs but never let it be per-
sonal. In fact, deep criticism is inherently constructive
when it’s impersonal.
David taught an extremely difficult, yearlong seminar
in African American intellectual and cultural history.
Eight students started the class but only four finished.
The four that finished would be Khalil Muhammad,
Jelani Cobb, John Aveni, and myself. David expected
that we would read four or five books a week, but none
of them were at the bookstore. Early on, Jelani, Khalil,
and I developed a book buying network. Jelani was up-
town, Khalil was in New Jersey, and I was in Queens.
We scoured the local bookstores for used copies of Cro-
non’s biography of Marcus Garvey, for example. After
getting the book, we would hustle to read it and get it to
somebody else. Whether he intended to or not, David
fostered a commitment to collaboration and friendship.
We all learned to work together in that class by sharing
the labor of finding what we needed. Remember, this
was before Jstor, let alone Amazon!
I recognize the pleasure of selecting and obtaining
a book. I relied on used book vendors to get my
summer reading after my first year at Yale. Every
weekend, I spent hours poring over recommendation
lists online before choosing my next batch. I wanted
to have my own copies because I encountered many
of these classic Latin American authors for the first
time. I divided up my research and my literature in
two separate stacks, one came from Yale Library and
the second from another person’s bookshelf.
Because I could buy these novels for $1 or $2, I got
a lot of them. Even though I loved looking at other’s
traces in the pages, I stopped getting these se-
cond-hand books. They cost $1 for a reason; they were
dusty and smelled terrible so my mom said I couldn’t
have them anymore. I still remember the joy of seeing
one of those cardboard boxes waiting for me on the
front stoop. For me, it was going into these unusual
bookstores to get them. Back in the 90s, there were still
little bookstores full of used copies in New York. These
stores were archives of possibility. All sorts of people
came into them, sparking various interesting conver-
sations. The books that you picked up often contained
somebody else's thoughts in the marginalia. In a weird
way, we entered into these fugitive spaces. We picked
up another’s vital text when they had set it aside, then
shared it among ourselves. We were in collaboration
with a larger group of readers and thinkers.
I’m going to touch on a phrase you just mentioned
from — “fugitive spaces”. How do you engage with
this phrase from Fred Moten inside and outside of
your scholarship? Drawing on Moten’s work, I think
about fugitivity as a scholarly practice. But I also try
to broaden the concept beyond what Moten describes.
The attention that we pay to fugitivity is a necessary
In addition to many fellowships, Guterl
received the Mary C. Turpie Prize in 2010 for
distinguished teaching, service, and program
development in American Studies.
Photo courtesy of Matthew Guterl
“You must recognize
when you enter
a space that's off
center, off balance,
out of the limelight,
and contains
subversive or radical
possibility.”
ON THE NEXT PAGE
2 MATTHEW GUTERL
3.
4. precondition to be an alert and alive citizen in the wor-
ld. You must recognize when you enter a space that's
off center, off balance, out of the limelight, and contains
subversive or radical possibility. This is what it means to
be citizens in the best, global, most compassionate sense
of the term. A person must notice when and where you
enter and leave these spaces, and also what power they
contain for others in them.
I would like to transition to your work on hotels.
Upon a cursory glance, the hotel might seem an odd
subject for you to explore. But as your comments de-
monstrate, studying these “off center” places such as
the hotel complements your research on American
identity. How would you place Hotel Life in relation
to your other works? That book originated out of my
lifelong friendship with Caroline Levander, a scholar of
literature and humanities at Rice. We planned to col-
laborate on a project related to 19th century travel to
the Caribbean. But we could not get it off the ground at
all. Eventually, we decided to focus on something that
neither of us had any expertise in and develop a third
space of scholarly knowledge.
We struggled for a year, unable to decide what we mi-
ght write about. We agreed to meet at the Hotel ZaZa
when I went to Houston for a conference. While sitting
in the lobby, we started talking about space. At some
point, Caroline said we should write a book about ho-
tels — that idea stuck. We started listing all the different
functions and spaces of the hotel. We discussed how the
hotel works to keep itself hidden, how it contains radi-
cal as well as conservative possibilities.
It turns out there's a very rich literature, much of it trade
literature, on the function of the hotel. By design, the
hotel is divided up into public and private space. You
can do whatever you want to in the private domicile of
the bedroom. We took about a year and a half to write
the book — and we completed every chapter by email.
This was a very personal project for me, not an anodyne
careerist publication. Even more, it has been great to
think not only about what the hotel is, but also what we
could do in that third space after completing this book.
When I opened Hotel Life, one name came to mind:
Foucault. How is this work in conversation with his
writings on the genealogy of disciplinary institu-
tions? At the beginning, we wanted to do for hotels
what Foucault did for prisons in Discipline and Punish.
That being said, we weren’t as keen to cover historical
terrain. We weren’t interested in what came before the
hotel, but instead in what came after. Unlike Foucault,
who very brilliantly uses case studies to condense his
arguments, we analyzed an institution whose very na-
ture is chimerical. The hotel, unlike the prison, has no
singular purpose. It tries to be whatever its guest wants
it to be. The hotel occupies a dissonant place in the
history of modern institutions. We wanted to exploit
this so we used a different scope. Instead of covering a
historical arc, we provided a core sample of the major
contemporary meanings of the hotel — the hotel as a
radical fugitive space, as a heterodystopia, as a horrific
space.
You published Hotel Life in 2015. Do you plan to write
a sequel? We believe that we will but don’t know when
we’ll do it. Our next project — which is still in its early
stages — started with Michael Jackson’s Neverland. We
started thinking about the notion of the American es-
tate, and this aristocratic notion of space in a country
that pretends to be a democracy. Think of mansions like
the Biltmore Estate. What is this royalist pretension,
where does it come from, and why does it stick with us?
While I was travelling in March for a conference, I re-
member marveling at the view of Austin from my ho-
tel room. I saw the stages of gentrification before me;
skyscrapers stood to my left and then in front of me
lay an imposing but uncompleted building filled with
4 MATTHEW GUTERL
“We’re not
talking about
memorialization per
se,but the vainglorious
symbolization of a
politically contentious
figure.”
5. construction workers and machines. Do you hold
onto any impressions of urban architecture from
your pre-quarantine travels? We went to the Highline
in New York City in late February. It’s fascinating — the
Simone Leigh sculpture was up at the north end right
underneath Hudson Yards. I remember looking at the
scale of Hudson Yards above us while trying to make
sense of why Leigh’s work was there. Hudson Yards, if
anything, is a vulgar, gross, giant thing. It’s beautiful and
awe-inspiring — it looks like science fiction — but it’s
just so enormous. It humiliates you. It obliterates your
ability to see anything else.
Let’s pause on the idea of obliteration. Like Hudson
Yards, monuments impose themselves upon viewers.
But monuments do not just overwhelm viewers be-
cause of their size; they articulate a certain — perhaps
contested — interpretation of the past. Quite literally,
monuments elevate a figure above the general public.
You’re up on a plinth, you’re on top of a column, you are
in white marble or bronze. You’re indestructible, hard,
and elevated. The very nature of their construction
lends to a very formulaic reading of what they project.
Monuments that take this up intentionally — and try to
square the politics symbolism of the image — often are
the ones that seem most garish. For example, the Teddy
Roosevelt statue outside the American Museum of Na-
tural History — which is soon to be removed — isn’t a
statute of Roosevelt alone. It’s a statue of him in relation,
and those relationships reveal a deeper argument. The
same is true of Mount Rushmore: those foreheads are
carved into a Native mountain for a reason. We’re not
talking about memorialization per se, but the vainglo-
rious symbolization of a politically contentious figure.
For me, the work of history isn’t about seeing something
in its natural, presumably divine, public manifestation.
It's not going to bother me to take a source off its plinth
and go into a basement, or even a garage. If all I have is
a photograph, that’s fine. Historians are trained to make
this sort of work come to life and recover things that are
lost. I don’t need the statue of Jeb Stewart or Robert E.
Lee in a public square in order to write about it.
At the end of The Inquisitor as Anthropologist, Carlo
Ginzburg suggests we as historians could learn from
inquisitors and anthropologists as we interpret ar-
chives. How do you approach the archive? Usually you
confront a bureaucracy that has expropriated the mate-
rial of your work, and has indexed it in some particular
way. As a historian, you push against the weight of that
organization to obtain sources.
Historians have used many metaphors to describe
their profession — archeologist, detective, etc. What
do you consider yourself? I had an odd, almost child-
like interest in the historian as a detective because I read
Robin Winks as an undergraduate. The ritualistic order
of police procedures and detective fiction fascinate me
and many of the historians I know. I think there’s so-
mething about the narrative structure of detective fic-
tion that allows for the reveal at the end, and the slow
build towards it, that mimics the way good historians
write about things. You don’t give it all away in the first
chapter: otherwise no one would read it.
I would also compare the historian to the writer, or
the novelist. You don’t time-travel back into someone’s
house and see the way things are laid out on their desk.
You’ve got to do that work in your head, which requires
creativity and innovation. In the last ten years, I’ve read
a lot of Black speculative fiction, about which I teach
a course. This helps me to get out of the groove I’m in,
and it recalibrates my expectations for the materials I
encounter.
This ties back to the beginning of our conversation
about fugitive spaces. How do these works of specu-
lative fiction provide radical visions of citizenship?
We read Kindred two weeks before students had to pack
up and leave in March. Kindred is about someone who
is relentlessly prepared. She’s a list-maker. When she’s
confronted with this strange time travel that happens
without explanation, she packs a bag, thinks about
what should go into the bag while exploring the rules
of time travel. We talked a lot about that as a model —
it’s almost a Black speculative Boy Scout tradition. That
conversation was good for everyone — the world is an
uneven place, and it’s more uneven for many people
than for me.
5YALE HISTORICAL REVIEW