History the Aggressor

gilbert-personalistphilosophyofhistoryFrom the recipient’s point of view, the past is intrusive. It can be soothing, but not for very long and only at the cost of ignoring its terrible misery and destruction. The history that presents us these quandaries is not merely a propaedeutic to metaphysics. We find that it is history the aggressor. Apart from our fantasies about history, we fight history. We fight over it, and we fight against its influence. In order to be inspired by it—that is, by what past actors have done—we have to fight a way through the difficulties of temporal distance, through the complexities of their circumstances, and through feelings about our own freedom or independence. In this sense, historical experience, whether it comes from disciplinary research or from other ways of engagement, is a battle. And, in turn, by battling with the past we intrude into it. Aggressor history rouses our counter-attack strategy of intrusion into the past. As much as we ‘love’ and enjoy history, it is absolutely necessary to realize that we fight its awful burden. It attacks with its puzzles and invades with its unending causality; we defend with research or data, we counter-attack with theory. The motive for those who hate history and reject the past is deep down close to the motive for those who study and cultivate it.

— Bennett Gilbert, A Personalist Philosophy of History (London and New York: Routledge, 2019), 28

The Power of PowerPoint

As you may recall, I’m a defender of PowerPoint, rightly used. Today I came across a highly entertaining classroom video from Tom Wildenhain, a computer science student at Carnegie Mellon, demonstrating just how much is happening underneath the hood of this program (with hints that there’s more to learn).

Great Impractical Ideas in Computer Science: PowerPoint Programming

Wildenhain’s lecture includes some theory for those who are interested, but mostly it comprises a series of captivating demonstrations, including one where an audience member asks a question that prompts a brand-new discovery. The video is 52 minutes long, and it’s simply charming. (via)

How Did You Learn to Tell Stories in the Classroom?

storyteller-tiepolo

This semester marks seven years since I taught the first college course of “my own”—being solely responsible for writing the syllabus, choosing all the readings, designing all the assignments, and planning all the lectures and activities. I was hired at the last minute. On the first day of class, I didn’t even have password access to the classroom computer yet. The bookstore was still selling my students books that somebody else had chosen, which I didn’t intend to use and didn’t have copies of anyway. I don’t think my university email address had been activated.

I’m not absolutely sure, though, because at this point, I barely remember anything about that semester except a general feeling of panic.

What I do know is that one of my biggest challenges was simply learning to narrate history in the classroom. This was crucial because—in a single-semester U.S. history survey course—my students wouldn’t have a traditional textbook to carry that burden outside of class. (And The American Yawp had yet to be written.) The course’s narrative of U.S. history, all of it, both in the overall course arc and in each topic we covered, had to subsist in whatever I could accomplish in the classroom or through short readings scavenged from different sources and posted online.

I had a fair amount of teaching experience, but almost nothing of that nature. I had never been a gifted storyteller in person. (Not even close!) And to my recollection, despite a fair amount of pedagogical development in graduate school, I had never been provided with any specific instruction or advice relevant to this situation.

That first course … probably wasn’t great.

Even if my last-minute hiring made the need unusually acute, I don’t think my situation then was unique. I can’t speak as much to the experiences of primary- or secondary-level educators, but my sense is that in college, many people trained to teach history (or trained in the many other academic disciplines that also teach historical topics) never get any training in the basic task of building a historical narrative in the classroom until they show up in their own classroom for the first time.

But I want to check whether my intuition is right.

If you’re willing to leave a generous comment on this post (or email me if you need to communicate privately), I’d like to know what your experiences have been as a teacher (primary, secondary, college, university, whatever)—in history or any other field where the need comes up.

  • Did you have any formal training in how to build a historical narrative in the classroom?
  • Is this a problem you’re still trying to solve for yourself?
  • Have you found any instruction books, online courses, etc., helpful?
  • What aspects of storytelling or narrative-focused course organization have been the most challenging for you?
  • If you are a naturally gifted storyteller, have you faced any challenges bringing this skill into an academic setting?

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Image: Detail from Giovanni Domenico Tiepolo, The Storyteller, 1770s. Blanton Museum of Art, Austin, Texas; via Wikimedia Commons. Public domain.

Do Humanities Teachers Know How to Deradicalize Students?

carus-memoriesofrome-1839

This week, the Guardian and the BBC claimed to have uncovered the identity of an apparent neo-Nazi who may be responsible for some recent alleged terrorist plots inside the United States.

For my purposes, what’s most interesting is the Philadelphia Inquirer‘s report that this man attended an elite boys-only Catholic preparatory school (which offers a traditional college-preparatory liberal arts curriculum to help the young man develop the knowledge, skills, integrity, and sensitivity that distinguishes a self-renewing educated person“). Then he went on to study philosophy at Villanova University, another Catholic institution near Philadelphia. He apparently attended Villanova for three years and left without graduating, though a lot of things about his background are unclear.

I have no independent information about this story, and I’m approaching it with caution. Some aspects of the reporting are confusing and raise the possibility that things aren’t what they seem. However, other aspects of this story seem stereotypically consistent with other recent stories about the extreme rightincluding the man’s background in the humanities.

That’s what I want to focus on.

Continue reading “Do Humanities Teachers Know How to Deradicalize Students?”

American Narratives and Identities: A Primary Source Activity

For my new introductory course in American studies, which began last week, I wanted to explain the concept of American cultural narratives—a term fundamental to my framing of the course—through a discussion activity rather than a lecture. So for our second class meeting, I prepared a slate of four primary sources for us to examine together.

I wanted this discussion activity to establish (or begin establishing) several ideas at once:

  • Concepts of American national identity take the form of shared narratives.
  • Narratives of national identity and of personal identity are interrelated.
  • Contrasting, even contradictory, narratives of American identity are nothing new.
  • Narratives can be read in sources that do not appear to take the form of a story.

To make my argument for these ideas—or ideally to help my students make the argument on their own—I combined a simple slideshow of images and a stack of photocopy handouts. I entitled the slideshow “The Stories We Tell: Setting an Agenda for Study.”

In class, to set a scene, I explained that we were going to be visiting the era of the American Revolution today. In some cases, we would be focusing on the region around Philadelphia, the new (sometime) national capital, which also happens to be the city in which our course is happening in 2020.

Source 1: Winthrop Chandler, Homestead of General Timothy Ruggles, 1770

I wanted to begin with a source that might shake up preconceptions a bit, and which would require virtually no background historical knowledge.

Continue reading “American Narratives and Identities: A Primary Source Activity”

Bleak Midwinter

beatabeatrix

Sunday night, the last of my grades went in, ending my autumn semester.

Back in September, I confessed to having a sense of slow-motion failure in these courses. That sense never disappeared. The semester had so many missed opportunities.

It had far worse evils, too. A young undergraduate on the same sports team as several of my students died the day before final exams began. At my other campus, a series of three student deaths by suicide made national news; one student died on the day after Thanksgiving. (As far as I know, my classes were not directly affected, but the news cast a shadow over the last weeks of the term.) One of my friends lost a grad-school friend to suicide.

And on December 12, another friend of mine, a professor only ten years older than I am, who had lived near me in Scranton, died of cancer. The end came just a few months after an apparent remission. It was not, if there is any such thing, an easy death. The news still hasn’t set in properly; I don’t quite understand what happened, and I’m not sure I ever will.

Continue reading “Bleak Midwinter”

Finding Good History Books: A Rough and Incomplete Guide for the Perplexed

a view of a bookstore sales area through a glass window

A friend recently asked me to recommend good history books for listening (on Audible). She’s outside of academia—a curious reader and homeschooling mother who has enough experience to be suspicious of what passes for history on the U.S. popular market. (“Perhaps what I also need,” she added, “is a list of which ‘historians’ not to read.”)

I thought it might be good—especially as the holiday season approaches—to expand on the advice I gave my friend, in hopes of helping other cautious readers, at least in the United States. Instead of naming specific titles or authors, I’ll recommend a method for doing research on one’s own.

Now, my recommendations are flawed at the outset. They’re flawed, first, because they are very conservative—if not in a political sense, then in the sense of playing things safe. You probably won’t find the most penetrating or controversial new interpretations of historical topics this way; my goal is to make it easy to identify books with mainstream recognition and wide respect among historians. These recommendations are also flawed because, quite frankly, there are countless magnificent works of history you’ll never find this way. And they’re flawed because they’re my recommendations, and other historians will give you different advice based on their experiences … and they’ll be right.

But I still think it’s worth offering this advice, if only because it’s advice I would have loved to have when I was a teenager sitting in a small-town public library, trying to figure out how to start studying history as an adult.

Continue reading “Finding Good History Books: A Rough and Incomplete Guide for the Perplexed”

The Keys of the Educated

A humble mind, eagerness to inquire, a quiet life, silent scrutiny, poverty, a foreign soil. These, for many, unlock the hidden places of learning.

—attr. Bernard of Chartres (11th-12th cen.)

This seems to have been a common saying in twelfth-century French university life. It is quoted in several places, including:

Hugh of St. Victor, The Didascalicon: A Medieval Guide to the Arts, trans. Jerome Taylor (New York and London: Columbia University Press, 1961), 94, cf. 214n61.

Confession from a Time of Haste

whiterabbit-johntenniel-1890-detail

I can’t speak for my students, but this is a rough point in the semester for me. We’re deep enough into the autumn that the start-of-term excitement is over in all my courses. But we’re not far enough into the semester that any of the provocative large-scale arguments I’m making have come together yet. I haven’t seen many epiphanies in class.

Moreover, with two new preps outside my areas of specialty (for a total of four different courses), I don’t have much time for the routine preparation work that makes the most familiar courses run smoothly. Covering topics I should know very well, I’ve caught myself making sloppy errors, losing my train of thought in class, framing content in ineffective ways, and running out of time to cover everything I’ve promised. I’ve even called students by the wrong names and forgotten which homework readings I’ve assigned them.

The students whom I suspect this hurts the most are those undergraduates in my introductory survey courses who are the least knowledgeable or emotionally invested in history. This semester is not going to be one of my best, I think, where they are concerned. That makes me deeply ashamed.

I have been through such moments before, however, and I know this one will pass. Many students will do well. (Actually, I think very highly of my students this semester, though I usually say that.) And the confusion and angst I’m feeling are a sign of growth. They reflect time spent on new subjects and skills, and in some cases, they also reflect the risks I’ve taken in trying new approaches with uncertain results.

I’m recording this not to complain (or to parade my shortcomings before an audience), but to remember. I want to write down that this is part of teaching, too.

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Image:  Detail of John Tenniel, “The White Rabbit,” illustration in Lewis Carroll, The Nursery Alice (London: Macmillan & Co., 1890), courtesy of the British Library. Public domain.

 

Narrative Methods: Finding Suspense Points

Henri Augustin Gambard, La maladie d'Alexandre, 1846. Public domain. La Salle University Art Museum.

When I started teaching history, I had to figure out quickly how to turn narrative-shaped factual information into interesting true stories for the classroom. One of the most powerful tools I discovered was what (borrowing a term from other disciplines) I’ll call the pregnant moment: a mental scene that sums up action or change in an ambiguous way, allowing the student’s imagination to roam while impelling the student to reckon with the implied before-and-after of the scene.

Pregnant moments not only build suspense into the narrative structure of a lesson. They also provide rich opportunities for embedding active learning in a lecture, since they let you invite students into a scene to talk together about the possibilities it implies.

Sometimes you can create this kind of suspenseful moment just by setting a scene in a general way—by inviting students to imagine themselves, for example, as members of a community who have just encountered a strange invader or whose lives are about to be transformed by a new technology or idea, and asking them to talk through what’s likely to happen next.

But it can be especially effective to use primary sources to create a pregnant moment for students based on a more specific interlude in human experience.

Continue reading “Narrative Methods: Finding Suspense Points”