This Anne Frank unit is designed with several lessons of various lengths. …
This Anne Frank unit is designed with several lessons of various lengths. These lessons are usable in many different disciplines. Using one, several, or all of the lessons will address the unit's objectives to some degree. Students will accomplish some or all of the objectives depending on the number and nature of the lessons in which they participate.
This series of lessons provides an overview of what is a postage …
This series of lessons provides an overview of what is a postage stamp and its history within Canada. Students then learn about the life and art of the Alberta artist Annora Brown. Nearly 200 of her wildflower paintings are held by the Glenbow Museum in Calgary.Once students know more about stamps and the art of Annora Brown, they may create their own postage stamps. Secondly, they learn about writing persuasive letters and are asked to write to the Canada Post Office requesting a series of stamps based on the wildflower paintings of Annora Brown.
Sample template for creating a guidance document for educators visiting a particular …
Sample template for creating a guidance document for educators visiting a particular website or playlist in the Arts. Remix and edit this resource to suit.
The conservator’s eye: Anselm Kiefer, Bohemia Lies by the Sea, 1996, oil, …
The conservator’s eye: Anselm Kiefer, Bohemia Lies by the Sea, 1996, oil, emulsion, shellac, charcoal, and powdered paint on burlap, 75 1/4 in. × 18 ft. 5 inches / 191.1 × 561.3 cm (The Metropolitan Museum of Art). Speakers: Corey D'Augustine and Steven Zucker.
Video by San Francisco Museum of Modern Art. Surrounded by his paintings …
Video by San Francisco Museum of Modern Art. Surrounded by his paintings in SFMOMA’s galleries, German artist Anselm Kiefer describes the challenges and significance of exploring the past in his work. He highlights the subjective, emotional nature of both history and art. Created by Smarthistory.
Video by SFMOMA. German painter and sculptor Anselm Kiefer discusses the meanings …
Video by SFMOMA. German painter and sculptor Anselm Kiefer discusses the meanings behind some of his favorite materials, including straw, cow manure, and lead. He describes how he strives for fluidity and malleability in his work, though conservation can be a challenge. Created by Smarthistory.
Today we are introducing a new area of philosophy – philosophy of …
Today we are introducing a new area of philosophy – philosophy of religion. We are starting this unit off with Anselm’s argument for God’s existence, while also considering objections to that argument.
By engaging with this resource which presents texts by diverse world writers …
By engaging with this resource which presents texts by diverse world writers from 1650 to the present, learners will: (1) engage with diverse world writers in translation, including canonical and less canonical texts, and (2) identify literary conventions and trends across genres. The texts are in chronological order, but can be adapted by the faculty in whatever way they see fit. Each text is introduced with a brief discussion of author, original language and time period, and the literary conventions the students can expect to see in the text.
Nine-year old Anthony is proud of his history, culture, and family tradition …
Nine-year old Anthony is proud of his history, culture, and family tradition of Mexican rodeo-style roping and riding. He also enjoys various aspects of his modern life such as school, basketball, friendships, swimming, and exploring.
This class examines how anthropology and speculative fiction (SF) each explore ideas …
This class examines how anthropology and speculative fiction (SF) each explore ideas about culture and society, technology, morality, and life in “other” worlds. We investigate this convergence of interest through analysis of SF in print, film, and other media. Concepts include traditional and contemporary anthropological topics, including first contact; gift exchange; gender, marriage, and kinship; law, morality, and cultural relativism; religion; race and embodiment; politics, violence, and war; medicine, healing, and consciousness; technology and environment. Thematic questions addressed in the class include: what is an alien? What is “the human”? Could SF be possible without anthropology?
This course applies the tools of anthropology to examine biology in the …
This course applies the tools of anthropology to examine biology in the age of genomics, biotechnological enterprise, biodiversity conservation, pharmaceutical bioprospecting, and synthetic biology. It examines such social concerns such as bioterrorism, genetic modification, and cloning. It offers an anthropological inquiry into how the substances and explanations of biology—ecological, organismic, cellular, molecular, genetic, informatic—are changing. It examines such artifacts as cell lines, biodiversity databases, and artificial life models, and using primary sources in biology, social studies of the life sciences, and literary and cinematic materials, and asks how we might answer Erwin Schrodinger’s 1944 question, “What Is Life?” today.
This course applies the tools of anthropology to examine biology in the …
This course applies the tools of anthropology to examine biology in the age of genomics, biotechnological enterprise, biodiversity conservation, pharmaceutical bioprospecting, and synthetic biology. It examines such social concerns such as bioterrorism, genetic modification, and cloning. It offers an anthropological inquiry into how the substances and explanations of biology—ecological, organismic, cellular, molecular, genetic, informatic—are changing. It examines such artifacts as cell lines, biodiversity databases, and artificial life models, and using primary sources in biology, social studies of the life sciences, and literary and cinematic materials, and asks how we might answer Erwin Schrodinger’s 1944 question, “What Is Life?” today.
This course explores a range of contemporary scholarship oriented to the study …
This course explores a range of contemporary scholarship oriented to the study of ‘cybercultures,’ with a focus on research inspired by ethnographic and more broadly anthropological perspectives. Taking anthropology as a resource for cultural critique, the course will be organized through a set of readings chosen to illustrate central topics concerning the cultural and material practices that comprise digital technologies. We’ll examine social histories of automata and automation; the trope of the ‘cyber’ and its origins in the emergence of cybernetics during the last century; cybergeographies and politics; robots, agents and humanlike machines; bioinformatics and artificial life; online sociality and the cyborg imaginary; ubiquitous and mobile computing; ethnographies of research and development; and geeks, gamers and hacktivists. We’ll close by considering the implications for all of these topics of emerging reconceptualizations of sociomaterial relations, informed by feminist science and technology studies.
This class examines the ways humans experience the realm of sound and …
This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples — sound art, environmental recordings, music — will be provided and invited throughout the term.
This class has been reorganized to focus primarily on the War in …
This class has been reorganized to focus primarily on the War in Iraq. As in previous years, the class still examines war in cross-cultural perspective, asking whether war is intrinsic to human nature, what causes war, how particular cultural experiences of war differ, and how war has affected American culture.
This course examines traditional performances of the Arabic-speaking populations of the Middle …
This course examines traditional performances of the Arabic-speaking populations of the Middle East and North Africa. Starting with the history of the ways in which the West has discovered, translated and written about the Orient, we will consider how power and politics play roles in the production of culture, narrative and performance. This approach assumes that performance, verbal art, and oral literature lend themselves to spontaneous adaptation and to oblique expression of ideas and opinions whose utterance would otherwise be censorable or disruptive. In particular we will be concerned with the way traditional performance practices are affected by and respond to the consequences of modernization. Topics include oral epic performance, sacred narrative, Koranic chant performance, the folktale, solo performance, cultural production and resistance.
This curriculum unit seeks to broaden the repertoire and pedagogical techniques utilized …
This curriculum unit seeks to broaden the repertoire and pedagogical techniques utilized in directing middle school orchestra. It aims to do this by rethinking dominant pedagogical approaches, and reexamining which narratives are presented in the classroom and for what purpose. If the curriculum is successful, it will firstly help the teacher include counter-narratives in instruction in a seamless manner and provide a framework for restructuring instruction moving forward. In that way, this is not really a curricular unit as much as a way to rethink what, how and why we teach a performance class like orchestra. By introducing counter-narratives, the teacher reaches and motivates a more diverse student body and opens doors to dialog with students about history in a way that would not be possible without the inclusion of counter-narratives. This curriculum also encourages a different approach for teaching basics like rhythm decoding using the South Indian syllabic system called solkattu. When we present culturally diverse solutions to teaching the basics of music performance, we expand our students’ awareness of the world and offer them different ways of solving a problem. The curriculum also presents ways to structure orchestral rehearsals in a more collaborative way which not only encourages trust and teamwork between students, but also gives them agency over the final performance of the material. As a culmination of the curriculum, the final unit includes five original arrangements for the middle school orchestra, including a score with all parts and files related to each arrangement. The five pieces include two Civil Rights era anthems, a spiritual from the Bahamas, a South African Zulu folksong, and a popular song of community/fellowship. The teaching of all these pieces will ultimately help to present counter-narratives, open dialog, and develop trust and a sense of personal investment while broadening the repertoire of the orchestra.
Today we explore what obligations we hold with our personal beliefs. Hank …
Today we explore what obligations we hold with our personal beliefs. Hank explains epistemic responsibility and the issues it raises with everything from religious belief, to ship owning, to vaccinations.
Short Description: Written by Sophocles circa 441 BC, Antigone is an Athenian …
Short Description: Written by Sophocles circa 441 BC, Antigone is an Athenian tragedy. Of the three Theban plays, Antigone is the third in order of the events depicted in the plays, but was the first to be written. The reading order of the Theban plays is: Oedipus Rex, followed by Oedipus at Colonus and ending with Antigone.
Long Description: Written by Sophocles circa 441 BC, Antigone is an Athenian tragedy. Of the three Theban plays, Antigone is the third in order of the events depicted in the plays, but was the first to be written. The reading order of the Theban plays is: Oedipus Rex, followed by Oedipus at Colonus and ending with Antigone.
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