Documente Academic
Documente Profesional
Documente Cultură
Course
Description
This
graduate
seminar
considers
some
of
the
big
questions
in
the
public
humanities,
providing
a
background
that
will
help
students
understand
the
choices
made
in
preserving,
interpreting,
and
presenting
art,
history
and
culture.
We
address
these
issues
by
reading
theory
and
discussing
case
studies
to
see
how
theory
plays
out
in
practice,
and
by
considering
contemporary
projects
in
the
light
of
both
theory
and
historical
examples.
The
course
is
organized
into
four
parts.
Part
1
addresses
the
idea
of
the
public.
Who
are
the
publics
in
public
humanities?
What
is
the
relationship
that
we,
as
professionals,
should
have
with
them?
How
might
we
best
work
with
them?
Part
2
considers
the
subject
of
much
of
our
work:
the
other;
what
is
our
relationship
with
the
objects
of
our
interpretations?
Part
3
focuses
one
kind
of
other:
the
past.
How
does
society
decide
whats
worth
remembering?
What
role
do
we,
as
public
humanities
professionals,
play
in
shaping,
sharing,
and
interpreting
public
memories?
And
finally,
we
end
the
course
by
considering
ourselves,
the
experts.
What
is
the
nature
of
public
humanities
work?
How
does
the
work
we
do
shape
us?
How
the
course
works:
theres
a
book,
or
several
articles,
to
read
each
week.
You
should
also
keep
up
with
contemporary
writing
on
the
web
and
in
popular
and
professional
media.
In
each
class,
well
discuss
the
reading,
and
consider
contemporary
issues
that
raise
some
of
the
same
questions.
The
point
of
this
course
is
not
to
critique
the
literature,
but
to
learn
from
it.
Our
goal
is
to
understand
the
issues
in
working
with
culture,
and
with
the
public.
As
you
read,
and
in
class
discussions,
try
to
come
up
with
a
set
of
rules,
concerns,
techniques,
and
considerations
for
public
humanities
work.
How
might
what
we
read
be
applied
to
exhibits,
collections,
performance,
in
preserving
the
build
environment,
and
interpreting
the
world
around
us?
How
do
these
authors,
and
the
public
and
professionals
they
write
about,
think
about
culture,
the
public,
the
past,
and
the
institutions
in
which
they
work?
Course
Prerequisites
This
course
is
designed
for
graduate
students
interested
in
work
in
public
humanities
institutions.
Course
policies
Attendance:
Please
try
to
attend
every
class,
but
if
there
are
other
engagements
at
class
time
that
will
also
be
useful
to
your
education
and
professional
development,
its
up
to
you
to
make
the
call
on
which
is
more
likely
to
be
valuable.
Please
let
me
know
if
youre
not
able
to
make
the
class.
Participation:
The
class
only
works
if
you
participate.
Please
read
the
readings,
read
further
in
areas
of
interest,
write
on
the
blog
and
on
Twitter,
and
come
to
class
prepared
to
discuss
what
youve
read
and
thought
about.
Participation
is
evaluated
by
the
quality
of
your
comments:
Im
interested
not
so
much
in
critique,
or
your
opinions
of
the
readings,
as
in
what
useful
approaches
and
techniques
you
can
gain
from
them.
Be
constructive:
refer
to
the
readings,
present
new
information
from
your
experience
and
from
outside
readings,
and
suggest
new
ideas.
Participation
should
be
a
dialog,
building
on
my
remarks,
and
other
students
contributions,
as
part
of
a
conversation.
You
should
speak
up
when
you
have
something
to
say;
in
general,
that
should
be
more
than
once
in
each
class.
Continue
the
conversation
beyond
class,
through
Twitter
or
other
social
media
Late
work
and
make
up:
I
would
rather
see
an
excellent
paper
than
a
less-good
one
turned
in
on
time.
Exceptions
are
when
we
are
working
with
an
outside
organization
or
on
group
projects:
in
those
cases,
meeting
deadlines
is
essential.
As
long
as
you
turn
in
all
of
your
work
by
the
end
of
the
course
youll
get
credit
for
it.
Im
happy
to
read
preliminary
drafts
of
any
assignment,
or
a
second,
improved,
version.
And
email
or
come
talk
to
me
if
youd
like
to
discuss
your
assignments
as
youre
working
on
them,
or
after
youve
turned
them
in.
Field
trips:
Plan
to
attend
the
trip
to
New
York
City
November
20.
Student
responsibilities
Reading
Read
assigned
work.
Note:
Read
strategically,
to
get
what
you
need
out
of
the
book.
On
how
to
read
for
graduate
seminars
see,
for
example,
Miriam
Sweeneys
or
Larry
Cebulas
blog
posts.
Read,
throughout
the
semester,
newspapers,
journals
and
websites
that
address
issues
related
to
the
class,
for
example,
the
New
York
Times,
Art
in
America,
Artsjournal.com,
Museum
News,
The
Public
Historian,
CRM,
http://www.aamd.org,
http://futureofmuseums.blogspot.com/,
http://publichistorycommons.org/,
http://museumanthropology.blogspot.com/,
or
www.artsjournal.com/culturegrrl/.
Browse
the
books
in
the
Center
for
Public
Humanities
library.
You
should
also
follow
and
browse
my
blog
and
the
Center
for
Public
Humanities
blog
occasionally.
Follow
appropriate
Twitter
feeds.
Keeping
up
with
the
literature,
online
and
in
print,
is
a
professional
responsibility.
Participate
in
class
discussion.
Good
discussion
requires
everyone
to
contribute.
Come
to
class
prepared
with
interesting
things
to
say.
Listen
to
what
other
students
say.
Build
on
whats
been
said
before.
Participate in out-of-class discussion, online. Post links and comments on Twitter, using the hashtag
#amst2650.
Note
interesting
bits
in
the
class
reading.
Call
our
attention
to
events,
exhibits,
programs,
and
writings
that
you
think
will
be
of
interest.
On
twitter,
follow
@lubar,
@publichumans,
and
others
in
the
class.
Interview
with
a
graduate
of
the
Public
Humanities
program
(10
percent
of
grade)
Interview
an
alumnus/alumna
of
the
public
humanities
program
about
life
after
the
M.A.
The
interview
should
focus
on
the
work
that
individual
now
does
and
how
it
relates
to
the
larger
field
of
public
humanities.
You
can
present
your
interview
in
whatever
way
you
like:
a
short
essay,
a
photo
essay,
or
an
audio,
video,
or
multimedia
presentation
suitable
for
posting
on
the
Centers
website.
Draft
due
October
8,
final
product
due
October
22.
Submit
via
Canvas.
Blog
writing
assignments
(20
percent
of
grade)
By
Tuesday
before
each
class,
post
to
the
blog
(http://blogs.brown.edu/amst-2650-s01/)
a
short
(50-
200
word)
essay
related
to
the
reading
for
that
week.
(Do
at
least
ten
of
these.)
For
example,
you
might
post
some
theoretical
or
historiographical
background,
a
critique
of
the
argument,
a
summary
of
some
aspect
of
the
reading,
or
a
related
case
study.
Well
use
these
to
help
guide
our
class
discussion.
NOTE:
the
blog
is
open
to
the
public.
Heres
what
makes
a
good
blog
post.
The
first
sentence,
or
perhaps
the
first
paragraph,
should
make
it
clear
what
youre
writing
about
and
your
point
of
view.
Consider
your
audience:
the
main
audience
for
this
writing
is
the
rest
of
the
class,
so
you
can
assume
a
good
bit
of
knowledge
and
background.
Make
an
argument.
Use
words
like
I
think
or
I
suggest.
Use
images
when
possible.
Be
sure
to
give
you
blog
entry
categories
and
tags.
Lead
a
class
discussion
on
a
practical
topic
related
to
one
weeks
reading
(20
percent
of
grade)
The
issues
we
address
in
this
course
have
real-world,
political,
practical
implications,
and
well
spend
an
hour
or
so
of
each
class
addressing
them.
Sign
up
to
take
responsibility
for
one
weeks
practical
conversation.
Pick
a
topic
from
the
news
or
from
the
world
of
public
humanities
institutions,
meet
with
me
to
discuss
it,
and
share
with
the
class
some
readings
on
the
topic
the
Monday
before
class.
In
class,
well
consider
the
ways
that
public
humanities
professionals
might
deal
with
the
challenges
of
the
topic.
Two
longer
writing
assignments
(15
percent
of
grade
each)
Write
two
papers,
each
about
1000-2000
words,
on
any
topic
of
interest
to
you
and
appropriate
to
the
class.
For
example:
you
might
write
a
case
study
of
a
public
humanities
project
or
institution,
either
historical
or
contemporary,
based
on
research
in
the
library
or
interviews;
a
comparative
study
of
several
projects
or
institutions;
a
theoretical
exploration;
or
something
else.
Your
paper
might
suggest
considerations
and
guidelines
for
institutions
doing
this
kind
of
work.
Heres
what
I
think
makes
a
good
short
paper:
Tell
a
story.
Make
an
argument.
Connect
to
class
readings
and
discussions.
Use
a
range
of
examples.
First-person
is
fine.
A
memorandum
is
fine.
You
can
write
for
me,
or
for
a
different
audience,
for
example,
the
director
of
the
organization
youre
writing
about,
or
the
general
public;
let
me
know.
Your
writing
should
be
your
original
work,
based
on
class
work,
your
reading,
experience,
and
conversations.
Footnote
anything
you
use
from
books,
articles,
interviews,
or
the
web.
Note
ideas
that
came
from
other
people.
Failure
to
do
so
can
result
in
failing
the
class.
Im
open
to
other
formats
of
presentation:
video,
audio,
websites,
exhibits,
whatever....
Consider
writing
your
paper
in
an
open,
on-line
format,
for
example
Medium.
Submit
your
paper
via
Canvas.
In
addition
to
my
review,
your
paper
will
be
peer-reviewed
(Canvas
will
randomly
assign
another
student
to
read
and
comment
on
it).
Paper
1
is
due
October
23.
Paper
2
is
due
December
15.
Class
Schedule
Introduction
Week
1
(September
9)
Introductions
Introductions,
explanations,
etc.
What
is
public
humanities?
Curating
an
exhibition:
What
is
Public
Humanities?
A
History
Rewriting
the
Wikipedia
page
on
Public
Humanities.
Introducing
the
interview
a
public
human
project.
The
Past
Week
8
(October
28)
Past
and
present
Michel-Rolph
Trouillot,
Silencing
the
Past:
Power
and
the
Production
of
History
(1995)
Week
9
(November
4)
Communities,
past
and
present
Stephanie
E.
Yuhl,
A
Golden
Haze
of
Memory:
The
Making
of
Historic
Charleston
(2005)
Blain
Robert
and
Ethan
J.
Kytle, Looking The Things in the Face: Slavery, Race, and
the Commemorative Landscape in Charleston, South Carolina, 1865-2010,
Journal
of
Southern
History
78,
no.
3
(August
2012):
63984.
Week
10
(November
11)
-
Remembering
the
past
Sanford
Levison,
Written
in
stone:
public
monuments
in
changing
societies
(1998)
David
Glassberg,
"Public
History
and
the
study
of
memory."
The
Public
Historian
.
19,
no.
Spring
1996
(Mar
1996)
Responses
to
Glassberg
article:
The
Public
Historian,
Vol.
19,
No.
2,
Spring,
1997
Week
11
(November
18)
Remembering
9/11
Erika
Doss,
Memorial
Mania:
Public
Feeling
in
America
(2010)
---------->November
20:
Field
trip
to
New
York
Adam
Gopnik,
Stones
and
Bones:
Visiting
the
9/11
memorial
and
museum,
New
Yorker,
July
7,
2014
Rick
Beard,
Exhibit
Review:
The
National
September
11
Memorial
&
Museum,
The
Public
Historian
Vol.
37
No.
1,
February
2015
---------->November
25:
Holiday
-
No
Class
Experts
Week
12
(December
2)
Working
the
Past
Amy
M.
Tyson,
The
Wages
of
History:
Emotional
Labor
on
Public
Historys
Front
Lines
(2013)
Ask
a
Slave
and
Interpreting
Race
on
Public
Historys
Front
Line,
interview
with
Azie
Mira
Dungey,
The
Public
Historian
36:1,
February
2014
Week
13
(December
9)
Last
week:
Your
role
in
public
humanities
Filene,
Benjamin,
Passionate
Histories:
Outsider
History-Makers
and
What
They
Teach
Us,
The
Public
Historian,
34
(2012),
1133