“What did you find surprising about this source?” It was Week Nine of the fall semester, when the students in my United States History to 1877 survey course were worn down by too many midterms and too little sleep. I was attempting to spark conversation about the day’s assigned primary source, the late-eighteenth-century journal of Mary Dewees, a Philadelphia woman who moved west to Kentucky. Surely, I thought, some of my students would have been surprised to read a woman’s firsthand account of crossing rivers and mountains as she took part in white trans-Appalachian migration and the resulting displacement of Native Americans from their lands. Continue reading
I am fortunate that in graduate school, I had quite a bit of guidance in writing across the curriculum pedagogy. I have since taught approximately a dozen designated writing-intensive courses. Most history courses are writing-intensive by default, and many history faculty do find themselves teaching writing and research techniques. Here, I am focusing primarily on the strategies I use in survey courses, with a short list of monographs that I have found work well for this purpose.
Today’s guest post is by Honor Sachs, an assistant professor of history at Western Carolina University and author of Home Rule: Households, Manhood, and National Expansion on the Eighteenth-Century Kentucky Frontier.
Several years ago, I attended a seminar on digital pedagogy. I thought it might be worthwhile to explore new opportunities out there for social media in the classroom. It was indeed an eye-opening experience, though not in the way I had hoped. Seminar leaders regaled us with software package after software package filled with whistles, bells, alerts, gimmicks, everything, they claimed, one would need to connect with this generation of “digital natives” (their term, not mine.) Students these days spend so much time on social media, they claimed, that faculty need to learn to connect with them online in order to really engage. “Here’s a program that allows you to text your students!” “Here’s another that allows you to collect data on how much time your students spend on homework!” “Here’s a program where you can instant message your student and remind them to study!” Continue reading
I feel like I’m writing more than a few pieces lately that start with “I love [X], BUT . . .” and apparently today is no different. I’ll just come out and say it: I love Harry Potter, but I have trouble with J. K. Rowling’s treatment of history. Harry Potter was immensely important to my young adulthood. I read the books as a teenager, went to more than one midnight movie release, bought and consumed Bertie Bott’s Every Flavour Bean, and dressed as a character from the books for Halloween. I tend to re-read the novels once a year, when I’m looking for ways to improve my ability to tell a story. I wasn’t a historian when I first started reading the books, so I didn’t look too critically at Rowling’s characterizations of history and historians. Now that I am a historian, I’ve come to the conclusion that although Rowling’s portrayal of our discipline is wrong, her depiction of the wizarding world’s past—and how people interpret and at times attempt to change and revise it—is much more in keeping with the task that muggle historians daily confront. Continue reading
We are pleased to share this guest post from Michelle Orihel, an Assistant Professor of History at Southern Utah University. Dr. Orihel received her doctorate from Syracuse University and is currently working on a book manuscript about Democratic-Republican Societies in the post-revolutionary period.
Last spring, I blogged about how I used the song “Farmer Refuted” from Hamilton: An American Musical to teach about the pamphlet wars of the American Revolution. But, that’s not the only song about pamphlets in the musical. There’s also “The Reynolds Pamphlet,” named after the sensational tract published in 1797 in which Alexander Hamilton confessed to adultery.
Steamboats are ready for a comeback. A pedagogical one, that is. While in all likelihood the steamboat’s time as a common form of transportation in the United States is finished, over the past several weeks I’ve noticed subtle mentions in a seminar paper, a museum display, comments during last month’s PEAES conference, and only once, I should add, did I bring them up! This may be in part due to my increasing interest in them as a pivotal subject in the history of Anglo-American intellectual property. Yet I don’t think this is entirely an instance of frequency illusion but rather indicates that while steamboats are no longer an effective mode of movement, they are very effective as an illustrative one, particularly when trying to flesh out broader themes in the political economy of the Early Republic. Continue reading
Today’s guest poster, Stephanie J. Richmond, is an Assistant Professor and coordinator of history programs at Norfolk State University in Norfolk, VA. She is a historian of gender and race in the Atlantic World. The following review contains spoilers and discussion of sexual assault.
Many historians of race and slavery in early America were very excited when the wide release of Nate Parker’s new film on the Nat Turner rebellion was announced following its rave reviews at last year’s Sundance Film Festival. With the recent surge in Hollywood depictions of slavery (12 Years a Slave, WGN’s series Underground, and even Django Unchained), films have become an important part of teaching African American history. The best of these films and tv series give students an understanding of the psychological impact of slavery on both enslaved and free African Americans, illustrating many of the tactics of control and exploitation discussed in textbooks and classrooms. I had the opportunity to see the pre-release version of the film in April 2016 when Parker’s production company held screenings for HBCU faculty in several cities around the country. Several colleagues and I attended the screening and got our first glimpse at Parker’s version of a history that is both local and national. After the screening, production assistants recorded our reactions to the film, and took detailed notes on our critiques of the film both as a work of popular entertainment and its historical inaccuracies and misrepresentations, of which there were many. My own feelings on the film and its usefulness in the classroom are complicated and have changed significantly since my first viewing of the film in April. (In full disclosure, I have seen the film twice, both times at events put on by Parker’s production company).