Critics at the World's Fair: "American art has made something of itself." Childe Hassam, Horticulture Building, World's Columbian Exposition, Chicago, 1893, oil on canvas 18-1/2 x 26-1/4 inches / 47.0 x 66.7 cm (Terra Foundation for American Art, Daniel J. Terra Collection, 1999.67), a Seeing America video Speakers: Dr. Katherine Bourguignon, Curator, Terra Foundation for American Art, and Dr. Beth Harris. Created by Beth Harris, Smarthistory, and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Students will compare and contrast different perspectives of the French Revolution as depicted in two works of art. Students will discuss the use of satire and caricature to comment on historical and current events and will create satirical cartoons based on contemporary issues.

A mild satire on Jackson and his Cabinet, portraying in imaginative terms a White House reception of popular French dancer and actress Madame Celeste. Seated in chairs in a White House parlor are six cabinet members. In the center Jackson sits behind a table, as "Door Keeper" Jimmy O'Neal (standing) presents Madame Celeste. The cabinet members are (left to right): Secretary of the Navy Mahlon Dickerson, Attorney General Benjamin F. Butler, Secretary of War Lewis Cass, Postmaster General Amos Kendall, Treasury Secretary Levi Woodbury, and Vice-President Martin Van Buren. Each figure's remarks are an amusing reflection of his own character or reputation. Dickerson: I never felt the inconvenience of being a bachelor untill now. what I have lost!! she as gracefull as a Seventy-four under full sail. Cass: This is a very strange introduction to the Cabinet when weighty matters are under discussion; but it does not become me to complain. Jimmy O'Neal: O' she'll bother them all by the powers faith, except my friend Kendal he has no soule for a pretty woman... Celeste: Mon General, if it is "glory enough" to serve under you "ma foi" vat is my grand satisfaction to see you wis de Grand Cabinet of dis Grand Nation here assamble. Jackson: Charming Creature. I've not lost all my penchant for pretty women .... Kendall: I wonder how the General could ever prefer the heels to the head. He never learnt that from me. But the least said the soonest mended. Woodbury: She has grace enough to dance all the surplus Revenue out of the Treasury Hasn't she, Mr. Attorney general? Butler: She is well enough, but I have conscientious scruples on these matters. Van Buren: Pooh pooh Butler, this is not the age for scruples of any kind. I like her rapid movements, her quick changes, her gracefull transitions. She is of my school ..." Weitenkampf's association of the cartoon with the Peggy Eaton affair of 1831, where several cabinet members resigned, is mistaken since the cabinet shown here consists of later appointees. The print appears from the style and monogram to be the work of lithographic draftsman Albert Hoffay.|Entered . . . 1836 by H.R. Robinson.|Published April 1836 by H.R. Robinson 48 Cortlandt St. N.Y.|Signed: A.H. (A.A. Hoffay?).|Title appears as it is written on the item.|Century, p. 40.|Weitenkampf, p. 40.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-6.

This OER explores the Celestial Equator by using a Celestial Globe. It contains both an activity as well as resources for further exploration. It is a product of the OU Academy of the Lynx, developed in conjunction with the Galileo's World Exhibition at the University of Oklahoma.

This OER explores the organization of the Ecliptic. It contains both an activity as well as resources for further exploration. It is a product of the OU Academy of the Lynx, developed in conjunction with the Galileo's World Exhibition at the University of Oklahoma.

This OER explores the Horizon by using a Planisphere. It contains both an activity as well as resources for further exploration. It is a product of the OU Academy of the Lynx, developed in conjunction with the Galileo's World Exhibition at the University of Oklahoma.

Throughout time, man has been curious about the world around him. As technology progresses, so too do the views of the scientific world. As we discover new ways to examine the world, we are forced to question our current theories and decide whether or not they are accurate or outdated. One invention, the microscope, was one of the most significant developments in scientific history. It allowed scientists a look at items so small they weren’t even believed to exist. From this invention stems the scientific theory of the cell. This activity allows students to explore the major players in the development of the cell theory.

Benvenuto Cellini, Perseus with the Head of Medusa, c. 1554, bronze (Loggia dei Lanzi, Piazza della Signoria, Florence). Created by Beth Harris and Steven Zucker.

Studying rock types, weathering processes and human history in a cemetery.

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In this activity, students view a Quicktime video animation based on data from the North American Volcanic and Intrusive Rock Database (NAVDAT) to learn about the history of volcanism in the western U.S. during the last 65 million years. Students are guided through the complex data-rich animation with a series of instructions and study questions which highlight time-space-composition relationships and link to plate tectonics.

(Note: this resource was added to OER Commons as part of a batch upload of over 2,200 records. If you notice an issue with the quality of the metadata, please let us know by using the 'report' button and we will flag it for consideration.)

When we teach World War One, we start with a small regional conflict in the Balkans, but don’t stay there. Quickly we show the interactions between alliance members, the interconnection of multiple theaters of conflict, and the implications of a truly global war. This short framework might be helpful in persuading that we should do the same when we teach the global American Revolutionary War.

explores Central Vermont's history using 43 historic places that recall past eras when numerous small villages grew slowly until the coming of the railroad, which resulted in a period of rapid growth for Vermont in the last half of the 19th century.

In The Centrality of Style, editors Mike Duncan and Star Medzerian Vanguri argue that style is a central concern of composition studies even as they demonstrate that some of the most compelling work in the area has emerged from the margins of the field. Calling attention to this paradox in his foreword to the collection, Paul Butler observes, "Many of the chapters work within the liminal space in which style serves as both a centralizing and decentralizing force in rhetoric and composition. Clearly, the authors and editors have made an invaluable contribution in their collection by exposing the paradoxical nature of a canon that continues to play a vital role in our disciplinary history."

This is the first lesson in a sequential unit. Students view ceramic vessels from different time periods and cultures and discuss their meanings, functions, and original contexts. They develop criteria for value and meaning of these objects, and create a timeline to situate the objects in history.

This lesson is part of a sequential unit. Students are tested on what they learned about the history of ceramic forms in "Ceramics: A Vessel into History -- Lesson 1." They start work on a personal clay vessel that has a specific use or meaning in their contemporary culture, which could be discerned through study by future archeologists and art historians.

This lesson is part of a sequential unit. Students begin work on a ceramic vessel, which they designed in "Ceramics: A Vessel into History -- Lesson 2." They discuss their artistic choices and identify elements derived from historical examples, while considering how artists appropriate ideas from earlier artists.

This lesson is part of a sequential unit. Students hold a critique session to evaluate the work of their peers using the criteria for value and meaning they developed in "Ceramics: A Vessel into History -- Lesson 1."

The activities here work on analysis and synthesis skills. They take canonized text that are often taught at different times in the school year due to their placement in U.S. and world history and ask students to pair them together. A variety of activities and assessments are described or suggested throughout this resource to help students explore the boundaries surrounding certainty and doubt and lived experience. 

The course facilitates a close reading of Don Quixote in the artistic and historical context of renaissance and baroque Spain. Students are also expected to read four of Cervantes' Exemplary Stories, Cervantes' Don Quixote: A Casebook, and J.H. Elliott's Imperial Spain. Cervantes' work will be discussed in relation to paintings by Vel’zquez. The question of why Don Quixote is read today will be addressed throughout the course. Students are expected to know the book, the background readings and the materials covered in the lectures and class discussions.

 Own Your History® Multimedia Anthologies -- These anthologies collect a range of materials for exploring OYH topics. They parallel and supplement the OYH school modules, available as Open Education Resources. Groups of all ages can explore & discuss these rich and varied collections for sharing reflections on aspects of U.S. history and deepening historical knowledge. They are also available through the OYH website, https://www.ownyourhistory.us/multimediaresources Until La Causa, California farmworkers lived and worked in deplorable, often inhumane, conditions, at the mercy of growers. Spanish-speaking migrant minorities, they were socially invisible to the country.  La Causa used bold nonviolent methods and community involvement to achieve change & personal dignity. Explore this history using the  links in the attachment.