This activity is part of the Antarctica's Climate Secrets flexhibit. Students learn about and create models of glaciers and ice sheets, ice shelves, icebergs and sea ice.

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.

In which John Green, Hank Green, and Emily Graslie teach you about the Anthropocene, an unofficial geological era that covers the last century or so, in which humanity has made massive progress. We've discovered the Higgs-Boson particle, and awesome electric cars, and amazing smartphones. So all this collective learning and progress has been good for everyone, right? Maybe not. We'll look at some of the pros and cons of all this "progress," including environmental impact, changes in the way people live and work, and political changes and wars that come along with the modern world. We've come a long way, but there's a long way to go. Crash Course will also take a look at what's going to happen in the near future. If we manage to make our way through the coming bottlenecks, we could be OK in coming centuries. Don't get too hopeful, though. The Sun will eventually die, and the Earth will be destroyed, and later the universe will eventually experience heat death.

This course introduces students to some of the major social theories and debates that inspire and inform anthropological analysis. Over the course of the semester, we will investigate a range of theoretical propositions concerning such topics as agency, structure, subjectivity, history, social change, power, culture, and the politics of representation. Ultimately, all theories can be read as statements about human beings and the worlds they create and inhabit. We will approach each theoretical perspective or proposition on three levels: (1) in terms of its analytical or explanatory power for understanding human behavior and the social world; (2) in the context of the social and historical circumstances in which they were produced; and (3) as contributions to ongoing dialogues and debate.

The following pages describe anthropology's relationship with colonialism. The reading emphasizes why colonial history is relevant to students' lives and emphasizes practical ways to practice cultural relativism. 

The following pages describe anthropology's relationship with colonialism. The reading emphasizes why colonial history is relevant to students' lives and emphasizes practical ways to practice cultural relativism. 

The following pages describe anthropology's relationship with colonialism. The reading emphasizes why colonial history is relevant to students' lives and emphasizes practical ways to practice cultural relativism. 

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 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. The course also 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, asks how we might answer Erwin Schrödinger’s 1944 question, “What Is Life?”, today.

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 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 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.

A cynical look at the opposition to American annexation of Texas during the 1844 campaign. At the head of a motley procession is Whig candidate and professed anti-annexationist Henry Clay, riding a raccoon (which looks more like a fox). He is followed by three groups of men. The first (right) are the "Hartford Convention Blue-Lights," who shout, "God save the King!" and "Millions for Tribute! not a cent for defence Go it Strong!" Next (center) is a line of "Sunday Mail Petitioners," led by Clay's strongly religious running-mate Theodore Frelinghuysen, riding a donkey and dressed in clerical robes. They represent the proponents of eliminating postal service on Sundays in the United States, whose campaign was criticized by many as a threat to the separation of church and state. One of them remarks, "I go for the Good old times! wholesome, Fine and Imprisonment!" Prominent antislavery advocate William Lloyd Garrison leads the third group. He displays the banner of "Non Resistance, No Government No Laws--Except the 15 Gallon Law!" His folllowers are the "Abolition Martyrs" (far left), who have been tarred-and-feathered for their activism.|Entered . . . 1844 by J. Baillie.|Lith. & pubd. by James Baillie 118 Nassau St. N.Y.|Signed: H. Bucholzer.|The Library's impression was deposited for copyright on August 26, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 77.|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 1844-43.

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.

An illustrated sheet music cover for a march dedicated to the Masons. According to the text the march was performed "at the Ceremony of laying the Corner Stone of the Masonic Temple, Boston." The illustration parodies the national convention of the Antimasonic party, held in September 1831 in Baltimore ("Valdimor"). The convention nominated William Wirt for President and Amos Ellmaker for Vice President. The attendees are pictured as asses, geese, goats, and other animals gathered at a table presided over by a donkey wearing spectacles (center). A horse at left says, "Mr. President I should like to know what course we are to pursue with regard to the Presidency. I hope no candidate will be entered who is not a "full blooded" Antimason. rather than vote for any other I will "run" for the office myself." A cat in the background says, "No secret societies." A pig at right: "...I agree with my friend opposite. To save my own "Bacon" I would not vote for any man who would not go the "Whole Hog" for Antimasonry. A dog: "...I'm not used to many words. I never spin out a long yarn without getting into a "snarl." I've only to say, that since I have em"barked" in this business I am resolved to go the hull figure." On the wall in the background a clock reads five minutes to midnight.|Boston. Published by C. Bradlee 164 Washington St.|Drawn by David Claypool Johnston.|Entered . . . 1832 by C. Bradlee.|The print appears to have been drawn by David Claypool Johnston. Malcolm Johnson records a sketch for the illustration in the collection of the American Antiquarian Society. D. C. Johnston's "Much Ado about Nothing" (see 1832-3), published in Boston slightly later, is akin in style, lettering, and in the nature of the scene. Both prints include the motif of a clock on the background wall.|Title appears as it is written on the item.|Johnson, no. 141.|Weitenkampf, p. 27.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1832-1.

This resource is a video abstract of a research paper created by Research Square on behalf of its authors. It provides a synopsis that's easy to understand, and can be used to introduce the topics it covers to students, researchers, and the general public. The video's transcript is also provided in full, with a portion provided below for preview:

"More than one-third of people who’ve survived brain hemorrhage stop taking oral anti-blood-clotting drugs, like aspirin. Normally taken to prevent blood vessel blockage, so-called antiplatelet drugs increase the risk of bleeding in general. So they’re widely believed to increase the risk of brain hemorrhage happening again. But new research suggests that might not be the case. Researchers came to that conclusion following a randomized trial involving more than 500 survivors of brain hemorrhage in the UK. Participants were mostly men over the age of 70; all had a history of diseases that cause blockage of blood flow due to clotting but had stopped taking oral antiplatelet drugs after their brain hemorrhage. Researchers split those patients into two groups: half were encouraged to start antiplatelet drugs, and half were encouraged to stay off these drugs..."

The rest of the transcript, along with a link to the research itself, is available on the resource itself.

The Antiquities of Wisconsin, Increase A. Lapham's most important published work, includes 92 pages of text, illustrated with 61 wood engravings, and 55 lithographed plates and was the result of his research into the Indian effigy mounds found on Wisconsin's Landscape.

This art history video discussion examines Antoine or Louis Le Nain's "Peasant Family in an Interior", 2nd quarter of the 17th century, oil on canvas (Musee du Louvre, Paris).

According to Antonia Hernández, she “went to law school for one reason: to use the law as a vehicle for social change.” Decades later, she can claim numerous legal victories for the Latinx community in voting rights, employment, and education.

This resource is from a collection of biographies of famous women. It is provided by the National Women's History Museum, and may include links to supplemental materials including lesson plans about the subject and related topics, links to related biographies, and "works cited" pages. The biographies are sponsored by Susan D. Whiting.

A dedicated public health advocate, Antonia Novello made history as the first female and first Hispanic U.S. Surgeon General in 1990.

This resource is from a collection of biographies of famous women. It is provided by the National Women's History Museum, and may include links to supplemental materials including lesson plans about the subject and related topics, links to related biographies, and "works cited" pages. The biographies are sponsored by Susan D. Whiting.