The title “Before Rosa Parks” loosely links a number of lessons that discuss African-American women who were active in the fight for civil rights before the 1950s. This lesson highlights Ida B. Wells, who worked tirelessly for racial justice in the South, especially concerning lynching.

The title “Before Rosa Parks” loosely links a number of lessons that address African-American women who were active in the fight for civil and human rights before the 1950s. This lesson highlights Susie King Taylor, the only black woman who wrote a narrative about her experiences working with soldiers during the Civil War.

Before the Civil War, the Mexican-American War as prelude. Richard Caton Woodville, War News from Mexico, 1848, oil on canvas, 68.6 × 63.5 cm (Crystal Bridges Museum of American Art, Bentonville, Arkansas). Speakers: Dr. Mindy Besaw, curator, Crystal Bridges Museum of American Art, and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

An overview of the run up to and very beginnings of World War II.

An overview of the run up to and very beginnings of World War II.

Short Description:
This book collects student essays on short stories written for English 211, Literary Analysis.

Word Count: 178583

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Early Muslims escape Quraysh persecution by migrating to Medina in 622. With Medina as the base of their community, they are able to convert Mecca and most of Arabia to Islam during the remainder of the life of Muhammed (next 10 years).

The early life of Muhammad including his work as a merchant, his marriage to Khadijah, his early revelations and the persecution of early Muslims by his own Quraysh tribe.

Another venomous attack on the Lincoln administration by the artist of "The Commander-in-Chief Conciliating the Soldier's Votes, no. 1864-31," and "The Sportsman Upset by the Recoil of His Own Gun," (no. 1864-32). Here Lincoln and his cabinet are shown in a disorderly backstage set, preparing for a production of Shakespeare's "Othello." Lincoln (center) in blackface plays the title role. He recites, "O, that the slave had forty thousand lives! I am not valiant neither:--But why should honour outlive honesty? Let it go all." Behind Lincoln two men, one with his leg over a chair, comment on Lincoln's reading. "Not quite appropriately costumed, is he?" comments the first. The second replies, "Costumed, my dear Sir? Never was such enthusiasm for art:--Blacked himself all over to play the part, Sir!" These may be Republicans Charles Sumner and Thaddeus Stevens. Before them is a wastebasket of discarded documents, including the Constitution, Crittenden Compromise, Monroe Doctrine, "Webster's Speeches," "Decisions of Supreme Court," and "Douglass." At left five ballerinas stand beneath a playbill advertising "Treasury Department, A New Way to Pay Old Debts . . . Raising the Wind . . . Ballet Divertissement." Near their feet is a pile of silver and plate, "Properties of the White House." They listen to a fiddler who, with his back turned to the viewer, stands lecturing before them. At right Secretary of War Edwin Mcm.asters Stanton instructs a small troop of Union soldiers waiting in the wings to ". . . remember, you're to go on in the procession in the first Act and afterwards in the Farce of the Election." One soldier protests, "Now, see here, Boss that isn't fair. We were engaged to do the leading business." Nearby an obviously inebriated Secretary of State William Seward sits at a table with a bottle, muttering, "Sh--shomethin's matt'r er my little bell: The darned thing won't ring anyway cĚ_Ąonfixit'." Seward reportedly once boasted that he could have any individual arrested merely by ringing a bell. He was widely criticized for his arbitrary imprisonment of numerous civilians during the war. On the floor near Seward sits Lincoln's running mate Andrew Johnson, a straw dummy, with a label around his ankle, "To be left till called for." At far right Navy Secretary Gideon Welles slumbers, holding a paper marked "Naval Engagement, Sleeping Beauty, All's Well That Ends Well." In the background abolitionist editor Horace Greeley bumbles about moving scenery and complaining, "O bother! I can't manage these cussed things." Union general Benjamin F. Butler (directly behind Lincoln), dressed as Falstaff, recites, "We that take purses, go by the moon and seven stars; and not by Phoebus! I would to God, thou and I knew where a commodity of good names were to be bought!" He holds a sign "Benefit . . . Falstaff . . . Beauty and the Beast." By this time Butler had achieved notoriety as a dissolute plunderer. To Butler's right a man (who might be the stage manager) orders the crew, "Get ready to shift there 'ere Flats for the Temple of Liberty." The artist of this and nos. 1864-30 and -31 was an exceptionally able draftsman. Judging from the acidity of these satires, he may have been a Southerner, perhaps a Baltimorean. The only satires of the time that compare in artistic quality and political venom are those of Adalbert Volck.|Signed with monogram: CAL?|Title appears as it is written on the item.|Weitenkampf, p. 141.|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 1864-32.

When Banksy shredded his artwork the moment after it sold at auction, he left many questions unanswered. What are we to make of the stunt?

Learn how the National Theater conceived a new version of the iconic Balcony Scene in this behind-the-scenes mini-documentary about the making of Great Performances: Romeo and Juliet. During the ongoing shutdown of London due to the COVID-19 pandemic, the National Theater created a compelling hybrid of theater and film that brings an exciting contemporary perspective to the play.

“Shakespeare’s potential for reinvention is endless,” said director Simon Godwin. “Over 17 days of filming, the company was united by a sense of shared exploration. As well as being given intimate access to the thoughts and feelings of characters, we were able to bring to life remarkable, forgotten spaces at the National Theatre. Desire, dreams and destiny came together to make Romeo & Juliet sing in an entirely new way.”

Dorothea Lange's photograph changed how we saw the Great Depression. Dorothea Lange, Migrant Mother, Nipomo California, 1936, printed later, gelatin silver print, 35.24 x 27.78 cm (Los Angeles County Museum of Art, PG.1997.2), a Seeing America video. Speakers: Eve Schillo, Assistant Curator, Los Angeles County Museum of Art and Steven Zucker. Find learning related resources here: https://smarthistory.org/seeing-america-2/

Most visitors to the National Gallery come to look at the paintings. But in this behind-the-scenes look at the work of the Gallery’s Framing Department, the richness and importance of the collection’s frames is revealed. A fascinating insight into recent conservation work and historic frame purchases with the National Gallery’s Head of Framing, Peter Schade, and Vivmar Curatorial Assistant, Harriet O’Neill.

Short Description:
The author argues that the struggle to put an end to the epoch of world history that opened in 1492 will require new ideas, and new practices. It follows the Caribbean tradition that runs from Aimé Césaire to Frantz Fanon and Sylvia Wynter in affirming the need for a counter-humanism, a radical humanism, a humanism that, in Césaire’s famous phrases, is “made to the measure of the world”. There is a need for a shift in the ground of reason towards the lived experience and struggles of people rendered, in Wynter’s phrase, as ‘pariahs outside of the new order’

Long Description:
The pamphlet begins with two letters written by Paul the Apostle in which Christianity first acquires a universal address. The new religion came to exclude people who were not Christians from the count of the human. This became explicit around a thousand years later when Pope Urban II authorised the First Crusade.

In 1492 planetary history was split in to two. Muhammad XII of Granada conceded defeat to Isabella and Ferdinand, the Catholic monarchs of Portugal and Spain, who went on to expel the Jews from the territory under their control. Europe became a Christian project. In the same year Christopher Columbus arrived in the Caribbean and Europe also became an imperial project with a planetary reach.

The origins of the racial ideology can be seen in this period, in which ideas about religion came to be entangled with fantastical ideas about the imagined purity of blood. But it was in the English colony of Virginia in the seventeenth century that the legitimation for the exclusion from the count of the human began to move from claims made in the name of religion to claims made in the name of science. This is the point at which modern racism, rooted in the appearance of the body, began to cast its malignant shadow across the planet.

The author argues that the struggle to put an end to the epoch of world history that opened in 1492 will require new ideas, and new practices. It follows the Caribbean tradition that runs from Aimé Césaire to Frantz Fanon and Sylvia Wynter in affirming the need for a counter-humanism, a radical humanism, a humanism that, in Césaire’s famous phrases, is “made to the measure of the world”. There is a need for a shift in the ground of reason towards the lived experience and struggles of people rendered, in Wynter’s phrase, as ‘pariahs outside of the new order’

Word Count: 8844

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Explore Buddhism through clips of significant sites in South Asia and interviews with members of the Bay Area South Asian community.

Explore Hinduism through clips of significant sites in South Asia and interviews with members of the Bay Area South Asian community.

Historian and Harvard Professor Henry Louis Gates provided a history of religion and the importance of the church in Black communities.

An illustrated sheet music cover for campaign music honoring Constitutional Union party candidates John Bell and Edward Everett. The candidates' bust portraits are framed in floral and acanthus tracery. In the upper right a streamer with stars and stripes hangs on the twigs which sprout from the rusticated wooden letters of Everett's name. Below is an arrangement of motifs, including an eagle with shield, a cannon, flags, and a fasces. In the distance (left) is a harbor with several ships.|Entered . . . 1860 by Firth, Pond & Co.|Sarony, Major & Knapp Liths. 449 Broadway, N.Y.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1860-17.

Giovanni Bellini and Titian, The Feast of the Gods, 1514 and 1529, oil on canvas (National Gallery of Art) Speakers: Dr. Beth Harris, Dr. Steven Zucker. Part of a mythological cycle painted by Titian and Giovanni Bellini and commissioned by Alfonso d'Este, Duke of Ferrara that includes Bacchus and Ariadne and the Andrians. Originally hung in the studiolo or Camerini d'Alabastro of the Duke's Ferranese castle.