Engage!
Watch Bill Maher “Michael Jackson is America” clip (available at: http://www.youtube.com/watch?v=efBKINY58Ho)
Primary
Read Frederick Jackson Turner’s “The Significance of the Frontier in American History” (available at: http://xroads.virginia.edu/~Hyper/TURNER/
Another possibility: Randolph Bourne’s “Trans-National America” (available at: http://www.swarthmore.edu/SocSci/rbannis1/AIH19th/Bourne.html)
Secondary
Read Richard Horwitz’s “Introduction” to American Studies Anthology
Reflect
Not sure of assignments just yet but this could easily be something that critically examines the three cultural texts above using key vocabulary/terms/theories from the texts (I’m thinking of a variety: America/n/ism, myth & symbol, essentialism, American Exceptionalism, trans-national(ism), cosmopolitanism, frontier, roots & routes, geographic, (geo)political, symbolic, etc.) Horwitz’s ending discussion of “culture” might be a good segue into the next unit on “Culture.”
Wednesday, April 14, 2010
Chris' unit
Engage:
The reading is Raymond Williams' Culture entry from Keywords, Anne Norton Smith's discussion of culture from 95 Theses, the first chapter of Rader's American Ways that deals with culture, and then some from Levine's Highbrow/Lowbrow.
this is basically contrasting images of female popular musicians:
Fiona Apple "Criminal"
Alanis Morrissette "you outta know"
Dixie Chicks "Goodbye Earl"
Shania Twain "Any Man of Mine"
Shania Twain "Man I feel like a woman"
Missy Elliott :"work it"
Jean Grae "My Story"
Primary:
Clifford Geertz, the Thick Description article, this handles the "develop cultural analytical skills" angle.
Then I would also have some reviews of the artists we looked at for the engage section from things like Rollingstone, Vibe, whatever.
Secondary:
Beverly Keel's essay Between Riot Girl and Quiet Girl: The New Women's Movement in Women's Music
Tricia Rose: either "Never Trust a Big Butt and a Smile" from the That's the Joint anthology, or the gender chapter from Black Noise
Reflection:
Since I think mine is the second unit, and the outline says this is to identify primary sources - what cultural objects do you want to study, I was thinking of having Tami Albin come in and give the "how do you get started with a research project" talk.
The reading is Raymond Williams' Culture entry from Keywords, Anne Norton Smith's discussion of culture from 95 Theses, the first chapter of Rader's American Ways that deals with culture, and then some from Levine's Highbrow/Lowbrow.
this is basically contrasting images of female popular musicians:
Fiona Apple "Criminal"
Alanis Morrissette "you outta know"
Dixie Chicks "Goodbye Earl"
Shania Twain "Any Man of Mine"
Shania Twain "Man I feel like a woman"
Missy Elliott :"work it"
Jean Grae "My Story"
Primary:
Clifford Geertz, the Thick Description article, this handles the "develop cultural analytical skills" angle.
Then I would also have some reviews of the artists we looked at for the engage section from things like Rollingstone, Vibe, whatever.
Secondary:
Beverly Keel's essay Between Riot Girl and Quiet Girl: The New Women's Movement in Women's Music
Tricia Rose: either "Never Trust a Big Butt and a Smile" from the That's the Joint anthology, or the gender chapter from Black Noise
Reflection:
Since I think mine is the second unit, and the outline says this is to identify primary sources - what cultural objects do you want to study, I was thinking of having Tami Albin come in and give the "how do you get started with a research project" talk.
2 Quick comments/concerns
1. looks like all of us are using video clips (mine will be up shortly). Out of 8 classrooms since I started doing 100 only 3 have had the capability to show video. Depending on classrooms and what building they are in it's possible to get a media cart, but I don't think that's the case in some buildings we are all in. I can just see a potential problem (probably solveable) if one or more of us doesn't have a classroom that can do this. I technically have "media rooms," but if I had to teach one of these units this semester I'd be screwed (Cheryl saw my classrooms yesterday during my observation and so she knows this is a problem). Not having all of us able to do this would potentially create a ton of headaches and problems and inconsistencies among sections.
2. I like Stephanie's unit (I've only glanced, but it looks good) but like I said in that big long email: I know very little about religion. I had Sunday School over two decades ago and the only time I go to church is if I'm in a wedding party or are playing a gig. I've read the first half of Genesis. Honestly I could not tell you the difference between an Episcopalian, a Baptist, a Methodist, etc etc. I know Steph thought about using the denomination mission statement (or whatever it's called). Beyond reading those I have no extra knowledge to contextualize them. I just see potential that if students ask questions that go even a bit beyond the content I'm not going to be able to help them. I know this is supposed to be set up so that anyone can teach these sections, but speaking for myself, I feel honestly that I would be marginally competent at best to do a religion unit, or a sports unit, or whatever. I just fear that I'm gonna have to do a ton of extra homework just to feel competent, and even comfortable, teaching a religion unit (not a knock on Stephanie and her unit, just an observation that's based on my own experience)
2. I like Stephanie's unit (I've only glanced, but it looks good) but like I said in that big long email: I know very little about religion. I had Sunday School over two decades ago and the only time I go to church is if I'm in a wedding party or are playing a gig. I've read the first half of Genesis. Honestly I could not tell you the difference between an Episcopalian, a Baptist, a Methodist, etc etc. I know Steph thought about using the denomination mission statement (or whatever it's called). Beyond reading those I have no extra knowledge to contextualize them. I just see potential that if students ask questions that go even a bit beyond the content I'm not going to be able to help them. I know this is supposed to be set up so that anyone can teach these sections, but speaking for myself, I feel honestly that I would be marginally competent at best to do a religion unit, or a sports unit, or whatever. I just fear that I'm gonna have to do a ton of extra homework just to feel competent, and even comfortable, teaching a religion unit (not a knock on Stephanie and her unit, just an observation that's based on my own experience)
Stephanie's closing unit
Engage:
Watch this clip of an interview with pastor Rick Warren (the guy who did the opening prayer at Obama's inauguration) talking about the need to resist one's impulses, even if they come from biological predisposition:
Next, this clip with Gene Robinson, the first openly gay Episcopal bishop, on using scripture to justify slavery, Christians changing their minds as the Holy Spirit leads them to different/better places:
Then finally, Jon Stewart and Bill Bennett mixing it up on gay marriage:
I'm still trying to figure out how we can talk about naturalizing and social constructions in relation to these clips. Seeing as this is potentially the wrap-up, we can hope that at this stage the students would have the skills to see how the speakers invoke concepts that they portray as irrefutably real and ahistorical: Warren is naturalizing maturity, character, “rightness” (“naturalizing” is sort of an ironic word in relation to this one, as the discussion is based on the idea that we must overcome “natural” impulses); Bennett naturalizes “family,” Stewart naturalizes “the human condition” and “progress”; we could probably even argue that Robinson naturalizes progress as well.
This is certainly a place where we could bring in hegemony and the “natural” authority of normativity. We get a glimpse here into how religion is used in political discourse to appeal to the notion of a reality that is above and beyond the political fray of the discussion. This begs the question of what political function that “higher reality” is serving. That question, it seems to me, touches on just about every thematic area we've identified as being important to AMS 100.
Primary:
Cheryl and I talked about the possibility of using some denominational position statements here (such as confessions of faith and the like), discussing how we might see such documents as a genre, and how that genre can be characterized. At this point the only such documents I'm familiar with are Mennonite ones, but I'll go digging. What often strikes me about these documents is how much they reflect the fractious political process of negotiation that goes into them, even if they are transparently trying to project unity. This is a good opportunity to challenge our students' analytical chops and push them to read beyond the text itself.
Secondary:
Have them read two chapters of Dawne Moon's God, Sex, and Politics: Homosexuality and Everyday Theologies: “Debating Homosexuality” and “The Problem of Politics in Church.”
Discussion points:
--Moon makes a very nuanced argument about politics that differs considerably from the stance taken by the Christians whom she interviews. This is a good opportunity for them to both identify an argument and to sort out the author's interpretation of the issues at hand from the opinions of her interviewees (whom she quotes extensively). Having just taught these chapters, I'm finding that students have a surprising among of trouble sorting out who is arguing what.
--Talk about ethnographic methods and use of ethnographic evidence. How does the ethnographer position herself? Why do we need to understand anything about who the ethnographer is to interpret what she is telling us?
--Talk about contradictions and how they are embedded in what we so often think of as common sense (with a nod to Gramsci, if they end up reading him in Will's unit). The people in Moon's study draw on what they see as a commonly-understood separation between religion and politics. But Moon identifies how their very strategies of conflict avoidance (because they associate conflict with politics, and want to disassociate from that) perpetuate their conflicts.
--Moon's informants display a desire to be “unmarked” by politics when they are in a religious context. But the practical manifestation of this desire is a disassociation from difference. (“I have gay friends, but I don't make a big deal out of it. What they do in the bedroom is their business.”) Do we associate difference with “politics,” and thus with conflict? Hegemony and normativity again here—the normative has power because it is unmarked/invisible. So it doesn't get blamed for conflict, and in this context, that's a source of power.
Reflection:
Moon briefly identifies her methods as poststructuralist and uses Foucault in her description of power, and thus politics, as ubiquitous in human relations. Fortunately, she makes this pretty clear and gets it out of the way quickly. Again, seeing as this is the closing unit, presumably the students have already been doing some poststructuralist analysis, though I doubt we should make a big deal of calling it that. Instead, this might be a moment to say, Hey! Here she's doing what we've been doing all semester! Or something like that.
How might we take Moon's analysis of politics and apply it to other cultural material? How does this analysis tie in with all our big concepts: culture, power, difference?
Watch this clip of an interview with pastor Rick Warren (the guy who did the opening prayer at Obama's inauguration) talking about the need to resist one's impulses, even if they come from biological predisposition:
Next, this clip with Gene Robinson, the first openly gay Episcopal bishop, on using scripture to justify slavery, Christians changing their minds as the Holy Spirit leads them to different/better places:
Then finally, Jon Stewart and Bill Bennett mixing it up on gay marriage:
I'm still trying to figure out how we can talk about naturalizing and social constructions in relation to these clips. Seeing as this is potentially the wrap-up, we can hope that at this stage the students would have the skills to see how the speakers invoke concepts that they portray as irrefutably real and ahistorical: Warren is naturalizing maturity, character, “rightness” (“naturalizing” is sort of an ironic word in relation to this one, as the discussion is based on the idea that we must overcome “natural” impulses); Bennett naturalizes “family,” Stewart naturalizes “the human condition” and “progress”; we could probably even argue that Robinson naturalizes progress as well.
This is certainly a place where we could bring in hegemony and the “natural” authority of normativity. We get a glimpse here into how religion is used in political discourse to appeal to the notion of a reality that is above and beyond the political fray of the discussion. This begs the question of what political function that “higher reality” is serving. That question, it seems to me, touches on just about every thematic area we've identified as being important to AMS 100.
Primary:
Cheryl and I talked about the possibility of using some denominational position statements here (such as confessions of faith and the like), discussing how we might see such documents as a genre, and how that genre can be characterized. At this point the only such documents I'm familiar with are Mennonite ones, but I'll go digging. What often strikes me about these documents is how much they reflect the fractious political process of negotiation that goes into them, even if they are transparently trying to project unity. This is a good opportunity to challenge our students' analytical chops and push them to read beyond the text itself.
Secondary:
Have them read two chapters of Dawne Moon's God, Sex, and Politics: Homosexuality and Everyday Theologies: “Debating Homosexuality” and “The Problem of Politics in Church.”
Discussion points:
--Moon makes a very nuanced argument about politics that differs considerably from the stance taken by the Christians whom she interviews. This is a good opportunity for them to both identify an argument and to sort out the author's interpretation of the issues at hand from the opinions of her interviewees (whom she quotes extensively). Having just taught these chapters, I'm finding that students have a surprising among of trouble sorting out who is arguing what.
--Talk about ethnographic methods and use of ethnographic evidence. How does the ethnographer position herself? Why do we need to understand anything about who the ethnographer is to interpret what she is telling us?
--Talk about contradictions and how they are embedded in what we so often think of as common sense (with a nod to Gramsci, if they end up reading him in Will's unit). The people in Moon's study draw on what they see as a commonly-understood separation between religion and politics. But Moon identifies how their very strategies of conflict avoidance (because they associate conflict with politics, and want to disassociate from that) perpetuate their conflicts.
--Moon's informants display a desire to be “unmarked” by politics when they are in a religious context. But the practical manifestation of this desire is a disassociation from difference. (“I have gay friends, but I don't make a big deal out of it. What they do in the bedroom is their business.”) Do we associate difference with “politics,” and thus with conflict? Hegemony and normativity again here—the normative has power because it is unmarked/invisible. So it doesn't get blamed for conflict, and in this context, that's a source of power.
Reflection:
Moon briefly identifies her methods as poststructuralist and uses Foucault in her description of power, and thus politics, as ubiquitous in human relations. Fortunately, she makes this pretty clear and gets it out of the way quickly. Again, seeing as this is the closing unit, presumably the students have already been doing some poststructuralist analysis, though I doubt we should make a big deal of calling it that. Instead, this might be a moment to say, Hey! Here she's doing what we've been doing all semester! Or something like that.
How might we take Moon's analysis of politics and apply it to other cultural material? How does this analysis tie in with all our big concepts: culture, power, difference?
Tuesday, April 13, 2010
Unit on Power by Will Bishop
Engage:
Watch Fats Domino perform "Ain't That a Shame" in the 1956 film Shake, Rattle, and Rock!:
Watch this clip of a cover of the same song by Pat Boone (who will serve as our cultural whipping boy):
Ask students what differences they notice in the performances? If Fat's Domino wrote the song and performed the original recording, why was Pat Boone's version recorded? (Explain that Boone's song was a huge hit and gained mass mainstream radio airplay before Fats Domino's.)
Watch a clip of Little Richard's "Tutti Frutti":
And now the same song by our main man Pat:
Again ask for student responses to performances. Ask why they think radio stations and record companies may have preferred to produce and play Boone over Fats Domino and Little Richard. Initiate discussion on racial difference, hierarchy and power.
Explain that, partially due to the popularity of Boone's songs Fats Domino and Little Richard eventually gained mainstream popularity. Then show this Little Richard performance in the films Don't Knock the Rock, instructing students to pay attention to the racial dynamic:
Ask students why they think there is such a racial difference between the performers and the audience? Who appears to have more power here?
Primary:
Read these excerpts from two book chapters from David P. Szatmary's Rockin' in Time: A Social History of Rock and Roll :
This reading provides a nice socio-cultural backdrop for the early years of rock and roll. Talks about the economy of its production and addresses the issue of race.
Watch performances of Chuck Berry like "Maybellene":
Or Jerry Lee Lewis like "Whole Lot of Shakin' Going On":
And of Elivs Presley like "Hound Dog":
Compare and contrast the career of Elvis and Jerry Lewis with Chuck Berry, Little Richard, Fats Domino, and Pat Boone, with attention to race, geography, and class with regards to each musician. What role did each play in the increasing the popularity of rock and roll music? Why were they able (or not) to play these roles? Who held the power in the production and marketing of the music?
Secondary:
Read "Hegemony" from Cultural Theory: Key Concepts:
Then read "Hegemony, Intellectuals, and the State" by Antonio Gramsci:
Map out the social power structure of early rock and roll we've been discussing. Then apply Gramsci's terms to create a parallel "abstract" map. Introduce vocabulary terms "hegemony", "hegemonic", "dominant/leading group", "subordinate group," "concession/compromise"
Reflect:
Review hegemony framework and discuss other situations where such power exists. Discuss the possibility of a subordinate group making cultural change in an area of society or culture when a hegemony is held. Is it possible? Examples?
Discuss the role "hegemonic" ideas, styles, ideologies, discourses, etc. play in our society.
Maybe watch part of The Cosby Show episode "Theo and the Joint" (1985), instructing students to look for whether and how the TV show reinforces or subverts or society's hegemonic ideas about family, drug use, race, class, etc.
Watch Fats Domino perform "Ain't That a Shame" in the 1956 film Shake, Rattle, and Rock!:
Watch this clip of a cover of the same song by Pat Boone (who will serve as our cultural whipping boy):
Ask students what differences they notice in the performances? If Fat's Domino wrote the song and performed the original recording, why was Pat Boone's version recorded? (Explain that Boone's song was a huge hit and gained mass mainstream radio airplay before Fats Domino's.)
Watch a clip of Little Richard's "Tutti Frutti":
And now the same song by our main man Pat:
Again ask for student responses to performances. Ask why they think radio stations and record companies may have preferred to produce and play Boone over Fats Domino and Little Richard. Initiate discussion on racial difference, hierarchy and power.
Explain that, partially due to the popularity of Boone's songs Fats Domino and Little Richard eventually gained mainstream popularity. Then show this Little Richard performance in the films Don't Knock the Rock, instructing students to pay attention to the racial dynamic:
Ask students why they think there is such a racial difference between the performers and the audience? Who appears to have more power here?
Primary:
Read these excerpts from two book chapters from David P. Szatmary's Rockin' in Time: A Social History of Rock and Roll :
This reading provides a nice socio-cultural backdrop for the early years of rock and roll. Talks about the economy of its production and addresses the issue of race.
Watch performances of Chuck Berry like "Maybellene":
Or Jerry Lee Lewis like "Whole Lot of Shakin' Going On":
And of Elivs Presley like "Hound Dog":
Compare and contrast the career of Elvis and Jerry Lewis with Chuck Berry, Little Richard, Fats Domino, and Pat Boone, with attention to race, geography, and class with regards to each musician. What role did each play in the increasing the popularity of rock and roll music? Why were they able (or not) to play these roles? Who held the power in the production and marketing of the music?
Secondary:
Read "Hegemony" from Cultural Theory: Key Concepts:
Then read "Hegemony, Intellectuals, and the State" by Antonio Gramsci:
Map out the social power structure of early rock and roll we've been discussing. Then apply Gramsci's terms to create a parallel "abstract" map. Introduce vocabulary terms "hegemony", "hegemonic", "dominant/leading group", "subordinate group," "concession/compromise"
Reflect:
Review hegemony framework and discuss other situations where such power exists. Discuss the possibility of a subordinate group making cultural change in an area of society or culture when a hegemony is held. Is it possible? Examples?
Discuss the role "hegemonic" ideas, styles, ideologies, discourses, etc. play in our society.
Maybe watch part of The Cosby Show episode "Theo and the Joint" (1985), instructing students to look for whether and how the TV show reinforces or subverts or society's hegemonic ideas about family, drug use, race, class, etc.
Friday, April 9, 2010
Pete's "Difference" unit, revised
After working with Cheryl on the learning objectives for each unit, I revised my own unit to fit more easily into that structure. Here's what I came up with.
Since this unit will come after most of the others, it can refer easily back to "America," "culture," and "power," and even "freedom," (if that is what we use with Foner's lecture). I see the overall aim of this unit as complicating norms about America's unity in difficult times.
Engage
Watch/listen to Toby Keith's song, "Courtesy of the Red, White and Blue (The Angry American)," an example of the normative idea that "all Americans were united after 9/11." The song's line, "We'll put a boot up your ass / that's the American way" is often read as favoring the invasion of Iraq after the 9/11 attacks.
I'd contrast that with the Black Eyed Peas' "Where is the Love?" which expresses more uncertainty about the U.S.'s invasion and critiques the government for not adequately explaining the reasons behind those military actions.
Follow this with a discussion/lecture about the vocabulary term/topic for this unit, "difference." Download my notes for that here. A discussion of "multiculturalism" as a way that difference is "managed" may also help.
Primary
Listen to/watch the Dixie Chicks' "Not Ready to Make Nice," out the same year as Keith's and BEP's songs, about their refusal to back down from their anti-war stance, despite pressure from their fans, the banning of their song from corporate-owned country radio stations, the public burning of their cd's (at events organized by those same radio stations), death threats, and a publicity battle with Toby Keith. Some news clips or interviews would be helpful here. There is also a documentary about these incidents that might be worth watching.
Read and/or listen to Amiri Baraka's poem, "Somebody Blew Up America," which deals with 9/11 and race.
Might also listen to/watch Brad Paisley's "American Saturday Night," another, more recent (2010) example of country music celebrating a unified notion of "America" through consumerism.
It might be useful to discuss and/or read about country music and patriotism, using an entry from the Encyclopedia of American Studies or a scholarly article. This would help identify "genre" a bit.
Secondary
Read George Lipsitz's epilogue to Footsteps in the Dark: The Hidden Histories of Popular Music, entitled "Long Waves After 9/11," which deals with Keith, the Dixie Chicks, and BEP, normative expressions of America, and resistance to those norms via notions of difference. I will post a scan of this later.
Reflection
I'm not sure yet what the specific objectives are yet for this class meeting. At this point in the semester, they will be working on drafts of their projects, which they've been formulating and researching since the first unit. Maybe this will become clearer when we discuss the other units.
Since this unit will come after most of the others, it can refer easily back to "America," "culture," and "power," and even "freedom," (if that is what we use with Foner's lecture). I see the overall aim of this unit as complicating norms about America's unity in difficult times.
Engage
Watch/listen to Toby Keith's song, "Courtesy of the Red, White and Blue (The Angry American)," an example of the normative idea that "all Americans were united after 9/11." The song's line, "We'll put a boot up your ass / that's the American way" is often read as favoring the invasion of Iraq after the 9/11 attacks.
I'd contrast that with the Black Eyed Peas' "Where is the Love?" which expresses more uncertainty about the U.S.'s invasion and critiques the government for not adequately explaining the reasons behind those military actions.
Follow this with a discussion/lecture about the vocabulary term/topic for this unit, "difference." Download my notes for that here. A discussion of "multiculturalism" as a way that difference is "managed" may also help.
Primary
Listen to/watch the Dixie Chicks' "Not Ready to Make Nice," out the same year as Keith's and BEP's songs, about their refusal to back down from their anti-war stance, despite pressure from their fans, the banning of their song from corporate-owned country radio stations, the public burning of their cd's (at events organized by those same radio stations), death threats, and a publicity battle with Toby Keith. Some news clips or interviews would be helpful here. There is also a documentary about these incidents that might be worth watching.
Read and/or listen to Amiri Baraka's poem, "Somebody Blew Up America," which deals with 9/11 and race.
Might also listen to/watch Brad Paisley's "American Saturday Night," another, more recent (2010) example of country music celebrating a unified notion of "America" through consumerism.
It might be useful to discuss and/or read about country music and patriotism, using an entry from the Encyclopedia of American Studies or a scholarly article. This would help identify "genre" a bit.
Secondary
Read George Lipsitz's epilogue to Footsteps in the Dark: The Hidden Histories of Popular Music, entitled "Long Waves After 9/11," which deals with Keith, the Dixie Chicks, and BEP, normative expressions of America, and resistance to those norms via notions of difference. I will post a scan of this later.
Reflection
I'm not sure yet what the specific objectives are yet for this class meeting. At this point in the semester, they will be working on drafts of their projects, which they've been formulating and researching since the first unit. Maybe this will become clearer when we discuss the other units.
Thursday, April 8, 2010
Preparing your units for Wed, April 14th
Pete and Cheryl met to talk about how to build learning objectives into the units. In the second seminar meeting, we imagined that we would link learning objectives to units as a whole. However, as Pete and Cheryl talked about it, they realized that the learning objectives should be linked to the iterable parts of each unit.
Below is a working draft that links learning objectives (from the white board map that AMS 900 created at our second meeting) to unit meetings. Alongside the learning objectives, we posed questions as if addressing students, in an effort to communicate better what we envision.
We call the form of each unit a "routine" (following Calder) and the iterable segments (e.g., engage, primary, etc.) "unit meetings." Think about how to shape your routine so that each unit meeting targets these learning goals or proposes other goals.
Engage:
Below is a working draft that links learning objectives (from the white board map that AMS 900 created at our second meeting) to unit meetings. Alongside the learning objectives, we posed questions as if addressing students, in an effort to communicate better what we envision.
We call the form of each unit a "routine" (following Calder) and the iterable segments (e.g., engage, primary, etc.) "unit meetings." Think about how to shape your routine so that each unit meeting targets these learning goals or proposes other goals.
Engage:
- Identify norms - what do we see, hear, understand, etc.?
- Build vocabulary - here are words that you can use (e.g., America, culture, power, difference, etc.)--and that are current in American studies--to think critically and talk about what you see, hear, understand, etc. ?
- Identify and distinguish genres - what are we looking at, listening to, reading, etc.?
- Develop cultural analytic skills - how do we look, listen, read?
- Understand argument - what do others think about the cultural texts examined in this unit?
- Discern use of sources - what kinds of evidence do they use to make their argument?
- Find an area of interest - what kinds of cultural material would you be willing to think about critically?
- Identify primary sources - what cultural objects do you want to study?
- Identify secondary sources - what do others think about your area of interest and/or cultural object(s)?
- Reflect on your research - what have you learned? what questions do you still have?
- Articulate an informed opinion - what do you think now about the cultural objects that you studied?
- Culture matters!
- Understand complexity
- Grasp intersectionality
- Problematize and denaturalize culture
- Do AMS!
Subscribe to:
Posts (Atom)