252 Matching Annotations
  1. Jan 2024
  2. Nov 2021
    1. be: An

      be this: he was an artist who possessed an inability to escape controversy, but who overcame all odds ...

    2. that quote

      this understanding of the Negro artist.

    3. as he goes from detesting JFK for being turned away by him to being a close friend of a racist Richard Nixon.

      I am not so sure about this ... as it's not an example of Hughes's quotation=-I think it should be deleted

    4. the people that had been hurling slurs at him just days ago.

      the same people that been hurling slurs at him just days before.

    5. some that he even

      even rom those he

    6. amounts of


    7. unlike any

      like no

    8. Davis

      Davis Jr.

    9. to


    10. tour


    11. have


    12. would be able to star


    13. allowed


    14. unknown by

      off-limits to

    15. parts


    16. genre but would still

      genre, but addressed

    17. a style of


    18. In additi


    19. an


    20. With


    21. whom


    22. this addition

      his mimicking white artists

    23. stars


    24. audiences, but

      audiences; however, as

    25. because he

      when he

    26. an


    27. ll issues within his

      the issues he faced in his

    28. and the magic about him, and his performances would be his means “to fight”

      and used the "magic" of his personality and performances "to fight"

    29. idea

      idea at the heart of

    30. spoken of within the son

      of the song's title

    31. Perhaps


    32. to switch into actually


    33. as he states a

      when he adds a

    34. within


    35. Sammy Davis Jr, still


    36. within


    37. directly related to love and that is undeniable

      undeniably related to love

    38. he everyday, working class people

      a working class crowd

    39. a white upper class who longed for the control of crooners

      an upper class white crowed who preferred the vocal control of crooners,

    40. holding


    41. that was specifically added by Sammy Davis Jr. and the verse is more of a comedy bit as Davis inserts his voice, in a high-pitched imitative voice, as if the black magic itself is calling out.

      Davis specifically added for comedy: Davis sings in a high-pitched voice, as if black magic itself is calling out.

    42. Davis then goes into the final minute of song, which features more of a pop, swing style with a generally louder and powerful tone to the lyrics.

      in the final minute of the song, Davis sings in a pop, swing style, louder and with more powerful lyrics

    43. Davis begins to reach with his voice into almost a shouting tone and even sings with a growl in his voice, which leads to a feeling of the blues within the song

      Davis raises his voice to a shouting tone and then sings with a growl, creating a bluesy feeling in the song.

    44. where


    45. with mainly piano, saxophone and piano accompaniment

      accompanied by piano and saxophone

    46. smooth and soft lyrics that are the typical crooner sound of the time

      the smooth and soft lyrics of typical crooner vocals popular at that time.

    47. Sammy


    48. couple


    49. that as it is

      this by being a mix

    50. audiences


    51. survival and


    52. had to do one thing

      did one thing

    53. the


    54. his


    55. with

    56. Davis was obviously viewed with favor with the mob as they granted him the ability to perform in typically segregated clubs and often provided him with bodyguards

      the Mafia also viewed Davis favorably enough to allow him to perform in segregated clubs and provide him with bodyguards.

    57. Davis


    58. Sammy Davis for his marriage to a white

      Davis for marrying a white

    59. would force

      forced the Rat Pack

    60. For example, Sammy Davis and the Rat Pack had initially supported JFK, which was seen as a threat to the Mafia due to JFK’s anti-Mafia policies.

      For example, the Mafia viewed Davis's and the Rat Pack's initial support of Kennedy as a threat because of Kennedy's anti-Mafia policies.

    61. Pack and was highly admired by them for his talent, this admiration was unusual due to their racist tendencie

      Pack. The Mafia admired his talent, which was unusual due the racism of its members.

    62. this revelation and this may have influenced his future

      Kennedy's rejection, which may have influenced his future

    63. Davis


    64. He immediately cut Davis off as he tried to keep the favor of the majority of American voters, or middle-class white Americans.

      He cut Davis off to stay in favor with the majority of American voters, middle-class white Americans.

    65. came to the realization that

      thought that

    66. as


    67. JFK


    68. JFK


    69. endeavors would involve

      endeavors involved

    70. him and many

      him. Many

    71. as he always was

      as ever

    72. was left as


    73. President Richard


    74. Nixon and

      Richard Nixon; he even

    75. ut Davis being a man of steadfast beliefs, would

      But, being a man of steadfast beliefs, Davis would not . . .

    76. This would cause outrage among most of black America

      This outraged many Black Americans,

    77. decisions

      political decisions

    78. so


    79. He

      Like West, he

    80. West years

      West would years

    81. issues Sammy

      issues with which

    82. seeing

      to see

    83. emergence of Davis’s

      conversion of Davis's

    84. into


    85. as he suddenly

      when he

    86. allowed


    87. guideline


    88. convert


    89. began to say that


    90. their

      Black culture

    91. think


    92. to try to

      in order to

    93. and it was “compelling” that both

      and was "compelling" because both

    94. Along with his race

      In addition to racial backlash,

    95. black when it was favorable for him rather than living out the idea of being a blac

      black OR Black?

    96. For instance, Davis would tell a story of “a childhood friend who was killed after getting into unspecified trouble” (Nekola and Kirkpatrick 20). He would often only tell this when he felt a story of overcoming violence and escaping the “serious trouble” would be necessary to relate to an audience of, mainly, young, black men (Nekola and Kirkpatrick 20).

      For instance, Davis would often tell a story about "a childhood friend who was killed after getting into unspecified trouble" when he felt a story about overcoming violence and escaping "serious trouble" was necessary to relate to an audience of mostly young, Black men (Nekola and Kirkpatrick 20).

    97. of


    98. that Davis would only try

      Davis only tried to appear

    99. Additionally, some


    100. The more progressive groups of

      More progressive

    101. them

      Black audiences,

    102. as


    103. by some within the African American community because they thought he looked for the approval of the white community and would do so by, “[fighting] hard against aspects of the black entertainment world that had nurtured him”

      by some African Americans who thought he sought approval from the white community and continued to do so by, "[fighting' hard ..."

    104. it would not be surprising that Sammy Davis faced racism from whites, but he would also face an

      it would not seem surprising that Sammy Davis faced racism from white people; what is surprising is that he also faced an unexpectedly large amount of backlash from...

    105. life decision also

      decision to marry a white woman (?)

    106. through


    107. us, besides the widespread racist acts

      Despite racist incidents

    108. but now he was declared unfit for any political event and, initially, it would be harder to find work after being turned away by the president. T

      whose rejection declared him unfit for any political event, making it harder for him to find work after being turned away...

    109. JFK


    110. due to his wish

      because he wanted to

    111. Gala. Although there were other black artists performing,

      Gala, even though there were other black artists performing.

    112. JFK’s


    113. in


    114. Davis was in

      where Davis was.

    115. that would picket theatres he appeared at

      picketing theatres where he performed (Early 244).

    116. (Early 244). This was due in part to him

      (Early 244) because he was constantly

    117. within


    118. endure, and Davis often faced the extremes of racism due to his

      endure. Davis often faced extreme racism because of his...

    119. Sammy Davis


    120. the


    121. Rat Pack, which allowed him to continue to find work and keep his influence when he began to strongly campaign for civil rights and just be himself.

      Rat Pack. As a member of the Rat pack, he would continue to find work, keep his influence when campaigning for Civl Rights, and just be himself.

    122. Sammy


    123. ould still face a large amount of backlash

      would face considerable backlash

    124. did lead

      would also lead


    125. to


    126. was one that


    127. go on to


    128. The life of Sammy Davis Jr.

      Sammy Davis Jr.'s life,

    129. After his d


    130. Within the


    131. him


    132. Despite that discrimination, Davis’s father did a good job of shielding him from racism, often explaining the remarks to be “out of jealousy,” so when Sammy was drafted into the army, he first experienced this problem head on (Rosen).

      Despite racial discrimination, Davis's father shielded him from racism, often explaining that such remarks were made "out of jealousy"; so it wasn't until Davis was drafted into the army that he first experienced this problem head on" (Rosen).

    133. age but refused to try to take a jump in his career because

      age, but refused to jump into this because

    134. lengthy


    135. were available

      were then available

    136. Sammy

      However, Sammy . . .

    137. push back


    138. to keep true to himself or whatever

      to keep true to himself or do whatever

    139. and continue to have the support of the everyday working people over keeping his political ties

      over political ties to continue to have the support of everyday working people.

    140. But never the


    141. Davis

      Davis Jr.

    142. y,

      delete cinna

    143. The


    144. his


  3. Jan 2021
    1. However, fewer than 50% of the women who report experiencingthese unwanted and offensive sexually harassing behaviors label such incidents as sexual harassment

      Has the #MeToo Movement had an affect on this?

  4. Mar 2019
    1. binary agonism

      Students have difficulty understanding almost any topic or issue beyond "binary agonism"; moreover, regardless if we can get them to see and discuss beyond binaries in class, they tend to revert back to "binary agonism" in their writing.

  5. Feb 2019
    1. INSTRUCTIONS for our Collaborative Roadmap of Douglass's "What To The Slave": write a Roadmap Entry for each of your assigned paragraphs. Follow the directions in the Roadmap handout.

      Questions we collaboratively brainstormed to analyze Douglass's oration:

      1. What is Douglass’s motive? Call to action? Purpose?

      2. What is Douglass’s thesis?

      3. What is Douglass’s stance and positionality?

      4. What evidence (kinds/types of evidence) does Douglass cite?

      5. What are Douglass’s Keyterms?

      6. Who is Douglass’s audience?

      7. What is the context of the speech?

      8. What rhetorical strategy/ies does Douglass use? What is his rhetorical strategy?

  6. Jan 2019
    1. Political philosophers have taught us to think that there is an inherent tension between liberty and equality, that we can pursue egalitarian commitments only at the expense of governmental intrusions that reduce liberty.

      Allen's argument about liberty and equality has entered a conversation in which the prevailing views has been that these two rights are in tension, or oppositional, to each other, rather than interdependent. According to Allen, this view reflects an inaccurate view suggested by the culmination of primary source documents that preceded and contributed to the writing of the declaration, and by the Declaration itself. Her argument--and what she does the close reading of the Declaration and other primary source documents to show, is that not only are freedom and inequality interdependent, but also we can't have liberty if we don't have equality. In other words: equality creates the conditions under which we can experience freedom.

    2. Hypothesis Annotation instructions:

      1) Make 2-3 annotations. 2) If another student has already annotated a passage you wished to annotate, you have two options: reply to that annotation or choose another passage to annotate. 3) Reply to at least 2 annotations made by your peers 4) If someone replies to your annotation, reply to keep the conversation going. 5) TAG all annotations CITA2019


      In the very first sentence we have Danielle Allen's motive for writing Our Declaration...

  7. Jan 2018
  8. inst-fs-iad-prod.inscloudgate.net inst-fs-iad-prod.inscloudgate.net
    1. After reviewing the characteristics of Greek Tragedy, would you say that the Gangster is a modern tragic hero?

      What characteristics of ancient tragedy remain in Warshow's understanding/application of tragedy to gangsters?

    1. insubstantiality of modern identity is incompatible with substantial, meaningful relationships. Gatsby's motivating vision of his beloved Daisy Buchanan, itself a dream, is shattered when confronted by the hollow woman who plays the game of illusions even more brilliantly than he. Daisy, the respect-able, "careless" society woman, turns out to be no more ethical than the bootlegger. The danger of superficial style and personality was not merely that decent folk would allow scoundrels to infiltrate their ranks. Gatsby and his associates, like countless other underworld characters, warned that modern Americans, seduced by the sirens of the artificial, were headed toward the shoals of moral disaster.

      This is some indictment in this conclusion. The wealthy are even more morally corrupt than the gangsters?!?!?

      The point about the "instability of identity" is key here. Gatsby believes (or makes Nick believe that he believes) that he can "repeat the past." Does he also believe that people are/become what they wear/consume? And that who they were simply disappears or gets covered over? If identity is like a palimpsest, those old, former identities will show through...

    2. Gatsby ascended from dull ordinariness to Olym~social heights on a fragile structure of elaborate illusions. Realizing "the unreality of reality;' the great man "sprang from his Platonic conception of himself." 88 It little matters that Gatsby's :'eneer of refinement is 2,.aper-thin, transparent to one who listened to his cautious speech or con-.--sidered his supposed boyhood in the "Middle West" city of San Fran-cisco

      "elaborate illusions"--does Gatsby use fashion and possessions to create an elaborate illusion? Is he an illusionist of consumerism? (Kind of like the Wizard of Oz)

    3. Gatsby__:aefiijed by his palatial home, fabled parties, gleaming motorcar, ana·w~obe of expensive suits and thick silk shirts-was not the man he at first ·seemea·i:oDe:This bootlegger was a master of "personal;ty," that: "un-broken series of successful gestures." Gatsby's mastery of the superfi-cial inevitably brings narrator Nick Carraway;TiFeothers;uru:Ierhis spell:

      Ruth gives a shout out to Fitzgerald's creation of Jay Gatsby as an example, in fiction, of what he is writing about RE: real self-invented and (media) invented gangsters!

  9. May 2017

      I keep thinking about Pokemon Go! I mean, aren't players running around chasing "ghosts in the machine"? Ghosts (virtual reality Pokemon characters" in the "machine" (their cellphones)?

    2. Virtual Reality -a reality which is apparently true but not trnly True, a reality which is apparently real but not really Real.

      Batchen's use of the RSM definition to define his major keyterm. In what way is virtual reality like a spectre or ghost? In what ways does virtual reality haunt and whom does it haunt?

    1. The spectacle is capital accumulated to the point where it becomes image.

      Is Debord's thesis last....? How would this argument differ if Debord had begun with this statement? Why could he not begin with by making this claim?

  10. Apr 2017
    1. Share Observation Blogs. Workshop PRELIM 8: ACE Structure Paragrap

      We will also discuss Savage's article about "The Freedman" sculpture, since we didn't have a chance to discuss it on Thursday, and also catch up on other course readings, which I hope you are beginning to see connections between.....

    1. Civil War and its immediate aftermath. The second, perhaps more urgent to us in the early twenty-first century, is why Ward's work ultimately failed to become the great emblem of American liberty that so many critics hoped it would be. As we shall see, the answers to these two questions are linked. For what made the Freedman unconventional and innovative also made it problematic, at a time when the underlying issue of freedom was itself an un­resolved dilemma. To account for its power in

      Savage asks TWO QUESTIONS, using the RSM of inquiry to focus the topic of his paper, that may have been his original research questions.

    2. Ward's piece eventually lapsed into obscurity.

      So, the sculpture had a popular history before it "eventually lapsed into obscurity." Why might this have happened?

    3. he Freedman belonged to a well-established sculptural genre, that of the small-scale statuette purchased for display on a desk or a parlor mantel. Usually these works represented the great white men whose lives embodied the dominant culture's idea of its own moral purpose.

      It was rare for a bust/statue of a prominent African-American to be cast (and it still is--the statue of MLK at the MLK Memorial in D.C. is the most recent one). "The Freedman" is likely the first depiction of a non-white person in a sculptural genre/form that honored White people.

    4. Gray's painting was not the only work in the exhibition inspired by the Emancipation Proclamation. In a dimly lit corner of the exhibition rooms, there was a striking plaster statuette, not quite two feet high, by a little known sculptor named John Quincy Adams Ward. This was the Freedman, known to us today by several bronze casts probably produced from the original plaster mode

      Here is where the juxtaposition first occurs: and it's really interesting because these TWO works of art that portray the emancipated (or yet to be emancipated, or in the process of being emancipated) slave were excited in the very SAME room...

    5. hat same year at the annual spring exhibition of the National Academy of Design in New York City, a smattering of patriotic art work dealt with this momentous event. New York painter Henry Peters Gray showed his America in 1862, an allegorical image featuring a personification of America breaking the chains of a kneeling slave with one hand and giving the slave a sword with the other hand. While the painting is now lost, accounts in the contem­porary press make it clear that the picture was little more than a piece of Union propaganda, cloaked in the elevated language of nineteenth-century academic art

      It is clear that Savage mentions THIS painting, "American in 1862," by Henry Peters Gray to juxtapose it with John Quincy Ward's "The Freedman." WHY might he be doing this?

      Also: keep in mind what both Berger and Benjamin claimed about the risks and consequences of mechanically produced art becoming used for propagandistic or totalitarian purposes: can that happen with Art that is NOT mechanically reproduced, but merely produced?

    1. One ever feels his twoness, -an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.

      Part of the othering of African-Americans involves this feeling of the divided self.....

    2. hy did God make me an outcast and a stranger in mine own house? The shades of the prison-house closed round about us all: walls strait and stubborn to the whitest, but relentlessly narrow, tall, and unsealable to sons of night who must plod darkly on in resignation, or beat unavailing palms against the stone, or steadily, half hope­lessly, watch the streak of blue above.

      "the shades of the prison-house closed round about us all": does Dubois mean this literally or figuratively?

    3. being a problem is a strange experience,

      What does Dubois mean by "being a problem"

    1. subjected myself to an objective examination, I discovered my blackness, my ethnic characteristics; and I was battered down by tom-toms, cannibalism, intellectual deficiency, fetichism, racial defects, slave-ships, and above all else, above all: "Sho' good eatin' .

      Does he have to "learn" how to be Black? What is Fanon pointing out here? What does it mean?

    2. he white man, who had woven me out of a thousand details, anecdotes, stories

      What does Fanon mean by this sentence? How can a Black person be created from words?

    3. or several years certain laboratories have been trying to produce a serum for "denegri­fication;" with all the earnestness in the world, laboratories have sterilized their test tubes, checked their scales, and embarked on researches that might make it possible for the miserable Negro to whiten himself and thus to throw off the burden of that corporeal malediction

      Skin lightening or bleaching products still exist.....

    4. Consciousness of the body is solely a negating activity. It is a third-person consciousness.

      How Fanon feels when he's in the "white world." Overly self-consciousness. In what way are his experience of being a Black man reminiscent of Foucault's ideas about surveillance? What might it mean if one can feel surveilled by a panopticon-like eye when one is NOT in a prison?

    5. Overnight the Negro has been given two frames of reference within which he has had to place himself

      In what way is this like DuBois's double-consciousness? In what way is like how Ellison's "Invisible Man" experiences his identity, his hyper visibility--invisibility in society?

    6. For not only must the black man be black; he must be black in relation to the white man

      This reminds me of some of Garrett's ideas for his research essay focus.....what does everyone think about this juxtaposition (yes, Fanon is using the RSM of juxtaposition to talk about the juxtaposition of black and white in western society)

    7. DIRTY NIGGER!" Or simply, "Look, a Negro!"

      Racial epithets & hypervisibility

    8. I was an object in the midst of other objects.

      The "other" is regarded as an "object," a "thing," rather than a human being

  11. Mar 2017
    1. whatis to be done,as long as the performance draws them out of their passive attitude and transforms them into . active participants in a shared world, Such.isthe firstconvictionthattheattical


    2. distance separating knowledge from ignorance.

      You may skip the education (schoolmistress-student) extended analogy if you wish.

    1. architecture and geometry,

      architecture + geometry + seeing?

    2. he more numerous those anonymous and temporary observers are, the greater the risk for the inmate of being surprised and the greater his anxious awareness of being observed. The Panopticon is a marvellous machine which, what­ever use one may wish to put it to, produces homogeneous effects of power. A real subjection is born mechanically from a fictitious relation. So it is

      "A real subjection is born mechanically from a fictitious relation": what does this mean?

    3. The Panopticon is a machine for dissociating the see/being seen dyad: in the peripheric ring, one is totally seen, wjthout ever seeing; in the central tower, one sees everything without ever being seen

      What effect/s does/do the Panopticon have on the way that we (the observed/the surveilled) ourselves see/can see?

    4. � surveillance is permanent in its effects, even if it is discontinuous in its action; that the perfection of power should tend to render its actual exercise unnece

      The victim of panopticism believes that they are always being watched, but they can't see whose watching them...

    5. things

      So: divide and conquer?

    6. r the future, bad reciprocal influences; if they are patients, the

      How is "invisibility" a guarantee of "order"? (Keep invisibility in mind for Unit 3)

    7. mpanions. He is seen, but he does not see; he is the object of information, never a subject in communication. The arrangement of his room, opposite the central tower, imposes on him an axia

      Does the panopticon prison structure both surveil & quarantine in keeping the prisoners from interacting with each other? What could they possibly "catch" from each other?

    8. ake it possible to see constantly and to recognize immediately. In short, it reverses the principle of the dungeon; or rather of

      How can a structure be both like a CAGE and a THEATER? Can you think of other structures that are like this? This seems like a weird extension of Plato's "Allegory of the Cave" that adds "surveillance" to the allegory: are the prisoner's being watched/surveilled by the people who make their shadow reality?

    9. e shadows in the cells of the periphery. They are like so many c

      Those who were surveilled by panopticon-like structures

    10. r, standing

      supervisor = super + visor = super (above, superior) + visor (one who looks)

    11. tower is pierced with wide windows that open onto the inner side o

      Why might Foucault be using an architectural figure to represent a social construct?

    12. e plague gave rise. All the mechanisms of power which, even today, are disposed around the abnormal individual, to brand him and to alter him, are composed of those two forms from which they distantly

      various techniques of measurement are visual measurements, based on looking/observation. appraisal of the physical body or physical manifestations of the mental/physiological--even scientific observation (empiricism is not, in and of itself, without bias or agenda, eugenics is a case in point).

    13. his is what was operated regularly by disciplinary power from the beginning of the nineteenth century in the psychiatric asylum, the penitentiary, the reformatory, the approved school and, to some extent, the hospital.

      Institutions that started to regularly exercise disciplinary power starting in the early 19th century: hospitals, asylums, penitentiaries, schools, hospitals, etc.

    14. but the penetration of regulation into even the smallest details of everyday life through the mediation of the complete hierarchy that assured the capillary functioning of power;

      "...the penetration of regulation into even the smallest details of everyday life..."

      To what degree do we realize this vs. to what degree do we not realize this vs. to what degree have we internalized regulation and, thus, surveil or police ourselves?

    15. he leper and his separation; the plague and its segmentations.

      Foucault is contrasting the segregation-expulsion of lepers and the segmentation, regulation, and discipline of societies affected by the plague.

    16. irregularities


    17. surveillance

      If we are to use Foucault's example, surveillance in the 17th century was connected to quarantine during the plague, so it is interesting how systems of surveillance became equated with discipline (surveillance being a disciplinary regime of power) that migrated to other aspects of life, i.e. education, work, shopping, sartorial display, gender role normatively, identity creation-management, and other "behaviors" that are observed and subject to regulation...

    1. respondsbypoliticizingart.Notes1

      You can see that Benjamin has a lot of footnotes (a total of 21 footnotes) to show his research & that add support to his argument!

  12. Feb 2017
    1. nprinciple a workof arthasalwaysbeenreproducible.Man-made artifactscouldalwaysbeimitatedbymen

      All art can be reproduced in some way, at the very least, by copying or imitation.

    1. The means of reproduction are used politically and commercially to disguise or deny what their existence makes possible

      Walter Benjamin will have more to say about this in "The Work of Art in the Age of Mechanical Reproduction"-in terms of how, for example, the state, governments, groups in power use reproduced images vs. how we as spectators make use of and meaning from them.

      Berger's views about art argue are democratic...

    2. he art of the past no longer exists as it once did. 7o Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose. This touches upon questions of copyright for reproduction, the ownership of art presses and publishers, the total policy of public art galleries and museums. As usually presented, these are narrow professional matters. One of the aims of this essay has been to show that what is really at stake is much larger. A people or a class which is cut off from its own past is far less free to choose and to act as a people or class than one that has been able to situate itself in history. This is why-and this is the only reason why-the entire art of the past has now become a political issue

      Berger's conclusion returns to his Motive: what the stakes are, why his argument matters, and why we should care about what he has to say about SEEING, Art, and the mechanical reproduction of images.

    3. What are we saying by that? Let us first be sure about what we are not saying.

      Berger makes a classic They Say, I Say rhetorical move that DIFFERENTIATES what he's saying from what other say and also from assumptions an audience might have or from people who might want to twist his words, or simply misinterpret him. What Berger is doing here is limiting, or qualifying his argument. Doing so not only provides clarification, but also makes his argument more complex and his stance stronger.