Conclusion

2017 ◽  
Author(s):  
Mitch Kachun
Keyword(s):  
American History ◽  
Colonial America ◽  
Public Life ◽  
People Of Color ◽  
History And Memory ◽  
Men And Women ◽  
Revolutionary Era ◽  
The Public ◽  
Historical Significance ◽  
The Many

The Conclusion ties together the book’s main arguments about Crispus Attucks’s place in American history and memory. We do not know enough about his experiences, associations, or motives before or during the Boston Massacre to conclude with certainty that Attucks should be considered a hero and patriot. But his presence in that mob on March 5, 1770, embodies the diversity of colonial America and the active participation of workers and people of color in the public life of the Revolutionary era. The strong likelihood that Attucks was a former slave who claimed his own freedom and carved out a life for himself in the colonial Atlantic world adds to his story’s historical significance. The lived realities of Crispus Attucks and the many other men and women like him must be a part of Americans’ understanding of the nation’s founding generations.

Balancing priorities: the role of industry in water resource management

2003 ◽  
Vol 47 (6) ◽  
pp. xxi-xxv ◽  
Author(s):  
L. J. Giuliano
Keyword(s):  
Water Resource Management ◽  
Water And Wastewater Treatment ◽  
Men And Women ◽  
The Public ◽  
For Profit ◽  
Not For Profit ◽  
The World ◽  
Water And Wastewater ◽  
The Many

Together, the 40,000 men and women around the world who make up ITT Industries and our many colleagues in the water and wastewater treatment industries are working with those of you in the public, not-for-profit, academic and community sectors to confront the many water-related issues we face on a global basis. Should we call this situation a crisis? As discussed in the various sessions of this Symposium, in many ways we are facing a crisis in the water world. But of course, we are also seeing many positive developments in the field, and this provides hope for the future.

Greek Inscriptions

1933 ◽  
Vol 2 (6) ◽  
pp. 175-177
Author(s):  
Marcus N. Tod
Keyword(s):  
Public Life ◽  
Common People ◽  
The Public ◽  
Extant Literature ◽  
Classical Studies ◽  
The Everyday ◽  
The Common ◽  
The Many ◽  
The City ◽  
Of Greece

The inscriptions to which I have called attention in previous issues of this journal have all been ‘historical’ in the sense that they relate to men whose names are well known to us from the literary records of Greece and Rome. But it must constantly be borne in mind that, of the many services rendered by inscriptions to classical studies, not the least is that of illuminating certain obscure tracts of ancient life, on which the extant literature sheds little or no light, and of recalling to our minds some of its aspects which we are in danger of overlooking. For historical literature tends to concentrate our thought upon the city rather than upon the countryside, upon rulers and governments to the neglect of the common people, upon wars and abnormal occurrences to the exclusion of the everyday occupations and interests of the average citizen. And so no apology is, I hope, needed if, out of the mass of recent epigraphical discoveries, I select one which, at first sight, can claim but little importance, one which, found in an obscure sanctuary, records the concerns not of a people but of a parish, and affords a glimpse of a local temple, priest and festival, suggesting the opportunities of ambition and distinction open to men who, maybe, rarely attended the meetings of the Athenian ecclesia and played little or no part in the public life of the State.

scholarly journals Polish Writers and their Influence on Women’s Public Activity: A Case Study of Józefa Kisielnicka and Eliza Orzeszkowa

2015 ◽  
Vol 27 (32) ◽  
pp. 43-51
Author(s):  
Małgorzata Dajnowicz
Keyword(s):  
Everyday Life ◽  
Public Involvement ◽  
Public Life ◽  
Gender Issues ◽  
Men And Women ◽  
The Public ◽  
The People ◽  
Political Views ◽  
Charity Work

Józefa Kisielnicka (1865–1941) created a new model of a woman in the society, a woman that is actively involved in the public life and concentrates on the charity work and educational needs of the people in their close environment. Her attitude towards women’s involvement in the public life was greatly appreciated by both men and women, especially among the gentry class. In her literary works (published, e.g., in Warsaw Courier and Daily Courier), she depicted women’s everyday life. The general image of her characters was very negative. Eliza Orzeszkowa (1841–1910) can be described as a great activist in initiating and developing the idea of gender issues, both in her written works and everyday life duties. Her political views, social involvement, and literary achievements were widely recognized among women representing liberal political views. Her numerous works (for example, A Few Words about Women) related to the place of the women in the society and the issues of gender equality. Eliza Orzeszkowa considered the cultural and social conditions, which influenced the possibilities of women in their pursuit of equality. The two women writers Józefa Kisielnicka and Eliza Orzeszkowa set a new pattern of initiating and shaping the public involvement of women in the northeastern province of Poland.

scholarly journals Reckoning with COVID, Racial Violence, and the Perilous Pursuit of Transparency

2021 ◽  
Vol 19 (1) ◽  
pp. 1-10
Author(s):  
Torin Monahan
Keyword(s):  
Racial Violence ◽  
People Of Color ◽  
Surveillance Systems ◽  
Racial Justice ◽  
The Public ◽  
Critical Scholarship ◽  
The Enlightenment ◽  
White Supremacists ◽  
Primary Focus ◽  
The Many

This essay reflects on the many upheavals of the past year and their implications for critical scholarship on surveillance. The COVID-19 pandemic, anti-science policies, radicalized white supremacists, police killings of people of color, and the resurgence of the racial justice movement all inflect surveillance practices in the contemporary moment. In particular, today’s polarized political landscape makes it difficult to condemn surveillance in the service of the public good, but irrespective of one’s goals or intentions, the embrace of transparency carries its own risks. Transparency, and scientific vision more broadly, is an extension of the Enlightenment and subsequent scientific revolution, which from the start sought to advance knowledge and consolidate white power through the violent subjugation of nature, women, and racial minorities. One fundamental risk of valorizing transparency is that doing so occludes the ways that relations of domination are indelibly encoded into surveillance systems and practices. Given this, I argue that the project of decolonizing surveillance inquiry should now be our primary focus as a field.

Colonel Roscoe Conkling Simmons and the Mechanics of Black Leadership

2003 ◽  
Vol 37 (1) ◽  
pp. 79-98 ◽  
Author(s):  
ANDREW M. KAYE
Keyword(s):  
African American ◽  
Public Life ◽  
Educational Institutions ◽  
Chicago Tribune ◽  
Black Leadership ◽  
Men And Women ◽  
The Public ◽  
Black Paper ◽  
Barber Shops ◽  
Black Voters

I want you to have power because I will have power.Roscoe Conkling Simmons (1881–1951) was an African American journalist and lifelong Republican, frequently acclaimed as the greatest orator of his day. He wrote for the Chicago Defender, the nation's largest black paper, and was later a columnist for the Chicago Tribune. A sometime advisor on black affairs to Republican administrations during the 1920s, Simmons seconded the re-nomination of Herbert Hoover for president in 1932, where “His exit from the platform was blocked by senators, committeemen, governors and others high in the public life who sought to touch ‘the hem of his garment.’” Throughout his career, the Colonel, as Simmons was often called, forged close links with black organizations. On regular speaking tours, he participated in the affairs of fraternities, churches, and educational institutions nationwide. Simmons was a social chameleon, on familiar terms with black America's most powerful businessmen and editors, entertainers and mobsters, but equally comfortable among the working men and women with whom he gossiped in barber shops and at church picnics. Senators, mayors, and aldermen admired his talent on the speaking platform and valued his connections to the black community. When white Republicans needed help in rallying northern black voters, Simmons was the fixer they summoned. He gladly obliged, out of loyalty to the Grand Old Party and in anticipation of reciprocal dispensations.

Making a spectacle of oneself: French Revolutionary opera by women

1999 ◽  
Vol 11 (3) ◽  
pp. 215-232
Author(s):  
Jacqueline Letzter
Keyword(s):  
Eighteenth Century ◽  
Women Composers ◽  
Critical Mass ◽  
Public Life ◽  
Dramatic Works ◽  
The Public ◽  
Public Women ◽  
The Many ◽  
Ideological Context ◽  
The Revolution

Recent research in French Revolutionary culture has revealed that women composers and librettists gained access to the opera stage in unprecedented numbers in late eighteenth-century France. Although the number of women constituted still only a fraction of the total number of composers and librettists, it was an explosion as compared with earlier periods. In the fifty years between 1770 and 1820, there were five times as many women writing opera as all the women combined in the 125 years since the beginning of opera in France in 1645. This increased number of female-authored operas constituted a sufficient critical mass for some of these works to be singled out as great successes; indeed two of them, Julie Candeille's (1767–1834) libretto and music for Catherine, ou la belle fermière, and Constance de Salm's (1767–1845) libretto for Sapho (with music by J.-P.-E. Martini), ranked among the ten most-performed dramatic works in Paris during and just after the Terror, in 1793 and 1795, respectively. This article examines the ideological context in which these works were received, and asks, why, despite (or because of) the success of their works, women composers and librettists were often perceived by critics and the public as radical and subversive, especially when the messages they chose to include in their operas could be interpreted as feminist. This attitude is not surprising when one considers that the period of greatest success of female-authored opera (and of women's public activism), 1793–95, coincided with the height of the Jacobin authorities' repression of women. Despite this climate, women composers and librettists of the 1790s were surprisingly vocal in protesting their continuing exclusion from the many advantages brought about by the democratization of the institution of opera and society. This article is part of a continuing investigation by feminist scholars into the controversial meaning of the Revolution for public women, bringing nuance to earlier conclusions that women were excluded from public life during the era of the Revolution.

“All in a Garden Green”: Shakespeare's Staging of Garden Imagery

2019 ◽  
Vol 26 (2) ◽  
pp. 227-252
Author(s):  
Deborah Solomon
Keyword(s):  
Early Modern ◽  
Literary Tradition ◽  
The Public ◽  
The World ◽  
Audience Interaction ◽  
The Many ◽  
Green World

This essay draws attention to the surprising lack of scholarship on the staging of garden scenes in Shakespeare's oeuvre. In particular, it explores how garden scenes promote collaborative acts of audience agency and present new renditions of the familiar early modern contrast between the public and the private. Too often the mention of Shakespeare's gardens calls to mind literal rather than literary interpretations: the work of garden enthusiasts like Henry Ellacombe, Eleanour Sinclair Rohde, and Caroline Spurgeon, who present their copious gatherings of plant and flower references as proof that Shakespeare was a garden lover, or the many “Shakespeare Gardens” around the world, bringing to life such lists of plant references. This essay instead seeks to locate Shakespeare's garden imagery within a literary tradition more complex than these literalizations of Shakespeare's “flowers” would suggest. To stage a garden during the sixteenth and seventeenth centuries signified much more than a personal affinity for the green world; it served as a way of engaging time-honored literary comparisons between poetic forms, methods of audience interaction, and types of media. Through its metaphoric evocation of the commonplace tradition, in which flowers double as textual cuttings to be picked, revised, judged, and displayed, the staged garden offered a way to dramatize the tensions produced by creative practices involving collaborative composition and audience agency.

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