The years between 1850 and 1855 saw the publication of The Scarlet Letter, Moby Dick, Walden, and Leaves of Grass. David S. Reynolds, Professor of English at the City University of New York, accounts for this outpouring of American literature.
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David S. Reynolds, author of Walt Whitman's America, says that Whitman had an almost utopian hope that his poetry could unite a country torn apart by the conflict over slavery.
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During this workshop, participants will consider three major topics. First, they will examine Dickinson the writer. Emily Dickinson is now considered one of the greatest poets in the English language, yet her work was not known outside of a small circle of family and friends until after her death. Because Dickinson herself gave few explicit clues about her attitude toward publication, scholars debate reasons that she did not share her poetry with a wider audience. Ongoing discussion about the authenticity of Dickinson's manuscripts versus the printed poems, which were edited by others, lies at the heart of that debate. Second, they will consider Dickinson, a woman in 19th-century America. Because Dickinson's poems resonate in style and content with the 21st-century reader, her work is often described as "ahead of its time." Critics are often tempted to read her work out of its historical context, to focus on its universal connections to the exclusion of its 19th-century origins. Yet, as recent scholarship asserts, Dickinson's poetry is inseparable from the times in which it was written. Several new essay collections about the poet are devoted to questions of Dickinson's experience of the Civil War, her political opinions, her response to religious movements, and her interest in and connections to her literary contemporaries. Finally, participants will consdier Dickinson, resident of rural New England. Dickinson ended a poem with "I see New Englandly." Dickinson's ancestors settled in western New England in the 1600s. Her world was defined by its character and landscape, and the imagery and diction of her poetry reveal her deep connections to place. This aspect of Dickinson's poetry has long attracted the attention of readers and scholars, yet it has sometimes limited their appreciation for her artistic achievements, marking her as a quaint New England poetess. By modeling different approaches to inquiry-based and object-based learning, the workshop will equip educators with new pedagogical tools and will help them address national standards in English and social studies. They will explore their own interests in Dickinson's life and work through a series of meetings with mentor teachers that will culminate in an outline for a new or revised curriculum unit or a plan for new classroom resources.
During the 1850s, the United States was a nation of foreboding and hope. An irresolvable conflict between North and South seemed to be approaching, along with periodic hopes that the divide could somehow be bridged and conflict forestalled. At the start of the decade, the nation's eloquent orators were led by John C. Calhoun and Daniel Webster; 10 years later, a new voice had been added to public discourse: that of Abraham Lincoln. Literary artists—including Herman Melville, Walt Whitman, and Harriet Beecher Stowe—addressed the issues of slavery, regional autonomy, and federal power both directly and obliquely in poetry and prose. This seminar will explore this ominous yet hopeful era, with the aim of understanding the political and moral issues that drove Americans apart, and how the literature of the period can help readers understand why.
During this workshop, participants will consider three major topics. First, they will examine Dickinson the writer. Emily Dickinson is now considered one of the greatest poets in the English language, yet her work was not known outside of a small circle of family and friends until after her death. Because Dickinson herself gave few explicit clues about her attitude toward publication, scholars debate reasons that she did not share her poetry with a wider audience. Ongoing discussion about the authenticity of Dickinson's manuscripts versus the printed poems, which were edited by others, lies at the heart of that debate. Second, they will consider Dickinson, a woman in 19th-century America. Because Dickinson's poems resonate in style and content with the 21st-century reader, her work is often described as "ahead of its time." Critics are often tempted to read her work out of its historical context, to focus on its universal connections to the exclusion of its 19th-century origins. Yet, as recent scholarship asserts, Dickinson's poetry is inseparable from the times in which it was written. Several new essay collections about the poet are devoted to questions of Dickinson's experience of the Civil War, her political opinions, her response to religious movements, and her interest in and connections to her literary contemporaries. Finally, participants will consdier Dickinson, resident of rural New England. Dickinson ended a poem with "I see New Englandly." Dickinson's ancestors settled in western New England in the 1600s. Her world was defined by its character and landscape, and the imagery and diction of her poetry reveal her deep connections to place. This aspect of Dickinson's poetry has long attracted the attention of readers and scholars, yet it has sometimes limited their appreciation for her artistic achievements, marking her as a quaint New England poetess. By modeling different approaches to inquiry-based and object-based learning, the workshop will equip educators with new pedagogical tools and will help them address national standards in English and social studies. They will explore their own interests in Dickinson's life and work through a series of meetings with mentor teachers that will culminate in an outline for a new or revised curriculum unit or a plan for new classroom resources.
Students assess a famous artistic depiction of Paul Revere's ride, based on historical documents.
This lesson asks students to use primary source evidence to assess Grant Wood’s famous 1931 painting, The Midnight Ride of Paul Revere. Students must also determine the event's historical significance. This lesson offers a wealth of resources for analyzing artwork as historical evidence and provides a nice example for using artwork along with written documents to learn about the past.
The lesson opens up by asking students to note their initial impressions of Wood's painting. Additional resources are included to help students analyze the painting.
Following the opening activity, students read a series of primary accounts of the event from the British perspective and the colonial perspective. Teachers should consider the lesson plan’s suggestion to jigsaw this activity since the documents range in length and difficulty.
The lesson concludes with multiple assessment options including analyzing the poem "Paul Revere's Ride" by Henry Wordsworth Longfellow, using evidence to distinguish between fact and fiction, and writing a short story. Teachers could also easily create a document-based question assignment to assess students' historical understanding.
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A wealth of background information is included about Revere's ride as well as relevant poetry and artwork.
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Students are asked to read primary and secondary sources and write from the perspective of the historical actors.
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Students analyze artistic interpretations of the past and construct historical interpretations of the past.
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Students are asked to consider the author’s perspective as they read and analyze primary sources.
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Includes guiding questions that scaffold thinking. However primary documents may need further editing and preparation depending on students' reading levels.
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Multiple assessment options
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This site contains facsimiles of four of Walt Whitman's original notebooks—ranging in length from 24 to 210 pages—and two color photographs of a cardboard butterfly—with words from a poem by John Mason Neale printed on its ventral side—photographed on the poet's finger. These items disappeared from the Library of Congress in 1942 but were returned in 1995.
The notebooks contain both prose and poetry, and include ideas for prospective journal articles, early versions of poems that were used in Leaves of Grass, and notes taken during hospital visits to wounded Civil War soldiers. The site also includes articles on the preservation of these items.
This collection presents the complete run—from February 8, 1918 to June 13, 1919—of the "official newspaper" of the U.S. Army fighting forces during World War I. The American Expeditionary Forces (AEF) were formed in May 1917 following U.S. entrance into the war. Stars and Stripes was created by order of the AEF supreme commander, General John J. Pershing, to strengthen morale and promote unity among soldiers. Professionals from the newspaper industry joined the staff, including a few well-known journalists. At its peak, the weekly newspaper reached more than half a million soldiers, providing news of the war, sports reports, cartoons, news from home, and poetry.
A special presentation includes essays on the newspaper's contents, staff, advertising, military censorship, the American Expeditionary Forces, and the role women played in the war effort. Search the full text or browse individual issues.