Ellen Gruber Garvey is the author of The Adman in the Parlor: Magazines and the Gendering of Consumer Culture (Oxford University Press, Winner of SHARP's prize for year's best book on the history of the book). Her articles include work on American abolitionists’ use of newspapers as data, the advertising of books, and on women editing periodicals. She has written for the New York Times Disunion blog, Slate, and The Root. She has discussed her scrapbook work on CBS Sunday Morning. She has received fellowships from the NEH, the National Humanities Center, the Massachusetts Historical Society, and the American Antiquarian Society, and held the Walt Whitman Distinguished Chair in American Literature in the Netherlands. She is Professor of English at New Jersey City University, where she co-edited the journal Transformations: The Journal of Inclusive Scholarship and Pedagogy. She was Visiting Professor at the Université Paris 8/Vincennes-St. Denis in spring 2015.
"Men and women 150 years ago grappled with information overload by making scrapbooks--the ancesto... more "Men and women 150 years ago grappled with information overload by making scrapbooks--the ancestors of Google and blogging. From Abraham Lincoln to Susan B. Anthony, African American janitors to farmwomen, abolitionists to Confederates, people cut out and pasted down their reading. Writing with Scissors opens a new window into the feelings and thoughts of ordinary and extraordinary Americans. Like us, nineteenth-century readers spoke back to the media, and treasured what mattered to them.
In this groundbreaking book, Ellen Gruber Garvey reveals a previously unexplored layer of American popular culture, where the proliferating cheap press touched the lives of activists and mourning parents, and all who yearned for a place in history. Scrapbook makers documented their feelings about momentous public events such as living through the Civil War, mediated through the newspapers. African Americans and women's rights activists collected, concentrated, and critiqued accounts from a press that they did not control to create "unwritten histories" in books they wrote with scissors. Whether scrapbook makers pasted their clippings into blank books, sermon collections, or the pre-gummed scrapbook that Mark Twain invented, they claimed ownership of their reading. They created their own democratic archives.
Writing with Scissors argues that people have long had a strong personal relationship to media. Like newspaper editors who enthusiastically "scissorized" and reprinted attractive items from other newspapers, scrapbook makers passed their reading along to family and community. This book explains how their scrapbooks underlie our present-day ways of thinking about information, news, and what we do with it."
• Winner, Waldo Gifford Leland Award of the Society of American Archivists,
• Winner, Institute for Humanities Research (at Arizona State University) Transdisciplinary Book Award, 2014, for a nonfiction work that exemplifies transdisciplinary, socially engaged humanities-based scholarship
• Honorable Mention, EBSCOhost/Research Society for American Periodicals (RSAP) Book Prize
How did advertising come to seem natural and ordinary to magazine readers by the end of the ninet... more How did advertising come to seem natural and ordinary to magazine readers by the end of the nineteenth century? The Adman in the Parlor explores readers' interactions with advertising during a period when not only consumption but advertising itself became established as a pleasure. Garvey argues that readers' participation in advertising, rather than top-down dictation by advertisers, made advertizing a central part of American culture. Garvey's analysis interweaves such texts and artifacts as advertising trade journals, magazines addressed to elite, middle class, and poorer readerships, scrapbooks, medical articles, paper dolls, chromolithographed trade cards, and contest rules. She tracks new forms of fictional realism that contained brand name references, courtship stories, and other fictional forms.
As magazines became dependant on advertising rather than sales for their revenues, women's magazines led the way in making consumers of readers through the interplay of fiction, editorials, and advertising. General magazines, too, saw little conflict between these different interests. Instead, advertising and fiction came to act on one another in complex, unexpected ways. Magazine stories illustrated the multiple desires and social meanings embodied in the purchase of a product. Garvey takes the bicycle as a case study, and tracks how magazines mediated among competing medical, commercial, and feminist discourses to produce an alluring and unthreatening model of women bicycling in their stories.
Advertising formed the national vocabulary. At once invisible, familiar, and intrusive, advertising both shaped fiction of the period and was shaped by it. The Adman in the Parlor unearths the lively conversations among writers and advertisers about the new prevalence of advertising for mass-produced, nationally distributed products.
In December 1908 Sarah Orne Jewett wrote a much-quoted letter to Willa Cather, in which she urged... more In December 1908 Sarah Orne Jewett wrote a much-quoted letter to Willa Cather, in which she urged the younger woman to leave her "incessant, important, responsible work" as an editor at McClure's magazine to devote herself to her own writing. (1) Cather scholars and fans like this letter, since leaving McClure's freed Cather to concentrate on her fiction. But Cather's career in a powerful position in the premier mass medium of her age was transformative. The office was still a new space for women and "going to business" was still a new activity for them. Magazine publishing had considerable attractions for educated women of Cather's period. Cather's work supplied her with income and contacts, and it shaped her writing. Much scholarship on Cather looks at her editorial work as at best a necessary preamble to various aspects of her life. Editing got Cather out of Nebraska to work on the Home Monthly in Pittsburgh, and thereby introduced her to Isabella McClung, and through her, to contacts and a sense of herself as a serious writer; editing got Cather to New York to work on McClure k and so introduced her to the New York literary scene and Edith Lewis; editing sent Cather to Boston on a project to conduct research on Mary Baker Eddy for McClure's and thereby introduced her to Sarah Ome Jewett and Annie Fields; editing eventually gave Cather enough distance from Nebraska to write about it. Finally, however, most scholars see Cather's editorial work on McClure's as a distraction and a misdirection of energies. Undergirding that critical consensus are Cather's own anguished complaints, in correspondence with other writers, about how draining editorial work was for her. She responded in this vein, for example, to a 1908 letter from Jewett urging that she leave editorial work behind. We might note, however, that Jewett's December letter follows two in which Jewett laments her own preoccupation and lack of strength or concentration for writing. Jewett and Cather did not meet until after Jewett's carriage accident made many activities exhausting for her, essentially stopping Jewett's writing. Her letter to Cather stems in part from her own sense of being daunted by the effort of writing. Jewett's shifting pronouns reveal that she identifies with Cather; her wishes for Cather are tied to her wishes for herself. She writes, "I do think that it is impossible for you to work so hard and yet have your gifts mature as they should--when one's first working power has spent itself nothing ever brings it back just the same, and I do wish in my heart that the force of this very year could have gone into three or four stories." (2) Jewett goes on to endorse a Romantic notion of genius recollecting in tranquility, writing in seclusion, and finding a stillness from which to write. "To work in silence and with all one's heart, that is the writer's lot; he is the only artist who must be a solitary, and yet needs the widest outlook upon the world." It is a seductive image of what the writer needs, endorsed by critics who have traced the route of Cather's settling in to the room of her own on a high floor at Isabelle McClung's family home, sitting in seclusion looking out at the world, or to the tent of her own in Jaffrey, New Hampshire, where she summered. But it is not the whole truth. Cather responds to the portion of Jewett's letter that envisions the office as a lair of dangers and distractions, keeping her from her true calling. Her reply plays to that vision with dramatic panache, in a torrent of metaphors. She compares the energy she puts out during the day at McClure's to that of a trapeze performer, worried about an imminent fall; she reports that the work dilutes and weakens her and that reading manuscripts is like sitting in a tepid bath and leaves her irritated with either heat or cold. She is "dispossessed and bereft" of herself; her mind becomes a card catalog of notes with only the most limited application. …
Webcast sponsored by the Irving K. Barber Learning Centre and hosted by the School of Library, Ar... more Webcast sponsored by the Irving K. Barber Learning Centre and hosted by the School of Library, Archival, and Information Studies (SLAIS). Men and women 150 years ago grappled with information overload by making scrapbooks-the ancestors of Google and blogging. From Abraham Lincoln to Susan B. Anthony, African American janitors to farmwomen, abolitionists to Confederates, people cut out and pasted down their reading. Writing with Scissors opens a new window into the feelings and thoughts of ordinary and extraordinary Americans. Like us, nineteenth-century readers spoke back to the media, and treasured what mattered to them. Ellen Gruber Garvey reveals a previously unexplored layer of American popular culture, where the proliferating cheap press touched the lives of activists and mourning parents, and all who yearned for a place in history. Scrapbook makers documented their feelings about momentous public events such as living through the Civil War, mediated through the newspapers. African Americans and women's rights activists collected, concentrated, and critiqued accounts from a press that they did not control to create "unwritten histories" in books they wrote with scissors. Whether scrapbook makers pasted their clippings into blank books, sermon collections, or the pre-gummed scrapbook that Mark Twain invented, they claimed ownership of their reading. They created their own democratic archives.
Blue Pencils and Hidden Hands - Women Periodical Editors (Ellen Gruber Garvey, New Jersey City Un... more Blue Pencils and Hidden Hands - Women Periodical Editors (Ellen Gruber Garvey, New Jersey City University) Women Editors in the Long Nineteenth Century (Sharon M. Harris, Texas Christian University) Apprenticeship Editing The Jabberwock: A Formative Experience for Nineteenth-Century Girls (Lucille M. Schultz, University of Cincinnati) Literary and Commercial Aspects of Women's Editions of Newspapers, 1894-1896 (Ann Mauger Colbert) Editorship as a Bridge Her Object is Good: Ann S. Stephens and Portland Magazine (Jennifer Blanchard, College of William and Mary) "Where Women May Speak for Themselves": Mirian Frank Lesile's 'Ladies' Conversazione (Linda Frost, University of Alabama at Birmingham) Frances Wright of the Free Enquirer. Woman Editor in a Man's World (Carolyn Karcher) Lucy Stone and the Woman's Journal (Katharine Rodier, Marshall University) Eyes in the Text: Marianna Burgess and The Indian Helper (Jacqueline Fear-Segal, University of East A...
Page 85. BLUE PENCILS AND HIDDEN HANDS: WOMEN PERIODICAL EDITORS ELLEN GRUBER GARVEY* Magazines w... more Page 85. BLUE PENCILS AND HIDDEN HANDS: WOMEN PERIODICAL EDITORS ELLEN GRUBER GARVEY* Magazines were the United States' dominant mass medium from the late nineteenth to the mid-twentieth century. ...
Alice Moore Dunbar-Nelson’s 1915 scrapbook is a record of her experiences as a paid organizer in ... more Alice Moore Dunbar-Nelson’s 1915 scrapbook is a record of her experiences as a paid organizer in the women’s suffrage movement of the 1910s, when she worked for the Pennsylvania suffrage campaign, mainly in the Pittsburgh area, during a period for which there are no extant diaries. Made of news clippings pasted into a reused household account book, the scrapbook shares commonalities with scrapbooks by women suffragists and by black men concerned with African American history. She was already an accomplished speaker and organizer before her work on the suffrage campaign began, working with the NAACP against lynching, and participating in their campaign against Birth of a Nation during it. The scrapbook shows her public speaking, addressing black and mixed audiences, via newspapers’ coverage and fragmentary transcriptions of her speeches–a topic connected to her work teaching public speaking at Howard High School, and her anthologies of African American speeches. It is a carefully composed text itself, which shows her shaping her image. She strategically used her status as Paul Laurence Dunbar’s widow to gain more attention to the cause, even while she drew on a concealed well of experience as a battered wife in framing her arguments. Her speeches articulated her view of women’s suffrage and the distinctive ways black women should use the vote for their communities–not settling for the historic black support for the Republican Party, but demanding a return for their votes.
Consider anonymous and pseudonymous publication. Pseudonymous publication allows a writer to auth... more Consider anonymous and pseudonymous publication. Pseudonymous publication allows a writer to authoritatively claim to have been a pickpocket, a nun, a Chicano farm worker, or a Cherokee orphan, without his or her name clashing too harshly with the assertion that the narrator speaks from the author’s experience. Yet anonymity also permits squatters to claim authorship, or enables attribution to a person or type of person that readers and distributors would prefer to hear from. Publishers, reprinters and other sorts of distributors, and readers collaborate to create attribution and an understanding of who the author is. Although writers may not be the ones who decide that their works will cross dress, or travel in borrowed clothes or even uniforms, the tradition that grows around a work’s authorship can have an intense effect on how the work is read and understood. The fi rst section of this article considers some uses that the presumed authenticity of experience and gender of one wri...
Alice Moore Dunbar-Nelson’s 1915 scrapbook is a record of her experiences as a paid organizer in ... more Alice Moore Dunbar-Nelson’s 1915 scrapbook is a record of her experiences as a paid organizer in the women’s suffrage movement of the 1910s, when she worked for the Pennsylvania suffrage campaign, mainly in the Pittsburgh area, during a period for which there are no extant diaries. Made of news clippings pasted into a reused household account book, the scrapbook shares commonalities with scrapbooks by women suffragists and by black men concerned with African American history. She was already an accomplished speaker and organizer before her work on the suffrage campaign began, working with the NAACP against lynching, and participating in their campaign against Birth of a Nation during it. The scrapbook shows her public speaking, addressing black and mixed audiences, via newspapers’ coverage and fragmentary transcriptions of her speeches–a topic connected to her work teaching public speaking at Howard High School, and her anthologies of African American speeches. It is a carefully composed text itself, which shows her shaping her image. She strategically used her status as Paul Laurence Dunbar’s widow to gain more attention to the cause, even while she drew on a concealed well of experience as a battered wife in framing her arguments. Her speeches articulated her view of women’s suffrage and the distinctive ways black women should use the vote for their communities–not settling for the historic black support for the Republican Party, but demanding a return for their votes.
"Men and women 150 years ago grappled with information overload by making scrapbooks--the ancesto... more "Men and women 150 years ago grappled with information overload by making scrapbooks--the ancestors of Google and blogging. From Abraham Lincoln to Susan B. Anthony, African American janitors to farmwomen, abolitionists to Confederates, people cut out and pasted down their reading. Writing with Scissors opens a new window into the feelings and thoughts of ordinary and extraordinary Americans. Like us, nineteenth-century readers spoke back to the media, and treasured what mattered to them.
In this groundbreaking book, Ellen Gruber Garvey reveals a previously unexplored layer of American popular culture, where the proliferating cheap press touched the lives of activists and mourning parents, and all who yearned for a place in history. Scrapbook makers documented their feelings about momentous public events such as living through the Civil War, mediated through the newspapers. African Americans and women's rights activists collected, concentrated, and critiqued accounts from a press that they did not control to create "unwritten histories" in books they wrote with scissors. Whether scrapbook makers pasted their clippings into blank books, sermon collections, or the pre-gummed scrapbook that Mark Twain invented, they claimed ownership of their reading. They created their own democratic archives.
Writing with Scissors argues that people have long had a strong personal relationship to media. Like newspaper editors who enthusiastically "scissorized" and reprinted attractive items from other newspapers, scrapbook makers passed their reading along to family and community. This book explains how their scrapbooks underlie our present-day ways of thinking about information, news, and what we do with it."
• Winner, Waldo Gifford Leland Award of the Society of American Archivists,
• Winner, Institute for Humanities Research (at Arizona State University) Transdisciplinary Book Award, 2014, for a nonfiction work that exemplifies transdisciplinary, socially engaged humanities-based scholarship
• Honorable Mention, EBSCOhost/Research Society for American Periodicals (RSAP) Book Prize
How did advertising come to seem natural and ordinary to magazine readers by the end of the ninet... more How did advertising come to seem natural and ordinary to magazine readers by the end of the nineteenth century? The Adman in the Parlor explores readers' interactions with advertising during a period when not only consumption but advertising itself became established as a pleasure. Garvey argues that readers' participation in advertising, rather than top-down dictation by advertisers, made advertizing a central part of American culture. Garvey's analysis interweaves such texts and artifacts as advertising trade journals, magazines addressed to elite, middle class, and poorer readerships, scrapbooks, medical articles, paper dolls, chromolithographed trade cards, and contest rules. She tracks new forms of fictional realism that contained brand name references, courtship stories, and other fictional forms.
As magazines became dependant on advertising rather than sales for their revenues, women's magazines led the way in making consumers of readers through the interplay of fiction, editorials, and advertising. General magazines, too, saw little conflict between these different interests. Instead, advertising and fiction came to act on one another in complex, unexpected ways. Magazine stories illustrated the multiple desires and social meanings embodied in the purchase of a product. Garvey takes the bicycle as a case study, and tracks how magazines mediated among competing medical, commercial, and feminist discourses to produce an alluring and unthreatening model of women bicycling in their stories.
Advertising formed the national vocabulary. At once invisible, familiar, and intrusive, advertising both shaped fiction of the period and was shaped by it. The Adman in the Parlor unearths the lively conversations among writers and advertisers about the new prevalence of advertising for mass-produced, nationally distributed products.
In December 1908 Sarah Orne Jewett wrote a much-quoted letter to Willa Cather, in which she urged... more In December 1908 Sarah Orne Jewett wrote a much-quoted letter to Willa Cather, in which she urged the younger woman to leave her "incessant, important, responsible work" as an editor at McClure's magazine to devote herself to her own writing. (1) Cather scholars and fans like this letter, since leaving McClure's freed Cather to concentrate on her fiction. But Cather's career in a powerful position in the premier mass medium of her age was transformative. The office was still a new space for women and "going to business" was still a new activity for them. Magazine publishing had considerable attractions for educated women of Cather's period. Cather's work supplied her with income and contacts, and it shaped her writing. Much scholarship on Cather looks at her editorial work as at best a necessary preamble to various aspects of her life. Editing got Cather out of Nebraska to work on the Home Monthly in Pittsburgh, and thereby introduced her to Isabella McClung, and through her, to contacts and a sense of herself as a serious writer; editing got Cather to New York to work on McClure k and so introduced her to the New York literary scene and Edith Lewis; editing sent Cather to Boston on a project to conduct research on Mary Baker Eddy for McClure's and thereby introduced her to Sarah Ome Jewett and Annie Fields; editing eventually gave Cather enough distance from Nebraska to write about it. Finally, however, most scholars see Cather's editorial work on McClure's as a distraction and a misdirection of energies. Undergirding that critical consensus are Cather's own anguished complaints, in correspondence with other writers, about how draining editorial work was for her. She responded in this vein, for example, to a 1908 letter from Jewett urging that she leave editorial work behind. We might note, however, that Jewett's December letter follows two in which Jewett laments her own preoccupation and lack of strength or concentration for writing. Jewett and Cather did not meet until after Jewett's carriage accident made many activities exhausting for her, essentially stopping Jewett's writing. Her letter to Cather stems in part from her own sense of being daunted by the effort of writing. Jewett's shifting pronouns reveal that she identifies with Cather; her wishes for Cather are tied to her wishes for herself. She writes, "I do think that it is impossible for you to work so hard and yet have your gifts mature as they should--when one's first working power has spent itself nothing ever brings it back just the same, and I do wish in my heart that the force of this very year could have gone into three or four stories." (2) Jewett goes on to endorse a Romantic notion of genius recollecting in tranquility, writing in seclusion, and finding a stillness from which to write. "To work in silence and with all one's heart, that is the writer's lot; he is the only artist who must be a solitary, and yet needs the widest outlook upon the world." It is a seductive image of what the writer needs, endorsed by critics who have traced the route of Cather's settling in to the room of her own on a high floor at Isabelle McClung's family home, sitting in seclusion looking out at the world, or to the tent of her own in Jaffrey, New Hampshire, where she summered. But it is not the whole truth. Cather responds to the portion of Jewett's letter that envisions the office as a lair of dangers and distractions, keeping her from her true calling. Her reply plays to that vision with dramatic panache, in a torrent of metaphors. She compares the energy she puts out during the day at McClure's to that of a trapeze performer, worried about an imminent fall; she reports that the work dilutes and weakens her and that reading manuscripts is like sitting in a tepid bath and leaves her irritated with either heat or cold. She is "dispossessed and bereft" of herself; her mind becomes a card catalog of notes with only the most limited application. …
Webcast sponsored by the Irving K. Barber Learning Centre and hosted by the School of Library, Ar... more Webcast sponsored by the Irving K. Barber Learning Centre and hosted by the School of Library, Archival, and Information Studies (SLAIS). Men and women 150 years ago grappled with information overload by making scrapbooks-the ancestors of Google and blogging. From Abraham Lincoln to Susan B. Anthony, African American janitors to farmwomen, abolitionists to Confederates, people cut out and pasted down their reading. Writing with Scissors opens a new window into the feelings and thoughts of ordinary and extraordinary Americans. Like us, nineteenth-century readers spoke back to the media, and treasured what mattered to them. Ellen Gruber Garvey reveals a previously unexplored layer of American popular culture, where the proliferating cheap press touched the lives of activists and mourning parents, and all who yearned for a place in history. Scrapbook makers documented their feelings about momentous public events such as living through the Civil War, mediated through the newspapers. African Americans and women's rights activists collected, concentrated, and critiqued accounts from a press that they did not control to create "unwritten histories" in books they wrote with scissors. Whether scrapbook makers pasted their clippings into blank books, sermon collections, or the pre-gummed scrapbook that Mark Twain invented, they claimed ownership of their reading. They created their own democratic archives.
Blue Pencils and Hidden Hands - Women Periodical Editors (Ellen Gruber Garvey, New Jersey City Un... more Blue Pencils and Hidden Hands - Women Periodical Editors (Ellen Gruber Garvey, New Jersey City University) Women Editors in the Long Nineteenth Century (Sharon M. Harris, Texas Christian University) Apprenticeship Editing The Jabberwock: A Formative Experience for Nineteenth-Century Girls (Lucille M. Schultz, University of Cincinnati) Literary and Commercial Aspects of Women's Editions of Newspapers, 1894-1896 (Ann Mauger Colbert) Editorship as a Bridge Her Object is Good: Ann S. Stephens and Portland Magazine (Jennifer Blanchard, College of William and Mary) "Where Women May Speak for Themselves": Mirian Frank Lesile's 'Ladies' Conversazione (Linda Frost, University of Alabama at Birmingham) Frances Wright of the Free Enquirer. Woman Editor in a Man's World (Carolyn Karcher) Lucy Stone and the Woman's Journal (Katharine Rodier, Marshall University) Eyes in the Text: Marianna Burgess and The Indian Helper (Jacqueline Fear-Segal, University of East A...
Page 85. BLUE PENCILS AND HIDDEN HANDS: WOMEN PERIODICAL EDITORS ELLEN GRUBER GARVEY* Magazines w... more Page 85. BLUE PENCILS AND HIDDEN HANDS: WOMEN PERIODICAL EDITORS ELLEN GRUBER GARVEY* Magazines were the United States' dominant mass medium from the late nineteenth to the mid-twentieth century. ...
Alice Moore Dunbar-Nelson’s 1915 scrapbook is a record of her experiences as a paid organizer in ... more Alice Moore Dunbar-Nelson’s 1915 scrapbook is a record of her experiences as a paid organizer in the women’s suffrage movement of the 1910s, when she worked for the Pennsylvania suffrage campaign, mainly in the Pittsburgh area, during a period for which there are no extant diaries. Made of news clippings pasted into a reused household account book, the scrapbook shares commonalities with scrapbooks by women suffragists and by black men concerned with African American history. She was already an accomplished speaker and organizer before her work on the suffrage campaign began, working with the NAACP against lynching, and participating in their campaign against Birth of a Nation during it. The scrapbook shows her public speaking, addressing black and mixed audiences, via newspapers’ coverage and fragmentary transcriptions of her speeches–a topic connected to her work teaching public speaking at Howard High School, and her anthologies of African American speeches. It is a carefully composed text itself, which shows her shaping her image. She strategically used her status as Paul Laurence Dunbar’s widow to gain more attention to the cause, even while she drew on a concealed well of experience as a battered wife in framing her arguments. Her speeches articulated her view of women’s suffrage and the distinctive ways black women should use the vote for their communities–not settling for the historic black support for the Republican Party, but demanding a return for their votes.
Consider anonymous and pseudonymous publication. Pseudonymous publication allows a writer to auth... more Consider anonymous and pseudonymous publication. Pseudonymous publication allows a writer to authoritatively claim to have been a pickpocket, a nun, a Chicano farm worker, or a Cherokee orphan, without his or her name clashing too harshly with the assertion that the narrator speaks from the author’s experience. Yet anonymity also permits squatters to claim authorship, or enables attribution to a person or type of person that readers and distributors would prefer to hear from. Publishers, reprinters and other sorts of distributors, and readers collaborate to create attribution and an understanding of who the author is. Although writers may not be the ones who decide that their works will cross dress, or travel in borrowed clothes or even uniforms, the tradition that grows around a work’s authorship can have an intense effect on how the work is read and understood. The fi rst section of this article considers some uses that the presumed authenticity of experience and gender of one wri...
Alice Moore Dunbar-Nelson’s 1915 scrapbook is a record of her experiences as a paid organizer in ... more Alice Moore Dunbar-Nelson’s 1915 scrapbook is a record of her experiences as a paid organizer in the women’s suffrage movement of the 1910s, when she worked for the Pennsylvania suffrage campaign, mainly in the Pittsburgh area, during a period for which there are no extant diaries. Made of news clippings pasted into a reused household account book, the scrapbook shares commonalities with scrapbooks by women suffragists and by black men concerned with African American history. She was already an accomplished speaker and organizer before her work on the suffrage campaign began, working with the NAACP against lynching, and participating in their campaign against Birth of a Nation during it. The scrapbook shows her public speaking, addressing black and mixed audiences, via newspapers’ coverage and fragmentary transcriptions of her speeches–a topic connected to her work teaching public speaking at Howard High School, and her anthologies of African American speeches. It is a carefully composed text itself, which shows her shaping her image. She strategically used her status as Paul Laurence Dunbar’s widow to gain more attention to the cause, even while she drew on a concealed well of experience as a battered wife in framing her arguments. Her speeches articulated her view of women’s suffrage and the distinctive ways black women should use the vote for their communities–not settling for the historic black support for the Republican Party, but demanding a return for their votes.
CALL FOR SUBMISSIONS FOR A SPECIAL ISSUE,
TEACHING THE FUTURE
TRANSFORMATIONS: The Journal of I... more CALL FOR SUBMISSIONS FOR A SPECIAL ISSUE, TEACHING THE FUTURE
TRANSFORMATIONS: The Journal of Inclusive Scholarship and Pedagogy Deadline: July 1, 2017 Joni Adamson, Guest Editor
We seek articles (5,000-10,000 words) and media essays (overviews on books, film, video, games, performance, art, music, websites, etc. 3,000 to 5,000 words), shorter items for the “Methods and Texts” section, and items for the "Material Culture of Teaching” section, that explore how to teach in ways that spur innovative thinking about the future.
We welcome articles that go beyond overly-familiar dystopian or apocalyptic tropes to illustrate how teachers are employing the imagination in their courses to give tangible form to different worlds outside of the constraints of any given present. The issue will engage with what Joni Adamson and others have discussed as the “arts of futurity.” The arts of futurity seek to give students in different disciplines and at different levels of education broader notions of how they might build a plausible, desirable, and socially equitable “future we want.” (This phrase is the title of the outcome document of the 2012 Rio+20 United Nations Conference on Sustainable Development.) We invite contributors to consider education broadly: How might teaching a “future we want” happen in larger civic or community planning groups?
Submissions should explore strategies for teaching “the future” and the “arts of the futurity” in the classroom and in non-traditional spaces (such as the media and public discourse). We welcome jargon-free essays from all disciplinary and interdisciplinary perspectives. We invite authors to think beyond the classroom to engage with methodologies and participatory events—such as literary engagements, games, film festivals, scenario-planning, or future-casting. How can these or classroom activities address both small and large scale social, energy, and environmental transitions to realize more equitable futures? How can they take into account the well-being of both humans and nonhumans, in all the places they live, work, move, swim, grow, worship or play?
Transformations is a peer-reviewed semi-annual journal published by New Jersey City University and Penn State University Press which invites college teachers to take pedagogy seriously as a topic in scholarly articles.
Transformations publishes only essays that focus on pedagogy.
Transformations: The Journal of Inclusive Scholarship and Pedagogy is celebrating its 25th annive... more Transformations: The Journal of Inclusive Scholarship and Pedagogy is celebrating its 25th anniversary with a special issue focusing on development and change in teaching topics and pedagogical practices over the last 25 years. What changes have you noticed or wondered about? Ordinarily, we accept only teaching-focused articles, but in this issue we will take a broader view. We invite submissions from long-time educators and those just starting out, and -- from the other side of the desk -- from current or former students. We welcome jargon-free essays from all disciplinary and interdisciplinary perspectives. We seek articles (5,000-10,000 words) and short essays for the "Methods and Texts” section (1500-3000 words). DEADLINE: November 15, 2015.
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In this groundbreaking book, Ellen Gruber Garvey reveals a previously unexplored layer of American popular culture, where the proliferating cheap press touched the lives of activists and mourning parents, and all who yearned for a place in history. Scrapbook makers documented their feelings about momentous public events such as living through the Civil War, mediated through the newspapers. African Americans and women's rights activists collected, concentrated, and critiqued accounts from a press that they did not control to create "unwritten histories" in books they wrote with scissors. Whether scrapbook makers pasted their clippings into blank books, sermon collections, or the pre-gummed scrapbook that Mark Twain invented, they claimed ownership of their reading. They created their own democratic archives.
Writing with Scissors argues that people have long had a strong personal relationship to media. Like newspaper editors who enthusiastically "scissorized" and reprinted attractive items from other newspapers, scrapbook makers passed their reading along to family and community. This book explains how their scrapbooks underlie our present-day ways of thinking about information, news, and what we do with it."
• Winner, Waldo Gifford Leland Award of the Society of American Archivists,
• Winner, Institute for Humanities Research (at Arizona State University) Transdisciplinary Book Award, 2014, for a nonfiction work that exemplifies transdisciplinary, socially engaged humanities-based scholarship
• Honorable Mention, EBSCOhost/Research Society for American Periodicals (RSAP) Book Prize
As magazines became dependant on advertising rather than sales for their revenues, women's magazines led the way in making consumers of readers through the interplay of fiction, editorials, and advertising. General magazines, too, saw little conflict between these different interests. Instead, advertising and fiction came to act on one another in complex, unexpected ways. Magazine stories illustrated the multiple desires and social meanings embodied in the purchase of a product. Garvey takes the bicycle as a case study, and tracks how magazines mediated among competing medical, commercial, and feminist discourses to produce an alluring and unthreatening model of women bicycling in their stories.
Advertising formed the national vocabulary. At once invisible, familiar, and intrusive, advertising both shaped fiction of the period and was shaped by it. The Adman in the Parlor unearths the lively conversations among writers and advertisers about the new prevalence of advertising for mass-produced, nationally distributed products.
In this groundbreaking book, Ellen Gruber Garvey reveals a previously unexplored layer of American popular culture, where the proliferating cheap press touched the lives of activists and mourning parents, and all who yearned for a place in history. Scrapbook makers documented their feelings about momentous public events such as living through the Civil War, mediated through the newspapers. African Americans and women's rights activists collected, concentrated, and critiqued accounts from a press that they did not control to create "unwritten histories" in books they wrote with scissors. Whether scrapbook makers pasted their clippings into blank books, sermon collections, or the pre-gummed scrapbook that Mark Twain invented, they claimed ownership of their reading. They created their own democratic archives.
Writing with Scissors argues that people have long had a strong personal relationship to media. Like newspaper editors who enthusiastically "scissorized" and reprinted attractive items from other newspapers, scrapbook makers passed their reading along to family and community. This book explains how their scrapbooks underlie our present-day ways of thinking about information, news, and what we do with it."
• Winner, Waldo Gifford Leland Award of the Society of American Archivists,
• Winner, Institute for Humanities Research (at Arizona State University) Transdisciplinary Book Award, 2014, for a nonfiction work that exemplifies transdisciplinary, socially engaged humanities-based scholarship
• Honorable Mention, EBSCOhost/Research Society for American Periodicals (RSAP) Book Prize
As magazines became dependant on advertising rather than sales for their revenues, women's magazines led the way in making consumers of readers through the interplay of fiction, editorials, and advertising. General magazines, too, saw little conflict between these different interests. Instead, advertising and fiction came to act on one another in complex, unexpected ways. Magazine stories illustrated the multiple desires and social meanings embodied in the purchase of a product. Garvey takes the bicycle as a case study, and tracks how magazines mediated among competing medical, commercial, and feminist discourses to produce an alluring and unthreatening model of women bicycling in their stories.
Advertising formed the national vocabulary. At once invisible, familiar, and intrusive, advertising both shaped fiction of the period and was shaped by it. The Adman in the Parlor unearths the lively conversations among writers and advertisers about the new prevalence of advertising for mass-produced, nationally distributed products.
TEACHING THE FUTURE
TRANSFORMATIONS: The Journal of Inclusive Scholarship and Pedagogy
Deadline: July 1, 2017
Joni Adamson, Guest Editor
We seek articles (5,000-10,000 words) and media essays (overviews on books, film, video, games, performance, art, music, websites, etc. 3,000 to 5,000 words), shorter items for the “Methods and Texts” section, and items for the "Material Culture of Teaching” section, that explore how to teach in ways that spur innovative thinking about the future.
We welcome articles that go beyond overly-familiar dystopian or apocalyptic tropes to illustrate how teachers are employing the imagination in their courses to give tangible form to different worlds outside of the constraints of any given present. The issue will engage with what Joni Adamson and others have discussed as the “arts of futurity.” The arts of futurity seek to give students in different disciplines and at different levels of education broader notions of how they might build a plausible, desirable, and socially equitable “future we want.” (This phrase is the title of the outcome document of the 2012 Rio+20 United Nations Conference on Sustainable Development.) We invite contributors to consider education broadly: How might teaching a “future we want” happen in larger civic or community planning groups?
Submissions should explore strategies for teaching “the future” and the “arts of the futurity” in the classroom and in non-traditional spaces (such as the media and public discourse). We welcome jargon-free essays from all disciplinary and interdisciplinary perspectives.
We invite authors to think beyond the classroom to engage with methodologies and participatory events—such as literary engagements, games, film festivals, scenario-planning, or future-casting. How can these or classroom activities address both small and large scale social, energy, and environmental transitions to realize more equitable futures? How can they take into account the well-being of both humans and nonhumans, in all the places they live, work, move, swim, grow, worship or play?
Transformations is a peer-reviewed semi-annual journal published by New Jersey City University and Penn State University Press which invites college teachers to take pedagogy seriously as a topic in scholarly articles.
Transformations publishes only essays that focus on pedagogy.
For submission guidelines go to: http://www.psupress.org/Journals/jnls_Transformations.html
Deadline: July 1, 2017
Queries welcome