The Harvard faculty voted to approve the measure on February 12, 2008, as reported in the Harvard Gazette the next day.
A large segment of the uploaded collection shows color photographs taken by the FSA and OWI in the 1930s and 1940s.
Shown here is a photograph by Marion Post Wolcott, titled Georgia Oat Field? from about 1940.
Each photo on the Flickr site includes detailed information about the image as well as links to the Library of Congress and its enormous collections of photographs.
This is David Bransby, Woman Aircraft Worker (1942).
Part of the site features Pare Lorentz, with streaming video of the classic documentaries The Plow That Broke the Plains, The River, and The City.
Your comments are welcome.
From the Press catalog:
Kenneth Burke once remarked that he was "not a joiner of societies." Yet during the 1930s he affiliated himself with a range of intellectual communities—including the leftists in the League of American Writers; the activist contributors to Partisan Review, the New Masses, the Nation, and the New Republic; and the southern Agrarians and New Critics, as well as various other poets and pragmatists and thinkers. Ann George and Jack Selzer underscore the importance of these relations to Burke's development and suggest that his major writing projects of the 1930s fundamentally emerged from interactions with members of these various groups, such as writers Robert Penn Warren, Katherine Anne Porter, Allen Tate, and John Crowe Ransom; poets Marianne Moore and William Carlos Williams; cutural commentators Malcolm Cowley, Mike Gold, and Edmund Wilson; and philosophers Sidney Hook and John Dewey.
George and Selzer offer a comprehensive account of four Burke texts—Auscultation, Creation, and Revision (1932), Permanence and Change (1935), Attitudes toward History (1937), and The Philosophy of Literary Form (1941)—and contend that the work from this decade is at least as compelling as his later, more widely known books. The authors examine extensive and largely unexplored archives of Burke's papers, study the magazines in which Burke's works appeared, and, most important, read him carefully in relation to the ideological conversations of the time. Offering a rich context for understanding Burke's writings from one of his most prolific periods, George and Selzer argue that significant Burkean concepts—such as identification and dramatism—found in later texts ought to be understood as rooted in his 1930s commitments.
$39.96 at Amazon.com
The paperback version is available at Amazon.com for under $15.
Do you know Edward R. Tufte's little book, The Cognitive Style of PowerPoint (Cheshire, CT: Graphics Press, 2003)?
If you have ever given a PowerPoint presentation, or ever had to sit through a presentation at which a speaker recited a list of bullet points while you sat in a dark room gazing at the same bullet points, you'll find Tufte's book fascinating. In twenty-seven large-format pages of text and graphics, Tufte, professor emeritus, Yale University, eviscerates PowerPoint. Tufte argues that PowerPoint shapes not only what is on screen but the whole logic of reports and presentations, constraining discourse and communication with "PowerPoint Phluff," branding, sales-pitch simple-mindedness, low resolution typography, the dilution and obscuring of complex thinking, cluttering and distortion of statistical evidence, and simple-minded sequencing.
Today is the anniversary of Abraham Lincoln's Gettysburg Address, a masterpiece of eloquence that has made it a useful tool with which to parody rhetorical mediocrity, as in Oliver Jensen's famous "Gettysburg Address in Eisenhowerese" from 1957. Tufte's little book reproduces Peter Norvig's "The Gettysburg Address PowerPoint Presentation," produced with the PowerPoint AutoContent Wizard.
You may not always agree with Tufte's arguments, but his detailed and principled analyses of visual arguments are a delight to read and if you start with his PowerPoint tract you will want to move on to his longer works -- Visual Explanations, Envisioning Information, The Visual Display of Quantitative Evidence, and Beautiful Evidence.
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