Tag Archives: philosophy/religion

Akbar

“Akbar: (1542-1605) Generally considered the greatest of the Muslim emperors of India, of the Mogul Empire. Akbar unified vast areas of the subcontinent, introduced a variety of administrative and social reforms, and eventually declared a state religion, the Din Illahi (Divine Faith), which focused on himself personally. He was highly praised in historical literature, even by the Hindus, for the active propagation of communal harmony.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Ho Chi Minh on Sniffing Imperialist Dung

[Remark, ca. 1946] “It is better to sniff the French dung for a while than eat China’s all our lives.”

Ho Chi Minh, Quoted in Jean Lacouture, Ho Chi Minh: A Political Biography (1968) (translation by Peter Wiles)

Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Ashrama

“Ashrama: The Sanskrit name for the four stages of life in Hinduism: (1) brahmacharin, the austere life of a student of sacred lore; (2) grhasthya, the life of a householder with wife and family; 93) vanaprastha, the life of a hermit, involving increasing separation from worldly affairs after birth of grandchildren; (4) sannyasin, the life of homeless wanderer, with all earthly ties broken. Combined with varna (‘caste’) and dharma, ashrama is integral to the basic Hindu doctrine of varnashramadharma, or sacred duty appropriate to one’s rank and stage of life.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Cultural Literacy: Indira Gandhi

For the first day of the observation of Asian Pacific American Heritage Month 2021 at Mark’s Text Terminal, here is a Cultural Literacy worksheet on Indira Gandhi. This blog will feature materials related to Asian culture, geography, politics, and personalities for the entire month of May.

By any measure, Americans of Asian Pacific descent have experienced a difficult year. At the beginning of 2020, on January 23 to be exact, the Museum of Chinese in America suffered a fire in its building at 70 Mulberry Street in Chinatown in Lower Manhattan. Fortunately, the original estimates of the devastation proved to be overestimated, and the Museum is on the mend. I attended a professional development day at the Museum several years ago. It was one of the best of such things, a twice-yearly obligation of employees of the New York City Department of Education, that I had the good fortune to encounter. Godspeed to the good people at MOCA in restoring the museum to its original state.

Unless you live in a cave, you are no doubt aware of the rising anti-Asian bigotry in the United States. This has prompted a long overdue public discourse on racism towards Asian-Americans. I particularly appreciate the inimitable Ronny Chieng’s takedown, from way back in 2016 but which has lately been trending on YouTube, of Fox News bro Jesse Watters, who visited Chinatown in that year to “report” for the execrable Bill O’Reilly show. The work of Asian feminists who are speaking frankly about the cultural and political history of fetishizing Asian women, another long overdue discussion, arrives at a propitious moment; maybe these thinkers will forge change in this area of our public life. I’d like to think that making an understanding of the term “Orientalist tropesde rigueur for high school students before they graduate from our secondary institutions might take us some distance toward recognizing this problem in our society.

I lay the blame for much of the rising anti-Asian violence on the last president of the United States, a man who wore his bigotry on his sleeve throughout the benighted four years he malingered in the White House. Calling a virus–and the last time I talked with my friends in the academic and professional genomics community about this, they assured me that viruses, unlike humans, have no ethnicity–the “Kung Flu” is an obvious slur, intended, it appears, to bait the kind of bigots who immediately began parroting it. Likewise, COVID, caused by a coronavirus, is not a “Chinese Virus,” though that particular lie and slur has contributed to violence against Americans of Asian descent. The president bought himself a mendacious Barbie doll who stepped up to defend him and his trashy mouth. Even NBC News, not exactly an institution of the woke left, spoke up on the president’s appalling rhetoric.

Man, I am glad he is gone. I’ll stipulate that anti-Asian racism has a long and sordid history in the United States, from the Chinese Exclusion Act of 1882 to the World War II internment of the Nisei, to our current ugly moment. But for a president to rile up his or her followers with racist slurs? Well, if you can defend that, I’d like to hear why. Actually, on second thought, never mind. Everyday life offers up a smorgasbord of degrading ignorance and stupidity; I don’t need to go looking for it.

Finally, my sympathies–which I understand is more or less useless–to Americans of Asian descent everywhere. And my deepest condolences to the friends and families to the victims of the Atlanta Massacre. The perpetrator, by the way, was a professing Christian (how that works escapes me) who I don’t doubt for a minute was motivated by the racist, anti-Asian rhetoric that is clearly au courant in the United States.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Book of Answers: The Decameron

“What does the title of Boccaccio’s The Decameron (1350-52) mean? It means “ten days” and refers to the number of days the narrators spend telling stories. One hundred stories are told by seven women and three men during the Black Death of 1348.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Modernism

“Modernism: The philosophy of modern art. Nineteenth-century industrialization resulted in societal changes which radically altered institutions of patronage for artists. With the rise of museums and an expanding commercial art market, artists were freer to experiment with modes of expression. Art for Art’s Sake was the common credo as this avant-garde determined their own content, form, and medium. Movements and styles abounded, including: Cubism, Constructivism, Expressionism, Dada, Surrealism, Abstract Expressionism, and Minimalism. Modernist art criticism was centered on significant form. Painting (especially Abstract Expressionism) was thought to progress toward purity in its refinement of color and flatness. The deconstructive critique of such formalist emphasis exposed the ‘impurity’ of meaning, that is, the possibility of multiple interpretations and a relativization of value judgements. This decentering expanded the theoretical and artistic modes of basic importance to Postmodernism. See International Style.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Nathan M. Pusey on Staying Abreast of Things

“We live in a time of such rapid change and growth of knowledge that only who is in a fundamental sense a scholar—that is, a person who continues to learn and inquire—can hope to keep pace, let alone play the role of guide.”

Nathan M. Pusey, The Age of the Scholar (1963)

Excerpted from: Howe, Randy, ed. The Quotable Teacher. Guilford, CT: The Lyons Press, 2003.

3 Emblems Within a Crown

“Power * Legitimacy * Victory

The Norman conqueror William I wore his crown three times each year: at Winchester at Easter, Westminster at Whitsuntide and at midwinter at Gloucester. But, as Shakespeare tells us, ‘uneasy lies the head that wears the crown.’ For the crown stands for the three emblems of power, legitimacy, and victory, but also for an ordained blood sacrifice as epitomized by the crown of thorns.

As an icon of power the crown has numerous lines of descent: the double crowns worn by the pharaohs of Egypt, the laurel wreaths of victory awarded to Greek heroes (and turned into the finest gold for Greek kings), the jewel-studded diadem worn on the brow by Persian and Hellenistic monarchs. The truest line of descent for the Western crown seems to have been the Greek radiant crown—Lucian’schaplet with sunbeams’—which was placed on statues of the sun god and which Constantine the Great co-opted in his fusing of the cult of the unconquered sun to the newly formed symbolism of a Christian emperor.”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

Cultural Literacy: Dark Ages

Here is a Cultural Literacy worksheet on the Dark Ages.

In posting this document, I understand that I’m dealing with a contested term. In fact, in the nineteenth and twentieth centuries, as the period became better understood, historians began restricting its use to the Early Middle Ages, generally the first few centuries following the fall of Rome. When I was teaching global studies in New York, one of the concepts that was chronically overlooked while my co-teacher droned on in a recitation of decontextualized historical facts was the difference between periods of intellectual enlightenment and intellectual repression–indeed, the active promotion of ignorance and superstition.

If one looks at intellectual history, this oscillation between lightness and darkness, as Petrarch framed it, recurs fairly regularly (in fact, we’re arguably in the middle of such a period as I write this). I always thought that in teaching global studies, we ought to use the trial and death of Socrates as an illustration of the contest between intellectual freedom and the superstition and ignorance which opposes it. Once we accomplished that, we can cite this phenomenon everytime it expresses itself in history. It would make introducing the Carolingian Renaissance, the Renaissance itself, and the Enlightenment (and its antithesis, Romanticism) a simpler and deeper conceptual endeavor at once. In United States history, this dynamic expresses itself, I submit, in everything from the First and Second Great Awakenings to the McCarthy Era.

And we end up with those big concepts in historical inquiry that Claude Levi-Strauss called binary oppositions: faith and reason, law and anarchy, science and religion, knowledge and ignorance, and so forth. Those pairs, I think, are what Grant Wiggins and Jay McTighe had in mind when they talked about identifying (and helping students to understand) “big ideas” in instructional planning.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Allegory

Allegory: A series of symbols existing harmoniously in a larger system of meaning. While a symbol most often takes the place of a letter, word, or image, such as the cross as a symbol of Christianity, allegory takes symbolism one step further by using images and/or stories to stand in for other ideas or abstract concepts. Picasso’s Guernica, rooted in events from the Spanish Civil War, works as an allegory for total war. (Disputed symbols include the wounded horse and the bull, representing Republican Spain and fascism, respectively.) From the mid-1950s to the mid-1970s, the primacy of abstract art made the use of allegory seem out of date. But with the advent of postmodernism and a return to figurative and narrative works, allegory has again flourished. Modernists Giorgio de Chirico, Max Ernst, and Jose Clemente Orozco make use of allegory, as do postmodernists Anselm Kiefer and Francisco Clemente.

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.