Ellen Takata, HAVC 188M, Summer 2019 1

HAVC 188M, Heritage, Memory and Material Culture: Identity in and Out of Mind

M/W 1-4:30pm, Social Sciences 1, Rm 161

Ellen Takata

Office/hours: Kresge 244, Tuesday, noon-2pm (or by appointment): ehtakata@ucsc.edu

Course Objectives:

The term “heritage” suggests stable histories rooted in fixed origins, yet ideas of heritage affect

human lives in ways that often are temporary and always plural. This course explores concepts

of heritage through case studies on material experiences – that is, encounters with physical

objects through one’s senses in the present – that awaken thoughts or feelings about the pasts of

objects or their cultures: in other words, their heritages. The general goals of the course are thus

to consider how personal and collective memories change notions of specific heritages over time

and place, as well as how groups identifying with different heritages might find common ground.

Class Structure:

Each day of class (with the exception of the first) offers a case study in an area such as public

demonstrations of community; private (re)collections of images and objects; and the middle

ground of discussion: in most basic terms, on negotiating personal and collective memories by

destroying, preserving or reframing images and objects. Cases also highlight sets of opposites

that complicate concepts of heritage – and, in the process, become less clear in their oppositions

– through investigations of human relations in different contexts. These opposites include

universal and particular; state and private; colonizer and colonized; material and spiritual; and

“perpetrator” and “victim.”

Course Requirements and Evaluations:

Attendance/discussion: 30%

* attendance effectively is MANDATORY, however, if you anticipate an absence or

have an emergency, please let me know as soon as possible.

Leading discussion of a topic for one class: 10%

*must choose topic for both discussion and final paper during class 1

Response papers for class materials from class 2 onwards (1-2 pages): 30%

*please refer to guidelines for structure of papers

*please submit in Canvas before class – either as text entry or file upload (Word or PDF)

*must draw on Required Readings and Image Sources for that day in class

*note: you are not required to read texts in Image Sources for class – only view images.

Final paper on aspect of discussion topic (5-7 pages, not including images): 30%

*to be uploaded in Canvas in Word/PDF before midnight on July 26 (last day of term)

Ellen Takata, HAVC 188M, Summer 2019 2

*as there is limited time to find sources, texts for possible use in final papers are

included in the syllabus for you to access via JSTOR, as e-books, on reserve or from

me (my personal copies) in addition to finding your own sources.

*Note on time commitment: UC Senate Regulation 760 specifies that 1 academic credit

corresponds to 3 hours of work per week in a 10-week course. In this 5-credit course of 5 weeks,

the time expectations are doubled. Students can expect to do 30 hours of work per week. For

this course, 7 hours per week are spent in class, comprised of lecture and discussion. You should

expect to devote about 23 hours per week to working independently (doing the required readings

and viewing, reviewing lecture notes and course materials, working on assignments, etc.).

Grades & Evaluations:

Performance translates into letter grades as follows:

C Average performance. Presentation of a reasonable amount of substantially correct

factual information relevant to the topic. In discussion, this means that you have looked

at the reading before class and attend class regularly.

B Above average performance. Demonstrates control of factual material in depth, clear

exposition and coherent organization. For discussion, this means that your class

participation demonstrates that you have done the reading (i.e. you can answer questions

and refer to the readings).

A Excellent performance. Comprehensive factual knowledge, well-organized and well-

written, showing independent, critical thinking and originality of insight. For

discussions, this means that your class participation shows a careful and critical reading

of the text and that you have done some original research. For example, you have

investigated the context of the reading, looked up difficult or unusual terms, etc. In

addition, your participation in discussion encourages others to talk rather than

monopolizing the discussion.

Accessing Resources/Electronic Device Policy:

Required readings are uploaded in Canvas and must be accessed in class via the medium of

your choice – preferably a hard copy that you print yourself or on your laptop or tablet.*

*in emergencies, you may use your phone – however, please try to avoid this.

Image Resources: printed materials are on reserve at McHenry library; digital websites and

databases are linked in the syllabus.

As noted under assignments: if you wish to use extra readings that I have listed for your topic,

please access these through JSTOR, as e-books, or from reserves at McHenry – if you

encounter difficulties, please let me know.

Ellen Takata, HAVC 188M, Summer 2019 3

Disability Resource Center (DRC):

UC Santa Cruz is committed to creating an academic environment that supports its diverse

student body. If you require accommodations for this course, please submit your

Accommodation Authorization Letter from the Disability Resource Center (DRC) to me as soon

as possible, so that we can discuss ways to ensure your full participation in the course. I

encourage all students who may benefit from learning more about DRC services to contact DRC

by phone at 831-459-2089 or by email at drc@ucsc.edu .

Distribution of Lecture Notes and Materials:

Please note that students may be disciplined for selling, preparing, or distributing course lecture

notes, including notes created independently by students. The unauthorized sale of lecture notes,

handouts, readers or other course materials is a violation of campus policies as well as state law.

Violation by distribution to the public or on the Internet may also constitute copyright

infringement subject to legal action.

Program Learning Outcomes:

This course fulfills the History of Art and Visual Culture Program Learning Outcomes 1-3 on an

intermediate level: PLO 1 (Breadth of Cultural Knowledge), PLO 2 (Critical Thinking), PLO 3

(Research Proficiency). See http://havc.ucsc.edu/program for further information.

Standards of Academic & Community Integrity:

All students in this class are expected to uphold high standards of academic integrity as set forth

in http://www.ue.ucsc.edu/academic_integrity and the UCSC Principles of Community, which

can be read here: (http://www.ucsc.edu/about/files/princecommprint.pdf)

Avoiding Plagiarism:

Plagiarism is when an idea, work, or information is taken and used without giving credit to the

originator or source (i.e. taking credit for someone else’s work). It can take many different

forms, including the following:

1. Using actual text of any length from someone else’s writing (off the Web or from journals,

magazines, or books—i.e. any written source) without putting that text in quotes with a

proper citation.

2. Using ideas or information from a source in your own writing (i.e. in your own words)

without giving credit through proper citation to that source.

3. Letting someone else write your paper for you or buying an Internet paper, thus claiming that

person’s work as your own.

You do not need to cite common knowledge. This is defined as information that is found in

three non-related sources. For example, the capital of the United States is Washington, D.C.

This is a fact that can be found in innumerable references that do not cite each other. On the

Ellen Takata, HAVC 188M, Summer 2019 4

other hand, the idea that Taliban destruction of Buddhist statues at Bamiyan manipulated cultural

sentiments of museum display was developed by Finbarr Barry Flood.1 Therefore, other sources

that discuss this idea must cite Flood’s work to acknowledge their relation to it. If you find

information that you want to use but the author cites another source, it is best to find the original

source and cite it. If you are in doubt about whether or not to cite something, CITE IT or ask me

for guidance. It is better to present an over-cited paper than commit plagiarism.

Any plagiarism will result in an automatic and non-negotiable F in the course.

Schedule of Classes:

Week 1: Heritage: Universal and Particular, In and Out of Mind

June 24: Can Identities Coexist with a Universal Humanity? Caveats on “Heritage”

no response paper – 2 in-class readings

Readings to do in class:

David Lowenthal, “Heritage Care: From the Tower of Babel to the Ivory Tower,” Change Over

Time, Vol. 1, No. 1 (Spring 2011) 130-136.

Salman Rushdie, Imaginary Homelands (London: Granta, 1999 [1982]) 9-21.

June 26: Memory in and Out of Materials: “Where” is It Located and How is It Accessed?

Response paper 1 due

Required readings:

Adrian Forty, Introduction, The Art of Forgetting, eds. Adrian Forty and Susanne Küchler

(Oxford, New York: Berg, 1999) 1-18.

Susanne Küchler, “The Place of Memory,” The Art of Forgetting, pp. 53-72.

*in-class screening of Rithy Panh, The Missing Picture (2013)

Week 2: State or Private? Heritage in Public Images, Events and Tourism

1 Finbarr Barry Flood, “Between Cult and Culture: Bamiyan, Islamic Iconoclasm, and the Museum,” The Art

Bulletin, Vol. 84, No. 4 (Dec., 2002), pp. 652-655.

Ellen Takata, HAVC 188M, Summer 2019 5

July 1: Private Divisions as Public Images? Belfast Commemorations of State Formation

Response paper 2 due

Required readings:

William Butler Yeats, “Easter 1916,” in Selected Poems and Two Plays of William Butler Yeats,

ed. M.L. Rosenthal (New York: Collier Books, 1962) 85-87.

Neil Jarman, “Commemorating 1916, Celebrating Difference: Parading and Painting in Belfast,”

The Art of Forgetting, pp. 171-195.

Guy Beiner, “Between Trauma and Triumphalism: The Easter Rising, The Somme, and the Crux

of Deep Memory in Modern Ireland,” Journal of British Studies, Vol. 46, No. 2 (April, 2007)

366-389.

Image Sources:

Books on Reserve:

Bill Rolston, Politics and Painting: Murals and Conflict in Northern Ireland (Rutherford, NJ:

Fairleigh Dickinson University Press, 1991).

----, Drawing Support: Murals in the North of Ireland (Belfast: Beyond the Pale Publications,

1994).

----, Drawing Support 2: Murals of War and Peace (Belfast: Beyond the Pale Publications,

1998).

----, Drawing Support 3: Murals and Transitions in the North of Ireland (Belfast: Beyond the

Pale Publications, 2003).

----, Drawing Support 4: Murals and Conflict Transformation in Northern Ireland (Belfast:

Beyond the Pale Publications, 1998).

Internet Videos of Belfast parades (note flags, uniforms, music, audience, framing):

“Just Another Easter Rising Centenary Committee Parade,”

(posted May 17, 2017 by william belfast; accessed June 22, 2019; 1:55):

https://www.youtube.com/watch?v=38gyQ73J4gM

“Carrick District No19 Somme Memorial Parade 2018”

(Recorded and posted July 4, 2018 by On the March Videos; accessed October 20, 2018; 2:56)

(https://www.youtube.com/watch?v=LsNQA0biUhw

*Further readings for possible use in final paper (in addition to Image Sources):

Book on Reserve:

Ellen Takata, HAVC 188M, Summer 2019 6

Neil Jarman, Material Conflicts: Parades and Visual Displays in Northern Ireland (New York:

Berg, 1997).

Articles via JSTOR:

Jack Santino, “Public Protest and Popular Style: Resistance from the Right in Northern Ireland

and South Boston,” American Anthropologist, Vol. 101, No. 3 (September, 1999) 515-528.

Debbie Lisle, “Local Symbols, Global Networks: Rereading the Murals of Belfast,” Alternatives:

Global, Local, Political, Vol. 31, No. 1 (January-March, 2006): 27-52.

Eoin Flannery, “The Art of Resistance: Visual Iconography and the Northern ‘Troubles,’” in Ireland in Focus: Film, Photography, and Popular Culture, eds. Eoin Flannery and Michael

Griffin (Syracuse, NY: Syracuse University Press, 2009) 125-143.

Bill Rolston, “Re-Imaging: Mural Painting and the State in Northern Ireland,” International

Journal of Cultural Studies, Vol. 15, No. 5 (2012) 447-466.

Ray Casserly, “Parading through the Storm: Risk, Death, and Parades in Northern Ireland,” in

Leisure and Death: An Anthropological Tour of Risk, Death and Dying, eds. Adam Kaul and

Jonathan Skinner (Louisville, CO: University Press of Colorado, 2018) 190-205.

July 3: Bodily Memory vs. the State?: Grassfields Royal Ritual and Village Masquerade

Response paper 3 due

Required Reading:

Nicolas Argenti, “Ephemeral Monuments, Memory, and Royal Sempiternity in a Grassfields

Kingdom,” The Art of Forgetting, pp. 21-52.

Image Sources:

Books on Reserve:

Christraud Geary, Bamum (Milan: 5 Continents Editions, 2011).

Hans-Joachim Koloss, World View and Society in Oku (Cameroon) (Berlin: D. Reimer, 2000).

*Please draw on Geary and Koloss and feel free to find sources in their citations

Week 3: Reclamation and Revelation: Heritages of Colonization

July 8: Picture Imperfect: Australian Reclamations of Past Photography

Ellen Takata, HAVC 188M, Summer 2019 7

Response paper 4 due

Required readings:

Jo-Anne Driessens, “Relating to Photographs,” Photography’s Other Histories, eds. Christopher

Pinney and Nicolas Peterson (Durham and London: Duke University Press, 2003) 16-22.

Nicolas Peterson, “The Changing Photographic Contract: Aborigines and Image Ethics,”

Photography’s Other Histories, pp. 119-145.

Image Sources:

Websites:

“Returning Photos: Australian Aboriginal Photographs from European Collections”:

https://ipp.arts.uwa.edu.au

Photo database of the Australian Institute of Aboriginal and Torres Strait Islander Studies:

https://aiatsis.gov.au/collections/about-collections/pictorial

*Further readings for possible use in final paper (in addition to Image Sources):

I have a PDF of the following that I can send if interested:

Michael Aird, “Growing Up with Aborigines,” Photography’s Other Histories, pp 23-39.

Article via JSTOR:

Sabra Thorner, “Two Exhibitions Resignify Aboriginality and Photography in Australia’s Visual

Lexicon,” American Anthropologist, New Series, Vol. 110, No. (March 2008) 66-68.

*Film dramatizing indigenous life based on indigenous collaboration and anthropological

materials: Ten Canoes: https://www.youtube.com/watch?v=cLiJ5EhNKyo

(DVD also on reserve at the David Kirk Digital Scholarship Commons, McHenry Library)

July 10: Whose “Folk Art”? Imperialism through Japanese Collecting of Korean Ceramics

Response paper 5 due

Required readings:

Sôetsu (Muneyoshi) Yanagi, “The Kizaemon Tea-bowl” [1931], The Unknown Craftsman: A

Japanese Insight into Beauty (Tokyo and New York: Kodansha International, 1989 [1972]) 190-

196.

Ellen Takata, HAVC 188M, Summer 2019 8

Yuko Kikuchi, Introduction, Japanese Modernisation and Mingei Theory: Cultural Nationalism

and Oriental Orientalism (London and New York: Routledge/Curzon, 2004) xv-xvii.

Full text available as an e-book:

https://ebookcentral-proquest-com.oca.ucsc.edu/lib/ucsc/detail.action?docID=200195

Kim Brandt, Introduction, Chapter 1, and subsection of Chapter 5 “Managing Korea’s ‘Splendid,

Instinctive Power’” Kingdom of Beauty: Mingei and the Politics of Folk Art in Imperial Japan

(Durham, NC and London: Duke University Press, 2007) 1-37, 176-186.

Full text available as an e-book:

https://read.dukeupress.edu/books/book/1176/

Image Sources:

Books on Reserve:

The Unknown Craftsman.

Hugo Munsterberg, The Folk Arts of Japan (Rutland, VT and Tokyo: Charles E. Tuttle

Company, 1958).

Websites:

The Japan Folk Crafts Museum (Mingei-kan): http://www.mingeikan.or.jp/english/collection/

The Mingei International Museum, San Diego: https://mingei.org

*Further readings for possible use in final paper (in addition to Image Sources):

Please draw on additional chapters in The Unknown Craftsman, Kikuchi and Brandt, listed under

Required Readings. All are on reserve at McHenry. Kikuchi and Brandt additionally are

available as e-books.

Week 4: Matter or Spirit? Heritages of Religious Presence

July 15: Empty Self, Divine Remains, Cultural Claims: Can Chan Masters Go “Home”?

Response paper 6 due

Required readings:

Robert H. Sharf, “The Idolization of Enlightenment: On the Mummification of Ch'an Masters in

Medieval China,” History of Religions, Vol. 32, No. 1 (August 1992) 1-31.

James Robson, “A Tang Dynasty Zen Mummy [Roushen] and a Modern Case of Furta Sacra?

Investigating the Contested Bones of Shitou Xiqian,” Chan Buddhism in Ritual Context, ed.

Bernard Faure (London and New York: Routledge, 2003) 151-178.

Ellen Takata, HAVC 188M, Summer 2019 9

Zuozhen Liu, “Will the God Win?: The Case of the Buddhist Mummy,” International Journal of

Cultural Property, Vol. 24, No. 2 (2017) 221-238.

Image Sources

*Although YouTube generally might not be considered a reliable source for factual information

on ancient and disputed subjects – such as mummified Buddhist masters – it remains one of the

most convenient means of access to their images. The following video offers a systematic

presentation of relatively well-known images. Feel free to refer to images from this video as the

channel names them, but remember 1) that these mummified masters are not, as the channel title

suggests, “strange and curious things;” and 2) it is possible that the identity of a master may be

disputed or disproven in the future. More importantly, note how the masters are treated and

presented (their dress, where they sit, whether they have offerings, etc.)

“Buddhist Mummies”

(Posted on December 20, 2016 by The Miscellany of Strange & Curious Things; accessed

October 22, 2018; 3:38)

https://www.youtube.com/watch?v=P50yK-NkEDo

*Further readings for possible use in final paper

Ichiro Hori,“Self-Mummified Buddhas in Japan. An Aspect of the Shugen-Dô (‘Mountain

Asceticism’) Sect,” History of Religions, Vol. 1, No. 2 (1962) 222–242. (although early, this

could be used to consider research on Buddhist mummification traditions between China and

Japan – do the authors in each area mention the other, do they find them similar or different?)

Douglas Gildow and Marcus Bingenheimer, “Buddhist Mummification in Taiwan: Two Case

Studies,” Asia Major, Vol. 15, No. 2 (2002) 87-127.

Michele Matteini, “On the ‘True Body’ of Huineng: The Matter of the Miracle,” RES:

Anthropology and Aesthetics, No. 55/56 (2009) 42–60.

July 17: Iconoclasm, Politics and Presence: Views on the Bamiyan Buddhas

Response paper 7 due

Required readings:

Finbarr Barry Flood, “Between Cult and Culture: Bamiyan, Islamic Iconoclasm, and the

Museum,” The Art Bulletin, Vol. 84, No. 4 (December 2002) 641-659.

Jamal J. Elias, “(Un)making Idolatry: From Mecca to Bamiyan,” Future Anterior: Journal of

Historic Preservation, History, Theory, and Criticism, Vol. 4, No. 2 (Winter 2007) 12-29.

Ellen Takata, HAVC 188M, Summer 2019 10

Buddhistdoor, “Buddhistdoor View: The Case for Rebuilding the Bamiyan Buddhas to their

Original Glory,” posted January 27, 2017 at Buddhistdoor Global (6 pages):

https://www.buddhistdoor.net/features/buddhistdoor-view-the-case-for-restoring-the-bamiyan-

buddhas-to-their-original-glory

Required Videos:

“NATO in Afghanistan – The Future of the Bamiyan Buddhas,” posted by NATO March 2,

2011(accessed October 22, 2011; 4:09): https://www.youtube.com/watch?v=aElJmNYkmG8

“World-famous Buddhas of Bamiyan resurrected in Afghanistan,” posted by The Times of India,

June 15, 2015 (accessed October 22, 2018; 2:19):

https://www.youtube.com/watch?v=JI4ozg4iEEw

Image Sources:

Books on Reserve:

Bamiyan: Challenge to World Heritage, ed. Kulbhushan Warikoo, International Seminar on

Bamiyan: Challenge to World Heritage, India International Centre, Himalayan Research and

Cultural Foundation (New Delhi: Bhavana Books & Prints, 2001).

Kurt A. Behrend and Pia Brancaccio, Gandhāran Buddhism: archaeology, art, and texts

(Vancouver: UBC Press, 2006).

Full text available as an e-book:

https://ebookcentral-proquest-com.oca.ucsc.edu/lib/ucsc/reader.action?docID=3412422

Internet Video:

“Progress of the Bamiyan Cultural Centre Reconstruction,” released by UNESCO, posted April

8, 2018 by NPCE Afghanistan (accessed October 22, 2018; 2:40):

https://www.youtube.com/watch?v=X5LKG0L_eE4

*Further readings for possible use in final paper (in addition to Image Sources):

On-line article:

Hannah McGivern, “Bamiyan Cultural Centre gets underway,” posted February 3, 2017 at The

Art Newspaper (1 page; accessed October 22, 2018):

https://www.theartnewspaper.com/news/bamiyan-cultural-centre-gets-under-way

Articles via JSTOR:

James Janowski, “Bringing Back Bamiyan’s Buddhas,” Journal of Applied Philosophy, Vol. 28,

No. 1 (February 2011) 44-64.

Ellen Takata, HAVC 188M, Summer 2019 11

Gil J. Stein, “The War-Ravaged Cultural Heritage of Afghanistan: An Overview of Projects of

Assessment, Mitigation, and Preservation,” Near Eastern Archaeology, Vol. 78, No. 3, Special

Issue: The Cultural Heritage Crisis in the Middle East (September 2015) 187-195.

Ebook:

Francesco Francioni and Federico Lenzerini, “Afghan Cultural Heritage and International Law:

The Case of the Buddhas of Bamiyan,” in Art and Archaeology of Afghanistan: Its Fall and

Survival, A Multi-Disciplinary Approach, ed. Juliette van Krieken-Pieters (Leiden and Boston:

Brill, 2006) 265-292.

https://ebookcentral-proquest-com.oca.ucsc.edu/lib/ucsc/detail.action?docID=3004017

Week 5: Tainted Heroes, Guilty Victims: Facing Heritage and Harm

July 22: Fascism and the Philokalia: “Constant Prayer,” Martyrdom, and “Resurrection of

the Nation” in Romania’s Legion of the Archangel Michael

Response paper 8 due

*Background notes:

Readings for today feature Romanian figures who were members of the Legion of the Archangel

Michael, a mystical organization that also was allied with Nazi Germany and today is considered

a form of fascism that aided genocide. One, Mircea Eliade, speaks for himself in retrospect as a

former student of the Legion’s charismatic intellectual figure Nae Ionescu. Like his friend,

Mircea Vulcanescu, he would not renounce the movement and discussed spiritual reasons. The

third figure, Valeriu Gafencu, died in prison in 1952, after about a decade of incarceration in

which he pursued what he considered a state of wholeness with Christ through prayer, love and

contemplation of sin. To do so, he studied Christian writings such as the 4th-14th century texts in

the Eastern Orthodox anthology the Philokalia, on which I’ll lecture (it is not mentioned much in

the readings). Gafencu now is a saint in Romania’s Eastern Orthodox tradition. I have assigned

only a few footnotes in the monk Moise’s life of Gafencu, because it is a “hagiography” – a work

of praise of a saint. Moise’s footnotes, however, show more complicated attempts to face the

conflict and danger of the Legion’s spirituality with history that Carstocea and Florian analyze.

Required readings:

Mircea Eliade, Chapter 16, “Detained by Destiny,” Autobiography, Vol. II: 1937-1960, Exile’s

Odyssey trans. from the Romanian by Mac Linscott Ricketts (Chicago and London: Chicago

University Press, 1988) 62-76.

Raul Carstocea, “Breaking the Teeth of Time: Mythical Time and the ‘Terror of History’ in the

Rhetoric of the Legionary Movement in Interwar Romania,” Journal of Modern European

History / Zeitschrift fur moderne europaische Geschichte / Revue d'histoire europeenne

contemporaine, Vol. 13, No. 1, Fascist Temporalities (2015) 79-97.

Ellen Takata, HAVC 188M, Summer 2019 12

Alexandru Florian, last section of Chapter 6, “Mircea Vulcanescu, Outstanding Intellectual or

War Criminal?” Holocaust Public Memory in Postcommunist Romania (Bloomigton: Indiana

University Press, 2018) 186-207.

Monk Moise, footnotes 25-43, in The Saint of the Prisons: Notes on the Life of Valeriu Gafençu

(Sibiu: Editora Agnos, 2009) 26-39.

Image Sources: (men and monuments discussed by Florian):

Mircea Vulcanescu in Bucharest:

Left: http://www.marturisitorii.ro/2014/04/09/mircea-vulcanescu-se-apara-singur-in-fata-

atentatului-la-statuia-sa-din-piata-sfantul-stefan-din-bucuresti-ultimul-cuvant/ [note: link is for

citation purposes only, it is NOT SECURE]

Right: https://www.pinterest.com/pin/804244445930405877/

Valeriu Gafençu in Targu Ocna:

https://valeriugafencu.wordpress.com

Ellen Takata, HAVC 188M, Summer 2019 13

Ion Gavrila Ogoranu in Deva:

https://razvydeva.wordpress.com/tag/ion-gavrila-ogoranu/

*Further readings for possible use in final paper:

Please feel free to read further in Eliade and Moise – Eliade is on Reserve at McHenry, and

Moise should be arriving. If it does not, I offer my own copy. In all cases, please read with

a critical eye towards forgetting or excusing past crimes of the Legionary movement, but

also consider how spirituality operated for Eliade, Gafencu, and Moise himself.

Book available via JSTOR:

Alexandru Florian, ed., Holocaust Public Memory in Postcommunist Romania (Bloomington:

Indiana University Press, 2018).

Full text available via JSTOR

https://www.jstor.org/stable/j.ctt2050vp3

Ebook:

Roland Clark, Holy Legionary Youth: Fascist Activism in Interwar Romania (Syracuse, NY:

Cornell University Press, 2015)

https://ebookcentral-proquest-com.oca.ucsc.edu/lib/ucsc/detail.action?docID=3425969

July 24: On Ethics of (Re)moving Mountains: Confederate Memory and Stone Mountain

Response paper 9 due

Ellen Takata, HAVC 188M, Summer 2019 14

Required readings:

Grace Elizabeth Hale, “Granite Stopped Time: The Stone Mountain Memorial and the

Representation of White Southern Identity” The Georgia Historical Quarterly, Vol. 82, No. 1

(Spring 1998) 22-44.

Jamey Essex, “‘The Real South Starts Here’: Whiteness, the Confederacy, and Commodification

at Stone Mountain,” Southeastern Geographer, Vol. 42, No. 2 (November, 2002) 211-227.

Catherine W. Bishir, “Memorial Observances,” Southern Cultures, Vol. 15, No. 2 (Summer

2009) 61-85.

Required Videos:

Mitch Landrieu on responsible use of Confederate statues:

“Confederate Statues Gathering Dust”

(Posted March 11, 2018, by 60 Minutes; accessed October 22, 2018; 1:19)

https://www.youtube.com/watch?v=uAE2yVrdxRM

Short history of Confederate statuary by Kirk Savage, from Standing Soldiers, Kneeling Slaves:

“How the Last Confederate Statues Will Create Conduct (HBO)”

(Posted August 16, 2017, by Vice News; accessed October 22, 2018; 4:19)

https://www.youtube.com/watch?v=LXGd8w1xFgw

Image Resources

Book on Reserve:

Stone Mountain Historical Society, Stone Mountain (Charleston, SC: Arcadia Publishing, 2014).

Website and Internet Videos:

Stone Mountain official website (note obscurity of monument):

https://www.stonemountainpark.com

“4th Of July at Stone Mountain Park 2 – YouTube” (laser show against the monument; posted

April 21, 2012 by JW Cliff Williams; accessed October 20, 2018; 4:22)

https://www.youtube.com/watch?v=hiFsPQlyKI4

“Georgia Stone Mountain Park Aug 2015 4K UHD” (edited presentation of the whole park, with

focus on monument around 1:27; posted September 7, 2015 by TriumphRainbow 4K; accessed

October 22, 2018; 5:11)

https://www.youtube.com/watch?v=l5UK2g1I7hU

*Further readings for possible use in final paper (in addition to Image Sources):

Ellen Takata, HAVC 188M, Summer 2019 15

Book on Reserve:

David B. Freeman, Carved in Stone: The History of Stone Mountain (Macon, GA: Mercer

University Press, 1997).

On-line article: Lorraine Boissonault, “What Will Happen to Stone Mountain, America’s

Largest Confederate Memorial?,” Smithsonian.com, August 22, 2017:

https://www.smithsonianmag.com/history/what-will-happen-stone-mountain-americas-largest-

confederate-memorial-180964588/

Articles via JSTOR:

Tom Vincent, "Evidence of Woman’s Loyalty, Perseverance, and Fidelity": Confederate

Soldiers' Monuments in North Carolina, 1865-1914” The North Carolina Historical Review, Vol.

83, No. 1 (January 2006) 61-90.

Chris Post, “Art, Scale and the Memory of Tragedy: A Consideration of Public Art in Pleasant

Hill, Missouri,” Material Culture, Vol. 43, No. 2, Everyday Landscapes (Fall 2011) 43-58.

**FINAL PAPER DUE JULY 26 IN CANVAS AS WORD OR PDF FILE!