The History of American Higher Ed in UGA’s 1785 Charter

Note: Image is George Cooke’s View of Athens from Carr’s Hill (1845).

This summer, I am taking a course on the history of higher education in the United States. For my dissertation, I looked at histories of literary and composition studies in America: Thomas Miller, Nan Johnson, Sharon Crowley, Brian Horner, Shirley Wilson Logan, and more. Since then, I have broadened my scope on examining the history of higher education in America to include a more comprehensive and overarching view of institutional life and policy. As such, a course that traces the long view of higher education in the US is fascinating to me. Today, I want to write about a couple of items that have stuck out to me in my initial readings for this course.

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End of Semester Reflections on Syllabi and “Inclusive Citation”

Continuing the end of the semester reflections, I want to take the time with today’s post to self-reflect on my own practices in regard to constructing syllabi and conducting research. This post arises out of two recent pieces that I have read from Constance Bailey and Maha Bali. Bailey’s piece provides tips for developing and designing your dream course(s), something I have been doing on this blog for quite some time. Bali’s piece corresponds with Bailey’s because it class upon us as scholars and teachers to examine whether or not we practice “inclusive citation.” Today, I thought I would take some time to walk through my reflections after reading these two posts and talk about what I can do better on each front.

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Crumbling Hate in Wallace Wood’s “Blood-Brothers”

Recently, I’ve written about Al Feldstein and Wallace Wood’s work in EC Comics’ Shock SuspenStories. I’ve examined how they confront the reader in “The Guilty!,” how they address racist thought in “Hate!,” and how they address fears surrounding interracial intimacy in “Under Cover” and “The Whipping!” Today, I want to look at another story that Wood drew, “Blood-Brothers.” Unlike the other stories, we are unsure if Feldstein wrote the script. According to Bill Mason, most likely either Al Fedstein on Jack Oleck wrote the script. No matter who wrote the script, it is still a story that addresses issues of racism head on. Today, I want to look at this story and specifically the way it uses the burning cross as a multi-layered symbol as an expression of hate and at the same time the collapsing of that hate.

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