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Add to cart. Veccia , Paperback. Be the first to write a review About this product. About this product Product Information Using primary sources to teach history, which goes beyond rote memorization of dates and facts, has been incorporated into the educational standards of nearly every state. For overburdened K teachers, librarians, and media specialists, complying with those standards is easier said than done. In this useful handbook, expert author Susan Veccia offers readers practical ways to incorporate these standards into their curriculum, using the resources of the Library of Congress's American Memory Website.

This national treasure and resource for bringing history alive is home to over digitized collections of primary sources - more than 7. This hands-on insider's guide helps educators and librarians navigate the information and learn when, where, and how to incorporate these online primary documents into the curriculum. The author along with four contributors - three teachers, one librarian - share practical lessons and personal stories that illustrate: How American Memory resources can be used to teach history, information; Literacy, and critical thinking in elem.

Additional Product Features Dewey Edition. Show More Show Less. Any Condition Any Condition. Compare similar products. You Are Viewing. No ratings or reviews yet. As the only historian teaching in an interdisciplinary media, technology, and culture studies M. Their degree program exposes them to a broad range of issues raised by networked technologies and new media. Most come into my courses with intricate frameworks for understanding media, and they eagerly embrace opportunities to think about how to interpret and analyze in formats that move beyond writing.

Using evidence of various sorts—digitized film or video footage, images, photographs, music—my students build multimedia analysis by the juxtaposition of this historical evidence with their own analytic voices presented in recorded narration or titles. In written narratives, historians present textual evidence through quotations, numeric evidence through tables, and visual evidence through reproductions of photographs, maps, or cartoons. But too often—and this is most apparent in the case of video or music—we are forced to represent visual evidence and pinpoint our analysis to specific parts of it through written description.

Multimedia allows audiences to see or hear moving pictures or songs; it allows authors to show multiple examples quickly with narration over them or to guide viewers over specific parts of an image and show analysis directly beside or over a specific point. Multimedia allows my students to show their subjects as they analyze them.

Such work thus illustrates both the possibilities—and some of the limits—of multimedia authoring for academic work. The multichanneled, multilayered nature of multimedia authoring allows—indeed relies on—compression of argument, conveying a great deal of information quickly and by a variety of means. Compression intentionally invokes simplistic cultural memories to make its argument. It occurs in all forms of communication, including writing, but multimedia authoring brings compression to the fore: the viewer must recognize an era or associate a sound with a particular cultural milieu.

The best multimedia authoring projects will then explain, clarify, or challenge the cultural memory in question. Two student multimedia projects showed me how the two interrelated techniques are central to the presentation of historical analysis in new-media narrative forms. Malgorzata Rymsza-Pawlowska used a period style of filmmaking to evoke, through compression, an entire era. She then mixed evidence and argument to read her subject outward, into a larger historical argument.

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Hurt illustrated the continuity of domestic goddess ideals in American culture with a montage of s and s photos and TV footage of Donna Reed—an actress famous for her popular television portrayal of a perfect housewife—and similar TV and magazine images of the s celebrity domestic expert Martha Stewart. Hurt then introduced Maxwell, a crossdressing television personality whose use of the domestic diva tradition helps show the historical construction of gender, particularly the performance of housewife and domestic goddess.

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Working in new media, Hurt could accentuate the ways Maxwell self-consciously performs and destabilizes the domestic diva tradition. While both connections could be conveyed in writing as I have just done , multimedia allowed Hurt to demonstrate her point more vividly. Viewers could see in chronological order the domestic icons from whom Maxwell creates her satirical performance. Yet compression works only if viewers possess the cultural knowledge needed to give a story the intellectual and emotional effects the author intends.

In her multimedia project, Rymsza-Pawlowska used the style of a silent newsreel to evoke the s. Her choice of genre allowed her to present evidence and analysis together. She connects women, smoking, and female performances of modernity and independence. Clip segments: above from Possessed, dir. Mervyn Le Roy Warner Brothers, Courtesy Malgorzata Rymsza-Pawlowska. Again like Hurt, Rymsza-Pawlowska used compression in her opening montage to establish context.

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But while Hurt sought to establish a lineage showing the ways gender is a historical construct, Rymsza-Pawlowska evoked and established multiple historical factors using artifacts from a single period. Also like Hurt, Rymsza-Pawlowska relied on and attempted to undermine our prior cultural knowledge of the era. She used images of a variety of women engaged in relatively new public leisure activities with and without men while smoking to help us understand the broader reach of this symbol beyond the flapper stereotype.

Both Hurt and Rymsza-Pawlowska relied on compression of argument, and both evoked cultural memories and stereotypes to produce their historical analyses. Yet, to most historians, those very moves might at first glance seem to flatten intellectual complexity.

Uncovering our history : teaching with primary sources / Susan H. Veccia - Details - Trove

How do we know that accounts are critiquing, not replicating, the simplistic cultural memories they invoke when they undertake compression? How can we tell when stereotypical images reproduce old interpretations or when they instead open interpretative possibilities?

To answer those questions, historians can turn to the scholarship of teaching and learning for methods that help us watch carefully as students make choices about bringing together video clips, images, narration, and music to build their arguments. Due to the very compression of the form, we might at first glance miss the deep complexity of the arguments.

It is easy for those of us trained to argue using words to focus solely on the narration of a digital story, without paying attention to the ways the words work with, over, and against the visual narrative constructed by the student. We need to learn to read new-media forms so that we can recognize the intended argument within them. In addition to strengthening our own knowledge of multimedia communication, another way to ascertain complexity is to ask students to reflect on their own intentions, whether in written proposals for projects, post-project reflective papers, or video- or audiotaped reflections.

Like a successful research paper, a successful multimedia narrative project in history is based on solid research and analysis and is the product of multiple drafts and revisions. Asking students to share draft scripts with the professor, to turn in bibliographies, or to write reflections—all are ways of increasing our understanding of student intentions, sophistication of argument, and relative success in their projects.

The standards of argument are the same, but the possibilities for making them are decidedly different. As a cultural historian in an interdisciplinary department—New Humanities for Social Justice—at California State University, Monterey Bay, I continually grapple with what to emphasize in the one required history course for majors. At the Visible Knowledge Project Summer Institute in , colleagues encouraged me to foreground the digital turn in history by linking new media with my longtime goal of inspiring students to become citizen historians.

Templeton created the drawings between and for public use by activists in Mexico and the United States. Courtesy Betita Martinez. Citizen historians understand their right both to learn and to make history: they assume responsibility for contributing to the ongoing project of uncovering the diversity of our past and expressing that historical knowledge in a public forum. In Multicultural History in the New Media Classroom, I combine traditional approaches to reading and writing with an assignment that requires students to present their research projects in new-media forms.

Self-consciously applying the scholarship of teaching and learning to evaluate my course and its outcomes, I have been able to document how digital history assignments helped my students develop two key historical-thinking skills. First, my students developed the ability to place themselves in history; this is an especially significant achievement since many of them are working-class and first-generation college students from migrant families who work in the fields surrounding my university. Although such students are too often seen only as hampered by deficits associated with inadequate preparation, my students in fact bring critical assets to the classroom—family and community experiences that help them write narratives of social change and move those stories from the margins into the mainstream of history.

In their own efforts to stitch together the patchwork of evidence they have collected, they learned how to refocus, rewrite, and rethink the stories they tell. Making digital histories presents students with daunting technical challenges. But these new-media narratives also foster student learning in large part because of the real stakes in presenting history to a wider audience.

As deadlines approach, students try to fill holes in their research and to comprehend whether new information strengthens their original interpretation or raises new directions. The particular historical period or pedagogical approach I take varies each year as I incorporate lessons garnered from evidence of student learning from the previous semester. Recently, in spring , I decided to create my own course reader so that students could have models of how both academic and nonacademic writers combine personal approaches with the telling of history. Learning the different ways historians portray the past is an important part of the scaffolding— instructional support—students need to author their own history.

They choose their own research topics, often from their lived experiences or out of a commitment to social justice or a desire to learn about struggles for equality ignored or minimized by their high school history textbooks. They are required to write an abbreviated research prospectus that describes the topic, takes a metacognitive look at initial assumptions, details research questions, and lists sources. They explore the campus library, online archives, and resources in surrounding communities.

I encourage them to look at a range of possibilities for primary materials: published and unpublished sources such as newspapers and diaries; visual records found in photo albums and films; everyday artifacts including family cookbooks and clothing; evidence from the built environment seen at local cemeteries and in memorials; and aural sources encompassing oral histories as well as music. I involve my students in a cognitive apprenticeship by making visible and explicit to them my own thinking about the construction of historical narratives. I explain how I decide which sources to use, question evidence, and analyze findings.

As they might in drafting an outline of a paper, but working with multiple layers of evidence, students juxtapose images, text, special effects, and sound in what video makers call a storyboard. Students also write a reflection on the reasoning behind their choices. As these storyboards change during the course of the semester, I collect evidence of how students are learning the iterative nature of historical knowledge as they undertake successive edits of their digital narratives, visually rearranging the elements on their storyboards. What follows are three short examples of how students grow into their roles as citizen historians, learning to place themselves in history, and to present their narratives to a wider public, including fellow students, their families, and communities.

After many hours of researching the United Farm Workers UFW movement at the local library, she had found the photograph buried in the newspaper archive. The subsequent revision in her research focus, from abstract to personal, informed her choice to create a bilingual, bicultural film, using both Spanish and English audio narration, Latino and Anglo visual representations, and music from both cultures.

Her film presented the photo of her grandfather surrounded by the red and black colors of the United Farm Workers while other clips featured compelling images drawn from magazines, newspapers, and family photo albums. Courtesy Marisa Jimenez.

What is a Primary Source? by Shmoop

Whose lives and what histories lay behind the numbers? In her research Megan found out that her own father had been one of the protesters. That discovery enabled her to revise her understanding of her connection to the struggle and to place herself and her family within it.