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Kentucky Book Festival kicks off with poetry reading feat. Dr. Jeremy Paden

Kentucky’s First Annual Book Festival kicked off in Lexington on November 12. This event is a expansion of the Kentucky Book Fair, a two-day event, and is aimed to acknowledge the diverse authors and works of literature throughout our state.

The first event is called New Kentucky Poetry and Prose, and it was held at 6:30 PM at the Carnegie Center for Literacy & Learning. Four hand-picked authors were given the opportunity to read an excerpt from newly published pieces of work. Two novelists and two poets were featured, one of whom was Jeremy Paden, a professor of Spanish at Transylvania University.

Dr. Paden began his allotted time by explaining where the idea for his poetry book, prison recipes, came from: while earning his Ph.D in Latin American Literature, he met two people who had been detained for political reasons in Argentina and Chile.

A story he’d heard influenced a poem about how Argentinian detainees made a dulce de leche dish with white bread and caramel made over a hot plate. The poem bounced back and forth between enjoying the treat at home and making do while imprisoned, and discussed how eating two different versions of the same food evokes two different feelings.

The majority of his poems were either influenced by recipes made during Argentinian and Chilean detainment or by a Latin American folk singer he compared to Bob Dylan.

The last poem he read was a poem by Juan Gelman, translated by himself. This poet was exiled from Argentina after opposing the government at the time, and his son and pregnant daughter-in-law were taken by the Argentinian police. He wrote poetry about his son’s inevitable death as a result, but has been searching for his granddaughter for over two decades.


The 2018 Kentucky Book Festival will continue until November 17. An event will be held every day. Its schedule can be found on the Kentucky Humanities Council’s website.

Transy outlast Mt. Union in Mens’ Basketball Opener

The weather has cooled and the peach baskets are out, signaling that the dawn of basketball season is upon us.

Transylvania Men’s basketball team stands for National Anthem before first game of the season. Photo by Aaron Bell

On November 9th, Transylvania, led by head coach Brian Lane, hosted the Mount Union Raiders at the Beck center. The contest began at 7:00 pm and also saw the Transylvania cheerleaders and dance team perform.

The first half featured scrappy play from Mount Union. The strategy was simple, apply as much pressure to Transylvania as possible in order to force turnovers. The full court pressure did bother Transy and created 12 turnovers however, playing with so much aggression also resulted in 16 personal fouls for Mount Union.

With so many stoppages in play, the half became very stagnant and drawn out, and saw 22 free throws attempted. 17 of those were for Transylvania; however, foul shooting was far from accurate for the Pioneers as they delivered just 9 makes from the charity stripe in the first half. Mount Union also began to realize a lead when first year forward Diallo Niamke was inserted into the contest and used his strength and left handed finishing ability to score 12 first half points, all of which came in the paint or from the free throw line.

Transylvania was able keep the first half tight and overcome the lack of free throw makes thanks to forcing 11 turnovers themselves and netting 4 of their 8 three point attempts. Solid team play on the offensive end was courtesy of senior point guard Cooper Theobold. At the break he had dished out 5 assists to go along with 7 points. This kept Transylvania within an arm’s reach of Mount Union, trailing 40 to 36 at the half.

The adjustments were obvious in the second half for Transylvania, as the break provided Coach Lane an opportunity to address how to effectively neutralize the full court pressure of Mount Union, limit Transylvania’s turnovers, and contain Diallo Niamke in the paint. All three were done effectively as the Pioneers turned the ball over just 5 times and limited Niamke to 6 points in the second half. Theobold continued his strong performance, scoring when needed but using quick, intelligent passes to defeat the chaotic Raider defense.

However, the momentum of the contest shifted Transylvania’s way when Sophomore guard Devin Twenty entered the contest with 11:45 left to play. After some back and forth scoring from both sides, Twenty used his speed and scrappiness to score 5 points, gain 2 steals, and a rebound on consecutive plays. This burst of net positives for Transy gave the Pioneers their first lead in the second where they never looked back and began the year strong with a 74-66 win.

Though Transy showed huge team play with an outstanding 10 players putting points on the board, Cooper Theobald was the statistical leader of the contest with 24 points, 11 rebounds, and 5 assists. Reserve Will Sivillis also showed solid play scoring an efficient 8 points. For Mount  Union, it was their bench play who did the heavy lifting combining for 48 of the team’s 66 points. Despite his slow second half, reserve forward Diallo Niamke led the Raiders with 18 points and an efficient 8 for 11 shooting.

Transylvania will next travel to Emory Henry on Tuesday, November 13 at 9pm. While we will have to wait until December 1 to see the Pioneers at the Beck Center again, you can view the games live here.

Dr. Emily Goodman on prettiness and “Something Pretty”

Emily Goodman, curator of “Something Pretty” at Morlan Gallery, welcomed viewers to her art talk on Thursday evening. Student grumblings about having to attend the talk as a requirement for class subsided as soon as Dr. Goodman flashed a strangely ethereal beach scene on the wall and asked, “Is this pretty?”

She explained that the word is liberally applied to the work of female artists, and denotes superficiality and temporality. The show was born out of the idea that sometimes, art is just pretty. And that’s okay. However, Dr. Goodman did mention that her focus on the political nature of art is still prevalent in “Something Pretty,” as many of the pieces are social commentaries. The word is diminutive for artists like Justin Favela, whose piñata paper pieces reject cultural romanticization, and Tiffany Calvert, whose glitched flowers beg to be viewed separately from the gender of their creator.

So, what else is pretty? According to the internet, the word is perfectly suited to demure blonde women. Dr. Goodman put a photograph of Carrie Underwood next to La Giaconda, or the  Mona Lisa, and asked why one was beautiful and the other, merely pretty. Beauty is eternal, or close to it. It conveys depth and importance. Pretty has no meaning beyond its two syllables and fades with time.

Dr. Goodman said that women do not feel they are able to make pretty art because it will be reduced by a patriarchal world. The pressure to create pieces of substance, pieces worthy of the term “beautiful” is almost exclusively forced onto women. This is no recent phenomenon. Dr. Goodman unpacked the Hierarchy of Genres, a system installed by the Royal Academy as a way to rank the importance of art.

Naturally, women were excluded from the first two tiers — history painting and portraiture — because they required studying male anatomy. They were sequestered to the realm of still life, a genre full of pretty flowers.

History has been relatively unkind to women and minorities, and it is easy to lament the art that never was, simply because the hands that might have created it were too different or too pretty to matter. Easy to lament, but harder to change. “Something Pretty” is a reminder that this change is not impossible, even if it is aesthetically pleasing.

Dr. Sue Weinstein on spoken word and cultural bias

Dr. Susan Weinstein, Associate Professor of English and MacCurdy Distinguished Professor at Louisiana State University, came to campus this week to present a talk on privilege and power and their manifestations in the world of spoken word poetry.

We discuss the history of poetry, the new poets Dr. Weinstein loves and hates, and the ways spoken word is making room for stories from outside the dominant culture.

Further Reading: How should World War I be taught in American schools?

This article is republished from The Conversation under a Creative Commons license. Read the original article. The original article was written by Kyle Greenwalt, Associate Professor, Michigan State University.


The centennial of the end of World War I is reminding Americans of a conflict that is rarely mentioned these days.

In Hungary, for example, World War I is often remembered for the Treaty of Trianon, a peace treaty that ended Hungarian involvement in the war and cost Hungary two-thirds of its territory. The treaty continues to be a source of outrage for Hungarian nationalists.

In the United States, by contrast, the war is primarily remembered in a positive light. President Woodrow Wilson intervened on the side of the victors, using idealistic language about making the world “safe for democracy.” The United States lost relatively few soldiers in comparison to other nations.

As a professor of social studies education, I’ve noticed that the way in which “the war to end war” is taught in American classrooms has a lot to do with what we think it means to be an American today.

As one of the first wars fought on a truly global scale, World War I is taught in two different courses, with two different missions: U.S. history courses and world history courses. Two versions of World War I emerge in these two courses – and they tell us as much about the present as they do about the past.

WWI: National history

In an academic sense, history is not simply the past, but the tools we use to study it – it is the process of historical inquiry. Over the course of the discipline’s development, the study of history became deeply entangled with the study of nations. It became “partitioned”: American history, French history, Chinese history.

This way of dividing the past reinforces ideas of who a people are and what they stand for. In the U.S., our national historical narrative has often been taught to schoolchildren as one where more and more Americans gain more and more rights and opportunities. The goal of teaching American history has long been the creation of citizens who are loyal to this narrative and are willing to take action to support it.

When history is taught in this way, teachers and students can easily draw boundaries between “us” and “them.” There is a clear line between domestic and foreign policy. Some historians have criticized this view of the nation as a natural container for the events of the past.

When students are taught this nationalist view of the past, it’s possible to see the United States and its relationship to World War I in a particular light. Initially an outsider to World War I, the United States would join only when provoked by Germany. U.S. intervention was justified in terms of making the world safe for democracy. American demands for peace were largely based on altruistic motives.

When taught in this manner, World War I signals the arrival of the United States on the global stage – as defenders of democracy and agents for global peace.

President Woodrow Wilson addressing Congress, April 8, 1913.
Bain News Service / Library of Congress [LC-B2- 2579-2]

WWI: World history

World history is a relatively new area of study in the field of historical inquiry, gaining particular ground in the 1980s. Its addition to the curriculum of American schools is even more recent.

The world history curriculum has tended to focus on the ways in which economic, cultural and technological processes have led to increasingly close global interconnections. As a classic example, a study of the Silk Road reveals the ways in which goods (like horses), ideas (like Buddhism), plants (like bread wheat) and diseases (like plague) were spread across larger and larger areas of the globe.

World history curricula do not deny the importance of nations, but neither do they assume that nation-states are the primary actors on the historical stage. Rather, it is the processes themselves – trade, war, cultural diffusion – that often take center stage in the story. The line between “domestic” and “foreign” – “us” and “them” – is blurred in such examples.

When the work of world historians is incorporated into the school curriculum, the stated goal is most often global understanding. In the case of World War I, it’s possible to tell a story about increasing industrialism, imperialism and competition for global markets, as well as the deadly integration of new technologies into battle, such as tanks, airplanes, poison gas, submarines and machine guns.

In all of this, U.S. citizens are historical actors caught up in the same pressures and trends as everyone else across the globe.

The US school curriculum and World War I

These two trends within the field of historical inquiry are each reflected in the American school curriculum. In most states, both U.S. history and world history are required subjects. In this way, World War I becomes a fascinating case study of how the same event can be taught in different ways, for two different purposes.

To demonstrate this, I’ve pulled content standards from three large states, each from a different region of the United States – Michigan, California and Texas – to illustrate their treatment of World War I.

In U.S. history, the content standards of all three states place World War I within the rise of the United States as a world power. In all three sets of state standards, students are expected to learn about World War I in relationship to American expansion into such places as Puerto Rico, the Philippines and Hawaii. The ways in which the war challenged a tradition of avoiding foreign entanglements is given attention in each set of standards.

By contrast, the world history standards of all three states place World War I under its own heading, asking students to examine the war’s causes and consequences. All three sets of state standards reference large-scale historical processes as the causes of the war, including nationalism, imperialism and militarism. Sometimes the U.S. is mentioned, and sometimes it’s not.

And so, students are learning about World War I in two very different ways. In the more nationalistic U.S. history curriculum, the United States is the defender of global order and democracy. In the world history context, the United States is mentioned hardly at all, and impersonal global forces take center stage.

Whose history? Which America?

Scholars today continue to debate the wisdom of President Wilson’s moral diplomacy – that is, the moral and altruistic language (like making the world “safe for democracy”) that justified U.S. involvement in World War I. At the same time, a recent poll by the Pew Research Center has shown that the American public has deep concerns about the policy of promoting democracy abroad.

In an age when protectionism, isolationism and nationalism are seemingly on the rise, our country as a whole is questioning the relationship between the United States and the rest of the world.

This is the present-day context in which students are left to learn about the past – and, in particular, World War I. How might their study of this past shape their attitudes toward the present?

History teachers are therefore left with a dilemma: teach toward national or global citizenship? Is world history something that happened “over there,” or is it something that happens “right here,” too?

In my own view, it seems incomplete to teach just one of these conflicting views of World War I. Instead, I would recommend to history teachers that they explore competing perspectives of the past with their students.

How do Hungarians, for example, generally remember World War I? Or how about Germans? How about the Irish? Armenians? How do these perspectives compare to American memories? Where is fact and where is fiction?

Such a history class would encourage students to examine how the present and the past are connected – and might satisfy both nationalists and globalists alike.

Here’s This Thing: Mikky Ekko

Remember that one Rihanna song that came out in 2012 called “Stay”? Despite popular opinion, that song was actually written and produced collaboratively by singer/songwriter and producer, Mikky Ekko along with Justin Parker and Elof Loelv. Mikky Ekko had traveled to London, England where he was taking part in a songwriting retreat/workshop, and this song was formed as a result. During an interview with the Audience Network, Ekko admitted that he didn’t like “Stay” when they first wrote it and thought the song was too vulnerable.

While Ekko goes by his stage name, his birth name is actually John Sudduth. He was born in Shreveport, Louisiana but grew up in Mississippi and later moved to Nashville, where he currently resides. Ekko first rose to fame when “Stay” was picked up by Rihanna’s team and became a global success, going on to become one of the best selling singles of all time.

One fun fact about Ekko is that the first time he ever performed on television was live at The Grammy’s with Rihanna for their song “Stay”! Watch the video below!

Ekko has maintained a steady following since 2012, and has released two albums of his own along with numerous EPs and singles, including his brand new album, Fame that Ekko spent two years creating.

Ekko has managed to keep his unique songwriting style paired with the ability to change with the tide over the years. His newest album, Fame is a mix of soulful ballads and rock-inspired songs with a strong tie to that Nashville roots sound. The level of energy found in this album and Ekko’s vocals are a fresh sound. Although this album might be immediately written off as just another pop album, it takes the listener for some unique twists and turns that they wouldn’t find with any other artist and sets the bar high for other artists creating similar music.

It’s clear to see that this album was heavily influenced by the current pop/rock music scene in Nashville. Mikky Ekko has evolved as an artist since collaborating with Rihanna in 2012 and is starting to ease his way back into the limelight. This is one artist who I predict will stay in the music game for a while and continue to reinvent his sound time and time again.

Stupid F*cking Bird in Photos

If you haven’t already seen it, Stupid F*cking Bird begins its second week on Thursday!

Aaron Posner’s parody of Anton Chekhov’s classic, The Seagull, is a lighter take on the famously tragic tale. It is new Director of the Theater Program Tosha Fowler’s first production since she was hired at the start of this year.

The show is playing at 7:30 only this Thursday, Friday, and Saturday, so see it before it’s gone!


Photo by Gabby Crooks
Photo by Gabby Crooks
Photo by Gabby Crooks
Photo by Gabby Crooks
Photo by Gabby Crooks
Photo by Gabby Crooks

 

 

 

 

 

 

 

Photo by Gabby Crooks
Photo by Gabby Crooks

 

 

 

 

 

 

 

Photo by Gabby Crooks

Rambler Weekly Playlist & Blog: November 9th

Hey y’all!

This week’s playlist is full of chill vibes like Khalid and Jhene Aiko mixed with some Post Malone! Be sure to take this playlist on all your weekend adventures and road trips! As always, feel free to email me suggestions at tmahlinger20@transy.edu for songs you’d like to see make next week’s playlist!

As for arts events this week…

Friday, November 9th @7:30pm, Little Theater

Transylvania Theater presents Stupid F—ing Bird for its second weekend! Don’t forget to reserve your free tickets here!

Saturday, November 10th @7:30pm, Little Theater

Reserve your free tickets for the final performance of Stupid F—ing Bird here!

Sunday, November 11th @3pm, MFA Carrick Theater

Go see Transylvania’s choirs at their first major concert of the year and support your fellow music students! This concert will be the first performance under the new direction of Assistant Professor of Music and Director of Choral Activities, Dr. Regan MacNay.

Tuesday, November 13th @7:30pm, MFA Carrick Theater

Join Transy’s music technology students for the Student Electronic Music Recital!

Thursday, November 15th @6pm, MFA Morlan Gallery

Tiffany Calvert will be discussing her work currently on display as part of the “Something Pretty” exhibition!


Rambler Retrospective: The more things change…

Some things never change. Except for when they are always going up.

All of this for an increase in $180. If only they knew.

And some things really do never change.

Despite difficult climate, Día de los Muertos is celebrated proudly

The Day of the Dead Festival, known to Spanish speakers as Festival del Día de los Muertos, is celebrated around the world—including, this year, in Lexington at the Living Arts and Science Center, only a short walk from Transylvania’s campus

Día de los Muertos is celebrated annually on November 1st. It is often associated with the Mexican state of Oaxana, where concerts and games are featured alongside the ofrendas—altars that feature family members who have passed.

Photo by Dorri Wilson

Outside of the building were a few tents serving Mexican foods, such as elotes, churros, and chicharrónes. As my friends and I were getting food ourselves, it began to rain, but the food kept coming.

Tissue paper crafts decorated the building’s interior: flowers were tied to the staircases while cut-out designs—papel picado—hung from the ceilings. Gracing the walls were pieces of art by both Kentucky locals and children from Havana, Cuba.

Ofrendas were the biggest attraction for me. There were a few made by families, and I was able to get a picture of a community ofrenda decorated with many monarch butterflies. A staff member was very happy to tell me that monarch butterflies migrate around November 1st, and in Mexico, they represent the souls of soldiers that have passed.

Photo by Dorri Wilson

Usually, these ofrendas are featured in a nearby cemetery, and a candlelight walk is held from the Living Arts and Science Center to the ofrendas. Due to Lexington’s rainy weather, it couldn’t be held this year, but a staff member told me that it’s amazing to experience. She urged that I come back next year to see it, and I know that I will.

 


Ver las ofrendas:

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