Thescience of psychology has made great strides inunderstanding what goes wrong in individuals,families, groups, and institutions, but these ad-vances have come at the cost of understandingwhat is right with people.
The article focuses on the idea that there has been a lot more research focused on the negative aspects of psychology and now it is time to do more on the positive aspects of people.
He participated in an American university practice of admitting foreign students to enlarge the English-language corpus on interdisciplinary and international material; some of his protégés went back to their home countries (Turkey, Brazil) but others took their specializations in areas such as Asian urbanism or their research into Sri Lankan modes of town planning to enrich and expand US university curricula.
King would utilize the varied backgrounds of international students to create a more encompassing view of the material he taught, which then allowed for students to move into the design world utilizing means of design from different countries and introducing them to new areas.
It is because of the global movement of peoples and objects that the immigrant Spaniard Picasso or the native-born Frenchman Georges Braque could accomplish their visual breakthroughs in Paris
In no other circumstance could extremely famous and renouned artists such as Pablo Picasso, or Georges Braque have created their iconic visual masterpieces if not for the direct influence of the extreme global circulation of people and objects.
When the world's people met and mixed, new cultures, art, and people were made, enriching the future.
Clearly it is with the sweep of neoliberalism, World Bank developmentalism, biennial culture, large-scale international exhibitions, and contemporary art nomadism that “the global” became a post-Wende obsession in art history (Wende or Wendung, German names for the “turning” following the collapse of the Soviet Union, provides a concise designation for the period that begins with 1989) – contemporaneous with the “invention” of the contemporary in 1990s art history and its pedagogical institutionalization.
This sentence means that after the Wende (the political turning point following the collapse of the Soviet Union), the concept of “the global” became a major focus in art history. This shift was driven by broader forces like neoliberal policies, the World Bank’s development programs, the rise of biennials and international art exhibitions, and the increasing mobility of contemporary artists. In other words, global concerns became central in art historical discourse due to wider political and economic changes.
The author and her family have moved frequently throughout their lives, and finally move into a house on Mango Street that they hoped would be their dream home. However, the house is small, old, and not what they expected. Despite this, they hope to eventually find a better home. The author is inspired to have a real house after being looked down upon by a nun for living in a rundown apartment building.
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kssNvYB7y66y. (n.d.). Online Summarizing Tool & Article Summarizer | Scholarcy. Scholarcy | The Long-Form Article Summariser. Retrieved May 5, 2020, from https://www.scholarcy.com/
If you review the DH literature from just before the field’s “next big thing” apotheosis, you will find a deep undercurrent of anxiety: will our work ever be understood, valued, or recognized by our disciplinary colleagues?
This anxiety is exactly why we need to add digital humanities to the curriculum. There are scholars and professionals out there with information that will benefit students, especially considering the rapid development of technology in our digital age.
a majority believe they understand technology better than their teachers. For such a student, imagine how it must sound to hear her teacher talking up “computers” and “digital tools.”
It is frustrating when teachers talk about digital tools and computers when they are not able to use/teach them effectively. However, when a teacher does know what they are talking about it is powerful. Students assume they are know everything about digital tools and when a teacher effectively introduces something new, it lends validity to not only the teacher but also the topic of digital humanities. The point highlights the importance of training/educating teachers about the digital world, specifically tools involved with digital humanities.
Indeed, the skills students want are those which would allow them to create their own digital work, and perhaps even their own tools—in other words, they want to learn to engage with, and not simply use, technology in the classroom
I think this is one of the top reasons why Digital Humanities is so important in higher education. DH allows students to explore technology in the classroom so that students can become comfortable enough to use that same technology on their own for later classes or for their future careers.
C O N T R O L P R O B L E M S222
I think it would helpful to have a chapter summary here as it is useful when studying to recap what was in each chapter.