Infusing African American Culture into the Digital Learning Space

"I mean to live and die by my own mind"; Zora Neale Hurston told the writer Countee Cullen. Arriving in Harlem in 1925 with little more than a dollar to her name, Hurston rose to become one of the central figures of the Harlem Renaissance, only to die in obscurity. Not until the 1970s was she rediscovered by Alice Walker and other admirers. Although Hurston has entered the pantheon as one of the most influential American writers of the 20th century, the true nature of her personality has proven elusive. Now, a brilliant, complicated and utterly arresting woman emerges from this landmark book. Carla Kaplan, a noted Hurston scholar, has found hundreds of revealing, previously unpublished letters for this definitive collection; she also provides extensive and illuminating commentary on Hurston’s life and work, as well as an annotated glossary of the organizations and personalities that were important to it. From her enrollment at Baltimore’s Morgan Academy in 1917, to correspondence with Marjorie Kinnan Rawlings, Langston Hughes, Dorothy West and Alain Locke, to a final query letter to her publishers in 1959, Hurston’s spirited correspondence offers an invaluable portrait of a remarkable, irrepressible talent.

The foundational, classic anthology that revived interest in the author of Their Eyes Were Watching God--"one of the greatest writers of our time"--and made her work widely available for a new generation of readers (Toni Morrison). During her lifetime, Zora Neale Hurston was praised for her writing but condemned for her independence and audacity. Her work fell into obscurity until the 1970s, when Alice Walker rediscovered Hurston's unmarked grave and anthologized her writing in this groundbreaking collection for the Feminist Press.  I Love Myself When I Am Laughing... And Then Again When I Am Looking Mean and Impressive established Hurston as an intellectual leader for future generations of black writers. A testament to the power and breadth of Hurston's oeuvre, this edition--newly reissued for the Feminist Press's fiftieth anniversary--features a new preface by Walker. "Through Hurston, the soul of the black South gained one of its most articulate interpreters." --The New York Times

As a woman, writer, mother, and feminist, Walker explores the theories and practices of feminism, incorporating what she calls the “womanist” tradition of African american women.

Unlike any time before in our lives, we have access to vast amounts of free information. With the right tools, we can start to make sense of all this data to see patterns and trends that would otherwise be invisible to us. By transforming numbers into graphical shapes, we allow readers to understand the stories those numbers hide. In this practical introduction to understanding and using information graphics, you'll learn how to use data visualizations as tools to see beyond lists of numbers and variables and achieve new insights into the complex world around us. Regardless of the kind of data you're working with-business, science, politics, sports, or even your own personal finances-this book will show you how to use statistical charts, maps, and explanation diagrams to spot the stories in the data and learn new things from it.

Deep maps are finely detailed, multimedia depictions of a place and the people, buildings, objects, flora, and fauna that exist within it and which are inseparable from the activities of everyday life. These depictions may encompass the beliefs, desires, hopes, and fears of residents and help show what ties one place to another. A deep map is a way to engage evidence within its spatio-temporal context and to provide a platform for a spatially-embedded argument. The essays in this book investigate deep mapping and the spatial narratives that stem from it. The authors come from a variety of disciplines: history, religious studies, geography and geographic information science, and computer science.

Geographic information systems (GIS) have spurred a renewed interest in the influence of geographical space on human behavior and cultural development. Ideally GIS enables humanities scholars to discover relationships of memory, artifact, and experience that exist in a particular place and across time. Although successfully used by other disciplines, efforts by humanists to apply GIS and the spatial analytic method in their studies have been limited and halting. The Spatial Humanities aims to re-orient--and perhaps revolutionize--humanities scholarship by critically engaging the technology and specifically directing it to the subject matter of the humanities. To this end, the contributors explore the potential of spatial methods such as text-based geographical analysis, multimedia GIS, animated maps, deep contingency, deep mapping, and the geo-spatial semantic web.

The history of planning is much more, according to these authors, than the recorded progress of planning as a discipline and a profession. These essays counter the mainstream narrative of rational, scientific development with alternative histories that reveal hitherto invisible planning practices and agendas. While the official story of planning celebrates the state and its traditions of city building and regional development, these stories focus on previously unacknowledged actors and the noir side of planning. Through a variety of critical lenses--feminist, postmodern, and postcolonial--the essays examine a broad range of histories relevant to the preservation and planning professions. Some contributors uncover indigenous planning traditions that have been erased from the record: African American and Native American traditions, for example. Other contributors explore new themes: themes of gendered spaces and racist practices, of planning as an ordering tool, a kind of spatial police, of "bodies, cities, and social order" (influenced by Foucault, Lefebvre, and others), and of resistance. This scrutiny of the class, race, gender, ethnic, or ideological biases of ideas and practices inherent in the notion of planning as a modernist social technology clearly points to the inadequacy of modernist planning histories. Making the Invisible Visible redefines planning as the regulation of the physicality, sociality, and spatiality of the city. Its histories provide the foundation of a new, alternative planning paradigm for the multicultural cities of the future.